T M Krishna’s recent announcement about boycotting the
December season concerts has elicited diverse reactions. While ‘Sabha’
organizers see this as nothing more than his latest stunt, his devoted fan
following perceive it as their rebellious idol’s next avatar.
What does Krishna
have to say?
I am not against singing in Sabhas altogether, but only during
the ‘Markazhi’ season. I will be singing in sabhas and elsewhere for the rest
of the 11 months. This is a decision driven by several factors. Couple of
decades ago, Carnatic music concerts flourished all through the year to a
jam-packed audience. The December season festivities were but a culmination of
the year-long accomplishments of the Carnatic musicians. In the present day,
though, concerts do not happen except during the last month of the year, the
reason simply being, reduced footfall. This has led to an increased
competitiveness among musicians to procure slots during the season, which I
deem amiss.
One particular season, I chose not to sing. I enjoyed
attending and listening to all other musicians’ concerts. So that impelled me
to propose that my concerts not be ticketed. It’s an arduous task, getting tickets during
the season, more so for the middle class. I wanted to alleviate that to the
best of my ability. Pondering further, I decided not to get tangled in the
seasonal traffic anymore.
What makes you
believe that a single individual’s decision can change the system?
I believe this can be a beginning for the change we expect
to see. With the risk of being accused of making false allegations, I shall
state that it is not uncommon practice that slots are being bought for money, seriously
hampering the performing chances of those sincerely committed to the art. The
racket of corruption prevalent in the sabhas causes me utter disquiet. I too am aware of what sells on-stage, and
haven’t been a stranger to such tricks, in the past. I have embarked on a
self-correcting path, as I now realize that art ought not to be thus
commoditized.
You ventured a
concert in a ‘kuppam’ (fisher people region) with the idea of bringing Carnatic
music out to public. How significant were your efforts on that end?
Last year, we conducted concerts at Urur Olcott Kuppam,
adjacent to Besant nagar, Chennai. Not so well-versed about fisher people’s
culture and what they’d like, we included Villuppattu, Thappattam, Koothu, and
Bharathanatyam in the agenda, as a safe bet. The event drew positive response
from not only the residents of the kuppam, but also the general public, at
large. Regular sabha-goers attended too. Therefore, the event served as a
confluence for people from all walks of life. It was certainly a beginning of
sorts. I can safely say that if not anything great, the event clearly brought
art music closer to people.
How did the residents
of Kuppam respond to Carnatic music?
Oh, they certainly enjoyed it; with what would you measure
that? I, for instance, immensely enjoyed Koothu; but I could not make out its
various nuances. So I’d say that the people enjoyed Carnatic music displaying the
same blithe wonderment that I did watching Koothu. The more people listen to
Carnatic music, the more they would be able to understand, appreciate, and
enjoy it. All we need to do is stop confining it within the walls of sabhas and
work on rendering it freely accessible.
Some have no qualms
admitting you are their most loved musician, but for your communist ideologies.
Your thoughts on that?
I am not a communist. I don’t agree totally with that
philosophy. I only ask you to empathize with my voice, both literally and figuratively,
pretty much the way you do when I sing!
Whom do you recognize
as the most promising singer in today’s generation?
One Mr. Ramakrishna Moorthy has captured my interest. He is
a no-nonsense musician with deep focus in singing. I believe he has bright
prospects for a successful musical career.
There is a dent in
our educational curriculum to learn Carnatic music. Do you think you could do
something about it?
I wish to make something clear here. Music is not that easily
learnt. It is a tedious task requiring much focus, effort, and hard work. However, the current
practices can be streamlined for effective learning, for which groundwork is
underway. Please give me some time!
What is your take on
the reality music shows on television channels? Do you think they contribute
positively to music?
I don’t believe that these short-term antics of getting
contestants to sing commercial music will bring about anything good to the art
of music. Reality shows can never
nurture soulful music. Moreover, children not older than fifteen years of age
are exposed to flashy limelight for a very brief period and then left to their
own fate, resulting in dire effects to their psyche in their teens. How many
winning contestants have gone on to become successful musicians post the
reality shows? It’s the parents’ responsibility to deeply reflect on these
issues. They are to blame for the frenzy they let their kids undergo.
In all these years,
have you been able to shed your caste identity?
When asked if I am a Brahmin, I wish to say ‘No’ with all my
heart. However, I must and I do question myself if I am being true to myself. I
must admit that I am afraid that an identity so wilfully disowned could
fiercely crop up when one least expects. Hence I believe in accepting the
identity as is and work on ways
to passively resist the same.
Interviewer: Arul Ezhilan
Translation: Deepalakshmi J
