In his acceptance speech after receiving the prestigious Sangeetha Kalanithi Award for 2024 by The Music Academy, Madras, Carnatic vocalist TM Krishna stated that figures like Ambedkar and Periyar should be incorporated alongside traditional Carnatic masters like Thyagaraja and Dikshitar.

The award ceremony was held at the Academy’s venue on TTK Road, Chennai, as part of its 98th annual festival celebrations. Professor David Shulman from the Hebrew University of Jerusalem, who was the guest of honour, presented the award to Krishna, in recognition of his ‘contributions’ to Carnatic music.

In his acceptance speech, Krishna expressed heartfelt gratitude to those who have supported him throughout his journey, even during challenging times. “Standing by me, despite knowing the path I tread, is not easy. I owe my gratitude and love to all who have stood by me,” he remarked.

Later, during an interaction with Sun News, Krishna spoke elaborately and said there was a need for inclusivity and dialogue in Carnatic music. Beginning with the award presenter, he said, “David Shulman, who presented this award, is an extraordinary individual. He has contributed immensely to understanding Carnatic music, South Indian arts, spirituality, religions, and languages. He speaks and writes in about ten languages and has done numerous translations. He’s not only a thinker but also a social activist, championing causes like Palestinian rights. Receiving this award from him is deeply meaningful to me.”

Speaking on the “challenges” he faces, he said, “There’s nothing particularly special about it. I’ve made decisions to prioritize equality—be it spiritual, religious, or societal. I believe all humans, spaces, thoughts, arts, and artists are equal. But, achieving this realization emotionally is challenging. I was born into an upper-caste, upper-class environment, but I’ve constantly questioned it. Questioning your environment is crucial. Challenges will arise, but they lead to meaningful insights. The challenges don’t stop with you; they extend to those around you—family, friends, students. It’s not easy for them to understand my thoughts immediately. But I refuse to live a lie and accept the societal pressures that discourage questioning. They give more trouble to those around me, that’s the pressure tactic. In English, we call it collateral damage. They plant a bomb in a place to plant a bomb, to kill someone, but 100 people die. Why do they kill 100 people? They say that’s collateral damage. This is what they are doing to target them. I have no answer for that. So, they are suffering a lot. I feel that suffering, that’s why I feel it’s difficult for them. Beyond that, if they are with me, that is a great strength of theirs. They don’t need to come out and say, “I am with you.” They don’t need to hold a flag and come to a big protest. But they are with me. I know they are. They can sing and come and talk. That is what friendship is. That is a real strength. You need great courage to take it. I am grateful for that for life.”

Answering a question on the “themes of equality, Ambedkar, Periyar’s thoughts, and interfaith harmony“, Krishna said, “Whether it’s Ambedkar, Periyar, Narayana Guru, or Buddha, they all arose from their contexts and political philosophies. My role is to share these ideas through music. Carnatic music is my vehicle. It’s up to the audience to internalize and reflect on these ideas, I am not ready to force them. But if you say this should not come in music, that should not come in music. I will definitely oppose it until the end. I will never accept it. Politics is embedded in every aspect of life—from where you are born, the doctor you see, the school you attend, to the food you eat. Even poetry and whether you can go to the beach are political. Music, too, must reflect diverse perspectives and emotions. Carnatic music should include Ambedkar and societal questions alongside Thyagaraja and Dikshitar. Thiagaraja must also be there, that is the beauty of it. Everyone is there – Thiagarajar, Dikshitar, Narayana Guru, Ambedkar, Periyar – that is community. Community means being together, but it doesn’t mean everyone must agree with everything. Music is a tool for asking questions. Thyagarajar has also asked questions. Why have we forgotten that? He is asking questions through his kirtanas, with the exposure he had during his time. He is also questioning. What am I asking? They have given us a new idea. What are we doing about our world? “

Speaking about the “standing ovation” he received for his 25 December 2024 free concert, he said, “It has been ten years since I performed at the academy. Conversation happens in different ways. I quit Music Academy, that was a conversation. During these 10 years, I have seen many small changes. Not big changes, but small changes can be seen. Secondly, when an institution also participates in that conversation, I think it is very important that we also participate in that conversation. So now a conversation has begun, what happened in the last eight months is a conversation, now I said that this award is being given to me and when I agreed to accept that award, a lot of conversation has happened since then, it means there is some spark in the society, that is what we need.”

He further said, “I have a lot of conversations with the audience I have been in touch for 10 years. I have organized many Nadaswaram concerts. I have organized many events through our foundation. So if I want to say it in English, I am an insider outsider. It is very easy to become an outsider. It can happen in a second. It does not require any courage. It is more difficult to be inside and do what you want to.”

Speaking about the song he chose to sing and his attire, he said, “The song goes like this “We want freedom, we want freedom, we want freedom to speak, sing, listen to, read, etc. That song was written by the writer Perumal Murugan. It has become something that needs to be said today. It shouldn’t be like that. After 78 years, this shouldn’t be asked. It’s not a matter of asking. But we have to ask because even today there is a problem. There is a mistake, this fear. In English, there is something called self-censorship, so we censor ourselves when the threats become too much. It is because there is a fear in your mind that if you speak about it and worry about what others will say. That is not freedom. When will there be freedom? There should be no fear. Freedom is freedom When our minds and hearts are free without that fear. We don’t have it today. Violence has increased, especially in social media. If there is freedom, I must also have that freedom to wear what I want. No one knew what I was wearing. It was a sarong. This is worn in Sri Lanka and Indonesia. It was made in Yazhpanam by Tamils. Should we not support the Tamils suffering there? Is it not a respectable attire? Just because the oppressed class or labourers wear the lungi, has it become ugly because of that, call lungi, what are you saying about them? If a Muslim wears it, what do we say about it? Why is everyone wearing a salwar kameez, don’t wear it. I don’t care what they say about me.”

Praising the Margazhi Makkal Isai being taken forward by Dravidianist director Pa Ranjith, Krishna said, “These two worlds should meet. Now it is happening as two separate worlds. If the community wants to unite, those two worlds should meet, but they should meet with equal strength. So these two are now happening during Margazhi. On one side, there are changes, and I am making them. I will do whatever I can. Ranjith said that it is makkal isai. These two environments are a basket of art. Let’s say these are two baskets. When they come together, it will become a real Chennai Margazhi festival.”

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The post “Carnatic Music Should Include Ambedkar, Periyar Alongside Thyagaraja And Dikshitar”, Says Woke Virtue-Signalling Leftist Musician TM Krishna Who Sang Dravidianist Author Perumal Murugan’s Poem At Music Academy appeared first on The Commune.

The Music Academy Chennai has scheduled its Academic Sessions from 16 December 2024 to 1 January 2025, with the theme “Aesthetics and Synaesthetics: Reflections on Raga in Indian Art.” The sessions are presided over by T.M. Krishna and feature a diverse array of lectures and demonstrations (lecdems) on various aspects of Indian classical music, particularly Carnatic music.

