Carnatic music export: Positive outcomes and areas of concern

Cleveland Tyagaraja Aradhana has become significant platform to showcase Carnatic music abroad.
| Photo Credit: Special Arrangement

Over the past three decades, Carnatic music has been exported to the U.S., the U.K., West Asia, Far East and Australia in many forms, concerts being the primary one. There are now festivals in some parts of the world running to a few days, with senior and junior artistes from India being invited. How has this circuit evolved? What are the positive outcomes and areas of concern?

No one will complain about the fact that audiences in these countries get to listen to top artistes live, and, perhaps, even learn a bit during the concert days. A large number of accompanists have travelled with the main artistes and beefed up their otherwise paltry income at home. Many musicians have expanded and even customised their repertoire to suit specific audience needs. Consumer insights have, therefore, crept into the Carnatic music scene as a conscious discipline. Many concerts have triggered post-concert dialogues, reviews and curiosity, as the digi-desis devoured the aesthetic and technical aspects of the music, through familiar social media channels. The abundance of the exchanges has also educated a large section of less knowledgeable fans. Every rare raga’s arohanam and avarohanam, and comparisons and contrasts, are now available on the Internet.

There is another side to this remarkable story. The NRI concert circuit is a huge financial market, albeit only for a few. 

Vidwans, many past their prime, may still get top slots and top dollars, while many talented young artistes may get chances but lesser remuneration. Tickets may range from 50 US dollars to 100 US dollars for a concert by a non-prime senior, while a younger musician whose majestic Kamboji is a better feast, would have to settle for 25 US dollars or even 10. 

Darbar festival is one of the most popular Indian Classical music festivals in London.
| Photo Credit:
Courtesy: Darbar Festival

The fairness question does crop up. One is not sure if this is the handiwork of sponsors and organisers, and whether it reflects the audience willingness to pay, or both. Social media-savvy artistes dive straight into this mix. Some marquee festivals abroad feature a range of talents, with the highest cheques landing on the laps of the more famous names, independent of current performance. 

These anomalies do exist in western music concert world as well, but not as apparent as in Carnatic music. Is this what one aspires for? Then, the playbook has been written – invest in a good social media team and make sure you have an ecosystem with the largest reach among fans, superfans and organisers overseas. Build a personal identity that overtakes and outlasts your music. Be also a suave bi-lingual communicator. That heady mix can ensure a perennial pot of gold in your hands, even past your prime.