Showing posts with label Carnatic Music. Show all posts
Showing posts with label Carnatic Music. Show all posts

Tuesday, April 28, 2020

Padma Subrahmanyam: A Brahmin Supremacist. Gandhi and Chadrasekharendra as Crutches

Padma Subrahmanyam, aged 77, uploaded a video called 'Food for thought' that is an unabashed call for Brahmin hegemony. To provide succor to her shameful arguments she brought in Gandhi and Chandrasekharendra, the Kanchi pontiff. Thanks to social media and her own sense of self-entitlement, that makes her think that every unfiltered nonsense swirling in between her ears is fit to be shared with the wide world, we now know what a bigot she is and how vacuous she is. If anyone wanted proof that being born a Brahmin is no guarantee of intelligence she has gladly provided it. Thank you madam.

Padma Subrahmanyam. Picture Credit 'The Hindu"

Padma's choice of individuals is striking. One was Gandhi, probably the most complex political leader of modern era and the greatest emancipator nonpareil. The other was Chandrasekharendra, pontiff of Kanchi mutt, a Hindu religious leader exclusively for Brahmins and a tireless advocate of literal interpretation of scriptures like any other fundamentalist. Padma is intellectually incapable of understanding the complexity of Gandhi and is spiritually incapable of truly following the pontiff. She reduces both to hatchets to be wielded in service of her shameful agenda.

Varnashrama: India's bloodless peace and the price


Indians of many stripes often think that the blood soaked history of Europe and the relatively bloodless history of India are not just accidents but due to very elemental differences that are intrinsic to Indian, to be specific Hindu, culture that Europe lacked. This is true only on the surface.

Historians like K.A.N Sastry have pointed out the lack of friction in ancient Indian society and, in my opinion, it could easily be attributed to varnashrama. Each section of a society in a place and each functioning accordingly. Sure, it has been called division of labor and its apologists have always pointed to the trade guilds of Germany. So, would Europe have escaped bloodshed if they too had, not just trade guilds but, a form of varnashrama? They might've but the world would've been poorer.

Historian Mary Beard in 'SPQR' identifies the revolt of the plebeians, in 499 BCE, against social exclusion and taxation as a watershed moment. Strikes and violence continued for two centuries. "One of the most famed plebeian victories came in 326 BCE, when the system of enslavement for debt was abolished, establishing the principle that the liberty of a Roman citizen was an inalienable right". By then another important victory was that plebeians could be elected consuls.

Take a leap to 14th century and rebellion stirs in England. Two centuries after Magna Carta, that great charter of liberty, "in the summer of 1381", writes Dan Jones, "a sudden and violent uprising against the country's richest and most powerful lords known as Peasants Revolt, was one of the most astonishing events of the Middle Ages".

India's varnashrama protected India from bloodshed but the price was literal wholesale enslavement of a large population for more than a millennia and a nation completely alien to the ideas of rebellion, revolt and rights until western educated Indian leaders arrived on the scene in 19th and 20th century. Note, this is not a concoction of my imagination. Many Brahmin speakers, from legal fraternity and elsewhere have drawn a distinction between India's 'Dharma' oriented society versus a Western society based on the notion of 'rights'.

Varnashrama did not just keep a people in servitude. What a man or woman can wear, how long can a dhoti be, what can they eat, where can they live, whether a man can carry an umbrella, whether a people can draw water using mud pot, what they can study were all within an iron framework that was not just invisible but did not need armies to be enforced. If any system qualifies to be called evil genius it is varnashrama and it'd take the prize too.

The Pariahs were denied not just education but access to healthcare and waterways amongst others was denied. The sheer human cost of such a draconian system over centuries would, if extrapolated with imagination, make the holocaust pale into background. The Pariah was prohibited from eating rice well into the twentieth century. Imagine the cost of lack of nutrition. 'Frictionless society'. My foot.

Very coolly Padma asserts that Brahmins are natural intellectuals forgetting the fact that for nearly two centuries the reputed institutions of learning in Chennai were the courtesy of Missionaries, colonial government, non-Brahmin philanthropists. She herself was a student of Ethiraj college, not some Brahmin educational institution. Brahmins really did not run educational institutions of repute or not on such scale. The Brahmin intellectuals were all products of western education. It was not only Brahmins who flocked to learn English. Practically all of India did. Gandhi and Nehru, a Bania and a Brahmin, were not stellar students and compared to Ambedkar were less educationally accomplished. It is easy to read Nehru and Gandhi whereas Ambedkar is highly academic and makes the reader sweat.

Gandhi and Varnashrama


Gandhi is best understood by Western academics, including Indians writing for Western universities and publications. My understanding of Gandhi is firmly rooted in the western tradition. America's founding fathers were slaveholders and at the same time emancipators. Abraham Lincoln ended slavery while holding on to the belief that Blacks were not intellectually equal to the Whites. Yet, within such inconsistencies they've nudged history. So too did Gandhi. And Gandhi, in turn, was nudged by Babasaheb Ambedkar.

Gandhi has undoubtedly praised Brahmins, called upon others to respect the Brahmin, he uncharitably compared the Dalits who converted to cows but was he just a sum of a few quotes? That he was not. Even if we went by quotes he was maddeningly tying himself in knots trying not to break Hinduism wholesale and provided fodder for both his detractors and others.

Invited by Gandhi to write for the first issue of Harijan, 1933, Ambedkar refuses but sends a terse message, "There will be outcastes as long as there are castes. And nothing can emancipate the outcaste except the destruction of the caste system". Publishing the letter Gandhi proceeds to answer him. "The moment untouchability goes, the caste system will itself be purified, that is to say, according to my dream, it will resolve itself into the true Varna dharma, the four divisions of the society, each complimentary of the other and none inferior or superior to any other".

Ambedkar was, in 1935, asked give an address to the "Annual conference of the Jat Pat Today Mandal of Lahore- an organization of caste Hindu reformers who wanted to do away with the caste system". Ambedkar's prepared remarks, titled "Annihilation of caste" alarmed the organizers for it called upon Dalits to leave Hinduism. The address was cancelled but Ambedkar published the speech. Gandhi responded in Harijan. Ambedkar responded back. An epistolary battle ensued.

Interestingly the Lahore organization now sent a message to Gandhi that he published in Harijan, August 1936. The message read, "Hindus are slaves of caste and do not want to destroy it. So when you advocate your ideal or imaginary varnavyayarastha they find justification for cling to caste. You are doing a great disservice to social reform".

Dissecting Gandhi's evolution on caste and spirituality, researcher Arvind Sharma writes, "In relation to Hinduism, then, Gandhi valued the overall structure of the tradition but wrought cardinal changes within it by introducing ordinal changes into it, thus resolving the paradox of belonging to a tradition but also transforming it while following it. …his programs, often moderate, and even traditional in formulation, were often radical in their impact"

This is clearly borne out by the impact of Gandhi's tour against untouchability. As Gandhi toured the length and breadth of India beseeching the upper caste Hindus to repent he was met with cries of 'Death to Gandhi'. His cavalcade was attacked and on couple of occasions he was almost assassinated. The upper caste savarna Hindus would dare to do him what Lord Irwin or any Muslim or Christian would not even attempt to do. The savarna Hindus understood the impact Gandhi was having on their cherished customs. It should be noted that a good number of Brahmins and upper castes stood behind Gandhi too. Christ told he'd split homes and pit father against son. Here was a modern day Christ tearing apart an ancient society.

"Gandhi Collecting Donations for Harijan Fund. Picture credit Kanu Gandhi. Source  6ad11bd683584fc7ebb050ff18a08a5d.jpg"

Gandhi evolved, on every issue, till the day he was felled by a fanatical Chitpavan Brahmin. The issue of caste was no different. The Gandhi of 1920s and 1930s, historian William Coward points out, evolved to the Gandhi of 1945 who sort of accepted his defeat to make caste Hindus realize that they need to change and advocated, as Ambedkar did, the politicization of Dalits. When the Constituent Assembly voted to outlaw untouchability the members cheered, "victory to Mahatma Gandhi". The man who presided over the legal change, included in the cabinet on the advice of Gandhi, was Ambedkar.

An important meeting during Gandhi's tour in 1934 was one between him and the Kanchi pontiff in Kerala. The pontiff reportedly pleaded with Gandhi not to destroy Hinduism by destroying untouchability. While Padma cites some booklet written by Gandhi praising Varnashrama she, owing to intrinsic intellectual inability, fails to understand that Gandhi, beyond his cardinal faiths of truth and non-violence, was always a work in progress and more importantly his approach to the sacred texts was very unlike that of the pontiff's.

When Ambedkar burned copies of Manusmriti and Dalits vowed severance with Hinduism Gandhi responded in Harijan writing, "Caste has to go". Gandhi asserted that Varnashrama did not have room for untouchability and that there was no prohibition against inter-dining or inter-caste marriage and more importantly he adds that it is his liberty to interpret the texts.

Akeel Bilgrami, Rhodes scholar and holder of Johnsonian chair of philosophy at Columbia University, in a perceptive essay on Gandhi, writes that Gandhi said of his approach to religious texts, "I am not a literalist". Bilgrami adds, "I want to stress Gandhi's interpretative ideal of focusing on the spirit rather than on the letter of religious texts. So, for instance, he says that of all the versions of the Ramayana, the one to which he most turns is Tulsidas because "it is the spirit running through the book that holds me spellbound"". Gandhi, with such interpretative zeal completely gave a new reading to Bhagvad Gita, a text commonly thought to be an unabashed call to war.

"My belief in the Hindu scriptures", said Gandhi, "does not require me to accept every word and every verse as divinely inspired". Bilgrami points out that in "many writings, Gandhi opposed the prevalent interpretation of the varna system".

Gandhi interpreted, Gandhi evolved, Gandhi fashioned his own philosophy, Gandhi entertained his critics and always published their criticisms in his own newspaper. This was a man cut from a very different cloth. He was human, all too human. Padma has reduced him to a caricature. This takes us to the Kanchi pontiff who was a literalist and an avowed fundamentalist.

The Kanchi Pontiff


Even those who are disgusted by Padma's views approve the pontiff's views, which more faithfully resemble her views than that of Gandhi's. The excuse is that the pontiff, very reverentially called by devout Brahmins as 'Maha Periyavaa', was a religious head and was merely asserting what his scriptures told him. Varnashrama and support for caste are the most polite of the so called saint's causes unlike other causes that are practically repugnant.

Writing in 20th century Chandrasekharendra advocated child marriage as ideal to promote loyalty in the minds of women from childhood towards their husbands. To Gandhi varnashrama did not prohibit inter-dining but to the saint it did. In several writings he returns obsessively to not eating food served by everyone and even asked diners to be mindful of those who they ate alongside. Happily he compared ritual pollution of inter-dining to being infected by a disease. He abhorred women working.

Padma knows full well that if she just cited Chandrasekharendra she would've been brushed aside by non-Brahmins and therefore she used Gandhi as a Trojan horse to suggest, "here's the Father of the nation, a non-Brahmin and an emancipator speaking like my beloved Aacharyaa". What she lacks in honest understanding Padma compensates in deviousness. While Gandhi's views on varnashrama were superficially close to Chandrasekharendra it is the Aacharya who Padma really needed.

Chandrasekharendra Swamigal -- Maha Periyavaal

Building on her theme of differences she cites a shameful parable narrated by the Aacharya. The Aacharya, Padma says, ridiculed the idea of equality asking "if everything is equal can we replace sugar with salt in making a sweet". One has to specialize in Indian rules of logic to come up with such a stupid example to undermine the idea of equality. Recently another pontiff, oh there's no shortage of them, asked, how can we promote inter-caste marriage, is it not akin to two different animals marrying? Which school of logic do these guys attend?

It is the citing of that stupid parable that illustrates Padma's real intention and brings her closer to the Aacharya than to Gandhi. Padma, obviously does not and cannot practice everything that the Aacharya held dear. She's cherry picking much like how most of Tamil Nadu learned only one thing from E.V. Ramaswamy, passionately hating Brahmins.

