It is said "every man (or woman) is born FREE". The new born child is free to do whatever it can, though it can do very little. It is also totally dependent on others, mainly mother, for its basic needs, protection and perhaps even survival. The dependence of the child on others gradually reduces as it grows in to adulthood, but simultaneously its freedom gets curtailed as several restrictions are put by the other members of the family, the society, the state, etc., the lawmakers in general. There has been an on going tussle between the people who make rules, those who want to abide by the rules and those who want 'freedom' from the rules that appear tyrannical, inconvenient or just needless. The rules, regulations, conventions, laws etc. also get changed over time and are replaced with new set of rules. It is a dynamic situation.
There was an interesting discussion on the freedom of an artiste. It has nothing to do with the society or the state or their rules and regulations, law and order etc. but all within the domain of art, of giving expression to ones urge or feelings in the form of his art. A very fine point indeed.
I think the contradiction or confusion is with in the mind of the artiste or the viewer or the audience, about expectation versus actual.
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Interesting discussion on this blog led to further insight in the life of Mr. T N Krishna, the notable Carnatic classical singer, impact of technical progress on art and the different view points of different listeners.
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"Ravindra Apte" wrote on On Jul 16, 2017 7:05 PM
From Ravindra Apte
Pune is having an excellent commendable tradition of having memorial lectures. One such lecture is in the memory of Prof. Ram Bapat. Which I have attended for last few years. Another not to miss lecture is in the memory of late music director and teacher Bhaskar Chandawarkar. The topics chosen are truly from liberal arts.
On 15th July there was the Ram Bapat memorial lecture by Carnatic singer T M Krishna. The title of the lecture being " Am I free? - An inquiry by a singer". I had no idea of what he may speak, but generally I thought it could be on present atmosphere of tolerance / intolerance and freedom of speech and expression. The fresh clue being the order by the film certification board, of beeping out the words "gou" "Gourakskak" , "Modi" and "Gujarat " from the documentary on Amrtya Sen. Well, the singer's inquiry was far beyond it.
I don't have much knowledge of music as such and far less of Carnatic music. But I do recognise a good music and no doubt enjoy it. I know there are a few connoisseur of Carnatic music in our group and hope some one may illuminate the topic further.
The lecture was preceded by a video clip of T M Krishna's "Chennai Poromboke Paadal ft". Here is a link to it.
Chennai Poromboke Paadat
https://youtu.be/82jFyeV5AHM
( In the course of lecture Krishna said use of the Chennai Tamil in pure classical Raaga itself is considered scandalous. )
Krishna said though both the Hindustani and Carnatic musicians claim they have got more freedom than the other school, in reality the music itself is bounded in different frames of socio-political, cultural and aesthetic. Music is intangible it has to be only felt and so each individual perceives it differently. This individual perception is true in other forms of art such as painting and theater. But the adjectives of pure or divine are used with only music. Once the concept of purity comes there will be a polluter also. Who is he / she? The association with divinity brings in its own restrictions. In fact right from the initiation in music one is put in a atmosphere which conditions you in a system without your knowledge. Carnatic music is pure brahmanical manifestation embedded in divine bhakti expecting certain bhava to be present in the kriti. The artist knows in which particular way of presentation, the audience will feel the bhava and he simply manipulates as if he is pressing certain buttons. He may fail on certain times to press the buttons in proper sequence and that is the bungled up concert. The artist's desire to listen to the applause of the audience controls the presentation. There are gender and cast biases in musicians.
One way of getting freedom will be to abandon the classical music, but how one can experience it staying within the system of classical music? In the process of seeking freedom one will shake the very foundation and that is dangerous. Few persons have capacity to change the system, but the new system also slowly evolves its norms and conventions ultimately resulting in taboos. Essentially an artist's quest for freedom keeps him away from becoming a performing machine.
At the end there was a delightful dialogue with Sadanand Menon, well known critique. The program ended with Krishna singing a Tamil kriti invoking praise of Allha.
I found the lecture interesting. Considering other art forms such as the western paintings it was restricted for a long time to decorative biblical art form of churches. The Greek and Roman sculptures had no place for common man not having the ideal physique or an old or disabled person. No doubt the art was great and till today treated as master pieces. Did the artists of that time felt their freedom is restricted? It took the age of renaissance to liberate the art from the shadow of church. The impressionism movement really brought in fresh air of colours and subjects. It was followed in quick succession by cubism and abstract art forms. Was it not the quest for freedom? I think freedom is dynamic it has to explore and experiment and to feel the freedom every generation, every artist every person has to come out of the frame which denies it.
Ravindra Apte
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Ashok Malhotra On 16 July 2017 at 23:17
Sh Apte's small treatise on divine classical music and some of its connotations with other art forms shows another of his veritable talents, in this case inspired by the presentation of TM Krishna on Carnatak Music.
His attempt to define freedom of expression within the tight boundaries and limits of the classical music was not very much unlike the Ghandhiji's "Experiments with Truth".
Though I felt a few contradictions in his paragraph "Music is intangible, it has to be only felt and so each individual perceives it differently. This individual perception is true in other forms of art such as painting and theater. But the adjectives of pure or divine are used only with music."
So, if there are individual perceptions possible, the freedom is inbuilt.
Moreover, though I am familiar with the "fine art forms" expressions like "pure music" is rarely heard.
Leaving aside the popular folk music or the Lok Sangeet, that in itself is boundless and timeless, the Indian Classical music system is considered one of the most advanced n developed in the World. The forms n themes of the Western Classic Music are also much more complex and expansive, that have their own Church music, Operas, the Concerto, Symphony, Sonata the mixed Vocal and Instrumental styles etc. but, so far as I know, the freedom of styles in any music form, without distorting it's characters are always encouraged. Modern composers in fact lay down their own standards. Thanks
Ashok Malhotra
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"Ravindra Apte" wrote On Jul 17, 2017 12:12 PM
Dear Ashok Malhotra,
I agree with you that the folk music is boundless. In fact all forms of classical music be it Hindustani, Carnatic or Western are distilled from the folk music. Intentional sophistication is introduced to cater for the so called aesthetic views of the privileged class. In fact the present style of Carnatic classical is evolved from Harikatha style from Tanjavur.
When I mentioned adjectives of " pure and divine" for music, I was referring to the purity of raaga, which is sacrosanct in classical performance. You say " if there are individual perceptions possible, the freedom is inbuilt." But this freedom is of the audience and not of the singer or performer. Would the desire of the audience to perceive the music in a certain way only put restrains on the artist? This can happen in other forms of arts. I think that is what happened with M F Hussain when certain section of viewer desired to perceive certain forms in a particular style only. This perception about an artist or an art form make result in a peculiar situation. It happened with Hussain only. Let me tell about it.
