This time around we tell the story of how some great Memorials for some Grand Masters in Carnatic Music came about.
This is our ‘grand’ narrative from ‘Parvathi’, Mysore.
But allow us to please explain the word ‘grand’, here, lest we be hastily cast out.
It stems in our coming from a tradition wherein one did a ‘Prana Prathista’ to an entity. The ‘pitrus’ (forefathers) were not to be considered fossils; deity was not dead nor an insentient stone, but believed to be a source of living energy. It’s continuum as a shining source persisted as long as one reached out to it, adorned it, worshipped it, and maintained it through the subscription to individual thinking.
Carnatic Music will live, we believe, as long as its adherents perform actions ‘holistic’ to it and bind it together with ‘Yogyata’ (a Paanian term not just semantic to ‘mundane’ usefulness), the ‘Sahitya’ and ‘Samskrita’; as long as it is considered to be an ‘ode’ to the ‘sacred’ (root consideration).
So when we came across an article from almost a quarter century back, we hastened to dig into its perspectives, to resurrect its old theater. We decided to do a pictorial essay.
How else will we, today, citizens of ‘future shock’ with no thought anymore on trees, earth, fauna or climate but whose environment relates only to Servers, Optical fibers and ‘Selfies’, realize a decade down the road, that there was once a Sri Vasudevacharya who loved his ‘jilebis’ and that there was somebody called a Shri GNB, too, who tied his ‘angavastram’ as supplement to humility.
But, come, let us stop being analytical and philosophical and be together in some history at "A Home called Parvathi "
[ http://chowdaiahandparvati.blogspot.com/ ] or Memorials for CM
Sincerely,
CPBlog Team