When Padma bemoans Brahmins slipping from their ordained destiny she probably had in mind her bigamous father who was a movie director.

Why now? Why not ignore Padma?


The question why now, is easily answered. The current political climate is built on the bedrock of a revival of Brahminical hegemony. Turn wheresoever you may you'd find glorification of a fabled past, mostly with no truth or half-truth, that is invariably conflated with a Vedic age when Brahminical imperialism was at its apogee.

Do I believe every Brahmin cheers Padma and every Brahmin wants a return of varnashrama? Absolutely no. From the days of Gandhi till today there are Brahmins who also stand up to the forces of atavism and regressiveness. It is complete nonsense to tar all Brahmins with the same brush or to assume every Brahmin will only act like Padma does.



This is where Ambedkar and E.V. Ramaswamy adopted an implacable stance of animosity and committed the same sin they said they were fighting, meaning reducing a person to nothing beyond his or her birth. "The Bania", wrote Ambedkar, "is the worst parasitic class known to history....He is like an undertaker who prospers when there is an epidemic. The only difference between the undertaker and the Bania is that the undertaker does not create an epidemic while the Bania does".

Thousands of Brahmins, at great personal cost, rallied behind the world's most famous Bania, to fight untouchability. To the one Bania that Ambedkar loathed most, a fearsome Afghan Pathan was capable of non-violence as much as anyone else. The Mahatma never lacked for faults and he was wrong on several important questions but what he never lacked was an abiding faith in a fellow human being to surmount hate.

Why not ignore Padma? Padma is a force to reckon with in the Bharatanatyam field and, according to a friend, was the ultimate authority in awarding Ph.D's for most researchers in the field. As a prominent artiste in a field already plagued by casteism and bigotry she occupies a position of immense influence. Who knows how many students and researchers, possibly better than her, she ensured did not get the due because of who they are?

In any other decent society Padma would've become a persona-non-grata and would be shunned by institutions promptly, any apology notwithstanding. But, this is India. She has unleashed her poodles who are now flooding sanctimonious stories about how egalitarian she is. Universities, colleges and Sabhas will continue to honor her. When the grim reaper does come, we can be sure we'll be flooded with articles reminding us what a doyen she was and all this would be rarely spoken of.

It is stunning that a Brahmin lady practicing an art that never belonged to her ancestors happily talks of varnashrama. Lady, thou art the definition of the word, chutzpah. Shame on you.

References:

1. The Cambridge Companion to Gandhi - Ed. Judith Brown & Anthony Parel
2. Gandhi: A spiritual Biography - Arvind Sharma
3. Indian Critiques Gandhi - Ed. Harold Coward
4. Mahatma (Vol. 3 & 4) - D.G. Tendulkar
5. Missionaries and a Hindu State: Travancore 1858-1936 - Koji Kawashima
6. The Pariah Problem: Caste, Religion, and the Social in Modern India - Rupa Viswanath.
7. The Essential Ambedkar - Ed. Valerian Rodrigues
8.  Kanchi Acharya on Inter-Dining
9. Who can we eat with - Acharya
10. Acharya on child marriage
11. Can women work
12. தெய்வத்தின் குரல்: "ஸ்த்ரீ ஆண் மாதிரி பதவி, உத்யோகம் என்று வெளியுலக விஷயங்களில் ஈடுபடாமல் வீட்டு நிர்வாகத்தை எந்தவித குறையும் இல்லாமல் கவனித்துக் கொள்வதையே தன்னுடைய பிறவிப் பணியாகவும், நல்ல ஸாதனா மார்கமாகவும் வைத்து கொள்ள வேண்டும். வீட்டையும் கவனித்துக் கொண்டு வேலைக்கும் போகிறோம் என்றால் இரண்டிலுமே அர்ப்பணிப்பு குறைந்து போகும். ஒருவேளை இரண்டையும் சரியாக செய்ய முடிந்தாலும் அது அவளுக்கு தர்மமாகாது. ஏனென்றால், பலதரப்பட்ட பிரச்சனைகளை அவள் சமாளித்தாக வேண்டும். இந்த இன்னல்களுக்கு ஆளாகாமல், ஸ்த்ரீயானவள் தன் தார்மீகப் பொறுப்பான குடும்பப் பொறுப்பை ஏற்று சிறப்பாக குடும்பத்தை வழி நடத்திட வேண்டும்"
13. Padma Subrahmanyam https://en.wikipedia.org/wiki/Padma_Subrahmanyam
14. K. Subramanyam https://en.wikipedia.org/wiki/K._Subramanyam

Sunday, March 15, 2020

‘Sebastian’s Sons’: An Instrument, Caste and Music. T.M. Krishna Swings for the Fence and Misses

T.M. Krishna who has a made a name for himself, including considerable ire, by relentlessly questioning the Brahminical hegemony in Carnatic music has penned a book that has initiated a vigorous debate on how instrument makers and players negotiate their relationships and how society perceives the makers.
The name Palghat Mani Iyer, legendary mridangam virtuoso, is reverentially recalled while his principal instrument maker Parlaandu is mostly unknown. The mridangam, made with cow hide, required the services of Dalits, who were also Christians, presents an interesting social drama. Krishna's book seeks to present the makers in the foreground and question societal attitudes towards makers versus artists. 

A note on Krishna and this review


When the Carnatic music-Christian controversy erupted, in September 2018, almost everyone ran for cover. Many offered feeble protests that music doesn't belong to anyone and even they, so often, laced their rebuttals with a sanctimonious “I’ll nevertheless not be in aid of any attempts for religious conversion”. It was T.M. Krishna who, dragged into the controversy by O.S. Arun, flung down a gauntlet that he’d sing Muslim and Christian hymns. It’d be uncharitable to dismiss his acts of courage then and on other occasions as easy enough given his privileged position. Thank you Krishna, for your courage.

This is not a traditional book review. I’ve not merely critiqued the book or the writing. A traditional book review only critiques the book that is written and doesn't get into what could’ve been written. 

Artist and Maker


A 2003 article in Outlook titled “Thyagarja’s Cow” highlighted the unique fact that mridangam makers were largely from one community, the Dalits who were also Christians. The article regained note during the 2018 controversy and with his book T.M. Krishna has again brought attention to those makers. To be sure there have been others who have written about Parlaandu and made documentaries about making a mridangam. 

Mridangam, unlike a flute or ghatam, requires skins from cow and goat as principal components. Revering a cow as God and protecting the cow has been a reverential goal for sections of Hindus, chiefly Brahmins. Recently a ghastly term, ‘cow lynching’, has entered the political discourse to signify events were innocent citizens were lynched by mobs for allegedly killing cows. That Brahmin musicians used an instrument made of cow hide and which in turn, for that very reason, needed Dalits created dramatic relationships.

Krishna traces the early development of mridangam as an instrument by Vaidhyanatha Iyer and Sebastian (also known as Sevittiyan). The artist and maker enter into a symbiotic relationship that was complicated owing to caste boundaries and the taboo nature of the component of mridangam. While the Brahmin artists took great effort and even pride in shaping the making of the instrument they were equally coy in talking about it and extended their coyness in effacing the maker from popular discourse. Sebastian and his son Parlaandu (also known as Fernandes) hover over the life of Palghat Mani Iyer and the mridangam albeit in the shadows. 

The names Steinway and Stradivari are legendary in Western music as makers of pianos and violins that artists would kill for. Whether Sebastian or Parlaandu were a Stradivari is a different question but why were their names in the shadows? Who should be respected more, artist or maker, is easily resolvable in the artist’s favor but Krishna relentlessly questions treating the makers as non-entities and intellectually unnecessary. Krishna attributes the dismissiveness to caste.

Palghat Mani Iyer and Parlaandu (From Carnatic Music Review)

Mridangam making involves knowledge of how it is used by an artist, choice of skin by the maker and tuning by maker in response to the demands of an artist. Whether it is judging a cow’s skin or gathering a stone or a specific wood from a certain area the makers, Krishna wants the reader to understand, is not a mindless laborer but a knowledge worker, who is working in tandem with the artist and as such requires to be respected in his or her own right. In the days of Mani Iyer and shortly thereafter mridangam makers and artists had a relationship that went beyond commercial transactions. 

Artists chose to work with Parlaandu or Selvaraj or other makers of specific capabilities. The nature of the instrument necessitated a continued relationship between maker and artist and each became attuned, pun intended, to the needs and capabilities of the other. Yet, in public spaces this relationship remained rather veiled by caste. 

Caste Realities


Brahmins were actually latecomers to music and dance as artists. Isai Vellalars, chiefly, and other communities were the communities largely sidelined as Brahmins gained ascendancy and it also changed the very nature of the arts. Krishna extends the criticism to alleging that a large Brahmin population in Thanjavur contributed to how the music they participated to be seen as ‘classical’. 

Caste is the immutable iron framework within which socio-economic life of India was framed for more than a millennia. Carnatic music, advent of Brahmins into arts, braiding of music and nationalism, identities of music were all tainted by caste politics. 

Violinist Rajamanickam Pillai (1898 - 1970) used to accompany noted singers like Semmangudi Srinivasa Iyer and after concerts he’d be served food after the Brahmins, including Semmangudi and even Pillai’s disciples who were Brahmins, had finished eating. To compensate, the local Brahmin dignitary’s wife, would serve the food herself. 

Krishna hammers on how caste shaped the boundaries between Parlaandu and Mani Iyer. Whether it is Parlaandu maintaining the skin treatment at his home or working on mridangams outside Mani Iyer’s home or even in Chennai, where, like any urban setting, the spaces get constrained the boundaries exist. Krishna attributes caste as the only reason for such boundaries.

A piano salesman or maker would speak of a piano in language not too different from a pianist. A mridangam maker’s articulation of a Carnatic concert and an artist or audience’s articulation are world’s apart. This, of course, is because caste did determine the spaces each occupied.

Mani Iyer’s grandson Palghat Ramprasad took umbrage at the supposed portrayal of Mani Iyer even as he underscored that the anecdotes cited were factual. Is Mani Iyer a casteist? Actually the portrayal only leads to the opposite conclusion. So, what caused the ire? Possibly the incident concerning Mani Iyer selecting a cow, the sacred cow, for slaughter based on his judgment that that cow’s skin was suitable for mridangam.

Was Parlaandu an artist?


Was the maker just hands and feet for an unpalatable task for the upper caste artist? In Krishna’s view the maker and the artist are co-equal intellectual partners and it is here that the story gets complicated and even falters.

If making a Steinway piano has become industrialized and a near science even as much as it is not a predictable certainty that a certain piano would become an iconic concert piano then mridangam making, from Krishna’s own telling, is more trial and error. Whether it is Mani Iyer’s notions of what can make a good mridangam or Parlaandu’s ideas of suitable skins or Somu Asari’s ideas about the ideal wood reasonable traditional knowledge and sentimental nonsense are freely mixed. 

Krishna exaggerates the knowledge a mridangam maker has about skins. Beyond a knowledge gained from practice like that a naturally dead animal’s skin would not be suitable unlike the skin of a slaughtered animal the maker too cannot say much about the suitability of a skin unless the skin is treated and hair is removed. Neither Mani Iyer nor Parlaandu could actually visually say a skin will be suitable. 

The narrative falters on this fulcrum that Krishna fashions to drive home his agenda. Oh yes he certainly had an agenda in mind. Mani Iyer and most artists are integral to the making of mridangam in a way that artists were not integral to a Stradivari making a violin. Whether it is Mani Iyer or Umayalpuram Sivaraman the makers are responding to what the artist wants and specifies. This is not to mean that Parlaandu was just an automaton. He was not. We often don't attribute skill to an intellectual process especially when it involves physical labor. How often do we think of a popular road side mechanic as skilled labor? We don’t. But can the car mechanic ‘design’ an engine? Maybe some one can but not as a rule. 

