Music can make us feel so many emotions, move us to tears of sadness and joy, stir us to dance and rejoice, cause us to pray and meditate, and give us peace and happiness.

It is said that music is the universal language of mankind. It is the same set of twelve musical notes and octaves that are available for everyone in the world, regardless of their race, religion, gender or nationality. And these notes have given us diverse systems and genres of beautiful music that touch and inspire people in so many different ways.

Yet, one wonders how one ethnic group’s music sounds so sweet to them, but sounds like cacophony to some others! People often say, “I can occasionally appreciate Rock and Heavy Metal but my music is Country, or the Blues, or Classical.” What is it about different genres of music that makes people identify themselves so much with one, but not with the other?

In the west, many musical genres convey myriad themes like love, heartbreak, and even sex, drugs and rock and roll.  In India, popular songs and soundtracks in movies, cover many common emotions but they are a totally different world, when compared to the traditional Carnatic music art form that has lived for hundreds, or perhaps even thousands of years.

Carnatic music (South Indian Classical music), has been synonymous with prayer and worship, with Bhakti (Devotion) as its central theme. Almost all compositions are about Hindu Gods, with lyrics using mythological tales, devotion and philosophy to form some of the main themes. Even some lullabies may be about Rama or Krishna, and the lighter form called ‘Jaavalis’ are typically about Krishna’s romance. Most South Indian music fans perceive Carnatic Music as something very sacred. To them, it is inextricably coupled with prayer and worship and any deviation from this purpose, is deemed to be sacrilegious, by many.

This musical idiom is so deeply intertwined with religion, that using this genre to compose and sing about any other religion, feels so alien to the native style, and stirs up strong emotions and mixed feelings for many, as we have seen in the recent controversy that roiled some classical musicians, fans, and commentators in India.

One of the key contentions is that the classical singer Nithyashree apparently sang a song for an album on Jesus, whose lyrics were allegedly plagiarized from saint composer Thyagaraja’s lyrics, and replacing Rama’s name with Jesus.

Eminent musician Ravikiran has looked into this and denied this claim and has also fully supported Nithyashree. In some songs, some words traditionally used to describe Hindu Gods, may have been used to describe Jesus, and there ends the matter for some, but that is where the controversy begins for many others.

While some artistes and fans may see this as nothing more than an innovative way to use Carnatic music to sing about Jesus, and perhaps foster communal harmony, some opponents to this, see it as yet another blatant attempt sponsored by the Church to usurp Indian culture and distort its indigenous and sacred art forms to preach and convert Hindus to Christianity.

Hinduism has survived many onslaughts, and one could argue that a mere song or album could not convert people to another religion, and dismiss it as nothing more than rabble rousing by the opponents, but the real issue is far deeper for its opponents.

In India, there are several news reports alleging that the Christian missionaries in India have become aggressive in their conversion campaigns in neighborhoods, public places, outside schools, and even outside temples in holy cities. There are reports that many churches actively condemn Hinduism in their sermons and encourage more conversions. Many Hindus see this as an annoying practice and are incensed by what they see as constant attempts by the Church, to discredit and insult their religion and also to convert Hindus into their fold.

Also, recently there have been attempts to take the classical tunes of sacred hymns and Vedic intonations in Hinduism and replace the lyrics with those praising Jesus! This would be akin to how some Christians may feel, if for example, some Hindus took the tunes of a hymn like “Ave Maria” or the popular Christmas Carols, and use the same tunes to sing in praise of Hindu Gods!

Not only does it sound absurd, it also raises questions in the minds of the opponents, on the intent of the evangelicals in India, in trying to usurp these traditional art forms.

Just as in Christianity, some people may not be able to imagine or accept, using the Gospel style of choir singing to praise another God from another religion, many in India cannot imagine or accept using Carnatic music to sing praise of other religions or prophets. While it is perhaps technically possible, purely from a musical point of view, it may feel quite unnatural and unwarranted.

If you mix religious sentiments and politics, the issue cascades with accusations, insults and retorts and deteriorates into an unproductive war of words. Fanatics from all sides take over and not only distort the issue but also add fuel to the fire with their abusive and even intimidating comments.

Therefore, in the wake of the Indian Church’s persistent efforts to proselytize, some Hindus are currently not in any mood to look the other way, and are clearly making efforts to define the boundaries of what is acceptable to them, and what is not, and they may be well within their rights to do so.

Having said all that, nobody should be intimidated for expressing themselves through their art. In the same breath, the creative folks should also perhaps consider how various people may perceive sensitive things, and use their discretion and better judgment in deciding whether something may be appropriate or inflammatory.

One hopes that freedom of expression and creativity are always used responsibly, and that music always remains the magical force that touches people’s souls and brings them together.