Why Abhangs ?

[rshankar]

Lifeisasong,

Sangita Sampradayam (Volume 1) A collection of lectures on Carnatic Music. Published by the C. P. Ramaswamy Aiyer Foundation. Unfortunately, it is a standalone book with no CD.

tsk tsk... abhangovers and bhAng - we rasikas are really tripping, aren't we?

As long as no one goes into their experiences with zardA pAn from Varanasi ('khaikE pAn banArasi vAlA') after all that 'bhAng' and 'abhangover' - we should be fine!!

[uday_shankar]

shankar, might one say then that abhangs are a "pan" Indian experience ?

[bilahari]

REALLY tripping here, people.

[arasi]

The next 'trip' isn't about Lucy in the Skies with Diamonds, I hope.
CM can intoxicate you AND elevate you on its own, at its best...

[harimau]

As usual, the thread has degenerated into a series of puns by those who have no intention of contributing anything useful to the discussion and who form a Mutual Admiration Society (except when they are admiring abhangs!).

The reasons that have been adduced for the abhang phenomenon are: catholicity of South Indians musicians, good pronunciation of Marathi by Bombay-born Carnatic musicians, tradition of bhajans in South India incorporating abhangs, blah, blah, blah.

Let me address each in turn.

The culprit (is the word better than 'guy' or 'dude'?) responsible for the current cutcheri format is Ariyakkudi Ramanuja Iyengar. Thus we have a varnam at the beginning, a series of krithis in various lengths, an R-T-P, and then miscellaneous items. The miscellaneous items he included in his concerts would be Tiruppavai, Thevaram, slokas, etc. This demonstrates that the catholicity we talk about is limited to a musician of Sri Vaishnavite persuasion singing songs in praise of Siva, but does not show that he crossed the Vindhyas or established language boundaries in search of miscellaneous items.

Now the question of perfect pronunciation of alien tongues by Carnatic musicians. So long as one is not too lazy, one can learn to pronounce words correctly. Sheer laziness is why 97% of Tamilians cannot pronounce the name of their language "Thamizh" correctly though 100% of Malayalees are able to articulate that sound properly. So, it is not as if Tamil is a difficult language and that is why Hindusthani musicians don't sing Thevarams or the Tiruppugazh. They are a bunch of con artists who manage to coast through their career singing a dozen ragas. They may sing it well; that doesn't mean they are not con artists!

But coming back to correct pronunciation of alien tongues by Carnatic musicians, this is a laughable argument. The average Mylapore mama or mami has never used Marthi though they might have spent their working career in Maharashtra, having made do with Hindi/Hindusthani. So it is not as if they appreciate the meaning of the abhangs or relish the perfect pronunciation. If that were the case, the Duelling Abhangists would not be explaining the meaning of the abhangs they sing!

Another point is that Carnatic musicians' pronunciation of Telugu is most certainly abominable. For instance, "Chakkani Raja Margamulundaka (when there is a royal path) is sung as "Chakkani Raja Margamulundaga" (when there is no royal path), totally altering the meaning of the song and the mamas and mamis happily go along. Thus, we go on assumption that the abhangs are rendered with perfect pronunciation. But that doesn't matter in the least because we do not speak Marathi anyway.

Next, the issue of a bhajan tradition incorporating abhangs in South India since the days of the Marahtta kingdom in Tanjore. So what? Are you prepared to accept in a concert the bhajans in simple tunes sung in Margazhi as people go around the Kapali Temple in Mylapore? If not, why Marathi abhangs which are their equivalent? Of course, a certain artist does get away with "Ganapathi Bappa Moria" as if it were some exquisite rendering of a major Carnatic raga!

The real crux of the matter is that every musician needs a USP (unique selling proposition) to capture an audience. Thus we have people singing Sucharithra, Jhankaradhwani, Kanthamani or Naganandini (primarily to make up for an inability to sing Dharmavathi correctly). Once these uncommon ragas are spoken for, one looks for the Snake Dance Song, "Maadu Meikkum Kanne", the Blind Monkey Song or "Vishamakkara Kannan" to either get an audience or to beat off the competition.

One cannot fault the Duelling Abhangists for introducing abhangs in Carnatic music concerts. They merely brought the duelling format to the abhangs and that has caught the fancy of the mamas and mamis so you can expect it will be a permanent fixture barring a nuclear exchange between India and Pakistan in which Chennai will get vaporized. They made a claim in a recent concert that they set a particular abhang to music themselves. Will they do an abhang in a classic Sankarabharanam or Bhairavi? If they do, will it find any takers? The answer is a resounding "Hell, no!"

