OFFICIALS OF THE AKADEMI
Chairman P. V. RAJAMANNAR Chief Justice, Madras High Court
Vice-Chairman KAMALA DEVI CHATTOPADHYAYA
Treasurer A. V. VENKATESW ARAN Financial Adviser, Ministry of Finance
Secretary NIRMALA JOSHI ~.• ,_.P..: .~!.~_=...!j /of~1;- ~.... ! e"Htentd - €)ct"c,er 1958
Page
YAKSHAGANA SEMINAR
REBIRTH OF YAKSHAGANA
by Govlnd Vidyarthi 9
YAKSHAGANA: A MUSICAL DANCE-DRAMA by K. S. Karanth 13
RAGA PRAKARANA OF RAGATATTVAVIBODHA OF PANDIT SRINIVASA by V. S. Desai 21
THE 'KALIS' OF KERALA by Mohan Khokar 28 WEST'S INcREASING INTEREST iN INDIAN Music: USTAD ViLAyAf KHAN'S 1;.0UR IMPRESSIONS 36
A SCIENTIFIC STUDY OF THE VAISHNAVA MUSIC OF ASSAM 38
CULTURAL DIARY 43
ADDITIONS TO AKADEMI LIBRARY S5
Cover Page: A typical mask used in Yakshagana, A view of .the Yakshauana Seminar in session. (Left to Right): Shri K.S. Karanth, Convener, Shri Baikadi Ven kata Krishna Rao, Secretary, Reception Committee, and Shri Sheshagiri Kini,President, Reception Committee YAKSHAGANA SEMINAR Shri K. s. Karanth's Report
A seminar on Yakshagana-a dance drama-art-prevailing in the Malanad area of Karnataka . was organised at Brahmavar (South Kanara) from September 27 to 30, 1958, with the object of formulating a scheme for the revival and preservation of the best in the traditions of Yakshagana. A brief report of the same is as follows:
Invitations were sent to various drama Brahmavar was chosen as the venue of the troupes and artistes, i.e., Bhagawaths, drummers Conference because of its historical importance and dancers. All veterans, including retired to the tradition of Yakshagana art as well as for artistes, were also approached. Enough publi the fact that it lay in a centrally situated area City was given through language papers and a around which many troupes flourished and reception committee was formed at Brahmavar many artistes practised their profession. with- Shri Sheshagiri Bhagawath, a veteran in the field, as the Chairman and Shri Rama Ganiga, Shri B. V. Achar of Brahmavar took up the a veteran dancer, as Vice-Chairman. All entire responsibility of playing the host to all artistes intending to participate in the seminar the delegates coming to the seminar. The were requested to intimate earlier about their other expenses were borne by the organiser. 9ualifications, such as professional experience Shri Achar's generosity made the organiser's In the field of dance, music, etc. job monetarily easy.
1 The Yakshagana Seminar in session
The Sangeet Natak Akademi, New Delhi, art form having an all-India appeal. Uptil was informed of the seminar in advance and now this dance-drama, by laying much stress it took great interest in the same. Shri Govind on language-i-Kannada prose-had limited its Vidyarthi, Technical Officer of the Akademi, activities to the Kannada-speaking world. was deputed to attend the seminar and he Because of its rich music, rhythmic dance, covered the entire proceedings through the and delightful costumes, it has all the ele medium of film and sound. ments that will have a universal appeal which need not be hampered by the limitations of language. The seminar was attended by 58 delegates who came from the districts of South and North Kanaras and Shimoga. There were ten All problems including those of economic Bhagawaths, eight drummers and the rest conditions under which the artistes lived were dancers, most of them aged above 35 years. taken up. . Detailed questionnaire were printed One can say with confidence that the best and and circulated to all participating delegates the most experienced in the field participated about a fortnight in advance. Hence every in the seminar giving the best of what each one knew as to what was expected of pim could contribute. during the seminar. There were que~tl.ons pertaining to music, dance, costume, tratmng, Seminar's Objectives living conditions, etc.
The programme did not consist of any All delegates assembled in the Mahalingesh lectures but only of discussions and demons war Temple at Brahmavar on the after t~ations which centred round the main objec noon of September 27. Some persons who tives of the semmar, viz., (I) to preserve the were interested in the seminar also came. Be best in tradition of Yakshagana music, dance, sides the representative from the Sang:et drama and decor (2) to develop the same into an Natak Akademi, one from All India Radio. 2 Bangalore, also at.tended and covered the semi. nar. The proceedings began with a prayer at the nearby Ganesh Temple. The sessions to k place in the local Shiva Temple and were larg~ Iy attended by local people.
Selt- Examination
To begin with, the organiser explained to ~he delegate~ the purpose of the seminar. It IS very ~ratlfymg to n<;>te that during the entire proceedings all professional rivalries, jealousies, e~c., were forgot.ten and the problems were dls.cussed, most dispassionately. Many of the points raised by the organiser were those that ne~ded self-evaluation on the part of each artiste. .The Bhagawaths, .the drummers and others did not mind questions like "Does this ~isl?lay joy?" "Does it display sorrow?" "Does It display pat.hos7", etc. Hence it was a question of self-~xammatlon on the part of each artiste to see III what manner his dance or music really was an interpretation of the theme that he was supposed to conveyor the emotion that he was supposed to express.
When problems relating to the economic and living conditions of the artistes question of training, qualifications of tutors 'etc. were taken up for discussion, the delegates' were g?od eno,ugh to s~ow a very dispassionate view of things and discussed the matters in an objective manner. The realisation that the artistes will rise or fall with the greatness or otherwise oftheir art was noticeable during all the discussions. Shri Sheshagiri Kini Since there were visitors from outside and hundreds of people as spectators, two public performances, i.e., one Tala Maddale and an Whenever anybody strayed away from the other open-air drama, were arranged on two Yak!hagana style of singing, he was promptly nights for their entertainment. reminded that the Yakshagana was neither Karnatak nor Hindustani music. This was The Discussions often felt necessary, for among the younger generation imitation of other schools had The work of the seminar was split up into crept in. The main purpose of the seminar morning and evening sessions of three hours' was to inculcate the idea that technique lives duration each. The matters taken up for dis for the sake of artistic expression. cussion during various sessions are briefly mentioned below : Mere Raga or Tala by themselves do not constitute art. The Bhagawaths are there to . 1. Two sessions were taken up in discus express the literary content of various songs. sing the topic of Yakshagana music in relation Each Rasa was taken up, one by one. Each to the theme and emotion conveyed in various Bhagawath gave one or two songs that demons s
conveyed the Shringara Bhava, viz., Did It pressions were demonstrated. The Bhagawaths show elation? Did it express love? Did it were asked to think in terms of emotion or express beauty? Did it express grace? Did mood primarily. it convey the sense of words? All such aspects that compose the element of Shringara depen Even a Rasa like Hasya giving great lati ding upon the character displaying the Bhava tudes to the comedian can lend itself equally were looked into. well in music. The idea of beauty in music would always lie in its being meaningful. Musical Modes With the realisation of this idea, the Bhagawath should always be able to discover whether the It should be realised that the musical modes tempo, Tala and Raga would or would not in the same Bhava would be different when suit a particular theme. These deliberations displayed by different characters. For were a real affront to many Bhagawaths as example, Shringara by Ravana would be normally they thought only in terms of Raga different from that of a Gandharva or Arjuna. and Tala. All Rasas will have to show all these details if they have to successfully communicate the During this session one could easily dis emotional content of a song. The individual cover that by discarding the traditional .song tan, gamak, pitch, volume, tempo, voice forms much was lost in expression. QUite a modulation and pronunciation, etc., count in number of songs were sung in any Raga that conveying the appropriate mood by a chosen the songster fancied and thought it would character in a particular Bhava. Numerous be pleasing, whereas when a song is composed, examples relating to emotions and musical ex- its words were linked intimately with the
4 Shri Haradi Rama Ganiga A veteran dancer whoparticipated in the Seminar
musical rhythm at the time of creation. A find over 150 Ragas mentioned. Of these, change-over of Raga resulted mostly in dis about 30 names of Ragas are neither to be turbing this pattern. When an old song was found in the present Karnatak music nor in sung in a new Raga and was found wanting, Hindustani music. An elaborate list of all an elderly Bhagawath was requested to show songs said to have been composed to such as to how he was taught to sing by gurus. rare Ragas like the dwijavanthee, panchagathee, Many a time when the older pattern, which mecchu, durdharee, etc., was made. adhered to the composer's intention, was sung, it proved more beautiful, i.e., more meaningful. They were chosen from prasangas that are still played and the participants were requested to sing such of them that they knew well. Search for Lost 'Ragas' This deliberation was assisted by a competent Hindustani musician, Shri K.V. Naik, 2. Two sessions were taken up by the and Karnatak musician, Shri Srinivasa Udupa. search for lost Ragas in Yakshagana. During Wherever the chosen songs showed the known the lith and 12th centuries, Yakshagana was pattern of any Raga of the southern or nor a developed form of court music. For reasons thern style of music, someone else was asked to unknown, other schools ousted its place as sing the song if he knew any other variations. court music. But the song pattern survived. Many of the listed Ragas could not be In later Yakshagana prasangas, i.e., drama, we discovered at all. But one is happy to note 5 that seven Ragas viz., navarasa, dhawa ara, Only a drone accompanies this singer. In for meehali, panehagathi, thujavanthi, ghantarava and mer days, they used to have the pungi which madhu madhavi came to light. The arohans has now been displaced by the harmonium and avarohans were noted, special sancharas sruthi. The seminar had invited Shri Gana were analysed and deviations from other pathi Giriyan, of Gokarn, a lone violinist who schools noted. Finally, a small feature was has cultivated Yakshagana music. H~ could recorded showing those seven Ragas sung by show that to the accompaniment of the violin the various musicians most successfully. this music would be richer.