Parlaandu was no Stradivari. Why was an Amati or a Stradivari unique? They defined the instruments and influenced the nature of the instrument without an alliance with a Vivaldi. There was no Vivaldi telling them to choose a wood or apply a finish or tutoring on the sound. 

"A romanticized print of Antonio Stradivari examining an instrument (Wikipedia)

The manufacturing process of a Steinway piano is grandiose on a scale by orders of magnitude compared to making a mridangam. The workers bending the layered wooden rim of a concert grand are not just muscle. From choice of maple wood to designing how to layer the strips to designing keys a Steinway involves formalized science and technology. C.F. Theodore, a name revered in piano making, held 40 patents and collaborated with physicist Hermann von Helmholtz. Scottish piano maker John Broadwood is credited with inventing the world’s first grand piano and his clientele included Beethoven and Liszt. Is Broadwood’s name as well known as that of Beethoven or Liszt? No.

Parlaandu and makers like him deserve respect and intellectual regard but should we place Parlaandu on the same plane as Mani Iyer. Mani Iyer, by Krishna’s own admission, obsessed with the perfect sound and his own virtuosity earned, for the mridangam, a place of pride. 

What further undercuts Krishna’s case is the many traditions of mridangam making in several other regions where Parlaandu or his craft were literally unknown. Each regional variant had its own patrons and those makers had their pride too and refused to acknowledge any influences. 

Even in the Western classical milieu it is the player who's ranked above even a Stradivari. A reviewer of a book on Stradivari wrote, "it is the player rather than the instrument that makes the difference. An artist's relationship with his or her own instrument is both passionate and idiosyncratic. While the violinists Joshua Bell and Gil Shaham are in love with their Strads, Yo-Yo Ma usually chooses his Montagnana over the Davidov Strad, and the violinist Pinchas Zukerman is faithful to a Guarneri del Gesù". 

To pick a contemporary example we could look at Warren Shadd. Shadd made pianos now adorn churches and concert halls. Shadd, is African-American and that makes him "the first large scale commercial African-American instrument manufacturer period". Shadd, in an interview to NPR, speaks of starting off as a repairer and then piano maker. Unabashedly Shadd compares himself to Steinway, Yamaha etc and says, "They're engineers and businessmen; I am a musician and an engineer and businessman. I have somewhat of a musical advantage". Note how Shadd classifies himself as a musician and therefore superior to a Steinway !!!

That Mani Iyer was more integral to the mridangams Parlaandu made, than Parlaandu himself, is evident from how when Selvaraj starts making mridangam it is Mani Iyer who is the tutor, not Parlaandu. Selvaraj learned more from Mani Iyer than he ever did from Parlaandu. 

Dalits and the Christian Hymnal Tradition


If there’s a case to be made, that Parlaandu and Selvaraj were familiar to music and brought their musical awareness to work with Mani Iyer, it could be made by exploring the linkages between Dalits, Christianity and the Tamil Christian hymnal traditions. Krishna leaves this area completely unexplored despite a wealth of material.

While Krishna ascribes to the preponderance of Brahmins in Thanjavur the reason for the perception that Carnatic music is ‘classical music’ and then coolly ignores or fails to learn anything about musical traditions in non-Brahminical settings. He could not rise above his Brahmin gaze. Thanjavur, home to intense missionary activity was also where Abraham Pandithar and Vedanayakam Sastri created musical traditions that are still part of every Tamil church.

Ethno-musicologist Zoe C. Sherinian’s “Tamil Folk Music as Dalit Liberation Theology” is a signal work in Dalit music traditions within the Catholic and Protestant churches. It also maps the tangled web of music and caste much better than Krishna’s book. 

From use of Carnatic music based  songs to local folk music based variations, music was central to Christian evangelism. This is a less known or less spoken of dimension about evangelism and religious conversion. Vedanayakam Sastriar (1774-1864) of Thanjavur, H. Alfred Krishnapillai (1827-1900 ) of Tirunelveli and N. Samuel (1850 - 1927) of Tharangambadi were the triumvirate of Christian hymn writers. 

“From the 1940s to the 1970s Karnatak music remained the canonized symbol for indigenous Tamil Christian music”. It is at this time that Parlaandu and Selvaraj enter the employ of Mani Iyer. Christian evangelism at first targeted the Brahmins for conversion and this had a big impact on the linguistic and musical styles of early 19th century evangelism that persisted till early twentieth century. 

Sherinian observes, “The wide dissemination of kīrttaṉai with its elite musical form, modal and rhythmic systems, to the rural lower-caste Christian population resulted in a kind of elite Hinduization for villagers who continue to use kīrttaṉai as their primary liturgical song genre. The induction into Christianity through cultural material rooted in Vellalar Śaiva bhakti philosophy gave outcastes access to upper-caste/class culture”.

Vedanayakam Sastriar’s letter about different musical traditions in Catholic and Protestant missions is notable for the caste differences. Sastriar wrote, “we like decent music which suits our Tamil songs such as Harp, Pipe, Guitar, Timbrel, Cymbal etc. and use them in such time thinking that it will be acceptable to God and agreeable to the tenor of the 150th Psalm etc. But we have never used those riotous music, which the Roman Catholics use in their festivals such as Arabe, Taboret, Negasarum , Tumtum, Horn, etc. and we wish never to use them. Thus, we sing to the Lord in our festivals only by small bell, Cymbal, rejecting even those musical instruments which we might use reasonably for fear of their loudness and this we do after the divine service is over. At the Church we sing only the songs without any music [instruments].”

Note how he differentiates the musical traditions with different instruments. Despite the raga based songs Christian hymns are sung to light music kind of filmy orchestrations in the recent decades since possibly the 1970s. There’s a caste schism that led to this. Sherinian identifies the domination of Nadar Christians in Protestant churches as the reason for the shift away from Kirrtanais and even the light music style orchestration for the songs. At the Nadar dominated Cuddalore church those who supported hymns were Nadars and those who supported Kirttanais were “parayars”. 

A fine sample of a highly Sanskritized hymn that drunk deep from within the Vaishnavite bhakthi tradition is H. Alfred Krishna Pillai's 'Sathai Nishkalamai' (சத்தாய் நிஷ்களமாய்). Note the distinctive Vaishnavite use of "எம் பெருமானே". The orchestration is nevertheless light music style.



Dalits, particularly in the Church, had a very long association with Carnatic music style. The story of James Theophilus Appavoo, a family who’s association with Carnatic music stretches across several generations is instructive. Appavoo who later became a Dalit Liberation theologian questioned the association of Dalits with what is now seen as Brahminical music and proposed that Dalits should return to their own musical traditions. All these nuances are lost in Krishna’s obsession with trying to be a savior for Dalits. Music and any art space should be inclusive but it also raises the question of distinguishing openness with imposing an art. Krishna thinks that refusing to call carnatic music as classical music is all that’s required to make other arts its equal. His ideas on classical music, not covered in the book, are shamefully patronizing. 

Coming to Parlaandu and Selvaraj we know very little of their church going habits and the fact that many others in many regions, including women, were involved in mridangam we cannot ascribe it all to the Church. It is interesting though that it was Dalit Christians who were predominant in Tamil Nadu given that some castes within Muslims too worked in tanneries. 

Krishna’s Success and Failures


If there is one good outcome that happened because of the book it is that there is now a respectful notice towards instruments and their makers. Even if only a handful in the audience look at a mridangam or a nagaswaram with a bit of wonder about its craftsmanship then Krishna has succeeded. Beyond that the book abjectly fails on many counts.

That Krishna is no historian is evident from his celebration of E.V. Ramaswamy as the only reason for breaking caste barriers in Tamil Nadu. For someone writing a book entirely to give due recognition to a  long ignored Dalit instrument maker it is rich with irony that he completely ignores Dalit leaders and their efforts in uplifting their people. Krishna himself has either no idea of Dalit emancipators like M.C. Rajah and Iyothee Thass or he's just, as usual, playing to the popular political gallery in Tamil Nadu.
The perpetual editorializing and the irksome unsubtle ways in how Krishna’s uses his informant as mere tools for his agenda is pathetic. Watching Selvaraj, who lost an arm in an accident, walking with a shawl draped to cover the missing arm, Krishna editorializes, “Perhaps the white shawl covered his physical and emotional scars”. Then he provides no material to substantiate that. This is ugly imposition of victimhood on an informant unbeknownst to the informant. A good historian or biographer or sociologist or just a plain good writer wouldn't do that.

The central theme of the book is to establish that Parlaandu, Selvaraj and others did not get their due, socially or economically, owing to their caste. But this flounders and the book actually provides enough material to argue that while the equation was not all that egalitarian it was not as lopsided as Krishna sells during interviews. What Krishna peddles to friendly journalists or the many interviewers who have not read the book is unsubstantiated by his own book. It is stunning that interviewers have not called out the contradictions which makes me think either they have not read it or they don't want to inconvenience Krishna. 

Vaidyanatha Iyer, Krishna alleges, did not pay Sebastian and Parlaandu adequately. We’re left to surmise that this was entirely due to caste whereas class differences have an equal role to play. Then there’s Umayalpuram Sivaraman, who, Krishna himself writes, “took very good care of Rajamanickam, and paid him a monthly salary of Rs 1,000, not unsubstantial in those days, and allowed him to work for others for additional revenue”. 

Vaidyanatha Iyer, Krishna records, taught a "muslim lad and a female student". Even as he acknowledges the complexities of these behaviors Krishna asserts as assumption, with no evidence, that Iyer would've "set regulations for both himself and the student, and these allowed him to maintain his own notion of 'purity'". This is intellectual dishonesty in a work of history.



Where Krishna decides to present Parlaandu as a self respecting artist he writes of how Parlaandu used to pick fights with Mani Iyer. When the family decamps to Madras several artists, including the legendary Veena artist S. Balachander, give them a helping hand. These acts of grace are rarely spoken by Krishna in his interviews and the publicity roadshows that he has embarked on. Instead Krishna presents Parlaandu, in his interviews, as a victim. 

Was Mani Iyer a revolutionary in breaking caste barriers? Of course not but it takes some chutzpah to portray him unfairly as nothing but a caste obsessed Brahmin.  Where Mani Iyer is gracious Krishna unfairly diminishes the anecdote as a case where Mani Iyer’s transactional need of Parlaandu necessitated overriding of caste lines. Essentially any gracious act is driven by transactional motivation and anything less than egalitarian is exclusively due to caste differences. Nuances, subtleties and complexities are all thrown to the wind in becoming a ‘burn the house down’ activism and an unseemly desire to playing to the gallery. 

If Mani Iyer was purely transactional he could’ve not bothered about Parlaandu once Selvaraj came on board. But Iyer ensures that Parlaandu, now ailing, gets the best medical treatment possible. While Krishna obsesses over Dalits and skins he coolly passes over a stunning incident. Mani Iyer deputes a Brahmin to carry Parlaandu’s urine sample for laboratory testing. By all accounts Mani Iyer comes off as a decent person. Krishna, in his interviews, buries all this. Essentially Krishna’s book tells a different story from what Krishna’s interviews and speeches tell us. 

That Tanjore artisans went to the homes of the likes of Mani Iyer and worked on mridangams is attributed to the caste subservience. Yet the Madras artisans don't do that and that that undercuts the caste narrative is glided over. Again, to be sure, this is not to suggest there’s no caste angle but Krishna does disservice to history by obsessing over caste.

In his zeal to be reformist Krishna eagerly consumes everything that comes his way. A mridangam maker asked, rather cheekily, that how come the instrument he shapes with his legs is honored in a puja room. Little does Krishna or the reader realize that feet, certainly not as revered as the head, but not a taboo either. Worshipping at the feet of the Lord is common. 

