I was disappointed that Laal Band of Pakistan could not come for
their scheduled performance in Hyderabad. It was one of those rare
occasions that I had made up my mind to shell out Rs 1200/- for my
ticket – I had even settled with the thought of having to pay for a
student who would accompany me to the show. But it was cancelled.
Then I read articles critical of ‘Vakratunda Mahakaya..’ sung prior to their performance in JNU – the posts were from Reyazul Haque on behalf of DSU, a radical left student organisation, a rival of AISA that won the JNU students’ body elections recently. As a nearly elderly anarchist with sympathies towards left anywhere in the world, I felt sorry for AISA that they had to take this heat from DSU. I wished these guys could work together instead of fighting on trivia. Specially because the articles mentioned somewhere that someone had actually stopped the singer from continuing to sing the song.
Then there were posts by AISA sympathisers on how JNU turned all ‘Laal’ on 1st May.
And finally these two articles by Apoorvananda and Meera Vishwanathan )intensely critical of JNUSU for stopping Tritha from singing ‘Vakratunda Mahakaya..’ .
I have listened to Tritha on Youtube. And like most privileged people of my kind, exposed to Jazz and Blues to contemporary hip-hop, I like her – I am madly in love with her music. But I started thinking, if I was one of the audience that day, a 25 year old, on May day waiting for Laal, how would I feel listening to Ganapati from Tritha. Specially, if I was a North Indian student, not cultured in listening to South Indian classical temple music, what would I make of that song. I probably would have wondered why was she singing the Sanskrit devotional stuff there. I can very well imagine that I would have done the same mistake that AISA or other left students did that day. It was a mistake on several counts. First and foremost, once on the stage, Tritha should have been respected and she should have been allowed to finish the song. It would have made the DSU kids a little noisier over the next few days, but left can survive this much of a liberal and tolerant behaviour. After all, she had sung the same piece a few days back at Habitat Centre.
Meera Vishwanathan in her post makes a point that Ganesha is a ‘people’s God’ appropriated by the Brahamanical culture’ She translates the words in the song to explain this. But do all the students in JNU know this? Honestly, even I, in spite of a fair amount of understanding of Sanskrit words, did not think of this until I read her post. After reading her post, and then with the general theme of Dravidian and tribal cultures appropriated by the Sanskritic tradition in the back of my mind, it kind of made sense. Do members of the Tritha band know this? Perhaps someone amongst the organisers should have explained this to the audience before she started her song?
Someone among the organisers should have known that her music has no political content. Here is the biggest mistake – knowing that this is what Tritha is, why not discuss the content beforehand and take appropriate cautions – like may be an enlightened MV or some friend like that could have been asked to explain the political aspect of the song.
A good question is – should everything be political, can’t people enjoy music for what it is? This is where I wonder if we are being too naive to think that an event featuring the Laal band on May day is a purely musical event. I also wonder if we are being naive to think that everyone should look at Sanskrit and Sanskritic tradition as apolitical and accept all interpretations as innocent. Since the readers of this comment are likely to be more educated in such matters than I am, let me just say things are more complicated than they seem. Post facto claims that ‘Ganapati’ is as political as Sufi or Bulle Shah is silly. It is like saying that no, they do not symbolise apparently different political values. Well, I wish it was so.
Finally, often I feel upset by overwhelming prevalence of revivalist tendencies at the institution where I work. I can imagine that others elsewhere may similarly feel upset when overwhemed by rhetoric from the left. We see with glasses that are tainted by our location. And in reaction, we often make statements that on later thinking may seem a little excessive in, ahem, rhetoric. Apoorvanand is a friend I respect a lot. But isn’t comparing this case with Sati immolating herself after being humiliated by Daksha a little too much? Tritha is hardly going to be affected by what happened on 1st May and we are going to enjoy her music forever. It was a case of intolerance of a kind that needs to be debated alright, but I would not judge it as harshly as Apoorvanand and MV have done.
An irony is that – Ragtime/Jazz/Blues…– in a way the precursor to most of the interesting fusion music of today and certainly of the kind of fusion that Tritha has – unlike where it all originated, in countries like ours it is the music of the privileged. It is a music that we enjoy while sipping our screwdrivers and bloody Marys, with no feeling of pickin’ cotton on a God damn Sunday in a God damn Southern plantation. It shuns the political space that it came from. Not that this is always true. There are exceptions. And even if there weren’t any, music should be appreciated for what it is.
