Echoes of Margazhi: Artistes share their moments of learning and growth

CHENNAI: Ragas of sisterhood

The music season in Chennai has always been a uniquely multifaceted experience. The bevy of concerts, the camaraderie with friends and fellow rasikas from near and far, the food, the traffic, and the lack of sleep all creates a quasi-marathon atmosphere, underscored by a constant adrenaline rush. This season was no exception. As a duo, our goal was to offer something fresh and new—at least to us—while respecting the challenges of innovating within a centuries-old classical music system that has evolved extensively over time. Performing as a duo, we also faced the added constraints of performing in sync, matching every sangathi and signaling each other with quick glances when we deviated. Then there was the occasional disconnect between what we plan at home and what unfolds on stage. Factors such as the comfort of our voice on a given day, the hall’s acoustics, the time limits, and the audience’s response all contribute to the intangible elements that shape each performance. We were delighted to present a thematic concert featuring the compositions of our grandfather, Suchindram Sivasubramiam. Recently, we have also been exploring Tamil poetry—particularly the works of Thayumanavar—and we incorporated some of his verses as virutams. We thoroughly enjoyed this process. From time to time, we shared the stories and musical concepts that each composer imbued in their creations. Overall, we had a wonderful time: we hit the high notes, identified areas to explore, and savored the company of our fellow artistes and friends.

— Akkarai S Sornalatha & Akkarai S Subhalakshmi, Carnatic violinist and vocalist

Learning of a lifetime

Margazhi this year has been overwhelming, thanks to the sheer support and love from the rasikas. It’s been more than 20 years since I started performing. Each passing year, the addition of youngsters into this traditional art form has been tremendous. This year was exceptional for me as I was blessed with numerous awards; not because of the awards, but because of the distinguished people from whom I received them. I had the honour of receiving the Lifetime Achievement Award from the humble TK Murthy; and other legendary musicians like TV Gopalakrishnan, whom we fondly call TVG; and Guruvayur Dorai, one of the most senior exponents of our south Indian classical instrument, the mridangam. The diverse audiences this year were singing together in one shruti and chorus; applauding, and taking notes of everything. The launch of my book Sangita Soujanyā, was the best part of the season, which was released by Dr Justice Anita Sumanthand Sudharani Raghupathy. The book – released in both Tamil and English – is a musical harmony which talks of how inclusive Carnatic music has been and always will be. The Tamil version was released by Vijayendra Saraswati Swamigal in the presence of other great musicians. My biggest learning has been from all of these honourary and extremely humble individuals; but the enthusiasm, the childlike innocence and the spirit to learn never dies.

— Vishakha Hari, Harikatha exponent

Dancing to rasikas’s tune

I have been performing for Margazhi for over two decades now. Every year, I feel my craft has only transformed for the better. Having been a performer all my life, this season, I conducted my first ever three-day seminar on how to pursue classical art matching the contemporary style. Being appreciated by my fellow dancers was a proud moment indeed. I am certainly conducting more seminars for the next two years as well. It was interesting to travel with young minds with fresh ideas. Witnessing youngsters’ fondness for traditional dance forms in itself is a breadth of fresh air. Maybe biased, but my rasikas are always different from others. No matter where and when I perform, there will be a set of audience who will be happily present. The organisers themselves were surprised to see the genuine loyalty I command. People come to all my productions with the thought that I would bring in something new in each of my performances. I am a part of rare compositions like Tanjore Quartet, which usually gets the eyeballs of most of the crowd.

— Narthaki Nataraj, Bharatanatyam exponent

Hitched in a graceful melody

This season saw it all. After getting married last year and starting performing as a duo this Margazhi, we really enjoyed performing for an intimate crowd. We were able to connect and interact with our audiences, and they were able to appreciate our vision towards art forms. Rather than two individuals coming together, it was our art that bound us together. Carnatic musicians have their own manodharma (creative improvisation); one can sing all their pallavis numerous times. Whereas, if they have to sing for a Bharatanatyam performance, there needs to be a certain number of reiterations which they need to remember. Each time we performed, there was a sense of mutual understanding and respect for each other’s vision towards our craft.

– Sai Vignesh, Carnatic musician & Kavya Muralidaran, Bharatanatyam exponent