Last December has certainly brought out a host of young talents such as Mohan Santhanam, Rithvik Raja, Prasanna Venkatraman, Nisha Rajagopal, Trichur Brothers, Ramprasad and a few others. Senior vocalists like Nithyasree Mahadevan revealed the ‘eternal truth of music’, Bombay Jayashri, with her out-of-the-world performance, impressed everyone, OS Arun outlined the expression of spirituality of music, and TN Seshagopalan showed his remarkable hold on laya. A meditative appeal by violinists Lalgudi GJR Krishnan, Vijayalakshmi and A Kanyakumari, and vocalist TM Krishna, gave us a refreshing musical experience. Prof Sailaja, one of the renowned kuchipudi and bharathanatyam artistes, with her delicate balance and quick rhythmic style of footwalk impressed each of us.On artistes:The important question now arises whether the quality and standard of music/dance have been maintained?Well earlier, it used to be different and good. But this season, most of the performers, because of their ‘repetitive vocabulary’ musical expressions, dampened the enthusiasm.On young artistes:In today’s time, a lot of young artistes have strong views on the ‘Theoretical’ side of arts. And they always want to experiment with the new styles. But, if they wish to become famous, they need to think of old artistes and be inspired by them.This season gave them an opportunity to understand the competitiveness of the ‘cultural world’.On the sabhas:The sabhas alloted time for artistes. But it wasn’t based on their ‘professional seniority’ but the enormity of the crowd and the commercial aspects. Needless to mention, mostly the ‘awards’ become the prerogative of the ‘sponsors’. And the artistes with least public relations and contacts never get to see the light of the day.Firstly, even when the programmes are sponsored by patrons, the abysmally low remuneration paid to the artistes, particularly in the dance arena is disappointing. Secondly, the mushrooming of the sabhas with commercial instincts during the Margazhi season have become a negative. It has resulted in artistes performing to an almost empty auditorium.Thirdly, would it not be nice if the sabhas, instead of going into hibernation after the season, organise concerts to educate the listeners? On the audience:In today’s time, the crowd that throng the sabhas are heterogeneous, in their likes and dislikes. How they perceive the ‘musical arena’ is disturbing. Sometimes manodharma is given a go by for modernity in presentation with computers. I would like to conclude with a caveat, that an opportunity, to get an insight, into the world of culture infusing a genuine ‘zeal’ is being provided in the Margazhi festival. But, this creative fine arts, needs to be catered with divine spirit as this tradition can only be nurtured by devotion and not by commercialisation of the forms. Failure to do so, would result in ‘sacrilege’.
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