Then I read articles critical of ‘Vakratunda Mahakaya..’ sung prior to their performance in JNU – the posts were from Reyazul Haque on behalf of DSU, a radical left student organisation, a rival of AISA that won the JNU students’ body elections recently. As a nearly elderly anarchist with sympathies towards left anywhere in the world, I felt sorry for AISA that they had to take this heat from DSU. I wished these guys could work together instead of fighting on trivia. Specially because the articles mentioned somewhere that someone had actually stopped the singer from continuing to sing the song.
Then there were posts by AISA sympathisers on how JNU turned all ‘Laal’ on 1st May.
And finally these two articles by Apoorvananda and Meera Vishwanathan )intensely critical of JNUSU for stopping Tritha from singing ‘Vakratunda Mahakaya..’ .
I have listened to Tritha on Youtube. And like most privileged people of my kind, exposed to Jazz and Blues to contemporary hip-hop, I like her – I am madly in love with her music. But I started thinking, if I was one of the audience that day, a 25 year old, on May day waiting for Laal, how would I feel listening to Ganapati from Tritha. Specially, if I was a North Indian student, not cultured in listening to South Indian classical temple music, what would I make of that song. I probably would have wondered why was she singing the Sanskrit devotional stuff there. I can very well imagine that I would have done the same mistake that AISA or other left students did that day. It was a mistake on several counts. First and foremost, once on the stage, Tritha should have been respected and she should have been allowed to finish the song. It would have made the DSU kids a little noisier over the next few days, but left can survive this much of a liberal and tolerant behaviour. After all, she had sung the same piece a few days back at Habitat Centre.
Meera Vishwanathan in her post makes a point that Ganesha is a ‘people’s God’ appropriated by the Brahamanical culture’ She translates the words in the song to explain this. But do all the students in JNU know this? Honestly, even I, in spite of a fair amount of understanding of Sanskrit words, did not think of this until I read her post. After reading her post, and then with the general theme of Dravidian and tribal cultures appropriated by the Sanskritic tradition in the back of my mind, it kind of made sense. Do members of the Tritha band know this? Perhaps someone amongst the organisers should have explained this to the audience before she started her song?
Someone among the organisers should have known that her music has no political content. Here is the biggest mistake – knowing that this is what Tritha is, why not discuss the content beforehand and take appropriate cautions – like may be an enlightened MV or some friend like that could have been asked to explain the political aspect of the song.
A good question is – should everything be political, can’t people enjoy music for what it is? This is where I wonder if we are being too naive to think that an event featuring the Laal band on May day is a purely musical event. I also wonder if we are being naive to think that everyone should look at Sanskrit and Sanskritic tradition as apolitical and accept all interpretations as innocent. Since the readers of this comment are likely to be more educated in such matters than I am, let me just say things are more complicated than they seem. Post facto claims that ‘Ganapati’ is as political as Sufi or Bulle Shah is silly. It is like saying that no, they do not symbolise apparently different political values. Well, I wish it was so.
Finally, often I feel upset by overwhelming prevalence of revivalist tendencies at the institution where I work. I can imagine that others elsewhere may similarly feel upset when overwhemed by rhetoric from the left. We see with glasses that are tainted by our location. And in reaction, we often make statements that on later thinking may seem a little excessive in, ahem, rhetoric. Apoorvanand is a friend I respect a lot. But isn’t comparing this case with Sati immolating herself after being humiliated by Daksha a little too much? Tritha is hardly going to be affected by what happened on 1st May and we are going to enjoy her music forever. It was a case of intolerance of a kind that needs to be debated alright, but I would not judge it as harshly as Apoorvanand and MV have done.
An irony is that – Ragtime/Jazz/Blues…– in a way the precursor to most of the interesting fusion music of today and certainly of the kind of fusion that Tritha has – unlike where it all originated, in countries like ours it is the music of the privileged. It is a music that we enjoy while sipping our screwdrivers and bloody Marys, with no feeling of pickin’ cotton on a God damn Sunday in a God damn Southern plantation. It shuns the political space that it came from. Not that this is always true. There are exceptions. And even if there weren’t any, music should be appreciated for what it is.
