KUTTIKKUNJU THANKACHI - INTREPID PIONEER

                                                                        (post by Madhavi Ramkumar)

© Madhavi Ramkumar

Let us take a trip back in time to the nineteenth century and the kingdom of Travancore in South West India. In Thiruvanthapuram is an abode known as ‘Kizhakke Mațam’ which belongs to an illustrious and aristocratic family. On an ornate, painted cot reclines a lady tugging at a ‘punkah’ with one hand. However, she is anything but relaxed or lethargic. She dictates, to younger members of the family, literary works suffused with originality, erudition and beauty. She is a great scholar and master of both Sanskrit and Malayalam. She is passionate about Kathakali and Mohiniattam, and conducts a class for Thiruvathira, a dance form performed by groups of women in Kerala. She is also an accomplished musician, regularly tunes her thambura to the six ‘kattai’ sruthi and sings to its accompaniment. The instrument itself is remarkable, made of glossy black wood and smaller than the regular thambura, with the top carved in the shape of a serpent’s hood.

This extraordinary woman is Kuttikkunju Thankachi, daughter of one of the greatest of Malayalam poets, composers and Kathakali playwrights, Irayimman Thampi. It would be difficult indeed to find another such pair in the literary annals of any language.  Irayimman Thampi, himself was the grand nephew of Maharaja Karthika Thirunal, who made invaluable contributions to literature and Kathakali. Kuttikkunju Thankachi, born into this family in the year 1820, grew up in an atmosphere redolent with cultural and intellectual influences of the highest order. Her contributions to literature, music and Kathakali are sufficient to accord her a preeminent position in the cultural history of Kerala in particular and of South India in general.

The fact that Kuttikkunju Thankachi was among the earliest of women composers, if not the earliest, in Carnatic music has gone largely unnoticed. Classical compositions with pallavi, anupallavi and charanams set to ragas and thalas in the Carnatic mode are part of the priceless legacy left behind by her. Given her affinity for and felicity with the medium, it is possible that she composed a large number of songs, but only a few have come to light.  These include the Malayalam krithis ‘Kathyayani Mam Palaya’ in Kamboji raga and adi thala, which is in praise of Devi, the presiding deity of the temple at Palkulangara in Thiruvananthapuram. ‘Samajahara Hare’ in Kalyani raga and adi thala pays obeisance to Lord Adikeshava of Thiruvattar which was in South Travancore and is now in Tamil Nadu.  ‘Anandarupa Hare’ in Panthuvarali raga and chapu thala is about Lord Krishna, the deity of the Malayinkeezhu Temple, in the suburbs of Thiruvanathapuram. ‘Sri Pavanapuresha Pahi’ in Surutti raga and adi thala reflects the composer’s deep devotion to Lord Guruvayurappa. Her Sanskrit compositions include ‘Suryakotiprabhamakute’ set to Natta raga and chapu thala and ‘Pahi Mohanakrithe’ in Khamas and adi thala. Unfortunately even the few mentioned here are rarely included in music concerts today, including by musicians in Kerala.

Much scholarship and command over language, literature, music and dramaturgy are required for the creation of a Kathakali play. That Kuttikkunju Thanakchi made successful forays into the male bastion of Kathakali authorship more than a hundred years ago testifies to her indomitable spirit and dynamism. Her three Kathakali plays ‘Parvathi Swayamavaram’, ‘Shrimathi Swayamvaram’ and ‘Mithrasahamoksham’ have been hailed as repositories of poetic excellence. The first narrates the story of Parvathi’s wedding to Lord Shiva, the second deals with that of Shrimathi, daughter of Ambareesha, and the third with the salvation of the King Mithrasaha from the Mahabharatha. Kuttikkunju Thankachi’s extensive knowledge of the classics is evident from the choice of subjects. The shringara padams penned by Kuttikkunju Thankachi have been cited as examples of her aesthetic and lyrical acumen. The plays also incorporate a variety of characters representing the diverse costumes in Kathakali, and incidents and emotions that contribute to visual impact on stage. Of the three written by her, ‘Parvathi Swayamavaram’ is considered especially stage worthy and dramatic. Regrettably, again, they are rarely, if at all, performed today.

Kuttikkunju Thankachi’s works comprise diverse genres such as the Thiruvathira songs ‘Shivarathri Mahathmyam’ ‘Seetha Swayamvaram’ and ‘Naradamohanam’, and the Kurathi songs ‘Kiratham’ and ‘Nalacharitham’. Her poems ‘Thiruvananthapuram Sthalapuranam’ and ‘Vaikkam Sthalapuranam’ belong to the category known as ‘Kilippaattu’, while ‘Gangasnanam’ is a ‘Thullal’ and ‘Ajnathavasam’ a play.