It was felt that by a more patient and 4. During the present session, three types exhaustive research work, a richer repertoire of of maddale and one of chande, which normally Yakshagana music could be made. This work are used by our drummers, were displayed. needs immediate attention as it could be done Each one was asked to play one Tala separate only with the co-operation of the older gene ly so that its individual sound effect could be ration of Bhagawaths now living. It is also sensed. After this they were asked to accom felt necessary that the entire Yakshagana style pany songs pertaining to various Rasabhavas. needs analysis and standardisation so that And then they were made to realise that a future students may inherit the traditions in all drummer is not merely a keeper of time but its purity. also an accompanying artiste who has the duty of conveying a Bhava too. So, besides technical skill, he has to create an emotional 'Rasabbava' mood that a song or dance may require during the play. When a drummer can think only in 3. One session was taken up by the sub these terms, he can suitably accompany a ject, Rasabhava and instrumental music (pakka song. Rhythmic patterns of sound cannot be vndhya). Yakshagana is usually not accom uniformly the same for various Rasas. Sounds panied by an instrument like violin or sarangi. for joy, sorrow, heroism, etc., would all
A group ofdancers who took part in the Seminar
6 Another group ofdancers who participated in the Seminar
"Vary from one another. Even the display of One session, wnich was closed to onlookers the sound of cymbals by the Bhagawath will and open only to the dancers, was taken up bave to be related to the contents of songs. for the demonstration of Ragabhava and dance. Here, excepting two dancers the others stood There were at least two drummers who rather shy to display their own technique or could sense the importance of this angle of skill. The organiser, taking the audience into outlook. They were asked to follow carefully confidence, demonstrated how their dance the rhythmic patterns shown to them by the -conductor's hand and finger movements; ins consisting mainly of nritya could convey tances were pointed out to them. for example, emotions and meaning of the various themes a hero is moving to the battlefield-the move that they had to display. Here, rhythm was ment of the chariot wheels and the trot of the main element (that helps the dancer) as the horses were suggested to be visualised. apart from natya as is displayed by other The conductor's hand-moves showed as to how schools like Bharata Natyam or Kathakali. the chariot sped and finally halted in the Uptil now they Yakshagana dancer took shelter battlefield. Once the drummer understood under vachika or the spoken word. This would the import of the idea with the technical be sufficient so far as his own Kannada-speak "knowledge of which he is a master, he could ing world was concerned, but he has in him a easily convey this idea in his drum-work. Ex greater instrument, viz., dance and music which periments then and there were conducted could help him to communicate emotions in Whereof drums of various pitches could be .harmonised and add to the richness of the a style across the boundaries set up by Yakshagana orchestra. language. 7 A group of drummers
After all the deliberations concerning art willing to come forward as there is no eco and expressions were over, two sessions were nomic incentive to the profession. devoted to the topics concerning the economic conditions under which the artistes lived. The experiences of the elderly artistes were recoun After a four-day session, the delegates, one ted by the veterans. All details were taken and all, felt that they had not wasted their up, one after the other, as per the two elabo time and hoped that in the near future their rate questionnaire that had been circulated to art could find a place, a deserving place, in the them. Questions of patronage, recognition of cultural renaissance of India. merit, forms of training, qualifications of tutors, necessity for training, schools, refresher courses, etc., were taken up and discussed in Good Co-operation an objective manner.
In conclusion, it may be said that the house The organiser thanked all the participant~, felt that unless something was done imme volunteers, helpers and the host for t~elf diately to save the future of Yakshagana dance wonderful co-operation in making the semmar drama, the future was dark. The existence of a success. Special mention was made .of the Yakshagana troupes was becoming more and Sangeet Natak Akademi, New Delhi, and more risky and, moreover, respect for tradi A.I.R. for the interest shown by them towards tion was getting lost. Newer generation is un- the seminar.
8 Crossing the Suvarna River on way to Brahmavar where the Seminar was held
By REBI RTH OF YAKSHAGANA Govind Vidyarthi
F in the near future the traditional Yaksha an intellectual giant. the great philosopher, I gana-Bayalata takes its place of pride on Madhvacharya. the cultural map of India, [ can claim to have witnessed its rebirth at the Seminar on From Kalyanpur I crossed the Suvarna Yakshagana held at Brahmavar from September rive. and reached Brahmavar and then straight 27 to 30, 1958. to the core of the Yakshagana problem being discussed at the Mahalmgeswara temple there. An outsider going from Mangalore to Brahmavar with a time schedule is hard put to Seminar's Features keep himself steady on his course. At every The Yakshagana Seminar had quite a few step he is distracted by the nature's alluring features of its own. 1 he most striking among treasure spread out in nonchalant abandon, them was that no time was spent during its punctuated here and there by lavish embel various sessions in mere intellectual discourses lishments created by man. He reaches Mud on the past glory and the present plight. In bidri, an old seat of Jain culture, with exquisite stead it was more in the nature of a search of monuments, especially the Chandranath heart by a galaxy of practical veterans assemb Temple, with 1,000 pillars of beautiful carving. led there. Then comes Karkala, an ancient centre of culture with its 4 I feet high monolith figure of After the Ganesh Puja performed in the Gomat Raya towering over the city which was traditional Yakshagana style, the delegates the capital of a Jain kingdom. After Karkala assembled and the Seminar began with a short comes Udipi, a famous centre of Sanskrit introductory remark by the convener, Shri learning, and Kalyanpur, which gave our land Shivram Karanth. He introduced the subject 9 A view of the Tala Maddale performance
fordiscussion: YAKSHAGANA MUSIC AND Shri Karanth to pin-point this issue. 1 must ITS RELATION TO BHAVA AND RASA. confess that I was no less amazed at this un From the expression on the face of Bhagawatas orthodox start of the Seminar. who were seated around me, 1 could gather that they were quite puzzled over the subject. To begin with four songs depicting four It will not be out of place to state here the Rasas were selected from different Prasangas. peculiar feature of Yakshagana dance-dramas. These dance-dramas consist of a series of songs Rendering of Songs depicting a story. The Bhagawata, who con A song for Sringara Rasa was selected from ducts the play, sings a line or two and the Panchavati, one for Bhakti from Krishna actor-dancers depict them in dances, and Sandhan, one for Veera from Karnarjun and one dialogue which is extempore. The dance-drama for Shoka from Abhimanyu. proceeds further as the Bhagawata sings the next line of the song. Thus songs are the soul The assembled Bhagawatas, including the of this dance-drama. 76-year-old Sheshagiri Kini, were requested to render these songs. When they sang, all songs The composers ofthe Yakshagana Prasangas sounded alike without any modulation of the (dance-dramas) have taken care to convey the voice needed for different Rasas. Then each necessary Bhava through their compositions song depicting a Rasa was taken separately and and have also specified the Ragas in which' was repeated in turn by each Bhagawata they are to be sung. But, of late, this aspect This time they tried to modulate their VOlc~. has been totally neglected by the Bhagawatas. For sometime it appeared as though the Semi The result has been that present-day Bhaga nar had turned into a class-room, where the watas sing all songs mechanically, sticking to versatile convener was training the Bhagawatas. the prescribed Ragas, irrespective of the Rasa A sophisticated visitor whispered his disappro or Bhava content of the situation. It was, val ofthis procedure to me. But the Bhagasvatas. therefore, highly imaginative on the part of one and all, who were discovering a new angle
10 10 their singing, were most willing to be tu Devidas of Barkur. Actors from different tored. The experiment was repeated in suc groups volunteered to play different roles -ceeding sessions with the dancers and drum while Shri Sheshagiri Kini acted as Bhagawata. mers, Later, a full-fledged performance of a Prasanga I was surprised to see the veterans, belong called Vidyunmati Kalyana with participants ing to different groups, voluntarily subjecting from all groups was held for the public. themselves to this experiment, forgetting their A Yakshagana-Bayalata performance begins professional rivalries. with a Ganesh Puja performed in the green Spirit of Co-operation room. After the Puja, Ganesh is brought out on the stage by Vidushaka who, with Arti in After the first session. I approached the hands, performs the Rang-puja, while a short oldest of the Bhagawatas, Shri Sheshagiri Kini, description of the Prasanga of the day is given and asked him what he thought of the pro in song. This is called Sabhalakshana. -cedure. He expressed his satisfaction and said Usually Vidushaka is accompanied by two boys that there used to be a school called Aigala decked in mango leaves. It is followed by a .Shalei for training Bhagawatas, where precisely dance of Balagopalas and after that a Stree this kind of training used to be given. These Nritva is done. All these are conducted by :schools existed till 50 years ago. Junior Bhagawatas known as Prathama Vesha A striking feature of the Seminar was the dharis and instrumentalists. spirit of co-operation shown by all delegates After this the main Prasanga begins. The in devising a way for the revival and betterment first is an Oddolaka when a few characters of the art. appear on the stage behind a curtain and This spirit was seen again in the perfor dance. If the story is related to Mahabharata mance of a Tala Maddale, which is a Yaksha then five characters will appear in Oddolaka, gana performance without costume and dance. signifying five Pandavas. On the other hand The Prasanga selected for this purpose was if the story is from the Rarnayana, then four Abhimanyu written in 1640 A. D. by Shri characters signifying Ram, Lakshaman, Bharat
A Folk Orchestra 11 (Left to Right): Shri B. V. Achar, Shri K. S. Karanth and Shri Baikad Venkata Krishna Rao
and Satrughna will take part in Oddolaka, No called Ketake Mundale. It is worn by Arjuna, female character appears in Oddolaka. The Sudhanva, Abhimanyu, etc. Kore Mundasu, entry of all important characters is marked by a slanting head-gear, is worn by Kiratas, while an Oddolaka which is like the Tiranokku of the Kireeta (crown) is worn by all kings, Indra and Kathakali, At the completion of the Prasanga, Krishna, Rama, etc. Demons have their two female characters called Sakhi Veshas separate crown called Rakkas Kireeta. I come on the stage and perform the Arti and must thank all the participating groups for then with the Mangala song the performance their willing co-operation in helping me to take comes to an end. a complete film record of the various authentic head-gears and costumes. In Yakshagana-Bayalata, one finds the angik, Vachik and Aharya aspect of dancing Shri Sheshagiri Kini and other Bhagawatas in a well-balanced form. While years of neg gave a number of songs sung in various Pra lect have wrought havoc on the dance and sangas. Besides this, my recordings included music, unhealthy imitations have been replac the proceedings of various sessions, a few rare ing the wonderful costume and head-gears of Ragas and a complete set of syllables used in Yakshagana. This question was also taken up the Yakshagana-Bayalata, at the Seminar.
