At no time in the past have music organisations and artists enjoyed such hefty financial backing as they do today. The environment for music's exposure has been fortuitous. Till a few decades ago, sabhas had to make do with funds raised by memberships and sale of tickets.
That was one of the reasons for the tardy progress of music's popularity spreading far and wide. Sabhas were few and the remuneration to performers was a pittance compared to what they get today.
Despite the 'all are welcome' invitations from the sabhas, the audience turnout is invariably discouraging.
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Today, music organisations are able to survive thanks to the entry of the corporate sector in a big way. Sabhas have grown exponentially, festivals have become countless, awards to artists are overflowing and the media publicity, indiscriminately mind boggling.
A few years ago, sponsorship from industrialists served as thin edge of the corporate entry. Today, corporate houses not only extend financial help to arrange festivals, but they also host performances on particular occasions.
In general, such financial support is intended with no strings attached as to its disbursal, leaving it to the good sense of the organisers.
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A few donations do come with an objective built into it. For instance, the late Obul Reddy, an ardent devotee of Tyagaraja, gave large amounts to many sabhas to organise Sri Tyagaraja Aradhana. It not only helped perpetuate the Saint's heritage, but also guided the musicians and the rasikas to maintain and promote quality concerts. But of late, the saint composer does not seen to be in the good books of even experienced artists, the reason known only to them.
Lives of great men remind us that we too can make our lives worthwhile and pious. It proclaims the ultimate truth. This sentiment was exemplified by Obul Reddy by making his family members tread the path of devotion towards Tyagaraja.
Fulfilling his desire
When Obul Reddy died, I had written that his birth place was Pottipatti, and in his life's journey, Thiruvaiyaru was his desired destination. His family has fulfilled his deep longing by presenting a sumptuous sum of Rs. 75 lakhs to popular sabhas to conduct this year's December Festival, give away awards and meet incidental expenses.
Philanthropy of this kind has given sabhas the confidence and strength to implement specific plans. It has also aided the promotion of Carnatic music in an exemplary manner.
As for the artists, the global reach of our music has thrown open the doors for them and allowed them to enjoy luxury. Many Indians abroad have become conscious of the cultural moorings in music and dance and invite the musician to teach their offspring. In fact, the Cleveland Tyagaraja Aradhana has become an annual event that bridges continents for artists.
Still there is nervousness as to the direction pure Carnatic Music is likely to take in the near future. An un-proclaimed aversion to the traditional performing pattern is providing space for experiments – the orchestral glow of western string and percussion instrument are perhaps the new faces of artistic creativity. There is nothing wrong in this trend if it does not smother the excellence of individual vocal, violin, mridangam and ghatam combination. Let us allow co-existence and let the genuine survive.
A state has been reached now when the identification and knowledge of ragas have to be learnt from film songs in similar ragas. In every respect, it is not wrong to feel pessimistic about the genuine greatness of Carnatic Music losing ground to superficial modernity. The day has come to redefine what constitutes genuine Carnatic music. Can such sumptuous corporate donations bring about this? The kind of response to such largesse from sabhas and artists remains to be seen. Hope always swells in the heart...