Carnatic music, as epitomised by legendary musicians, stands as a fine art form rooted in the delicate interplay of emotional expression and musical precision. One memorable anecdote illustrates this beautifully: A rasika once shared with Vidvan Shri K.V. Narayanaswamy (KVN) that his rendition of the Gopalakrishna Bharathi kriti Varugalamo Ayya in raga Manji moved him to tears, evoking the very presence of Lord Shiva. When asked if he too experienced the same emotions while performing, KVN offered a profound response:

"As a musician, my duty is to ensure that the music I sing evokes emotions in the audience. But if the artist himself starts crying, it turns into a theatrical performance. My focus is on rendering the words of the song in raga Manji without bringing in shades of Bhairavi—with emotional depth and musical precision. But I cannot imagine that I am singing before God."

This remark reflects the essence of classical art forms like Carnatic music, where the refinement of emotional expression is paramount. The musician’s role is not to lose themselves in raw emotional outpouring but to elevate those emotions into a higher aesthetic experience for the listener. Through this process, nuanced artistry becomes the vessel for transforming and communicating emotions.

In stark contrast, folk art forms like oppari, a Tamil tradition of mourning songs, embrace raw and direct emotional outpouring. Oppari artists often cry as they sing, mirroring the grief of those they mourn. The power of oppari lies in its immediacy and authenticity, creating deeply personal and moving experiences for its audience.

This distinction between the refined emotionality of classical music and the unrestrained expression of folk arts highlights the unique purposes and audiences of each tradition. While Carnatic music appeals to those seeking a meditative and elevated experience, folk forms resonate with audiences who value cultural immediacy and unfiltered emotional connection.

A Case for Dedicated Platforms

The December Carnatic Music Festival hosted by Chennai’s Music Academy is a globally celebrated event that draws rasikas seeking classical music’s transcendental beauty. In recent years, efforts have been made to include folk art performances alongside Carnatic concerts. While this intention reflects a commitment to inclusivity, it risks overshadowing the distinct identity of both forms.

Folk arts, with their raw emotional power and cultural significance, deserve their own dedicated platform where they can be celebrated in their entirety. A Folk Arts Festival, modelled after the Music Academy’s week-long Dance Festival, could provide the perfect stage for showcasing forms like oppari, karagattam, and therukoothu. Such a festival could include workshops, lecture demonstrations, and performances designed to honour these traditions in their authentic form.

Similarly, a Hindustani Music Festival could provide a focused, immersive experience for rasikas of this classical tradition, further enriching India’s musical ecosystem.

 Preserving the Richness of Each Tradition

By creating distinct platforms for classical and folk arts, the unique essence of each tradition can be preserved and celebrated. Folk art forms would gain the respect and recognition they deserve, while classical music festivals could continue to meet the expectations of their discerning audiences.

Both classical and folk traditions are integral to our cultural fabric, offering different but equally vital perspectives on human emotion and expression. By recognising their differences and curating thoughtful spaces for each, we can ensure their continued vitality while enriching India’s collective cultural heritage.

by 

K.N. Viswanathan