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Scroll.in
a day ago
- Entertainment
- Scroll.in
Harmony and hardships: A new book explores the struggles of today's Hindustani musicians
A little over two decades ago, Priya Purushothaman landed in India for a one-year immersion in Hindustani music. Freshly out of college and trained in Carnatic violin, she came from a passionately musical Indian family based in New York, her imagination filled with stories about the legends of the classical arts and the sacred and exalted notions of parampara, sadhana, riyaz, taleem, gurus and shishyas. The one year turned out to be two decades and what was once a dream world became her life. Along the way, the imagination encountered the many realities, some elevating, some overwhelming and some frustrating, of what it means to become a modern Hindustani musician. She is today a vocalist of the Agra gharana, a disciple of some of its finest exponents, very much an insider but also a deeply absorbed observer of its many idiosyncrasies. What is it like for a female musician to negotiate a fee she richly deserves but is half what men in her field command? What is it for a woman to demand respect, seek the top slot in a festival? How do artists from multi-generational music families deal with the oppressive burden of expectations they bear from childhood? What kind of arduous journey is lined up for musicians who refuse to deal with the marketplace? Purushothaman's search for answers pushed her to investigate the lives of eight Hindustani musicians. The result is The Call of Music, her recent book that that essays their journeys from the classroom to the stage. Some of the musicians in her explorations are celebrated names with packed concert calendars, some remain resolutely in the shadows. But they all share one thing – they all have riveting stories to tell of their long struggle to find their own voice in a magnificent tradition with a formidable rule book. A large part of this spins around the tumultuous, backbreaking and often brutal experience of learning that stretches to decades, not years. Normally such compendia feature legends. After all, who has not heard of Bhimsen Joshi's travels across half of India in search of a guru to find one in his own backyard? Or the corporal punishment that marked the riyaz of Ali Akbar Khan under his father's stern eyes? Or Girija Devi's lonely pursuit? As Purushothaman points out, Hindustani music glorifies age, the theory that creative wisdom only arrives at 60. But her book seeks out younger musicians, confined to a 'permanent position of inadequacy' by this reverse ageism. 'I was inspired by the large number of unknown musicians and hidden voices, many of whom put in as much effort as the well-known ones,' said Purushothaman. 'I wanted to document this hidden domain of musicians who were passionate about music, often at the expense of social expectations. As I started writing, I realised that some stories of more well-known musicians were necessary in order to understand this common, shared drive and dedication towards music. I chose musicians who were willing to honestly share their musical journey.' As a result, the profiles in The Call of Music include artistes of different styles, ages, and social and cultural backgrounds, their diversity showing that it is possible for contrary viewpoints to coexist in the arts. The melange includes sarodiya Alam Khan, violinist Kala Ramanath, vocalists Shubha Joshi and Shubhada Paradkar, tabla wizard Yogesh Shamsi, singer and gender activist Rumi Harish, Purushothaman's own vocal guru Sudhindhra Bhowmick, and sarangiya and scholar Suhail Yusuf Khan. Grit and grind Five years ago, The Disciple, a feature film by Chaitanya Tamhane, had arrived on Indian screens, tracing the angst of a Hindustani classical musician's lonely journey. The film did not say anything the music fraternity did not know – the high ideals of art conflicting with the tawdry reality of the market, the guru's demanding fixation with asceticism, the need to earn a livelihood and find fame. The film sent the classical world into paroxysms of indignation – it had breached an inviolable line by questioning the shibboleths around the revered guru-shishya tradition. It was without question a bleak view that many complained would put youngsters off an already endangered art. Purushothaman's The Call of Music celebrates the tremendous resilience of its protagonists, but at the same time, it is brave enough to wade into questions of exclusion, gender bias, and community and caste divides. For Purushothaman, whose feminist views are often at odds with the idealised norms about what a woman's voice and style should be, the gender questions are personal and political. 'Subconsciously I was more interested in questions of gender and voice because these are issues that came up in my taleem and experience,' she said. There are several issues she explores in the book with her women characters – the considerable pay gap, the idea of the so-called feminine voice and rendition style in khayal, what it means for a modern woman to sing cliched bandishes about hapless nayikas, the eternal question of juggling a career with domesticity and, radically, what it means to be transsexual in a conservative art sphere. Violinist Kala Ramanath comes from a formidable violin lineage going back generations: the towering N Rajam is her aunt and TN Krishnan her uncle. Her early years were full of the single-minded grind and grit needed to shine in a dazzling family. Despite this, she says, a man in her place would have an easier time demanding and getting respect and fair pay. 