Tag: Music Academy

TMK, DMK, and Nagarathnamma

Introduction

Unless you have been living under a rock or have never heard about Carnatic music, you could not have missed the huge controversy surrounding the current events involving the Music Academy, musician T.M. Krishna, the spate of boycotts, and Chitraveena Ravikiran’s return of the Sangeetha Kalanidhi award. 

Adding the proverbial fuel to the fire is the still echoing uproar surrounding the remarks of a current minister in the DMK about abolishing Sanatana Dharma, which, in his view, is encouraging caste discrimination. The political party DMK, came to power espousing the cause of social justice and equality as espoused by another leader, E.V. Ramaswamy a.k.a Periyar.

A quick flashback

Eons ago, a Devadasi faced a similar cultural boycott. Bangalore Nagarathnamma was the target then. The irony is that the sister duo Ranjani-Gayathri, who were quick off the block in the current controversy, would have never been allowed to perform but for Bangalore Nagarathnamma’s crusade to allow women to perform on stage.

Who was Bangalore Nagarathnamma?

Bangalore Nagarathnamma (1878–1952) is a remarkable figure in the history of Carnatic music. Not only did she make exceptional contributions to preserving the legacy of Saint Tyagaraja, but she also played a pioneering role in challenging and transforming the societal norms of her time. Her life and work initiated several social revolutions within the Carnatic music community and beyond, advocating for inclusivity, equality, and the recognition of talent irrespective of gender or caste. This blog post delves into her contributions and the social revolutions she sparked while addressing the current controversies surrounding contemporary Carnatic musician T.M. Krishna.

Bangalore Nagarathnamma’s Contributions and Social Revolutions

Preservation and Promotion of Tyagaraja’s Legacy

  • Nagarathnamma’s unwavering devotion to Tyagaraja, one of the Trinity of Carnatic music, is well-documented.
  • She was crucial in establishing the Tyagaraja Aradhana, an annual music festival held in Thiruvaiyaru, Tamil Nadu, to celebrate Tyagaraja’s compositions.
  • This festival has become a cornerstone event for Carnatic music enthusiasts worldwide, where artists pay homage to the great composer through soul-stirring renditions.

Establishment of Tyagaraja’s Memorial

  • Recognizing the significance of preserving Tyagaraja’s memory, Nagarathnamma took a bold step.
  • She purchased land around Tyagaraja’s samadhi in Thiruvaiyaru and constructed a temple in his honor.
  • This space became the epicenter for the annual Aradhana festival, ensuring that Tyagaraja’s contributions to Indian classical music were celebrated for generations.
  • Her initial efforts to organize an all-inclusive music festival met with resistance

How her Thygaraja festival was boycotted

The boycott of Bangalore Nagarathnammal’s Tyagaraja Aradhana festival by caste-based musicians primarily stemmed from the orthodox and conservative sections of the Carnatic music community, particularly from higher caste Brahmins. This resistance was deeply rooted in the prevailing caste hierarchies and social norms of early 20th-century India, which often dictated access to cultural and religious practices, including music. Nagarathnammal’s festival, which was groundbreaking in its inclusivity, challenged these entrenched norms by welcoming musicians and attendees regardless of their caste or gender. Here’s a closer look at how the boycott unfolded and its implications:

Mechanisms of the Boycott

  • Caste-Based Exclusivity: The elite musicians and patrons, who were predominantly from the upper-caste Brahmin community, viewed the participation of lower-caste individuals and women, especially those from marginalized communities, in such a sacred event as a violation of their traditionalist views of purity and sanctity.
  • Parallel Festivals: In response to Nagarathnammal’s inclusive festival, these conservative factions organized their versions of the Tyagaraja Aradhana, which adhered strictly to caste-based exclusivity. These parallel festivals aimed to maintain the traditional caste hierarchies within Carnatic music, effectively segregating the music community along caste lines.
  • Social and Religious Justifications: The boycott was often justified through religious and social rhetoric, claiming to protect the sanctity and tradition of Carnatic music and its associated rituals. This stance reflected societal tensions between maintaining caste purity and embracing social reform.