Then there are hasty generalizations. Krishna alleges that non-Brahmin mridangam artist C.S. Murugabhoopathy died an unknown. Murugabhoopathy, by the time he died, had been awarded Kalaimamani, Padma Shri, Sangeet Nataka Academy Award and Palghat Mani Iyer award. In his own lifetime he had played mridangam for the who's who of Carnatic music world. An obituary in Sruti magazine, on Murugabhoopathy, was titled “The last of the titans”. More recently, Parivadini organized a commemoration of Murugabhoopathy.

To appear contemporaneous and to burnish his credentials as an anti-caste warrior Krishna gives a back handed compliment to communist leader Vaidyanathan, a Brahmin, who married a Sri Lankan lady and gave his daughter, Seethalakshmi, in marriage to a Dalit. Krishna commends crossing the caste lines and says it was bravery when “honor killings” were “prevalent”. This is nonsense, doubly. One, honor-killings are a recent phenomenon and till date Brahmins have not had any such incident. Krishna is sickeningly playing to the gallery here. 

Seethalakshmi’s daughter Sarada, married to Sowriar, of the Sebastian lineage, tells Krishna that Brahmin mridangam artists are now more comfortable with the makers and it is the non-Brahmin artists who make a fuss. She also points to the progress in caste relations. But Krishna, with his Brahmin gaze and his desire to be savior, actually disagrees with his own informant. Its almost like he’ll not brook any contra-evidence. 

The I’m-at-war-with-all mentality makes Krishna spin contradictions. In one place he extols that the Tanjore tradition of “kappi muttu’ necessitates “a demanding poivaaru pidi” and at another places he literally accuses a player of being sadistic when he demands a tighter ‘poivaaru pidi’. He accuses the artist, in Sashi Tharoor like language, of showing a “vicarious chauvinistic bravado”. Tsk Tsk, TMK !!!!

Do the above criticisms suggest that carnatic music and its fraternity are free of casteism and bigotry? 

Casteism and Bigotry in Carnatic Music


Krishna’s failure lies in picking a complex tale to drive home the point of privilege and caste in Carnatic music. Instead if we undertook a study of how non-Brahmin artistes have been treated and the social media posts of the Brahmin artists then a story of casteism emerges.

Whether it was the Christians and Carnatic music controversy or the BJP politics and especially T.M. Krishna himself the vitriol of bigotry in Carnatic music forums and posts by Brahmin artists is unbelievable. When a person wrote “they cannot equalize Tharai Thappattai to our classical music. And not necessary. Ships cannot sail on road, Cars cannot swim. Anyone wants to blame the caste for this let un enjoy it. Let everyone accept the fact that brahmins and Jews are the most intelligent community of the world”, Palghat Mani Iyer’s grandson responded, coolly, “Annaaa”. Ramprasad himself traffics in conspiracy theories. (Read my article in Tamizhini for a detailed critique, here). 

Lalitaram Ramachandram, founder of Parivadini, has recorded how Nagaswaram artists are treated insultingly in Music Academy. Of course caste is a reason there. 

It is a fair criticism that the readiness, with which a Ramprasad - who adds the prefix ‘Palghat’ to his name to get the listener to readily associate him with his illustrious ancestor - is received as a performer will not be given to a son or daughter of a mridangam maker. Also it is interesting to observe contemporary Brahmin artists who go about their daily lives without a naamam or vibhuthi, donning resplendent caste marks when they go on stage to perform. The intention is clear. 

Casteism is real in carnatic music. It is almost exclusively Brahmins, particularly the Modi supporters, who’ll scornfully ridicule T.M. Krishna not because he’s a bad singer but because they couldn’t ignore him and because he makes them uncomfortable from within.

Need for T.M. Krishna. Parivadini and 'Parlaandu Award'


We need a T.M. Krishna and we also need look beyond him. Here’s why. Vocalist S. Sowmya did a research on mridangam and conveniently ignored the makers and completely ascribed the making only to the artists like Mani Iyer. In her world the makers are not even hands and feet but just brainless automatons to be brushed into oblivion. It is in this milieu that T.M. Krishna, with his self confessed privilege, and his megaphone become valuable. 

For all his omissions as author, his love for playing to the gallery, his sweeping generalizations it is an undeniable fact that with this book Krishna has kicked off a discussion like no one else could. For example, Sherinian has been interviewed by only a local rag sheet, Nakeeran and it barely registered a bllip. We need a scholar like Sherinian and for her to get attention we need an attention seeker like Krishna. Sad but true. 

Watch Sherinian's interview below.




A fair criticism of Krishna is that he does not walk the talk. From his repertoire to his choice of accompanists to his jumping from one cause to another and his questionable views of what is art and how to popularize art Krishna can be fairly criticized. An interesting omission in Krishna’s book is his failure to mention the admirable efforts of Lalitaram Ramachandran (disclousure, he’s personally know to me) in constituting an award commemorating Parlaandu. 

Lalitaram had shared in Facebook a story of Mani Iyer tutoring the son of a janitor's son. See picture below. Do check out his article on the plight of those seeking to learn Nagaswaram (here



Krishna's book does highlight real life issues for mridangam makers. They lack an organization and would like some government pension scheme. The nature of work imposes occupational hazards for them and they need protection. 

I’m aware that this blog might be used to bludgeon Krishna and that is surely not my intention. However, as reader I hold authors to a standard. Dear T.M. Krishna, you’ve a place as a valuable insider who’s raising the banner but please, yield the stage, occasionally to someone. If Krishna enables others to be their own voices and for professional historians he’d be of greater service.


References:

  1. Thyagaraja’s Cow https://www.outlookindia.com/magazine/story/thyagarajas-cow/221354 
  2. https://en.wikipedia.org/wiki/Kumbakonam_Rajamanickam_Pillai (awarded Sangita Kalanidhi 1948)
  3. Making of Mridangam https://www.youtube.com/watch?v=lrGgllzIgic 
  4. An undying heritage https://www.youtube.com/watch?v=1dOCXduJjy4&feature=emb_rel_pause 
  5. https://inmathi.com/2018/09/22/13141/ Article by Lalitaram Ramachandran on Parlaandu
  6. https://en.wikipedia.org/wiki/T._K._Murthy 
  7. https://en.wikipedia.org/wiki/Palghat_Mani_Iyer 
  8. https://en.wikipedia.org/wiki/Ramanathapuram_C._S._Murugabhoopathy 
  9. https://www.thehindu.com/features/friday-review/music/tribute-to-mridangist-par-excellence/article5686539.ece 
  10. https://en.wikipedia.org/wiki/Trichy_Sankaran 
  11. https://en.wikipedia.org/wiki/Palghat_R._Raghu 
  12. https://www.thehindu.com/features/friday-review/music/Mridangam-memories/article16884363.ece 
  13. https://www.thehindu.com/entertainment/music/tk-murthy-looks-back-at-a-rhythm-filled-life/article28896273.ece 
  14. Antonio Stradivari: His Life and Work (1644 - 1737) -- W. Henry Hill, Arthur E. Hill and Alfred E. Hill
  15. Stradivari's Genius: Five Violins, One Cello and Three Centuries of Enduring Perfection -- Toby Faber
  16. New York Time's Review of Toby Faber's book https://www.nytimes.com/2005/04/24/books/review/stradivaris-genius-the-master-builder.html?fbclid=IwAR0ph9PjvQ-UCtWcK13iRkERbkjLn4CeDsyH3GcnLaY1JHsEl23YkEkJB8g
  17. Piano: The making of a Steinway concert grand -- James Barron
  18. Steinway & Sons -- Richard K. Leiberman
  19. Story of Warren Shadd https://www.npr.org/sections/ablogsupreme/2014/05/07/309881323/the-first-african-american-piano-manufacturer?fbclid=IwAR2HpJkcmyGMnSzbIc784fN1o4Y0XPjzvetLajWryj3hJfg6YARNyPE1z54
  20. S. Sowmya's dissertation http://hdl.handle.net/10603/192871
  21. Documentary 'Mridangam - An undying heritage' https://youtu.be/1dOCXduJjy4
  22. Documentary 'The Making of the Mridangam" https://youtu.be/lrGgllzIgic
  23. Lalitaram's FB post on Mani Iyer tutoring a janitor's son https://www.facebook.com/photo.php?fbid=2951201178243831&set=a.521828131181160&type=3&theater
  24. "Casteism and Bigotry: A canker in the soul of Carnatic Music" - Tamizhini article http://tamizhini.co.in/2019/04/20/casteism-and-bigotry-a-canker-in-the-soul-of-carnatic-music-nrithya-pillais-angst-and-voices-of-privilege-aravindan-kannaiyan/
  25. Lalitaram Article on the plight of Nagaswaram students https://carnaticmusicreview.wordpress.com/2018/11/04/nagaswaram-the-distressing-present-and-a-bleak-future/?fbclid=IwAR1GxgYT_9JGG4kk-W4mKbmTSw-XVniyigmHANhIUgM2qGubTphpiJga3Vk
  26. Lalitaram on Murugabhoopathy https://carnaticmusicreview.wordpress.com/2019/02/14/csm/
  27. Lalitaram blogs on Mridangam artists collected here https://carnaticmusicreview.wordpress.com/category/மிருதங்கம்/
  28. Lalitaram about Parlaandu https://carnaticmusicreview.wordpress.com/tag/parlandu/


Thursday, January 17, 2019

The #MeToo movement reaches India: A long overdue correction and some concerns

Sexual harassment is as old as the act of sex. Sexual relationship and the evolution of the family as a unit, with the woman as its focal point, was the driving force in the progress of civilization.

The #MeToo movement has forced a reckoning on inter-personal relationships, power structures and abuse of power unlike anything else in recent memory. This essay is only an attempt to collate the topics and provide a space for valid concerns about institutionalizing change and even the caution against a vigilante justice. We’re in the very early stages of a social upheaval and this essay should only be considered as grounds for further debate.




A Note:

Those who find the contextual use of graphic language, in discussing a mature topic and nuanced arguments, as offensive will find this essay to be offensive. Such readers, in our mutual interest, should stop here and proceed no further.

Before the #MeToo era:

The words ‘sexual harassment’ probably did not exist in 1929 when Bertrand Russell published his ‘Marriage and Morals’ and yet Russell writes with clarity, “sexual intercourse should only occur when both desire it and it should be approached invariably by a period of courtship”. “Sexual relations should be a mutual delight, entered into solely from the spontaneous impulse of both parties. Where this is not the case, everything valuable is absent.”

When does courtship become careless flirting and degenerate into harassment? Jodie Foster, playing FBI agent Clarice Starling, visits two male experts on moths to pursue a clue. While one male is intent in analyzing the clue the other, with ill concealed sexual desire in the eyes, asks, “agent Starling what do you do when you’re not detecting” and then he asks her out for dinner and a drink. A radiant looking Foster replies, “are you hitting on me Dr. Pilcher?”. I have watched this movie ten times before this week and this scene never struck me as odd but the MeToo conversations have made me see the scene afresh.

Here’s a career FBI agent merely pursuing a clue to a grisly murder and is reaching out to two experts. In an office a male feels its ok to ‘hit’ on her. This is by no means courtship but plain flirting that is inappropriate given the setting. It is mere Casanova type flirting because he’d have asked the same question to any other lady he fancied in the same setting without pausing for a moment to think he knows nothing of her and all that he’s focused on is getting her out for a drink and possibly leading to sex later. 

Now, add a dimension of the male being a boss. Is it mere flirting or a serious question that could impact the future prospects of the female in question? Does the male stop after being called out or refused? Sure, we are all biological beings with chemicals and evolution conditioning our responses but are we just as the mercy of a few chemicals and endocrine glands? Of course not, nature also endows us with better senses. The step from thinking its ok to hit on a lady asking for professional help to leveraging power to wrangle a consent is a short step.

Sexual harassment, as a lawyer explains to her male client wanting to sue his female boss in the movie ‘Disclosure, is “not about sex but about power. She has it, you don’t”. A sexual harasser is not looking for the kind of ‘mutual delight’ that Russell spoke of but by harassing a person, sexually, the harasser, intends to show a lack of respect for another human being. The dawn of the modern era where women step out of traditional roles and the women’s liberation movements tat spawned across societies have seen the woman negotiate her space and relationship to a man in every imaginable setting.