Kuttikkunju Thankachi considered her father Irayimman Thampi her primary guru and states as such clearly in some of her works. She was further tutored by renowned scholar Haripad Kochpilla Warrier, who also taught Maharaja Swathi Thirunal, Her contemporaries were deeply impressed by her scholarship and command over Sanskrit and Malayalam, and the kings of Travancore right from Swathi Thirunal down to Srimulam Thirunal showered her with many gifts and honours. Kuttikkunju Thankachi deserves to be feted and celebrated far more than is being done now, especially in view of the fact that she was a pioneer in many ways. At a time when few women engaged in creative pursuits, she had the courage and dynamism to write and create original works that were acclaimed by her peers. Her abiding interest in the classical arts including music and Kathakali and in varied categories of poetry and folk arts bear testimony to her multifaceted genius. When she passed away in the early twentieth century, she left behind a substantial body of work that could serve as a source of inspiration to all aspiring creative artistes.

Every year International Women’s Day is celebrated with great fanfare. Certainly Kuttikkunju Thankachi deserves to be held up as a role model for all women, especially those seeking excellence in the creative fields. That she chose to occupy herself with intellectual and artistic endeavours of such quality and rigour is a testament to her brilliance and dedication. It is sincerely hoped that her invaluable contributions will be recalled and revived and that her works in different genres will gain wide currency among performers and connoisseurs alike. That would no doubt be the greatest tribute to this outstanding litterateur and intrepid pioneer.

Image source: Wikipedia

VOICE CULTURE AND CARNATIC MUSIC

 (post by Madhavi Ramkumar)

© Madhavi Ramkumar

The significance of the human voice in Carnatic Music has been the subject of much debate and discussion. It is often regarded as a mere vehicle for communication of musical ideas, and of no great significance or importance in isolation, in direct contrast to many other systems of classical music including Hindustani and Western, which lay great emphasis on culturing and conditioning the voice to its utmost potential.

This is not of course to suggest that Carnatic Music neglects the voice in its entirety. A good voice is regarded, by many, as a divine gift, and special efforts to enhance its quality deemed unnecessary.  While a naturally rich and pliable voice is certainly a major asset, prescribed ways to aid and improve voice quality need to be practised diligently, much like an athlete exercises to improve physical fitness, agility and flexibility.

That artistes with less than perfect voices have attained the pinnacle of success in Carnatic Music may seem an anomaly. Lack of a strong or pleasant tone and limited range and flexibility have been overshadowed by the primacy accorded to other factors such as adherence to tradition and rhythmic expertise. The very essence of the idiom, its ragas and compositions, its distinctive use of gamakas, and the immense scope for individuality and improvisation, coalesce to create an identity that many consider to be beyond mere felicity of voice. Such is the genius of the system that the quality of these ingredients provides the aficionado with intellectual stimulation and aesthetic pleasure, and the voice, apparently, pales into insignificance.  The sheer beauty of the concepts themselves would seem to condone lapses in their presentation.

There is also a converse argument that such are the demands of the style that it is difficult, if not impossible, to achieve and preserve voice quality comparable to, for instance, that in Hindustani Music. The sheer weight of the gamakas, for example, calls for much effort in their articulation. It is often contended that Carnatic Music is only for a select audience, the nuances and intricacies of which can only be appreciated by a select few. Inclusion of gamakas prescribed for the raga, delineation of the precise aural curve required, and incorporation of the mandatory minute microtones take precedence over beauty of the voice.  A raga like Thodi cannot be rendered effectively without consideration to these aspects, however captivating the voice may be.

However, there is much to be gained by paying more attention to the subject.

There is no gainsaying the fact that the voice is the first thing that a listener hears and reacts to. A clear, steady and refined voice, without the occasional bleat, wobble and quiver, one that maintains its timbre in all three octaves, is unwavering and capable of sustaining itself in the execution of extended notes, would only underscore and accentuate the wonderful attributes of the highly evolved and sublime art form that Carnatic Music is. As a system it holds within itself immense capacity to touch the head, the heart and the spirit, and the voice is the vehicle that carries it to the listeners, irrespective of whether they are connoisseurs or laymen. Sadly, uneven tone, lapses in sruthi alignment, inconsistencies in voice production, and sometimes un-aesthetic modulation, imperfect enunciation of vowels and syllables in both raga alapana and the rendering of compositions, seem par for the course.

 A performance is the culmination of years of learning and rigorous practice. It calls for many tangible and intangible elements including great presence of mind, a razor sharp memory, improvisational skills based on a solid grounding in the system, and rhythmic expertise. The amalgam creates an experience like none other. And it is the voice that conveys all of this to the listener. Each voice is unique, with strengths and weaknesses that are peculiar to it. It is therefore imperative that greater emphasis be laid on culturing and conditioning the voice to become the best that it can be. This glorious tradition of music deserves nothing less.

Dr. PADMAJA VENKATESH SURESH, AN INTERVIEW

 Dr. PADMAJA VENKATESH SURESH

AN INTERVIEW

(post by Madhavi Ramkumar)

Bharatanatyam exponent Dr.Padmaja Venkatesh Suresh, head of the Aatmalaya Academy of Art and Culture, Bengaluru, assumes the roles of performer, teacher, researcher, author and writer, speaker, administrator and organizer with equal ease. Having taken the art to numerous venues in India and abroad, she also launched ‘Kalachaitanya’ a scheme to reach out to underprivileged children in villages, small towns and cities across the country. Her books ‘Tantra the Science and Natya the Art – The Two Faceted Reality’ and ‘The Liberating Dance – Natya Tantra’ as well as articles in a number of major publications attest to her spirit of enquiry and her academic and intellectual approach to the roots, origins and practice of the art. Winner of several titles and accolades, she continues her deep commitment to Bharatanatyam and other aspects if Indian culture during the current pandemic through multiple programmes on various social media platforms.

