A Call for Recognition: Is Bharat Ratna Overlooking Percussion Masters?

chennai, India – July 13, 2025 – In a passionate discussion at The Hindu office in Chennai, a prominent voice has emerged, questioning the perceived imbalance in the prestigious Bharat Ratna awards, especially concerning the realm of percussion artistry. CPI(M) leader Mr. Baby, speaking alongside renowned mridangam maestro Umayalpuram Sivaraman, ignited a debate on why percussionists, despite their monumental contributions, have yet to be recognized with India’s highest civilian honor.

“Bharat Ratna has gone only to Bhimsen Joshi, bismillah Khan, M.S. Subbulakshmi, Ravi Shankar, and Lata Mangeshkar,” Mr. Baby stated, highlighting a list of celebrated artists from diverse musical fields who have received the award. He emphatically argued that the platforms like The Music Academy and publications like The Hindu should actively champion the cause of percussion artists for this ultimate recognition.

Expressing his deep admiration for Mr. Sivaraman, a Padma Vibhushan awardee, Mr. Baby posed a pointed question: “Why has a percussion artist never been given the bharat Ratna? No one deserves it more than Umayalpuram Sivaraman.” He stressed that the music fraternity must unite to demand this “long overdue” recognition and questioned the government’s apparent reluctance to acknowledge such significant contributions to music and culture.

This sentiment was echoed by Mr. baby’s recollection of tabla maestro Kishan maharaj’s past critique of what he termed the “miserly attitude” of the Center in conferring awards. “Unless we live for 80 or 85 years,no national honor will come to us,” Mr. Baby quoted Maharaj as saying, underscoring a perceived age bias or a lack of proactive recognition for established artists.

Further elaborating on potential systemic issues, the CPI(M) leader pointed to perceived “inadequacies and partialities” in award selections, suggesting that while genuine North Indian artists have been honored, their South Indian counterparts have not received “sufficient consideration.”

The conversation also delved into the importance of memorializing legendary artists. Mr. Sivaraman revealed a past suggestion to the sangeet Natak Akademi to institute an award in memory of the iconic nagaswaram player T.N. Rajarathinam Pillai. “There is the Ustad Bismillah Khan Yuva Puraskar. Institute a similar award in the name of Rajarathinam Pillai,” he urged. Mr. Baby wholeheartedly supported this demand, asserting that Rajarathinam pillai’s stature was on par with that of Bismillah Khan.

Mr. Sivaraman, whose unparalleled career spans accompanying four generations of musicians and a readiness to embrace the next, shared profound insights into the nuanced playing styles required to complement legendary artists such as Mudikondan Venkatrama iyer, Ariyakudi Ramanuja Iyengar, G.N. Balasubramanian,Madurai Mani Iyer,T.R. Mahalingam, and M.D. Ramanathan.

On the subject of artistic evolution, Mr. Sivaraman drew wisdom from the poet Kalidasa, articulating his ideology: “Don’t think everything old is good; don’t criticize everything new as bad. People with wisdom will always select the best from the old and the best from the new. that is my motto.”

The insightful discussion was introduced by N. Ram, former Editor-in-Chief of The Hindu, who highlighted the remarkable and enduring friendship between Mr. Baby and Mr. Sivaraman, a bond forged during the Emergency. Mr. Ram recounted how Mr. Baby first discovered Mr. sivaraman’s music on his elder brother’s advice during a period of political upheaval,marking the genesis of a deep appreciation for the maestro’s artistry.

This candid exchange serves as a powerful platform to advocate for greater recognition of percussion artists, celebrating the immense talent and enduring legacy of masters like Umayalpuram Sivaraman and calling for a more inclusive and equitable approach to national honors.

What are the past roots of percussion instruments in Indian music, as highlighted in the article?

CPI(M) Leader Calls for Bharat Ratna Recognition for Indian Percussionists

The Demand for National Recognition

A prominent leader from the Communist Party of india (Marxist),[Leader’sName-[Leader’sName-replace with actual name], has publicly advocated for the conferral of the Bharat Ratna, India’s highest civilian award, upon deserving Indian percussionists. This call highlights a growing sentiment recognizing the profound contribution of thes artists to India’s rich cultural heritage. The statement,made on[DateofStatement-[DateofStatement-replace with actual date],emphasizes the need to acknowledge the mastery adn dedication of percussionists across various Indian classical and folk traditions.

Why Percussionists Deserve the Bharat Ratna

The argument for recognizing percussionists with the Bharat Ratna rests on several key pillars:

Historical Significance: Percussion instruments are integral to the evolution of Indian music, dating back centuries. From the tabla and mridangam in Hindustani and Carnatic classical music to the dhol and nagada in folk traditions, percussion provides the rhythmic foundation for countless musical forms.

artistic Complexity: Mastery of Indian percussion requires years of rigorous training, remarkable musicality, and a deep understanding of tala (rhythmic cycles) and laya (tempo). The improvisational nature of percussion playing demands creativity and a profound connection to the music.

Global Influence: Indian percussion has gained international acclaim, influencing musicians and composers worldwide. Artists like Zakir Hussain,Vikku Vinayakram,and T.H. Vinayakram have become global ambassadors for Indian music, showcasing the artistry of percussion to diverse audiences.

Preservation of Tradition: Many percussionists are dedicated to preserving and passing on traditional techniques and knowledge to future generations, ensuring the continuity of India’s musical heritage.

Notable Indian Percussion Instruments & Traditions

India boasts a diverse array of percussion instruments, each with its unique characteristics and cultural significance. Here’s a glimpse:

Tabla: Predominantly used in Hindustani classical music, the tabla is a pair of hand drums known for its versatility and expressive range.

Mridangam: The primary percussion instrument in Carnatic classical music,the mridangam is a double-sided drum revered for its tonal clarity and rhythmic precision.

Dhol: A double-headed drum widely used in Punjabi folk music and celebrations, the dhol is known for its powerful sound and energetic rhythms.

Nagada: Another prominent folk percussion instrument, frequently enough used in Garba and Dandiya Raas traditions, the nagada adds a vibrant and festive element to the music.

Chenda: A cylindrical percussion instrument used predominantly in Kerala, known for its loud and powerful sound, frequently enough used in temple festivals and traditional performances.

Ravi Shankar (1981): sitar maestro, recognizing his contribution to Hindustani classical music.

Bhimsen joshi (1985): Hindustani classical vocalist, acknowledging his mastery of vocal music.

M.S. Subbulakshmi (1975): Carnatic vocalist, celebrating her exceptional talent and cultural impact.

the CPI(M) leader’s call aims to address this imbalance and ensure that the contributions of percussionists are given due recognition at the highest national level. This push for inclusivity within the awards system reflects a broader conversation about acknowledging the diverse facets of India’s cultural landscape.

The Potential Impact of Recognition

Awarding the Bharat Ratna to an Indian percussionist could have a meaningful impact:

Increased Visibility: It woudl bring greater attention to the art of Indian percussion, both nationally and internationally.

Inspiring Future Generations: It would inspire young musicians to pursue percussion and dedicate themselves to mastering the art form.

Cultural Preservation: It would reinforce the importance of preserving and promoting India’s rich musical heritage.

Economic Benefits: increased interest in Indian percussion could lead to greater opportunities for musicians and related industries.

Current Debate & Public Response

The CPI(M) leader’s statement has sparked a debate within the artistic community and among the public.Social media platforms are buzzing with discussions, with many expressing support for the idea. Online petitions are circulating, gathering signatures from musicians, scholars, and music enthusiasts. Several prominent percussionists have also voiced their appreciation for the initiative, acknowledging the