Hare Krishna!

I had no idea about Leonard Bernstein until I came to the US for graduate school.  I watched West Side Story on a rickety old television set, and was hooked.

Bernstein, whose centenary was this year, was a music giant, and a public intellectual and a social activist, who spoke up on important issues of the day.   A deep thinker he was, as much as he was a musician.  When artists like him, with their broad and deep knowledge, speak, society listens.  Even when they point out to the uncomfortable truths.

Back in the old country, TM Krishna continues with such a tradition of the public-intellectual-musician.  He is not new to this blog, of course.

As a musician, Krishna is one of the best; even my father, who after listening to the jambhavans of old the days rarely ever elevates any of the contemporary young artistes to the stratosphere, has a favorite story about how Krishna moved him to tears at a homage to Musiri.

As a public intellectual, Krishna is turning out to be equally accomplished.  From the other side of the world, it seems to me that Krishna's activism are about injustice, of which there is plenty in India.  The latest incident was no exception; he has pumped up his activism:

Performing today at 6.30 pm at the Garden of Five Senses, New Delhi with RK Shriramkumar, Praven Sparsh and Anirudh Athreya. pic.twitter.com/ZFicBCuaVp

— T M Krishna (@tmkrishna) November 17, 2018

"Krishna sings, Krishna is heard", reports The Indian Express.  "A soiree on the art of politics," reports another outlet.

The political overtones of this musical soiree are surely difficult to miss. Ranged on one side are dogged opponents of the values and politics Krishna and AAP stand for. This fusion of politics and music – Carnatic music and north Indian politics – sends out a signal of the political direction that could take place in the days and months ahead. ...
The 2019 Lok Sabha elections are just five months away. If the routine silence of the ruling BJP is a way of endorsing the intimidation and threats made by right-wing social media trolls, swift retaliatory tactics by its opponents are also a way of getting back at the party.

Critics telling Krishna to shut up and simply focus on his music are no different from the right-wing nutcases here in the US who tell football players to shut up and simply play ball.  Krishna is ballsy; a lesser man would have quit being an activist a long time ago.

Again, one can learn from Bernstein's life:

Bernstein was named in Red Channels, a publication from 1950 that targeted people in the entertainment industry who were suspected of having Communist affiliations. Since he was prominent, and a lot of people around him had leftist affiliations, the FBI paid attention to him. He kind of slid past the McCarthy hearings. Copland and Robbins were called to testify, but he was not. He lost his passport for a time in the 1950s, but that was it.

I am thankful that there have been, and are, people fighting these good fights.

Carnatic music is not a Hindu fundamentalist art

Listening to the South Indian classical music--carnatic music--was a serious passion among most elders in the extended family.  Appreciation of the music came quite naturally to me and I was beginning to get really good in recognizing the ragas even from the first couple of notes.  It was wonderful until ... I started questioning religion.

Rare is a composition that is not about any one of the Hindu gods.  For all purposes then this classical music is also devotional music. To borrow a word from Christianity, it was ecclesiastical. 

Into my teenage years, as I started questioning religion, the agnosticism spilled over into the appreciation of this music as well.  I suppose I was consistent in my approach in questioning whether one could be into the music without being in the religion.

I was provided with a wonderful real example of this puzzle--following some of controversies related to the musician KJ Yesudas.  Born into a Catholic family, Yesudas took up carnatic music and was a student of one of the most accomplished musicians.

Yesudas' involvement with this Hindu music drew ire from the Catholic religious leaders, who even threatened him with excommunication.  The Catholic logic was that by singing bhajans and carnatic music compositions in temples, Yesudas was straying far away from the monotheism of Christianity.  The excommunication never happened, but all those developments made me think that much more about religion and carnatic music even as I was questioning the concept of "god" itself.

In fact, one of the compositions by Thyagaraja clearly lays out the relationship between carnatic music and devotion:

Sangeetha gnanamu Bhakthi vinaa,  San margamu  kaladhe , Oh Manasa
(The knowledge of music, without devotion (bhakthi) is not the right path, oh mind)

The lyrics further note that this music is a mode of worship. 

The more I moved away from religion--not merely Hinduism, but any religion and god--the more I was naturally disconnecting from this classical music as well. 