In a recent email interview, appended below, Dr.Padmaja Venkatesh Suresh makes several informed and thought provoking points that illustrate her basic philosophy and the core of her identity as an artiste. 

What is the most important lesson you have imbibed from your guru Sri.K. Kalyanasundaram?

The most important lesson is VIDYA DADATI VINAYAM. Masterji always nurtured Guru Bhakti and allegiance. The more one knows, the less is the exhibition as one sees the divine hand in everything. It is the Lord who prompts one towards knowledge and action- this he repeatedly exemplified during class and programmes. The quality of class was far weighed than the quantity of lessons. It is a mutual bonding, truly like life-long foster parents, seen in Guru- Sishya relationship that I have experienced.

Do you follow the same teaching methods as your guru? If not, what are the changes and the reasons for them?

I try to emulate the same ways in teaching the practice and Parampara of Tanjore lineage but have made additions in giving regular theory lessons which was not the case when I learnt from a Guru like Kalyanasundaram Saar who belongs to the traditional families where oral practical training was the mainstay. My students write notes too and are sometimes given video and audio recordings. The present generation should be simultaneously exposed to academics and research in the arts too.

How did your father Sri Chakyar Rajan, who is foremost among your mentors, inspire and guide you?

My father taught me to be an amicable and simple person, easily able to adjust to different environments of stay and travel. Hardwork, perseverance, innovation and faith in God came from father naturally. He instructed me regularly in Sanskrit and suggested that one can improve by watching veterans in the field.  Chakyar Rajan was a legend whom still many people love for his humorous way of looking at life, management skills and philosophical guidance and certainly I am thankful to my stars for these roots.

Do you believe our classical arts including Bharatanatyam have metaphysical and esoteric aspects, and a higher spiritual purpose? If so how can they be correlated to the current social milieu and the financial necessities of the artiste?

If we can take the example of Rishi and Raja in our daily lives, we can make a balance. The material pursuits along with social acceptance feature in the world drama that keeps changing scenes relentlessly. The King in us is bent upon achieving goals. Every moment we pause and reflect, we start breathing effortlessly by connecting within like the Sage and also examining our moral principles. The transactional and transcendental have to go hand in hand in our Karmic journey, these assets and liabilities in the balance sheet have to be worked out. The metaphysical introspection as a classical dancer gives the advantage of witnessing the various happenings SHAKTI, with a sense of detachment as the PEACEFUL SELF IS RESTING IN SHIVAM.

How important do you think knowledge of music, language and literature, and exposure to other art forms is for a student of dance?

Knowledge of most of the chapters in Natya Shastra and the last chapter on dance in Sangeeta Ratnakara are basic requirements if you wish to achieve a level of expertise and long-standing mastery. Besides these treatises, Abhinayadarpanam is good for Bharatanatyam as other texts are for respective dance forms. The dancer should know the song danced, byheart and to be able to sing with Talam even if not possessed with musical talents. The background of the poet is also important to interpret correctly the intention.

What impact can lecture demonstrations, seminars and discussions have on the practice and evolution of a performing art?

The positive outcomes of these seminars, etc are already being seen with wide dissemination of knowledge and emerging young scholars. But caution is to be taken to prevent plagiaristic tendencies which are increasing as people tend to easily extract papers and replace with cosmetic changes. Research has to be original, arduously undertaken and credits given keeping in mind the ethical standards. Shastra has to to go integrated with Prayoga as it is a performing art.

Do you think the traditional margam is still relevant in Bharatanatyam? What is your opinion about the depiction of contemporary social issues as part of the repertoire?

Margam has to be refurbished as it is a spiritual journey to unite with the Supreme in the central piece built up in the crescendo. It follows an inconspicuous sacred design and marks the dimensions in a temple, hence even if the platform is a proscenium stage, the ambience becomes potent as if a ritual has been undertaken. The Margam measures the true mettle of the dancer and no other performance can come close to this in terms of both personal and community benefits accrued. Innovations can be separately presented as and when the need arises but not to meddle with convention.

What were your objectives when you took Bharatanatyam to large numbers of underprivileged children? How successful have you been in attaining them?

I have been satisfied that I could dedicate several professional hours of work in training the underprivileged fora sustained period of over 12 years through government schools, rural NGOs and other institutions. There are times when suddenly some  young ladies walk up to me after a performance or a college event or even at a store saying that they were in such and such school and have been able to further the training or use the skills to secure better occupations. The handful who came to Arangetram stage and completed it became teachers and often learn further from me. We continue to hold such workshops. The Rashtrapati Bhavan programme became history for many children who have their dancing photographs with Dr. Kalam, for posterity. Looking back, the objective to touch upon lives, to create oppurtunities for the deprived and to share knowledge is a gift from Almighty.

What do awards, prestigious venues and official recognition mean for you as a performing artiste?

