Carnatic music and innocence

Miscellaneous topics on Carnatic music
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Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Carnatic music and innocence

Post by Rsachi »

The famous poet William Blake (Tyger Tyger Burning Bright..) wrote Songs of Innocence and Experience. A write-up about his works, featured in the Metropolitan Museum of Art, says this: Innocence and Experience contrast human existence, before and after the Fall.

(Adam and Eve..)

In other words, something as structured and intellectual as Carnatic music cannot be anywhere as innocent as tribal or folk music. But that is not a big No-No for me. After all, all music is a measured human effort, harnessing melody and presentation for the intended audience. When a child cries for his mother, maybe hoarse and offkey, it will be very different from the Carnatic composer crying out, "Devi brovasamayamide!"

And yet, I strongly believe that all Carnatic music has an element of innocence.
Just like when someone expresses love for someone, and there is that innocence of purpose. After all he doesn't know if the feeling will be requited or even understood.

When a musician performs, however famous he may be, however well publicised his concert, however well branded with a theme, in THAT MOMENT, as the music comes out, it is innocent. It is like shooting an arrow, and saying, "I shot an arrow into the air, and it fell to earth I knew not where."

To remove the heartburn of innocence exposed to unpredictable responses, we have mounted an elaborate game plan in Carnatic music. We have Sangeeta Lakshana, compositions, well-trained musicians and architected presentation styles, "Bani", branding, websites, blurbs, themes, stage and audience arrangements, accompaniments, and many other devices, all intended to reduce the unpreditability of the effect of the music when it is presented. But none of these things ever take away the core element of innocence. I can see it sometimes when the musician makes eye contact with me.

I think it is that element of innocence that really connects me and the musician. And my innocence is in being true and total in my response, without any pretensions or ostentations.

Even a hugely marketed Kabali cannot avoid that moment of innocence in the eye of Thalaivar, if ever he can make eye contact with the audience and ask, silently, for that response. That moment is when the hearts connect and communicate, whether happily or not.

What do you say?


PS: William Blake invented a method of illustrating his works. This is his orginal work!
Image

braindrain
Posts: 587
Joined: 03 Feb 2010, 09:25

Re: Carnatic music and innocence

Post by braindrain »

Isn't it true for any of the artistic expressions ? Isn't there an 'innocence' in Van Gogh's paintings ?

Can I add a 'measure of 'degree' to the concept ? Why do I find, 'bavul singing' or' sufi music' on a higher degree of 'innocence' over practiced, prepared presentation of carnatic music :-)

kvchellappa
Posts: 3637
Joined: 04 Aug 2011, 13:54

Re: Carnatic music and innocence

Post by kvchellappa »

Kabali and thalaivar had me a bit confused. Sanjay sang a song on kapali yesterday and he is called Thalaivar by his fans. It was one song away from the theme of the occasion and he sang it soulfully, with innocence?, I do not know. All I know is I enjoyed it with no sense of guilt of being one of his rasikas.
Tiger and Sanjay bring memory of the lost tiger!

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: Carnatic music and innocence

Post by Rsachi »

Braindrain,
All art, especially all performing arts, has a recipient/audience. So innocence is intrinsic to all such interactions.
KVC,
I mentioned Kabali since I find all-round exuberant celebration of its "success". I trust Thalaivar to be innocent enough to ask for and receive genuine feedback in those rare moments beyond the arc lights!

To restate my basic premise, however complicated, organised and packaged CM maybe, that moment of innocence is inescapable.

Rsachi
Posts: 5039
Joined: 31 Aug 2009, 13:54

Re: Carnatic music and innocence

Post by Rsachi »

Braindrain,
For 2 years, during my IIMC days, I saw and heard "Baul" music, unpackaged and unbranded. They would perform in religious festivals, and also in Belur Math on occasion.

Like any performing art, it fits the above discussion. But it is more "raw". So you're right, there is more "innocence" maybe.

I have now heard Parvathi Baul a lot. She performs even with flute and percussion accompaniment on occasion (she did it at Promenande, Singapore in 2010/2011).
Her Baul presentations are like post Trinity compositions whereas the Baul I saw in 1970s was like Annamayya and Purandaradasa. Not to take away anything from the fact that she's such a great and intense artiste.

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