Young Nagaswaram and Thavil artists have drawn attention to these instruments

Unlike many great Nagaswaram and Thavil players from the Christian Vellalar community of the overall Thanjavur district, who prevented their children from learning the art, Nagaswaram artist TC Karunanidhi specifically wanted both his sons to learn the instrument and carry on the family tradition. But, he and wife Maheshwari ensured that this was not at the expense of regular education.

TK Karthikeyan and TK Kameswaran, better known as the Thirumanoor Brothers, are post-graduates in engineering but have chosen to become full-time Nagaswaram artistes.

These two brothers, who are also adept at playing the flute, are often part of the Bharatnatyam orchestra group.

The Thirumanoor Brothers represent the new interest and commitment of the younger generation of the community to pursue the art and to reimagine their repertoire for contemporary music programs.

Children from families of Nagaswaram and Thavil players are enjoying the best of both worlds, education and art. In Desur Brothers, younger S. Sethuraman is also an engineering graduate.

next generation players

The quality of music of these youth is also noteworthy. When the Thirumanoor Brothers played ‘Rama Ninne’ at Hussaini on the occasion of the centenary of Karukurichi Arunachalam a few years ago, they received applause from the audience.

Thavil Vidwan Thirurameshwaram T.B. Radhakrishnan with his students in a practice session in Thanjavur. , Photo Credits: Murthy M

When Nagaswaram player, teacher and composer Vijay Karthikeyan played the ragas Kalyani and Kalyanavasantham in a concert, one was reminded of Nagaswaram exponent Namagiripettai Krishnan. Thanjavur-based Thavil teacher TB Radhakrishnan believes economics is also a major reason for young Nagaswaram and Thavil artistes to carry on their family traditions. “Even if you play 10 concerts in a month, you still earn Rs. 50,000. Demand increases during festival and wedding seasons.

The community has come a long way from the times when even renowned Nagaswaram and Thavil artists were not sure of a secure future for their children in the region. Therefore, Nagaswaram scholars like Thiruvenkadu Subramaniam Pillai, Keeranur Brothers, Thiruvidaimarudur Veerusamy Pillai and Vedaranyam Vedamurthy, and thavil players Nachiyarkoil Raghava Pillai and Valangaiman Shanmugasundaram Pillai did not encourage their children to follow in their footsteps.

Nagaswaram artists recognized

“It wasn’t just about money. These scholars were not given proper status in the society. Many of them disappeared from view without being recognised,” writes musicologist BM Sundaram in the introduction to his book, Mangala Isai Mannargal,

“With the erosion of royal patronage, the temple is losing its centrality in cultural life, the decline of the artistic identity of the Devadasi, urbanization and the need for Brahmins to sanctify musical practice, the Nagaswara and Thavil Vidwans, who were the greatest practitioners of the art of music , there was nowhere left to go. They were still playing in the scattered temples of the countryside, but power had shifted almost exclusively to Madras, where the Carnatic form was being given modern hospitality. The power of this new identity was such that it became the only identity,” singer and Sangeeta Kalanidhi designer TM Krishna writes in his book, A Southern Music: Exploring the Carnatic Story,

Nagaswaram and Thavil players who were associated with temples remained in their villages even though the remuneration was negligible. Even great people like TN Rajarathinam Pillai lived in Thiruvaduthurai until their heads broke. Idiot There. Initially, Nagaswaram and Thavil artistes were featured prominently during the December music season, but were later toned down to a lower level. Mangala Vadyam During the opening and closing ceremonies.

In his book, Krishna points out that the Kachchari paradigm largely ignores an important art music community: nagaswaram players. I am an admirer of the music of TN Rajaratnam Pillai (1898-1956), the Nagaswara giant who transformed both the instrument and its practice. When I think about Alapana, Nagaswaram comes to my mind.”

Nagaswaram and Thavil may be back in the limelight, but democratization is still missing in the Carnatic music world.

“Nagaswaram player Ayyaramalai Selvam has a lot of potential. A musician with half his talent will attend 20 concerts during the festival season. But he could not find any such place,” said Lalitharam, founder of Parivadini, an organization committed to promoting Nagaswaram and Thavil music.

Although some organizations like the Sangeet Academy, Krishna Gana Sabha and Brahma Gana Sabha have started special festivals for the instruments, these events try to treat them as a distinct genre rather than giving them a place in mainstream festivals. This year, the Tamil Isai Sangam has selected Thavil maestro Vedaranyam Balu for the Isai Perarignar Award.

But a welcome move is that the Academy is presenting Nagaswaram concerts in the evening slot in the 2024 December Festival. The last time this happened was when the birth centenary of Rajarathinam Pillai was celebrated.