ISSN (Print) - 0012-9976 | ISSN (Online) - 2349-8846

A+| A| A-

Point Counter Point


This special Postscript of four articles tackles the relationship between art and society through the case of Carnatic music. This art form, whose origins lie in South India, merely provides the pretext and context for a broader and deeper discussion about a range of concepts and ideas that are relevant to all art forms, such as the social composition of those involved in specific art forms and how that influences aesthetics; the politics around giving certain art forms the status of the “classical;” whether it is possible to make comparisons across art forms, and whether we should even attempt to do so; and the shifting relationship between what we call classical, folk and popular art forms. In the process, the articles also touch upon broad themes in the social sciences, such as structure and agency, historical determinism versus contingent explanations, cultural relativism, and the activist–agent.

The articles in this series were sparked off by a piece by the sociologist Kamala Ganesh, “Crossing the Vindhyas” (13 January 2018), in this section. She raised questions about the critiques of Carnatic music and its ecosystem that have gathered momentum over the past decade and which shot to national prominence with the publication of a book by the outstanding Carnatic vocalist, T M Krishna, in 2014. Her article elicited a response from Krishna, which appears first, “Unequal Music.” To this, Ganesh has offered a rejoinder, “Shades of Grey.” The social historian Lakshmi Subramanian has also responded to Ganesh’s first article in the third piece, “New Strains.” Finally, intellectual historian Ananya Vajpeyi has written a moving report about her experience of attending a unique festival attempting to flatten hierarchies in art and society, “Universal Beach.”

Dear Reader,

To continue reading, become a subscriber.

Explore our attractive subscription offers.

Click here

Updated On : 23rd Mar, 2018
Back to Top