Sreevalasan J Menon
Kochi : Sreevalsan J Menon is best recognised as a Carnatic singer, but as the traditional bronze bell outside his transitional home hints, that identity is only one facet of a far richer personality. A composer, actor, speaker, teacher and much more, Menon constantly ventures into numerous fields but remains rooted in music. He refuses to call himself an entertainer and affirms that he is turning increasingly inward, striving for refinement and searching for epiphany. For him that bliss is an absolute blank, motionless moment. Tears could be its outpouring, but inside, it is either an intense feeling or sheer silence. He calls it spirituality.
Nine out of 10 youngsters now sing exceptionally well. “A family of 10 from Maldives came to meet me last year after listening to one of my songs on Instagram. There are more listeners and singers in Carnatic music, compared to 50 years ago.
Because it involves multiple variables, the 56-year-old Kerala Agricultural University professor says passion or hard work for 20-30 years won’t necessarily take you to your desired goal. Because after playing my album, Monsoon Anuraga, their place in Warangal received rain, a US-based man from Telangana called me up saying that his mother wanted to thank me. But that alone won’t suffice.
It’s a big wealth for Kerala, something rare in other states,” said the Kerala Sangeetha Nataka Akademi award winner. One doctor from Amrita hospital told me that Krishna Nee Begane in Yamuna Kalyani worked for some patients and asked whether I could suggest other ragas. It somehow worked for some but might not for others,” he said. Padayani, Onappattu, light music, classical music, all these help us retain hope in our life even while being enigmatic,” said Menon. As part of my project, Cult, Culture, Agriculture, I realised that Lord Kama is being worshipped across Malabar and Poorakkali and Theyyam are celebrating that strong devotion through their thottams (invocation) and songs,” he said. It’s a process of total refinement by turning myself upside down, earnestly hoping that my song should reflect the taste and smell of Kerala,” he said. Critics are a minority,” he said.
“There is no definite answer. Environment plays a role; that’s why a young enthusiast learns traditional percussion easily in Tripunithura. That’s why institutionalised music education becomes a challenge in Kerala. Yet, many of the students end up becoming good music teachers and in turn produce a lot of young, talented musicians. “You can’t say music is a remedy. In a combination of wellness factors, music is one important ingredient. You never know what works. My dilemma is that I can’t suggest even that. He explained. It somehow connected with them. I can’t promise that mother that it will rain next time she plays it. People identify music with something else, it evokes different memories in them, about their lover, parents, pain, hunger and so on. Vedan connects people with his lyrics, I felt his songs are a downpour of angst. CJP supporters used music as a part of their protest. Kanhaiya Kumar used his Azadi song to good effect. I had heard that during Guruvayur Satyagraha, protesters played chenda around the temple at a certain tempo to create an atmosphere. “If I become self-centred as a musician, I’ll be confined only to my own thoughts. I prefer placing myself against a world of art. Despite having learnt Carnatic music for three decades, I can’t sing a single phrase of a Padayani song. “Teenagers performing Padayani get epiphanic moments even during practice. It was a revelation that it could be attained not just through classical versions but folk arts and music as well. Such deviations and dilutions could be too sharp for puritans who make a persistent effort to create exclusivity, driven by aspects including caste. Menon stands for inclusivity. “You can’t have that stubbornness in music. Carnatic music is inclusive. It reached its current pedestal by accepting a lot from folk, you could point out Anandabhairavi and Kurinji to back that view.