But why is it that the audience laps it up? Simply because they want to feel superior to mere clods like mridhangam (and me and a few other purists) who frown upon this sullying of Carnatic music. They cannot talk intelligently about Kambodhi or Yadukulakambodhi so they want to talk about Bhatiar or some such weird Hindusthani raga that they have heard in an abhang.

You then have to look at what this foretells for the future. After abhangs (taken up by quite a few musicians), newly minted musicians such as the Prashanths and the Prasannas will have to look for their own USPs. I would like to suggest an Azheri folk song to them, except that this particular one is in Lathangi! So, off they go in search of Arabic maqams, Celtic folk songs, Icelandic whaling songs, etc.

I hope to die before that day arrives!

[prashant]

You then have to look at what this foretells for the future. After abhangs (taken up by quite a few musicians), newly minted musicians such as the Prashanths and the Prasannas will have to look for their own USPs. I would like to suggest an Azheri folk song to them, except that this particular one is in Lathangi! So, off they go in search of Arabic maqams, Celtic folk songs, Icelandic whaling songs, etc.

I hope to die before that day arrives!

Thanks harimau. I'm sure you will not mind if I pick my Guru's suggestions over yours - this way I will ensure you live at least as long as I do!

[mridhangam]

Mr.Harimau

You have been kind enough to read my thought process and have surely hit the nail in the head. Hats off to your thoughts on Purity of maintaining the Carnatic Music Tradition. My original intention in starting this thread was to see that Carnatic Music is not being misdirected towards Tukkadas. Actually starting the thread with a heading like this is just to personify the whole genre in to one single theme "Abhang". Actually the word Abhang has been used as a personification and a simile. As such i wonder how many people hear Kambojhi's, Bhairavis' and Shankarabharanams in Marriage concerts. And the day is not far off when these sabha secretaries for the sake of gate collection request the artiste to sing a full-fledged Tukkada concert ..... we may not live to see that of course .. but a distant and distinct possibility is not ruled out completely though. A typical marriage concert starts with Sriman Narayana with all the tukkadas following in superb succession.

My lament is the same as Mr.Harimau that when Hindustani Musicians dont sacrifice on their Gharana or their own style or ragas (They will not even sing a Bhairavi or Kambhoji the way we sing whereas we carnatic musicians try to adopt in the name of Catholicity and try to sing like them or sing the way they sing --- and to wat end ? just cheap popularity and money ???). This is precisely the reason why i brought in Hindustani Musicians that they dont sing Thevarams etc etc and the entire thread went in a direction of linguistic fanaticism more than preserving the purity of carnatic music. I dont mean to say that by singing Thukkadas we throw our purity down .. but the current happenings in carnatic music make me feel the above.

I may be wrong ...

J.Balaji

[vijay]

Balaji sir I fully agree as far as the time for tukkadas is concerned. I don't think more than 15-20 minutes is justified in a regular concert. a 4 hour concert could have about half an hour of tukkadas. We are witnessing a dangerous trend of tukkadas making up almost half the concert. This certainly deserves to be denounced.

I am less particular about what is sung in the tukkada section. If someone presents a good vruttham, tillana or padam, I enjoy it. Otherwise I head home after the tani unless I have some time to kill...I do agree that singing an abhang instead of a padam is a compromise but if an artiste sincerely performs the "main" section and does justice to it, I am flexible on artistes including 2-3 popular pieces which are popular with their fans.

As for BHairavi and Kambhoji, IMO such ragas cannot be sung in the Hindustani style at all (although I think Kambhoji has been attempted by the DAgar Brothers). I agree that north Indian ragas should be imbued with native colours when they are borrowed. Sriram Parasuram beautifully explained how Deekshitar had adapted Dwijavanthi drawing liberally from the wells of SAhana and aKedaragowla!

[coolkarni]

.

[uday_shankar]

As usual, the thread has degenerated into a series of puns by those who have no intention of contributing anything useful to the discussion and who form a Mutual Admiration Society (except when they are admiring abhangs!).

Ouch! Guilty as charged.

Couple of addendums a) I admire you too (doesn't have to be mutual ) and concur with most of your opinions in this forum b) Don't care so much for abhangs, infact I'm profoundly Bhairavi-Kamboji limited and walk out during the thukkudas


I think the best things that can happen to Carnatic music are:

1) Musicians preserve purity

The epicienter of Carnatic music lies in the region of attana, Dhanyasi, Tyagaraja and such. In order not to feel jaded musicians should perform far less than they are right now. They sound jaded and their music is packaged and they draw the kind of audience that seeks that kind of package

2) Musicians should get paid far more so they can perform far less

I don't know how I can affect the market dynamics but this is just a wish list. The single greatest thing musicians can do is practice more and perform less. Quite the opposite is happening as we can see.