'I've had to prove myself twice over… don't you think my aunt Rajamji has made a brilliant contribution to the violin in Hindustani music?' she told Priya. 'Today where is she in relation to other male counterparts? People do not take women seriously. Even now, I've had concerts organized by musicians where I have been treated badly. It could be my stay, where I am placed in a festival line-up. Placing me before a youngster who is a boy, just because I'm a woman.' Shubha Joshi and Shubhada Paradkar ran into the gender wall of a different kind. Both have big voices and bold singing styles. Paradkar is an exponent of the Agra gharana, once reputed to be a men-only club because of its robust and open-throated voice throw and animated layakari (rhythm). For embodying those traits, she was criticised as 'masculine' and 'aggressive'. Early in her career, the censure was swift: ''Shobha nahi deta lady artists ko aise gana (this kind of singing does not suit women).'' For Purushothaman, who has faced similar criticism as a Agra gharana vocalist, this is an unfair critique in a music that prides itself on being abstract. Paradkar says she had to tone down the layakari in her singing, but she resolutely continues to do the exquisite nom tom alap of her gharana, the use of abstract syllables to articulate a raga that is considered manly. Paradkar argues for her right to fashion her own music: 'I don't think that is too masculine. But why do we need to bring gender into this? It is unfair. Understand an artiste as an artiste, not as a female or male.' With an impeccable line of gurus to guide her – Gajanan Joshi and, later, Babanrao Haldankar and Padmavati Shaligram – she is a multifaceted artiste with a wide repertoire. And all the sexist pushback she got has turned her even more fiercely supportive of women students. She understands that for them, like her, the day starts early with care work, cooking and a million tasks before they rush to music and then return to the chores. Shubha Joshi, a fine vocalist, trained in the Bhendi Bazar style but opted to specialise in thumri, dadra and ghazal. This put her under the tutelage of the indomitable and magisterial Shobha Gurtu. But there was another thing that drew her to the thumri exponent. Joshi's voice was thick and deep, nowhere near the sweet high pitch of Lata Mangeshkar that ruled the airwaves in her growing years and it upset her. Rejection was a given for a heavy voice like hers. Which is why, when she heard Gurtu sing for the first time in her masterly full-throated voice, it was a revelation. 'A light bulb lit in my head, a lamp was lit ablaze,' she recalls in the book. 'I was so thrilled that this kind of voice could produce such beautiful music.' Relentless study Questions of caste and community are rarely articulated publicly in Hindustani music, though they have now been laid bare in the Carnatic world. 'Despite the art form's syncretic history, the ecosystem does not necessarily embrace or uplift the diversity of its practitioners,' writes Purushothaman. It is Suhail Khan – a sarangiya, a member of the band Advaita and now a doctoral scholar – who touches on the subject of caste bias against Mirasis, his community of marginalised hereditary Muslim musicians heartlessly dismissed as 'gaane bajanewale log'. Likely the most heart-wrenching as well as uplifting personal story is of the Agra gharana singer Sudhindra Bhowmick and his and his family's astonishing struggle to keep alive his art despite poverty, illness, death and terrible adversities. His life reads like a dramatic novella: of a random journey to Bihar as a youngster in search of one Shuklaji of whom he knew nothing, of having degrees from the Indian Institute of Technology and Indian Institute of Management but abjuring the comforts a topline career, and of a peripatetic life in search of idealism in music. 'His life has been a free fall with no safety nets, and he has enjoyed the thrill of the ride,' writes Priya of her guru. 'Traces of the pain, intensity and joy of his life glimmer in his eyes, but in his music, it is undeniable, unstoppable.' But even if you have the safety net of social and cultural networks, you do not have an easy time of taleem. Yogesh Shamsi's tabla wizardry gets him full houses today, but few know of the relentless hours of solitary daily practice at the home of his guru, the venerated Alla Rakha, in a stuffy garage of his flat. The fact that he was the son of the Agra pandit Dinkar Kaikini could not take away from the loneliness, the sweat and grime of that sadhana. 'My gurus have shown me up close and unfiltered what it means to walk the path of sadhana in modern times,' writes Priya. 'To be with your guru through moments of joy, loss, vulnerability, disagreement, and raw honesty, changes the way you make music. I believe this connection is destiny more than serendipity.'


