ABSTRACT
While Karnatak music is flourishing in many respects, certain elements of this style and its broader heritage are suffering a decline in popularity. In particular, the vīnā, a plucked lute that played an important role in the development of the style, and the nāgasvaram, a double-reed aerophone that leads the Periya Mēḷam ensemble, are often discussed as being in decline. In this chapter, I argue that the neglect of both vīṇā and nāgasvaram performance by concert organisers and audience members is, in part, a consequence of the recasting of Karnatak music as national cultural heritage in the first half of the 20th century. The idealisation of Karnatak music as an embodiment of Hindu, and, in particular, Brahmin identity created an environment in which both instrumental music (which cannot articulate the religious lyrics) and Periya Mēlam (which is performed by non-Brahmins) have been increasingly excluded. This chapter explores the impact of national and caste boundaries on the ongoing formation of Karnatak and Periya Mēlam traditions. Attempts to sustain vīnā and nāgasvaram practices are discussed, along with the obstacles they face. Finally, the chapter explores conflicts identified by musicians such as T. M. Krishna between Karnatak music as a marker of religious and caste identity, and the style as a vital and inclusive art form.
