Publicity vs. quality
SVK
|
The flood gates have opened for today's musicians who have to keep an eye on standard.
|
Carnatic music today has bowed to new areas of recognition like the print and electronic media and brand endorsement. Sportspersons have shown the way to Carnatic musicians in fabric endorsement to begin with, though on a small scale, which may grow in influence soon. More effective would seem to be the cell phone manufacturers introducing Carnatic music in the ringtones.
This new support to Carnatic music is welcome because it reaches the masses with the kind of speed no sabha can match.
The trend has to a great extent accelerated competition among the youngsters to grab while the going is good. How wholesome would it be if the quality of music too moves in step with such a favourable environment for widespread exposure!
Veterans relegated
But there is a decline in the standard. Why? In a matter of a few years, the old veterans have disappeared. The disciples who had good training under the vidwans of the last era, are quietly side-stepped with the inclination of sabhas to ignore them on the pretext of encouraging novices, who in their view, are supposed to hold aloft the standards. So, qualified performers with years of experience have become sangita acharyas.
Even if the sabhas offer them chances, that are few and far between, the income they earn can hardly match what they get from the young aspirants seeking to learn new songs.
So what is wrong in youngsters' learning rare songs from the seniors? Nothing, in fact. Increasing the repertoire actually helps a deeper understanding of the excellence of the songs. What matters, however, is how the learners build on it. Will a kirtana learnt in the past week, put on paper and placed underneath the electronic sruti box, contribute to any improvement?
Concert technique
Secondly the acharyas can only teach the songs. Themselves not in the performing field, can they impart kutcheri techniques to their young wards, for instance, judging the mood or the composition of the audience? These nuances can be acquired only by observing.
In the past, sishyas used to sit behind the gurus at recitals and learn by observing. Their presence behind the singer taught them many things and in turn the public came to know about their presence. Today the vacuum is sought to be filled by resorting to publicity techniques.
Only the best was recognised in those days and how keen was the competition among them! They were not complacent. They sang with their heart and soul to make certain songs their speciality. "Seshachala Nayakam" and "Sri Subramanya Namaste" with Ariyakkudi Ramanuja Iyengar; "Ksheenamai" and "Cheta Sri Balakrishnam" with Semmangudi; "Mari Mari Ninne" with Alathur Brothers; "Kapali" with Madurai Mani Iyer and so on.
Can this be achieved through paper guidance?
Opportunities then were limited and they could sustain their supremacy only through hard work and only through identification of certain kirtanas with each of them. This carried two advantages. One: by constantly listening to such songs, often requests from rasikas, the audience imbibed their depth and nuances. When they listen to the songs rendered by musicians today, nostalgic listeners promptly indulge in comparisons. Two: The vidwans sought to preserve their reputation on the strength of their rendering such monumental kirtanas. Both factors are absent today.
It ought not to be inferred that it is a romantic mindset of the past. The youngsters are capable of handling the songs with the same standards. The performers cannot be said to be unwilling. Performances have grown exponentially with a plethora of sabhas arranging month-long festivals and offering morning, midday, evening and night programmes. It hardly gives the young the time to sit and practise the song 100 times, a la Semmangudi, to gain mastery over it.
True, art cannot remain stagnant. But there are certain aspects that are best followed according to tradition. Like the TV coverage of Tirupati Brahmotsavam, the print and electronic media carry information and music to the drawing room. These agencies can only take the horse to the water. They cannot be blamed for causing dilution in the standard. It is the sole responsibility of music practitioners to strike a balance between maintaining standards and staying in the race.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