Implications of the Boycott

  • Highlighting Societal Divides: The boycott not only exposed the deep-rooted caste prejudices within the Carnatic music community but also mirrored the larger societal divisions based on caste and gender. It brought to the forefront the need for reform and inclusivity within traditional cultural practices.
  • Solidifying Nagarathnammal’s Resolve: Despite significant opposition and boycott, Nagarathnammal remained undeterred. Her resolve to maintain the inclusivity of the Tyagaraja Aradhana festival only strengthened, solidifying her legacy as a champion of social reform and inclusivity in Carnatic music.
  • Legacy of Inclusivity: Over time, Nagarathnammal’s inclusive approach has been vindicated, with the Tyagaraja Aradhana festival at Thiruvaiyaru symbolizing unity and diversity within the Carnatic music community. Her efforts paved the way for a broader acceptance of inclusivity, influencing subsequent generations to challenge and dismantle caste and gender barriers in the arts.

Bangalore Nagarathnammal’s confrontation with caste-based boycotts of her Tyagaraja Aradhana festival underscored her pioneering role in challenging societal norms and advocating for inclusivity and equality in Carnatic music. Her legacy continues to inspire efforts towards creating a more inclusive and equitable cultural landscape in India.

Advocacy for Women Musicians

  • Nagarathnamma shattered societal barriers by providing platforms for women musicians to perform publicly.
  • Women’s participation in public performances was marginalized during her time, especially for those from specific communities.
  • She challenged prevailing norms, opening doors for future generations of women musicians and advocating for their rightful place on the stage.

Challenging Caste Discrimination

  • Nagarathnamma’s activism extended beyond gender equality.
  • She fearlessly confronted caste discrimination within the Carnatic music community.
  • Her efforts paved the way for a more inclusive and egalitarian musical landscape, where talent triumphed over social hierarchies.

T.M. Krishna and the Ongoing Debate

  • Contemporary Carnatic musician T.M. Krishna shares similarities with Nagarathnamma.
  • Like her, he challenges established norms and advocates for a more inclusive and socially aware Carnatic music scene.
  • Krishna’s performances in non-traditional venues and emphasis on social justice mirror Nagarathnamma’s fight for equality.

Conclusion

Bangalore Nagarathnamma’s life was a symphony of courage, talent, and social reform. Her legacy reminds us that music transcends boundaries and can be a powerful force for change. When all the trolls, for and against die down, maybe the brilliance of a casteless, all inclusive society dawns upon us. Many of the current musicians who are boycotting, are like ostriches; turning a blind eye to the truth of a discrimination that exists, and I would daresay, feel threatened about the danger to their elitist positions in their perceived cultural ladder, probably the same way the current flock of MAGA cultists in the USA.

As we navigate the complexities of tradition and progress, let us draw inspiration from her unwavering spirit—a spirit that resonates through the ages and echoes in the soul-stirring notes of Carnatic music. 🎵🌟

References:

  1. Wikipedia: Bangalore Nagarathnamma
  2. The Hindu: The Activist Behind the Music
  3. Deccan Herald: Bangalore Nagarathnamma’s Reformist Zeal
  4. Dharma Dispatch: Bangalore Nagarathnamma: A Life Dedicated to Tyagaraja.

Manakkal Rangarajan – the speedster in brighas!

Back in time in India

About two and a half decades back, I was a tour operator, organizing and conducting inbound tours from the UK and USA.  I had a modest office off Lattice Bridge Road when I started this operation.  Lattice Bridge road, known as L.B. Road, bisected Indira Nagar and Thiruvanmiyur. My office was on the Indira Nagar side.