3) Gradual exploration of novelty
Very slow tentative and marginal intruduction of novelty.

4) Separate bhajan/tukkuda concerts for those who want them
Like HM, we need to classify stuff in terms like dhrupad, khyal, thumri, etc... I would welcome the day there's a thukkuda-free Carnatic concert.

[preposterous]

I am not sure it is only about USP... Its also to do with the listener (excluding some the 'mamas and mamis mentioned by harimau)...
When I started listening to CM I did not get Raga Alapanai and favoured Krithis or songs ... after some years of listening, today, the best part of the concert for me is RTP (not because of 15 ragas etc, I still can't identify any raga))...Unfortunately not all concerts have RTP...

I am not sure why Thukkadas are needed - just stop with a long RTP or RTV! I am sure this can also be an USP

View from Sri NSG, during the November Fest discussion, 'Art and audience: Finding the balance'
Link: www.hindu.com/ms/2008/12/01/stories/200 ... 140600.htm
Quote:
NEYVELI SANTHANAGOPALAN

Let us ask ourselves - are we offering the best music to audiences? Is audience taste bringing down the level of the performer or is it the other way round? Is it not true that the energy of the deity can reach devotees only if the priest performs puja with total dedication? Can he do so if he sees this as just another profession for his livelihood?

What do we see in concerts? Listeners come and go, eat and drink, chatter, gossip. We know that music has therapeutic values, it is meditation. How can listeners receive these benefits if they do not focus? I suggest we keep a notebook outside the hall and record why any one leaves in the middle of a concert. If they come to a concert despite access to music from so many gadgets, the vidwan should value their expectations of live emotional interaction, understand the pulse of the audience and satisfy it.

Ariyakkudi showed us how to achieve this balance between art and audience. Listeners too must help the artist to give his best. If they become visibly impatient for their favourite tukkadas, send impertinent requests for "Madu meikkum kanne"

[vainika]

Referring to: Uday_Shankar: 4) Separate bhajan/tukkuda concerts for those who want them

Test Match Cricket - Pre ARI format
One day Cricket: ARI format
T20: Only Tukkuda or Thukkada?

I like this! So we can have the Rajasthan Royals Squad doing the Meera Bhajans concerts, Mumbai Indians sticking to abhangs, and so on...

[kjrao]

My approach to music is similar to my approach to food - should be nourishing( physically and mentally) and tasty - neither over doing or starving - won't mind experimenting or taking advice/suggestions - not too adventurous - have not experienced any allergic reaction to reccipes from the north of Vindhyas - luckily, need not have to guess what others think about it - I put effort to get what I want - tradition for me is in the essence and not in the details - I respect what choices others make.

So far, listening to Abhang or Meera Bhajan has not done any harm or reduction in self-esteem for me . So, I shall keep listening to them once in a while along with the rest of the music I like.

[arasi]

Your comfort zone is comforting and can apply to most rasikAs.

[bilahari]

kjrao, that was a nice analogy as well!

[Always_Evolving]

Mr.Harimau

You have been kind enough to read my thought process and have surely hit the nail in the head. Hats off to your thoughts on Purity of maintaining the Carnatic Music Tradition. My original intention in starting this thread was to see that Carnatic Music is not being misdirected towards Tukkadas. Actually starting the thread with a heading like this is just to personify the whole genre in to one single theme "Abhang". Actually the word Abhang has been used as a personification and a simile. As such i wonder how many people hear Kambojhi's, Bhairavis' and Shankarabharanams in Marriage concerts. And the day is not far off when these sabha secretaries for the sake of gate collection request the artiste to sing a full-fledged Tukkada concert ..... we may not live to see that of course .. but a distant and distinct possibility is not ruled out completely though. A typical marriage concert starts with Sriman Narayana with all the tukkadas following in superb succession.

My lament is the same as Mr.Harimau that when Hindustani Musicians dont sacrifice on their Gharana or their own style or ragas (They will not even sing a Bhairavi or Kambhoji the way we sing whereas we carnatic musicians try to adopt in the name of Catholicity and try to sing like them or sing the way they sing --- and to wat end ? just cheap popularity and money ???). This is precisely the reason why i brought in Hindustani Musicians that they dont sing Thevarams etc etc and the entire thread went in a direction of linguistic fanaticism more than preserving the purity of carnatic music. I dont mean to say that by singing Thukkadas we throw our purity down .. but the current happenings in carnatic music make me feel the above.

I may be wrong ...

J.Balaji

mridhangam,

Your message is much clearer now! Wish you hadn't introduced the red herring of Abhangs!