The Hindu
2 days ago
- Entertainment
- The Hindu
Letters to the Editor — July 19, 2025
A musical bond The article, 'The musical bond', which covered the conversation between mridangam maestro Umayalpuram Sivaraman and Marxist leader M.A. Baby, at The Hindu office (Friday Review, July 18) took me back in time. Comrade A.S.R. Chari (Delhi), an eminent barrister, was so fond of Carnatic music that every year he would arrange for a programme of Chamber music in his sprawling bungalow in Defence Colony. He was a close friend of Flute Mali. I attended a performance of Mali in his house where Mali played the Kapi Rag for four hours — it was the favourite Rag of Chari. Indira Parthasarathy, Chennai Clean city It is commendable that Indore has been recognised for sustained cleanliness (Page 1, July 18). No programme can become a success without the wholehearted cooperation of the people. Every city and municipal corporation must emulate Indore's success story. Kshirasagara Balaji Rao, Hyderabad


Time of India
2 days ago
- Entertainment
- Time of India
Mixtura Vizha returns to enthrall Chennai
Chennai: A performance by a woman Therukoothu artiste, a brass ensemble by the Sunshine Orchestra or a Tamil play; which is your cup of tea? Whichever it is, there's no way of knowing what you will end up watching this Friday evening; that's Mixtura Vizha for you. The fourth edition of 'Mixtura Vizha Returns: Chennai's Public Arts Festival' will be held from 5pm to 7.30pm on July 18. Nine artistes will perform at Thiru Vi Ka Park, Shenoy Nagar, and the newly built amphitheatre at Kathipara Urban Square. However, there's a twist. The performance schedule is a surprise. "Attendees are encouraged to pick a venue and come with open minds, ready to be moved, delighted, and inspired," said Shreya Nagarajan Singh, founder, SNS Arts Development Consultancy, who is conducting the event in collaboration with KM Music Conservatory, Chennai Metro Rail Limited, Greater Chennai Corporation, and The Glassbox. The entry is free and open to all. Among the events on the schedule is a western classical piano performance by Adam Greig, a Carnatic music performance by Adityanarayan, a brass ensemble from the sunshine orchestra, a Bharatanatyam performance by Charumathi Chandrasekar, a blend of genres from techno to jazz by singer K S Thejal, 'Maakadigaram', a 30-minute Tamil play by Thedal arts theatre, a Tamil medley and dance fusion by Dr J Jayalalithaa music and fine arts university. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Beyond Text Generation: An AI Tool That Helps You Write Better Grammarly Install Now Undo Thilagavathi Palani will perform 'Alli Thilagam', her debut contemporary Kattaikkuthu solo work. Kattaikkuthu is an art form usually performed by men, even the female roles. Thilagavathi Palani is the first woman to present it as a full-time professional. You Can Also Check: Chennai AQI | Weather in Chennai | Bank Holidays in Chennai | Public Holidays in Chennai "We love Chennai, and we love public spaces. The joy is also in seeing these art forms in places where you never expect them, like a station or a park. Public spaces belong to everybody and everybody should have access to art, especially live arts," said Shreya. She added that even the policemen who were on security duty last year said they had never listened to opera music live and had quite enjoyed the experience.


The Hindu
3 days ago
- Entertainment
- The Hindu
Fire engulfs main stage of Belgium's Tomorrowland music festival ahead of Friday start
A huge fire on Wednesday at Belgium's Tomorrowland music festival site has "severely damaged" the main stage two days before the event was due to start, organisers said. No one was injured in the incident. Images shared on local news sites and social media showed flames and plumes of black smoke engulfing the stage and spreading to nearby woodland. The annual festival in the town of Boom, north of Brussels, which is scheduled to start Friday, draws tens of thousands of visitors from around Europe. "Due to a serious incident and fire on the Tomorrowland Mainstage, our beloved Mainstage has been severely damaged," the organisers posted on the event's website. ALSO READ:Umayalpuram explains how to play for the stalwarts of Carnatic music "We can confirm that no one was injured during the incident." The statement said the focus is now on "finding solutions" for the festival weekend. The cause of the fire was not given.