It happened donkeys years back. There was a well advertised exhibition opening in Jahangir Art Gallery. It was of M F Hussain. I admire Hussain for the poster style layout of this painting, the evocative bold brush strokes and his explosive color combination. Naturally I planned a visit to the gallery. The exhibition was titled " Abundance of White". It was occupying both halls of the Gallery. Those of us who visited would never forget the exhibition.
When I entered the hall, I got the impression that I have come on wrong day, may be one day earlier of opening day. The hall was littered with old news papers, packing straws and long lengths of white cloth was hanging haphazardly, some of the cloth was folded on the ground also. When I inquired, I was told, the exhibition is open and what I am seeing is the exhibition. Same story was true in the second hall also. One had to thread his path through the dumped items. I tried to decode the presentation but in vain. Other spectators were also confused and trying to make sense. I found one lady reading the scattered news papers to find some clue some where. Then I realised I am taken for a ride, there is nothing mysterious about the exhibit. I was furious for a while. Then I reflected on what I am furious for. I came with a mirage of perception of an art form and when the mirage is shattered I find my sensitivities attacked? What right do I have to hold on to a mirage in the first place?
There was a gentleman who was literately fuming and needed to vent. He struck a conversation with me. He said he came all the way from Dombivili to see this heap of rubbish? We cursed and abused Hussain. After a while we reflected Hussain enjoyed his freedom of expression, the art gallery enjoyed its freedom to allow its halls to be used as dumping ground and we enjoyed our freedom to curse and abuse the artist. What we are complaining of? Actually we should thank Hussain from bringing us out in the vibrant environment of art gallery, else we would have spent the afternoon lazing on a couch. We had a hearty laugh and proceeded to enjoy a nice cup of coffee.
Ravindra Apte
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Ashok Malhotra Jul 17 at 12:52 PM
Apte ji,
Thanks. I knew the half chink in my argument but hoped it will escape the scrutiny. (un)Fortunately it didn't.
In the Art world the Artist-listener-critic is one entity, intertwined. Shakespeare, Picasso, Leonardo da Vinci or MF Hussain, in fact all artists are still being interpreted in as many ways as the critics as to what is their creation about. That's the only degree of freedom available to any artist. No art form can survive without the freedom of expressions. China's artists e.g. Li Weiwei had to suffer extreme ignomity n leave his nation at the expense of his freedom. Salman Rushdie had to explain his isolation pains in his book "Joseph Anton". There are many more cases n history is full of them.
I would conclude by saying that at least in India the Artists enjoy as much professional freedom as available any where in the world or as they can afford, amply visible in their yearly jumbhirees at the cultural festivals. Thanks.
Ashok Malhotra
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Anand Ghare Jul 17 at 5:41 AM
Ravindra has asked a question "how one can experience freedom while staying within the classical music system?"
I think the answer lies in perception of the word 'freedom'. I personally enjoy living with certain amount of discipline, while others feel otherwise. Similarly musicians enjoy singing within the rules of Sur, Taal and Laya (सुर,ताल,लय) and the listeners like the enchanting classical music it produces. There is still abundant amount of freedom available to the artiste, as we can hear the same Raga sung or played on instrument by different artistes in innumerable ways, within the framework of classical music.
Anand Ghare
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Asim Ghosh Jul 17 at 7:50 AM
The term "KHAYAL"(Drut as well as Vilambit) in Hindustani Classical, implies the full freedom of the performer, keeping a few boundary conditions viz:particular notes (out of 7 + 5=12) to be /not to be used,. ascending/descending style, at the back of mind.
Rest everything is in the domain of the render , his /her lineage, own style, invention/discovery,etc.etc.
Hence the term -KHAYAL.
-Asim Ghosh.
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Ravindra Apte : Jul 17 at 10:27 AM
Dear Anand Ghare and Asim Ghosh,
I think Krishna has no issues with the confines of Sur, Taal and Laya of classical music. That is why he is perfectly within the structure when he renders the composition on environmental issue in Chennai Poromboke. Normally such issues are rendered in ballad style by activists in a demonstration or a street corner meeting. Krishna wants it to bring it in the sophisticated confines of a concert hall of privileged audience. His problem is in his desire to connect the Carnatic classical music not only to devotional aspect of human nature but to the other issues which directly affect the humanity. Apparently Krishna finds he is restrained in doing so.
As for the much talked about the freedom of singer to develop the raaga in his own free flowing style, Krishna had a different perception. He said as a musician I can tell with full confidence that there is nothing spontaneous in a concert. All the moves are rehearsed again and again, in fact he said the musician listens to the expected applause in his head while rehearsing, which spurs him on and on. So where is the freedom?
I think, Krishna is seeking freedom from such confines and not from the strict discipline of Carnatic classical music.
Ravindra Apte
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Asim Ghosh - Jul 17 at 11:56 AM
"...........Nothing spontaneous in the concert .All the moves are rehearsed............."
Just a second opinion:
Rehearsal/practice {sadhna}is the only way( marg )for any "To be acquired" skill, & there cannot be any short cut for that.
The saying goes -- Stage performance {showroom} always remains 60 to70% of rehearsal (workshops) for even apt performers too.
Surely, for beginners ,it is definitely 100% mugging or "Ratta".
The way any student for any subject viz:Science(Physics, Chemistry,Biology),Maths, Literature, has to practice (rehearse) continuously to acquire the mastery/confidence so that any unseen problem/question can be tackled with previously learnt formulae or technique,within the stipulated time, to come out of exam hall will flying colors.
The same way in pure Classical performance ,in time {"SOM"} has to be returned /honoured.In between, some rehearsed some extempore nuances are supposed to come.
The more the mastery ,more of latter variety is bound to come ,provided inner quality is in abundance in the performer.
Just my thoughts,
No compulsion to agree/disagree.
-Asim Ghosh.
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K.Natarajan <knatarajans@gmail.com>
To npcil_retirees@googlegroups.com Jul 17 at 11:09 AM
AM I FREE is a profound philosophic topic, definitely not confined to traditional music alone.
T M Krishna's qualms about carnatic music being confined to a particular community, in the name of preserving purity, though himself coming from the same elite community,, and kept within the narrow bounds of Bhakthi as the sole purpose and within very strict grammar discipline, are well known.