On Tukkadas and overall dilution of CM I concur with you, Vijay and others. However I don't think we should assume that Hindustani artists never dilute their genre. I don't follow the HM scene much but I would assume there are those who are considered "only for the serious connoiseur" and those who cater to a more popular taste (and everything in between). At last NovemberFest's opening concert, the doyenne Girija Devi disappointed me with her rendition of one light song after another. Possibly she was offering "HM Lite" for the poor uninitiated Madrassi's but it was really painful!!

But I would like us to explore this concept of purity vs. catholicism a bit more. I am a KBS (Kambodi-Bhairavi-Sankarabharanam) type too but would you classify Venkata Saila Vihara or Rangapura Vihara or Maanamu Leda or Krishna Nee Begane as "CM Lite"? I wouldn't. I think these borrowed ragas have enriched the tradition.

[knandago2001]

The following article on Vittal, Tukaram and Tamil Nadu is reproduced from a hand-out given to us by Sri. Tukaram Ganapathi Maharaj when he performed abhang keertan during the Ramnavami celebrations in Kolkata a few years ago. Not only does it give us historical perspective but also provides a frame-work with which to analyze sociological change.

"King Achutharaya (16th century) ruled after Krishnadevaraya. Vittalaraya was his younger brother. He built the temple of Vittal on the banks of the Thamirabharani river. Surrounding the temple, a village cam einto being and it was named NATTARKULAM. The name was later changed to Vittaleswarapuram, which in turn came to be known as Vitthalapuram. The deity is a chaturbhuja - He holds a conch and a chakra; two hands rest on His waist; to His left is Rakhumaayee and to the right is Satyabhaama. Vitthalapuram is 60 kms from Tirunelveli. The Vitthal temple in Triplicane, Chennai, was built by Kothandarama Swamigal. He transcribed the Marathi abhangs in Tamil. Yet another Vitthal temple is at Govindapuram, Tanjore.

Maharashtrians migrated to Tamil Nadu during Shivaji’s reign. Shivaji’s grandson Sarfoji was a great patron of art and literature who encouraged the singing of bhajans. Bhajans with just Marathi abhangs were also performed. During the reign of Shivaji’s descendents many Maharashtrian families settled down in Tanjore thus widening the scope for spreading of abhangs. Tukaram Beej is being celebrated at "Tukaram Nivas"

[arasi]

Ah You are a KBS AND KBS (K.B.SundarAmbaL) type then! You are 'always evolving' too Mercifully, one among the many open-minded rasikAs in the forum.

[gobilalitha]

Thukaram Ganapathi and group from kadayanallur, not only sing abhangs, but dresses like typical maharashtrians including the head wear . gobilalitha

[cienu]

Lovely reference Nandagopal Thank you for the same.

I think it is incorrect to straitjacket Abhangs as a "HM" import which nowdays "pollutes" CM, especially when Vittala has been so deeply entrenched in "Carnatic" territory for 400 years and more.

Mridhangam,

You have yourself stated that Abhangs mesemerise you with their rythmic patterns. So, do allow yourself to be mesemerised once in a while even if it is towards the end of a CM concert

When MMI's English notes by HMB is an accepted "Thukkada" why not an Abhang of Sant Tukaram ?

[uday_shankar]

[ would you classify Venkata Saila Vihara or Rangapura Vihara or Maanamu Leda or Krishna Nee Begane as "CM Lite"? I wouldn't.

I would, and it's only an opinion. "CM Heavy" in my reckoning must have:

a) Ragas that are deep, profound and rich in rAga bhAva.
brindavana saranga (or brindavani or whatever it is called) is definitely a lite rAga. Yemen kalyani is not too far behind. The latter has been made interesting by bAla's dance but the package is still musically light. When I listen to an "RTP" in one of these ultralite ragas, as seems to be the current trend, the whole thing is a comical charade with the performer going over the scale back and forth, trying to coax raga bhava where there is none, using dramatizations, brikas, etc... to conceal the lack of any depth whatever.

b) Compositions that have weight (not necessarily complexity)
The masterpieces of the trinity (and clones like PSI and Subbaraya Shastri), OVK and the occassional Swati Tirunal come to mind. The OVK compositions in addition have amazing rhythmic elegance and in complex tAlas. That takes them to a different class.

c) Technical perfection by the performer
Unerring fidelity to Shruti. Kalapramana shuddam.

Now, one may say that this makes it "boring". Perhaps so. The only antidote in life to "boring" is to diversify one's tastes, while retaining the depth, or listen to less music and meditate. Overdose of anything, including Carnatic music, can be bad and leads to poor choices like tukkadas . We live once (at least in the current state of consciousness) and it behooves us to seek the deepest from life.

[Sathej]

Overdose of anything, including Carnatic music, can be bad and leads to poor choices like tukkadas .