The Hindu
4 days ago
- Entertainment
- The Hindu
When a mridangam maestro meets a marxist leader
What could be common between a mridangam exponent and a Marxist leader? Music. The friendship between Umayalpuram Sivaraman, who describes himself as a hardcore traditionalist, yet ultramodern, and M.A. Baby, the general secretary of the Communist Party of India (Marxist) and a connoisseur of Carnatic music, dates back decades. The two came together to share their story at a special conversation session at The Hindu office, where N. Ram, former Editor-in-Chief, explained how an unusual association blossomed into an enduring friendship. It was during the Emergency imposed by former Prime Minister Indira Gandhi that the world of Carnatic music first opened its doors to Baby. Then a student, who almost went underground and later courted arrest, he found an unexpected path to music. 'His elder brother advised him to visit a temple and listen to concerts. That is how he first discovered the great music of Sivaraman,' Ram said. Baby fine-tuned his taste in music by attending concerts of past masters, who were often accompanied by Sivaraman on the mridangam. To this day, he vividly recalls the songs rendered at those performances and the way Sivaraman's artistry elevated each concert. He once even travelled to Erode to hear him accompany K.V. Narayanasamy, after seeing an announcement about the concert in The Hindu. 'That day KVN sang 'Evarimata' in Kamboji. The elaboration of the raga, the rendition of the kriti, and the tani avartanam that followed are unforgettable,' Baby said. So thorough is Baby with Sivaraman's bani that when he was a Member of Parliament, he once asked Arun Kumar, after listening to him perform, whether he was a disciple of Umayalpuram Sivaraman. When the mridangam maestro was thoroughly impressed when he came to know about this. Recalling the incident, Sivaraman said, 'Later, I received a call on my landline — I still don't have a mobile phone. The person at the other end said, 'I'm Baby. I'd like to meet you.' So I invited him over, and that's when I realised he was the person Arun had mentioned. We again met with some friends, and ended up discussing music till late in the night. 'My wife, who was worried, called to check if I'd been kidnapped,' he laughed. Appreciative of Baby's deep sensitivity to music, Sivaraman pointed out how we can identify the style of most artistes, both vocalists or instrumentalists. That's a rare quality. Baby, who has organised many concerts, was instrumental in bringing together Chenda melam exponent Mattanoor Sankarankutty Marar and Sivaraman for a performance. He even arranged for the latter to accompany Kathak exponent Birju Maharaj. Babyrecalled Sivaraman's decision to call Neyyattinkara Vasudevan to sing a Pallavi for the inauguration of the Kerala University Students' Union. 'When Vasudevan saw Sivaraman walking in, there were tears in his eyes.' Referring to himself as a honeybee, Sivaraman said, 'Wherever there is good music, irrespective of caste or religion, I offer to accompany the artiste'. Believe it or not, he has also composed music for a fashion show. Sharing his experience of accompanying stalwart musicians, Sivaraman pointed out how each possessed mastery in their respective field. ' Your imagination should come through in your playing. Through hard work, you reach the top and maintain your place by constantly improving. Otherwise, others will overtake you,' he said. Speaking on the subject of creativity, Sivaraman said, 'Don't think everything old is good, and don't term everything new as bad. People with wisdom always choose the best from the old and the best from the new.' The conversation also featured Sivaraman's friendship with the actors Sivaji Ganesan and M.G. Ramachandran. He played for the Sivaji Ganesan starrer Mridhanga Chakravarthy. 'Sivaji Ganesan used to call me vathiyar (teacher). Before every shot, he would ask me if he was playing it right. Such was his humility,' he said. Sivaraman also recalled the presence of MGR and Devaraj Urs at the Music Academy to attend a concert of M. Balamuralikrishna, the year he was conferred the Sangita Kalanidhi award. 'I accompanied him. After the concert, we went to meet both the Chief Ministers. MGR came up to me and said, 'You played well. He had prepared the pallavi at home, but you played on the spot. You are great.' Will anyone say that? That shows how deep his musical knowledge was..'