Among the numerous sessions, there are a few presentations in Tamil that stand out:
On December 18, 2024, Dr R Ramanathan will present a lecdem titled “இழப்பின் வலியும் வலியின் இழப்பும்‌ – ஒப்பாரிப் பாடல்களை முன்வைத்து” (The pain of loss and the loss of pain – Presenting lament songs). This session likely explores the emotional depth and cultural significance of Tamil lament songs, examining their role in expressing grief and loss in Tamil society. An oppari is a traditional South Indian mourning song or lament that’s sung at funerals and other death ceremonies. It is not sung during festivals, especially during a music festival in the sacred month of Margazhi. It is not clear what TMK wants to achieve by bringing such a genre for discussion at a classical Carnatic music academic session.

On 29 December 2024, Dr M Elumalai will deliver a presentation on “கானா பாடல்கள் : விளிம்புநிலை மக்களின் பண்பாட்டு அடையாளம்” (Gaana songs: Cultural identity of marginalized people). This session focuses on Gaana songs and their ‘importance in representing the cultural identity of marginalized communities in Tamil Nadu.

Another session on 30 December 2024 titled “Sarva Samarasa Kirtanaigalum Sanmargak Kirtanaigalum” by a “Vidushi Sr Margaret Bastin” is said to be on appropriated Christian music by a poet from the 1800s called Samuel Vedanayagam Pillai. Is this the mainstream start of the Christianisation of Carnatic music at the Academy?

TM Krishna, known for his left-leaning tendencies and support for Dravidianist ideologies, has once again tried to create chaos in the world of Carnatic music. The Music Academy primarily focuses on classical Carnatic music. With TM Krishna now being the Sangita Kalanidhi designate, he is already seen meddling with the state of affairs at the Academy.

Earlier this year, when his Sangita Kalanidhi award was announced, several music artists called out the Academy for their hypocrisy in honouring an artist who belittled Lord Rama by singing about EV Ramasamy Naicker also hailed as Periyar in TN and who also garlanded Lord Rama with a slipper garland. Several of them even returned their awards to the Academy.

To rehash our readers’ memory about TMK, here is a short bio:

TM Krishna is a Carnatic musician known more for his activism than his music. He comes from a wealthy and influential family background and received training from renowned Carnatic music teachers. He frequently courts controversy through his opinions on various social and political issues, often criticizing traditional practices and institutions.

He has taken anti-national stances on topics such as terrorism, advocating for human rights even for convicted terrorists. Krishna is associated with organizations that are anti-India and anti-Hindu, including those funded by George Soros.

Krishna has been critical of Hindu nationalist organizations like the RSS and BJP, often holding them responsible for social issues and conflicts in India. He has also several times questioned traditional Hindu practices and beliefs.

In his musical career, Krishna has pushed boundaries by incorporating Christian hymns into Carnatic music and expressing intentions to focus on non-Hindu religious themes in his compositions.

He has written critically about revered figures in Carnatic music, such as MS Subbulakshmi, often framing his critiques through a leftist-Dravidianist lens. Krishna has also made controversial statements about Hindu deities and religious events.

The singer also makes a case for caste-based social privilege being the root of all social evils in Tamil Nadu. But the nuances and layers of privilege are lost upon the obviously privileged self-acclaimed activist.

He performed classical music in venues like mosques, churches, and fishing villages, breaking traditional boundaries. Most often, he is seen wearing a lungi and skull cap in such scenarios. Krishna conceptualized the Urur-Olcott Kuppam Vizha, a festival in a Chennai fishing village.

He also sang the poetry of Perumal Murugan and invoked EV Ramasamy Naicker.

Honouring Periyar with this special song along with Perumal Murugan and Pazha. Athiyaman – Commemorating the Centenary of the Vaikom Satyagraha. @perumal_murugan

Watch the full video here: https://t.co/tL7aLUFTbt#tmkrishna #musician #perumalmurugan #periyar #vaikomsatyagraha

— T M Krishna (@tmkrishna) March 30, 2023

A few years ago, DMK MP Kanimozhi was seen participating in an event at Music Academy where “gaana” songs were sung. These gaana songs, while they may represent a community’s culture, are also filled with filthy and vulgar meanings for the most part. With TMK now at the helm, it will not be surprising for classical Carnatic music to take a backseat and such deviations to take centre stage.

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The post Oppari & Gaana Songs, Part Of Music Academy’s Academic Sessions In Dec 2024 Under Woke TM Krishna Who Glorified EVR appeared first on The Commune.

The internet was abuzz with the row over the Sangita Kalanidhi Award being given to Carnatic vocalist with leftist leanings TM Krishna. At the centre of the storm was the vocalist duo Ranjani Gayatri. 

To jog our readers’ memory – after the awards were announced, Ranjani Gayatri wrote a letter to the Music Academy intimating to them of withdrawal from the programme later this year. They also shared the same on their social media handles. 

They accused TM Krishna of causing irreparable harm to the Carnatic music world. “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 MS Subbulakshmi. His actions have tried to spread a sense of shame in being a Carnatic musician and has been exhibited through his consistent denigration of spirituality in music.“, the Carnatic sisters said in their statement.

They also slammed TM Krishna’s glorification of anti-Hindu ideologue EV Ramasamy Naicker (hailed as ‘Periyar’ by his followers) saying,

“It is dangerous to overlook Mr TM Krishna’s glorification of a figure like EVR aka Periyar who

1. Openly proposed a genocide of ‘brahmins’

2. Repeatedly called/abused every woman of this community with vile profanity

3. Relentlessly worked to normalize filthy language in social discourse”

Several other artistes followed in Ranjani Gayatri’s steps and withdrew from the concert. Artists like Chitravina Ravikiran and the family of Palghar Mani Iyer announced that they were returning their Sangita Kalanidhi awards to the Academy. 

Subsequent to this, the President of the Madras Music Academy N Murali wrote an intimidating letter to the sisters stating that the letter was “replete with unwarranted and slanderous assertions and insinuations verging on defamation, and its vicious tone against a respected senior fellow-musician.” 

Veiled threat of defamation in N Murali's response to RaGa @ranjanigayatri
Will that be the course Music Academy will take? I am sure pic.twitter.com/8lQ4sBUmGy

— Arun Subramanian (@ArunBytes) March 21, 2024

Replying to the letter shared by N Murali, the vocalist sisters wrote, 

“Dear Mr Murali,

We thank you for the courtesy of providing a response to our letter dated 20 March 2024. We’d like to clarify that our letter to you was only a notification of our withdrawal without any request for your decisions or actions. We did not post the letter on social media, but merely informed our fans on the same subject. Now we realise, this didn’t help you manage the optics and we are sorry about it.

Did we question your prerogative to award anyone? No

Did we exercise our prerogative to withdraw? Yes

Did we refuse to be implicit apologists for genocide mongers and filthy discourse? Yes

With your verbose answer to questions we never raised, you are trying to build a convenient narrative and cast aspersions on us. Your statements to the press in this regard are immoral and dishonest.

We were a bit surprised as to why your response reads like a release on behalf of the awardee, erasing the distinction between him and the Music Academy. But it became obvious when Mr. N. Ram, media hegemon, joined as an undeclared spokesperson, with his campaign branding us “bigoted, casteist coterie”.

We immensely respect this hallowed institution and it will be the happiest day for us and for millions of people to see star performers emerge from underprivileged communities and dominate this stage. We want to see the day when the TTK auditorium is filled up with a diverse inclusive crowd from all communities and religious minorities. 