Well, thats debatable if an overdose (even the definition of an over dose would vary) would induce someone to pick Thukkadas!
Sathej

[gmohan]

Height of Tukkadaism - Instrumentalists playing Tukkada after tukkada!

[uday_shankar]

Well, thats debatable if an overdose (even the definition of an over dose would vary) would induce someone to pick Thukkadas!

Sathej, anything that's a matter of taste is debatable. So there can be no universal prescriptions. My "opinions" are only about personal choice. We are not on a recruitment hunt for the Carnatic taliban. I think abhang concerts must flourish and more power to all manner of tukkadas. I just don't go to such concerts and I might change my mind about that too!

[Nick H]

Preposterous: that is an amazing quote from Sri NS, thank you. It really speaks from the heart to the heart of those who love music, but perhaps those who do not bring their hearts to concerts may not listen to it.

Having come to CM by way of HM, the RTP was the thing that caught my 'eye'. I would be very happy if every concert included an RPT, and I would be very happy if it was very long!

But I think also, that there is strength in the variety of songs presented in our concert format today. I think also that there is room for the lighter pieces, both to warm up the musicians and the audiences, and (as may be done in fields as diverse as meditation and sport, where the intensity experienced is quite different to that of the 'ordinary' life on the street outside) at the end. It is good, when music has moved us to great depths/heights, to be brought to earth gently. I dislike a protracted period of light music at the end of a concert, and I can understand why people leave, but I also dislike the abruptness of a quick thani-to-door finish. We may understand that our friend, who has invited to lunch, has an afternoon apointment, but we still miss the time of relaxed conversation that we might have had if he did not.

I'm replying, for now, to preposterous's post of NS's text: it was so rich and full that I am unable to digest the subsequent posts at this time!

[ragam-talam]

The title thread is "Why Abhangs?"
Answer: Because there are rasikas at varying levels of musical knowledge and growth. How else could you attract a casual rasika who may potentially mature into a serious rasika?
I suspect at least some of the 'deep' rasikas on this forum started off as tukkada lovers once upon a time.

[lifeisasong]

Musically, abhangs may be considered "lite," sullying the purity of Carnatic music etc-poetically they are anything but "lite"

Am perfectly happy myself at Carnatic concerts with or without abhangs, because of the endless possibilities Carnatic concerts present.

Nick spoke my mind on the rest.

[arasi]

Yes, Nick who comes out with sage pronouncements...

[Dhanavendra]

thanks to mridangam, we got a quote from Neiveli Santanagopalan. Unfortunately, if not for Nick it would have gone under a sea of verbiage not related to an analysis of the quote. It is a very deep quote and I am thankful that it has been brought back to focus by Nick. It is a true statement and not hypothetical or contradictory. But we are so used to reacting that we forget to analyse some responses either because they are too dry or thought provoking or too real that we feel guilty to proceed to debate on such gem of quotes. If we really want to ponder and try to be one with TRUTH, classical music is a "Chakkani marga". Why dont we stop gibberish and talk substance. Lets discuss Neiveli's quote.
We have all so evolved that we have begun to question Ariyakudi. We are so popular that like dance we can sing Varnam in the middle of the concert or Abhang at the beginning of the concert. We can remove spirituality from the entire scheme of things because we can get away. But we are not prepared to analyse a quote which is the genuine purpose of music er classical music!

[Nick H]

When I spoke of being unable to digest the subsequent posts, let me say that the NS quote simply filled my mind. I simply did not read the following posts, and still, so far, have not.

It was not in any way a criticism of what might have been said subsequently by others. Yes, I agree, of course, that NS's passage deserves prolonged consideration, but that is not to say that other things should not also be said. It is the nature of forums, of the internet, even of actual life, that the focus of a conversation moves, is lost, moves, is regained, only to move again.

Perhaps that quote deserves a thread all of its own.

[Dhanavendra]

Yes it must be discussed in another thread. That is why I wrote " Lets discuss " and did not start the discussion in the same thread. Nick don't be apologetic about what you posted. It is because of people like arasi, you and coolkarni that the forum is so lively and very real. You three have a knack of moderating flaring of temper which is so important in any discussion while many simply add fuel to fire.

[Nick H]

Thank you --- but I'm guilty of such flares of temper myself sometimes! <Blush>

I often wish I had Arasi's sense of composure

[arasi]

Composure? That word can be substituted with 'silly me'! Wish I had that quality. A royal name tag perhaps helps to gain such a compliment!Thanks anyway, Nick. You are kind. I will stop before someone brings up the MAS thing again, as if it is a schism...