Head-Gears Shri Baikadi Venkata Krishna Rao and Shri H. Subbanna Bhatt were kind enough to I was keen on understanding different head arrange for my recording a wonderful folk gears used in Yakshagana. Shri Haradi Rama orchestra, and a few folk and ceremonial Garriga, the 54-year-old dancer and an expert songs. Before I conclude, I must thank all on the costumes, explained to me the head whose hospitality and co-operation I enjoyed~ gears used for different characters. The large especially Shri Karanth, Shri B. V. Achar, Shri head-gear called Mundasu typical of the Yaksha Baikadi Venkata Krishna Rao, Shri Subbanna, gana is of two types: one called Kappu (black) is Shri Sanjiva Kuduva, Shri Shrinivasa Udpa worn by Karna and the other Rajas characters and Shri Narasingh Rao, whose feelings I while Kempu (Red) is worn by Gandharvas, share that Brahmavar may once again become Chitrasena, etc. There is a small variety of it the cradle of Yakshagana.
12 YAKSHAGANA: A MUSICAL DANCE-DRAMA
By K. S. Karanth
' HOUGH the word Yakshagana would mean 'a style of music' what is now understood l by the word is a .form of musical dance-drama, played in the open air, and so it is called Bayalata (open-air drama).
Its traditional form is a very rich one and really killing the very essence of Yakshagana it has had a few centuries of existence and styles. Its Gamak and Tan are different and evolution in an area which is now called the have been developed to portray the various districts of South and North Kanaras and the aspects of dramatic emotions. hinterland of these districts. All this area is a part of Karnatak. But now decadence has We find the earliest reference to this set in owing to the imitation of other musical Yakshagana in Kannada works of 1105 A. D. styles and discarding one's own traditional and 1185 A. D., though in a disparaging way. costumes in favour of the modern cinema or It was court music then. Criticisms levelled drama forms. Hence, it is necessary to under against it were that it lacked Pancham or was stand what its real heritage is. in Pancham. This was the attribute of the very early Gandhara music. Gandhara was Its songs are written literature, set to a the shruti in which it was sung. In one palm separate style of music called the Yakshagana; leaf script of 1735 A. D., the playwright has hence the name to the drama form also. This said that he was setting his Rukmini Swayam musical style is virile and operatic in nature. varam in Gandharva Gana instead of Yaksha The drama themes are mostly from the gana, like all the other composers. I put the Mahabharata, Ramayana, Bhagavatha and date of the origin of the script to about Puranas. The emotional content is developed 1650 A. D. through a rhythmic style of dance of its own. Added to this, comes extempore prose dialo Major Composers gues: to enlighten the masses about the story. Since the stories of the epics centre round During the 16th century we find three Gods Devas and Rakshasas, its costumes are major composers-Devidasa of Udipi (1640 desig~ed to create a world of fantasy as apart A. D.), Nagappayya of Dwajapur (modern from realism. It is this element that is Koteshwar), same period and Subha of suffering much, in the hands of the uncultured Ajapura (modern Brahmavara), who lived in who do not value the worth of its tradition. and about 1680 and was a court poet too. Variations of this type of dance-drama are Between these three we find palm-leaf scripts prevalent all over the South, but it is the of over 30 plays. Nagappayya and Subba are individualism ofeach that can contribute the really great names in the field of such compo essential elements towards art renaissance. sitions. In the 18th century we have one Rama of Karur and another Rama Bhatta of 'Gamak' and 'Tan' Hattiangadi, Venkata of Pandeshwar. The former is noted for one good play about I have heard that Yakshagana is prevalent Gaya the Gandharva, and Venkata for his in Andhra also, but till I hear it myself I can Karnarjuna; Rama Bhatta is known for about not say whether this and that are the same, 20 works. In the next century also we had for even in my own area, people have begun major poets like Vasudeva Prabhu, Santhayya, to ~ix up Karnataki and Hindustani style~, Bhima and others. We have at least 150 themes creating hybrids without purpose. This IS chosen for these plays-called prasangas- 13 A scene from a Yakshagana performance given at the Seminar and many of them repeated by three or four not find it being cultivated independently as authors. music later but it has so far survived as the hand-maiden of drama. It is taught and learnt Over 100 plays are available in print today. as songs. The 17th century plays mention the names of over 100 Ragas as belonging to Yakshagana These song patterns are remembered and and we find very queer Raga names that are they constitute its essence for, they are the life not to be heard of in Kamatak music, e. g., notes for drama and dance. It is a pity that Panchagati, Gopanite, Kore, Mechhu, lava/ara, very few Bhagavathas can give us Raga defini Koravi, Hoovu, etc. Many names like Kambhoj, tions of some of the older Ragas. Now there Todi, GOIl/a, etc., are common to Kamatak is left among us, a great old man of 70 who music. Some are Desi names like Gurjari, alone is capable of singing a few of the old Sourashtra and Nepali; and some have Hindus Ragas. This old man, by name Shri Sheshagiri tani names like Janga/, Savai, Pahadi, Husseni, Kini (Brahmawara), retired after 60 years of Jahaj, etc. stage service, and there is still none to replace him, or help us to realise what we are going to In Earlier Days lose by way of past tradition,
Since Yakshagana existed as an independent The greatness of this style of Yakshagana style of music in earlier days, this was possible. lies in its capacity to render emotions like anger, But later, it yielded place to Madyana-grama wonder, joy, and valour, as efficiently as pathos and Kamatak music. I believe that this (which all schools of melody can easily render). Yakshagana style was a direct of Gandhara By imitating other schools of music, it is this grama. It is even now the ideal to sing it in richness of Yakshagana that is being killed. Gandhara sruti, which is a hard job. We do Meaningfulness in music is being sacrificed for
14 pleasantness to hear. Can anger ever be pleasant? After the formal courts of Indra, Krishna. Pandavas, or Rama (as the need of the story be) are presented the play proceeds. The liaison Early Patrons officer between the various characters is the Bhagavatha, When did the Yakshagana Drama form come into existence? The Keladi kings who The themes chosen are mainly for their were once feudatories of the Vijayanagar kings hero consent. So we have no drama without seem to have been its early patrons. In the a battle. .Even a parinaya or courtship like Meenakshi Kalyana or Subhadra Parinaya is years between 1583 and 1630 A. D .. one ~n exc~se her~es Venkatappa Naik built a Natakashala in his for showing the prowess of Capital at Ikkeri (Shimoga district). Ratnakara like Arjun, Kama, Rama or Chitraganda. I Varni, an eminent Kannada poet, in his have come across only one play Chandravali ~y Bharathesha Vaibhava, 1557 A. D. gives us a naI?e written by Nagappayya (1640), that brief description of the Yakshdgana dance IS a srtngara Kavya, It deals with Chandravali's drama. To the accompaniment of Salaga Raga love for Krishna and there is no battle. The (Sarang), and MaddIe, the drama characters themes being SUCh, the element of battle has are introduced as now, one by one, behind a received the utmost attention, in our plays, stretched piece of cloth. . perhaps to the detriment of other elements.
. The Bhagavatha sings the theme in a high There is a short treatise on Yakshagana pitch to the accompaniment of an elongated dance-drama, whose earliest script (1754 A. D.) drum or Maddale and a pair of cymbals (in suggests that it was written around 170.) or some area a gong is used). Formerly pungi earlier. But, by then we have had plays in gave the drone. The actor-dancers too would existence. This treatise quotes from Bharata sing their parts at times, which is a happy Natya, a few slokas as to the qualifications of affair if the voice is good. The contents of a king, and the audience, etc. It.begins with these songs are translated or developed in salutations to Ganesha and then to Subra dialogue form by the characters ot the play,' manya. The later God is Skanda, Shiva's son, and when only one actor is on the stage, then, as well as Serpent-God. These attributes are the Bhagavatha becomes his other self. given in its preliminary address. I mention this fact, for the reason, that in the land ofour Yakshagana are· still practises, a rich ritual Palm-Leaf Manuscripts dance offering to this Serpent-God. It is one of the most interesting, rythmical dances. It is definitely this dance that inspired (amongst We have literary-cum-musical compositions many other ritual and nonritual folk dances) by the hundreds. Themes of Vishnu's incar our players. Only one who has seen it can nation, Shiva's incarnation and every puranic appreciate how rich and graceful is this dance. piece has served our authors. We come across Yakshagana fulfiIled its function as drama numerous palm-leaf manuscripts of such through the medium of language, music and Yakshagana plays all over the southern parts this style of dance. It did not attempt to trans of Karnataka, to which area this form of gesturise, for which it had extempore prose. drama slowly spread in the course of the (18th and 19th) later centuries.
The 'Bhagavatha' We can find numerous titles, many repeated by later authors. But today, the area In which From Sabhalakshana treatise it is clear that it is stilI prevalent, has again narrowed down, the Bhagavatha functioned like the Greek to the three districts which I mentioned in the Chorus, as the spirit behind the play. The beginning. These plays have mostly come play begins and ends as the Leela of Lord from the tales of the Rarnayana, Bhagavatha, Krishna and his brother Balarama. They or Mahabharatha, and other Puranas. Mostly come during the beginning of the play and set they are not taken from the Sanskrit originals the ball rolling. Then there is rangapuja by like Vyasa Bharatha, or Valmiki Ramayana two female dancers. They dance lasya. Then but from numerous Kannada renderings to be Hanumanayak, or Vidhushak take the reigns. found in Kannada.
15 •
A scene from a
Yakshagana
performance.
•
Between the 13th and 18th centuries, we pattern, set to definite TaJas like Asta, Matyai have a good number of Ramayanas. Like Jampa, rupak, etc., with elaborate boJs of their Mahabharatha stories were picked up from own. Even today we can witness something Kumara Vyasa Bharatha, Jainini Bharatha, like 40 different plays in our area. Prahallada Bharatha, Turnaga Bharatas or part epics like Vimalancanda's Krishnarjuna KaJaga The present century poets have also added (It85). Bhagavatha of the old school could to the number by repeating old themes. Real sing by rote, some 20 to 30 plays each. A play, new stories are just two or three like Bharathas if big, may last all the night, and, if small, then story from Jain sources, the story of Koti to four hours, in duration. Chennaya from the local lore ofthat name. Literary Compositions In earlier days we find that religious litera ture, songs to be sung at home by women Its literary composition can be divided into termed as shobhane songs, philosophies were two main sections-the narrative or linking also written to Yakshagana music. poems-and the poems sung or are presumed to be sung by characters themselves. The It is worthwhile to note that its prose ren former group consists of classical prosody dering was never written down, but uttered forms like Karela vritha, and all the Kannada then and there, by actors themselves at the spur Padya jatis-like Dwipadi, tripadi, choupadi, of the moment. This field has developed as various shatpadis and snagathyas, etc. Thse another form of dramatic art in our villages. Kannada songs were sung to TaJas also. The It is bayaJata, minus dance, minus costume, other poems are numerous and varied in but played sitting.