Awards create added motivation but for a short while as the deeper quest is what drives one constantly. Venues never mattered, whether a municipal school or a high ranked Sabha, one has to do the best on stage and strive to connect with the audience. The moment the music starts, it is a total surrender. There is no PADMAJA...almost  all performances  brought out the magic and continue to do so. The Shikshak, Shodak, Sevak are all acting their roles through me but I AM happiest in Advaitic state as a humble NATYA-SADHAK.

Do you believe the changes brought about by the current pandemic, especially the use of technology and social media platforms, will influence the progress of the Indian performing arts in the long run?

The Pandemic has given inner meaning to our pursuits. How much we need against wants in every part of life became our choice. The arts taught virtually and the webinars are all keeping us connected but the REAL is missing. RASA cannot be derived through an external device. The change is a stop gap and hopefully, like we get further energized after an EKADASI fasting, this too can lead to progressive strides after normalcy returns. The noise on social platforms is unbearably loud and mediocrity has risen to the forefront. New benchmarks that give room to constraints but cannot stray from the trodden path have to be made. The situation is tough for upcoming artists but serious study can be fostered for the future of the art.

GAYATHRI RAJAPUR KASSEBAUM, A TRIBUTE

 GAYATHRI RAJAPUR KASSEBAUM

(16^th MARCH 1938 TO 5^TH 0CTOBER 2020)

A TRIBUTE

(post by Madhavi Ramkumar)

photograph © Parvathi Ramkumar

Gayathri Rajapur Kassebaum, outstanding musician, consummate gottuvadyam artiste, musicologist, academician and scholar, author and writer, meticulous, loving, caring and giving guru, and wise, warm and wonderful human being, passed away recently. Unswerving guru bhakthi, reverence for and fidelity to tradition in Carnatic Music, and indefatigable enthusiasm and dynamism were the hallmarks of her approach to music, rather than the pursuit of fame and recognition. Her unassuming and gentle presence will be missed by everyone who knew her and the music world is the poorer for her passing.

The following article, first published in the Friday Review of The Hindu, Bengaluru, on March 11^th 2011, is being reproduced here as a tribute to Gayathri Rajapur Kassebaum.

A LUMINOUS LEGACY

-          Madhavi Ramkumar

A priceless artefact in the possession of Gayathri Rajapur Kassebaum is a gottuvadyam that the great master Budalur Krishnamurthy Shastri once owned and constantly played. She believes the instrument to be about a hundred years old, a living testament to her close and long association with the guru under whom she learnt to play, first as a student of the Central College of Carnatic Music, Chennai, in the fifties and as a recipient of the Government of India scholarship thereafter. In a recent interview she spoke of her experiences in India and abroad as musician, academician, writer and teacher, all sustained by a quiet and abiding passion for music.

Gayathri Kassebaum first took up gottuvadyam as a subsidiary to her main subject, vocal music, but it soon became her chief area of interest. “What sets the Budalur style apart is, I think, the holding of the kattai – it’s a shorter one – and the meetu,” she observes. “The methods he followed, except for the gottu, were based on and similar to those of the veena, though you can tell the difference between the instruments. His models were Karaikudi Sambasiva Iyer and his brother Subbarama Iyer, but he developed his own style, a way of moving the left hand, with very delicate gamakas and nuances which sound very much like singing,”

Gayathri obtained her Ph.D, in ethnomusicology from the University of Washington, Seattle. “Since I was abroad, I wanted to make the best of it, and the closest thing to Carnatic Music was ethnomusicology. So I could teach, learn something and that is how I became an ethnomusicologist,” she recalls. About the relationship between the folk and classical traditions in India, she feels that a lot more research on the topic is required. Author of ‘Bharatiya Sangita Darshana’, a book in Kannada, her articles have been published in several journals including those of the Asian Music Research Institute, the Music Academy, Madras, the Sangeet Natak Academy, and in the Garland Encyclopaedia of World Music. The subjects handled range from ‘Regional Music Traditions of Karnataka’ to ‘Ornamentation in Okinawan Classical Singing’ and ‘A Method for Analysis for Gamaka in Alapana’.

As a teacher and performer in India and abroad, she observes, “In the west there is great attention to detail. The sound system is very good – they check it out an hour before, and the audience is punctual and attentive. But the auditoriums are set up for western classical music – in India there is more intimacy, the audience is more vocal in appreciation.” Exposure to other systems of music such as Japanese, Korean, Arabic and Persian, she feels, would expand perceptions. “African percussion is fantastic, Indonesian and Javanese music with its gongs and bells which create a special atmosphere is very interesting. We should be proud of our music but must have an open mind.” Regarding the status of Indian classical music abroad, she opines that it “is highly evolved, with a literature, which is rare. Instrumental music and North Indian classical music are probably more easily acceptable, but there is more acceptance for Carnatic Music now, and it is highly regarded in academic circles.”

