Why The Future Of Carnatic Music May Lie Outside Chennai

A few months back (sometime in September), I was at a chamber concert of a young musician in Bengaluru. This was a performance for a closed group audience at a private place. The singing was remarkable, especially when it came to manodharma explorations (creative attempts).

Later, I got talking to the singer's father, who manages his singing career. The dad, an articulate gent, was matter of fact in his summation. "This being a singing session in an informal setting, my son was under no pressure. He could give wings to his imagination. If it were a performance in any of the mainstream platforms, he would have been more circumspect," he said. 

From what I could gauge with my little musical sensibility, the youngster was a special talent. Of course, he has been well noticed in musical circles and is being talked of very highly. But when I asked for his schedule in Chennai sabhas during 'the Season', the dad's face changed expressions. The benign face became stern, and the jaw clenched. "Don't get me started on that," the man who till then was soft-spoken now presented an abrasive tone. "He is not performing in Chennai," he said pointedly. 

Why? I asked incredulously. "After all, Chennai is the headquarters of Carnatic music," I added, thinking I was stating something innocuous and accepted.

"That is the problem," the singer's dad shot back as he quickly went on an impassioned diatribe against Chennai sabhas and its alleged step-motherly treatment to talents from elsewhere. 

The singer's father also put me on to a few other musicians in Bengaluru, Thiruvananthapuram and Mysuru who also opined that Chennai's sabha system, as it exists today, is not all that welcoming to those from other places. None of them, unfortunately, was willing to go on record for this story as they didn't want to upset their fledgeling careers. "You can take it from me," one youngster told me firmly, "the system is doing a disservice to many young talents".

Is this really the case or is it some kind of slight assumed by young performers who do not know the place and its language? 

But recognition not forthcoming to elder musicians, too 

In February 2024, D Seshachary, one of the Hyderabad Brothers (the other being D Raghavachary) passed away. The duo was certainly among the doyens in Carnatic music with strong adherence to the great traditions of the hoary art. Both belonged to a family of traditional classical musicians, and had been performing as professionals since the mid-70s. Their singing style, in their hey period, was compared to that of the legends Alathur Brothers (Srinivasa Iyer & Sivasubramania Iyer).

The Hyderabad Brothers, despite being from the eponymous city in their title, were regular fixtures in Chennai's musical circuit and had performed in almost all the main sabhas and also won important awards here.

"It is all fine. But were they bestowed with the Sangita Kalanidhi, the one considered the most prestigious,?" asked K V Rao, a veteran journalist from Andhra. Alathur Brothers were handed successive Sangita Kalanidhis in 1964 and 1965. But no such luck for the equally famed Hyderabad Brothers.

"Many lesser talents have got the Sangita Kalanidhi but not the two Vidwans from Hyderabad. I put this down to some kind of bias," he added. Since 1985 or thereabouts, there has been hardly anyone from outside of Chennai's hallowed circles who has got the Sangita Kalanidhi. Since the beginning of this century, in 25 years, not even one non-Tamil has got that coveted title. 

"The last real non-Chennai person to get the award was," according to Rao, "vocalist Sripada Pinakapani and veena maestro Doreswamy Iyengar in '83 and '84 respectively". In its entire history itself the Kalanidhi award has rarely gone to 'outsiders'.

"In the past, 'Chembai' and Balamuralikrishna were legends who couldn't be overlooked and hence got their awards. But even they had to have a base in Chennai to become accepted by the Carnatic music community here. So was the case of Chittoor Subramaniam Pillai." 

In a homage meeting for D Sesachary at Hyderabad later, many musicians made implicit comments that suggested that he (and his brother) would have been considered bigger stalwarts had they hailed from Tamil Nadu or operated out of Chennai. 

But if musicians gravitate towards a city which provides more opportunities to them, how can you hold that against that place? Isn't this a normal happening in any sphere of activity?

But the city hasn't been all that inclusive  

In March 2024, the Music Academy announced its Sangita Kalanidhi to TM Krishna and polarised the entire Carnatic music fraternity. The impassioned debate, however, was pivoted on his controversial views and unacceptable takes on MS Subbulakshmi. 

