Indians across the world have been watching the Lokpal drama. Crowds, agitation, accusations, defence, impromptu skits et al were on the agenda. If the call is against hypocrisy, corruption and for honesty, righteousness, then we can turn towards Tyagaraja. What really is status? Desire, avarice? This is his rhetoric in Padavi ni Sadhbhaktiyu. Elsewhere in Adi Kadu Bhajana, he berates human tendency to don false garbs and dupe the world. In his immortal Teliyaleru in Dhenuka raga, he laments the destiny of the greedy who wear the mask of worthy men, for whom the right path will never be known probably. And vehemently advocates control over mind as antidote for all ills in his magnum opus Manasu Swadhinamaina. It is time to spread awareness about the lofty values enshrined in musical compositions, a veritable treasure trove. Whether it is Tyagaraja, Kabir, Vedanayagam Pillai or Meera, the message is strong and clear.
The city of Mumbai built human pyramids in the name of Krishna. And ironically harvested frothy pots, not of butter but money. Life came to a partial standstill again, with roads becoming too jammed. Apart from musicians and dancers, who cares really to recall the inseparable union between Krishna and music? Mass celebrations have completely eschewed art from celebration, and have substituted noise for sound. Two bronze statuettes and a beautiful Tanjore painting that adorn my living room remind me of the rain-associated beauties of Krishna and his mystic connection to music. All of them are dancing poses — dance on the hoods of Kalinga and dance with the butter in the hand. Vedanta Desika the 14th century poet philosopher called this the Navaneeta Natyam, the eternal dance of butter, in one beautiful poetic ode to the most charming God in Hinduism. Oothukudu Venkata Subbaiyyar as many music lovers would know, dedicated his sterling compositions to Krishna. Ravi Kiran, our star chitra veena exponent suggested to me that I write about Oothukudu sometime in this column which will come later.
The last ramparts on television to espouse the cause of the classical arts are the government-run channels as I have been saying. I switch on the television and chance upon scholar musician Suguna Purushottaman demonstrating her baffling Dwitala Avadhana — display of two different tala or rhythmic structures on each hand. The lady is known for this gutsy presentation and one aspect that she mentioned struck a chord in my heart. She said that while the fundamental concept was to maintain rhythm differently on either hand, the aesthetic value of the presentation should not be foregone. Simply put, the demonstration must look visually pleasing too and not visual gimmicks like a war waged with hands, the music and the instruments.
Suguna’s age-old Viriboni Varnam with both hands keeping time differently, was a treat to the ear and pleasing visually too. After a long gap, I heard a pristine, no-frills version of Bhairavi. What a sharp contrast with the garish stage setting though! There were cardboard pillars planted at regular intervals around the singer, from behind which some potted plants emerged. There were steps leading to God-knows-where, laden with cushions at regular intervals. They matched perfectly with the huge embroidered mangoes on the mridangist’s azure blue shirt. It was a colourful medley, not quite in tandem with the dignified rendition of Bhairavi. That’s why I follow the principle of listening to music, eyes closed!
These have been days of deluge and mayhem in Mumbai. For some musical showers for those home-bound, listen to Ustad Sarahang, Ustad Amir Mohammed, Ustad Qasem Baksh for some Afghan music on YouTube. And ponder over the undeniable closeness to Punnagavarali, Mayamalavagaula and other ragas. Men may wage wars, but music does not.
Dr Vasumathi Badrinathan is an eminent Carnatic vocalist based in Mumbai. She can be contacted on vasu@vasumathi.net