Evolving essence of Margazhi should also reach differently abled, says vocalist Sikkil Gurucharan

CHENNAI: As the chill of December encompasses Chennai, the city transforms into a pulsating hub of art and culture, dripping every bit of devotion to the rich tapestry of Classical music. Though its religious significance is dated back to the 5th to 8th century in ancient Tamil Nadu, young musicians like Sikkil Gurucharan have brought in the evolution, while retaining its soul.

On his way to Srivilliputhur near Madurai for a show featuring tunes of Ilaiyaraaja’s latest album, Divya Pasurams, Sikkil chronicles his early days accompanying his grandmothers, the Sikkil Sisters to then Margazhi Kutcheri.

 A walk down memory lane: Margazhi mid-90s

A 12-year-old Sikkil would get restless after an hour or so of enjoying the concerts of his grandmothers, Sikkil Kunjumani and Sikkil Neela. The restlessness crept in from wanting to take turns with his cousins to make heist to the stage, to help his grandmothers descend after the concert and quickly pack their instruments, so that they could then socialise with their fans. “And I still remember we used to quickly grab the bottle of glucose or the juice that they used for hydrating themselves during the concert. Whatever remained in the bottle, was for us to finish,” Sikkil narrates.

This used to happen almost every day, which marked his early memory of Margazhi.

Sikkil elucidates, “But somewhere when I started learning music and performing live, the same experience of accompanying my grandmothers, it reflected back to me in a different way as now, I was able to understand their frame of mind during the season.”

His learnings from them has since then prepared Sikkil for what December season is going to mean in terms of physical and mental agility, preparedness, and just staying as fit as possible physically and mentally, to deliver a concert once every day or two.

Mushrooming sabhas

The sabhas of yesteryears were fewer but brimming with dedicated rasikas. The food canteens were modest, offering limited but flavourful fare. Concerts adhered strictly to the traditional paddhati, and the audience, though smaller, was deeply engaged.

“One definite transition is the number of concerts and sabhas. Earlier, the sabhas which my grandmothers used to perform at- about 80-85 per cent are still functioning, which is a great thing. Some sabhas have withered away, but a lot more have proliferated,” Sikkil highlights.

The global acceptance of the festive season has taken the traditional roister world wide.

“December is also considered a competition for the best canteen food in the sabha canteens. People who probably never listen to concerts during other months, come to enjoy a good snack or a tiffin,” he adds.

What’s new for Sikkil this Margazhi

The world has also opened up to different forms of music alongside Carnatic. Sikkil is also exploring a varied set of themes this December season, sharing, “I am performing along with Anil Srinivasan, the pianist, at a thematic concert featuring Madhan Karky. It’s a drive to push more contemporary content into Carnatic music. I think it’s staying as relevant to the present as possible using an art form that is more than 300-400 years old.”

He also has a concert with Umayalpuram K Sivaraman, which will bring music, dance and rhythm on the same stage.

Bridging borders and barriers

Margazhi has also become a global scouting ground for artists, and not to forget, an equally cherished festival for people across boundaries. Sikkil had also landed on his first ever US opportunity way back in 2005 through this amalgam of cross border celebration.

However, the festival’s growth isn’t without challenges. The need for greater inclusivity—both in the audience and among performers—is a conversation gaining traction. Initiatives like Margazhi Matram, which highlights the talent of differently abled artistes, are paving the way for a more inclusive celebration.

Create a Rasika is an initiative by the Global Carnatic Musicians Association (GCMA), where the members go to different schools in Chennai and try to encourage children to attend live concerts. “Unless this development happens at the school level, this art form will not flourish for an audience less than 20 years of age,” he opines.

But a lot more needs to be done. Sikkil elucidates, “The concerts should transcend geographical areas, reaching people who are differently abled to enjoy the experience of Margazhi. Performing in the homes for destitute children and adults should be considered because they will never get a chance otherwise to step out and enjoy a Carnatic concert.”