In its aftermath, I found myself amidst a bunch of Carnatic musicians at a small birthday jamboree of another musician. The talk inevitably crept into the award that was to be conferred on Krishna. One middle-age instrumentalist was a bit aghast. No, not at Krishna getting the award. But the continued snub to KJ Yesudas. The young man did not hold himself back. "I can't think of anyone more deserving of this honour than Das anna. But he will never get it."

He added: "Read the award citation to Krishna, it actually fits Das anna to a T". The man then pulled out his mobile and drew our attention to this particular part of the citation: "...he has experimented widely with its format. He has also worked towards expanding the listener base of the art by taking it to varied social settings and focusing on its exploratory as opposed to tightly defined structures. He has used music as a tool for social reform."

"Don't you think Das anna has done this and more? Then why ignore him?" he asked rhetorically.

A person like Yesudas performing Carnatic music at the highest level is in itself social reform, the young singer said, and added "I can't think of anyone who has brought in more new rasikas to Carnatic music than Das anna who used his cinema popularity to great effect. It can be even argued, at least theoretically, that because of him Carnatic music managed to hold its appeal among the youth in the otherwise dormant 1980s". 

Yesudas had his base in Chennai. He was no less popular here. But still bigger honours in Carnatic music eluded him. Whose fault is this? Why hasn't he not got the honour? 

The other side of Music Season

All through the Music Seasons of the last few years, the one thing that greeted the fans who hopped from one sabha to another in search of new talents was empty halls. Yes, save for the concerts of a couple of top performers like Ranjani & Gayathri and Sanjay Subramaniam, none of the performers manage to get a full-house. Middle-level vidwans at best manage to fill half or three-quarters of the hall. Only the coveted 7 p.m. or the primetime slots, especially on weekends or holidays, see good response. Otherwise, it is all played to halls filled with the friends and relatives of the performers.

Chennai boasts of close to 150 sabhas with around 25 to 30 being very active especially during the Season. But the gate collection, including season tickets, contribute to less than Rs 2 crore (a pittance really) during the near 45-day season. For contrast, sabha canteen revenue during the same period, is claimed to be around Rs 6 crore. In fact, sabha canteen visits have become more popular than the actual music.  

It is indeed an alarming state of affairs for a musical season that is usually talked about across platforms. In such a scenario, can Chennai be allowed to call itself the notional capital of Carnatic music? 

How Madras/Chennai became the hub for South Indian classical music is in itself interesting. Much of it was due to the fact Madras was the centre of all operations in southern India for the Britishers from the 17th century. Under the ambit of Madras presidency, it held suzerainty over large parts of southern India, not just Tamil Nadu.  

Of course, the city and its many temples (especially the ones in Mylapore and Thiruvottiyur) had been a muse to many composers. The legendary Saint Thyagaraja too is said to have visited Madras in his times.  

But in relatively modern history, the city's strategic location and status as an administrative centre attracted musicians, scholars, and patrons from across the South. This convergence laid the groundwork for its association with Carnatic music.

The strange sabha culture genesis

If you are talking of institutional efforts, the establishment of sabhas in the late 19th and early 20th centuries, was crucial in shaping Madras as the epicentre of Carnatic music. The Sri Parthasarathy Swami Sabha, founded in 1896, is probably the oldest sabha in Chennai. It was perhaps the first one to provide a platform, away from temples and weddings, for musicians to perform and connect with audiences, fostering a vibrant musical community.

The founding of the Madras Music Academy in 1928 was a turning point, as it was conceived as part of the All India Congress Session. With top national leaders adding their weight behind it, the Academy became a cornerstone for the promotion and preservation of Carnatic music. It organised annual conferences, set standards for performances, and encouraged scholarly discussions on music theory and practice.

Madras also benefited from the patronage of wealthy families and institutions. This support helped create a thriving ecosystem for musicians and composers, ensuring the city's dominance in the field. The city's accessibility, with its well-connected transport networks and infrastructure, made it an ideal location for artists and audiences to converge. The presence of recording studios, media outlets, and educational institutions further contributed to its prominence.

The Margazhi Music Season, seen as a pioneering effort by the Madras Music Academy, was the one that over the years solidified Chennai's status as the bulwark of Carnatic music. No other city has seen anything like that before or since. 