[perarulalan]

Here are my two cents!! We have had in the past, threads discussing about bhakthi and carnatic music, the so-called (I quote)"preposterous replies" by a top artiste of current times, etc. Whenever we talk of Carnatic music, we had always looked at CM from the perspective of Bhakthi. Most of us agree that CM's Sangeetha Mummoorthigal have composed songs with lyrics that takes us closer to God. If that is the case, why not abhangs? Even abhangs and bhajans show us Bhakthi MArgam. I quote Smt. Aruna Sairam (her reply to a question on difference between Bhajans and Abhangs) from her MArgazhi Mahautsavam concert, " The aim is to realize or get closer to God. It is only the vehicle or the means of realizing God is different in these two forms of music". IMHO even CM can be included in the list!
However, when we consider the case of HM, though I dont listen much of HM, I personally feel, it is the beauty of the RAg that is being brought out, with emphasis on lyrics comparatively lesser than our CM. In my opinion, it is not correct to find out why HM artistes do not sing Thevaram and Thiruppavai.

[mridhangam]

Perarulalan sir

My contention was when Hindustani musicians who dont compromise on their style and tradition why we should do so in the name of catholicity and thereby bring in degeneration to Carnatic Music to what it is today in the names of crowd pullers, gate collectors, catholicity, acceptance etc etc and whatever terms that you may use ... This is this truth that i want to find out ...

JB

[saveri]

My question is ,'why not abhangs'.

It is yet another format , genre of devotional singing, in praise of the Lord, just like a Divyanaamam or Utsava Sampradaya Keerthanam or Dasar Pada.

Abhangs have been an integral part of the Bhajan Sampradaya , which has been given to the world by our very own South India, also maybe due to the confluence of the Marathas and Tamils culture in the Tanjore belt.

The issue is ' why ONLY Abhangs'.

Abhangs not only give us a pathway to salvation , but also it has given many artists a "Pathway to Success, Name and Fame". Such is the magical pull of abhangs !!!!. But to milk it so much, is something unbearable.

On the issue of pronunciation and clear enunciation, yes it would be good on the ears if the pronunciation is right. But so what if it were tamilised or hindiised or kannadaised ??? What matters is the bhavam and the devotion to singing.

If pronunciation and diction mattered so much, many of our 'vidvans ' and 'vidushis' will simply have to exit through the emergency gate !!! for all the 'kolais' in the many compositions rendered of the famed trinity and others.

In the bhajana singing, one hears absolutely Tamilised way of singing, Sathguru Vanchoni, for example, which can send a person who knows the language , to go into ripples of giggles.
The word Saapadena, is butchered so badly one hears, saapaadu, saapaattu etc. Saapadla in Marathi means, "found out".

At least if the classical artists make an effort, to learn the pronunciation correctly, (at least 85%) level, we will be able to appreciate the song better. If not we atleast should learn to praise them for the manner of rendition and the right bhavam of the song and just leave it at that.

[coolkarni]

..

[money]

The concert platform has chosen to use only a part of the repertoire available with the bhajana sampradaya. Today if one were to listen to all the Tyagaraja kritis available with us, one has to attend a bhajanai by an elderly bhagavathar.Most of them are not in the list of the concert musician.
Similarly the abhang has also has come in from the bhajanai/namasankeerthanam traditions to carnatic music.
The bhajana tradition of the south India is the most catholic of any traditions found in India.It has accepted within it, the abhangs and other outpourings of marathi saints, the works of the great dasas of Kannada,ashtapadis,tarangas,the works of krishna bhakti cult of Orissa and West bengal, Surdas bhajans, Meera bhajans, Oothukkadu Venkata Kavis songs,Bhadrachala Ramadas kirtranas,padams, etc. You name it and it has found its way into the treasure chest called the bhajanai tradition. Some of them may have been forgotten in the place of its origin, but it will still be there in the bhajanai.Tamil, Marathi, Bengali, Telugu, Kannada, Punjabi, Oriya, Sanskrit - all are sung with same fervour.Any language carrying the message of bhakti is good enough.
There is another reason for the abhangs, which were/are sung during the traditional pilgrimage to Pandharpur.It has got a rhythmic gait which is very special, reflecting the tempo of the walking and dancing of the varkaris, as the abhangs were sung mainly during the pilgrimage to Pandharpur, which were undertaken by the devotees walking all the way.
The intoxicating rhythms of abhangs must have been irresistible for some of the musicians to have them included in the concert menu.
Ashtapadis, tarangams,abhangs,etc on the concert platforms are the contributions from the bhajanai bhagavathars.
The unwillingness of Hindustani musicians to sing any carnatic pieces is a pet peeve of the carnatic rasika, who enjoys both the HM and CM with same passion.The truth is they cant. The general human tendency is to deride what one cannot do.Many of the leading HM musicians refer to CM with contempt Carnatic music is a difficult art.The gamakas, shakes and twists and turns and the rhythmic complexity are not easy for the HM practitioner to grasp.There are a few exception to the rule,like the ones who are primarily carnatic musicians who have taken to HM. There are other exceptions like Bade Ghulam, Abdul Karim Khan,Ajoy Chakrabarthy, who had respect for CM. In fact Abdul Karim Khan has even made sincere attempts to sing a few kritis.
Tukkudas add lilt and melody to a CM concert and I eagerly look forward to them in any concert.Whether abhangs, Meera or Kabir bhajans or the ashtapadis, the so called light uruppadis are very relaxing after a gruelling concert.
May the tribe of performers singing them increase.