16 Large credit for the recreation ofthe Yaksha richest element of fantasy. I have seen old ;gan::z fantasy, should go to our ancient costume people pai~ting such demonical make-up in designers. The~ can. beat, in glamour, the ~lbout ~en different ways. Today this is becorn costi.mes of Bah or Slam. In the districts of rng tedl.ous wo~k and is being slowly discarded, Kanara and Shimoga live a class of craftsmen or carried out m a haphazard manner. There called Gudigar~ or painters, who are known at are ~ersons who imitate other styles partly and present for their wood carvings, and ivory work that III the border areas. Our dernonical roles They were our old painters. Costumes of thi~ wear weistis below the waist, the same type of dance-~ramaand dolls to stage the same play chequerd cloth worn by romantic roles but as manonettes, wer.e their,creation. They di , having larger squares. played a real creative genius and institutional colour scene which .is the. life costume design. It is only when we come to female roles that Let me elaborate this a little further for it is the earlier traditions are so completely forgot this vital element that is suffering most at the ton, .and we find on the stage a Miss Modern hands of 1he vulgar and uncultured imitators walking or dancing along with a Gandharva who also pose as reformers. and Ravana from tiI!1es of yore. It is so ugly. Rec,ently, I have, With the help of an artist, Male Costumes Shri K. K. Hebbar, who hails from this area suggested designs that would be glamorou~ and fit in with other roles. The. mal~ :~stumes can be grouped into two major diVISIOns. The romantic roles like Kama or Arjun or a Ghandharva and the Mixture of Old and New Demonical roles like Ravan. Rom~ntic roles Many troupes, and sometimes individual are colourful and pleasing, and this element is members of the same troupe, enter the stage worked out in red, orange, black and gold. today with drama constumes. Some appear The face make-up was plain pink or yellow in like cine Krishnas or calendar manufacture's olden days when oil-lamps were used to light Rama and Sita's minus the proper costumes the stage. The black of the eye and moustache their dance looks meaningless. The mixtur~ is stressed in. There are set ornaments on the of old and new is almost grotesque. It is here body, clad in either a green bodice c r its com that the tradition of bayalata is extremely rich plementary colour, red. Kings wear a well and it is exactly here that bad taste and per designed golden crown. Other roles wear a versions have set in. This is not a phase con Mundas or turban. It is like a lotus leaf in fined to our area alone. Costume improvisa shape, clothed in red or black, with radiating tions in Kathakali and Bharata Natyam are lines ofgolden ribbon, that drives one's atten also wailing over this slippery way; otherwise tion to the face. The size and colour of this what meaning is there for a bundle of glass turban is again dependant on the glamorous beads over exquisite breastplates in the Katha nature of the person. If he is a Gandharva or kali costumes or trappings that lack harmony a Kiratha, it is larger still, and may be slant with movements of the dance in Bharata ing frontways or sideways. Natyam? The Dhoti worn is a type of chequered cloth In the absence of the actual costumes, I in orange, red and black that well supports the request you to study the photographs of these upper gold and reds. There is trapping round roles, so as to enable you to appreciate my one's waist, and a sail-like cloth of plain red points of view better. and white at the back. The Dhoti is tucked up in such a manner, that the dancer's lower body shows pattern of the romtpus shape which Dance is complemented by responsive movements of the hands. The costumes and movements are The Maddale or drum work is such as to lend itself to exquisite footwork. It is fairly mutually supporting. elaborate and a good dancer needs years of In demonical roles the facial make-up is practice. This nritha is accompanied by another very intricate. It has some resemblance to drum called Chande during depiction of valour Kathakali technique, but is painted by the or battle. There are graceful body flexions and artist himself, unaided. It is mask-like in swayings that go to blend with footwork. On the whole, rhythm is its essence. The element appearance, but plastic in use. It creates the 17 •
Another scene from the
Yakshagana performance.
•
of heroism is very well developed in these plays. tion alone this mode of fantasy is built up. Though it is quite capable of all other depic There are no screens, except a piece of red tions, I do not know why it was not done. cloth held by human hands and used on occa Female roles alone portray lasya movements, sions to introduce the characters, little by little. and Hauma or clown, its lighter modes, From They impress their personality on our minds. what one can see of the ritual dance, called by their dignified dance movements. Vaidya dance, (during Naga worship), that inspired Yakshagana- dance, it is capable of Modern gas lamps have taken away much alround use, and can be one of the most of this illusion. The introduction of brighter graceful and meaningful of Indian rhythmic lighting, not accompanied by suitable stress. dances, as separate from dances that attempt in costume and colour, betrays the deficiencies. to do the function of language. As such its ofcostumes and ornaments. appeal is universal. Troupes Decor There are now about a dozen trcupes atta These are open-air plays hence there is no ched to various temples and some troupes have stage as such. The play takes place in a square a heritage of 1CO-150 years. A troupe attached of 20 ft. by 20 ft. marked by poles and toran to the Durga Temple at Mandarthi is one. or leaf decoration. On one side the Bhagavath Such old troupes get better patronage from stands along with his drummer and drone. the temple devotees. For people to get red From the same side characters come and go. ress from illness or calamity, usually vow to People stand all round the area to witness the these temples that they will offer a performance play. The dim oil-fed lamps create a sense of of Yakshagana, if they get over such difficulties. illusion, along with the very imaginative nor So such troupes are in a better position to realistic costumes. By the power of sugges- maintain tradition. But there are troupes who
18 care a fig for art, tradition or anything. Cater I have given a very rough picture of what ing to low taste, mixing up every variety and it is and how things stand, and now comes the novelty, they have brought down their art. If question how to preserve these things foster we can pick and choose there are Just artists them and rejuvenate them. We all kn~w that to form 3 or 4 troupes at best, whereas actually folk arts are dying out for lack of patronage. there are a dozen or more. It is also true that it is dying out for lack of understanding of its value by the artists Role of Temples themselves.
With our temples coming under religious These arts have to be patronised and the endowment bodies, the conducting of each moment such patronage is offered, there troupe has become a money matter. They are going to be enough stretched palms. Who are auctioned to the highest bidder. He may does not need money? So everyone with know nothing of art. Formerly, the temples enough cunning or pull, will manage to become themselves used to spend money for the reno an artist or connoisseur at least for the purpose vation of costumes through traditional artists. of knocking offsuch patronage. People who are That is gone now with this new deal of saving chosen to administer this patronage must first a few coppers for the temples. of all know what it is that they are patronis ing. Such groups that have an interest in Those who practice these arts are villagers, saving traditions have to be patronised. They mostly farmers. Some have lands to till. It too will have to be told, what it is that they is from the months of December to May that are losing, and what it is that is worth saving the troupes move out. A troupe will have to in their tradition. move every day a distance of 7-8 miles and stage an all-night performance. Rest comes If these forms are to be saved, they should between midday and evening -only, a pityful be able to exist in the land of their birth. I do lot. Since it now costs about Rs. 150-00 for not think Bombay or Delhi citizens can foster a performance few people venture to invite and save Yakshagana from this distance by them. But formerly a performance was paid getting one or two troupes. That may be for by one man in a village and the entire rare incentive. The main one should come village enjoyed this benefit. Now they can from the land of its birth. On the one hand, get only 15 to 20 engagements at best per educating the people as to the beauty and month. Even in the villages eyes are turned function of these particular forms of art is a towards the modern cinema and traditional vital need. Without that we will love no art. tastes are getting liquidated. So something has We may imitate, chase every novelty, but that to be done before everything is lost. will never foster great art. We have to be aware of our culture. Already we have lost two other adjuncts of this type of drama, namely the doll-play and the leather doll-play. Both were played to the Changing Times same music and themes. They died partly for want of appreciation and partly because they Mere tradition alone cannot save our dance imitated the bayalata. Now that bayalata drama. Times are changing. But such a begins to imitate cinema and Yakshagana glamorous tradition as Yak~hagana need not begins to imitate some other gana; their days fear it. I have seen very SImple folk dances also are numbered. Till we discover the m of Yugoslavia and Spain, sh~wn ~n suc~ a dividuality of each mode of artistic expression, grand manner, without discarding Its native we cannot foster their growth. colour. This type of stagecraft has to be attempted by us also. The tediousness of an No Schools 8-hour play has to be abridged to one of not more than three hours. There is much lumber ~isca~ded. There are no schools where Yakshagana is in these plays which can easily be taught but still there are good Bhagavaths who But all this could be done, by creative minds, ~nd by people who know something of stagecraft, can teach, and do teach, dancers drummers ~nd who can train their disciples. It IS not a work choreography, mus,ic painting.. The last one is very essential In order to display the that pays them much ~nd no d~~pair has set fantasy element in drama. To fantasy, the in. So much about this art tradition. 19 A scene from a Yakshagana performance given at the Seminar
mass and the class are all children. It can values that are part of our folk traditions. captivate every type of mind. One good production, showing the best in folk drama, wiII achieve more than a hundred ser For arts to survive the need for patronage mons on the topic. is there but patronage itself cannot create art. How do we go about to create an atmosphere Financial Assistance conducive to art? Financial assistance to performing troupes Wrong Patronage and artistes is really needed but before doing it, the agency that undertakes to render such Wrong patronage, wrong tastes, wrong help has to make sure for itself as to. the pampering are all things that can kill what quality of tradition and worth of the artIstes little artistic tradition we have. So this is a to be choosen, Grants for renovation of function of educating ourselves. proper costumes and prizes to good musicians, make-up men and dancers can be awarded. Pampering of wrong notions and perverse Nowhere breakers of tradition for catering to tastes by the public has killed art more than low taste should be encouraged by such agen anything else. One has to be cautious about cies. Tutors who teach music, drumming and it. Wrong patronage may do enough harm dance could also be given some allowance so than even lack of patronage. We have to as to make them feel that they are a wanted train the ears and eyes ofour people to aesthetic class. 20 RAGA PRAKARANA OF RAGATATTVAVI BODHA OF PANDIT SRINIVASA
AFTER dealing with diffe but he only states that each rent kinds of melas, the By raga has four parts, viz. author now gives the (I) udgraha (~), (2) sthayi details of how ragas were pro V. S. DESAI (rom), (3) sanchari , (*m.T), duced, and how they were and (4) muktayi (TfiffliT), sung in his time. He thus explains to us the and then explains the meanings of these words. details of 101 ragas in all. Udgraha means the alopa, i.e., the beginning Pandit Srinivasa says that a raga is pro of a raga, which means that the beginning of a -duced from mela, which first lays down the raga should be made with the alapa; sthayi correct svaras of a raga, with its varjya-varjya means that the further progress of a raga should (Cf\i~) svaras ; the murchana gives necess be made with tanas, etc. ; the sanchari is the ary aroha and avaroha, and the alapa begins mixture of the sthayi and the aroha svaras, and with the murchana, which determines the raga. muktayi is where the raga ends.
