T M Krishna returns to Music Academy stage, capping a 12 months of upheaval for Carnatic panorama | Chennai Information

Earlier this month, the Madras Excessive Courtroom cleared the way in which for Krishna to obtain the Sangita Kalanidhi M S Subbulakshmi Award after a authorized battle that gripped Chennai’s cultural and authorized circles. The lawsuit, filed by Subbulakshmi’s grandson, V Shrinivasan, argued that the award violated her will, which purportedly prohibited memorials in her title. The court docket dismissed this declare, ruling that the award didn’t represent a memorial as outlined by the need.

Shrinivasan’s objections, nonetheless, went past legalities. He accused Krishna, an outspoken critic of caste in Carnatic music, of creating disparaging remarks about Subbulakshmi and her legacy. The controversy spiralled when distinguished Carnatic duo Ranjani and Gayatri withdrew from the Music Academy’s season, calling Krishna’s award a betrayal of the Academy’s values.

Of their critique, the sisters highlighted the Academy’s Brahmin-dominated management and accused Krishna of undermining Carnatic music’s spirituality. Their protest echoed broader debates about caste and exclusivity in Chennai’s December music season, typically seen as a bastion of Brahminical privilege.

They alleged that Krishna had induced “immense harm,” insulted Carnatic icons Thyagaraja and M S Subbulakshmi, and demeaned the spirituality of Carnatic music.

N Murali, president of the Music Academy, defended the award, citing Krishna’s musical excellence and accusing the sisters of slander. Krishna, for his half, remained silent all through the controversy.

On Wednesday, accompanied by R Ok Shriramkumar on the violin, Ok Arun Prakash on the mridangam, and N Guruprasad on the ghatam, Krishna introduced a repertoire that spanned centuries and sensibilities – from the classical compositions of Thyagaraja to the resonant verses of author Perumal Murugan and social reformer Sree Narayana Guru.

The spotlight was Krishna’s rendition of Murugan’s stirring strains, “Sundhadhiram vendum, ethaiyum pesa, ethaiyum ezhutha (We want the liberty to talk, write, sing, learn, and listen to something).”

Krishna’s journey evokes comparisons to Subbulakshmi herself, a determine synonymous with Carnatic music but a insurgent in her personal proper. Within the Forties, Subbulakshmi defied custom by singing Tamil compositions throughout a time when Telugu, Kannada, and Sanskrit dominated the Carnatic stage. Her advocacy for the Tamil Isai Motion – a marketing campaign to advertise Tamil compositions in Carnatic music – earned her a five-year ban from the Music Academy.

If Subbulakshmi’s rebel was rooted in linguistic pleasure and she or he was banned by the Academy, Krishna’s resolution was to boycott the Academy, difficult the caste and sophistication constructions that outline the Carnatic world.

“Krishna’s live performance on Wednesday was undoubtedly profitable… However there was a silent boycott of the Academy this 12 months; it was seen this music season. Liberals like Krishna or others who averted the Academy for concert events this 12 months will return eventually as a result of there may be nothing a lot to attain right here besides the music,” mentioned somebody related to the Academy for many years.

An attendee on the live performance mentioned that whereas “Krishna modified his boycott resolution after 10 years, the Music Academy hasn’t modified a lot”. “Whereas honouring Krishna, it should additionally heed requires reform, diversifying its management and increasing its viewers past the Brahmin elite if making Carnatic music extra inclusive is an actual concern,” the attendee mentioned.