Through all the dramatic changes experienced within the Hindustani traditions of Northern India, the classical traditions of the South remained largely content to remain within the secure confines of “tradition”.
World audiences appeared to be drawn to the seeming austerity of Carnatic music: its intricate rhythms and elaborate melodies were distinct, as were the tradition’s patterns of regulated meter and fluid improvisation. By the 1960s and 1970s, however, the tautness of tradition began to loosen. The coming together of the great voices of Carnatic and Hindustani music – M Balamuralikrishnan and Bhimsen Joshi signalled a breaking down of the strict boundaries within the Carnatic tradition.
Among the foremost of this generation was the fluid presence of Bombay Jayashri. Of Tamil origin, her path to Carnatic music was itinerant and cosmopolitan. Her cross-cultural collaborations with the Egyptian singer Hisham Abbas and the Senegalese vocalist Theone Seck demonstrated a conviction that the music of tradition contained within itself an expansive and pervasive capacity for connection.
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