[Druksh]

I have read all the comments, and there are a number of things that I must state here.

My introduction to CM was through abhangs. I started out listening to them, and then started listening to more "traditional" CM songs from other great artists. If it had not been for Abhangs, I would have never known telugu, sanskrit and tamil songs that are part CM.

It is not easy for a complete novice to appreciate CM songs. Also Indians are now spread out world over and it is difficult to find someone who has the patience to help a novice understand the complexity and beauty of CM. In such an environment Abhangs act as an important doorway, an easy point of entry from where one can then move on to other treasures of CM.

North/South -

South Indians think that Maharashtrians are North Indian. Marathi language falls under the Indo-aryan classification, but does not automatically make them North Indian.

The question I ask is this - Does language alone define a region? In fact culturally Maharashtrians have more links with the South than the North.

Vithala is a god revered both in Maharashtra and the South. Purandara dasa and Tukaram both wrote about Vithala. There are many other gods that have a huge following in Maharashtra and South India.

Also Maharashtra's geographical location means that there has been ample intermixing already.

In fact, I believe of all the Indo-Aryan (I did not say north Indian because that tag really does not apply to Maharashtrians fully) language Marathi is best suited for CM. Use the link-

http://but.unitbv.ro/BU2009/BULETIN2009 ... re_tot.pdf

Ok, now coming to the purist, traditionalist aspect of the discussion. CM has the power to accept new ideas (like violin, saxophone, guitar) without sacrificing the soul of the music. By this I mean, new ideas are not just taken but changed to suit CM. This also happens with abhangs, where the style of singing is such that it looks natural. Anything that does not suit CM will just not survive beyond the first concert!!

Also, this - http://www.youtube.com/watch?v=nfVufU_vC-0

I believe in future we will have Maharashtrians singing very good CM. In fact Maharashtra could be a source of new audiences and talent for CM.

CM always stands to gain form exploring new grounds. It is everlasting, it can take care of itself.

[cacm]

South Indian Music owes a lot to Maharashtra; Balagandharva was such an inspiration to Maharajapuram Viswanatha Iyer he used to listen to him before leaving for his concerts- according to the great expert S.Rajam whose absence we feel greatly-; Also lot of the Thanjavur stlye of mridangam came from Maharashtra thru' the Sarabhoji court in Thanjavur and the JEWEL OF THEM ALL Harikathakalehshepam is directly descended from Maharashtra. It is a pity we are blissfully unaware of the connections& contributions of MAHARASTRA. I am a Tam ilian from Madras....VKV

[kssr]

Abhangs are part of CM ....today. The discussion is therefore irrelavant.

There will be some artists who will perform to the gallery and sing Abhangs and other strange new things. There will also be pure singers. It is for us to choose which one to attend.

If a traditional udupi restaurant serves chaats- bhelpuri, etc.,- there is no point discussing if it is correct or wrong. There, you have it. If you want take it. If not take the other dishes. If you disapprove of the "concept" move on to the next restaurant

[arasi]

Druksh,
You have revived an old thread with a post which should make CM rasikAs happy because with your newfound interest you are adding to the number of CM listeners! We have heard from those whose families have been keen listeners of CM to which they were indifferent upto a point of time but when they heard a favorite film music director come up with a purely CM rAgam tune, they loved the song and became interested in CM instantly!
VKV says it well: there have always been friendly listening and exchanges between CM and HM (in a small way, may be) but surely among rasikAs and musicians over the years. In the tukkaDA (latter) part of a CM concert, an abhang or a bhajan has as much a place as any quick number like a tillAna. This is not something new either (abhangs have come into focus of late).
I think the objection to them is valid when a CM vocalist does not do justice to the major part of a concert by breezing through it with no exposition of heavier krutis in the main part but pile tukkaDAs up in the time slot where more elaborate treatment of rAgA, svarAs and neravals are to be presented.
About the tukkaDA section, some rasikAs are to be blamed too for requesting mostly songs which fall in the tukkaDA category! Gives the performer the impresion that the bulk of the audience comprises of casual CM listeners. Too many chits earlier in a concert, all asking for end of the concert songs may deprive the audience of listening to an RTP too, who knows?

