The bestowal of an award to a musician of unquestioned oeuvre has divided the rarefied world of Carnatic music. The artiste in question is T M Krishna, who even detractors admit is a maestro deserving of recognition. Yet, the powerful Music Academy’s decision to honour the Magsaysay awardee with the prestigious Sangita Kalanidhi has resulted in some upset musicians announcing that they will not be performing at the Academy, a premium venue, during the December music season.
The reason for this anger among a section of musicians and fans is Krishna’s progressive anti-caste political views. He has not only sharply criticised the Carnatic music establishment as insular and caste-privileged, but has also embraced and celebrated in his music E V ‘Periyar’ Ramasamy, an icon to many but not all. He has also critiqued some venerated figures, an act that some artistes view as beyond the pale.
Although Krishna, a thoughtful writer, has admitted and challenged his own privileges while trying to take music out of the confines of the sabhas—to fishing villages and corporation schools—his interventions have often been met with by anger from members of his own community. The Academy, despite the flak, has admirably stood by its decision, even as political figures from across the spectrum have weighed in.
There is a broader conversation to be had at this moment. At least some of the artistes upset by the Academy’s decision have also turned around and asked the Academy, if it is committed to making the arts truly inclusive, to remove from its leadership those privileged by caste and connections and allow others to step in.
While some have poked fun at this as an unintentionally Periyarist demand, it is true that the goal of making classical music accessible to all can only be realised by encouraging diversity and ceding power to those currently perceived as outsiders.
Too often, the world of Indian classical arts appears trapped in a time warp that, without intelligent, good-faith interlocution pushing artistes and audiences to question their own beliefs and challenge the orthodoxy, will face the risk of stultification. Artistes such as Krishna embody the power of music—and politics—to connect people, challenge the status quo and open doors. His views should be considered, not ignored; his art respected, not dismissed; his legacy honoured, not boycotted.