This transformation should begin at the top. Kindly start with the entrenched Executive Committee consisting of only Brahmins and royalty you have been heading for 2 decades. Unlike serious hardwork and the long journey it takes for artists to excel, this transformation is achievable instantly with a simple resolution and a bunch of resignations.

Please consider leading by example, lest the world calls it mere lip service and start branding you as a “bigoted, casteist coterie”.”

The Music Academy
Chennai

Dear Mr Murali,

We thank you for the courtesy of providing a response to our letter dated 20 March 2024.
We’d like to clarify that our letter to you was only a notification of our withdrawal without any request for your decisions or actions. We did not… pic.twitter.com/DT6QJoe6N8

— Ranjani Gayatri (@ranjanigayatri) March 25, 2024

Director of Kasturi & Sons Ltd, Former Chairperson of The Hindu Group, and the former Editor of The Hindu, Malini Parthasarathy also came out in support of the vocalist sisters. On her official X handle, Malini wrote, 

“This transformation should begin at the top. Kindly start with the entrenched Executive Committee consisting of only Brahmins and royalty you have been heading for 2 decades. Unlike serious hardwork and the long journey it takes for artists to excel, this transformation is achievable instantly with a simple resolution and a bunch of resignations”

Excellent points made by @ranjanigayatri. to the Music Academy President. Must be heeded!”

“This transformation should begin at the top. Kindly start with the entrenched Executive Committee consisting of only brahmins and royalty you have been heading for 2 decades. Unlike serious hardwork and the long journey it takes for artists to excel, this transformation is… https://t.co/yXlqpk1ODN

— Malini Parthasarathy (@MaliniP) March 25, 2024

It is noteworthy that The Hindu’s N Ram (whose brother is the President of the Music Academy), wrote a scathing post on his social media handle to the sisters. He said, “Commend the firm and fitting response from The Music Academy and its President to the bigoted, casteist objections by a small coterie of set-up Carnatic musicians who can’t stomach the choice of an eminent, widely acclaimed, erudite, and articulate musician for the highest accolade in Carnatic music. If T. M. Krishna doesn’t deserve the Sangita Kalanidhi honour, then who does? And what explains Ranjani-Gayatri’s wild and scurrilous attack — charged with venom and demonstrable falsehoods — on Periyar Ramasamy (1879-1973), the father of the Self-Respect Movement in Tamil Nadu and a champion of women’s equality and rights? Who put them up to this?”

Commend the firm and fitting response from The Music Academy and its President to the bigoted, casteist objections by a small coterie of set-up Carnatic musicians who can’t stomach the choice of an eminent, widely acclaimed, erudite, and articulate musician for the highest…

— N. Ram (@nramind) March 22, 2024

Earlier, TN BJP president K Annamalai and ADMK’s spokesperson voiced out their support for the vocalist sisters and all those who decided to boycott the conference. 

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The post Vocalist Duo Ranjani Gayatri Give Polite But Stinging Response To N. Murali’s Letter appeared first on The Commune.

Gone are the days when History was written by the victors and elitists. During the post-colonial period, many leftist schools of humanities. Subaltern studies are one version of post-colonial studies that focused on representing the voices of the “lower social classes”. These academic narratives gained momentum in the 1980s, thanks to the Subaltern Studies Group (SSG), a group of South Asian scholars pursuing a new approach to (re) writing History, and building postcolonial narratives.

The Devadasi community qualifies as a subaltern study as it had all the elements of “drama” needed to paint a colourful social history of the oppressed and the oppressors. The top most selling point for this narrative is the Devadasi Abolishment Act with a socio-religious angle especially since the Devadasi tradition has a ritualistic angle that traces back to the Hindu Temple Institution. What keeps this narrative going in South India is the fact that the profession of the Devadasi community, in contemporary times, is taken up by the upper-class Brahmins, who are thriving in the art forms.

Who were Devadasi-s? What was their role in the social hierarchy? What happened to them after the Abolishment Act? How does it relate to the recent tensions and divisions as a result of the announcement of 2024 Sangitha Kalanidhi? Is there a similar interplay of power dynamics especially since both involve artistic communities, its institutions, and patrons? 

Origin And Privilege Of The Devadasi Community

Today as academics repeatedly churn out the narratives of the Devadasi system and the Abolishment Act or the disenfranchisement, we have to read it in the context of what was happening elsewhere too. When a certain religion perceived threats from matriarchy it engaged in burning women in the name of witch-hunt. In India, at the same time, the dharmic society was celebrating matriarchy, giving them special status in the society.

In the book Nityasumangali: Devadasi Tradition in South India, Saskia C Keserboom traces the community’s origin to bardic traditions that consisted of male and female communities, both gaining a very prominent social status. In the later medieval times, the communities organised themselves into two orchestras: the periamelam (male nagaswaram virtuoso) who were patriarchal, and the chinnamelam (devadasi-s, consisting of the female dancers and their male guru-s: the nattuvanar-s) who were matriarchal. 

She explains the social and religious aspects of Sangam that suggest that the divine manifested in various intensities that needed mediation; in this space, the form and function of Devadasis were constructed to remove the evil influences of the temple deity. This earned them the special social status as (nityasumangali) the ever-auspicious also.

Amrit Srinivasan, a social anthropologist details that this shared community who lived, married, and worked together, exhibited a competitiveness amongst them. He writes, ‘Most of the nagaswaram players remarked on the greater wealth, fame, and glamour that had been possible for the dancing girls as compared to themselves. Significantly, they claimed this to be the effect of an unfair advantage arising out of the natural attraction for women. According to them, the temple authorities gave the dance pre-eminence at festivals knowing that the people would flock to see the devadasis.’ He is certain that ‘the leading role played by the men of the community in the subsequent reform campaign to abolish the female profession of temple-dancing cannot be understood without reference to this potent fact.’

Devadasi Abolishment And Disenfranchisement

When the native kings and their patronage of the temples weaned, among the many Hindu institutions that crumbled, the devadasi matriarchy suffered the most.

Earlier, the Devadasi women, who enjoyed higher professional status than men with special temple privileges were stripped of their rights as a result of “reform” that was largely politically pushed by some minorities of the community. As a result, the matrifocal household of the community during its prosperity included excessive female residents, a dichotomous power structure where the female members exercised household control, with customary Hindu law supporting their inheritance; from the 1920s began to shift, favouring the males of the community over the females. Although the Madras Act of 1929 enfranchising inams (gifts) and maniams (grants) became tax-free privileges that compensated the communities on the grounds of social justice; the conversion of public land into private taxable “property” also favoured the men over the women of the community. What was once the exclusive right of the professional working class of the community, became available for men of the community to inherit as well.

Yamini Krishnamurthy recounts in her autobiography that Mylapore Gowri Amma, who was once the Queen of Mylapore, lived in penury in her later period of life, bargaining with a street vendor for 2 anna-s, even though she possessed in her palms an unparalleled knowledge that was complemented with mastery in craft. 

 Did the Devadasi Abolishment progress or regress the matriarchy?

