These days a certain Carnatic musician who goes by the name T M Krishna (TMK for short!) has caught my fancy as a subject of study. And, for good reason too. He is a member of the youth brigade (1976 born, Aquarian) in the Carnatic music world and appears to be on a mission to change the game.
Well, these are not words that you would use when you refer to Carnatic music. Traditions are paramount in the performing arts in India and musicians see themselves as custodians of practices that have been handed over many generations. But to put TMK in the same bracket of musicians would be doing huge injustice to the man for he has sought to retain the traditions while breaking boundaries - real and imaginary - in his own style, but not for a moment diluting the core of our cultural heritage.
First of all, look at the way he dresses. Would you have looked at this picture and thought for a moment that this guy is amongst today's better known and well regarded Carnatic musicians? He looks like any other youngster. But the paati (grandmum) marvels at his talent and sees the divine in him; the maami (aunt) indulges him and wishes that he were her son or at least her son-in-law and the thangai (little sister) would giggle like a silly teenager when thrown in front of him.
This is far removed from the image of Carnatic musicians who sported the trademark white dhoti and kurta and would always be seen in shades of white of the same dress combination. TMK is equally comfortable in his jeans as he is in a dhoti and kurta, it seems. There are pictures of him on the internet sporting colourful kurtas with bright embroidery or zari for embellishments. So, he somehow does not fit the image of a Carnatic musician in my eyes......At a recent concert that I attended, he wore a brown shirt that had white lotuses, in different sizes, printed on them - very Balinese prints. A rasika recently seeing TMK's shirt was prompted to wonder "yenna avar sofa cover thuni vechi sattai techuindurukar" (he has used upholstery material for his shirt!).
And, then he dons a kadukkan (ear stud). Well, there is nothing novel in it and it has always been a practice for men in TMK's community to wear one. But he has turned the kadukkan to a fashion accessory. They come in different designs on his ear. One fan mentioned recently that he was inspired to pierce his ear and sport a ear stud after seeing TMK with one.
Now look at his face - his beard is here now, it's gone now......and, the newly acquired moustache has a distinct handle bar like look. Recently he has begun wearing spectacles to his concerts. A lady who was sitting next to me at the concert was caught scribbling a brief note to her friend which said "I don't think those glasses have any power, they are merely for style......". Since the time when MS' Kanchivarams were discussed, do you remember a time when an artiste's appearance has been a topic of conversation amongst the Chennai music aficionados? That would have been blasphemy. So, he has managed to stir things up and for good reason too. I am sure that will bring him closer to the younger rasikas.
On another note, I would urge you to listen to TMK sing with your eyes closed or open. I say this because the experience is different and yet the same with your eyes closed or open. If your eyes are closed, you will find yourself transported to a different world - a world that is pure, creative and evocative. If your eyes are open, you cannot miss TMK's mannerisms and idiosyncrasies as he renders beautiful music. He keeps time with both hands (a no-no amongst the traditionalists, I am told), he fiddles a lot, his face is frequently in contortions as he is one with the music that he delivers. But what touches you is the virtuosity and emotion in his singing. That is what gets to you through all the mumbo jumbo.
Another remarkable aspect of this gentleman is that in a concert, he is always commending the performance of his accompanists. He encourages them, jokes with them, takes their inputs when deciding on songs and shares the limelight with them. So, his concerts do not seem like that of a star which outshines the planets that revolve around it. There is a certain wholeness to the presentation in which everyone has a role to play. Individually and collectively the team stands out.
He reaches out to his fans and followers. He is pretty active on Facebook. He takes questions from his fans, advices wannabes, takes a stand, argues vehemently and acknowledges comments. His music reaches thousands of rasikas through webcasts. He has a tastefully designed website. He is technology savvy, it appears, as he relies on numerous gizmos for his concerts. I understand he is particular about the sound system in the halls where he performs. He is known to support several causes and is associated with many social organizations. All these would have been quite unthinkable for musicians of yore and many of them chose to maintain their distance from their fans as they sought to raise their stature by staying aloof.
He is known to be ready for a good fight. Not one to easily suffer insults and ignorance, he takes on the mighty - the sabhas, N Ram and many more. He cajoles his audiences who rise to leave during the thaniavarthanam (solo percussion interludes) to stay, he requests a minute from rasikas who are making a beeline to the exit as he starts the Mangalam (concluding thanking prayer). He is willing to put a fight and not take anything lying down. And, all for a good cause. I believe it is to put classical Carnatic music where is belongs, rightfully - up there, not to be messed around with.
TMK has a reputation. He is supposed to have loved and married a married lady, a fellow performer. He appreciates good single malts, I understand, from an interview of his that I read a few months ago. And, when the new restaurant serving Greek cuisine opened its doors in Chennai, your truly was indeed surprised to see TMK amongst the patrons. These are behaviours and indulgences that do not sit well amongst the so-called traditionalists. Not for moment has any of this rubbed on his reputation of being an erudite and scholarly practitioner of musicology. With him you always feel reassured that this art form is in safe hands.