The award of international honour to him was also viewed with suspicion of some hidden agenda by the purists!
While dealing with a topic, already dealt with in our group, some reference to the old will be helpful for continuity and reassurance to the sender that it was read!
In the midst of the flood of topics, I recall , and give below, a
quote from mail dated Feb 4
" In this context of award winners,
sometimes international awards are given with some political axe to grind.
The Magseyse award given to T M Krishna, a celebrated carnatic musician from South India, did kindle some murmurs amongst the traditionalist upper class.
He comes from an orthodox brahmin family, still resented the great art of Carnatic music being a sort of legacy amongst that group only. He tried to carry the great Carnatic music to the slums of Chennai, bordering on blasphemy!
An extremely talented artist, with also some strong anti conventional views intendering carnatic music, the latest is his giving a full performance in a Chennai city bus!
I am giving the link below for your enjoyment of this satire on tradition!
With warm regards,
K.Natarajan
https://www.facebook.com/ Chennaites/videos/ 1217723084986417/ " unquote
views may differ on perception of the word 'freedom'. vs 'living with certain amount of discipline', opens up a fresh vista for discussion!
With warm regards,
K.Natarajan
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Ravindra Apte - Jul 17 at 12:47 PM
Dear Shri K Natarajan,
I was not exposed to the music of T M Krishna. Yes his Magseyse award was mentioned in his introduction. During the lecture Krishna himself informed that he comes from a privileged family background and he has seen success early in his musical career and that too with much ease.
Many creative artists suffer from this syndrome of lack of freedom. I think it is a question of channelising the creative urge.
Ravindra Apte
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C. V. S. Sudhir Babu : Jul 18 at 8:33 PM
Only mother nature has total freedom of expression, nothing else, in her creation. Only human beings are given more degrees of freedom. Civilizations and cultures develope with an agreed common ristrictions on degrees of freedom.
If one person says his work is freedom of expression, the other towards whom it is aimed also has the same right.
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Ravindra Apte : Jul 20 at 9:31 PM
Dear Anand Ghare,
Interesting to take the topic to a blog. I would like to add on the following.
Further on T M Krishna and the issue of artistic freedom.
On accidentally stumbling on the artistic achievement of Krishna, I searched and listened to his music. I listened to the rendering of "Krishna nee begane baro ..." the Kannada composition. I have listened it from different singers, all are charming. But in Krishna's singing there is deep pathos and yearning which is palpable. My admiration of his art increased. Then came his kind of an interview in of all the magazines " National Geographic - Traveller (India)". (For those who are not in the know - National Geographic the well known, more than 125 years old magazine, a perpetual delight to read any time any issue,(incidentally I am subscriber for last 40 years), started a sister publication Traveller. Its India specific version started some 5 years back. I am subscribing it for last four years.) The magazine has destinations in India which you have not even heard of, along with the other popular destinations and how to organise your trip to those destinations etc. Of course it has other international travel articles and destinations.
The July 2017 issue of NG Traveller is a special one, its 5th anniversary issue and the theme is " I Travel Therefore I Am". (A tongue in cheek parody on the philosophical question). There are many interviews of not so well known travelers and travel writer. T M Krishna is one of them.
In 2010 on a trek in Milam glacier in Himalaya's he was hooked on to climbing. He found a climbing partner in Badri Vijayaraghavan and his journey to high mountains began. He first climbed Stok Kangri (20187 ft) in Ladakh. Then a 20000 ft peak Huayna Potosi in Bolivia, Mount Elbrus in Russia and planning to climb Cotopaxi in Ecuador this season. All these peaks are popular in non professional climbers. They are well guided and well arranged. They are exotic and pricey destinations. The point is he chose to spend his fortune earned in singing to get the high on a mountain summit.
On climbing he says " I think climbing is both a science and art. The art aspect is in the very act of climbing; mentally it requires clarity, discipline, acute awareness and copious endurance to deal with the fatigue that almost always seeps in. And then of course, there is the technique of climbing - how you walk, how you rest - which is the science of it". What he does when he reaches the mountain top? He does what he knows best SINGS.
To whom or for whom he is singing? How do you compare his singing on the mountain top to his singing in Chennai bus? All artists crave for appreciation, to be always in limelight and for that echo "You are great". They are tormented by the thought of loosing the top notch position if they have one or how to get it by any means if they don't. This pressure is so huge for some of them that they fall for additions and substance abuse and squander the gift they have. Is Krishna singing on the mountain top to these disturbing demons of his to lull them or to the mother nature or to himself telling the glory of music?
I myself have reached some of the mountain summits. As the first wave of exhilaration of achievement passes, I become aware of the business of climbing down. It is more likely to fall into stupor after the exhaustive climb. I try to keep my other companions active and persuade them to start climbing down after a reasonable time. To keep a normal breathing pattern is hard at 20000 ft. How does Krishna manages to sing? Does he have the same control on his aalap and taan? I think it does not matter to Krishna, he is in fact listening to the perfect ideal music, draped in glowing bhava and dancing in divine rhythm in his own voice.
I am impressed by his mature thoughts on climbing and I quote " I'm also always intrigued by what is perhaps the most interesting thing about the process of climbing - you don't run while climbing; you take short steady steps and never stop. Nobody is ever in hurry; climbing reinforces the idea of slowness. It's about focusing on every step, every moment. It's about being measured and consistent. It's a lot like life; you just have to keep going and as long as you do that, the summit will come." With this sort of frame of mind I am sure Krishna will seek what ever freedom he is seeking, I wish him that.
Ravindra Apte
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Ashok Malhotra : Jul 20 at 10:09 PM
Amazing story about Sh T M Krishna, in the wonderful words of Sh Apte. Today I feel even more honoured to be in this group n come across such real life persons and their passions.
Mountains have a magic of their own and once you are trapped in that, it assumes the form of a life long passion. आप्टे जी, यह दिल मांगे मोर Thanks
Ashok Malhotra
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Ravindra Apte <ravindra.apte@gmail.com>
To npcil_retirees@googlegroups.com Jul 21 at 4:05 PM
From Ravindra Apte,
Dear All,
I think, I am really getting snared in this thing of Artist's Freedom. The only way to get freedom from it is to write about it. Fortunately Anand has provided a perfect getaway vehicle of his Blog and there are friends like Ashok and Kishore to encourage me to use it. I am going to cut the threads of this snare one at a time.