Art, society, And Politics

When the institution began to crumble, few male members of the community decided to support their female practitioners. The nattuvanar community spread the art to other communities outside of the guild but were not practitioners of dance, keeping to the norms of the guild. The old families coming out now to perform today shows that time heals. The young girls are encouraged and welcomed by the rasika-s and dance community.

Looking through the lens of socio-political, at that time the scenario prevalent in TN was pushing for anti-Brahminism aggressively between 1920 and 1947 by the Justice Party (now DK/DMK). This was done under the pretext of reinstating “rationalism”, and propagating atheistic programmes, wherein the Backward Classes Movement joined hands with the Christian missionaries with the sole agenda of discrediting Hindu practices and customs on the basis of reforming society. The Backward Classes Movement particularly included the men of the devadasi groups whose focussed agenda was anti-ritualism for both dominance within the household and to reclaim their socio-political status. 

When the Abolishment Bill was passed, the Justice Party, with the official backing of the British through Christian missionaries, had taken great care to protect service benefits in terms of grants and gifts attached to the Devadasi establishment. But another parallel movement existed who were interested in the Devadasi system was the Theosophical movement. The Theosophical Society, which was non-political, became the “unofficial” British wing as its interest was in the nationalisation of Indian art, life, and religious ideals. Into this wing, came contemporary educationalists of post-independent India Rabindranath Tagore, J. Krishnamurthi, and Rukmini Devi.

Given that the Carnatic traditions also had devadasi-s, the seat of Carnatic tradition being Thiruvaiyaru, it produced many vaggyakara-s. Thus, male members of the upper class were already learning and performing the Carnatic tradition from the middle and late 18th Century CE. The stigma of the Devadasi was attached only to Sadir, the traditional dance form of TN, as the vaggyakara-s of sadir belonged to the Devadasi community. This demarcation is important for present and future generations of rasika-s and practitioners to know. 

To remove the stigma attached to the practice of devadasi dance, the form and function needed sanitisation which was done by Rukmini Devi Arundale. In establishing Kalakshetra, Rukmini Devi democratised the dance form. She also broke the gender divide that existed in dance traditions. Her determination and endurance sowed the seed not only for next-generation Bharatanatyam practitioners but also largely helped other regional devadasi dance forms.

In The Present: Have The Wounds Of The Past Healed?

Academics belonging to the History and Anthropology disciplines can write papers on temple institutions and devadasi-s, but none of their studies and collaboration promote the spirit of the devadasi system and are relevant to India’s cultural continuity. Their narratives while staging the Devadasi dance have always only poked into the wounds of the surviving members of the community from time to time, not letting them heal.

In light of the recent announcement of the 2024 awards by the Madras Music Academy, it is clear that the premier institution is sending a political message that does not align with the values and history of what the institution has so long stood for. The Academy has undoubtedly groomed and promoted talent while also maintaining a high level of artistic excellence. However, when T. M. Krishna snubbed The Music Academy on several occasions in the past, the decision of the Academy had startling reactions, raising the eyebrows of not just the artists. The Academy’s choice to place a political ideology over its own institutional values has also definitely let down the larger performing arts community.

The Carnatic community is conflicted as they consider the performing space sacred, but are wary that the next generation of young talent and their intellectual skills will be used to push false narratives that may only lead to polarisation within the Tam-Brahm communities. The Music Academy being at the forefront of the artistic milieu paving the way for such polarisation is tragic. The millennial generation that is witnessing this churning in society needs to ask only one question – should caste and politics creep into the institutions of traditional arts, when the role of arts in society is to explore the ‘form’ that is meant to heal?

At this juncture, it is also extremely important to be sensitive to the art and the artists as both are inseparable and dependent on patronage. The role of patrons and rasika-s will thus play an important role in Margazhi Music and Dance Season here on especially since political agendas are intruding into the art and culture space.

The curtain is still drawn… the drama is yet to unfold!

Suggestions for further reading

• Bharatanatyam, A Reader – Oxford University Press 2010
• Saskia C Kersenboom, Nityasumangali, Motilal Banarsidass (1987) 2011, New Delhi
• Knowledge Tradition Text, Approaches to Bharata’s Natyashastra, Sangeet Natak Akademi 2007
• Douglas Knight Jr., Balasaraswathi, Her Art & Life, Wesleyan University Press 2010, in India Tranquebar (2011)

Deepa Chakravarthy is a performing artist and a practising academic. She is an Indic cultural expert whose expertise extends Indian cultural history to other practice traditions like Yoga and Vedic chanting.

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The post Who Mourns For The Devadasi-s? appeared first on The Commune.

The recent days have been turbulent for the Carnatic music community, with both artists and enthusiasts facing a storm of controversy. The Madras Music Academy’s decision to honor left-leaning vocalist TM Krishna with the Sangita Kalanidhi award stirred up significant debate. In response, vocal duo Ranjani-Gayatri expressed their dissent by opting to withdraw from the upcoming conference, which is scheduled to be led by Krishna later this year.

Several notable musicians and artists joined the vocalist duo in their boycott. This includes Vedic scholar Dushyanth Sridhar, Harikatha exponent Smt. Vishakha Hari, vocalists Trichur Brothers, and Chitraveena Ravikiran, who decided to return his 2017 Sangita Kalanidhi award. Additionally, other prominent artists such as Palghat Mani Iyer’s family have also chosen to return the award in solidarity.

Following this, Music Academy President N. Murali wrote a letter to the sisters, expressing his disapproval. The intimidating letter to the sisters stated that their letter was “replete with unwarranted and slanderous assertions and insinuations verging on defamation, and its vicious tone against a respected senior fellow-musician.” 

The Hindu’s N Ram (whose brother is the President of the Music Academy), wrote a scathing post on his social media handle to the sisters. He said, “Commend the firm and fitting response from The Music Academy and its President to the bigoted, casteist objections by a small coterie of set-up Carnatic musicians who can’t stomach the choice of an eminent, widely acclaimed, erudite, and articulate musician for the highest accolade in Carnatic music. If T. M. Krishna doesn’t deserve the Sangita Kalanidhi honour, then who does? And what explains Ranjani-Gayatri’s wild and scurrilous attack — charged with venom and demonstrable falsehoods — on Periyar Ramasamy (1879-1973), the father of the Self-Respect Movement in Tamil Nadu and a champion of women’s equality and rights? Who put them up to this?”

Commend the firm and fitting response from The Music Academy and its President to the bigoted, casteist objections by a small coterie of set-up Carnatic musicians who can’t stomach the choice of an eminent, widely acclaimed, erudite, and articulate musician for the highest…

— N. Ram (@nramind) March 22, 2024

He also shared a few links to articles on the Sangita Kalanidhi Awards reported by The Hindu. 

In response to N Ram, the sisters wrote, 

“1. Please isolate venom & demonstrate falsehoods in our ‘notorious’ note to the Music Academy

2. Either you r part of the Periyar packaging factory or an ignorant believer

He called for killing of Brahmins, called the women of your house Prostitutes. Stop glorifying him”

@nramind
1. Please isolate venom & demonstrate falsehoods in our ‘notorious’ note to the Music Academy
2. Either you r part of the Periyar packaging factory or an ignorant believer

He called for killing of Brahmins, called the women of your house Prostitutes. Stop glorifying him https://t.co/JatIG2tOWU

— Ranjani Gayatri (@ranjanigayatri) March 22, 2024

Vedic scholar Dushyanth Sridhar also came out in support of the sisters in this regard, yet again. He wrote, “Sri Rama & Srimad Ramayanam is the very essence of #Bharata. I am ready to debate with references from works (both in #Tamil & #Sanskrit) of preceptors & composers (in #CarnaticMusic) and how they have venerated Sri Rama. The irony is Mr. 

