A stage for all — Music, accessibility and inclusion
1 year, 3 months ago

A stage for all — Music, accessibility and inclusion

The Hindu  

Picturise a village, not far from the sea, full of lush green fields with clusters of coconut palms swaying in the wind. uyyum vagai kaNdEn thuLangkA arakkar thuLangka mun thiNthOL nimirach silai vaLaiyach siRidhE munindha thirumArban vaNdAr kUndhal malarmangkai vadikkaN madandhai mAnOkkam kaNdAn kaNdu koNdu ugandha kaNNapuram nAm thozhudhumE This Tamil poem composed as a ‘Vazhinadai Chindu’ was authored by the enigmatic Tirumangai Azhwar, who holds the rare distinction of being a ‘narkavi perumal’ or a poet well-versed in the four major types of poems in the Tamil language. Discussions surrounding the usage of the words ‘classical’ and ‘folk’ to classify Indian art forms are certainly post-colonial. Many Carnatic musicians, at least in recent years, have made sincere attempts to engage with Tamil folk art forms such as naatupura isai, villu paatu and kattaikkoothu. Reading the written accounts by several European administrators and visitors, one realises that salon performances by hereditary dancers in Madras city incorporated several entertainment sections that can hardly be deemed ‘classical’ according to today’s definitions.

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