Music that Soars above Traditional Borders

 Born in 1982 in Kummanam, Kottayam district, K. J. Chakrapani inherited his family’s passion for Carnatic music despite unfavourable social conditions. After losing his father at six, Chakrapani managed to complete his school education and entered a government college at Nattakam, where he juggled manual labour and studies due to financial constraints, supplementing his income by singing bhajans. He trained under Kummanam Raghavan Bhagavatar and later Satyanesan Master, ultimately joining RLV College of Music and Fine Arts in Trippunithura to further his musical education. Captivated by a radio recital of Carnatic musician Madurai G. S. Mani, Chakrapani pursued training under him, facilitated by his friendship with ghatam artist Chennai V. Suresh. G. S. Mani, a polyglot who composed keerthanas in seven languages, agreed to mentor Chakrapani as a vidyadaan, or gift of knowledge, without monetary compensation. Chakrapani often consulted and travelled to Chennai for lessons, sometimes funded by Mani.

Inspired by his guru’s integration of Carnatic music with cinema, Chakrapani created “Carnatic Music and Cinema,” highlighting how composers like Dakshinamoorthy and Raveendran incorporated Carnatic ragas into Malayalam film music, bridging the gap between traditional and film music audiences. During the course of a recital, if a raga named “Chakravakam” makes its appearance, Chakrapani will sing Muthuswamy Dikshitar’s Carnatic composition “Gajaananyutam Ganeshwaram . . .” and then flow seamlessly into a Malayalam film song “Aayiram kaatham akaleyaanenkilum . . .” written by Khan Sahib and set to the same raga by the renowned music composer M. K. Arjunan for the film Harshabaashpam. Thus, two languages and two religious symbols are brought together effortlessly through the vehicle of music. If by now his listeners are overwhelmed by the richness of the fare, they are treated to more.

Without any waste of time, Chakrapani glides into another popular-but-not-frequentlyheard song “Kanninum kannaadikkum kanaathidathoru . . .” created by the immortal duo – Vayalar Rama Varma and Devarajan – for the film Achanum Baaayum. Next, Chakrapani goes into “Mayamalavagowla,” the raga placed next to “Chakravakam” in the Melakarta table, by singing the swaras of the pallavi of Swati Thirunal’s keerthana “Deva deva kalayami . . .”. Then, he moves to the next in the Melakarta table – “Vakulaabharanam” raga – and after singing its ascending and descending notes, Chakrapani shifts to the swaras of an Arabian style of music, by the end of which this Carnatic musician appears to be singing the muezzin’s prayer from a mosque! Through such a rendition, this extraordinary singer reveals to us that the muezzin’s prayers sung in the Arabian lands even today are actually based on “Vakulaabharanam” raga! Thereafter, he sings one of the Telugu compositions of his own guru Madurai G. S. Mani, “Nee padadwayamu nirathamukhabhaagyam . . .”. In this manner, Chakrapani takes us through three ragas placed next to one another in the Melakarta table, and brings his recital to a close. This young genius is much in demand in India and abroad. He has many fans in the Gulf countries and in Europe.

And through his performances, Chakrapani accomplishes the noble and revolutionary task of harmonizing different cultures, which he feels are nothing but products created by humans by dividing themselves along religious, political and linguistic lines. P. Mohan Kumar is a young disciple of Ramesh Narayan, the well-known exponent of Hindustani music in Kerala and follower of the Mevati gharana represented by Pandit Jasraj. He has made his anangettam or debut performance in both Carnatic and Hindustani music, but preferred to pursue the intricacies of the latter. Having performed innumerable Hindustani concerts and jugalbandis, He was born in 1972 in Maloor, Kannur district. His father, despite being a Toxicologist, used to sing bhajans.

His early exposure to local harvest and Theyyam songs shaping his transition from regional musical traditions to the intricate realms of Hindustani music. His musical journey flourished as he was first recognized for his talent in Maloor Upper Primary School, leading to studies under Ramesh Narayan in Thiruvananthapuram, where he overcame financial challenges, excelled academically, and mastered both Carnatic and Hindustani music, culminating in his arangettam and preparation for the Sangeet Visharad exam. Although Mohan Kumar had both good and bad experiences during his student days, here are a couple of good ones. In 1996, Pandit Jasraj came to do a concert at the Swati Sangeetholsavam at Kuthirai Malika in Thiruvananthapuram.

Mohan Kumar participated in the padapooja function conducted to honour the great master, and later sang in front of Pandit Jasraj at the inaugural function of the Kerala branch of the Mevati Sangeet Pracharan Sangh. Both the functions were held at his guru’s house. The blessings he received from Pandit Jasraj on that occasion reverberates in his heart to this day. Another happy memory is that of singing along with his guru Ramesh Narayan at the 30-hour Sangeetaarchana (musical worship) in Thiruvananthapuram. Mohan Kumar remarks that the experience was so exhilarating that he enjoyed other worldly bliss for nearly a full week thereafter. Despite his struggles, Mohan Kumar’s determination led him to a successful decade in the Gulf, where he trained many students and conducted numerous concerts. Now, as the Global President of the Indian Musicians’ Forum and a seasoned performer and composer, he has returned to Kerala, finding fulfillment in promoting Hindustani music in his homeland.