Aroha and avaroha were absolutely necessary This system of singing exactly resembles for the production of a raga ; hence murchana that of dhrupada style of singing, which has stood midway between the mela and the raga. similar four parts, and which always begins The changes in the murchana produced different with the alapa of a raga. The nomenclature ragas. is, however, somewhat different. Sthayt and sanchari, however, are retained in both. It appears, however, that these distinctions of the mela and the murchana disappeared by Again, from the perusal of the text, it is degrees later on. observed that the author does not describe these ragas according to the system of Rama It may be noted here that a greater portion matya, Somanatha, and other writers, an.d ofthis manuscript is devoted to these ragas, divide them into principal groups and their which are stated to be 101 in all, and it janya ragas or genus-species system, but simply appears rather strange and curious that the gives the characteristics of each raga, and does author should have taken down verbatim, prac not name his melas, as is done by all other tically the whole portion of these ragas, from writers of his age. Sangita-Parijata. It may be noted that Ramamatya gives the names and details of 20 principal ragas Of With the exception ofthe ragas (9)prasabha, melas and 64 janya-ragas, and Somanatha gives (31) patamanjari, (43) Saurastri and (51) soveri, the details of 23 melas and 76 janya ragas, but all the ragas are to be found in Sangita-Pari we find that this system of grouping was not jata hence it can be said that the author adopted by Ahobala in his Sangita-Partjata or folI~wed Pandita Ahobala practically in all by Pandit Srinivasa in this text. respects. His ragas are, therefore, practically the ragas of Sangita-Parijata. If however we observe minutely, the princi pal ~elas and their janya-ragas can be. pick<;d The author does not, however, define pro up from the definitions of ragas, etc., given in perly what he means by raga, as is done by the text. These melas come to about 13 and other authors before him, viz. :- the janya-ragas to be about 60.
"lfTs 21 Chart of the Ragas with Their Svaras, Melas, Murcbanas, etc. Kinds of I N a Kinds of Melas or IMurchanas Ansa s~ - Varjya Varjya S. No. Names of Ragas Jati Svaras I or Graha Svaras Svaras Svaras Svaras 2 3 4 5 6 7 8 RAGAS HAVING FOUR PARTS ~. ~q tT, f.:r. in srr. ~).~. ~. ;ft<'II Rl ;(\ " " ~. ~. qrlITm " m.~. " ft. '<1. in srr. ¥. tm If (eft. cr.) m.m. f.r (eft.) f-:, q ('liT) ~. tT, ;;"1' (eft) '<1 ('fit) IT, f-: (~.) liT. m. " " q ('fit), f.r (ffi) ~T or q. ~. ft, q ('fit) frr If (~T) ~). m. tT, rrr (eft) '<1 (m.) ~o. if (<:rr. e). if, frr (srr.) iT ;ft (eft) f-:, '<1 ('liT), if, frr (srr) m.~. If (ffi. cr), iT, f.r (eft.) If (eft. a), f.r ( 22 rl 'JUOJ JO pR:llSU! UM.!g :lJR sired OM1 A{UO sv8v.l ~S:lq1 uI. ~ ')\.); llt lO .:y ~ '~ '~ ('m) a '11 - - (~)a 2~it ft a ("~) ~ '11 'a ); '~'~ .h '.:y " (,~) 11 ')J (,~) 11 ')J hJ:ill:t 'n '~ " - 11 - ("~) ~~ '4); " - a 11 " " ~ '0 ); .It '.l;f.lillt '~'~ ('m) ~ '11 - - JWt ("Q '~) a '~ (,~) ~ ~ '~)\. ~ '11 '~'~ ('.e.tt) 11 'a - - '~)\. (~)ill (,~) a ')J ~ '.!.b 'It ('.2 n) .It - - ("~) a ')J ~ '6\)\. '~ '~ ('l.li) ~ '11 .:y ill - (,~) .a ~ '~)\. '~.Ii '~.Ii .a 'olJ - - ill ~ ~11 ');)\. '~..Ii'~ a '11 - - ill ll ~ 'M '~'~ ~ '.It - - ill l,ft a .a (,~) ~ '11 l,f~~ 'a)\. ~~ 't)\' 'It - .a llt a Jj.JJ.t ~ '4)\. '.!.b '~ ('m) l.t'~ ill .J!..lIt - - .B.I:t-~ 'O)\. '~.Ii '~..Ii '~'l.t ill ill ill - " (~) a ')J jJ:illJt '~ a 'J!i '~ '~ '11 :LJ 11 l.t 11 .IaIllI1 -L~lt .Illi.IJ.i '~a ~ ln~J2 . '" .IaIllI1 JO ~!t '6\ a '~ '~ ('.2 ..Ii) ~ '.It - -- l.t ~.It 'H '~ '~ ('Jh) ~J '11 - - .a .\!l.etft ll ~ '); a 'l.b 'J!i ('Jh) ~J '.It -- .h 11 W -L.2!.l1l.!:e JO ')\.~ 'It - .a ill.lt ( -LQ) l.t ~~'~ 'S;)lli!l S!q U! lU;)P:A;)Jd se2elI !qS;)G ;)q~ III '.!.b '.!.b .h .It ill " Wll ~l::"! 'U '!l -- - " ('-L.Q) ~J 'l.t .llilt.e 'U '~'!l ('.2 .It) 11 .h .h .h JO llt .IaIllI1 ~k~ 'n ('~) 11 .~ '!l ( .e .It) .a '11 -- 11 ('Q '~) ~ ~ 'oa " " l.t .a l.t .e.!=illt ~b~ '~c. .a '~t '!l'~ ('l.lt) ~J '.It - JO .It 11 C-L.Q) 11 ~-l.ltl.!l! 'J!i .a ':LJ - - 11 (,~) ~ '11 -tfl~ '6\t ( 'l.lt) ~J '.It ~ 'l~ 'l.b ('.e..li) l.t " " (.Q!=Jll) .l.t ('tQ) ~ '11 ~.g '~t " " " " ill ~.l! .e.!=illt M!b ');t '~h '~ ~J '.l.t - - .a (-l.'!!) .B ':LJ ~.Inl.t ')\.t (:Ll.Q ) ft - ill :LJ ill (~) -L~ '.It' (-l.!l!) .a ')J .lJilil.lt 'at dI 8 L 9 s P c Z pc; --- (hQ W °!yh) It ('.Q ow) h '('W) ~ /I - - - It ("J". '~ 'tit ('lli) h 'It )J .b-lt .I::J .J54 ~-~ 'h °lli '~ (~) It Lj h It ~~g lohrtlf.>?).. 'o~ ',& -- .1% .1% ill .M:tJ...& ~ '-a~ '~ '::l~ - It It ill .(f.1J.t !lili .~ 'lh '6\~ ('lli) )J .I::J ~ It ~~ &kej 'lli ',& (,~) It h )J Ilt .I!-J.lt ~ '? ~ '~ '~ ('IIi) .I::J 'h h h It ('W) .I::J 'It t1n1:ill..1.e '~~ ------8 L 9 s t £ z 1 2 3 4 5 6 - 7 8 t;~. Note: It is observed from the above chart. practically these ragas are three more. i, e., 104 that Pandit Srinivasa has not stated in the in all, vide 12(A), 64(A), and 97(A). manuscript to which melas these ragas belong. In many cases, only the svaras of the ragas are The following abbreviations are used for the given, and the ansa and uyasa svaras are not sake of convenience :- given at all in many cases. mfts: - m; ~ - ~. ~ - m. The ansa svara is the svara with which the raga is to be started, hence it is the graha svara qwf - tIT. ~~ -~. ~ - Cf>1. or the murchana of the svara, but it is observed (fur - eft. aRlm: - efT.a cfT S. No. Melas Janya-Ragas 1 Mukhari (I) Mukhari (2) S'ivavallabha. 2 Bhairavi (1) Bheravi, (2) Bhairavi, (3) Sinharava. 25 Janya-Ragas S. No. Melas 3 Nata (1). Nata, (2) Kumuda, (3) Chakradhara. 4 Kalyana (1) Kalyana (2) Kalyananata. (3) Kokila, (4) Aira vata, 5 Abhiri (1) Abhiri, (2) Abhirika, (3) Abhiri-nata. 6 Bhairava (1) Bhairava, (2) Devgandhari. 7 S'ankarabharana (1) S'ankarabharana, (2) Salanganata, (3) Chayanata, (4) Kankana. 8 Samanta (I) Samanta, (2) Kurnata. 9 S'ri (I) S'ri, (2) Kedargaula, (3) Narayana-gaula. (4) So rathi. (5) Manju-Ghos'a, etc. 10 Valavali (1) Velavali, (2) Nata-narayana. 11 Gauri (1) Gauri, (2) Lalita, (3) Bahuli, (4) Mallati, (5) Sau rastri, (6) Reva, (7) Gaula, (8) Saveri, or Soveri, (9) Pahadi, (10) Purva, (11) Malavagaula, (12) Man gala-Kaisika, (13) Nada-Ramakriya, (14) Trivani, (15) Suralaya, (16) Arjuna, etc. 12 Malavi or Malava (1) Malavi, (2) Kakubha, (3) Dipaka, (4) Pata manjari, (5) Gurjari, (6) Daksina-Gurjari, (7) Uttara Gurjari. 13 Shuddha Mela (1) Saindhava, (2) Nilambari, (3) Dhanyasri, (4) Sadava-Dhanyasn. (5) Odava-Dhanyasri, (6) Malava Sri, (7) Vihangada, (8) Maru, (9) Manohara, etc. Note: These melas and janya-ragas, principal melas come to about 13, and the though not shown in the manuscript, are pick janya-ragas come to about 60. The rest ed out from the accompanying above chart of remain unclassified due to want of sufficient the ragas with their melas, svaras, etc. The information in the text. 26 ~t may, ho.wever, be observed that there is the murchanaof dhaivata, which is tr f'f ~r :+ ',• a difference In the number of principal melas ~ or phatas and janya-ragas-i-es given by different if, If q- and as if and f'f are to be omitted in authors. Ramamatya takes the principal ~roha, the svaras in ~~mQ:', i. e., part I should ragas to be 20, and janya-ragas to be 64' while e q,~, h:. If q-, If, if, f~ ~, f'f, q etc., which Somnatha gives 23 principal melas ~nd 76 are given in the text. ' The alapa should jan.yq-ragas. Pandita Ahobala and Pandit therefore, begin with these svaras. ' Srinivasa do not classify these ragas or melas under the above system but only describe In the ti~e of Pandit Srinivasa only sadja them individually. ' J?ramfl was In use, hence all ragas were sung In this grama alone. The sthayi, the sanchari, and the muktajl It will be interesting to note the details of svaras given in the text show that further how ragas were sung in his time. let us take progress ofthis raga is to be made with the the first raga given in the text. The author tanas in sthayi, then in sanchari, the mixture of now begins with the raga ij-rqq and gives its the svaras ofsthayi and of other svaras should be made, and the raga is to end in muktayi. characteristics as under:- This procedure exactly resembles that of the present prevailing dhrupadstyle of singing. "~:[lr Now let us find out as to how this raga The author explains all the 101 ragas as can be sung as stated by the author. Every stated above, but for want of space these are raga has four parts, and it is to begin with not included here. 27 A Kolkali performance THE 'KALIS' OF KERALA HE word kali means play-not ordinary play, but play which is in the form of dance. T Kerala, to the language of which region this word helongs, has, through. the years, evolved a number of such plays or dances which are intended to provide recreation as well as amusement to the participants. The most important and the most developed KolkaIi, Vattakali, Thattinmelkali and Chu among these plays is undoubtedly the vattukali, and dances of the women, such as KathakaIi, but apart from this the Kaikottikali and Thiruva story-play, there are about 20 By dirakali. Then, there are some other kalis in Kerala, most of kalis, such as the Velakali, Pula which, though not generally Mohan Khokar yarkali. Pitichukali and Parisha known outside Kerala, are still thalamkali, which came into very much part and parcel of the commonalty existence as a result of the custom of imparting of this region of India. military training to the Nairs of Kerala. Of the kalis of Kerala other than the Another variety of kalis embraces dances Kathakali, there are some which can be des which have a socio-religious purport and cribed as folk dances or community dances; which were introduced by the Nambudiri these include dances of the men, such as the Brahmins of Kerala; this group includes dances 28 such as the Sanghakali, Sastrakali, Swastikali. time of festivals like Shivaratri. Before beginn Yatrakali and Ezhamattukali. There are also ing the dance, the performers generally place certain types of dance-dramas which have some a tall lighted lamp on the ground and form a semblance, though a very feeble one, to the circle around it. They sit in the circle with Kathakali; these include the Paraiyankali and the rods in their hands touching the ground Porattukali. And, as if that were not enough, this portion of the performance is known as Kerala has yet another variety of kalis: Nilakali. The leader-and in every Kolkali ritualistic dances which are performed in honour group there is always a leader-then sings the of Bhagavati, two examples of which are the first line of a song. The others immediately Kaniyarkali and Panankali. take this up and also begin to strike the rods in rhythm. Singing and striking the rods, the participants slowly get up and