Underdog Carnatic for our Champion World Cup Women

Vishnu Vasudev
Jul 25, 2017 · 5 min read

Women cricketers and instrumental Carnatic music have much in common.

Each has been overshadowed by counterparts who are considered the real deal — men are to cricket what vocalists are to Carnatic music. Each art will be all that it can be when played by men, or when expressed in voice.

Women have pride of place in our “culture” that cannot be denied — very few religious traditions if any, have as many strong female protagonists as the Hindu tradition. But that pride of place does not extend into the real world.

The flute is revered as the Murali of Krishna, the veena is still referred to the “Saraswati veena” after its earliest champion. Yet, the epitome of excellence for an instrumentalist is in his or her ability to make the instrument “sing”. Unlike the Hindustani tradition that has a rich tradition of ‘gats’ (compositions specifically created for instruments such as the sitar), Carnatic has none that have taken root. Of 86 “Sangeetha Kalanidhi” citations (the ‘Carnatic Nobel’) awarded since 1927 by the Madras Music Academy, 26 have been to instrumentalists (not counting percussionists who account for a further 6).

And yet, it is clear that our women cricketers and our instrumentalists can offer the best distillations of the rasa of their chosen art forms in ways that are true, emotive, and no less. No top edged sixes here.

With this post, I honour Mithali Raj & co. with the music of my favourite instrumentalist (and perhaps even my favourite Carnatic musician overall, depending on when you ask!) — the late, great, Mysore Doraiswamy Iyengar on the veena. I begin however, with a piece on the nadaswaram, the robust and versatile wind instrument, associated with temples, weddings and all things auspicious and one of the few Carnatic instruments that has its own vocabulary, metier and specific repertoire. So much so that the improvisational techniques of masters past have been known to have shaped to a great extent the vocal tradition of today.

Getting pumped up:

When I think of myself getting geed up before an important match or as a soldier in the trenches about to make a mad charge, I would want to be fortified this time and every time with a dose of Atana raga. It immediately makes you feel courageous and capable of more, but in a strong, rather than foolish way. Played on the nadaswaram, it is nothing short of a war cry. Here is “Ela Nee Dayaradu” (also refered to as “Balakankamaya”) composed by Thyagaraja and played by Karaikurichi Arunachalam [the piece ends at 3:23].

Celebrating Mithali Raj and Jhulan Goswami:

This is likely their last Word Cup, and they have had magnificent careers. This campaign was their swan song (at least as far as the public eye goes). A glorious but imperfect finish. I have chosen a piece in the raga Kannada, which is both joyous and valedictory in feel, and distinctly consoling, like a little pat on the back. This piece is also special because of the delightful ~ 5 minute alapana (free improvisation), which is rare to find for this raga. “Inta kante kavalena” composed by Patnam Subramania Iyer:

[Ignore the visual, which is wrong].

The class of Punam Raut:

I’ve chosen the raga Bhairavi for Punam Raut, my favourite in the team. Bhairavi, like Punam, conveys a sense of solidity, built on years of study and evolution and practice. Deep, calm but moving, and capable of elevating you with pure class. I am not sure that Punam is at 100% “Bhairavi” status yet, but she is certain to get there, more so than any other in the team. “Chintaya Ma Kanda Mulakandam” composed by Muthuswamy Dikshitar.

The frantic, fragile brilliance of Veda Krishnamurthy:

Oh, Veda! Always forward momentum, with a dash of the manic. Like Vijayashri. “Varanarada” composed by Thyagaraja:[again, ignore the visual]

The swinging Begada for Shikha:

The loopy, late glides of Begada are perfect for the late inswingers of Shikha Pandey. “Nadopasana” composed by Thyagaraja:

A one-hit wonder for a two-hit Smriti Mandhana:

Smriti was brilliant while she lasted. Kaikavasi is an ‘ekaika’ raga — a raga in which only one known composition exists! It too is pleasing, but there is too little of it. If only! “Vachama Gocharame” composed by Thyagaraja.

Kalyani for the he expansive Harmanpreet Kaur:

It’s tough to choose a raga for Harmanpreet — who can be all things at different times — the steadying hand, the demolisher, the experienced pinch-bowler, and ambidextrous fielder. I instinctively went for Kalyani, which can calm, elevate, thrill, envelope in its expansiveness, depending on what you ask of it. Here is “Nidhi Chala Sukhama” composed by Thyagaraja. This 25-minute piece has three of four types on improvisation in Carnatic Music — an alapana, neraval (improvisation of a single line) and kalpana-swaras (playing notes of the raga to the tala beat). It is followed by a percussion solo, shich has unfortunately been cut off in this recording.

A varnam for Deepti Sharma:

Deepti Sharma is 19, with much more to offer (and unfortunately mismanaged in the batting order). A complete package — batting, bowling, fielding and fantastic temperament. Much like a “varnam”. A varnam is a class of Carnatic compositions that are designed to give you a complete but succinct picture of the raga — with all the main phrases, note combinations and transitions. It also helps firm up the practitioner’s grip on rhythm. An amuse bouche, much like Deepti Sharma’s WWC 17. A varnam in the raga Sahana, composed by Tiruvotriyur Thyagayya

Three cheers!

Wrapping up with an instrumental maestro we lost too young at the age 45 — U Srinivas on the electric mandolin. And the unbridled joy of the raga Garudadhwani (the creation of which was no doubt influenced by popular western tunes). Three cheers to the women in blue and all good things to come! Thyagaraja’s Tatva Meruga Tarama:

Thank you for listening!

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