The Madras Music Academy (MMA) Margazhi Festival 2024 resonated with more than just Carnatic music this year. With its overarching theme centered on ragas, the festival expanded its repertoire to include diverse and marginalized art forms such as ‘kuttu,’ ‘gaana,’ and ‘oppari.’
Under the curation of this year’s Sangita Kalanidhi, renowned musician T.M. Krishna, the festival challenged conventions by spotlighting music forms deeply rooted in local culture but often overlooked in urban spaces.
Ragas: Beyond Boundaries
While many associate ragas exclusively with Carnatic music, the festival demonstrated their influence across other traditions. For instance, ‘oppari’—a lamenting tradition—follows a ‘varna mettu,’ akin to the melodic structures of Carnatic music. Similarly, ‘gaana,’ a genre that celebrates Chennai’s local dialect and culture, incorporates shades of ragas like Bageshri and Hari Kambhoji.
In rural Tamil Nadu, the heroic essence of ‘kattai kuttu,’ a traditional theater form, is often underscored by raga Mohanam. These connections highlight how ragas transcend genres, shaping art forms regardless of their practitioners’ formal knowledge of classical music.
A Step Towards Inclusion
T.M. Krishna’s curation focused on erasing cultural and caste-based boundaries in art. One notable session, ‘Kuttu Raga-s: Evoking the Character,’ was co-presented by kattai kuttu artist Vidvan P. Rajagopal and indologist Hanne M. de Bruin. Bruin, who has studied the art form for over 35 years, emphasized its vibrancy in villages and lamented its lack of recognition in urban theaters.
“Krishna’s efforts to include such marginalized forms in the festival are steps toward breaking barriers,” said Bruin.
Reviving Forgotten Traditions
Discussions also revolved around reviving traditional instruments like the ‘muga veena,’ a wind instrument central to kattai kuttu, which has been overshadowed by the clarinet. Sasikumar, a ‘muga veena’ artist, captivated the audience by sharing its historical significance and demonstrating its unique sound.
Gaana’s Cultural Impact
The session on ‘Gaana songs: The Cultural Identity of the Marginalized’ concluded with an impromptu performance of ‘gaana rap’ by a young troupe member, showcasing the genre’s modern evolution. Krishna noted that this contemporary form has become a phenomenon, bridging tradition and innovation.
Craftsmanship in Focus
In a session titled ‘A Tuned Mridangam,’ mridangam maker Valangaiman Navaneetha Krishnan demonstrated the intricate art of tuning the percussion instrument. Despite his initial nervousness, the 53-year-old craftsman left the audience in awe. “Making a mridangam is an art in itself,” he remarked, pledging to delve deeper in next year’s presentation.
Audience Appreciation
Dr. A Ramanathan, who documents ‘oppari’ songs, expressed his surprise at the audience’s engagement. “I didn’t expect them to understand the context so well. I’m happy the art form has reached more people,” he said.
Music Triumphs Over Controversy
Despite the controversies surrounding this year’s Sangita Kalanidhi award, MMA President N. Murali affirmed that the festival’s success lay in its ability to celebrate music in all its forms. “The 98th edition of MMA has proven that music, ultimately, is the winner,” he said.
As the festival concluded, the inclusion of marginalized traditions reaffirmed MMA’s commitment to broadening the horizons of classical music and embracing the diversity of India’s cultural heritage.
Sources By Agencies