My first glimpse of the man

Every day I used to see a person with a starched white shirt and a white dhoti go past my office, most times in the morning and sometimes in the evening too.  He used to walk with a purposeful gait.  He had rather long hair coming out from his ears, which was accentuated even more so because he had a thinning hairline.  His hair, or whatever was left of it, would be oiled and neatly combed back. His forehead was swathed in vibuthi or sacred ash, punctuated by a red vermilion dot just above the bridge of his nose. A light dusting of talcum powder dressed his face. To describe this gentleman’s personality even more clearly, I would say he looked like the ‘common man’ in R.K. Laxman’s cartoons.  And I don’t mean this disrespectfully.

His personality intrigued me, which led me to enquire about who he was.  Somehow, this reached his son’s ears, and the son paid a visit to my office, asking why I was enquiring about his dad!  I explained that something about his dad differentiated him from the other passers-by. 

My meeting with him

Then I heard of Manakkal Rangarajan and that he was a Carnatic musician.  I told his son that I would like to meet with him.

I met with him later that week, and after the customary salutations and preambles, I asked if he would teach my daughter Carnatic music.  He hesitated a bit but said he would check her aptitude first.  So, I took him home; I lived a stone’s throw away from my office on the Thiruvanmiyur side. She passed the skill or talent test, and the lessons started in earnest, the week after.

She had the fortune of learning music from him. At that time, she was also learning dance from Kalakshetra. Today she is an accomplished Bharatanatyam artiste herself, but she still remembers with pride that she is a student of Manakkal Rangarajan.  The vocal exercises he taught her allowed her to render brigas with speed.  Brigas or brighas are note ornamentations that enhance the beauty of the rendering.   

His birth and background

Manakkal Rangarajan (13 September 1922 – 26 February 2019) was a Carnatic music vocalist from Manakkal village, Trichy district.  He was known for his unique brand of Carnatic music.

Manakkal is a village in Valangaimana taluka, Thiruvarur District, Thiruvarur district, Tamil Nadu State.

Rangarajan’s father, Santhana Krishna Bhagavathar, was an exponent of the Harikatha but did not impart any musical lessons to Rangarajan.    His mother’s name was Seethalakshmi Ammal. Shri. Rangarajan had five brothers. He was the youngest. He started singing in concerts from the age of fifteen.

His rendition of songs such as Ninnuvina (Navarasakannada), Sarasasamadana (Kapinarayani), and Nenarunchinanu (Malavi) was eagerly lapped up by the audience at his concerts. Artists like Murugaboopathi and Umayalpuram Sivaraman enjoyed accompanying him.  So did the violin vidwans such as Kumbakonam Rajamanickam Pillai, Mysore Chowdiah, Lalgudi Jayaraman, and T.N. Krishnan.  

The Tiruvyaru incident 

He used to sing at Tiruvayaru, the birthplace of Shri. Thyagaraja for the music festival. The story goes that M.S. Subbalakshmi, the reigning queen of Carnatic music and a film star, sang before Shri. Rangarajan’s concert. She had a huge fan base, and when MS finished her concert, everyone went to see her off. Shri. Rangarajan had an empty audience. Then he let loose a volley of fast-paced krithis, and everyone came running back to listen to him!

A nice documentary

Later, I started attending his concerts. I once heard him perform at the Music Academy, Madras, and recall a Sankarabharanam (a Carnatic Raga) aalapana, in which he reached the tara sthayi sadjam (the third-octave root note) with exquisite precision.

Manakkal Rangarajan used to render rare Pallavi performances at the Music Academy, Madras, using both hands for the thalams (beat cycles), composed from various nadais (beat structures).

Rangarajan is one of the rare musicians who has never compromised with principles and traditions to gain popularity.    

Music critic Subbudu stated in one of his reviews that had Manakkal taken up Hindustani music or Western music, he would have outclassed them all because of his distinctive, bell-like voice and his reach.  

Titles & Awards

People who followed the career of Shri. Rangarajan worshipped his music, said his brigas were breathtaking and that it was the way they heard it, not just in his heyday but even long after.

Manakkal Rangarajan passed away on February 26, 2019

Cited Sources