Article - South Indian Performing Arts: Whence? Where Now? W

vgvindan · Post by **vgvindan** » 26 Jan 2007, 08:47

I am not inclined to listening to argument based on tantra. To me if something is not "right" then a thousand angels dancing on the head of a pin would not make it right.

May not be suited for scientific temperament - right and wrongs do not have universal definitions. I just brought out what, in my humble opinion, was the genesis of such sculptures in temples. We cannot wish away realities.

arasi · Post by **arasi** » 26 Jan 2007, 10:47

During the season, I came across this again and again. A beautiful AlAapanA coming to a conclusion, the singer winding it up with a subtle embroidery--or a meditative staying on with a note--all lost in a burst of clapping. The same with the tani--not waiting until the vocalist jumps in to sing that ONE line of the pallavi in conclusion! So, instead of applauding the percussionists AFTER the whole thing comes to an end, we end up with two segments of applause, the second one somewhat lukewarm!
I could as well air another disappointing audience behavior here. When the singer gets one with the sruti and stays with a note serenely, instead of waiting for better things to happen--staying with the note itself being a pleasurable thing--some applaud at this point as if were a feat, and not a preamble for better things to come. End of another enjoyable segment of the concert...:rolleyes:

bala747 · Post by **bala747** » 26 Jan 2007, 11:03

arasi, your post reminds me of one of MDR's renditions of Varugalamo! by Gopalakrishna Bharati.

His rendition was so spellbinding that for a few moments after he had done there was complete silence. It was almost like the audience were waiting for him to fully finish and let the emotion soak in before applauding, and those few milliseconds were surreal, the rendition was so brilliant. Then the applause came, in torrents.

jayaram · Post by **jayaram** » 16 Feb 2007, 04:14

What a moment it must have been! Bala, thanks for that.

Clapping at every little turn is quite a distraction indeed. I make it a point to continue with keeping talam when the tani avartanam ends and the main artist blends in. But the applause drowns everything else.

mohan · Post by **mohan** » 16 Feb 2007, 06:14

The uniqueness of Indian music from an audience perspective is that the appreciation of music is spontaneous. If the audience is particularly moved by a certain part of the music you will hear the exclamations of 'sabAsh', 'balai', 'wah wah' or have applause. In this case, I'd hate to see the day when we have conform to the Western music appreciation model of only showing our delight for the music piece only when it is completed. If there is some applause for a short period at the end of the an interesting korvai during the thani, then it shows that the audience is paying attention and is spontaneously appreciating the music.

There are other distractions such as entries and exits during pieces, rustling papers, etc that are far more distracting I feel.

chalanata · Post by **chalanata** » 16 Feb 2007, 07:47

mohan,
your comments are true only to the extent of maintaining discipline. when it comes to enjoyment some allowances have to be made here and there. like how a performer is free to play his natural game the rasika also be permitted to have his natural reaction. i do not think we should go by the western standards for this.

mohan · Post by **mohan** » 16 Feb 2007, 07:51

chalanata - i think you have misread my post completely.

chalanata · Post by **chalanata** » 16 Feb 2007, 07:53

mohan,
you are right. i'm sorry!

vijay · Post by **vijay** » 16 Feb 2007, 11:19

I too agree with MOhan - spontaneity is very important in our music - in performers as well as the audience....and even though clapping is a "western" mode of appreciation, it is now as much a part of Indian culture as the hakoba banian...

jayaram · Post by **jayaram** » 16 Feb 2007, 20:22

I quite enjoy the bhales and sabashs (and the 'chu chu chu'), but the clapping at every turn is what I was referring to.
Oh well, it's personal taste after all...

vgvindan · Post by **vgvindan** » 20 Feb 2007, 19:29

Today I have posted in our wiki the tyAgarAja kRti 'samayamu EmarakE' rAga kalgaDa - http://www.rasikas.org/wiki/samayamu-ninnu

In the kRti, the bard refers about bhayam - awe - reverential fear or wonder as an essential element in devotion.

The 'bhaya-bhakti' aspect in approach to music has been presented in the article - http://www.hindu.com/thehindu/2000/12/0 ... 020708.htm - A quote from the article -

The hallmark of the old vidwans was musical refinement. For them when a monumental song was rendered it was the spirit of the composition and homage to the composer that mattered.