Disclaimer: I have written the above based on some research, little hearsay and opinions, mostly my own. So, I do not vouch for its entire truth.There is a curiosity about TMK and I have conjured this piece to satisfy that. The pictures for this article have been downloaded from the internet and are not my own.
Well, these are not words that you would use when you refer to Carnatic music. Traditions are paramount in the performing arts in India and musicians see themselves as custodians of practices that have been handed over many generations. But to put TMK in the same bracket of musicians would be doing huge injustice to the man for he has sought to retain the traditions while breaking boundaries - real and imaginary - in his own style, but not for a moment diluting the core of our cultural heritage.
First of all, look at the way he dresses. Would you have looked at this picture and thought for a moment that this guy is amongst today's better known and well regarded Carnatic musicians? He looks like any other youngster. But the paati (grandmum) marvels at his talent and sees the divine in him; the maami (aunt) indulges him and wishes that he were her son or at least her son-in-law and the thangai (little sister) would giggle like a silly teenager when thrown in front of him.
This is far removed from the image of Carnatic musicians who sported the trademark white dhoti and kurta and would always be seen in shades of white of the same dress combination. TMK is equally comfortable in his jeans as he is in a dhoti and kurta, it seems. There are pictures of him on the internet sporting colourful kurtas with bright embroidery or zari for embellishments. So, he somehow does not fit the image of a Carnatic musician in my eyes......At a recent concert that I attended, he wore a brown shirt that had white lotuses, in different sizes, printed on them - very Balinese prints. A rasika recently seeing TMK's shirt was prompted to wonder "yenna avar sofa cover thuni vechi sattai techuindurukar" (he has used upholstery material for his shirt!).
And, then he dons a kadukkan (ear stud). Well, there is nothing novel in it and it has always been a practice for men in TMK's community to wear one. But he has turned the kadukkan to a fashion accessory. They come in different designs on his ear. One fan mentioned recently that he was inspired to pierce his ear and sport a ear stud after seeing TMK with one.
Now look at his face - his beard is here now, it's gone now......and, the newly acquired moustache has a distinct handle bar like look. Recently he has begun wearing spectacles to his concerts. A lady who was sitting next to me at the concert was caught scribbling a brief note to her friend which said "I don't think those glasses have any power, they are merely for style......". Since the time when MS' Kanchivarams were discussed, do you remember a time when an artiste's appearance has been a topic of conversation amongst the Chennai music aficionados? That would have been blasphemy. So, he has managed to stir things up and for good reason too. I am sure that will bring him closer to the younger rasikas.
On another note, I would urge you to listen to TMK sing with your eyes closed or open. I say this because the experience is different and yet the same with your eyes closed or open. If your eyes are closed, you will find yourself transported to a different world - a world that is pure, creative and evocative. If your eyes are open, you cannot miss TMK's mannerisms and idiosyncrasies as he renders beautiful music. He keeps time with both hands (a no-no amongst the traditionalists, I am told), he fiddles a lot, his face is frequently in contortions as he is one with the music that he delivers. But what touches you is the virtuosity and emotion in his singing. That is what gets to you through all the mumbo jumbo.
Another remarkable aspect of this gentleman is that in a concert, he is always commending the performance of his accompanists. He encourages them, jokes with them, takes their inputs when deciding on songs and shares the limelight with them. So, his concerts do not seem like that of a star which outshines the planets that revolve around it. There is a certain wholeness to the presentation in which everyone has a role to play. Individually and collectively the team stands out.
He reaches out to his fans and followers. He is pretty active on Facebook. He takes questions from his fans, advices wannabes, takes a stand, argues vehemently and acknowledges comments. His music reaches thousands of rasikas through webcasts. He has a tastefully designed website. He is technology savvy, it appears, as he relies on numerous gizmos for his concerts. I understand he is particular about the sound system in the halls where he performs. He is known to support several causes and is associated with many social organizations. All these would have been quite unthinkable for musicians of yore and many of them chose to maintain their distance from their fans as they sought to raise their stature by staying aloof.
He is known to be ready for a good fight. Not one to easily suffer insults and ignorance, he takes on the mighty - the sabhas, N Ram and many more. He cajoles his audiences who rise to leave during the thaniavarthanam (solo percussion interludes) to stay, he requests a minute from rasikas who are making a beeline to the exit as he starts the Mangalam (concluding thanking prayer). He is willing to put a fight and not take anything lying down. And, all for a good cause. I believe it is to put classical Carnatic music where is belongs, rightfully - up there, not to be messed around with.
TMK has a reputation. He is supposed to have loved and married a married lady, a fellow performer. He appreciates good single malts, I understand, from an interview of his that I read a few months ago. And, when the new restaurant serving Greek cuisine opened its doors in Chennai, your truly was indeed surprised to see TMK amongst the patrons. These are behaviours and indulgences that do not sit well amongst the so-called traditionalists. Not for moment has any of this rubbed on his reputation of being an erudite and scholarly practitioner of musicology. With him you always feel reassured that this art form is in safe hands.
Disclaimer: I have written the above based on some research, little hearsay and opinions, mostly my own. So, I do not vouch for its entire truth.There is a curiosity about TMK and I have conjured this piece to satisfy that. The pictures for this article have been downloaded from the internet and are not my own.