@nramind & EVR share the name of Sri Rama in their names and have never understood the ethos of this country. Kudos to @ranjanigayatri”

Sri Rama & Srimad Ramayanam is the very essence of #Bharata. I am ready to debate with references from works (both in #Tamil & #Sanskrit) of preceptors & composers (in #CarnaticMusic) and how they have venerated Sri Rama. The irony is Mr. @nramind & EVR share the name of Sri… https://t.co/Tm1hGfmZgE

— Dushyanth Sridhar (@dushyanthsridar) March 22, 2024

Earlier, TN BJP president K Annamalai and ADMK’s spokesperson voiced out their support for the vocalist sisters and all those who decided to boycott the conference. 

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The post “He Called Women Of Your House Prostitutes, Stop Glorifying Him”: Ranjani-Gayatri Give Stinging Response To The Hindu’s N. Ram Simping For EVR appeared first on The Commune.

The past couple of days have been quite stormy for the world of Carnatic music, artistes, and rasikas alike. Following the decision of Madras Music Academy to confer the Sangita Kalanidhi award to left-leaning, EVR venerating vocalist TM Krishna, vocalist duo Ranjani-Gayatri sent in their disapproval by withdrawing from the Conference that will be overseen by Krishna later this year. 

Several other distinguished musicians and artistes also joined the vocalist duo in their boycott. These include Vedic scholar Dushyanth Sridhar, Harikatha exponent Smt Vishakha Hari, vocalists Trichur Brothers, Chitraveena Ravikiran decided to return his 2017 Sangita Kalanidhi. Other prominent artists who took a similar stand include Palghat Mani Iyer’s family returning the award. 

Subsequent to this, the Music Academy President N Murali wrote an intimidating letter to the sisters stating that the letter was “replete with unwarranted and slanderous assertions and insinuations verging on defamation, and its vicious tone against a respected senior fellow-musician.” 

With the world of Carnatic music in an uproar, people from the political domain offered their support to the musicians boycotting the Conference. Among them were Tamil Nadu Bharatiya Janata Party President K Annamalai and ADMK’s Kovai Sathyan.

Annamalai, in a post on his official X handle, wrote  “The Music Academy, revered as the Temple of Carnatic Music and spiritual consciousness for more than nine decades, is under the threat of disintegration by divisive forces detrimental to the sanctity of the organisation. @BJP4TamilNadu stands in solidarity with all the eminent artists of the Music Academy who have collectively raised their voices against the inimical approach of the present authority of the academy. 

We stand with eminent musicians @ranjanigayatri avl, @TrichurBrothers avl, Thiru @ravikiranmusic avl, Harikatha exponents Thiru @dushyanthsridar avl, Smt Vishaka Hari avl, and many others who strive to maintain the sanctity of the pristine institution. The last refuge for proponents of Defunct propaganda & ideology of hate & division cannot be the Temple of Carnatic Music!”

The Music Academy, revered as the Temple of Carnatic Music and spiritual consciousness for more than nine decades, is under the threat of disintegration by divisive forces detrimental to the sanctity of the organisation.@BJP4TamilNadu stands in solidarity with all the eminent…

— K.Annamalai (@annamalai_k) March 22, 2024

Trichur Brothers thanked Annamalai for voicing out support.

Thank you Sir. We are just following our heart and conscience. Have strongly believed and followed the ideal that Music should always be a medium of unification, not division. Thanks for magnifying our voices. https://t.co/Vya7X2Tzl5

— Trichur Brothers (@TrichurBrothers) March 22, 2024

ADMK spokie Kovai Sathyan, in conversation with Times Now, stated that, “Invoking Periyar, singer Krishna has clearly misconstrued and misunderstood certain ideological beliefs of EVR Periyar. There is a professional sanctity one has to adhere to despite whatever profession they are in. Mr. Krishna’s comments on certain things have definitely brought some disgrace, not only to his profession but also to the people who are associated with that profession. The sentiments, echoed by many, turning down their awards, definitely has merit, and damage is already been done by Mr Krishna.”

AIADMK reacts to #TMKrishna award row

Invoking Periyar, singer Krishna has clearly misconstrued and misunderstood certain ideological beliefs of EVR Periyar. There is a professional sanctity one has to adhere to…: @KovaiSathyan pic.twitter.com/287ODFtaiE

— TIMES NOW (@TimesNow) March 21, 2024

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The post BJP’s Annamalai, ADMK’s Kovai Sathyan Support Ranjani-Gayatri For Their Stance Against Music Academy Awarding TM Krishna Who Glorified Anti-Hindu EVR appeared first on The Commune.

The internet and the Carnatic music world witnessed a surprising turn of events on 20 March 2024 when the Carnatic musician sisters duo Ranjani Gayatri decided to withdraw from participating in the highly anticipated Music Academy’s conference slated for 2024. 

In addition to this, they have also pulled out from presenting their scheduled concert on 25 December 2024.

Most rasikas know about TM Krishna, the musician, his family background, etc. TM Krishna aka Thodur Madabussi Krishna belongs to a family that boasts of a hoary and extremely wealthy past. His grand-uncle is TT Krishnamachari, son of a Madras High Court judge TT Rangachari during the British Raj. An Iyengar by birth, TM Krishna was a student of Semmangudi Srinivasa Iyer. He studied under the guidance of Sangita Kala Acharyas Bhagavatula Seetharama Sarma and Chengalpet Ranganathan before receiving mentorship from Semmangudi Srinivasa Iyer.

TM Krishna is known more for his ‘activism’ than his music. He often courts controversy with his leftist views and plays second fiddle to the tunes of Dravidianists. 

He wrote elaborate pieces on how “power emanates from the backseat of a car.” Like a typical leftist, he even wrote how the festival of Raksha Bandhan perpetuates discrimination against women – “..we have to recognise that there are serious sexist issues involved in its construction.” 

Advocated For Human Rights For Terrorist Ajmal Kasab

Yes, he did advocate for the human rights of Jihadis like Ajmal Kasab. In a piece in The Hindu, he wrote elaborately on his opinion. “What do we achieve by hanging or electrocuting a criminal?”, he wrote. He also said, “You also give the person an opportunity to change, to introspect, to realise.”  A few other sentences from his piece include, “Some argue that the death sentence will work as a deterrent to others like Kasab. But there are no statistics to prove that countries that have banned the death sentence have a higher rate of murder or rape. We wanted justice and we got it, let’s not celebrate an execution.”

These words make one reminiscent of a typical leftist like Arundhati Roy or Teesta Setalvad who advocates for an “Azad Kashmir” and human rights for criminals and terrorists, respectively. 

His Leftist Connections

TM Krishna serves on the advisory board of Hindus for Human Rights, which receives funding from Soros and has ties to Jamat-e-Islami. He maintains a close relationship with Sunita Viswanath, the head of HfHR. Organizations such as HfHR, IAMC, and Jamat-e-Islami are perceived as anti-India and anti-Hindu.