A forbidding state of affairs

The Margazhi season and emergence of sabhas-dominated culture, however, may have, wittingly or unwittingly, created a near-ironclad barrier to entry for outsiders. "Tamil Nadu seems to have institutionally monopolised Carnatic music, and the sabhas prioritise performers who fit their mould — typically those with roots in Tamil Nadu," says Rao. 

Carnatic music is deeply tied to identity and pride. Tamil Nadu can of course take legitimate pride in being the 'preserver' of this classical tradition, but that pride often manifests in gatekeeping. "Musicians from other states might bring fresh perspectives or regional nuances, yet these are sometimes dismissed or undervalued because they don’t align with the accepted version of 'authenticity' here," Rao points out.

Then there is also this allegation that musicians in Tamil Nadu are cliquish. And in any case, the system is heavily network-dependent. From major sabhas to smaller community concerts, the opportunities are often reserved for insiders — artists with strong local connections, family legacies in Carnatic music, or mentors firmly entrenched in local circles. Musicians from other states have to work twice as hard to break into these networks, which often operate on a version of nepotism, as is the case in any other field.

Musicians from other States also allege that TV channels, radio stations, and print publications tend to promote Tamil Nadu artists. "Performers from Karnataka, Kerala, or Andhra Pradesh find it hard to secure coverage, leaving them to carve out smaller niches through social media or regional platforms," says V Lakshmi, a music research-scholar from Thiruvananthapuram. 

Even though music, per se, doesn't have language barriers, the human mind can harbour some. There may be some implicit bias in fans' choices too, Lakshmi adds. "The narrative of Tamil Nadu as the custodian of Carnatic music often perpetuates this mindset."

It’s not all bad news, though. The dynamics are shifting in small yet impactful ways. Festivals outside Chennai are growing in stature, and collaborations between artists from different states are challenging traditional hierarchies.

Bengaluru emerges in a big way

Cities like Bengaluru and Hyderabad, more cosmopolitan and vibrant, are stepping up to meet the challenges that up-and-coming Carnatic musicians face. Of course, both Kannada and Telugu as languages are also intrinsic to Carnatic music.

Both have hoary connections to the art. Karnataka is the birthplace of Purandara Dasa, often referred to as the 'Father of Carnatic Music.' He is believed to be instrumental in systematising the teaching of Carnatic music by introducing structured lessons, such as the sarali varisai (basic exercises), which are still followed today.

His association with the Vijayanagara Empire, which had its influence over parts of Karnataka, ties Bengaluru to this foundational period of Carnatic music. 

The Vijayanagara Empire was a major patron of the arts, including Carnatic music. The empire's rulers supported musicians and composers, creating a thriving cultural environment. Bengaluru, as a part of this region, inherited this legacy of musical patronage. Apart from Purandara Dasa, other Kannada composers like Kanaka Dasa and Vijaya Dasa have enriched the Carnatic music tradition with their devotional compositions. 

During the reign of the Wadiyar dynasty in Mysore, Carnatic music flourished under royal patronage. The Mysore court was known for its support of composers like Mysore Vasudevacharya and Muthiah Bhagavatar, who contributed significantly to the Carnatic tradition. 

Today, Bengaluru hosts a variety of music festivals, but unlike Chennai's Margazhi season, its festivals are spread across different times, often coinciding with Hindu festivals like Ramanavami and Mahashivaratri. Events such as the Sri Rama Lalitha Kala Mandira Festival and the Ramanavami Music Festival have been instrumental in bringing many a talent to the forefront. It is also home to numerous cultural institutions and sabhas that actively promote Carnatic music. 

But Bengaluru being Bengaluru, concerts are not confined to traditional venues; they are also held in unconventional spaces like cafes, open-air theatres, and even corporate settings. This approach makes the music more accessible and relatable to a broader audience, including those who may not have grown up with the tradition. Bengaluru-based startups and tech-savvy musicians are also exploring innovative ways to blend Carnatic music with other genres, appealing to a global audience.

Bengaluru's cosmopolitan nature attracts people from various cultural backgrounds, creating a unique audience for Carnatic music. This diversity enriches the concert experience, as performers often tailor their presentations to resonate with a wider demographic. 