Technology and innovation
Remember the era of gramophone? When it first appeared on scene many were excited that now the music of the maestro is going to be stored for posterity. Only hitch was they have to perform within three minutes. Many of the masters of Hindustani music refused to subject to this tyranny. Their style was different could not be exhibited in the ubiquitous three minutes record. May be they were not convinced of the fidelity of the records to reproduced their music. Still many of them were lured to the tyranny of three minutes, may be for the money associated with it, may be secretly they wished to leave their permanent mark in the court yard of the musical heritage.
But do you really think the three minutes record really show case the music of the maestros of the begone era? My uncle, who was an ardent fan of Balgandharv, the legendary singer and stage actor of Marathi theater, refused to listen to the records. Agreed the records were recorded when Balgandharv was in his declining period. But that was not the point. My uncle's objection was that the three minutes music, contaminates his memory of the all night legendary performance and the music that he still listens in his head. So were not the legendary maestros right in declining to record their music? Did we compromised their freedom of choice by alluring them? And as for the fidelity of music have you never heard how the hand cranked gramophone sounds when not running at the speed at which it should? In my childhood I have played with it and got scolded, Was it an urge to experiment or mutilate? To day I do the same thing with my Sony Sound Forge software, in this era of digital hifi music. Not only me in my crude way, but the top rated music studios are doing the same thing in the name of creativity or enhancement of the musical quality.
The freedom is never free. It has to be earned and guarded may be some times with denial of the choices or some sacrifice. I remember my first encounter with the baul music of Bengal. I was travelling in a train in the sleeper compartment to Guwahati. As usual the compartment was full and crowded. It was approaching evening and the tired passengers were engaged in listless conversations. A white dhoti clad baul singer entered the compartment with his ek tara. Soon with his melodious voice he transported the listless passengers to a different level. The simplicity of his music was elevating his devotion and yearning. I was spellbound. At the end of the song, one of my co-passenger, a Bengali Babu exposed to the baul music, requested for a particular song to be sung. Though the baul singer was singing for alms, he politely declined saying that the song is not suitable at this time in this environment. For him his freedom of choice was more important and he guarded it with a painful sacrifice.
Ravindra Apte
21/07/2017
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Ashok Malhotra <kohsaartohlam@gmail.com>
To Retirees Association Jul 21 at 8:32 PM
Privacy and Freedom in the new age:
An excellent comparison to drive home your point on limitations of freedom Apteji, illustrating the snaring and shackling of Balgandharv vs the wanton n abound freedom enjoyed by the baul singer.
Yes, there is nothing like absolute freedom. Mostly we sneer at the man made shackles on our freedom, that are well understood as explained to us by the legislations n the society.
But there are also natural shackles as well as Godly ones. One may say where's the boundary between the two. As I understand the natural ones are those that normally won't happen being against the scientific laws how so hard you may try or wish for. The Godly ones are those that may or may not happen inspire of us and their understanding are beyond our present comprehension.
There is an excellent ongoing debate in the SC on "whether our right to privacy is fundamental or not".
Invasion of one's Privacy, that was never doubted in our days, has come to the forefront of our "basic freedom rights" since the new age of "social media" that is run by the big US conglomerates on central platforms. The sharing of personal info by one's choice is not the infringement per se as of now, but the chance of its being misused by the unscrupulous ones increases many fold n the responsibility of the organisers in protecting you in such instances needs to be legislated. It is a basic tenet that what you ask for and possess also entails a responsibility and accountability factor on you.
The courts seem to be wearing round to the idea that each purpose for each private info you ask for, needs to be stated and it's use beyond that purpose will tantamount to an infringement of privacy. But there is one form of life style that our scriptures define as enjoying maximum freedom and that is the life of a Yogi. But now we have a Yogi as a CM n Sadhvis as MPs. Brave New World sir. Thanks
Ashok Malhotra
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Anand Ghare <abghare@yahoo.com>
To npcil_retirees@googlegroups.com Jul 21 at 10:13 PM
I read a line in a modern school textbook. It said 'displacement' is a relative distance between two points. So are velocity and acceleration. They are meaningless unless there is an 'observer.' Each observer may have a different view from his point of view. Simplified relativity!
Similarly, freedom or privacy are relative matters. A classical musician, a listener who attends his live concert sitting at his feet, someone who cannot do that but is interested in listening at least recorded voice, some one who wants to listen it repeatedly, some one who was born after the singer stopped singing and so on. Each one will have different perceptions about quality of their joy derived out of the same music. The singer may frown on the recording as being too poor and far below his class, where as some listener may call it Devine in the circumstances when the better is not available to him at all. The person who attends concerts looks down up on people who listen to music in the comfort of their home as they are missing the real thing and is also angry on they getting to hear the music with out taking the trouble of going to the concert.
So it is relative and not absolute!
Anand Ghare
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Ravindra Apte :22/07/2017 at 7:36 AM
Anand points out the necessity of an observer for evaluation of a phenomena. All performing arts expect an audience / spectator. While in the stage of learning you need a guru to point out your mistakes and show a way to improve upon. But then there comes a stage in the artists career when he knows in his heart what are his / her limitations and strives to broaden those limits to gain a larger space for his performance.
Does it necessary that the audience has to be judgmental responding to the performance? True in the tradition of performing arts the great poet saints like Tyagaraja and Purandar Vithalla sang to an audience. They sang for the God. Their audience accepted whatever music in whatever form in whats so ever quality. The other judgmental mortals just happened to be there.
Was Krishna following the same tradition when he sang on the mountain summit?
Ravindra Apte
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anand ghare : at 6:08 PM
I had pointed out that different observers view a phenomenon in different lights, giving the example of different listeners a classical music concert and its recorded versions. They may form their own opinions or just enjoy the music to a in different degrees. They need not necessarily be judgmental.
One may call it being judgmental to an extent, but each one of us is by the very nature. Even a one year old child expresses consent or descent based on the judgement he makes.
Whether the audience should be judgmental on the quality of a musician and whether that should curtail his FREEDOM is the topic of this discussion. Well, the audience also loves its freedom. If it is rowdy, it will heckle a bad singer whom it does not like, if it is civilized, it will sit yawning or leave and not return.
Why did Mr.Krishna sing in the solitude on top of a mountain peak? Obviously for his own satisfaction! He would not have a Mrudungam player to give him beats (Taala). So his singing will not fit in to traditional Carnatic style. He had his full freedom!
On the lighter side, I too enjoy FREE Style singing in bathroom.
Anand Ghare
There was an interesting discussion on the freedom of an artiste. It has nothing to do with the society or the state or their rules and regulations, law and order etc. but all within the domain of art, of giving expression to ones urge or feelings in the form of his art. A very fine point indeed.