The gottuvadyam, says Gayathri Kassebaum, is a beautiful and very ancient instrument and deserves more popularity. “It is a very difficult instrument to stick to – in the beginning it is difficult but in the advanced stages, veena is more difficult than gottuvadyam, in my opinion. I would always advise gottuvadyam students to learn singing – and then they can appreciate the nuances of the instrument. This is true for all instruments, but especially so for gottuvadyam. It is easy to produce apaswarams, more obviously than in veena, so that also discourages people. I think there has to be a campaign such as the one the Department of Kannada and Culture had for a year, for rare instruments. Musicians could also encourage their students to take up gottuvadyam. It has been a rare instrument for a long time, but that could change.”

Gayathri Kassebaum believes that what she learnt under the great stalwarts like Musiri, Budalur and T. Brinda who taught at the Central College was “a whole way of behaving towards music, the gurus, and even the musical instrument. It was a guru-shishya relationship that was not taught but communicated.” She has donned diverse roles in her long musical career spanning about six decades, but she concludes thus: “To tell you the truth, my heart and my soul is in making music, performing and playing gottuvadyam.”

A CASCADE OF THILLANAS

(post by Madhavi Ramkumar)

The pandemic rampant throughout the world has altered the situation almost irreversibly for performing artistes. Live concerts have been replaced by virtual shows that have a completely different set of demands and challenges, and some benefits too. It is indeed heartening to see that many innovative and absorbing programmes that would probably not have been conceived in the pre- pandemic milieu have been devised and presented to an audience that is not restricted by space or time. One such outstanding endeavour is the series ‘A Thillana a Day’, comprising no less than 50 thillanas sung by Amrutha Venkatesh and published on her Youtube channel from the 1^st April 2020 onwards.

The presentation comprises works by T.V.Gopalakrishnan, M.Balamuralikrishna, Lalgudi Jayaraman, Tanjavur Sankara Iyer, Thirukkokaranam Vaidyanatha Bhagavathar, Patnam Subrahmanya Iyer,  Srimushnam Raja Rao, M.D.Ramanathan, Swathi Thirunal,  Maharajapuram Santhanam, Muthaiah Bhagavathar, Veena Sheshanna, and Mysore Vasudevacharya. The wide spectrum of ragas employed, ranging from traditional favourites such as Anandabhairavi, Khamas and Kapi to Hindustani ragas like Ahir Bhairav, Basant Bahar and Sankara, highlights the variety and diversity extant in this category of composition. Some of the thillanas are well known and have gained wide currency in the concert circuit and on the dance proscenium while many others are relatively unknown.

The series starts with a thillana by T.V.Gopalakrishnan, set to Chandrakauns raga and adi thala featuring both tisra and chaturasra gathis, and ends appropriately enough with Swathi Thirunal’s timeless classic in Dhanashri raga and adi thala. Inclusion of masterpieces such as the Poorvi thillana by Thirukkokaranam Vaidyanatha Bhagavathar and the one in Khamas by Patnam Subrahmanya Iyer impart a welcome vintage flavour to the preponderance of modern pieces. Though adi thala features prominently, both popular and rare pieces in thalas as diverse as khanda chapu, rupaka, mishra chapu and multiple gathis of adi thala in the same thillana have also been incorporated.

Though the thillana is conventionally sung towards the end of the concert, its inherent complexity and intricate rhythmic permutations call for a great degree of expertise and skill on the part of the performing musician. To acquire a repertoire of so many such compositions, and to internalise and perform them with certitude, is indeed an admirable achievement. Despite the fact that the entire presentation here has been sung without accompanying violin and percussion support, it is remarkable for clarity of exposition and rhythmic and melodic precision. The brief notes, and the occasional quiz appended to the compositions, serve to evoke interest and enhance involvement among the viewers. The thala could have been mentioned in all of the notes in order to avoid any ambiguity whatsoever. Overall this is an impressive effort that could serve as a reference point for  musicians and connoisseurs alike. It is hoped that the series will be extended with the inclusion of both recent compositions and others that were in vogue years ago, like the Sankarabharanam thillana by Ponnaiah Pillai in adi thala tisra gathi, and the Purnachandrika thillana in adi thala by Poochi Srinivasa Iyengar.

SYLLABLES IN RAGA ALAPANA

(post by Madhavi Ramkumar)

Raga alapana or elaboration of ragas is a key component of manodharma or improvisation, one of the most important elements of Carnatic music. Expansion of a unique melody, based on the notes prescribed and ornamented by the gamakas or oscillations and distinct phrases as ordained by tradition, is not confined to a set tune, lyrics or rhythm, is free flowing, and generally uses the syllables ta, da, ri and na.

Why these syllables are used to the exclusion of others is a question that intrigues many students of music. Perhaps these are the easiest to articulate in musical terms, ta (त), da (द) and na (न) falling in the category of ‘dantya’ (दन्त्य) or dental consonants in accordance with the ‘sthana’ (स्थान) or points of articulation. The ‘antahstha’ (अन्तःस्थ) or semivowel syllable ra (र) is classified as ‘murdhanya’ (मूर्धन्य),  and variously described as retroflex or alveolar. In all these the syllables are produced by the tongue touching, in different ways, the front part of the hard palate or the teeth.

