The Desecration of the Dasas and Carnatic Saints

 

Kamal Haasan’s foray into cultural commentary has been marked by an appalling lack of sensitivity. By describing the sacred practice of Unchavrithi—performed by the revered Saint Tyagaraja and the Dasaru of Karnataka—as mere "begging," Haasan has insulted a centuries-old spiritual tradition. For the Haridasas and Carnatic composers, this was a vow of humility and a rejection of material ego; to reduce this divine pursuit to street mendicancy is a "brute" distortion of facts. His comments are not just "insensible" but represent a direct attack on the founders of a music tradition that has sustained South Indian identity for generations.

The Betrayal of Karnataka and its Language

This pattern of arrogance extends to Haasan’s political maneuvers regarding the Kannada language. Despite owing a significant portion of his early stardom to the Kannada film industry and the affection of the local audience, he chose to belittle the language’s classical status. By making unsustainable claims that Kannada is merely a derivative of Tamil, he sought to appease linguistic bigots in his home state for political gain.

The resulting backlash in Karnataka has been absolute and deserved. His betrayal of the people who once celebrated him has reached a point of no return; today, his arrogance has ensured that he is unable to set foot on Karnataka soil without facing intense public hostility.

T.M. Krishna: The Performative Iconoclast

Parallelly, T.M. Krishna has utilized his platform to engage in a "show-off" brand of activism. His relentless critiques of Carnatic music’s foundations and his attempts to "de-sanctify" its pioneers are seen by the majority of practitioners as a calculated move to remain relevant in radical academic circles. Like Haasan, Krishna’s approach is one of "brute" dismissal—ignoring the spiritual and emotional connection millions have with the art form in favor of a hollow, controversial brand.

Whom do these men seek to please? Certainly not the devotees of the music or the protectors of the Kannada language. Their intemperate remarks suggest a shared strategy: survive in the public eye by attacking whatever is historically revered. By trading cultural stewardship for the role of professional agitators, both Haasan and Krishna have alienated themselves from the very communities that once respected their talent.

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