More than just music

Ramanavami is here. In most parts of Karnataka, the festival is celebrated with music. If December is big in Chennai, Ramanavami season brings back a host of memories to the music loving Kannadiga

March 26, 2015 08:54 pm | Updated 08:54 pm IST

Practically every yesteryear legend has performed at the Ramanavami season, not once but for several years

Practically every yesteryear legend has performed at the Ramanavami season, not once but for several years

As the Ugadi fervour in the city seems to settle, there is excitement brewing in many parts of Karnataka. With a rich tradition spread over more than a century, the Ramanavami music concerts in Karnataka are second to none in the country.

Be it the Wadiyars ruling Mysore or Mahatma Gandhi at the helm of the Freedom movement, the idea of building an ideal state – the Ram Rajya was paramount in their minds. Thus the celebrations of the ideals of Lord Rama, who himself was endearing to everyone irrespective of their caste or creed gained prominence. And this showcased itself through the celebrations of Ramanavami.

Dr. Nagaraj from Mysore adds, “It was Sundara Shastri who first started the Rama Navami concerts in Mysore, in the year 1885 and it is still continuing!” Stalwarts such as Bidaram Krishnappa, who had constructed a temple for Lord Rama in Mysore, began organising music concerts during Ramanavami. This served not only as a platform for promoting music and other performing arts but also gave an exposure to the common man who would otherwise not have had an easy access to such fine arts. With the loss of Rajashraya – the sanctuary that the royalty had provided to many singers and dancers, the way to sustain the art as well as their livelihood was by performing for the people. Thus, the music concerts gained a lot of prominence and those conducted during special festive occasions held greater significance. In order to accommodate several forms of performing arts, including vocal music, instrumental, harikathe among others, the celebrations would last for several days and were mainly held in the vast courtyards of the temples.

In 1939, thanks to the efforts of the late S.V. Narayana Swamy Rao and the support of T. Chowdaiah, Jayachamaraja Wadiyar and others, the now famed Rama Seva Mandali concerts began in Bangalore. Initially held at the City Institute, the event scaled to such great heights that the Fort High School grounds started being utilised for this purpose. Spread over nearly a month, the event brings together some of the leading musicians from around the country, belonging to both Hindustani and Carnatic traditions. 10 years later, the Seshadripuram Rama Seva Samiti concerts started wafting in the melodic airs of Bangalore. The Seshadripuram music concert has since its inception remained free for the music enthusiasts.

The memories of the concerts being held early on at the Fort High School grounds is one that does not fade for people who have been religiously attending these concerts for several years now. “Those were far simpler days. People from South Bangalore, especially belonging to Chamarajpet and Basavanagudi areas would walk to the Fort High School grounds after their evening chores and return late in the night. It was an event that the entire family would look forward to with bated breath. People who came together would still sit far and apart from each other so that they don’t end up doing idle chats during the concert. Many established singers would perform there and continue giving performances in other parts of Bangalore – specifically Sheshadripuram and the Odakattur Math,” remembers Manoj, who had attended the concerts during its hay day. “MS’ concert used to be held on the last day. On that day, people would assemble since 5 p.m. itself. MS would arrive by 6.30 p.m.with her family. After tuning the tanpura, at 7 p.m.sharp, she’d invoke the Dakshinamurti Stotra and regale the audience for three hours. There was an occasion when she sang till 11.15 p.m. which was also telecast on the radio,” he remembers fondly. For months together people would recollect such performances and eagerly look forward to the concert next year.

For Mrs. Srilata Iyer the event brings back memories of her sitting on her father’s bike and visiting the music concerts. “There were such stalwarts like Madurai Mani Iyer, Semmangudi, Ariyakudi Ramanuja Iyengar, Tiger Varadachar, DKP, MS and MLV who’d perform with such dedication and devotion. For them this was a platform to offer their musical services to the Almighty.” Manoj voices in, “It may be a coincidence or not, but whenever MS sang “Daasana maadiko enna”, it would start raining. But people wouldn’t budge from their place. Whether she was singing Rangapura vihaara or a Meera Bhajan, she sang with the same commitment.” Not only the Fort High School grounds, but even the adjacent Makkala Koota grounds, the Bangalore Medical College grounds would be filled with people feasting on the musical treat that was served over a period of one month and more.

Unfortunately, the onslaught of time has robbed the piety of the event. In the mounting rat race that has overtaken us, the field of music has also been engulfed in a maddening rush towards commercialism. Several aficionados of music repent the loss of the erstwhile professionalism and devotion. “It seems more and more commercial with each passing year. I have stopped attending the concerts or even if I do, it has become more of a pastime”, Mrs. Kamala Subbarao, painfully voices her disappointment. “Many singers seem to take the audience in Bangalore for granted. Their performances are so bland and repetitive unlike the way the same artists would perform in say the Marghazhi festival in Chennai. It hurts to see such behaviour among the present day musicians,” Mrs. Srilata Iyer remarks. But she does not give up hope, “There are many junior artists who are getting slots; they hold a lot of promise. The younger generation has taken up with more seriousness the pursuit of art for art’s sake instead of for their personal fame. I feel they will go a long way to restore the sanctity of this tradition.”

No matter how far developed a city or state maybe, robbed of its cultural heritage, it fails the test of time and true progress. One can never seize to hope that the artist community, the organisers and the listeners can come together and restore the cultural fabric of society in its essence.

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