[Druksh]

Yes, I think with CM and HM the "traditional" part should be done justice to. Abhangs are popular, but making the whole concert only about Abhangs is not ok.

Having said that, I think we should change the way we look at abhangs.

Abhangs over time could become a mainstay of CM!!! Marathi could be a addition to the languages already present!!!

CM thus far has only included South Indian languages, but I see no harm in including more songs from other languages!!

I know my suggestion would outrage some " purists", but think about it, infusion of new talent and new songs could bring in many more listeners to CM. And we can do this without compromising on the quality or the beauty of CM!!!

I hate use this example, but violin was adopted from west. Can you think of a CM without it now?
Sax was introduced a recently, and it too has caught on!!! Guess what there is also something known as Carnatic tabla!!!

Abhang, that is set in a CM raga, and sung with great quality should not be considered light music, or semi classical!!! There is really now difference between that song and any other "pure" CM songs!!!

CM is a great musical tradition, but change is inevitable.

[VK RAMAN]

Now a days, we have abhang/ashtapadhi only bhajans in addition to Hari bhajans, radha/sita/srinivas/valli/meenakshi kalyanams; so it is possible, if there is audience, to conduct abhang concerts!

[mohan]

it is possible, if there is audience, to conduct abhang concerts!

Indeed, Tukaram Ganapathy is well known for his abhang concerts and his explanations of them in Tamil

[bhavarasa]

So in retrospect, was MSS diluting CM when she sang "Hey Govind" OR "Hari Tum HarO" ?

@Harimau : You ask why not Abhangs in Bhairavi OR Shankarabharanam. I haven't heard many Thamizh Tukkadas in Bhairavi OR Shankarabharanam. I hear a lot of Behag, Desh, Paras, Hamsanandi etc.

So what aspect of Abhangs are you objecting to? The language? The style? The raaga?

Would you accept an Abhang in Bhairavi or Karaharapirya?

[munirao2001]

It was interesting to read this post and the replies.
1) The primary responsibility in preserving, continuation and enrichment of tradition lies with the performer. Performer offers music with novelty values, for rasikas patronage. To keep the music, classically excellent, performer has to do tapasya and it is highly demanding, perform with confidence that excellence will be appreciated by the rasika. Performer takes the relatively easier route for delivery of satisfaction to the rasika and for music with instant gratification. Rasika does not demand music/musial part, in the first instance. With easier instant gratification becoming habit, rasika shuns deep classicism and its long lasting values.
Rasikas attracted by novel feature(s) and taking deep interest in CM is very rare, while rasikas with/capable of deep interest in CM, turning away from Classical excellence is quite common.
2) The performing venue and the context of the performance should determine the selection. The inclusion of bhajan and abhang etc should be done only in temple concerts or thematic concerts. The sabha concerts, chamber concerts and concerts for delivering musical education-music school and colleges, must strictly conform to tradition.
3) CM is generally viewed as 'orthodox' and 'highly conservative' but, in reality the concert music of CM is blend of old and new values. Changes and adaptations are quickest, in meeting and serving the challenges of the changing times, preferences and perceptions.

[VK RAMAN]

Does supply create demand or demand creates supply? Performers solely cannot manipulate rasika demand fully IMHO

[arasi]

Northern sweet shops sell more goods or south indian sweet shops in Chennai? So long as there are consumers for all kinds of fares, it's fine.
However, serving rOTi with gObi manchurian in place of CuNDal and puLiyOdarai after a bhajanai session in good old Chennai is a bit out of place. Likewise, abhangs are fine, so are bhajans in a CM concert--however, may be one? If not, where would viruttams and tillAnAs go?
In the same breath, I would also like to put in a word for PD's songs. They don't have to be last but one numbers either (mind you, I'm happy they are included in a concert!). They deserve to be sung a little earlier in a concert and be given more time instead of being quick concert enders. And something in malayAlam too! After all, it's all about CM (southern music)!

[thenpaanan]

CM is a great musical tradition, but change is inevitable.

In that vein I have always wondered what makes a given song in a CM concert heavy or light. Is it the raga or the treatment of the raga or the pace or the lyrical content or the language of the lyrics or the composer or something else? Is it (theoretically) possible to sing an abhang (or any of the multitude of possibilities that serve as standard fare for 'tukkada") as a heavy piece?

There seem to be no clear rules or guidelines. I have a feeling that rasikas of yesteryear would frown at some of the "heavy" pieces sung today.

-Then Paanan