The world of classical music is often revered for its ability to transcend boundaries, evoke emotions, and unite diverse communities through the power of melody. However, it is not immune to controversy, as demonstrated by the recent uproar surrounding the Sangita Kalanidhi Award bestowed upon renowned Carnatic vocalist T.M. Krishna.
In the realm of Indian classical music, the Sangita Kalanidhi Award, presented by the Music Academy in Chennai, is considered one of the highest honours. It recognises individuals who have made significant contributions to the field of Carnatic music, celebrating their mastery of the art form and their dedication to its preservation and propagation. Traditionally, the award has been a symbol of excellence and integrity, representing the highest standards of musicianship and cultural heritage.
Thodur Madabusi Krishna aka T.M. Krishna, a celebrated vocalist known for his innovative approach to Carnatic music was chosen as the recipient of the Sangita Kalanidhi Award in 2024. His selection for the award this year has created outrage among many Carnatic musicians and Carnatic music lovers.
WHY THE CONTROVERSY
The controversy surrounding Krishna’s award stems from a combination of factors, including his unconventional interpretations of traditional compositions, his criticism of established norms within the Carnatic music community, and his vocal support for causes that challenge the status quo. Some critics argue that Krishna’s approach undermines the sanctity of Carnatic music by deviating from established traditions and introducing elements that are perceived as “secular” or politically charged. His calls for greater inclusivity and representation from non-Brahminical communities have sparked heated debates within the music fraternity, exposing deep-seated caste and class tensions and ideological differences.
T.M. Krishna, who is seen by some as the “black sheep” on the Carnatic music scene, distanced himself from the Music Academy and the December music season in Chennai nearly a decade back as he felt the system ostracised non-Brahmin musicians. He created a parallel music festival called the Uroor-Olcott Kuppam Marghazi Vizha, a Carnatic music festival held on the Besant Nagar beach in a fishing village. He also took part in other music festivals, which went against the traditional classical music scene, as he believed art was a healing mechanism.
T.M. KRISHNA’S POLITICAL BELIEFS
For Krishna, music and politics are intrinsically linked, with each informing and enriching the other. He sees his art as a form of resistance, a means of expressing dissent and advocating for a more just and equitable world. At the heart of his political beliefs is a commitment to social equality and inclusivity. He has been a vocal critic of caste-based discrimination and inequality, both within the realm of classical music and in Indian society at large. Through his music and activism, Krishna seeks to dismantle hierarchical structures that perpetuate injustice and marginalization.
The musician idolises Erode Venkatappa Ramasamy (EVR) “Periyar” and in 2023, turned some of Periyar’s work into a song. Periyar was staunchly anti-Brahmin and had called for the killing of Brahmins and burning of their houses on more than one occasion. He considered Brahmin women as immoral, and many Brahmins till today believe that Periyar had called for their genocide. With Carnatic musicians mostly hailing from the Brahmin community, Krishna’s love for Periyar has not gone down well with them given his beliefs.
One of Krishna’s central tenets is the idea of democratizing classical music, making it accessible to people from all walks of life. He has actively worked to break down barriers that have historically excluded certain communities from participating in or appreciating Carnatic music, advocating for greater diversity and representation within the music industry.
Krishna’s political activism extends beyond music, encompassing a wide range of social issues including gender equality, religious tolerance, and environmental conservation. He has been a vocal supporter of LGBTQ+ rights and has spoken out against communalism and religious intolerance, emphasizing the importance of dialogue and understanding in building a more harmonious society.
CARNATIC MUSICIANS PROTEST
Some critics accused the Music Academy of diluting the prestige of the Sangita Kalanidhi award by honouring T.M. Krishna, an individual whose ideology diverges from mainstream interpretations of Carnatic music. Carnatic vocalists Ranjani and Gayatri were the first to express their protest on social media and pulled out of the Music Academy performances this year. They wrote, “He has caused immense damage to the Carnatic music world, wilfully and happily stomped over the sentiments of this community and insulted most respected icons like Tyagaraja and M.S. Subbulakshmi. It is dangerous to overlook T.M. Krishna’s glorification of a figure like EVR (Periyar) who openly proposed a genocide of Brahmins, repeatedly cabused every woman of this community with vile profanity, and relentlessly worked to normalise filthy language in social discourse.”
Vedic speaker Dushyanth Sridhar also wrote a letter to the President of Music Academy stating that he wishes to withdraw from performing on 1 January 2025 at the Music Academy. In his letter to the Music Academy, Chitraveena exponent Ravikiran accused T.M. Krishna of displaying “no foresight to the economic and collateral damage his actions could cause to the classical industry” and said he was returning his Sangita Kalanidhi in protest. Srikrishna Mohan and Ramkumar Mohan (aka Trichur Brothers) said that participating in the December season at Music Academy would make them “outright hypocrites in our own eyes”. Harikatha exponent Vishaka Hari has also boycotted the Music Academy sessions this year voicing her protest. Some Carnatic music experts stated that more musicians are likely to opt out of performing at the Music Academy in the coming days to protest the conferring of the Sangita Kalanidhi to T.M. Krishna.
T.M. KRISHNA BACKERS
Amidst this raging controversy, T.M. Krishna has declined to comment on the goings-on to the media. He has also had support from numerous quarters including the President of the Music Academy, N. Murali. Murali stated that Ranjani and Gayatri’s letter to the Music Academy was “replete with unwarranted and slanderous assertions and insinuations verging on defamation, and its vicious tone against a respected senior fellow-musician. We regard your decision to withdraw from the upcoming annual conference because the Academy has chosen for the award a musician you dislike and malign as unbecoming of artistes and in poor taste.”
Supporters of T.M. Krishna rallied behind him on social media, hailing the decision by Music Academy as a testament to his artistic prowess and his unwavering commitment to using music as a platform for social change. They argue that Krishna’s boundary-pushing experiments and advocacy work have breathed new life into the classical music landscape, attracting younger audiences and fostering a more inclusive and dynamic musical ecosystem.