A Sanatani Revolution in the Carnatic Music Universe

The Carnatic music community has found itself in the eye of controversy. The ‘Madras Music Academy’, recently conferred the prestigious ‘Sangit Kalanidhi’ award on TM Krishna, a self proclaimed messiah of Carnatic music whose ‘sole aim’ is to ‘liberate’ it from alleged Brahminical hegemony. This move was publicly condemned by Ranjani-Gayatri, the eminent singing sisters. For our readers, the Sangit Kalanidhi award is analogous to the Grammy. The academy, established in 1928 to promote classical Carnatic music, has raised eyebrows by choosing to bestow this honour on the very person, who on several occasions has criticised, demeaned and stamped upon this classical institution. In recent years, the infiltration of Dravidian and anti-Hindu ideologies has tarnished the glory of Carnatic music. To revive this art form, it was imperative to systematically oppose critics like Krishna. Renowned singers Ranjani-Gayathri have admirably championed this cause, and their efforts must be commended.

Ranjani-Gayatri have withdrawn from the Margazhi music festival organised by the Madras Music Academy in December, signalling their discontent over the award to Krishna. Their invaluable contributions to Carnatic music extend beyond performance, as both have dedicated their lives to mastering the art of classical music. Their open stance against Krishna prompted widespread media attention, forcing a reassessment of the issue. The influence of Dravidian and Periyarite ideologies in Carnatic music was disapproved by many and therefore following suit, senior artist N. Ravikiran renounced his ‘Sangit Kalanidhi ‘ award, while musicians like the Trichur brothers have refused to perform at the Margazhi festival. Notable figures like Vishakha Hari and Sanskrit scholar Drishyant Sridhar also voiced their opposition to Krishna. Anti-Brahmin ideologies aided by communist media outlets had infiltrated the Carnatic music scene with the usual rhetoric that Carnatic music is under Brahminical hegemony and talented artists from lower castes are suppressed. Amidst this propaganda, the curious learner had no platform to approach. The revolt by Ranjani-Gayatri changed the landscape overnight. This collective stand against divisive ideologies has the power to reshape the world of Carnatic music, paving the way for a brighter future.

The Perils of Divorcing Music from its Dharmik Roots

Credits : Acharyanet

The essence of Indian music, whether Hindustani or Carnatic, lies in its Dharmik roots. Ragas such as Kalyan, Durga, Bhairav, and Bhairavi in Hindustani music, and Chintamani, Srirangapriya, and Ekmukh in Carnatic music, are named after Hindu Deities. The essence of Indian classical music is to become one with God, and hence one comes across several devotional artworks in classical music. They are to be sung and heard in a particular way that would enrich the spiritual emotion of the singer and the listener. Music originated in the Samaveda. Even to this date, some artists have devoted their lives to Swarasadhana, embodying the divine essence of music and fostering a sense of tranquillity among listeners. It is due to such devout musicians that the uniqueness of ‘Bharatiya Shastriya Sangeet’ is still retained, and listening to them one experiences peace, calm, and ultimately, bliss. Krishna has attempted to cleave Carnatic music from its Dharmik roots by  claiming it ‘belongs to everyone’, performing it in a Masjid or hut, by singing compositions glorifying Allah and Jesus, or gorifying Periyar. While this may have earned him accolades as a ‘rebel’, it undermines Carnatic Music’s inherent Dharmik and spiritual significance. By diluting the sacred nature of music with adharmik themes, proponents of secularism risk eroding its soulful essence.

Rejecting Divisive Periyarite Ideologies

Krishna is an ardent believer of Periyarism and has acute disdain for Brahmins. Therefore, his attempts to disengage Carnatic music from the imaginary Brahminical hegemony. But does this hegemony exist? A few incidents or instances, even if true, do not give anyone any moral authority to vilify the entire Brahmin community. Incidents of racial profiling can be attributed to any field and not just music. While addressing legitimate grievances is crucial, radicalising the entire stream with Periyarism only exacerbates social divisions. The Tamil community has borne the brunt of Periyar’s divisive agenda, leading to irreparable societal rifts. Introducing Periyarism into the realm of music would only further polarise an already fragmented society.

Music transcends religious boundaries, serving as a unifying force within society. Be it any religious ceremony of the Hindus where Bismillah Khan’s Shehnai is played or be it Yesudas’ Bhajans played in Hindu households. Music brings society together. It is imperative to preserve the spiritual core of music, as espoused by Hinduism’s doctrine of ‘Art is for the attainment of God’. Several legendary artists have aligned themselves to this spiritual cause of music. Ranjani-Gayatri have embodied this ethos, and are standing against attempts to divorce Indian music from its Dharmik roots. It is incumbent upon all music lovers to unite in preserving the sanctity of Indian classical music and thwart efforts to dilute its Dharmik essence.

In Conclusion

The struggle to uphold the sanctity of Indian classical music is on. In the face of modernising influences, it falls upon true connoisseurs of music to safeguard its rich heritage and prevent it from falling prey to adharmik practices. Let us rally to ensure that the divinity of Indian music continues to resonate for generations to come.