To start with the fundamentals, whether an artistes has any specific purpose in his mind? Has set some goals in his life? Or he has just an urge to express! Whether he is working only for his own satisfaction or wants an applause from others? whether from the connoisseur or the average or large audiences. He has to choose his priority. Again the question is, if he produces something that people do not like, he may not get the platform to exhibit his works. The artiste in this discussion wants to remain with in the Carnatic classical music and wants it to take to the masses in slums, but the usual audience wants him to sing the classical music as they are used to listen and appreciate. So he chooses to please the audience or at least the organizers and also cry for freedom, complaining about restrictions. His dilemma appears to be he is not able to connect with right people. The people whom he wants to connect do not understand or appreciate his skills or his form of music and he feels restricted while playing for the gallery. However, a very famous artiste is able to exhibit what common viewers may feel trash as great pieces of art and gets away with it, perhaps the viewers have a different perception of art.
I think the contradiction or confusion is with in the mind of the artiste or the viewer or the audience, about expectation versus actual.
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Interesting discussion on this blog led to further insight in the life of Mr. T N Krishna, the notable Carnatic classical singer, impact of technical progress on art and the different view points of different listeners.
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"Ravindra Apte" wrote on On Jul 16, 2017 7:05 PM
From Ravindra Apte
Pune is having an excellent commendable tradition of having memorial lectures. One such lecture is in the memory of Prof. Ram Bapat. Which I have attended for last few years. Another not to miss lecture is in the memory of late music director and teacher Bhaskar Chandawarkar. The topics chosen are truly from liberal arts.
On 15th July there was the Ram Bapat memorial lecture by Carnatic singer T M Krishna. The title of the lecture being " Am I free? - An inquiry by a singer". I had no idea of what he may speak, but generally I thought it could be on present atmosphere of tolerance / intolerance and freedom of speech and expression. The fresh clue being the order by the film certification board, of beeping out the words "gou" "Gourakskak" , "Modi" and "Gujarat " from the documentary on Amrtya Sen. Well, the singer's inquiry was far beyond it.
I don't have much knowledge of music as such and far less of Carnatic music. But I do recognise a good music and no doubt enjoy it. I know there are a few connoisseur of Carnatic music in our group and hope some one may illuminate the topic further.
The lecture was preceded by a video clip of T M Krishna's "Chennai Poromboke Paadal ft". Here is a link to it.
Chennai Poromboke Paadat
https://youtu.be/82jFyeV5AHM
( In the course of lecture Krishna said use of the Chennai Tamil in pure classical Raaga itself is considered scandalous. )
Krishna said though both the Hindustani and Carnatic musicians claim they have got more freedom than the other school, in reality the music itself is bounded in different frames of socio-political, cultural and aesthetic. Music is intangible it has to be only felt and so each individual perceives it differently. This individual perception is true in other forms of art such as painting and theater. But the adjectives of pure or divine are used with only music. Once the concept of purity comes there will be a polluter also. Who is he / she? The association with divinity brings in its own restrictions. In fact right from the initiation in music one is put in a atmosphere which conditions you in a system without your knowledge. Carnatic music is pure brahmanical manifestation embedded in divine bhakti expecting certain bhava to be present in the kriti. The artist knows in which particular way of presentation, the audience will feel the bhava and he simply manipulates as if he is pressing certain buttons. He may fail on certain times to press the buttons in proper sequence and that is the bungled up concert. The artist's desire to listen to the applause of the audience controls the presentation. There are gender and cast biases in musicians.
One way of getting freedom will be to abandon the classical music, but how one can experience it staying within the system of classical music? In the process of seeking freedom one will shake the very foundation and that is dangerous. Few persons have capacity to change the system, but the new system also slowly evolves its norms and conventions ultimately resulting in taboos. Essentially an artist's quest for freedom keeps him away from becoming a performing machine.
At the end there was a delightful dialogue with Sadanand Menon, well known critique. The program ended with Krishna singing a Tamil kriti invoking praise of Allha.
I found the lecture interesting. Considering other art forms such as the western paintings it was restricted for a long time to decorative biblical art form of churches. The Greek and Roman sculptures had no place for common man not having the ideal physique or an old or disabled person. No doubt the art was great and till today treated as master pieces. Did the artists of that time felt their freedom is restricted? It took the age of renaissance to liberate the art from the shadow of church. The impressionism movement really brought in fresh air of colours and subjects. It was followed in quick succession by cubism and abstract art forms. Was it not the quest for freedom? I think freedom is dynamic it has to explore and experiment and to feel the freedom every generation, every artist every person has to come out of the frame which denies it.
Ravindra Apte
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Ashok Malhotra On 16 July 2017 at 23:17
Sh Apte's small treatise on divine classical music and some of its connotations with other art forms shows another of his veritable talents, in this case inspired by the presentation of TM Krishna on Carnatak Music.
His attempt to define freedom of expression within the tight boundaries and limits of the classical music was not very much unlike the Ghandhiji's "Experiments with Truth".
Though I felt a few contradictions in his paragraph "Music is intangible, it has to be only felt and so each individual perceives it differently. This individual perception is true in other forms of art such as painting and theater. But the adjectives of pure or divine are used only with music."
So, if there are individual perceptions possible, the freedom is inbuilt.
Moreover, though I am familiar with the "fine art forms" expressions like "pure music" is rarely heard.
Leaving aside the popular folk music or the Lok Sangeet, that in itself is boundless and timeless, the Indian Classical music system is considered one of the most advanced n developed in the World. The forms n themes of the Western Classic Music are also much more complex and expansive, that have their own Church music, Operas, the Concerto, Symphony, Sonata the mixed Vocal and Instrumental styles etc. but, so far as I know, the freedom of styles in any music form, without distorting it's characters are always encouraged. Modern composers in fact lay down their own standards. Thanks
Ashok Malhotra
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"Ravindra Apte" wrote On Jul 17, 2017 12:12 PM
Dear Ashok Malhotra,
I agree with you that the folk music is boundless. In fact all forms of classical music be it Hindustani, Carnatic or Western are distilled from the folk music. Intentional sophistication is introduced to cater for the so called aesthetic views of the privileged class. In fact the present style of Carnatic classical is evolved from Harikatha style from Tanjavur.