Pre-dating the #MeToo era, scientist Hope Jahren penned a column, “She wanted to do her research. He wanted to talk ‘feelings’” addressing how sexual harassment functions within the science community. Jahren spoke of how a scientist or a teacher would send emails to a student or researcher with subject tag lines like, “I need to tell you” or “my feelings” and then go on to establish a special relationship of trust with the receiver for opening up. It’d go on to comments on “sparkling eyes” and after testing waters would proceed audaciously to comment on “private parts”. Jahren advises that that first email is important because it’d be pointed out later by the harasser the recipient could’ve stopped it back then. Jahren’s suggestion is for women to “write back immediately, telling (not asking) him to stop”. 

Jahren’s column brought attention to a widespread problem within the academia. “Sexual harassment”, Jahren wrote, “is very rarely publicly punished after it is reported, and then only after a pattern of relatively egregious offenses.” This failure of institutions to carry out justice undergirds the most important element at the heart of the #MeToo movement. Soured by justice being denied by the portals of power the accusers turned to democratized social media platforms to channel accusations. That has created its own issues because outright grotesque conduct and far less egregious conduct are all bundled together and the accused, irrespective of the gravity of the offense, carries an universalized label, “harasser” or even “molester”. 

In 2016 Roger Ailes the very powerful CEO of Fox News was terminated from his employment after sexual allegations against him were investigated and found to be true. In April 2017 Bill O’Reilly, a very powerful and important political commentator, was fired after sexual harassment allegations against him were found to be true. Then came the Weinstein saga.

Harvey Weinstein and the #MeToo Era: From USA to India. The differences. 

In October 2017 New York Times, after an extensive investigation, published a detailed expose of Hollywood mogul Harvey Weinstein tormenting many women, including those who went on to become A-listers, sexually. Actress Alyssa Milano, borrowing a phrase from activist Tarana Burke, launched the #MeToo movement that encouraged women to share, via twitter and other media, stories of sexual harassment they had suffered. With that, it could be said, a revolution was unleashed.

A torrent of stories followed and much loved and admired celebrities were outed for sexually harassing women and in some cases men too. Many of the acts committed were sheer monstrosities. Bill Cosby, called ‘America’s Dad’ for his affable portrayal as a dad in the much loved eponymous T.V. series ‘Cosby show’, was convicted of drugging and raping women. 

Following the Weinstein revelations, Raya Sarkar, a law student at University of California, Davis, crowdsourced and published a list of 75 men in Indian academic institutions for sexually harassing women. The Raya Sarkar list and what followed illustrated several important aspects of the MeToo movement in India. How the allegations surfaced and how the institutions responded in India were markedly different from the American scene. Political differences, based on who is accusing and who the accused is, colored the reactions. The reactions included conspiracy theories, indifference, rapid rehabilitation of the accused and finally insensitivity on an unprecedented scale.

India’s MeToo movement properly took off nearly a year after the Raya Sarkar list. While the US movement saw its share of allegations via twitter most of the big names that were felled were the result of investigations by reputed news outlets like New York Times, Washington Post, CNN, New Yorker, and even the Wall Street Journal. The news outlets, both to protect credibility and to stave off lawsuits, often times used on-the-record accusations. India’s MeToo movement on the other hand was largely independently led by women using twitter and social media to air accusations. The news organizations later ran the accusations as news items, with little to no investigations or corroborations. 

Another important distinction between the responses in US and India is how the accused were investigated and forced out in their work places. In US, starting with Roger Ailes to Harvey Weinstein to Steve Wynn, Leslie Moonves and currently Neil deGrasse Tyson, the corporations had to undertake their own investigations before the accused were either forced out or put on notice. Legal and financial requirements were the chief factors in necessitating those investigations. Such investigations by the work places of the accused served to validate the news reports and when the accused were forced out not much could be said in their defense. On the contrary in India, so far, only public pressure and mounting allegations have mostly forced some, particularly like M.J. Akbar and Utsav Chakraborty, to be eased out of their jobs. 

Unlike the public personalities in the field of arts the Raya Sarkar list of academics in educational institutions had little effect because of the quintessential Indian apathy. Huffington Post reported that most institutions plainly ignored the list and one even gave the brazen excuse that they’d not take ‘suo motto cognizance’ of an accusation.

Chinmayi Sripada Accuses and Becomes a Voice:

On October 8th singer and dubbing artist Chinmayi Sripada became the focal point of #MeToo movement, quite unwittingly, when she accused legendary and much awarded film lyricist Vairamuthu of having propositioned her. Another lady narrated a similar incident about Vairamuthu and soon, Reihana Rahman, sister of A.R. Rahman, in a T.V. interview asserted that it was quite an open secret in Tamil film industry about Vairamuthu. Coming from A.R. Rahman’s sister that was quite a damning indictment given that Rahman and Vairamuthu had become over the last two decades a blockbuster combination in Tamil film music world. 

Ever since Chinmayi took on Vairamuthu she became a conduit for further allegations with several accusers, anonymously, sending her names and she publicizing them on twitter with the hashtags #metoo and #timesup. Chinmayi has a history with being embroiled in controversies on twitter. I’ll turn to the politics of opposition that engulfed Chinmayi’s accusations relating to Vairamuthu further in the essay.

Following the allegation against Vairamuthu, based on personal experience, Chinmayi then accused TAMBRAS (Tamil Nadu Brahmin Association) president of misconduct. He then called her an “Iyengar bitch”. Even as she was besieged on twitter by legions of Vairamuthu’s defenders, accusing her, a Brahmin, of trying to bring down a highly regarded non-Brahmin, Chinmayi rocked the closeted world of Carnatic music world by releasing a list of musicians, that included highly respected and awarded names, of being sexual harassers. Unlike the accusations against Vairamuthu, where Chinmayi spoke from personal experience, the carnatic music list was, it becomes apparent now, curated and handed over to her for publishing. Leena Manimekalai, activist and director, accused director Susi Ganesan of a rape attempt. 

Both Chinmayi Sripada and Leena Manimekalai ran into a buzzsaw of motivated defenders. In a country where journalists are little more than typists and anchors are nothing beyond those with a microphone and a camcorder the ladies were hounded for proof by inquisitors masking as interviewers. A press meet convened by Chinmayi Sripada and Leena Manimekalai devolved into a Salem Witch Trial with the ladies being pilloried and harangued by male journalists with completely insensitive questions.

The questions primarily revolved around consent and silence. What is consent? Why the silence, in many cases for years and even decades? Those questions were repeatedly used to deflect or even deny accusations. Both are difficult questions to answer and no black and white response exists.

The question of silence:

Reputed biblical scholar and academician Elaine Pagels in her newly published book, “Why Religion: A personal Story” recounts how a Lutheran minister, also a professor at Harvard Divinity School, assaulted her sexually. A Stanford Graduate in 1965 she had enrolled in Harvard Divinity School and was compelled by the professor to babysit for his children. Arriving around midnight he compelled Pagels to sleep in a couch in his basement and in the wee hours of the morning he crept in and fondled her breast. Pagels recounts, “In the morning I pretended everything was normal”. New York Times book review adds, “The best and the brightest women were expected to act as the young Elaine did”

It is too easy to sit in armchairs and say “she should have slapped him”, “she should’ve gone to the police”, “she should’ve complained to the university authorities”. The case of Steve Wynn, exposed by Wall Street Journal, illustrates how difficult it is for women, whether they are Stanford graduates or a pedicurist, to halt serial offenders in positions of power. Steve Wynn, casino mogul and a powerful player in the high echelons of American political circles, would compel women masseurs to masturbate him or have sex with him. Some complained to authorities in his casino organization and some received compensation too and others, until the WSJ expose, have not spoken openly.

The case of Uma Thurman’s harassment by Harvey Weinstein and betrayal by Quentin Tarantino illustrates the complexity of why women have rarely complained openly, especially in the field of arts where larger than life personalities are involved. In a lengthy interview with Maureen Dowd of New York Times Thurman recounted how Weinstein primed her, assaulted her and finally silenced her, for years. Weinstein, after the success of ‘Pulp Fiction’ used to “spend hours” offering suggestions and ideas to Thurman on career, an act that, Thurman says, “made her overlook the warning signs”. This mentor-mentee relationship as a stage setting for later harassment needs to be remembered when we analyze the sexual harassment claims that rocked the Carnatic music world in Chennai.

Steve Wynn’s employees facilitated his trysts and kept the lid on the accusations. Likewise Weinstein’s predatory acts were made possible by active and passive enablers. Following Thurman’s interview Quentin Tarantino confessed that he had been aware of Weinstein’s behavior for a long time and he was a factor in keeping Thurman silent as the duo were to launch, with Wienstein’s production company, a major movie, “Kill Bill”.
Chinmayi was repeatedly harangued by supporters of Vairamuthu, “how and why did you invite him to your wedding, why were you smiling? and if you did those then your allegation appears baseless”. 

The cases of Uma Thurman, Gwyneth Paltrow and Elaine Pagels, amongst many others, show how women who were harassed have often, for many reasons, remained not only silent in public but even seemingly had normal relationships with their tormentors.

Beyond simplistic answers of hostile environment and compelled to silence we lack even the psychological tools to understand the reactions. Mental trauma of rape victims, survivors of wars, wounded soldiers and others are being barely understood psychologically. The field of psychology and sociology is barely catching up with these complex issues. 

Chinmayi, for what it is worth, did clarify that she invited Vairamuthu to the wedding because she was inviting his son, her friend, and it’d be a scandal not to invite the father and that she smiled and sought blessings, as was custom, from all visitors. 

Whether it is journalist M.J. Akbar or Indian stand-up comedian Utsav Chakraborty the rumors have always swirled about them. Utsav Chakraborty was named in a sexting scandal, including sending pictures to an underage girl and his colleagues at his workplace have known his habits for a while. Likewise television actor Alok Nath was quite notorious for being a harasser. 

When the MeToo movement lists appeared in Tamil Nadu, quite often, there was no surprise at many of the names, rather, quite disgustingly, the responses were “oh that person”. A friend who studied in an Indian college recounted how a professor was notorious for asking lady students to meet him for classes in the evenings. Students were cautioned to go with a torch light (flash light as we say in US).

More often than not, men like Weinstein and Vairamuthu are quite publicly known to be harassers. Don't ask why women were silent or why they did not yell, rather ask how such monsters walked around with dignity in the halls of a university or a corporation or a music institution.

The issues of consent and question of evidence, unlike the question of silence, are fraught with more complications and it is necessary to see, briefly, how politics and  generational differences confronted MeToo movement.

Political Biases and Reactions:

When someone like Neil deGrasse Tyson or Vairamuthu or a professor in a left wing dominated university or a highly respected musician is accused his defenders reach into conspiracy theories. 

Neil deGrasse Tyson as defender of science was seen as being felled by conspiracy by conservatives. This is pretty much a tactic of defenders of Bill Clinton and Donald Trump too. 

Tamil Nadu has been poisoned with Nazi style hatred of Brahmins and Chinmayi was perfect fodder when she accused Vairamuthu, a non-Brahmin and a much admired figure of a powerful political party. Chinmayi was always very active on social media and when the issue of Sri Lankan ethnic strife played out in Tamil Nadu few rowdy elements literally harassed and physically threatened her on twitter for some of her views. She later took recourse to the law and had one of her harassers jailed. In this backdrop her accusations against Vairamuthu provided a fresh lease of life to not just her detractors but habitual Brahmin haters. To say that that the reactions were vitriolic is an understatement. Never mind the fact that two days later the same Chinmayi sent shock waves into the most cherished Brahminical institution, the world of Carnatic music. The onslaught continued. She was, because of her caste, portrayed as a stooge of BJP and it was alleged that she kickstarted this controversy to help the government divert attention from scandals. Of course, there was no merit in any of that.