Any practising vocalist will testify that they lend themselves more easily to musical expression than, for instance, ‘kanthya’ (कण्ठ्य) or guttural consonants such as ka (क) and ga (ग) and ‘taalavya’ (तालव्य) or palatal ones such as cha (च) and ja (ज), and ‘oshthya’ (ओष्ठ्य) or labial sounds such as pa (प) and va (व). Eschewing the more difficult consonants such as tha (थ) and dha (ध) also appears to be the most logical and convenient of options available to a musician, a fine example of the empirical thought processes behind many of our customs.

Why these syllables should be used at all for raga alapana is another question that engages the attention of musicians and connoisseurs alike. Would a plain ‘akaara’ be as effective in communicating the essence of the raga? In the absence of a set sahitya to punctuate and anchor the melody, the syllables, it would seem, serve a very significant purpose. They impart structure, definition and contour to the phrases employed in the exercise, and without them the elaboration, however melodious and skillful, may seem insipid and characterless.

The most effective and aesthetic deployment of the syllables is acquired through practice and experience. Too many in close proximity and too few of them far apart would create a negative impact. A beautifully etched and shaded raga alapana requires not only  great artistry, technical expertise and an understanding of swaras and gamakas but also the ability to use the syllables in the most pleasing and artistic manner possible.

(c) Madhavi Ramkumar

THE PASSING OF A LEGEND – DR.R.K.SRIKANTAN

(post by Madhavi Ramkumar)                                           

Reams have been written about Dr.R.K.Srikantan, the man and the musician, a legend in the field of Carnatic Music who passed away recently. The bell like clarity and strength of his voice, his scrupulous adherence to tradition, his reverence for his illustrious forebears and his greatness as a guru have been a source of wonder and admiration. Above all, his approach to Carnatic music, and its purpose as perceived by him, should serve a guiding light to practitioners and connoisseurs alike.

This writer had the great privilege of interviewing him in early 2010, when he celebrated his 90^th birthday. A recipient of innumerable awards, critical acclaim, and the adulation of scores of disciples and of the music loving public, his punctuality, patience, graciousness and hospitality were truly remarkable. Answering questions with sincerity and equanimity, he seemed entirely unmindful of the exalted position he occupied in the musical firmament.

Moderation in all things appeared to be the dictum that he followed in music and in life, a golden mean, be it in the usage of brigas, rhythmic variations, sruthi bheda, or in personal daily routine. Dr.Srikantan’s physical presence is no more with us and will be missed sorely. But the many splendoured legacy he has left behind will continue to guide and inspire generations to come.

Excerpts from the interview, an edited version of which was published in The Hindu, Friday Review, January 22^nd, 2010, are appended below.

The present approach to music, Dr.R.K.Srikantan feels, is very different form that of earlier years, when there was complete devotion and dedication to the art. Technical correctness has now taken precedence over bhakthi, the basis of our music.

Spontaneity and improvisation are integral parts of Indian music, but Dr.Srikantan asserts that planning can ensure variety in ragas, compositions, talas, and composers, and without it the concert can at best be a random one, adding categorically that he always plans his concerts.

“I don’t approve of raga alapana in a tearing speed,” he says,on the role of brigas in raga alapana. “Conventionally, the raga alapana should be in the vilamba kala, and then brigas should be introduced, but that paddhathi has now gone out of vogue. Now we sing raga alpana in a samashti way, that is, totally, including brigas, vilambit etc.”

As for sruthi bheda exercises during raga alapana, Dr.Srikantan is of the view that “partially it adds colour, but at times even the original raga is forgotten. Sruthi bheda shows your swara jnana, and once in a way it can be done and that too, just one or two sancharas”.

Also, he observes that “more importance is now given to rhythmic permutations and combinations in the singing of kalpana swaras. It is in fact a challenge for the mridangam vidwan. Every student wants to learn laya vyavahara and some even compel their teachers to teach it. But I don’t approve of so much of laya vyavahara – learn and understand all types of laya vyavahara, but while singing, let there be proportion.”

Dr.Srikantan avers that in modern times “the guru sishya relationship has become more commercial, though there are instances of genuine ‘guru bhakthi’. It was different in the olden days – the student stayed with the guru, served him, and as and when the guru taught, he would learn. It is impossible to bring back the gurukula system, but the student can still have complete guru bhakthi and earnestness.”

For preservation of voice quality and stamina, he advises: “First of all, maintain very good health, and that will give you more stamina. Keep away from bad practices, bad habits, and bad company. Be with great masters always and have only positive thoughts. Do your sadhakam every day. Have ‘sathvik aharam’, good food which is beneficial to your health. Don’t drink, chew tobacco, use snuff, or smoke, and don’t eat wayside food stuff.  You should maintain mental health and peace of mind. And meditate everyday. If you follow all this you can maintain your health, your voice, and you can give good performances as long as you live.”

Modern technological advances, in his opinion, are partially a blessing and partially a bane. The electronic tambura, for instance is very handy, but extensive usage has resulted in many musicians not knowing how to tune and use a traditional tambura. Internet lessons could be useful for a student who has already acquired swara janana, thala jnana, etc., but a beginner should sit before a guru and learn.

