A confluence of cultures

The practice of infusing Hindustani elements in Carnatic concerts has been happening for a long time, with legends like M S Subbhalakshmi popularising Mirabhai bhajans in the south.
Abhangs crept into the Tamil culture with the Tanjore Marathas. While purists debate that there is no need for such amalgamations, considering the vast repertoire of material in the system, artistes feel otherwise.In recent times, it has become a trend of sorts to present an abhang, a tukaram or a bhajan at the end of a recital. Sometimes, a Hindustani flavour is added while rendering a raaga, thus giving it a near-new form. For instance, fans of singers Ranjani-Gayathri always look forward to their abhangs in concerts. Experts feel that this type of confluences give the concert a new flavour.
When quizzed about this, Sudha Raghunathan says, “To sing a bhajan or abhang is quite fine. We must be open-minded and appreciate musical amalgamation. As performers, we are under pressure to churn out new ideas to the audience who constantly crave for variety. What is important is we must be faithful to our roots and structure the concert in such a way that a balance is maintained. In a way, it’s good for us, as musicians, to broaden our horizon. Otherwise, it might result in complacency.” So how exactly do the Carnatic singers weave such abhangs to their style? “Despite learning from the track sung by Bhimsen Joshi or Pandit Jasraj, my rendition will completely differ from theirs. That’s where the beauty lies. But of course, it’s important to get the pronunciation and emote according to the lyrics!”
According to Mumbai-bred sisters Ranjani and Gayathri, demarcation of music into Hindustani and Carnatic forms is “meaningless”. “When thousands of listeners from varied backgrounds sit together to switch off from their hectic schedules and bask in your music, we musicians must focus on bringing harmony,” says Ranjani. “Who are these purists and what do they mean by adherence?” Gayathri echoes her opinion and says, “If classical music has existed for thousands of years, it’s due to constant change. For an artiste in pursuit of excellence, such things must fall by the way side.” She’s of the opinion that grammar exists in music only to guide musicians to get into the depth of the music. “So, change is only constant,” she signs off.
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