Outspoken Left wing activist Kavitha Krishnan took issue with Raya Sarkar’s list that mostly targeted professors who were seen as sympathetic to the left and were part of educational institutions that are considered left wing. Krishnan and several others released a statement saying, “One or two names of men who have been already found guilty of sexual harassment by due process, are placed on par with unsubstantiated accusations. It worries us that anybody can be named anonymously, with lack of answerability”. The statement added, “there are institutions and procedures, which we should utilize”. Coming from left wing activists this is rich hypocrisy because they are the ones who not only do not trust the establishment and are often at the forefront in undermining trust in due process and established judicial means. 

Sexual Harassment and Biology:

After igniting a furor with his column “It’s time to resist the excesses of #MeToo” Andrew Sullivan lit a fuse with his “#MeToo and the taboo topic of nature”. The second column essentially argued that the male hormone testosterone is to be blamed for male sexual behavior. “All differences between the genders, we are told”, Sullivan wrote, “are a function not of nature but of sexism”. Pointedly he asked, “Is male sexual aggression and horniness a function of patriarchy or testosterone?”. Speaking from his experience as a male homosexual Sullivan said males, when it comes to sex, even when women are absent, behave precisely the same way. The sexual attitudes, including aggression, by males towards males is, he says, no different from males towards females and therefore its all a “boys will be boys”. Patricia Churchland, who specializes in neuro-philosophy, partly agrees with Sullivan but underscores that male or female we are not slaves to biology.

Many of the accused in the scandals could’ve easily procured sex for money and many did not lack opportunities for consensual relationship and most knew that they were demanding sex as a price and knew that they could get away with it. Sullivan was being too kind in ascribing the behavior to just hormones.

The MeToo revelations, in US and India, have often included incidents of males masturbating in front of women and walking away. Louis C.K, Harvey Weinstein, Mark Halperin, Vikas Bahl were some of such accused. Television actress Renuka Shahane recounted an incident of a room-service man in a hotel masturbating in front of her after delivering food. Louis C.K, outed for masturbating in front of women, published an apology letter of sorts that captures the dynamic at work here, “These stories are true. At the time, I said to myself that what I did was okay because I never showed a woman my dick without asking first, which is also true. But what I learned later in life, too late, is that when you have power over another person, asking them to look at your dick isn’t a question. It’s a predicament for them.”

Of the many questions that the MeToo movement raised about psychology and the many grey-areas that emerged this propensity of males to masturbate in front of women depicts the situations difficult to assess. Is this propensity a mere case of exhibitionism at its extreme or is harassment the goal here? “David Ley, a clinical psychologist and author of "The Myth of Sex Addiction," said it is hard to know what motivates someone to do this”.

Why artists are prone to be sexual harassers?

When the #MeToo scandals unfolded it took a toll of some of the most respected and even loved male figures. Who’d have thought Bill Cosby, called ‘America’s most loved dad’, would be a relentless predator? Or a Neil deGrasse Tyson, considered an intellectual heir to Carl Sagan, be clouded by allegations? Throughout history intellectuals and geniuses have always had shady private lives to the point where one could say it is almost like a rite of passage to become a genius. 

“A study of 425 British men and women found the creative types averaged between four and ten partners, while the less creative folks had typically had three”. Daniel Nettle, who conducted the study said, “very creative types lead a bohemian lifestyle and tend to act on more sexual impulses and opportunities, often purely for experience's sake, than the average person would.”

Another study found that students at prestigious universities like Oxford and Cambridge were more likely to use drugs, stay up late and order more sex toys than comparable students elsewhere. A female worker “at a high-end sex shop” reasoned, “I think that the ability to engage in an open sex life comes with the abilities of introspection and logical thought, and those require some level of intelligence. If we're talking about an open sex life that comes from an emotionally healthy place, sexual mores are mostly made up anyway and intelligent people can rationalize past them.”

Whether it is artists in the music field or a CEO who is responsible for a line of blockbuster hits at a studio or a T.V. station they all function at a level where they are pushing the boundaries of social norms, through their art or their business acumen, and as result they do think that boundaries do not apply to them. Sexual boundaries are the most tempting to transgress. These men, mostly they are men, are also those who do get consensual partners fully aware of what they’re indulging in and that too feeds their ego to the level where when they see a female resist their advances the tendency to harass asserts itself. No man, or woman, who is not used to hearing a ‘no’ takes kindly to refusal. 

Is Atwood a ‘bad feminist’? The question of due process: 

Booker prize winning novelist and feminist Margaret Atwood found herself being labeled a ‘bad feminist’ for asking due process to prevail in the case of author Steven Galloway who was fired from his job by University of British Columbia. Atwood went to the heart of the complexities unleashed by internet based accusations. Key excerpts are:

 “The #MeToo moment is a symptom of a broken legal system. All too frequently, women and other sexual-abuse complainants couldn't get a fair hearing through institutions – including corporate structures – so they used a new tool: the internet”. 

“If the legal system is bypassed because it is seen as ineffectual, what will take its place? Who will be the new power brokers?”

“In order to have civil and human rights for women there have to be civil and human rights, period, including the right to fundamental justice"      

Atwood cautioned, “understandable and temporary vigilante justice can morph into a culturally solidified lynch-mob habit, in which the available mode of justice is thrown out the window, and extralegal power structures are put into place and maintained”. Note, the caution against extra legal power structures for a later argument about Swarnamalya Ganesh and Radhika Ganesh in connection with the allegations against Carnatic musicians.

Question of Evidence, Raya Sarkar’s Limit and One Broad Brush:

Given the intimacy of these crimes or infractions most will not stand scrutiny in a court of law. This has led to a slogan asking us to believe every accuser. The very cornerstone of modern jurisprudence, presumption of innocence, has become casualty and anyone even asking a question of the evidence, let alone not believing an accuser, has been tarred as sexist or enabler.

Many of the accused, particularly in US, have either accepted guilt or proven to be guilty based on multiple credible accusations. This is a fact. Asking for a sympathetic hearing of the accuser or even giving the accuser a benefit of doubt is perfectly ok. However, there have been well publicized accounts of wrongful accusations too.

Much before the #MeToo era was the case of a stripper, an African-American, accusing a group of boys, all White, of Duke University’s  Lacrosse team of having molested her. An over eager prosecutor and racial politics made the case a lightning rod and later it turned out that the accusation was scurrilous and baseless. Recently one of the accusers against judge Brett Kavanaugh was found to have lied under oath of being molested by him. Another case in University of Virginia was likewise found to be baseless. Betsy Devos, Secretary of Education, is revamping rules governing adjudication of sexual assault in American universities that provide basic rights to the accused. So, yes false accusations by women do exist. The statistics about false rape accusations, pegged by the F.B.I, is at a low 8%. We should note that that is ONLY about rape charges and not the broader harassment charges.

Indian-American comedian Aziz Ansari faced a #MeToo allegation that turned out to be false. A girl alleged sexual harassment because Ansari failed “ignored clear nonverbal clues”. Bari Weiss, writing for New York Times, summed, “Put in other words: I am angry that you weren’t able to read my mind”. The article alleging Ansari harassed the woman was “met with digital hosannas by young feminists who insisted that consent is consent only if it is affirmative, active, continuous and — and this is the word most used — enthusiastic”. That Ansari, unlike the woman, was rich and a famous comedian implied, in the eyes of his accusers, a position of power whereas in reality he had no power over the said accuser. Essentially, Aziz Ansari was guilty of only one thing, “not being a mind reader”. 

From women misusing, on a large scale, a law meant to curb murders relating to dowries to girl students complaining about classmates to college authorities for merely propositioning India’s case rests on a different plane. No, this is NOT to suggest, even remotely, that sexual harassment charges by Indian women are suspect but merely to ask the reader to consider the possibility.

Between charges borne out by solid evidence and those that fall apart as baseless is the gray area of possible mischaracterization. The cases of scientists Neil deGrasse Tyson and Lawrence Krauss illustrate these best.

Physicist Lawrence Krauss was accused by several women of sexual harassment. One of the charges was that he groped a woman’s breast in public while she took a selfie with him. Krauss has put out on the internet a very detailed rebuttal of the charges including photographic evidence and emails from witnesses supporting his version. I’ll not begrudge him this defense. Arizona State University, where Kraus primarily worked, was on the verge of charging him with misconduct and only such a charging, per the process, would even allow him to appeal. Essentially he has to accept the charge in order to appeal. The University and Krauss agreed mutually that he’d resign at age 65 with no acceptance of wrongdoing. Krauss’s doc is publicly accessible and I’m sure vetted by legal counsel for protecting against victim shaming. 

Astrophysicist Neil deGrasse Tyson was accused of rape by one woman and harassment by two others. Tyson has denied the rape allegation and contextualized the harassment allegations. A woman alleged that Tyson traced a tattoo of the solar system and lifted the tops near the shoulder to see where Pluto was. Now, Tyson has a history with demoting Pluto as a planet and is known for his over exuberant attitude. He explains that while he is sorry about the conduct he was not harassing.

The Raya Sarkar list is a perfect example to critique the limitations of crowdsourcing allegations in a social movement. Historian Partha Chatterjee was one of the accused in the list. Chatterjee pointed out that his name was listed twice, once with an organization in Calcutta citing the number of violations as one but providing zero details on the incident and second time his name was mentioned against Columbia University with no details whatsoever. 

When Chatterjee demanded details Raya Sarkar replied via tweet in a self-righteous and outright arrogant manner. She said that some one else was maintaining the list and that the list was moved out of google docs because it is prone to hacking. She then said the person maintaining the list does not “need to explain” and she herself was busy studying for mid-terms and she concluded saying “if this is the only response, instead of taking accountability then never mind. The list will stay for students to be wary”. This is breathtaking arrogance. 

If Chatterjee is correct a perfectly innocent man has been besmirched. In Cyberspace the good and bad live forever, how can Sarkar ever make amends to Chatterjee? Oh and Raya Sarkar also blamed Brahminical patriarchy for Indian men sexually harassing women. Then what is the reason for American men and, in some cases, even women, sexually harassing others? 

A rape and a fumbling attempt to kiss are not the same and an attempt to kiss and a sexual innuendo are not the same and a sexual innuendo is not the same as an accidental brush during a selfie. 

The Ganesh Sisters as carpetbaggers and the Carnatic Music World:

To anyone who has followed my blog posts on Carnatic music it’d be apparent that I’m neither an admirer of that industry nor of some of the accused. That the industry is a cloistered one replete with casteism and male chauvinism are criticisms I’ve leveled repeatedly.

Like any industry Carnatic music too is plagued by sexual harassment and as I’ve asserted before as a field of art it is prone to sexual promiscuity and transgressions. The added complexity is teacher-student relationship that takes on a reverential guru-disciple tone in Carnatic music. The long tutelage from childhood, the necessary recommendations for a career and other factors create a ground for sexual harassment in Carnatic music. Every field has its own enabling factors and those are Carnatic music industry’s enablers for harassment.

The manner in which the allegations broke out about Carnatic music is indeed puzzling, by hindsight. Suddenly on October 9th Chinmayi released a list of names with no accompanying details or corroborations. Much that came out as details was what followed in subsequent days. The salacious nature of the accusations fed into a narrative and soon being accused in a list became evidence enough.

For example, as soon as the first list was released by Chinmayi she quickly followed up with a screen shot from a girl accusing O.S. Thiagarajan and Nagai Sriram and the girl accused Thiagarajan of molesting her but gave literally no detail of any accusation on Nagai Sriram beyond saying “add these names”. Then evidences start trickling in with little or no corroboration and the evidences range from horrific to “he touched the hip”. It was literal mayhem. Of course amidst this Chinmayi was facing her own storm of naysayers for her accusation about Vairamuthu. Chinmayi, is not New York Times or Washington Post or The Atlantic, and yet, possibly heady with the attention, without realizing what she was putting herself out for, Chinmayi became the de facto channel for accusers. 