The future of Carnatic Music, he feels, is bright, as there are many good artistes, “but let them maintain tradition and not do unnecessary things in the name of creativity. Respect the audience and don’t take them for granted.” The ultimate purpose of music, according to him includes aesthetic, emotional and intellectual enjoyment as well as spiritual upliftment, for all of which Carnatic Music is the perfect medium.

WHAT'S IN A RAGA ?

(post by Madhavi Ramkumar) 

Great musical compositions, in all genres across the world, have transcended time and space. In Carnatic Music too, they stand as testaments to the genius of their creators and to the greatness of the system itself, flooding the hearts and minds of listeners with joy and wonder over and over again. Artistes who perform them continue to find scope for individuality and inventiveness within the parameters of raga, thala and musical structure as prescribed.

That the same compositions are also inextricably linked, in many ways, to the period and the locale spanned by the lifetimes of their composers, may at first seem paradoxical. While many of them were intrepid pioneers in their own right, the language they employed and the ragas and thalas they stipulated were in all likelihood influenced by the environment they were familiar with. Further, the ragas specified by them must also be deemed to be a reflection of their melodic vision for the products of their creativity.

As such, would it be fair to change the raga as specified by the composer, and what would be the justification for doing so? If no raga has been indicated, the tunesmith or the singer is free to cast it in a raga of his or her choice. If not, there is an implicit obligation to conform to the mandate of the composer.

A case in point is ‘Karuna Cheyvan’, Irayimman Thampi’s immortal paean to Lord Guruvayurappan, arguably the most popular of classical krithis in Malayalam. In his introduction to ‘Omanathinkal’, a compilation of some of the musical compositions of Irayimman Thampi with notations published by the Kerala Sangeetha Nataka Academy, great scholar and musicologist Dr.S.Venkatasubrahmanya Iyer observes: “Of the Malayalam keerthanams (of the composer) ‘Karuna Cheyvanenthu’ in Sri Ragam and ‘Adimalarina’ in Mukhari are extremely well known. Both are prayers to Lord Guruvayurappan. Though the first is now being sung by many in Yadukulakamboji (the reason for this change is not understood), its structure in the original raga (Sri Ragam) itself has been included here” (translated from the Malayalam). The raga of the song has been mentioned unambiguously as Sri Ragam by V.Madhavan Nair ‘Mali’ also in his research work ‘Kerala Sangeetham’.

The popularity of the Yadukulakamboji version of ‘Karuna Cheyvan’ is generally traced back to Chembai Vaidyanatha Bhagavathar. There is no dispute about the appeal of this version, as the words and lyrics seem to coalesce perfectly and evocatively. However, and no disrespect is implied to the great master Chembai here, the original raga and tune are no less enchanting, and the composer’s choice is most apt and alluring. Irayimman Thampi was no stranger to Yadukulakamboji, as evidenced by the use of the raga for padams in his Kathakali plays, most notable among them being ‘Lokadhipa Kantha’ in ‘Dakshayagam’. He could very well have couched ‘Karuna Cheyvan’ in that raga had he so wished. But master musician and lyricist that he was, he chose Sri Ragam for his outpouring of bhakthi to the Lord. Composers such as Irayimman Thampi had a clear idea of the aural and emotive impact of the confluence of words and melodies, and adherence to their mandate would only be in the fitness of things.

In Carnatic Music, the use of ragas other than those laid down by the vaggeyakaras is a serious topic requiring much research. Two ragas for the same composition is not entirely unknown, as in the case of Thyagraja’s ‘Kantajoodumi’, extant in Vachaspathi and Lathangi. Some changes in form and ornamentation are inevitable with the passage of time, especially in view of the largely oral tradition followed hitherto. That there are many ragas in vogue today that were relatively unknown a century ago, and that some ragas prevalent in earlier times may have sunk into oblivion over the years, are also points worth considering.

‘Karuna Cheyvan’, however, falls into none of these categories, and we owe it to the composer and to the art itself, to try and preserve the work in its original form. Compositions such as this form part of musical history. If an artiste feels that the composition falls short on certain parameters, or that it can be improved upon, the option to choose another song or to create something entirely new is always open.

(c) Madhavi Ramkumar

STAGE PRESENCE

(post by Madhavi Ramkumar) 

While some musicians are born with it, others must at least attempt to acquire it, as otherwise the listeners are liable to find some painful experiences thrust upon them. As a music concert is both a visual and an aural experience, the demeanour of the artist on stage has a direct impact on the appreciation and enjoyment levels of the audience, and the importance of that intangible quality known as 'stage presence' cannot be over emphasized. It is evident from the ancient 

texts and treatises available to us that the subject rightly engaged the minds of our enlightened forbears, but is often glossed over at the present time. Details like stage decor, impeccable acoustics, punctuality, adherence to specific time limits, elimination of distractions, and so on are also not generally accorded the importance they deserve in Carnatic music recitals. This is, perhaps, a result of the unswerving faith in the greatness of the art itself, which continues to flourish even in the twenty first century, in spite of the overwhelming variety of alternative entertainment available through the media.

It is precisely because the art has the ability to evolve without detriment to its splendorous identity, that one must treat it with the respect and veneration it deserves, especially in presentation.

