“It is the largest Indian classical music festival in the south, only second to the December Music Season in Chennai,” says S.N. Varadaraj, the general secretary of Sri Rama Seva Mandali, talking about Ramanavami celebrations in the city and particularly about the festival organised by his mandali in April each year. “This year, we are going to have 31 days of music with a participation of around 300 national and international artists, a national youth festival, a ‘Ragam-Tanam-Pallavi’ competition, an award ceremony, upanyasa series…” he adds breathlessly. This, of course, is the story of this year’s Chamarajpet edition of the festival, and one is told that this is the scaled down version of the festival that used to be longer and grander too. Organised by the oldest group in the city, the Chamrajpet-Fort chapter of Ramanavami celebrations began roughly 75 years ago. Today, it has assumed a scale of mythic proportions.
At the same time, Fort is just one location on the map of Ramanavami celebrations in the city and as is the case every year, this year too, the city will be choc-a-bloc with concert series, felicitations, and coronation ceremonies. A survey of the different mandalis and their plans for this year make it clear that Chamarajpet is hardly alone when it comes to upping the scale of the celebrations. “We are spending close to Rs. 1 crore this year for Ramanavami celebrations,” says Purushottam, the general secretary of the Sri Rama Temple in Vyalikaval. “We were initially planning to place a golden crown on the idols of Rama, Lakshmana, Sita and Anjaneya but due to budget constraints, we can only give Rama the crown,” he adds. The Sri Rama Temple also plans to conduct 31 days of music concerts, will felicitate Pt. Venkatesh Kumar, and will inaugurate a brand new gopura too.
Now, the question, however, is this: Is grand essentially better? Residents of Bangalore and veteran connoisseurs of music recall a time when Ramanavami celebrations were humble, were strictly an occasion for a community to get together and an excuse for art lovers to listen to their favourite musicians. “I used to walk from Malleswaram to Fort to listen to MLV and M.S.Subbulakshmi. That it was happening at the Fort and was organised by a mandali with a name was just incidental. I do not understand this fascination for making everything grander and bigger. Why should we?” asks Dr. Raghavendra of the Ananya Trust.
The map of mandalis also consists of the smaller pandals who can barely compete with the opulence of the bigger organisations. One such location is the Karanji Anjaneya temple in Basavangudi. Just a lane away from the noisy and busy Bull Temple Road, the quietude of the lane in which the temple is located gives it a unique and calm character. There is a lone placard propped up against a pillar that gives out details of the ten day concert that the temple is about to host this month. “Of course, it is rather wonderful that the city will be full of music during this month and this should be encouraged. But those who have the means can only organise a big festival,” says A.L. Badrinath, the head priest of the temple.
Has music overtaken the idea of Ramanavami itself? Badrinath says little but his expressions are telling. “Yes, it is true that Ramanavami now has become only about music concerts. But, that’s also a good thing I guess…” he says.
What kind of role should music play in a festival like this then? Should it be an accessory to the celebrations of a mythological hero? Or is Ramanavami just an excuse to host music festivals? Many believe that music has become the main focus at these festivals, and while that is a good thing for art, the craze to bring headliner artists and host a mega event, may not really serve the cause of music either.
“Personally, I don’t think any connoisseur of music can digest or be regaled by 31 days of continuous music. On top of that, this fascination for bringing the big stars of the field! What about local talent? This kind of clamour for attention is an unrealistic way to serve art,” insists Dr. Raghavendra.
“I make it a point to give preference to local talent alone. The other stars will always get such opportunities,” says Badrinath.
The second oldest organisation to conduct Ramanavami celebrations, the Sheshadripuram Ramaseva Samithi, believes that a music concert is a logical end to the process of observing Ramanavami. “The rationale behind many festivals is now driven by convenience. It is not possible to travel to different locations of the city. Therefore, each locality hosts its own festival. That said, we don’t believe in competing. Whatever, we can do, we will. Music and devotion go hand in hand. We don’t compromise on either,” says V. Tarakram, the head of the organisation.
Across the city today, there is a preparation for celebration, placards displaying the names of donors and sponsors and each pocket all set to outshine the other. What seem absent though in all the grandeur are aspects of a deliberation on Rama, the icon, his relevance and significance today and the culture of Ramanavami as it was known once, as a humble community gathering in the bylanes of Bangalore where panaka and kosambri would be served to one and all. Even, the music has assumed a gala proportion, one that is difficult to fathom and music festivals have become identical, gushing to be the ‘best’, almost akin to a race.
“There is art for art’s sake and then there is art for the glorification of organisers. With Ramanavami, I feel that the latter is happening. Ideally, art need not be associated with any God. If the energy and money that is used to organise these Ramanavami celebrations is spread over a year to conduct a variety of activities related to music, then that would be a great service to both art as well as Rama…” says Dr. Raghavendra.