Out of nowhere Radhika Ganesh and Swarnamalya Ganesh, two sisters, jumped into the fray and took on the Carnatic music list. Swarnamalya is a yesteryear actress and now dancer and academician. Radhika Ganesh was largely unknown and now calls herself an activist. Radhika posted the Carnatic music list and referenced a crude joke from a tamil movie about a lengthy grocery list. That’s how they approached this serious issue.
Swarnamalya, though connected to the film world, took only a passing interest in the Chinmayi-Vairamuthu affair and even as dancer though she claimed to know of harassers, in a separate post, she refrained from naming them herself. Srinidhi Chidambaram, a dancer, wondered at the near total absence of accusations in the Bharatanatyam world. A girl recounted a harassment by Pappu Venugopal Rao and how Padma Subrahmanyan, a popular and legendary dancer, when informed of it brushed it aside. Swarnamalya called out Venugopal Rao but remained conspicuously silent about Padma, possibly in the interest of her own career.

In this backdrop Swarnamalya released a letter announcing a Public Consultation Process and said she had reached out to “Ek Potlee Ret Ki which is an activist collective that has been working on cultural identities”. Now, ‘Ek Potlee Ret Ki’ is run by her lesser known sister Radhika and that was not mentioned let alone the fuzzy verbiage about them being a “activist collective” working on “cultural identities”. It is not far fetched to say the sisters fashioned themselves a bandwagon. 

The Public Consultation Process, as per a later Facebook recounting the event, selected 12 cases out of 98 and presented them. That raises the question of who were named as part of the 12 cases and why were they considered representative and would not the remaining 86 then go scot free. Essentially, just 10% were outed and such accused could fairly claim that they were handpicked by the sisters. This is classic vigilante justice.

Mandolin Rajesh, for example, was called out as “sexual predator” by an accuser who alleged that he was trading on the name of his deceased and more famous brother. The accuser said he had several affairs and fathered an illegitimate child. From thereon the charges were plainly scurrilous and barely substantiated. Is it possible that Rajesh is a harasser or even predator? Yes. But the proof supplied leaves one wondering. This allegation was prefaced by Swarnamalya as “haven’t you puked enough today? Here is more.” Madame Defarge would’ve been subtler.

Posting a message about Sashikiran with screenshots of messages from an accuser Radhika ranted in the preface, “Looks like your “genius” brother Chitravina Ravikiran and you the “prodigy” are running a racket to trap, abuse, harass, intimidate and terrify woman.Your music is worthless without morals. You art is your weapon and your students and admirers your prey.” Note, at this point Ravikiran had only been named in that Chinmayi list but no evidence had been forthcoming. Why tag a man just because she had screenshots of an allegation concerning his brother? The ranting language is precisely the pitfall of this kind of vigilante attitude and not one that a New York Times article or a proper investigator would use or even someone truly just interested in justice. 

Radhika mentioned having known Sashikiran and that she was ashamed for it. However, she did not mention in what manner she had known Sashikiran. In the interest of disclosure that should’ve been said. When Ravikiran protested that his name, without evidence at that point, was being unnecessarily tagged Radhika retorted, “I am a sociopolitical activist and I work extensively on gender issues. You do not need to know me for me to #CallYouOut on your misogyny and abusive behaviour. Btw, your brother Shashikiran Kn knows me quite well. The #MeToo movement has arrived to tell people such as yourselves who misuse and abuse art and power that your #TimesUp. I will not take down this post and I will pursue all action against you.” 

The invectives and innuendoes are wrapped in exceeding self-righteousness. Accusing the brothers of running a racket, being misogynist and declaring their music is worthless without morals all make one wonder if justice for an accused is the only motive here.

The drip, drip of accusations of various hues continued when finally on Oct 24th, a fortnight after the allegations were first made, screenshots of a survivor accusing Chitravina Ravikiran, a Sangita Kalanidhi awardee, were published. Radhika Ganesh said, “We were processing these with stringent due diligence and through due process, but your trolls and “supporters” have mounted so much pressure on me that I am cornered to put these out in public today.” This is breathtaking, the man was accused on Oct 9th and, in all fairness, this diligence should've PRECEDED the announcement NOT after. To add to the cacophony another person commenting on the thread asserted coolly, “once an abuser always an abuser”. 

Ravikiran defended himself first with a Facebook post in which he published email exchanges, carefully redacting personal information, between himself and who he thought was his accuser to establish that the relationship was one of mentoring and caring one. The Ganesh sisters took umbrage that he was intimidating. At this point no detailed evidence had been provided. Ravikiran had every right to defend himself against an accuser. When I read Lawrence Krauss's document that he published, also redacted, to establish his innocence I was reminded of Ravikiran's post and I do think he had every right to do that, particularly when he had taken care to redact personal markings.

Ravikiran then published an article defending his innocence and openly narrating an abuse he had suffered at the hands of a male teacher. I'm listing these as facts that happened without arrogating to myself the right to judge any side as valid or invalid. 

Now, the intention here is not to exonerate anyone or whitewash anyone’s linen. If any of the above are guilty then so be it. But it is precisely this kind of vigilante justice that eventually degenerates into blood lust and rolls like a juggernaut over the guilty and innocent alike. Serious and tragic issues have become casualties of trigger happy fingers with a keyboard and a phone. 

As if the drama was not enough the Music Academy, the self styled custodian of all things Carnatic music, decided to ban the accused musicians from their then upcoming prestigious December music season. Contrary to first impressions the Academy had not undertaken any independent investigation, like how Weinstein’s Company or Fox News did in response to the allegations, but just used the Chinmayi list as evidence. One wonders why an institution, never given to immediate reactions, reacted with such promptness, or dare I say, haste.

We do not know, yet, if the Internal Complaints Committee, formed by the collegium of Sabhas has received the above accusations in a formal manner. Else, as Lawrence Kraus put it, the accused face a Kafkaesque situation of facing off anonymous allegations hanging as a pall over their reputations with no closure. This is bad for the accusers too because this condition has also provided the excuse for the accused to resurface. One cannot begrudge that either.

It should also be noted that with the screenshots being published on October 24th about Ravikiran the sisters pretty much went silent on anything further on this topic and no new allegations have cropped up since. Accusation about Ravikiran was, in a way, the denouement, a sort of “Mission Accomplished”, and that evidence too came 15 days after the list first surfaced in a tweet with no evidence. Let me reiterate, Ravikiran’s guilt or innocence is a separate question from questioning the sequence of events and what unfolded. It is absolutely not my place to defend or accuse anyone of guilt. 

Chinmayi realized the limits of her being a conduit for the allegations when a prankster played a sick joke of using her to relay an unsubstantiated claim about a film dance master. Though the charge was later withdrawn it damaged the process. It was a sick joke but it showed why Raya Sarkars and Chinmayis have limits. 

There have been cases of suicides of a few accused, in other cases not discussed here, where the charges later turned out to be baseless. This is serious business. Let the carpet baggers stay away. Swarnamalya Ganesh, after all the pompous righteousness, was seen recently, after an event by her, posing happily alongside dance critic and accused harasser, Sunil Kothari.

Atonement, forgiveness and how to relate with flawed geniuses:
Many, or almost all, of these sexual harassment claims will not see daylight in a court of law. As such there’s no formal legal punishment for any of the perpetrators. The absence of legal proceedings complicates simplistic notions of time served as penitence and we’re in no-man’s land about sincere apologies and those offered with little contrition and matter of fact just wanting to move on.

Jill Filipovic, writing for Time, put it well, “There is also the question of what atonement means, and what it looks like to truly take responsibility for one’s own choices and one’s own life.” She then asked, “What do offenders need to do for us to be comfortable with them resuming activities that initially brought them power or fame? How far is too far to earn back our trust?”

A connected question is what do we do with the work of a genius who’s private conduct was reprehensible. Jean Paul Sartre, Louis Menand wrote, was the “classic womanizer” and Simone de Beauvoir, “was the enabler”. Gandhi had his Brahmacharya experiments. Wagner was an anti-semite, Rousseau was an exhibitionist and the list goes. Man or woman, their foibles aside let’s celebrate their genius and their works, whether it is a scientific equation or an opera or a painting or a book. While we celebrate the genius let us always remember, without whitewashing, who they were as mortals. One should not be done to the exclusion of the other.

Chinmayi and a Culture of Retaliation

In a Facebook post I compared Chinmayi to the mythical war hero Abhimanyu who fights a valiant but futile battle and falls on the battlefield. India’s laws are still taking shape about dealing with sexual harassment and protecting whistleblowers. Retaliation is common in the Indian setting. Chinmayi, a member of the dubbing artists union, was not only dropped from the union, thus depriving her of being able to function as a dubbing artist, the leader unleashed women from the union who advised Chinmayi to go wash dishes in homes. The leader of the union, actor Radha Ravi, known for his foul mouth was an accused. 

Manasi Karthik’s article in First Post illustrates, literally in pictorial fashion, how the Internal Complaints Cell (ICC), mandated by Indian law, often falls short. The ICC at JNU deemed a student’s complaint as frivolous and intends to bar the student from campus and ‘withdraw her degree’. The government has set up a committee of ministers to examine change to law and the minister not in the committee is the law minister. The law also limits participation of junior members of an organization in the ICC and instead populates it with senior management, who are often the colleagues of an accused. 

The case of Catholic nuns being retaliated against by a Kerala church, for accusing a male priest of being serial molester, is a depressing case of how the laws are feeble in India.

Curbing a #MeToo Backlash:

American Vice President Mike Pence famously said that he’d never have lunch with any lady alone if his wife was not present. A Wall Street Journal article spoke of possible backlash against women in hiring process and offered guidelines. It is no different from saying “I don't want to be accused of racism and therefore let me not hire blacks”. It is stupid and reprehensible. The rule is simple, “don’t be a jerk”, respect a women as a colleague or an employee or as neighbor. Respect the private space. There is no room for a raunchy joke at an office meeting whether or not there are women in the vicinity. 

Unlike US where not hiring a woman for being a woman would violate the Equal Employment law India, to my knowledge, has no such law. Another, area of serious concern for India.

If you want express interest in a woman remember Bertrand Russell’s rule, “sexual relations should be a mutual delight, entered into solely from the spontaneous impulse of both parties”. 

Every industry reacted with, “we’re not alone, sexual harassment happens everywhere”. True. This is not a conspiracy to undermine any one industry or art. I completely reject Carnatic musician Sowmya’s contention that the allegation about Carnatic musicians was motivated to undermine the art. Carnatic music industry should evolve rules of conduct between teachers and students. A simple thing for any parent to do is to be there with a child during classes and encouraging children to confide in their parents of any wrongdoing. It’d do well for Carnatic music to dispense with the exceeding reverences to gurus. This is a materialistic world and these teachers are material mortals.

A long overdue social correction is happening let’s nurture it, guide its discourse, question it too but let’s not extinguish it, by any means. 