Over the decades, I have pretty much lost any interest in carnatic music, and it is only the intellectual curiosities about the music that remain within me.

Every time I visit India, which is almost always in December, I am often presented with opportunities to think about this question of bhakthi in carnatic music--it is also in December that Chennai hosts the huge music festival, and there are programs on television as well.  One of the TV programs features Q/A sessions with musicians.  Without fail, there is always a question about the role of bhakthi in the music, and every musician who has taken that question emphasizes that without bhakthi there cannot be any music.  It is like listening to baseball players responding to questions when you know exactly what their response is going to be. 

Maybe someday there will be a body of secular carnatic music that was borne out of the rebellion against Hinduism?  You think? Nah!

All the above is a part of my post here from seven years ago.

After reading that post, an old high school friend wrote to me about TM Krishna. I then emailed him.  In his lengthy reply (July 17, 2011) Krishna wrote about his experiences when questioning the bhakthi: "reactions have varied agreements to very upset emails etc."

All that was before modi and the BJP came to power in Delhi and in a number of states.  Since then, the emboldened hindutva has gone after anybody who they deem to be a threat to Hindu traditions.  Singers like Krishna and O.S. Arun who have broadened the scope of carnatic music are now under fire; such a huge controversy that even NPR reports.

What's worse is this: Indians living outside the US are some of the big money drivers for such Hindu fundamentalism in carnatic music:

[The musicians] been called "disgusting cretins." Arun has received threatening phone calls.
Much of the vitriol has come from Indians abroad, who've emigrated to the United States or Australia.

It is not a surprise by any means, especially when there is a lack of domestic financial support for carnatic music.

modi and the BJP recognized early on that many of the Hindus living outside India and earning a lot of money are a lot more fanatical than their peers back in India.  The Hindu diaspora is heavily influencing India's politics thanks to its money power, as The Economist noted:

For years Indian politicians paid little heed to the diaspora. But in the 2014 general election the diaspora, some 30m people strong, proved to be influential. Mr Modi made best use of them, realising the diaspora, especially in America, is wealthy and increasingly interested in politics generally

The Hindu diaspora forced the cancellations of concerts that Krishna and Arun were scheduled to perform!

One by one, Hindu temples in the U.S. that had been scheduled to host concerts this fall by Arun and another Carnatic star, T.M. Krishna, have said the singers are no longer welcome. Concerts have also been canceled in India.

I love Krishna's response to all these maniacs: "Krishna vowed to release a new song each month about Jesus or Allah."

The musician and the intellectual

There is no enemy; there is the American principle of free debate; fighting against an invented enemy is wasteful; fighting for ourselves and one another is constructive, is sharing—otherwise known as love.

That quote is from a bygone era.  It is from Leonard Bernstein.

Some of us still hold on to those dear values and "because of that love I feel more than ever the compulsion and responsibility to re-examine our automatic enemy-concept."

Bernstein was no ordinary musician, but a deep thinker too.  People might have disagreed with him, and plenty did, but he was not an uninformed lunatic.

I was reminded of Bernstein, and his commitment to music and social justice, when a couple of items blipped in my news feed.  They are in the context of TM Krishna's latest book.

TM Krishna is, of course, not a new topic here.  Like Bernstein, Krishna is far from an ass.  A thinking musician who boldly and loudly speaks out on India's troubling issues of caste and religion, he has been well recognized, including with the Ramon Magsaysay Award.

Krishna writes:

There are some who wonder whether an artist has to be loud and open about art’s divisiveness. ‘Can we not just do this quietly, in the way we make art and not announce it to the world?’ Yes! It is distinctly possible, but the danger in this hide-and-seek is that the art world has an instinctive ability to snatch from undeclared counter-movements its energy of questioning.

"Qui tacet consentire videtur. Silence is acquiescence," reminds Bill Kristol.  Quietly is not an option.

I agree with Krishna that "any social change begins with personal conflicts."  It is easier to philosophize in the abstract than it is to look within.

Krishna relates the personal to the causes that he champions.

“For me, they run together,” he says. “Projects related to issues go parallel with traditional concert work.” 

I applaud the man.  There is hope for the old country in people like him.