then, in ad Kolkali dition, begin to rhythmically stamp their feet. Of the: dances of the menfolk of Kerala the The tempo of the performance keeps most important is the Kolkali. This dance was mounting and as they dance the performers originally performed mainly by the C!Ierumans keep striking the rods in their own hands as in South Malabar and the Pulavas III North well as those of their neighbours and they also Malabar, but as a large number'of people of stamp their feet and weave patterns on the these castes got themselves converted to ground by altering their places in the circle of Mohammedans, as this apparently helped them the dance. When one song is finished, the add an inch to their social stature, this dance is performers go near the lighted lamp and bow now extensively performed by the Moplahs to it. After a slight pause, the leader then who are the lowcaste Muslims of Kerala and gives the signal for another dance and begins who represent those who are co~ve~ted fr?m it by singing its first line. In this way song the Cherumans and Pulayas. It IS interesting after song and dance after dance is performed to observe that though this dance is performed and a Kolkali performance may go on for three by the Muslim Moplahs, the accompanying hours or even more. songs still deal largely with Hindu gods and heroes. Some of the original Malayalam No Special Dress words of the songs, however, have been ~e placed by their counterparts in Urdu or Arabic. There is no special dress used in the Kolkali. The performers, all men, simply wear Translated literally, the word Kolka~i m.ea~s a veshti or white sarong and keep the upper body bare. Sometimes, when the dance is rod-play, and that shoul.d give a fair indi th~ cation of the nature of this dance. ~he pe: performed by the Moplahs, a cap of type worn by the Muslim serfs of Malabar IS also formers all hold short wooden rods III .t~elr hands and as they dance, they k~ep stnklll.g used as a part of the attire. Another dance of these rods in unison with the stamping of their Kerala which is very much related to the Kol feet and the zeneral rhythm of the dance. The kali is the Purakali; this is also performed by a rods someti~es have small jingle-bells attac.hed group of men but in this, instead of striking the rods held in their hands, the performers to them at one extremity; these help t? reh~ve the otherwise monotonous strike-strike-strike simply clap their hands as they dance. The Purakali is commonly performed on the .oc of the rods and to lend what may be descnbed casion of the important annual temple festival as a little musical punctuation to the dance. of Malabar, the Puram, after which the dance seems to have been named. Pairs of Performers Vattakali The Kolkali is always danced by pairs ~f performers. and the total .number o~ parti The Vattakali is another dance of the men performe~ cipants at a performance vane~ from eight tfI folk of Kerala. This is generally ?Y people who are in the lower stages of civili 40 or even more.' The dance IS performed a the year round except during the wet ~ont~, zation, who are only a little better than th.e but performances are more common dunng t e tribals, so to speak. In this dance the parn marriage season, after the harvest, and at the cipants, who are normally never less than ten 29 in number form a circle and sing songs, which move in a circle, but an added feature of this are often ribald, and clap their hands to mark dance is that the performers alternately widen the slow and steady rhythm of the dance. and narrow the circle in which they dance and, what is remarkable, do this with the precision of geometricians! The Thattinmelkali, which is another dance, is performed mostly by the Pulayas of North Malabar. This dance is generally performed Kaikottikali after the harvest and in front of certain temples, particularly those of Bhagavati. A stage of The womenfolk of Kerala have two major sorts is erected in front of the temple by ar dances: the Kaikottikali and the Thiruvadirakali. ranging planks of wood atop a bamboo scaf The Kaikottikali is a simple dance in which the folding, and it is on this that the dance is participants, all women or young girls, form a performed. The participants sing songs in circle, generally around a lighted pedestal lamp honour of Bhagavati and clap their hands and placed on a stool, and sing songs and clap their move in a circle; that is about all there is to hands and do simple movements with the body this simple dance of a simpler people. while stamping their feet. Another equally naive dance is the Chu The songs deal with themes of everyday vattukali which is performed by the Valans interest to women, but sometimes verses from who represent the leading caste of fishermen established Malayalam poetry are also taken in Cochin. In this dance too the performers and sung and danced to. The Kaikottikali, simply sing songs and clap their hands and it may be mentioned, belongs to the Vattakali 30 Kaikottikall group of Kummi dances which are performed only one time in the year when the Thiruva by women practically throughout South India. dirakali is performed, and that is on the occa In the Kaikottikali, the participants generally sion of Thiruvadira, the foremost women's wear white dhotis or veshtis and blouses which festival of Kerala. This festival comes round may be white or coloured. It is also common in November or December and it is celebrated for the participants to have the hair gathered in honour of Kamadeva to commemorate the in a bun on the top and to one side of the head occasion when this God of Love helped to and to have this adorned with a circlet of bring about the union of Shiva and Parvati. flowers. As Thiruvadira is the only festival which The Kaikottikali can be performed at any is intended exclusively for them, the women of time, but the one time in the year when this can Kerala make sure that they do full justice to be seen at its best is during Onam, this being this gala occasion. They get up very early in the most important festival of the Malayalis the morning and repair to a river or tank and and one which is celebrated for ten days at a there indulge in singing and sportive bathing. stretch. After this they return home and then go through an elaborate ritual of dressing and Tbiruvadirakali adorning themselves. This is followed by the inevitable feast and then the whole day, and The other important dance of the women even a part of the nicht, is spent in singing of Karala is the Thiruvadirakali. Strictly love ditties and in swinging and in performing speaking, this should be referred to not as !l the Thiruvadirakali. women's dance but as maidens' dance, for It is invariably performed by young persons, and Like most community dances, the Thiruva that too by those at an age when the mind dirakali is also a circular dance. The perfor and the heart have reasons to turn repeatedly mers sing songs in chorus, though generally to thoughts and feelings of love. There is there is one among them who leads the rest. 31 Thlruvatirakali Most of the songs are traditional, having as by men of some other castes. These dances been handed down from mother to daughter are actually in the form of combat exercises .since no one can say when, but it is also and are designed to make the body strong and interesting to note that musical experts are of supple and to impart skill in the use of the opinion that the tunes of some of these weapons. These dances were originally songs reveal shades of some of the ragas of taught in a number of gymnasia which existed -classical Karnatic music. Each dance lasts all over Kerala and which were known as about half an hour, after which there is some Kalaris. This system is no longer in existence rest, and then another song and another dance today, and the dances that have been handed are set rolling. The dancing is simple, yet over to us are also possibly tamer versions of -effective, The participants, of course, stamp their original counterparts. - their feet and clap their hands, but what imparts elegance to the rendering is the grace The most important martial dan~e of ful manner in which the performers bend and Kerala today is the Velakali. - This is perform sway _their bodies. ed only by Nairs; in fact there are only certain families in Travancore who have Martial Dances a hereditary right to perform this dance. The performance takes place every year We now proceed to what may be described in March or April on the occasion of as the martial dances of Kerala. These dances the Utsavam of the Padmanabhaswamy were introduced into Kerala and originally Temple at Trivandrum. The Utsavam indulged in only by the Nairs who were the lasts ten days and throughout this period Dravidian representatives of the land. These the Velakali is performed twice every -dances are now performed by the Nairs as well day. The performances take place on the 32 main road leading to the temple. The engage themselves in mock combat. Each Velakali is actually intended as a re-enactment Velakali 'battle' lasts about an hour and this of the battle of Kurukshetra; the Nair dancers gives the dancers enough opportunity to take the part of the Kauravas while the display their skill in swordplay, fencing and Pandavas are represented by towering wooden acrobatics. The end of the performance is effigies which are installed on the sides of the marked by vigorous movements which are road where the performances take place. done in very fast tempo and this is foIlowed by the 'retreat' of the warriors from the 'field of battle'. The signal for the beginning of a Velakali performance is given by a tattoo which is played on drums and pipes. The warriors Pulayarkali enter the 'battle-field' and march right up to the steps leading to the temple. They are Another martial dance of Kerala, which often followed by men carrying flags and is very similar to the Velakali, is the Pulayar images of birds and beasts, all of which are kaJi. This dance is in fact an offshoot of the intended to represent the insignia of the Velakali and came into existence mainly warriors of old. Each Velakali dancer holds because only the Nairs were allowed to take ornate shield in his left hand and a short, part in the Velakali. The Pulayarkali can curved wooden stick representing a sword in be danced by people of all castes; however, the right hand. His dress consists of a white it is mainly the Pulayars or the Harijans skirt over which is tied a piece of red cloth and of Kerala who are known to perform this a red turban which is embellished with a dance. border ofgold. The upper body is adorned with a profusion of necklaces which are There is no special time or season for this made of beads of various colours. When dance, though, of course, it is more common dancing the performers either give solo ex during