References:

  1. Raya Sarkar List https://www.huffingtonpost.in/2018/10/25/metoo-in-india-75-professors-30-institutes-what-happened-to-raya-sarkar-s-list-of-sexual-harassers_a_23571422/
  2. Kavita Krishnan Statement https://kafila.online/2017/10/24/statement-by-feminists-on-facebook-campaign-to-name-and-shame/
  3. Raya Sarkar interview https://www.buzzfeed.com/karthikshankar/why-i-published-a-list-of-sexual-predators-in-academia
  4. https://www.thequint.com/neon/social-buzz/raya-sarkar-clarifies-intent-of-facebook-list-of-sexual-predators-on-twitter
  5. https://www.washingtonpost.com/news/worldviews/wp/2017/10/31/after-metoo-a-facebook-list-names-south-asian-academics-some-say-its-a-step-too-far/?noredirect=on&utm_term=.804328c06150
  6. Partha CHatterjee  https://thewire.in/education/partha-chatterjees-statement-name-shame-campaign
  7. Aziz Ansari https://www.nytimes.com/2018/01/15/opinion/aziz-ansari-babe-sexual-harassment.html
  8. MeToo backlash  https://www.newyorker.com/culture/culture-desk/the-rising-pressure-of-the-metoo-backlash
  9. Bhuvana Seshan corroborates Chinmayi on Vairamuthu https://www.youtube.com/watch?time_continue=5&v=6Zyd_2VtPVY
  10. Misogyny at press meet  https://www.thehindu.com/opinion/op-ed/when-misogyny-reared-its-ugly-head-at-a-press-meet/article25290304.ece
  11. A.R. Raihanah interview  https://www.thenewsminute.com/article/several-women-have-told-me-about-vairamuthu-composer-and-rahmans-sister-ar-reihana-90352
  12. Chinmayi press meet  https://www.youtube.com/watch?v=tz-l5n8-E90
  13. Shaming of Chinmayi dress https://twitter.com/Chinmayi/status/1056536595015327744
  14. Harvey Weinstein  https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html
  15. Margaret Atwood's column https://www.theglobeandmail.com/opinion/am-i-a-bad-feminist/article37591823/
  16. Louis C.K. apology and acceptance https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/11/10/louis-c-k-these-stories-are-true/?utm_term=.b573a90d91ef
  17. Charlie Rose https://www.washingtonpost.com/investigations/eight-women-say-charlie-rose-sexually-harassed-them--with-nudity-groping-and-lewd-calls/2017/11/20/9b168de8-caec-11e7-8321-481fd63f174d_story.html?utm_term=.b853b6ebdb28
  18. Mark Halperin https://money.cnn.com/2017/10/25/media/mark-halperin-sexual-harassment-allegations/index.html
  19. Elaine Pagels' Book Review NYT https://www.nytimes.com/2018/12/04/books/review/why-religion-elaine-pagels.html
  20. Steve Wynn https://www.wsj.com/articles/dozens-of-people-recount-pattern-of-sexual-misconduct-by-las-vegas-mogul-steve-wynn-1516985953
  21. Uma Thurman  https://www.nytimes.com/2018/02/03/opinion/sunday/this-is-why-uma-thurman-is-angry.html?module=inline
  22. Masturbation as harassment https://www.cnn.com/2017/11/09/health/masturbation-sexual-harassment/index.htm
  23. ICC not enough https://www.firstpost.com/india/the-icc-is-not-enough-lessons-from-metoo-on-the-limitations-of-sexual-harassment-law-5771281.html/amp?fbclid=IwAR1FOz5Zlg4iLCE9MfPAGA-pk2_qPp8A3dr153AhegOEYNL1AuiUEJ_OJXg
  24. Leena Manimekalai on Susi Ganesan https://www.thenewsminute.com/article/kollywood-s-metoo-filmmaker-leena-manimekalai-speaks-out-director-susi-ganesan-90066
  25. https://www.livescience.com/3938-creative-types-sex-partners.html
  26. Smarter people and sex and drugs Esquire article https://www.esquire.com/news-politics/news/a26244/smart-means-sex-and-drugs-and-staying-up/
  27. Hope Jahren article https://www.nytimes.com/2016/03/06/opinion/sunday/she-wanted-to-do-her-research-he-wanted-to-talk-feelings.html
  28. Lawrence Kraus doc dump https://drive.google.com/file/d/10lHwatvaGfmWNc3NdoioncYi7daK1a-M/view
  29. Lawrence Krauss https://www.buzzfeednews.com/article/peteraldhous/lawrence-krauss-sexual-harassment-allegations
  30. MeToo in the world of Carnatic Music and Bharathanatyam https://scroll.in/article/897917/metoo-in-world-of-carnatic-music-and-bharatanatyam-women-say-harassment-is-an-open-secret
  31. https://thewire.in/the-arts/artists-open-letter-sexual-predators-carnatic-music-metoo
  32. Cleveland Thyagaraja festival accusations https://www.cleveland.com/entertainment/2018/10/petitioners-spotlight-accusations-of-sexual-misconduct-by-performers-at-large-cleveland-indian-music-festival.html
  33. Andrew Sullivan, MeToo and Nature http://nymag.com/intelligencer/2018/01/sullivan-metoo-must-choose-between-reality-and-ideology.html
  34. Andrew Sullivan and the excess of MeToo http://nymag.com/intelligencer/2018/01/andrew-sullivan-time-to-resist-excesses-of-metoo.html
  35. Rebuttal to Sullivan https://www.theatlantic.com/entertainment/archive/2018/01/no-metoo-isnt-mccarthyism/550505/
  36. https://www.theguardian.com/news/2018/may/11/how-metoo-revealed-the-central-rift-within-feminism-social-individualist
  37. Chitraveena Ravikiran accused https://www.thenewsminute.com/article/carnatic-musician-ravikiran-sexually-harassed-me-two-former-students-say-me-too-90663
  38. Ravikiran's article that detailed him being abused https://inmathi.com/2018/10/15/14350/
Carnatic Music List and FB Posts by Swarnamalya and Radhika Ganesh:


  1. Oct 8th Vairamuthu
  2. Oct 9th CM list
  3. Oct 9th Pappu Venugopal Rao and silence of Padma Subrahmanyan https://www.facebook.com/swarnamalyaganeshdancer/posts/2174081089270383 
  4. Oct 10th B.M. Sundaram https://www.facebook.com/swarnamalyaganeshdancer/posts/2175181182493707 
  5. Oct 10th Ramesh Prabha https://www.facebook.com/swarnamalyaganeshdancer/posts/2175559372455888 
  6. Oct 11th Letter by Swarnamalya…introduces Ek Potlee Ret Ki https://www.facebook.com/photo.php?fbid=2176444092367416&set=a.101101259901720&type=3 
  7. Oct 11th https://www.facebook.com/photo.php?fbid=2176675979010894&set=a.225416384136873&type=3 TAMBRAHM president
  8. Oct 11th Mandolin Rajesh https://www.facebook.com/swarnamalyaganeshdancer/posts/2176781409000351    Appears scurrilous
  9. Oct 11th Sashikiran https://www.facebook.com/swarnamalyaganeshdancer/posts/2177080258970466 
  10. Oct 12th Sethumadhavan https://www.facebook.com/photo.php?fbid=2177677748910717&set=a.225416384136873&type=3 
  11. Oct 12th Proof against OST https://www.facebook.com/swarnamalyaganeshdancer/posts/2177965208881971 
  12. Oct 13th Singer Karthik https://www.facebook.com/swarnamalyaganeshdancer/posts/2179109875434171?__xts__%5B0%5D=68.ARAuzp3qHe7f-pcOM5bD2p4qcWEd_qjhT7cwLVV4bpVEMFzzGzM5q4o2c-XCkfZh8NjlLj8jXUUKMDw4n6Sq5uAjAjIegrOCn0U94QudM3yfBnmrqotiBiRo4k5-aYgMKon_l7hbimTY0SBHZ3dBqVb0MFsTu3-6wi1DfZmUxg6h_hPevrlJbx1mz7PmwCNY5KwYy5fpXaNW0ZDF&__tn__=-R 
  13. Oct 13th Ramesh Prabha https://www.facebook.com/swarnamalyaganeshdancer/posts/2179265502085275 
  14. Oct 14th Dance world silent https://www.facebook.com/swarnamalyaganeshdancer/posts/2180826851929140 
  15. Oct 14th Mannargudi Easwaran https://www.facebook.com/swarnamalyaganeshdancer/posts/2180937838584708  
  16. Oct 14th Karthik TMK https://www.facebook.com/swarnamalyaganeshdancer/posts/2181465005198658 
  17. Oct 15th Kumbakonam Swaminathan https://www.facebook.com/swarnamalyaganeshdancer/posts/2181970465148112 
  18. Oct 15th Karthik TMK again https://www.facebook.com/swarnamalyaganeshdancer/posts/2182263668452125 
  19. Oct 16th Ramnarayan Venkatraman https://www.facebook.com/swarnamalyaganeshdancer/posts/2183512934993865?__xts__%5B0%5D=68.ARCzkT5AwNCn4beBcr2_IvylHeXd-N7f_7fhHAlTXrJIvXzXFX0bXeF9DYpX4uezzaAjf0BqUn3d5XgjZK6rcL-_KoqogusVHVLh-anmlPUoPM2PPBLY9cU9hJp4LSxBOsw_0JefziE_hrKPu0hqJf1MF92iG2CRvT-pCbCxZ59pTnrEfKe-C-_euHiqzj8R7X08BzHxhzZBb2HbHfT9Y0Zosio3mVFfaiDbk3vdG7Q57i7khGplf6g34_gChNWIekJ1sUUpLEmKY863-BR4wGLSLOEPOXVC9xNL3WZGLPpNlWOG4uZB7aufLeC9vLbJrg9EYsbs22DXcXKL6xkC_sgGxJg&__tn__=-R 
  20. Oct 17th Karthikeyan Ramanathan https://www.facebook.com/swarnamalyaganeshdancer/posts/2185204191491406?__xts__%5B0%5D=68.ARDdOux4eiDZNQaa2QF9F3dQ4kWJOLvF3Ks2mhsDue1yKmJqfxk07lBelImezTOzmS-R47Hf35iZ3k18ypoKWeT2z1Le41JqCZrHkQ2NV81ucauEimq4T8Ilg2CRNfjn12kxgpXfcFtVVqCO2oQSOuZEu2aKNFsbWcQGs1NXImS-9FKWEcSmOXia2ZeI2VVcBX7wJwal_6yjcdlm&__tn__=-R 
  21. Oct 17th Cleveland Aradhana and Rebuttal Rajna https://www.facebook.com/swarnamalyaganeshdancer/posts/2185332938145198?__xts__%5B0%5D=68.ARCwzxtkaWvjpxGqYYdaJ8UWM3n1q2ITLzk11l0UYrSmJyTIQ4wsQYh7NaT4sRgtnwULfY0NtU6LkVLd2YONMOj1zMHm5B15cfjLjOH8x4Z9WCfaKMdmxurN-kVOEXsbBUVe8KXEmAzc_c2tesH3t16BhHLSBRQEDUebylXPQzU7gREJ24kKTOn0_rYREnO8qwA0ePLJDgFa&__tn__=-R 
  22. Oct 22nd Sri Mushnam Raja Rao https://www.facebook.com/swarnamalyaganeshdancer/posts/2191742547504237 
  23. Oct 22nd second girl says Sri Mushnam molested her https://www.facebook.com/swarnamalyaganeshdancer/posts/2191746740837151 
  24. Oct 24th Ravi Kiran https://www.facebook.com/swarnamalyaganeshdancer/posts/2194195593925599?__xts__%5B0%5D=68.ARBwzp7R2DDmYVae3SdqiicHmBuszwgcWWYdxvAFNTw3o7pLH9KtLKFbSpv1JzQnteXQI4f6PYj6YwyJSOE55Mcyx9YHr3SLupZzIT5xsZ7egu-aw5wjTav9f9qqUdrVl4iZmo5G2ncbEiLAALFt4HX8UbEE0wAkT9XGxwMO9iX3Fqw63Q7YhuAlpkKTBgAzf60ymrJnA2mH6N_K&__tn__=-R 
  25. Oct 27th article on Ravi Kiran https://www.facebook.com/swarnamalyaganeshdancer/posts/2199095150102310 
  26. Radhika Ganesh Varadu Kutty list https://www.facebook.com/ganesh.radhika/posts/10156378962651001 
  27. CHinmayi Tweet on Sashikiran https://twitter.com/Chinmayi/status/1049832956473163776 
  28. Chinmayi tweet on Ravi and others https://twitter.com/Chinmayi/status/1049641862674300928 
  29. Chinmayi on OST and Nagai SRiram https://twitter.com/Chinmayi/status/1049647913184325632