The Natya Sastra, which expounds, in some detail, the attributes desirable in a musician, is proof enough that centuries ago great emphasis was laid on various aspects of a performance. According to the author, an attractive voice, command over rhythm and a pleasing personality are essential for a musician. A singer's voice should possess several attributes, including audibility at a distance, lack of harshness, sweetness and uniformity of timbre in higher and lower passages. It is interesting to note that undesirable mannerisms and awkward gestures of musicians have caught the attention of theoreticians down the ages. Govinda Dikshitar's Sangeeta Sudha, for instance, categorizes performers according to their individual peculiarities. Among them are 'prasari', whose ungainly movements deplete the surging tide of music, 'karali' who has a contorted face and wide open mouth, 'seetkara' whose loud intake of breath fragments his singing, 'karabha' who cranes is neck strenuously, ‘avyakta' who mutilates words and swara-s and produces unintelligible sounds, and many more. Ideal settings  for stage performances have also been described in works like Silappadikaram, and it would therefore be incorrect to presume that such notions are applicable only to Western classical arts, and that the idea itself is an import from the West.

An overly dramatic manner, vocal idiosyncrasies, and a display of other unpleasant traits on stage serve only to detract from the overall impact of the performance. On the other hand, too stern or too disinterested an air could also alienate the audience. An artist of the calibre and stature of M.D. Ramanathan may get away with his own brand of presentation, but it is disheartening to see young musicians in the limelight, most of whom are well informed and conscious of the increasingly cosmopolitan environment of the new millennium, paying scant  attention  to  this   aspect. Some prominent singers have gone on record stating that voice culture is required only to the extent that it facilitates expression of ideas. If expression of ideas is the major criterion, the vocalization itself would seem redundant in some cases, as the ascent and descent of swara-s, gamaka-s, and even the most intricate of sangati-s are etched out in physical terms, with gesticulations and expressions to match.

Teachers and well wishers would be doing a signal service to everyone concerned by providing unbiased feedback to aspiring vocalists, and ensuring that unwelcome tendencies are nipped in the bud. This is not of course to say that a vocalist should perform with a deadpan countenance and no physical movement whatsoever, which would be next to impossible. 

The 'bhava' inherent in the music is bound to find expression in the body language of the musician as well. It is, however possible to cultivate a presentable stage persona, of which a proper posture and a straightforward manner of marking the tala may be considered the bare essentials. Most musicians could take lessons from the matchless M.S. Subbulakshmi who is grace and dignity personified on stage, and needs no awkward movements and no grimaces to produce the quality of music that she does, with equal emphasis on both raga bhava and sahitya bhava. One may argue that one must stick to the dictates of one's own personality and individuality, but there is no gainsaying the fact that a performing artist must at least strive to project an agreeable appearance, as a mark of esteem for the audience.

Though the status of voice culture in Carnatic music continues to be the subject of an inconclusive debate, some of the top ranking artists of the younger generation definitely require a greater stress on clarity of articulation,  and on voice production, especially in the raga alapana. The unalloyed joy that a clean 'akaara' could produce is often marred by distortion of the vowel sound, and other lacunae in the projection of the voice. Some great exponents of Carnatic music have, in the later stages of their career, had difficulty taming their recalcitrant voices and aligning it to sruti. But the crowds have still flocked to their concerts, applauding their experience and the wealth of musical ideas they have striven to put across.

One must conclude, then, that there is some elusive, ineffable quality in the genre that transcends voice, surroundings and other external trappings. A mature exposition of a raga like Todi by a seasoned artist can delight and on occasion uplift a discerning audience, even if the voice is less than perfect. The genius of the system is such that the use of the gamaka-s and correct values of swara-s peculiar to the raga, and elements such as impeccable rhythm and unfettered manodharma can weave a web of .magical beauty. Some connoisseurs go so far as to discount an outstanding voice at face value, the premise being that the musician must certainly be lacking in other and more important attributes. Nevertheless, a clear ringing voice, conditioned' to the best that it can be, could add a further dimension of appeal, take another step towards perfection, and even propel the imagination to the highest echelons of creativity.

A resplendent stage presence is the unmistakable hallmark of a consummate performing artist, one who has striven earnestly to arrive at and maintain the golden mean between uncontrolled histrionics and an apparent lack of involvement. Obviously, it is the culmination of a great deal of thought and practice, which must be undertaken simultaneously with the musical training itself. The audience could fulfill its responsibilities by arriving on time and remaining seated through the performance. People walking in and out at will, and conversing with each other, can undermine the artist's concentration and may even prove unnerving at times. The organizers could on their part try and create an ambience that would elicit the very best from the artist - a proper sound system being the very least of its components. The voice and accompaniments need to be balanced effectively so that each is distinctly audible without drowning the other. After all, what is presented on stage is the fruition of a lifetime of rigorous study and dedication combined with the confidence and courage to face an audience. All the elements that go into the making of a concert have to be meticulously attended to, making the experience a rewarding and memorable one for performer and listener alike.

MADHAVI  RAMKUMAR

(Cartoons by Sarathy)

Originally published in the May 2004 issue of Sruti Magazine