................................... by Sivapriya Krishnan
According to me a "chu chu" or an "ahaa", are something that comes from an extremely emotive frame of reference and a pure oneness with the artist on stage. This is so involuntary, when you can actually feel the creativity, beauty or the speciality of a phrase or a tala or any other musical dimension that the artist presents and totally empathise with his /her state of mind.
Yes, it may be disturbing , maybe it can be done more subtly. But then are we " mummified bundles" sitting and viewing the concert with a dead look on the face? Art is all about life, joy, mirth and happiness and we may all have seen that the artist who presents his art with passion and joy alone can produce sustainable art.
As for the applause ,this is becoming more of a contrived nuisance both from the audience and the attention seeking artist on stage. Piled up neraval phrases, super loaded swara prastharas, holding onto a note for a long time , are some of the things that the audience will instantly clap, as though programmed.
Sometimes it might be a very simple thing and the audience here is ready to put their hands together, leaving even the artist bemused. But when the applause comes for something really befitting , then it is welcome and the artist also gets immensely enthused by it.
An applause that comes between the anupallavi and charanam, is the most irritating, as though the audience can't wait for the artist to finish!! It also spoils the trend of thought and feel of the concert.
I have also observed that the audience not clapping for an unknown newcomer or youngster on stage, even if he/ she is playing an excellently classical or weighty stuff. Whereas for a popular face young or old or senior, the applause comes in roaring fits even if fare was average ! It is as though you will be out of league if you didn't clap.
What is so wrong in applauding a youngster and encouraging him/her if its really good?
Applauses become "goshti gaanam" with everybody clapping in congregation for songs, like Kurai ondrum illai, Vishamakara kanna, Maadumeikkum kaaNa, Brhamamokatte !!!
Standing ovation in the portals of the Music Academy, is becoming something of a modern fashion and trend. One is not sure of the intent. It could be that the audience could even be stretching their tight muscles, before taking the next step. !!!
If it were really truly extended, well and good, but again if it is done customarily like standing in attention for the National Anthem, then it becomes meaningless.
It would not be too late, before some award were to be instituted for the "biggest applauding rasika" or the " most applauded concert " of the season !!!
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nice one.. neatly handling the touchy issues too :)
ReplyDeleteliked reading it.
couple of days ago, i was sitting in a chamber concert when there were atleast 4-5 of the 20 odd ppl saying aaha oho for every other phrase, however great or mediocre it was and felt the need to write on the subject and here i see you handling it rather elegantly. really nice :)
nice article.. this issue was shown pretty well in the movie 'Sindhu Bhairavi'.. if the applauding follows a pattern ( like only applauding for certain parts of the keethanai), it would lead to a situation where the singer would concentrate on areas where he would potentially get applauses..
ReplyDeleteanyways ur observation in this regard was gr8..
Well said! I have felt, at many concerts, the need to stand up and say out loud "will you please stop clapping, listen & let others listen too". Appreciating is important but, it should come from the bottom of one's heart....
ReplyDeleteI always wondered if it would be appropriate to whistle in a kutchery. That is the best form of appreciation I know along with wooo hooos. But always get caught napping in a carnatic concert and have to content with clapping !
ReplyDeleteGood one !