The Cleveland Tyagaraja Aradhana has become an important platform for showcasing Carnatic music abroad. , Photo Credit: Special Arrangement

Over the past three decades, Carnatic music has been exported to the US, UK, West Asia, the Far East and Australia in many forms, the major ones being concerts. Now in some parts of the world there are festivals lasting a few days, to which senior and junior artists from India are invited. How has this circuit evolved? What are the positive results and areas of concern?

No one will complain about the fact that audiences in these countries get the chance to hear top artists live, and, perhaps, even learn something during concert days. A large number of accompanists have traveled with the main cast and supplemented their modest income at home. Many musicians have expanded and even adapted their repertoire to suit the specific needs of the audience. Therefore, consumer insight has come into the Carnatic music scene as a conscious discipline. Many concerts have spawned post-concert dialogues, reviews, and curiosity, as digi-desis devoured the aesthetic and technical aspects of the music through familiar social media channels. The abundance of exchanges has also educated a large section of less informed fans. Aarohanams and avarohanams, comparisons and contrasts of every rare raga are now available on the internet.

There is another side to this amazing story. The NRI concert circuit is a huge financial market, although only for a few people.

Vidwans, many of whom are past their prime, can still get top slots and top dollar, while many talented young actors may get opportunities but less remuneration. Tickets for a non-prime senior’s concert can range from US$50 to US$100, while a young musician whose majestic Kamboji is a better treat may have to settle for US$25 or even US$10. will be.

Darbar Utsav is one of the most popular Indian classical music festivals in London. , Photo Credit: Courtesy: Darbar Mahotsav

The question of fairness arises. No one is sure whether this is the handiwork of sponsors and organizers, and whether it reflects spectators’ willingness to pay, or both. Social media-savvy artists dive straight into the mix. Some major festivals abroad showcase a wide variety of talent, with the more well-known names receiving the highest checks, independent of current performance.

These discrepancies also exist in the Western concert world, but are not as pronounced as in Carnatic music. Is this what anyone aspires to? Again, as is written in the playbook – invest in a good social media team and ensure you have an ecosystem with the greatest reach among fans, superfans and organizers overseas. Create a personal identity that transcends and endures beyond your music. Also be a fluent bilingual communicator. That heady mix can ensure a perennial pot of gold in your hands, even after your youth has passed.