festivals such as the Onam and Vishu. hibitions of their prowess or form pairs and The dress of the performers is similar to the Pulayarkali 33 paniment of songs which are sung by the dancers themselves. Two other dances of the menfolk of Kerala which seem to have had their roots in the Kalari system are the Pitichukali and the Parishathalamkali. Both of these are performed by the Panikkars who represent the caste of those who were the keepers of gymna sia and the preceptors of the Nairs in the Kerala of old. The Pitichukali is a kind of sword-dance and it is performed solo to the accompaniment of the chenda drum. The Parishathalamkali is a crude type of dance drama which is performed by young boys in the villages of Cochin. It is always performed at night and on an improvised stage which is erected near the house of the person who arranges its performance. Socia-Religious Dances Another variety ofkalis in Kerala consists of a group of socio-religious dances all ofwhich are more or less related to one another and are believed to have been introduced by the Nambudiris or the early Aryan immigrants into Kerala. Though only traces of these dances now survive, in the early days these dances constituted the favourite pastime of the Nambudiris. In these dances, which are presented as a votive offering, a number of people get together and, for their own amusement, indulge in various feats of swords manship and also enact dumb-shows, serious as well as comic. Sastrakali Panankali The most important socio-religious dance of the Nambudiris is the Sastrakali, which IS also known as the Yatrakali, and very closely one used in the Velakali, but there is the related to which are two other dances, the difference that in this dance the performers Sanghakali and Swastikali. Eighteen sanghas do not wear turbans but tie pieces of coloured or associations of people are authorised to cloth round the head. As in the Velakali, perform this dance, and each of these each dancer holds·a shield in the left hand groups has its own technique. Each sangha and a short stick in the right hand. The is in the charge of a person who. IS wooden effigies of the Pandavas of the known as the Vakyavritti and who IS a Velakali have their counterparts here in the Nambudiriwell versed in Vedic lore. The form of painted figures of various demon gods principal deities in whose honour the Nambu which are carried on the head by one or diris hold these performances are Bhadrakah, two of the participants. The movements and Subramaniam and Sasta. steps of the Pulayarkali are to a large extent borrowed from the Velakali, but one major-, Before beginning a performance the partici departure in the rendering of the Pulayarkali pants gather round a lighted lamp and sing a is that it is always performed to the accom- few slokams in praise of Ganapati, Kali and 34 Shiva. This is followed by sembi kotti arpu, have the kali suffix-the Kaniyarkali and the or shouts of victory, and after this the Panankali. participants move in procession to the place of performance which is generally a hall. T~e Kaniyarkali is performed in parts of Here the performers exhibit their skill in p~rformance, swordsmanship and also take part in dumb Cochin, The which generally shows. lasts three days, IS held inside certain shrines of ~haga.vati. Songs are sung in honour of Kali, S!tlva and Subramaniam, and dances The performance ends with a thanksgiving purporting to represent the performances of prayer in. honour of Bhagavati. Though the Shi.va and Kali are also presented. After the Sastrakah and other related dances provide the m~m per~orman7es each day some light enter participants with excercise as well as recreation !aInment IS provided by presenting diversions extreme sanctity is attached to these perfor: m the form of farces and mimetic plays. The mances and the Nambudiri Brahmins consider Porattukali, to which reference has already them as a form of yoga. The Sanghakali, been made, is also sometimes presented on Sastrakali, Swastikali and Yatrakali can be these occasions. performed only by the Nambudiri Brahmins but there is another form of dance in the sam~ category-the Ezhamattukali-which is per Panaokali formed by people of all castes including Brahmins, Kshatriyas and Harijans. This The other dance, the Panankali, is perform dance is even done on an organised basis by ed by members of the Panan caste who are some professional parties and it is not uncom famous as devil-dancers and exorcists. This mon to find such parties engaged to provide dance is done in order to propitiate Bhagavati entertainment at the marriages of people of and also to drive out evil spirits. The dance certain castes, particularly the Pisharotis and is performed by men, while the womenfolk Unnis. generally sing the accompanying songs. The dancer comes attired in a dress and skirt which is almost entirely made of strips of tender Katbakali coconut and palm leaves. Another variety of the Panankali is the one which is enacted by a Next in our list of the kalis of Kerala come group of performers, males as well as females ; , the plays which are presented in the form of this is presented as a dance-drama of sorts, its dance-dramas. The most advanced and the theme and purpose being the glorification of most mature among these plays is, of course, Bhagavati. the Kathakali, but apart from this there are some cruder forms of dance-dramas as well, Kerala represents just one region of India, examples of which are the Paraiyankali and but it is a region which is inordinately affluent the Porattukali. The former is performed in dances and plays. In the present study, it by the people of the Paraiyan caste and, in has been attempted to enumerate and describe cidentally, it may also be mentioned that these only the kalis of Kerala ; it is, therefore, perti people are famous for their devil dances. The nent to mention that these kalis at their best Porattukali is performed by the people of represent only a fraction of the entire wealth the lower castes and it has a feeble resemblance of the dances and dance-dramas of Kerala. to the relatively much refined art of Kathakali. Apart from the kalis listed here, there are scores of other dances, dance-plays and dance Finally, we come to the kalis which are games in Kerala. performed as ritualistic dances in honour of Bhagavati which is the form in which Kali is Incidentally, it should be interesting to worshipped in Kerala, Reference has already infer that even if these other dances and been made to one such dance, the Thattinmel plays are not named kalis most of them still kali, which is performed by the Pulayas of are, in form and spirit, kalis. Hence, permit North Malabar. Actually, there are scores of ting ourselves to waive the accuracy of dances in Kerala which are performed in nomenclature, we may feel justified in conced honour of Bhagavati, but as the purpose of ing that Kerala is the home not of the mere this study is to deal only with the kalis, one score kalis we have credited it with in we can single out two ritualistic dances which this article but of untold scores more. 35 WEST'S INCREASING INTEREST IN INDIAN MUSIC Ustad Vilayat Khan's Tour Impressions ACK home from a European tour early B in August, Ustad Vilayat Khan, well known Sitar player, and Tabla maest~o, Nikhil Ghosh, spoke of the "warm and cordial reception" they had abroad. Their nine-week tour sponsored by the Asian Music Circle of London, was a "triumph for Indian classical music." The artists gave recitals in England, France and Belgium before audiences compris ing music composers, critics, conductors and musicians of international fame and at the Alderburgh Festival of Music and Arts. Giving his impressions at a function orga nised by the Bombay Union of Journalists in Bombay on August 2, Ustad Vilayat Khan said that Indian classical music was now being increasingly appreciated by Western countries. l Ustad Vilayat Khan "Our artists were assured of a warm welcome there," he said. But. the Ustad added, the people who visited these countries should not its rhythm as they can feel something of that be only eminent musicians and artists but they rhythm in Indian music." should also, by their personal behaviour, prove true representatives of Indian culture. Ustad Vilayat Khan said that while he highly appreciated Western music, he felt that In France a synthesis of Western and Indian music was not possible. "Our whole approach, our whole In France, Ustad Vilayat Khan said, music conception of music is so different from that lovers suggested that a class for Indian music of Western music, that we should not try to should be started in that country and Indian spoil our music by attempting to mix Western artists could visit France and stay there for music with it". some time. Dr. Elmburst of Datington Hall in England, emphasised the need, the Ustad pointed out, of having teachers of Indian music "London Times" Comment stay in England for coaching students who were eager to learn Indian music, both instru Reviewing one of their concerts, the London mental and vocal. Times wrote: " ....to familiarise us with a kind of music that can be appreciated only The Ustad continued: "We found younger when our ears have been attuned to its niceties, audiences more expressive in their appreciation Ustad Vilayat Khan, who gave a recital on the of Indian music. This is probably because Sitar, a large seven-stringed guitar, at Conway they are fond of Jazz and Rock N'RoH and Hall, is plainly a player who commands great 36 delicacy of touch and eloquence of phrasing . said that their programmes were all well-atten The audience was moved to laughter by the ded, on many occasions people were seen wordless dialogues between the Sitar and the going away disappointed as tickets were sold Tabla or was silent before its asservaration, out, there was pin-drop silence at all recitals, pleading or delicate hinting. The Tabla drums concerts started on time and doors clsoed punc were played with a intuitive understanding of tually .... this proved beyond a shadow of their part in the ensemble by Nikhil Ghosh." doubt that Indian music was gaining strength in the West and, perhaps, within the next few years, there would be a growing demand for Both the artists were proud to have been more artists from India. associated with Mr. Yehudi Menuhin, Inter national President of the Asian Music Circle, Friendly People who was their host at the Alderburgh Festival. Ustad Vilayat Khan said that people in the Visit to Brussels Fair West were very receptive and congenial. They made friends easily. "They appreciated our way of thinking and living and are eager to One of the more fascinating aspects of their learn more and more. Being a friendly lot, tour was a visit to the Brussels Fair, where they they took us round to places of interest, histo held a programme at the American Pavilion. rical importance and educational value. \ye Ustad Vilayat Khan said: "We were al~o snatched time to attend the Houses of Parlia invited for programmes on the French. RadIO ment in session and also attended a Sunday and Television and the Flemish RadIO and service at the Westminster Abbey and paid a Television studios." visit to St. Paul's Church. These things will remain green in our memory" the Ustad con Giving his impressions further, the Ustad cluded. 