As the name of the book suggest, Reshaping Art authored by T.M.

Krishna, looks into the

politics embedded in creation and appreciation of art. The book is a mediation between the an
artist trained in Karnatic tradition and an activist working of social end environmental justice.

The book is a product of self reflexivity where an artist trained in Karnatic tried to understand
the caste, class and gender biases embedded in the traditions. Reading this one who has tried
to follow his work will automatically be reminded of the song Paramboke. Not being someone
interested in Karnatic music firstly due to the cultural disconnect and then due to the caste
ridden practices. My point of interest in a book like this is primarily to understand what these so
called high art cultures are and how higher caste consolidate their cultural hegemony in
practice. What I would have further like to understand does this detachment from the society
effects art, make art deficient.

While listening to poramboke the detachment was evident as I could neither appreciate the
music but the finding the music, image and lyrics it's evident that it was trying to move music out
of classroom and auditoriums. Does that really changes anything about Karnatic music, is it the
beginning of change. How much has caste snobbery permeated into the grammar, structure and
content?

The book does get into nuances of how hegemony is established. It's not a like creating a caste
wall. The process is much more dynamic, in a relation of cultural exchange where upper caste
acceptance of 'low art' move with ommission of history, refinement that is shedding off of
content and grammar, and limiting who can practice and how these are to be practiced. Krishna
moves into self critical examination of how indoctrination start from what to wear, how and which
mythologies are taught and the images of God or goddesses they hang on the wall.

He also discusses the history of Bharatnatyam and how Devdasis, who themselves were
exploited by the male practitioners, were later stigmatised and ousted from practicing though
their art remained. He also takes up a similar analogy to show how Gana Tamil music mainly
performed by the Dalits later appropriated by Bollywood item numbers. To clearly state that
cultural subversion has to work along with attack on societal heirarchies. If these heirarchies
remain the appropriation of these art in name of exchange is inevitable.

He elaborates the same based on the Tamil films and Periayar indentitt struggle.( CH3)

What I art

Art and society

Gaana music to bollywood