When I mentioned adjectives of " pure and divine" for music, I was referring to the purity of raaga, which is sacrosanct in classical performance. You say " if there are individual perceptions possible, the freedom is inbuilt." But this freedom is of the audience and not of the singer or performer. Would the desire of the audience to perceive the music in a certain way only put restrains on the artist? This can happen in other forms of arts. I think that is what happened with M F Hussain when certain section of viewer desired to perceive certain forms in a particular style only. This perception about an artist or an art form make result in a peculiar situation. It happened with Hussain only. Let me tell about it.
It happened donkeys years back. There was a well advertised exhibition opening in Jahangir Art Gallery. It was of M F Hussain. I admire Hussain for the poster style layout of this painting, the evocative bold brush strokes and his explosive color combination. Naturally I planned a visit to the gallery. The exhibition was titled " Abundance of White". It was occupying both halls of the Gallery. Those of us who visited would never forget the exhibition.
When I entered the hall, I got the impression that I have come on wrong day, may be one day earlier of opening day. The hall was littered with old news papers, packing straws and long lengths of white cloth was hanging haphazardly, some of the cloth was folded on the ground also. When I inquired, I was told, the exhibition is open and what I am seeing is the exhibition. Same story was true in the second hall also. One had to thread his path through the dumped items. I tried to decode the presentation but in vain. Other spectators were also confused and trying to make sense. I found one lady reading the scattered news papers to find some clue some where. Then I realised I am taken for a ride, there is nothing mysterious about the exhibit. I was furious for a while. Then I reflected on what I am furious for. I came with a mirage of perception of an art form and when the mirage is shattered I find my sensitivities attacked? What right do I have to hold on to a mirage in the first place?
There was a gentleman who was literately fuming and needed to vent. He struck a conversation with me. He said he came all the way from Dombivili to see this heap of rubbish? We cursed and abused Hussain. After a while we reflected Hussain enjoyed his freedom of expression, the art gallery enjoyed its freedom to allow its halls to be used as dumping ground and we enjoyed our freedom to curse and abuse the artist. What we are complaining of? Actually we should thank Hussain from bringing us out in the vibrant environment of art gallery, else we would have spent the afternoon lazing on a couch. We had a hearty laugh and proceeded to enjoy a nice cup of coffee.
Ravindra Apte
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Ashok Malhotra Jul 17 at 12:52 PM
Apte ji,
Thanks. I knew the half chink in my argument but hoped it will escape the scrutiny. (un)Fortunately it didn't.
In the Art world the Artist-listener-critic is one entity, intertwined. Shakespeare, Picasso, Leonardo da Vinci or MF Hussain, in fact all artists are still being interpreted in as many ways as the critics as to what is their creation about. That's the only degree of freedom available to any artist. No art form can survive without the freedom of expressions. China's artists e.g. Li Weiwei had to suffer extreme ignomity n leave his nation at the expense of his freedom. Salman Rushdie had to explain his isolation pains in his book "Joseph Anton". There are many more cases n history is full of them.
I would conclude by saying that at least in India the Artists enjoy as much professional freedom as available any where in the world or as they can afford, amply visible in their yearly jumbhirees at the cultural festivals. Thanks.
Ashok Malhotra
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Anand Ghare Jul 17 at 5:41 AM
Ravindra has asked a question "how one can experience freedom while staying within the classical music system?"
I think the answer lies in perception of the word 'freedom'. I personally enjoy living with certain amount of discipline, while others feel otherwise. Similarly musicians enjoy singing within the rules of Sur, Taal and Laya (सुर,ताल,लय) and the listeners like the enchanting classical music it produces. There is still abundant amount of freedom available to the artiste, as we can hear the same Raga sung or played on instrument by different artistes in innumerable ways, within the framework of classical music.
Anand Ghare
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Asim Ghosh Jul 17 at 7:50 AM
The term "KHAYAL"(Drut as well as Vilambit) in Hindustani Classical, implies the full freedom of the performer, keeping a few boundary conditions viz:particular notes (out of 7 + 5=12) to be /not to be used,. ascending/descending style, at the back of mind.
Rest everything is in the domain of the render , his /her lineage, own style, invention/discovery,etc.etc.
Hence the term -KHAYAL.
-Asim Ghosh.
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Ravindra Apte : Jul 17 at 10:27 AM
Dear Anand Ghare and Asim Ghosh,
I think Krishna has no issues with the confines of Sur, Taal and Laya of classical music. That is why he is perfectly within the structure when he renders the composition on environmental issue in Chennai Poromboke. Normally such issues are rendered in ballad style by activists in a demonstration or a street corner meeting. Krishna wants it to bring it in the sophisticated confines of a concert hall of privileged audience. His problem is in his desire to connect the Carnatic classical music not only to devotional aspect of human nature but to the other issues which directly affect the humanity. Apparently Krishna finds he is restrained in doing so.
As for the much talked about the freedom of singer to develop the raaga in his own free flowing style, Krishna had a different perception. He said as a musician I can tell with full confidence that there is nothing spontaneous in a concert. All the moves are rehearsed again and again, in fact he said the musician listens to the expected applause in his head while rehearsing, which spurs him on and on. So where is the freedom?
I think, Krishna is seeking freedom from such confines and not from the strict discipline of Carnatic classical music.
Ravindra Apte
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Asim Ghosh - Jul 17 at 11:56 AM
"...........Nothing spontaneous in the concert .All the moves are rehearsed............."
Just a second opinion:
Rehearsal/practice {sadhna}is the only way( marg )for any "To be acquired" skill, & there cannot be any short cut for that.
The saying goes -- Stage performance {showroom} always remains 60 to70% of rehearsal (workshops) for even apt performers too.
Surely, for beginners ,it is definitely 100% mugging or "Ratta".
The way any student for any subject viz:Science(Physics, Chemistry,Biology),Maths, Literature, has to practice (rehearse) continuously to acquire the mastery/confidence so that any unseen problem/question can be tackled with previously learnt formulae or technique,within the stipulated time, to come out of exam hall will flying colors.
The same way in pure Classical performance ,in time {"SOM"} has to be returned /honoured.In between, some rehearsed some extempore nuances are supposed to come.
The more the mastery ,more of latter variety is bound to come ,provided inner quality is in abundance in the performer.
Just my thoughts,
No compulsion to agree/disagree.
-Asim Ghosh.
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K.Natarajan <knatarajans@gmail.com>
To npcil_retirees@googlegroups.com Jul 17 at 11:09 AM
AM I FREE is a profound philosophic topic, definitely not confined to traditional music alone.
