Friday Review
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The homeward journey of music
LALITHAA KRISHNAN
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Hamsadhwani’s NRI music fest has been a good platform for Carnatic musicians settled abroad. Read on to find out how some of the famed artists feel about it.
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Photo: M. Karunakaran
Paying Homage to RRC: Musicians from abroad, who later voiced their views.
Come summer and it is exodus time as Carnatic musicians jet to cooler climes for concert tours as Europe, Australia and the U.S. beckon. Come December, and the exodus begins all over again. Only, this time in reverse, as Carnatic musicians settled ab
road answer the call of the heart and make their way homewards to touch base with families, friends, kutcheris and whatever the Chennai Music Season has to offer. Hamsadhwani’s NRI music festival has been making waves ever since its inception. The 2007-08 festival was marked by a large number of NRI artists who gathered to pay tribute to the late R. Ramachandran, founder-secretary of Hamsadhwani. Six NRI musicians shared their experiences and insight in a lively exchange that sought to explore whether the grass really was greener on the other side.
Geetha Bennett (GB), daughter of the illustrious guru and vidwan S. Ramanathan is a leading veena artist who has made the U.S. her home for several years now. Kiranavali Vidyashankar (KVS), from the parampara of gottuvadyam Narayana Iyengar, is a vocalist as entrenched in her roots as musician siblings Ravikiran and Shashikiran. Having seen her share of concert arenas as soloist and accompanist, Kalpana Venkat (KV), disciple of T. Rukmani and P.S. Narayanaswami, is an accomplished vocalist and violinist. Vocalists Geetha Sundaresan (GS, disciple of D.K. Pattammal and Sulochana Pattabhiraman), M. Yogeswaran (MY, disciple of T.V. Gopalakrishnan) and Yamini Ramesh (YR, disciple of Madrimangalam Ramachandran, T.R. Subramanaiam and Lalgudi G. Jayaraman) are ‘seasoned’ performers and Hamsadhwani regulars.
What makes the Hamsadhwani NRI fest special? Has it helped generate more performing opportunities during the Season?
GB: Initially I used to feel slightly alienated from the December regulars as I would visit and perform in August. But RRC’s initiative in featuring me in the NRI fest drew me into the mainstream as other sabhas gradually followed suit.
KV: Hamsadhwani is a second home to us. Even after my move to the U.S., RRC gave me the opportunity to perform every December. When I turned vocalist, the encouragement quotient remained equally high, because he knew each artist’s potential.
KVS: I can’t thank RRC enough. Back in India after a 3-year hiatus, when people began asking ’And do you still sing?’ it was mama’s support that brought me back into the kutcheri circuit.
MY: My guru TVG has been giving me the opportunity to perform at his sabha every year. On hearing about Hamsadhwani, I contacted RRC directly and with his encouragement, I’ve been performing here since then. This gives me the incentive to visit Chennai each season. The best aspect about NRIs performing at Hamsadhwani is that we have never had to compromise on our dignity as artists. No empty promises, no futile requisitioning for a ‘chance.’ RRC was a man of his word. Once you began performing, you were ‘in’ and he was consistently encouraging. His respect for art and respect for all artists, whether junior or senior, made him stand apart and makes the NRI fest very special.
YR: RRC has been a pillar of support. The NRI fest has given me a real boost and I now perform more often.
GS: I reside in Muscat where there are few concert opportunities. Same here in Chennai, apart from a few radio programmes and concerts, as I had lost the link. But once I became part of the Hamsadhwani ‘family’ things changed radically for the better. RRC also recommended me to other sabhas who responded.
Does a separate NRI fest give other sabhas an excuse to edge you out of the already overflowing main slots?
GB: Not so. Once they know you’re serious about your music, sabhas do encourage you. I have performed in prime slots. Of course, you must keep renewing your commitment and for me this has been easier since I come back every year.
MY: For me, singing in many sabhas is not the criterion. It’s enough to sing where I am invited.
GS: I have been featured in favourable slots. Haven’t encountered much discrimination.
KVS: I am not treated differently.
Are you happy with the quantum of press/media coverage you get? Do reviews make a difference?
GB: Any press is good press! Reward points for the kind of year-long preparation whereby which I have at least 60 kritis at my fingertips for each set of Season concerts. Recently a review with a big photo appeared, because of which I bagged an extra concert. Also, reviews help you analyse your performance objectively.
KVS: In the 10 months we are away, many things change - in terms of slots, sabhas, media. The press has its limitations, there’s only so much space and too much happening. But mostly, there is fair representation. With no visibility throughout the year, we’re not in the reckoning for major awards or programmes here. RRC ensured we got good press coverage and that has made a lot of difference.
YR: We do need more coverage in recognition of the time and effort we put in. Hamsadhwani takes care of press/publicity and we hope other sabhas follow this example.
KV: A good review is like an award you carry back home. It’s inspirational - the next time you may draw a bigger audience. Since NRI artists come just once a year, better coverage would be a boon.
As gurus, how would you describe the present generation of disciples? How can they best adapt to the discipline demanded by classical music when they are surrounded by distractions?
GB: They’re very talented, very focused, practising through the year for the two months they’ll perform here. They prioritise. They make the best use of opportunities and learning aids. Every week there are live concerts in the U.S, with so many young people in attendance. But because of the tremendous competition, the going may be tough.
KVS: Be good rasikas first, I advise my students. Learn art for art’s sake, not just for winning competitions. Performing will come later, naturally. Parents should adopt a grounded approach and shouldn’t push the kids too far or too early.
GS: Parents should encourage continuity in the learning process.
KV: Staying in touch with the ethos here will give them a realistic picture. They must visit often, listen to senior musicians, imbibe.
Is a full-time career in music financially sustainable abroad?
KVS: Speaking for myself I would say ‘yes.’ Family and friends were initially worried about my being a full-time musician and advised me to pursue some other line. But I was always confident I could manage and time has proved my decision right. I teach and also perform in the U.S. and India and find it financially rewarding. Of course, apart from Chennai, I also perform in other cities. There’s this concert in Delhi next week ...(dissolves into laughter, when the others chorus that they’d like to know the name of this ‘generous’ sabha!).
GS: In the Gulf, where I stay, concert opportunities are few and far between, though we have many programmes by visiting artists from India.
KV: I do manage to break even.
GB: I would say it is love for the art that keeps me in this profession and coming back to India year after year. Initially, in the U.S, I was an IT professional holding a very lucrative job. But at one point I stopped to think about the direction my life was taking and I gave it all up to do what came naturally to me - music. This was what I had grown up with. All those years of learning and internalising don’t just fade away, they impact you for life. I realised that music was my destiny. At first, it was a struggle to break even, but with time, things got better. For me and many artists living abroad, teaching rather than concerts, is an important source of income.
Finally, about the NRI tag itself ....
KVS: Our values remain the same. Only our addresses have changed. R. Sundar, son of RRC and joint secretary, Hamsadhwani, added, “We used the NRI branding for the fest, mainly in the context of promoting art through an innovative method.
Whether in Mylapore or New Jersey, art is art. But the tag is important in influencing young people. It reminds them that there are those who pursue art despite other commitments. While technology provides greater access to classical arts, youngsters must listen to more live performances to keep the artist-rasika connect intact. Greater press coverage would benefit these artists, as their progress needs recognition.”
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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