Hyderabad not far behind

Hyderabad's Carnatic music scene too is vibrant and steadily growing. Telugu being the chosen language for all the legends of the genre, its affinity is natural.  If you take out Saint Thyagaraja's krithis out of Carnatic music, you are taking out its heart and soul.

Hyderabad, like Bengaluru, has several prominent venues and events dedicated to Carnatic music. For instance, Saptaparni is a cultural hub in Banjara Hills, known for its intimate and acoustically rich setting. It regularly organises Carnatic music concerts.

The Sri Pannalal Bansilal Pitti Kalyana Mandapam in Khairatabad often hosts concerts in collaboration with organisations like Sangeetha Ksheera Sagaram and Vignana Samithi.

The Hyderabad Tyagaraja Aradhana Music Festival, the five-day annual festival has all top performers descending on the city to make their presence felt. The city's audience for Carnatic music too is diverse, reflecting Hyderabad's multicultural identity. 

Social media, the saviour

When you talk of Bengaluru and Hyderabad, can technology be far behind? The two cities have had a major role to play in infusing technology and social media platforms into the world of Carnatic music.

The rise of digital platforms has given performers direct access to audiences. Social media platforms are musical sabhas in themselves, and they are the preferred space for many musicians, young and old alike. Performers like Sanjay Subramaniam, Aruna Sairam, Rajhesh Vaidhya, Abby V, Sudha Raghunathan, Mahesh Raghavan are social media stars in their own right. 

Social media platforms have revolutionised the way Carnatic musicians connect with audiences, breaking traditional barriers and expanding their reach. They are now reaching audiences who might not have access to traditional concert venues.

Musicians are embracing Instagram Reels, YouTube Shorts, and live sessions to showcase their art. These bite-sized, engaging videos resonate with younger audiences and make Carnatic music more approachable. These platforms allow artists to share brief yet impactful clips of their performances, showcasing their prowess in manodharma (improvisational creativity) or mastery over complex ragas. Such bite-sized content is effective in holding an appeal to modern audiences with shorter attention spans.

While the benefits of social media are manifold, the shift has also presented challenges. The algorithms that prioritise attention-grabbing content may inadvertently sideline the depth and complexity intrinsic to Carnatic music. Musicians must balance the need for wider visibility with the integrity of their art form.

But as the musicians become more savvy, both in terms of technology as well as presentation, they tide over these problems with alacrity. In fact they use technology for their music itself. Someone like Mahesh Ragavan makes music out of his ipad (mostly on the app GeoShred). It is now a versatile instrument with many young aspirants taking to it. 

Social media also allows musicians to craft their personal brands. By sharing behind-the-scenes glimpses, practice sessions, and personal stories, artists are able to create a deeper connection with their followers, fostering loyalty and engagement. The new platforms facilitate collaborations between artists, both within the Carnatic music community and across genres. A Sikkil Gurucharan, for instance, is able to make a scholarly dissection on the film music of Ilaiyaraaja. Not just him, many others like Ranjani-Gayathri are also attempting this. This has been possible because modern technology allows old music to be accessible for smart analysis.

Twitter and Instagram often also serve as meeting grounds for musicians to initiate dialogues, share ideas, and coordinate collaborative projects. These collaborations have resulted in innovative musical fusions that appeal to a broader demographic, blending the classical with the contemporary.

Furthermore, crowdfunding initiatives for albums, concerts, or musical festivals often gain traction on these platforms, enabling musicians to pursue ambitious projects that might not have been feasible through conventional funding channels.

Young musicians from smaller towns or regions are able to reach international audiences without the need for extensive travel. This democratisation of access ensures that talent is recognised regardless of location.

Social media has also become a launchpad for aspiring artists who might otherwise struggle to gain recognition in traditional circles. Young talents from underrepresented regions are showcasing their skills through curated performances, gaining followers and admirers without relying on established sabha networks.

This shift is particularly significant for musicians from Bengaluru, Hyderabad, and beyond, who often face challenges in penetrating Chennai's tightly knit sabha ecosystem.

In the social media universe, Chennai is no different from, say, Chicago. And a viral musical content can bring respect and reach higher than Sangita Kalanidhis. This is not to belittle the existing awards, but merely used as a pointer to say that other options have arrived well and truly for Carnatic musicians, and no one city or sabha can claim to be the sole custodian of this great art.