T M Krishna's qualms about carnatic music being confined to a particular community, in the name of preserving purity, though himself coming from the same elite community,, and kept within the narrow bounds of Bhakthi as the sole purpose and within very strict grammar discipline, are well known.
The award of international honour to him was also viewed with suspicion of some hidden agenda by the purists!
While dealing with a topic, already dealt with in our group, some reference to the old will be helpful for continuity and reassurance to the sender that it was read!
In the midst of the flood of topics, I recall , and give below, a
quote from mail dated Feb 4
" In this context of award winners,
sometimes international awards are given with some political axe to grind.
The Magseyse award given to T M Krishna, a celebrated carnatic musician from South India, did kindle some murmurs amongst the traditionalist upper class.
He comes from an orthodox brahmin family, still resented the great art of Carnatic music being a sort of legacy amongst that group only. He tried to carry the great Carnatic music to the slums of Chennai, bordering on blasphemy!
An extremely talented artist, with also some strong anti conventional views intendering carnatic music, the latest is his giving a full performance in a Chennai city bus!
I am giving the link below for your enjoyment of this satire on tradition!
With warm regards,
K.Natarajan
https://www.facebook.com/ Chennaites/videos/ 1217723084986417/ " unquote
views may differ on perception of the word 'freedom'. vs 'living with certain amount of discipline', opens up a fresh vista for discussion!
With warm regards,
K.Natarajan
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Ravindra Apte - Jul 17 at 12:47 PM
Dear Shri K Natarajan,
I was not exposed to the music of T M Krishna. Yes his Magseyse award was mentioned in his introduction. During the lecture Krishna himself informed that he comes from a privileged family background and he has seen success early in his musical career and that too with much ease.
Many creative artists suffer from this syndrome of lack of freedom. I think it is a question of channelising the creative urge.
Ravindra Apte
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C. V. S. Sudhir Babu : Jul 18 at 8:33 PM
Only mother nature has total freedom of expression, nothing else, in her creation. Only human beings are given more degrees of freedom. Civilizations and cultures develope with an agreed common ristrictions on degrees of freedom.
If one person says his work is freedom of expression, the other towards whom it is aimed also has the same right.
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Ravindra Apte : Jul 20 at 9:31 PM
Dear Anand Ghare,
Interesting to take the topic to a blog. I would like to add on the following.
Further on T M Krishna and the issue of artistic freedom.
On accidentally stumbling on the artistic achievement of Krishna, I searched and listened to his music. I listened to the rendering of "Krishna nee begane baro ..." the Kannada composition. I have listened it from different singers, all are charming. But in Krishna's singing there is deep pathos and yearning which is palpable. My admiration of his art increased. Then came his kind of an interview in of all the magazines " National Geographic - Traveller (India)". (For those who are not in the know - National Geographic the well known, more than 125 years old magazine, a perpetual delight to read any time any issue,(incidentally I am subscriber for last 40 years), started a sister publication Traveller. Its India specific version started some 5 years back. I am subscribing it for last four years.) The magazine has destinations in India which you have not even heard of, along with the other popular destinations and how to organise your trip to those destinations etc. Of course it has other international travel articles and destinations.
The July 2017 issue of NG Traveller is a special one, its 5th anniversary issue and the theme is " I Travel Therefore I Am". (A tongue in cheek parody on the philosophical question). There are many interviews of not so well known travelers and travel writer. T M Krishna is one of them.
In 2010 on a trek in Milam glacier in Himalaya's he was hooked on to climbing. He found a climbing partner in Badri Vijayaraghavan and his journey to high mountains began. He first climbed Stok Kangri (20187 ft) in Ladakh. Then a 20000 ft peak Huayna Potosi in Bolivia, Mount Elbrus in Russia and planning to climb Cotopaxi in Ecuador this season. All these peaks are popular in non professional climbers. They are well guided and well arranged. They are exotic and pricey destinations. The point is he chose to spend his fortune earned in singing to get the high on a mountain summit.
On climbing he says " I think climbing is both a science and art. The art aspect is in the very act of climbing; mentally it requires clarity, discipline, acute awareness and copious endurance to deal with the fatigue that almost always seeps in. And then of course, there is the technique of climbing - how you walk, how you rest - which is the science of it". What he does when he reaches the mountain top? He does what he knows best SINGS.
To whom or for whom he is singing? How do you compare his singing on the mountain top to his singing in Chennai bus? All artists crave for appreciation, to be always in limelight and for that echo "You are great". They are tormented by the thought of loosing the top notch position if they have one or how to get it by any means if they don't. This pressure is so huge for some of them that they fall for additions and substance abuse and squander the gift they have. Is Krishna singing on the mountain top to these disturbing demons of his to lull them or to the mother nature or to himself telling the glory of music?
I myself have reached some of the mountain summits. As the first wave of exhilaration of achievement passes, I become aware of the business of climbing down. It is more likely to fall into stupor after the exhaustive climb. I try to keep my other companions active and persuade them to start climbing down after a reasonable time. To keep a normal breathing pattern is hard at 20000 ft. How does Krishna manages to sing? Does he have the same control on his aalap and taan? I think it does not matter to Krishna, he is in fact listening to the perfect ideal music, draped in glowing bhava and dancing in divine rhythm in his own voice.
I am impressed by his mature thoughts on climbing and I quote " I'm also always intrigued by what is perhaps the most interesting thing about the process of climbing - you don't run while climbing; you take short steady steps and never stop. Nobody is ever in hurry; climbing reinforces the idea of slowness. It's about focusing on every step, every moment. It's about being measured and consistent. It's a lot like life; you just have to keep going and as long as you do that, the summit will come." With this sort of frame of mind I am sure Krishna will seek what ever freedom he is seeking, I wish him that.
Ravindra Apte
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Ashok Malhotra : Jul 20 at 10:09 PM
Amazing story about Sh T M Krishna, in the wonderful words of Sh Apte. Today I feel even more honoured to be in this group n come across such real life persons and their passions.
Mountains have a magic of their own and once you are trapped in that, it assumes the form of a life long passion. आप्टे जी, यह दिल मांगे मोर Thanks
Ashok Malhotra
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Ravindra Apte <ravindra.apte@gmail.com>
To npcil_retirees@googlegroups.com Jul 21 at 4:05 PM
From Ravindra Apte,
Dear All,
I think, I am really getting snared in this thing of Artist's Freedom. The only way to get freedom from it is to write about it. Fortunately Anand has provided a perfect getaway vehicle of his Blog and there are friends like Ashok and Kishore to encourage me to use it. I am going to cut the threads of this snare one at a time.