This Advisory Board has the likes of Swara Bhasker, Dr Syeda Hameed, and quite a few Christian Pastors, Rajmohan Gandhi (MK Gandhi’s grandson) as well as a “Gandhian” Faisal Khan.

https://twitter.com/tanishq_finance/status/1770680604633522195

Anti-RSS

In an interview with National Herald, he said “Bringing the classical and the devotional world together and tying it up with Hinduism and RSS is a dangerous combination,” and that this can only be fought by “Dalit organisations”. When asked why it was important for an artist to dissent, he said, “The classical Brahamnical culture never gives you this freedom. We have lost Devdasi voice and face from music and dance.”

He wrote in Scroll in 2018 that when the then-President Pranab Mukherjee visited the RSS HQ in Nagpur, he failed the country. He wrote, “Should Mukherjee have attended the Tritiya Varsha Sangh Shiksha Varg? As a citizen of India he has every right to go where he pleases, and, after all, the RSS is not an illegal entity. But, as former head of the state, was he ethically right?” and that “his very presence gave legitimacy to the RSS school of thought.”

He further wrote, “But the problem lies with the belief that the RSS is representative of conservative Hindu nationalism. In fact, the RSS has vulgarised Hindu thought. With all its flaws, its casteist and patriarchal inners, this religion, like any other, allows for the distinct possibility of inquiry, questioning, equality, care, and universality.” He further wrote, “It is essential that we make an effort to wean the conservative Hindu away from the clutches of the RSS.”

On Gauri Lankesh’s Murder

Known for his anti-BJP and anti-RSS stand which is what a typical leftist does, he held the BJP and the RSS for Gauri Lankesh’s murder. He wrote in yet another leftist rag Scroll, “It is well known that I am no supporter of Narendra Modi, the Bharatiya Janata Party, Rashtriya Swayamsevak Sangh, Vishwa Hindu Parishad or their affiliates, but right now this is not just political distaste. I hold them morally responsible for permeating religious, intellectual, and cultural hate in this country.” He also justifies that this made people like him unsympathetic to RSS swayamsewaks being murdered – “And let me say this out loud, the BJP and company have not only poisoned the minds of their own supporters, they have achieved a larger goal. They have made the rest of us crass and inhuman to the extent that we are unable to empathise when an RSS member is killed.”

Singing ‘Carnatic’ Christian Hymns

In 2018, numerous notable Carnatic musicians began singing Christian hymns in the Carnatic style, incorporating elements of traditional saints’ compositions. In response, TM Krishna announced his intention to release at least one song per month focusing on Jesus and Allah.

Blatant Hinduphobia

He had also participated in the blatantly anti-Hindu global conference titled “Dismantling Global Hindutva in 2021“. 

On MS Subbulakshmi

He wrote a hitjob piece on the revered carnatic singer Bharat Ratna MS Subbulakshmi for rabidly leftist rag The Caravan. This piece reeked of the typical the leftist-Dravidianist narrative, scrutinizing a revered figure’s private life based on hearsay by repeating her Devadasi origin and her alleged “Brahminization” for social acceptance, which is a derogatory attack on both MS Amma and her heritage.

Overall, the hitjob follows the standard leftist template by invoking phrases and concepts such as patriarchy, feminism, and overdrive of “Brahminical superiority”, suggesting an agenda-driven approach.

However, he sang a different tune when he heard the news of his being conferred with the Sangita Kalanidhi. He said, “It is also humbling because the recipients of the awardees include my teacher Semmangudi Srinivasa Iyer, T. Brinda, M.S. Subbulakshmi who you admire and look up to for inspiration.”

On Lord Rama

In an interview with the Open Magazine in 2017, when asked about working with Perumal Murugan, he said “I have worked with Perumal for nearly a year now and we (Shriram Kumar, Krishna, Sangeetha, and Arun Prakash) have tuned 11 of his compositions. His kirtanas cover a wide range of themes— from non-irrigated agricultural land, love, the five elements and the mind to the palm tree. My hope is to keep moving the discourse to a point where it really doesn’t matter what you are singing about. You may get to a point where Rama is equalised with a palm tree or a dog.”

Ranjani Gayatri duo withdraw from participating in the Music Academy’s conference 2024 as it is presided over by "Sangeetha Kalanidhi" TM Krishna – who wanted Sri "Rama to be equalised with a palm tree or a dog"

Kudos to your courage of conviction ma'am! https://t.co/MIWNAmbKC3 pic.twitter.com/eOy6OhPTFz

— Tamil Labs 2.0 (@labstamil) March 20, 2024

In the same interview, when asked if worldly events and incidents directly affect his music, he says, he subconsciously reacts to events like others. He adds, “In the line ‘Rama nama shu thali re lagi’, I make it ‘Rahim nama’.”

Ironically, 22 January happened to be his birthday. Whether it was intended or not, it is not clear, but he “celebrated the day” with some non-veg food and beer. Whether it was to rub it in the Hindus’ face is not clear. 

My birthday lunch!
Karimeen poLicchadu pic.twitter.com/X6fyz1L2DN

— T M Krishna (@tmkrishna) January 22, 2024

there was of course some beer on the side!

— T M Krishna (@tmkrishna) January 22, 2024

When he heard of the news that the President of the country (Ramnath Kovind) had donated to the Ram mandir in Ayodhya in 2021 (in a personal capacity), he found it “deeply upsetting” since the “entire Ayodhya movement has caused the death of so many.”

We have become a country where the @rashtrapatibhvn (though in his personal capacity) donates to the Ram temple in Ayodhya knowing fully well that the entire Ayodhya movement has caused the death of so many Indians is deeply upsetting. This is not healinghttps://t.co/7L5B2jk36S

— T M Krishna (@tmkrishna) January 16, 2021

On the day of Bhoomipoojan in Ayodhya on 5 August 2020, he wrote, “With absolutely no evidence to support this, let me say that the downfall of the BJP begins today. And I am not a superstitious person.”

With absolutely no evidence to support this, let me say that the downfall of the BJP begins today.
And I am not a superstitious person.

— T M Krishna (@tmkrishna) August 5, 2020

Back in 2018, he wrote that 6 December 1992 was one of the darkest days in history. “December 6th 1992 was one of the darkest days in our recent history. That moment led us to where we are today, a country where we have nearly normalised communal violence and hatred.”

December 6th 1992 was one of the darkest days in our recent history. That moment led us to where we are today, a country where we have nearly normalised communal violence and hatred.

— T M Krishna (@tmkrishna) December 6, 2018

He also wrote a piece after the Pran Prathistha in The Telegraph titled “Heartless devotion: what ails India’s bhakti fabric”. In this piece, he mainted that there was no proof that the temple existed in the first place. He wrote, “…the Supreme Court verdict that allowed the construction of the Ram temple in Ayodhya stated that there is no proof that a temple had been demolished to build the Babri masjid since there was an intervening gap of about four hundred years between the dating of the underlying structure and when the mosque was built.”

He tried to establish that this form of bhakti was not real bhakti. Well, one might want to ask if his tears and his emotions when he sings Carnatic songs on deities exude bhakti. He also brings in some Modi bashing in the piece, because why not.

