‘Yatha Sabha, Tatha Rasika; Yatha Rasika, Tatha Sabha’
If you click on the link called http://www.musicacademymadras.in, what would you expect to see, first thing? As an ordinary music rasika, you would love to see a link called ‘Tickets’ or ‘How to buy?’ or ‘How to attend concerts?’. Try your luck. May be, I am a novice and I do not know how to navigate the site and find it.
I was told that daily tickets would be sold only on the morning of the concert and tat too, you have to queue up like one does for Wimbledon, early in the morning. But, in Wimbledon, there are other avenues to get tickets – through Tennis Clubs, through a lottery, by buying Wimbledon debentures, etc. Then, you can also go online every day at 9 AM (UK time) and rely on your computer and connection speed to get some daily tickets. I did that in 2015 and got tickets. It was not difficult nor was it exorbitant. Try any of that with the Chennai Music Academy, hosting its 91st Annual Music Conference and Concerts. Most of the donor members and patron members do not show up for concerts especially if they are by artists who are not from within the radius of few miles from the Music Academy. Those seats are empty while, outside, many Rasikas are probably turned away because the daily tickets are ostensibly sold out.
Lest anyone think that I am singling out the venerable Music Academy of Chennai, I must hasten to add that they are probably one of the better ones. Another Sabha continues to hold its annual December performances in a marriage hall. Another one has remodelled it for enhancing dance and drama performances but continues to insist on classical music concerts there too with a result that one hardly sees the artists (because they are seated deep inside the bowels of the stage) or hears them. The audience is in total darkness – an atmosphere conducive for sleeping and not listening to music.
Most of the Sabhas think that they are doing a favour to the artists, to the Rasikas by holding these annual music and dance festivals. The idea that they are selling an experience to the audience is missing from their behaviour. Chennai Music Sabhas are stuck in a time-warp.
However, just as the saying ‘Yatha Raja, Tatha Praja’, the same goes for music. ‘Yatha Sabha, tatha Rasika’. They are educated and usually belong to the middle class or above.
The amount of movement that one encounters and chatter that one hears is not funny. A not-so-old man sitting in my row insisted on explaining everything to the lady next seat – a doctor, whose eighty-year old father was doing the same before he disappeared into the canteen or the rest room for a long time. Mamas and Mamis do not know how to put their smartphones in silent mode. You will be lucky to listen to the music in between.
There is also the habit of seating rasikas on the dais. At one level, it is nice. At another level, there should be some decorum for the rasikas sitting there. They should not distract the artists. There can be an age limit for those who get in there. Last evening, during the concert by ‘Bombay’ Jayashri, a young boy kept moving around the dais. Thank God, Jayashri did not notice it.
Then, there is the habit of the rasikas walking in at 6:00 PM for the concert of their favourite artists at 6:45. The artist who has been singing and the rasikas who came to listen to him from 4:00 PM be damned. These people are out to get the best seats for their favourite Chennai artist. In the meantime, if the Rasika enjoying the concert of his or her favourite artist, how does it matter to me? The slot at 4:00 PM is for outstanding outstation artists. For all they care, for the Chennai rasikas, those artists do not really matter. I am exaggerating on this aspect but only a bit.
There should not be such unlimited arbitrary entries. Music is meditation. South Indian Classical Music was in praise of the Almighty. It is not casual entertainment in one’s dining room to walk in and walk out, at will. The Rasikas must show some respect to the artist, the composition, the composer and the performance. The artists too must render the composition not just with technical accomplishment (necessary condition) but also with bhava, bhakti and dedication (also necessary conditions).
An old friend (still a good friend) whom I ran into at the Music Academy told me that this is all part of the manner in which the ‘Mylapore Mafia’ enjoyed its music and that the artists expect it and are used to it. Well, Sir, my friend, I do not buy that. This is an excuse born out of the twin tyrannies of habit and laziness.
No matter how expensive one’s saree or trouser is, it will be trampled upon because the Music Academy in Chennai has taken it upon itself to play the ego-leveller by ensuring that anyone and everyone can and will (or, will have to) trample upon the feet and the dress of those seated if they have to leave. There is no gap between rows to exit with dignity. Nor has this inconvenience prevented the Rasikas from attempting to leave and enter at will.
One must not be churlish, however. The Music Academy does two things well. One, it starts and ends concerts on time. No quarter given to anyone. Praiseworthy. Second, they have put in some effort in maintaining the cleanliness in toilets. There is a strict request to the users to keep the toilet seat dry but that is unheeded. Pity.
In case you are wondering why Indian voters elect the kind of leaders they do, look no further than the behaviour of the Chennai Music Season Rasikas.