TM Krishna.
For many, the 48-year-old is a once-in-a-generation performer and a true student of the art form who blends artistic brilliance with searing intellectual scrutiny. But then there are also the self-styled purists and gatekeepers for whom his non-conformist views make him a moving target.
Renowned for his virtuosity as a vocalist, Krishna's activism extends well beyond the confines of the concert hall.
Whether it's singing a conventional concert with a 45-minute 'Ragam Tanam Pallavi' in Janaranjani; or collaborating with Jogappas, a group of transgender folk musicians; or composing Perumal Murugan's lyrical 'Sindikka Chonnavar Periyar' in celebration of Vaikom Satyagraha's centenary in 2023, Krishna's artistic brilliance has consistently pushed boundaries, despite criticism from the usual detractors.
His pursuit of artistic freedom and integrity has been relentless, sparking crucial conversations about caste, gender and power dynamics within the musical community and igniting a fervent dialogue on the need for reform and renewal.
Krishna had reflected on this journey of self-discovery, the evolution of his performance style and how it brought down barriers in a dialogue with The New Indian Express team in July 2023.
"I broke down the entire concert format -- people don't remember it now. But interestingly, now, after over 15 years, the Carnatic performance format has loosened up. A few years ago, this would have been considered blasphemy. Now, people don't care how and what I sing because my socio-politics have become a bigger point of disaffection," he said.
Beyond the realm of music, Krishna's activism continues to manifest in various forms—from amplifying the voices of marginalised communities, participating in public debates and discussions to engaging with grassroots movements and advocating for policy change.
Politics over Sangita Kalanidhi
All of this has been riling the conservatives, who have hit back with notes of disharmony whenever and wherever they could.
The latest burst of indignation came when the Madras Music Academy decided to confer Krishna with their prestigious Sangita Kalanidhi award for 2024.
A few Carnatic musicians decided to pull out of the academy's annual December conference in protest.
Among those who chose not to participate include the sibling duo of musicians Ranjani and Gayatri, who claimed that their participation in this year's conference under TM Krishna's presidency will constitute a "moral violation." They alleged that Krishna had caused "immense damage" to the Carnatic music world by "wilfully and happily" stomping over the sentiments of the community.
Their sentiments were echoed by a few other artistes, including another sibling duo—Srikrishna Mohan and Ramkumar Mohan—known as the Trichur Brothers, along with Dushyanth Sridhar and Vishakha Hari, who all chose to withdraw their participation in the upcoming conference.
Chitravina exponent N Ravikiran, accused of sexual harassment by multiple women, went a step further, posting on X that he was returning his Sangita Kalanidhi award in protest. He claims that he took this step "after careful consideration, as principles much larger than all of us are at stake."
Rich indeed!
Nothing new for Krishna
All this would have come as no surprise for Krishna.
In the same 2023 interview quoted earlier, he had described his relationship with the hardcore Carnatic world as hard to describe.
"Yeah, if I go to an auditorium, I do get looks. I think the older generation is far more uncomfortable, but unfortunately, for them, I sing well (laughs). So, they still come to my programmes. I think that’s the dichotomy they haven’t been able to resolve. Then there are extremists who would want to boycott me. So, if you think about it, I have been able to survive despite this for some time now. I have created my own space. So I think it’s a mixed bag for people. There are those who prefer that I don’t exist. There are those who have deep problems with my political statements. They mainly have problems with my statements on caste and faith. Everything else is irrelevant."
The Music Academy President N Murali has deemed it right to dismiss the statements by Ranjani and Gayatri as "in poor taste and unbecoming of artistes."
Murali, who received their joint letter, said he was shocked by its "slanderous assertions" and "insinuations verging on defamation," and "its vicious tone" against a senior fellow musician.
He went on to note that "you have shared your letter addressed to me and the Academy on social media, which, apart from being discourteous, raises doubts about the intentions behind and the purpose of your letter."
Murali, in his response, underlined that what needed to be kept in mind was that the award had been conferred on Krishna for his excellence in music over a long career and no 'extraneous factors' influenced the choice.
Ideally, there should have been no quarrel over this.
A prominent Carnatic music critic and columnist agreed.
He told The New Indian Express that even before the recent controversy, there has been sharp criticism of TM Krishna by many, some of whom have never stepped into any Carnatic music concert, let alone his concerts.