Praising EVR

He hailed EVR and has even sung songs revering him. In 2023, he released a song titled “Sindhikka Sonnavar Periyar,” which means “EVR told us to think,” in contrast to what EV Ramasamy Naicker told his Dravidar Kazhagam followers. EV Ramasamy Naicker always wanted his followers not to think and just follow his orders like a military organization.

Honouring Periyar with this special song along with Perumal Murugan and Pazha. Athiyaman – Commemorating the Centenary of the Vaikom Satyagraha. @perumal_murugan

Watch the full video here: https://t.co/tL7aLUFTbt#tmkrishna #musician #perumalmurugan #periyar #vaikomsatyagraha

— T M Krishna (@tmkrishna) March 30, 2023

Very ironic that he sings in praise of the same person who called for the genocide of TM Krishna’s own community. 

Make a song out of this. pic.twitter.com/nTfu5n8FLv

— Darryn Brachman (@DarrynBrachman) March 30, 2023

Belittled Brahmins

He extended solidarity to controversial ‘activist’ Meena Kandasamy who had called the Brahmin community ‘dicks’ indicating how close-knit he was with the leftist and Dravidianist ecosystem.

I do not know the context of @meenakandasamy 's
tweet but stand in solidarity and agree with all that she has expressed in this thread https://t.co/R9TY8eDkUv

— T M Krishna (@tmkrishna) December 29, 2020

In 2020, as a prelude to the release of his book on Mridangam makers titled “Sebastian & Sons: A Brief History of Mrdangam Makers”, The Hindu published an excerpt of the book titled, “Keeping the Cow and the Brahmin Apart”. In an attempt to show the Mridangam makers in a good light, he threw muck on his own community, his music fraternity. His piece was filled with political overtones.

TM Krishna, a controversial, namesake Iyengar who wears a lungi to a kutcheri to sing in praise of Allah or Jesus rather than the Bhakti towards his faith that was inculcated as he grew up. Blessed with musical prowess, Krishna needlessly took the Dravidianist-leftist way to prove a point to whom, one wonders and for what. 

Given his background, upbringing, and musical journey, it’s disheartening to witness Krishna aligning himself with ideologies that only end up contaminating the culture and tradition that he brought with him. Rather than embracing his heritage and using his platform to enrich the art form, he has veered off course, purely engaging in “activism”. 

In hindsight, it’s regrettable to witness the potential of a gifted musician like Krishna being overshadowed by his association with contentious political agendas. One can’t help but ponder what greater contributions he could have made to Carnatic music had he chosen a different path — one focused on fostering tradition and unity, rather than divisive activism.

The Sangita Kalanidhi was earlier conferred to stalwarts like MS Amma, Palghat Mani Iyer, Madurai Mani Iyer, Chembai Vaidyanatha Bhagavatar, DK Pattammal, Papanasam Sivan, Maharajapuram Santhanam – these doyens worked towards uplifting the art form and not denigrating it like TM Krishna is doing.

Conferring the Sangita Kalanidhi on Krishna only gives a platform and lionises the “cause” that the likes of TM Krishna stands for – the leftist and Dravidianist “cause”. In doing so, the Music Academy is only staring at its own downfall.

Hydra is a freelance writer. 

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The post Sympathizing Terrorists, Equating Lord Ram To Dog, Hailing Anti-Hindu EVR And What Not: Unmasking The Hate Politics Of TM Krishna appeared first on The Commune.

Following the announcement of Carnatic vocal duo Ranjani and Gayatri’s boycott of the upcoming music festival at Music Academy in protest against vocalist TM Krishna receiving the Sangita Kalanidhi award, academy president N Murali addressed the situation going offensive on them.

Veiled threat of defamation in N Murali's response to RaGa @ranjanigayatri
Will that be the course Music Academy will take? I am sure pic.twitter.com/8lQ4sBUmGy

— Arun Subramanian (@ArunBytes) March 21, 2024

Murali stated, “The choice of Sangita Kalanidhi is the prerogative of the academy. The decision was made after careful deliberation, with the sole criterion being musical excellence demonstrated over a significant and sustained career.” He further expressed disappointment, noting, “They posted the letter sent to me on social media without even waiting for the response.” Murali conveyed his formal reply to the sisters on 21 March 2024, emphasizing, “It is not just discourteous but also raises doubts about the intentions.” 

The academy’s reply, reported by the Times of India, highlighted its shock at the “vituperative content” of the sisters’ letter. The letter stated that the letter was “replete with unwarranted and slanderous assertions and insinuations verging on defamation, and its vicious tone against a respected senior fellow-musician.” 

The Academy defended its decision to award TM Krishna, stating, “This year the executive committee of the academy chose T M Krishna for this accolade based on his excellence in music over a long career, with no extraneous factors influencing our choice.”

(with inputs from TOI)

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The post N. Murali Writes Intimidating Letter To Ranjani – Gayatri Insinuating Defamation After They Call Out Music Academy For Awarding TM Krishna Who Glorified Anti-Hindu EVR appeared first on The Commune.

Musician sisters duo Ranjani Gayatri withdrew from participating in the highly anticipated Music Academy’s conference slated for 2024. Additionally, they have also pulled out from presenting their scheduled concert on 25 December 2024. Following this, several music exponents and artistes put forth their stances on the issue. 

Vedic scholar and Upanyasika Dushyanth Sridhar posted on his social media handles that he had conveyed to the Madras Music Academy that he would not be performing on 1 January 2025 (after the sadas). He attached a copy of the letter he wrote to the Academy. Explaining the reason for his decision, he wrote in the letter, “I have had a sea of ideological differences with the Sangita Kalanidhi designate of 2024 – Sri TM Krishna. I have no authority to question the selection of his name for the award. I am pained by many of his public statements on Dharma, Ayodhya and Sri Rama, and more. I am guided by the life and teachings of Bhagavad Ramanuja, Vedanta Desika, and Kanchi Paramacharya. I will prove disrespectful to their values if I perform immediately after the sadas (where he will be awarded). I would hence withdraw from performing on 1st January 2025.”

#Astikas – I have conveyed to the Madras Music Academy that I will not be performing on the 1st January 2025 (after the sadas). Below is a copy of the letter drafted to them. pic.twitter.com/MRx9b8Z6qR

— Dushyanth Sridhar (@dushyanthsridar) March 20, 2024

Hari Katha exponent Smt Vishakha Hari also shared her thoughts on the issue. She wrote on her Facebook page, “By Guru’s grace, I have been following the principle of “Mind your own business and stick to your core values and principles”. But this time I have decided to move away from that stance as my core values are threatened by certain actions in the recent past. This year’s Sangeetha Kalanidhi designate awardee has engaged in a lot of slandering previously, hurting the sentiments of many tremendously and willfully. He has not been a regular performer in the institution for years, either. I (as many others) believe that values and virtues are as important as the music – as what Sri Thyagaraja, Sri Muthuswamy Dikshithar, Syama Sastri– our beloved Music Trinity also believed and lived by. This whole journey of Nadopasana is intended towards divinity. I wonder if the late Sangeetha Kalanidhis like Ariyakkudi or Semmangudi or Palghat Mani Iyer would accept this decision if alive today. What would their stance be? Also, would even the present Sangeetha Kalanidhis accept this decision? Awards may come and go. But setting the right role models for posterity is what is important.”