Technology and innovation
Remember the era of gramophone? When it first appeared on scene many were excited that now the music of the maestro is going to be stored for posterity. Only hitch was they have to perform within three minutes. Many of the masters of Hindustani music refused to subject to this tyranny. Their style was different could not be exhibited in the ubiquitous three minutes record. May be they were not convinced of the fidelity of the records to reproduced their music. Still many of them were lured to the tyranny of three minutes, may be for the money associated with it, may be secretly they wished to leave their permanent mark in the court yard of the musical heritage.
But do you really think the three minutes record really show case the music of the maestros of the begone era? My uncle, who was an ardent fan of Balgandharv, the legendary singer and stage actor of Marathi theater, refused to listen to the records. Agreed the records were recorded when Balgandharv was in his declining period. But that was not the point. My uncle's objection was that the three minutes music, contaminates his memory of the all night legendary performance and the music that he still listens in his head. So were not the legendary maestros right in declining to record their music? Did we compromised their freedom of choice by alluring them? And as for the fidelity of music have you never heard how the hand cranked gramophone sounds when not running at the speed at which it should? In my childhood I have played with it and got scolded, Was it an urge to experiment or mutilate? To day I do the same thing with my Sony Sound Forge software, in this era of digital hifi music. Not only me in my crude way, but the top rated music studios are doing the same thing in the name of creativity or enhancement of the musical quality.
The freedom is never free. It has to be earned and guarded may be some times with denial of the choices or some sacrifice. I remember my first encounter with the baul music of Bengal. I was travelling in a train in the sleeper compartment to Guwahati. As usual the compartment was full and crowded. It was approaching evening and the tired passengers were engaged in listless conversations. A white dhoti clad baul singer entered the compartment with his ek tara. Soon with his melodious voice he transported the listless passengers to a different level. The simplicity of his music was elevating his devotion and yearning. I was spellbound. At the end of the song, one of my co-passenger, a Bengali Babu exposed to the baul music, requested for a particular song to be sung. Though the baul singer was singing for alms, he politely declined saying that the song is not suitable at this time in this environment. For him his freedom of choice was more important and he guarded it with a painful sacrifice.
Ravindra Apte
21/07/2017
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Ashok Malhotra <kohsaartohlam@gmail.com>
To Retirees Association Jul 21 at 8:32 PM
Privacy and Freedom in the new age:
An excellent comparison to drive home your point on limitations of freedom Apteji, illustrating the snaring and shackling of Balgandharv vs the wanton n abound freedom enjoyed by the baul singer.
Yes, there is nothing like absolute freedom. Mostly we sneer at the man made shackles on our freedom, that are well understood as explained to us by the legislations n the society.
But there are also natural shackles as well as Godly ones. One may say where's the boundary between the two. As I understand the natural ones are those that normally won't happen being against the scientific laws how so hard you may try or wish for. The Godly ones are those that may or may not happen inspire of us and their understanding are beyond our present comprehension.
There is an excellent ongoing debate in the SC on "whether our right to privacy is fundamental or not".
Invasion of one's Privacy, that was never doubted in our days, has come to the forefront of our "basic freedom rights" since the new age of "social media" that is run by the big US conglomerates on central platforms. The sharing of personal info by one's choice is not the infringement per se as of now, but the chance of its being misused by the unscrupulous ones increases many fold n the responsibility of the organisers in protecting you in such instances needs to be legislated. It is a basic tenet that what you ask for and possess also entails a responsibility and accountability factor on you.
The courts seem to be wearing round to the idea that each purpose for each private info you ask for, needs to be stated and it's use beyond that purpose will tantamount to an infringement of privacy. But there is one form of life style that our scriptures define as enjoying maximum freedom and that is the life of a Yogi. But now we have a Yogi as a CM n Sadhvis as MPs. Brave New World sir. Thanks
Ashok Malhotra
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Anand Ghare <abghare@yahoo.com>
To npcil_retirees@googlegroups.com Jul 21 at 10:13 PM
I read a line in a modern school textbook. It said 'displacement' is a relative distance between two points. So are velocity and acceleration. They are meaningless unless there is an 'observer.' Each observer may have a different view from his point of view. Simplified relativity!
Similarly, freedom or privacy are relative matters. A classical musician, a listener who attends his live concert sitting at his feet, someone who cannot do that but is interested in listening at least recorded voice, some one who wants to listen it repeatedly, some one who was born after the singer stopped singing and so on. Each one will have different perceptions about quality of their joy derived out of the same music. The singer may frown on the recording as being too poor and far below his class, where as some listener may call it Devine in the circumstances when the better is not available to him at all. The person who attends concerts looks down up on people who listen to music in the comfort of their home as they are missing the real thing and is also angry on they getting to hear the music with out taking the trouble of going to the concert.
So it is relative and not absolute!
Anand Ghare
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Ravindra Apte :22/07/2017 at 7:36 AM
Anand points out the necessity of an observer for evaluation of a phenomena. All performing arts expect an audience / spectator. While in the stage of learning you need a guru to point out your mistakes and show a way to improve upon. But then there comes a stage in the artists career when he knows in his heart what are his / her limitations and strives to broaden those limits to gain a larger space for his performance.
Does it necessary that the audience has to be judgmental responding to the performance? True in the tradition of performing arts the great poet saints like Tyagaraja and Purandar Vithalla sang to an audience. They sang for the God. Their audience accepted whatever music in whatever form in whats so ever quality. The other judgmental mortals just happened to be there.
Was Krishna following the same tradition when he sang on the mountain summit?
Ravindra Apte
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anand ghare : at 6:08 PM
I had pointed out that different observers view a phenomenon in different lights, giving the example of different listeners a classical music concert and its recorded versions. They may form their own opinions or just enjoy the music to a in different degrees. They need not necessarily be judgmental.
One may call it being judgmental to an extent, but each one of us is by the very nature. Even a one year old child expresses consent or descent based on the judgement he makes.
Whether the audience should be judgmental on the quality of a musician and whether that should curtail his FREEDOM is the topic of this discussion. Well, the audience also loves its freedom. If it is rowdy, it will heckle a bad singer whom it does not like, if it is civilized, it will sit yawning or leave and not return.
Why did Mr.Krishna sing in the solitude on top of a mountain peak? Obviously for his own satisfaction! He would not have a Mrudungam player to give him beats (Taala). So his singing will not fit in to traditional Carnatic style. He had his full freedom!
On the lighter side, I too enjoy FREE Style singing in bathroom.
Anand Ghare