They have been vehemently opposed to anything Krishna says and are dismissive of his music, he noted. The critic called such reactions "a reflection of such people's inherent biases."
He went on to observe: "You may or may not agree with Krishna's views on Brahmin elitism or Brahmin domination of Carnatic music, but that does not mean he isn't entitled to his views. It takes a lot of courage for him to come up with views like that. So, I don't think this kind of protest is coming from justifiable anger, as you are defending the caste and elitism of the status quo."
"Unless you are casteist in your mind and elitist in your mind, why should you oppose somebody else's view against caste?" he added.
His take on the boycotts was straightforward. "If more artistes withdraw, then I hope more deserving people come in their place," he said, adding he hoped to see more inclusive replacements.
"Perhaps more Periyarists as well," he jokingly quipped in reference to certain musicians venting spleen over Krishna's support of Periyar's reformist views from time to time.
Among the accusations leveled against Krishna is his observation on MS Subbulakshmi, which detractors claim to be an "insult" to the legendary musician.
However, Krishna's essay in The Caravan titled 'MS Understood - the myths and misconceptions around ms subbulakshmi, india’s most acclaimed musician' provides a nuanced perspective.
In it, he chronicles Subbulakshmi's journey from prodigy to cultural icon, highlighting her contributions to music and society. The essay also explores her complex relationship with fame, spirituality, and politics, emphasizing her enduring impact on the cultural landscape.
Regardless of personal opinions on Krishna, an objective assessment reveals no evidence of derogatory intent.
Reshaping Art — or is he?
In his book Reshaping Art, Krishna had written at length advocating for the disassociation of Carnatic and other 'high art' forms from the stranglehold of social structures and value systems that cling on to political stereotypes and ideologies. This is what many traditionalists are affronted by.
Drawing from his personal experience as a Brahmin, he shed critical light on the issues that have been normalised when it comes to the traditional teaching methods of South Indian music. He addressed the conversation regarding the indoctrination and presentation of the art form as a representation of Brahminical culture, whether it occurs in music classes or Carnatic concerts, with references to deities, moral values, and purity intertwined with the music.
In an excerpt of the book that appeared in the Open magazine under the column 'Can Carnatic Music be de-Brahminised?', Krishna emphasised the need for openly addressing the social and cultural divisions within art rather than silently resisting, to provoke discussion and drive change.
He also advocated expanding the repertoire of Carnatic music to include diverse voices and perspectives, challenging traditional structures and beliefs.
Famously, when several carnatic musicians were outed as alleged harassers during the MeToo movement in 2018, Krishna was one of the prominent voices who stood up and called out the male power structures and acknowledged the silence among his industry peers.
“For years, we have heard stories about these issues within the Carnatic and Bharatanatyam world. I vividly remember that about 10 years ago, a young girl came out on Facebook describing her horrid experiences and I am ashamed that we ignored her. Male power structures, hierarchies and our own conservative fears resulted in the trivialising of her complaint. We have all been complicit by our silence,” Krishna wrote on Facebook.
His walking the talk on these issues echoes the musician as an activist legacy of Leonard Cohen, whose art served as a vehicle for social commentary and introspection, resonating with audiences worldwide. And of Bob Dylan's guitar strumming in unison with the fervent cries for civil rights in the United States or John Lennon's anti-war activism.
Krishna's rendition of Pakistani poet Faiz Ahmed Faiz's Hum Dekhenge (we will see) from concerts to protests, including the time he performed it at the protests against the Citizenship Amendment Act at Delhi's Shaheen Bagh in 2020, is one of many examples where his art and beliefs have inexorably intertwined in the fight against discrimation.
Fittingly, the academy, in its statement released on March 17 to announce the award, appropriately recognised Krishna's legacy as extending well beyond his role as a musician to that of a prominent advocate for social causes.
In 2016, when Krishna won the Ramon Magsaysay Award, commonly referred to as the "Nobel Prize of Asia", it was for his efforts in using music as a means to promote social change and inclusivity, addressing issues of caste discrimination and fostering unity through his art.
Should a few be allowed to fault him for attempting to do that?
For in doing so, we are reminded of the moral void within the Carnatic community, signaling a reluctance to break free from the constraints of its conservative mindset.