Chitravina Ravikiran announced that he was returning the Sangita Kalanidhi award conferred upon him in 2017. On his official X handle, he wrote, “RETURNING SANGITA KALANIDHI AWARD from ACADEMY: I’ve taken this step after careful consideration as principles much larger than all of us are at stake. However, I’ll always remain deeply grateful to the org for its role in my career from childhood”

He also attached a copy of the letter he wrote to the President of the Madras Music Academy, N Murali. In the letter, he enumerated the reasons for his decision to return the award. 

RETURNING SANGITA KALANIDHI AWARD from ACADEMY: I’ve taken this step after careful consideration as principles much larger than all of us are at stake. However I’ll always remain deeply grateful to the org for its role in my career from childhood #musicacademy #award #Music pic.twitter.com/EfXVtkUTns

— Chitravina Ravikiran (@ravikiranmusic) March 21, 2024

Yet another musician duo who caught the rasikas by surprise with their decision was the Trichur Brothers. In a post on their official X handle, they wrote, “Formal announcement that we are pulling out of the Annual Conference 2024 of The Music Academy, Madras, for obvious reasons. 

To participate in a conference presided by Mr TM Krishna would make us outright hypocrites in our own eyes. 

Sincerely, 

Trichur Brothers”

Formal announcement that we are pulling out of the Annual Conference 2024 of The Music Academy , Madras, for obvious reasons.

To participate in a conference presided by Mr TM Krishna would make us outright hypocrites in our own eyes.

Sincerely,
Trichur Brothers

— Trichur Brothers (@TrichurBrothers) March 20, 2024

Netizens and rasikas alike hailed the decisions made by the musicians in protest of TM Krishna being bestowed the Sangita Kalanidhi. 

About TM Krishna

TM Krishna belongs to a family that boasts of a hoary and extremely wealthy past. His grand-uncle is TT Krishnamachari, son of a Madras High Court judge TT Rangachari during the British Raj.

TM Krishna is known more for his ‘activism’ than his music. He often courts controversy with his leftist views and plays second fiddle to the tunes of Dravidianists. He had also participated in the blatantly anti-Hindu global conference titled “Dismantling Global Hindutva“. Before that, he had felt sad when the 26/11 Mumbai attack terrorist Ajmal Kasab was hanged.

He has hailed EVR and has even sung songs revering him. Recently, he released a song titled “Sindhikka Sonnavar Periyar,” which means “EVR told us to think,” in contrast to what EV Ramasamy Naicker told his Dravidar Kazhagam followers. EV Ramasamy Naicker always wanted his followers not to think and just follow his orders like a military organization.

Honouring Periyar with this special song along with Perumal Murugan and Pazha. Athiyaman – Commemorating the Centenary of the Vaikom Satyagraha. @perumal_murugan

Watch the full video here: https://t.co/tL7aLUFTbt#tmkrishna #musician #perumalmurugan #periyar #vaikomsatyagraha

— T M Krishna (@tmkrishna) March 30, 2023

He had also written a hitjob piece on the revered carnatic singer Bharat Ratna MS Subbulakshmi for rabidly leftist rag The Caravan. He has even distorted Carnatic music to display his secular credentials by singing Islamic songs in Carnatic tunes.

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The post Artistes In TN Join Ranjani-Gayatri In Taking A Stance Against Music Academy Awarding TM Krishna Who Had Glorified Anti-Hindu EVR appeared first on The Commune.

Following Music Academy’s announcement of conferring ‘Sangita Kalanidhi’ award to controversial singer TM Krishna, Carnatic vocalist duo Ranjani and Gayatri have announced their decision to withdraw from participating in the highly anticipated Music Academy’s conference slated for 2024. Not only that, but they have also pulled out from presenting their scheduled concert on December 25th.

In a strongly worded statement, Ranjani-Gayatri cited their reason for withdrawal as the presence of controversial singer TM Krishna, who is known for his leftist and Dravidianist views.

They accused TM Krishna of causing irreparable harm to the Carnatic music world.

“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 MS Subbulakshmi. His actions have tried to spread a sense of shame in being a carnatic musician and has been exhibited through his consistent denigration of spirituality in music.“, the Carnatic sisters said in their statement.

They also slammed TM Krishna’s glorification of anti-Hindu ideologue EV Ramasamy Naicker (hailed as ‘Periyar’ by his followers) saying,

Ranjani Gayatri emphasized their commitment to a value system that honors art, artists, and the cultural heritage of Carnatic music. They argued that participating in the conference, given Mr. Krishna’s involvement, would constitute a moral violation of these values.

About TM Krishna

TM Krishna belongs to a family that boasts of a hoary and extremely wealthy past. His grand-uncle is TT Krishnamachari, son of a Madras High Court judge TT Rangachari during the British Raj.

TM Krishna is known more for his ‘activism’ than his music. He often courts controversy with his leftist views and plays second fiddle to the tunes of Dravidianists. He had also participated in the blatantly anti-Hindu global conference titled “Dismantling Global Hindutva“. Before that he had felt sad when 26/11 Mumbai attack terrorist Ajmal Kasab was hanged.

He has hailed EVR and has even sung songs revering him.  Recently, he had released a song titled “Sindhikka Sonnavar Periyar,” which means “EVR told us to think,” in contrast to what EV Ramasamy Naicker told his Dravidar Kazhagam followers. EV Ramasamy Naicker always wanted his followers not to think and just follow his orders like a military organization.

Honouring Periyar with this special song along with Perumal Murugan and Pazha. Athiyaman – Commemorating the Centenary of the Vaikom Satyagraha. @perumal_murugan

Watch the full video here: https://t.co/tL7aLUFTbt#tmkrishna #musician #perumalmurugan #periyar #vaikomsatyagraha

— T M Krishna (@tmkrishna) March 30, 2023

He had extended solidarity to controversial ‘activist’ Meena Kandasamy who had called Brahmin community as ‘dicks’.

I do not know the context of @meenakandasamy 's
tweet but stand in solidarity and agree with all that she has expressed in this thread https://t.co/R9TY8eDkUv

— T M Krishna (@tmkrishna) December 29, 2020

He had even advocated for equating Lord Ram with a dog.

Ranjani Gayatri duo withdraw from participating in the Music Academy’s conference 2024 as it is presided over by "Sangeetha Kalanidhi" TM Krishna – who wanted Sri "Rama to be equalised with a palm tree or a dog"

Kudos to your courage of conviction ma'am! https://t.co/MIWNAmbKC3 pic.twitter.com/eOy6OhPTFz

— Tamil Labs 2.0 (@labstamil) March 20, 2024

He had also written an hitjob piece on the revered carnatic singer Bharat Ratna MS Subbulakshmi for rabidly leftist rag The Caravan.

He has even distorted carnatic music to display his secular credentials by singing Islamic songs in Carnatic tunes.

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The post Ranjani-Gayatri Withdraw From Music Academy’s 2024 Conference In Protest Against Rewarding Of TM Krishna Who Had Glorified Anti-Hindu EVR appeared first on The Commune.