As the meaning and the context surrounding classical music changes from generation to generation, it’s equally important for it to stay relevant, without compromising on sampradaya. ‘Saartha Keerthana’ (where Saartha means group), an initiative put forward by M V Kamala Ramani, singer, composer and founder of Keerthana Institute of Music, Srinagar Colony is an effort in that direction. The format is an attempt to present a Carnatic composition with groups of amateur singers performing on an ensemble of instruments like flute, veena and tabla. The concert could even include the folk, light, film and patriotic music too.
Kamala Ramani reveals what prompted her to come up with the concept, “We are at a phase where Carnatic music is gradually losing its encouragement. Most concerts in Hyderabad and Chennai don’t have young audiences. I don’t see many students persisting in their pursuit of classical music. There’s an apprehension that Carnatic music is difficult to learn, that listeners find it dry.”
She thinks there is some truth to the apprehensions. “It is only since the time of Semmangudi Srinivasa Iyer that the concert scene took off. Now many are trying to retain the essence, nobody actually intends to dilute classicism. People enjoying music is more important than anything else,” she adds.
Saartha Keerthana as a concept made its debut at an event in Shilparamam this January, with over 70 students from Bharatiya Vidya Bhavan (Jubilee Hills) Green Gables International School and her own institute. The concept also worked big time with the IT crowd (whom she calls ‘usual suspects’ to have left music to pursue other goals in life).
Kamala Ramani, her cousin Sundaram and senior student Rajeswari hosted classes at Dr Reddy’s Labs, Synopsys, during lunch hours. The ensemble here included a harp, a morsing, kolu and bells on percussions besides violin, veena, flute and tanpura. Another event where Saartha Keerthana gained prominence was the Bharatiya Sangitha Vibhava, held at Bharatiya Vidya Bhavan, Jubilee Hills.
A disciple of late D K Pattammal, Kamala Ramani’s teaching experience coupled with her efforts in popularising Thoomu Narasimha Dasu’s kirtanas and a role as a music conductor and researcher in the Annamacharya project played a significant role in the conceptualisation of Saartha Keerthana. “I was particular about not adding western instruments, because during the interludes, the performers need a base, a shruti. Having composed and sung many semi-classical items in the past, I felt I needed to do more to have more people embracing the form. The film and folk elements are used only when I am initiating the concept or when people ask for it. This is just to inform that they are no different from other forms of music.”
She’s happy to be doing her bit in widening the reach of Carnatic music.