37 A SCIENTIFIC STUDY OF THE VAISHNAVA MUSIC OF ASSAM o our hands has just come Svararekhat Bargit* or A Scientific Study of the Vaishnava T Music of Assam, Volume I, being the Report of the Bargit Research (Preliminary) Committee appointed by the Assam Sangit Natak Academy. The State Academy's scheme to collect of these two varieties is connected with some and analyse authentic specimens of 'ragas' as raga, the word ragini being nowhere applied. practised by the Vaishnava singers of Assam and to standardise this music in order to find Almost all the names ofragas mentioned out its relation with the classical music of. in these gits are to be found in Sanskrit northern and southern India has been sponsored Sangitasastra. It is, however, not known if by the Sangeet Natak Akademi, New Delhi. the raga Kau, which name is not found in these sastras, has anything to do with Sanskrit Edited by Dr. Maheswar Neog, Secretary of Kakubha or Kausika or with Kahu found in the Bargit Research (Preliminary) Committee Middle Bengali. Some names of ragas em and Assam Government's nominee on the ployed by Sankaradeva and Madhavadeva General Council of the Sangeet Natak Akademi, are: Ahir, Ashowari, Barari, Belowar, this is the first publication of the State Bhatiyali, Bhupali, Dhanashri, Gaud, Kalyana, Academy. It is in four parts: (1) general Kedara, Kamoda, Kanara, Kau, M ahura, report on the Vaishnava Music of Assam by Mahura-dhanashri, Nata-mallara Nata . Dr. Neog, (2) report on the musical properties Sindhura, Shri, Tura, Tura-bhatiyali, Tura: of that class of music in its variety known as vasanta, Vasanta and Purvi. Each git is divided Bargits (literally great songs) prepared by two into two main parts - dhruva and padas, the research workers under the committee, Shri symbol dhrum being used to denote the dhruva. B. K. Phukan, B. Mus., and Shri P. Das, (3) Talas are indicated in the case of-all the ankiya notations of six Bargits specially selected for gits but only in three of the bargits. Timing the purpose as performed by three traditional is, however, adopted in executing bargits on singers from three different regions of Assam, some occasion though not always. the notations being recorded by the two re search workers, and (4) notations of five out It is thus apparent that the songs are pur of the same six songs taken by Shri Mitradev ported to conform to sastriya sangit. But in Mahanta and Shri Chakradhar Mahanta. their performance the svara pattern does not strictly conform to the present-day Hindustani Advent of New Religion type of music nor to that of the South. It is to be noted that no svara (stringed or wind In the latter half of the 15th century, blown) instruments have continuously been in Sankaradeva (1449-1568) founded a school of use through the last few centuries of the neo-Vaishnavism in Assam. There was the history of this branch of music in the Vaish efflorescence of a great literature and culture nava establishments called sattras, which still in this part of India with the advent of this remain repositories of this traditional music of new religion. Sankaradeva and his disciple Assam, and the village prayer-houses or nama Madh~vadeva, composed a number of songs ghars, which came to be organised in the of varIOUS orders-bargit (devotional lyrics, lit., wake of the neo-Vaishnava movement. There noble songs), ankiya git (songs of the dramas) has, moreover, been no written code of notes Kirtan~-ghosha (narrative songs), nama-ghosh~ (svara) to be employed in each raga. (devotional couplets), bhatima (prasastis of God Vish,?u?r Krishna, guru or a king), The art of this music has been transmitted payara (recitational verses), Sanskrit odes, etc. through the times traditionally from mouth to Of these bargit and ankiya gil may be classed together as representing the classical mode of ·Distributors: Messrs Lawyer's Bookstall, Pan Assam's Vaishnava music. Each of the songs Bazar, Gauhati, Assam. Price: Rs. 3.50. 38 mouth in the sattras and different village and The following traditional singers were urban circles ofmusical culture centring round detailed for the work: the namaghars. There are some, at least apparent, variations in the mode of singing in Shri Maniram Gayan Muktiyar, different regions. Although the traditional Purani Kamalabari-sattra, Majuli, singers have, with religious faithfulness, been Sibsagar; maintaining the individuality and characteristic elements ofthis music, extraneous influences Shri Jadavchandra Pathak, (like that of modern film music) seem to be Sundaridiya-sattra, Barpeta; menacing the very purity and identity of this rich heritage of India. And it is high time Shri Girikanta Mahanta, that serious attempts were made to collect Sravani-sattra, Kaliyabar, Nowgong. and analyse authentic specimens of ragas as practised by the Vaishnava singers. and, if Shri Birendra Kumar Phukan, B.Mus., and possible, standardise this music and find out Shri Purushottam Das of AIl India Radio, its relations with the classical music of northern Gauhati, were appointed as research workers and southern India. for the purpose of the sample survey under the Research Committee, and recorded the Financial Assistance notations of boIs of the above songs from these three traditional singers. Shri Maniram The Assam Sangit Natak Academy pre Datta Bayan of Kamalabari-satta accompanied pared a scheme to undertake this work. The Shri Maniram Gayan Muktiyar on the KIlO!. scheme was approved by the Sangeet Natak Akademi who have been giving financial The main burden of this preliminary.report assistance for this purpose. on the sample survey is that arrangements. should be made for the recording of bargits and ankiya-gits and the taking of svaralipi and The Assam Sangit Natak Academy has talalipi from performances of traditional already done some work of preliminary nature musicians in the widest measure possible be by circulating a questionnaire (to which some fore any assessment of the style or. its syste replies were received), and by undertaking a matisation or formulation of principles on scheme of sample survey on the basis of six which this style is based can be taken up. most common ragas in six particular bargits and ankiya gits, with the accompanying talas. It is not possible at this stage of investi This survey was conducted under a Committee, gation to fix the characteristics of particular called Bargit Research (Preliminary) Com ragas in bargits such as vadi (sonant) and mittee. samvadi (consonant) notes, aroha (ascent) and avaroha (descent) on a fixed scale. At the same time the Committee finds no sense in The following six ragas were selected for attempting to place the text of bargits in the the scheme of sample survey: notational schemes of northern or southern Indian ragas. The northern and southern Bhanashri: narayana kahe bhakati karu systems have developed. on their own line~, tera. which are today more or less known. This Assam school of music may have also its own Asavari: jaya jaya yadava jala-nidhija lines of structure and development, which are dhava dhata, yet to be known through the most arduous research. The Committee, however, hopes Suha: had he bujhalo tuhu vara nidava that it is quite possible that this music, after (Keli-gopala Nat). proper and scientific investigation, will be able to stand as a distinct school of Indian classical Kau: utha re utha bapu gopala he. music. Shyam: teja re kamalapati parabhate ninda, History of 'Bargits' Kalyana: jaya jaya jagajana-tarana- Dr. Neog has dealt with the history and karana (Arjuna-bhanjana Nat). problems of bargits under the foIlowing heads: '39 introductory; subject-matter and definition of nal of the Music Academy, Madras. bargit..its language having an all India outlook; music in Assam before bargits; bargit as an It is to be regretted that no stringed or Indian musical tradition; probable later in wind-blown instruments have continually been fluences on bargit and other types of Vaishnava in use, although early in the history of Assam singing; ragas in bargit; raga-malika or mytho Vaishnavism, such instruments as rabab and logical history of ragas in use here; tala or sarinda (popularly called charengdar) are found timings; musical instruments; the time theory to have been employed. in bargit singing; bargits in notation; conclu sion. The time theory of Indian music obtaining from the days of Marada's Sangita-makaranda At the outset, Dr. Neog welcomes the great is found to have its ramification in this eastern cultural upsurge which had its inception towards part of the country. Equally powerful is the the beginning of the present century and which ;radition of musical mythology in which each is remarkably being accelerated by the attain raga is referred back to some Puranic legend ment of independence. The fact that this move mainly centring round the figure of Vishnu or is not merely revivalistic but that criticism, Krishna. Apart from some apparent similari assessment and shifting have much to do in ties the ragas in bargit do not conform to ragas the modern attempts at rehabilitation of our of the same names, in Northern India or Sou cultural heritage is a matter for jubilation. thern India music. A deeper study will perhaps be necessary to assess the differences as well as The author is against the popular idea that similarities between the Assam School of Music bargits as a class of music for whatever it is and the great tradition in the North or the worth should suffer regimentation with any school of Indian music. Indian music, accord South. ing to him, has not one single line of develop ment and not one single code of conduct. Even Report on Musical Properties the great musicologists of India have referred to various divergences in the practice of class Shri B. K. Phukan and Shri P. Das of music, which occasioned the writing of their Gauhati give an analysis of the notations of treatises .. What then is the meaning of our the six song> in six ragas with accompanying classification of Hindustani and Karnatic talas recorded from the three traditional singers. music? .The notation of each raga is divided into two distinct parts: (1) the first part is the alapa, What, again, are the gharanas? What once ~T, ~ again, are the ragas with names of particular popularly called "UlT raga diya and <:TlT persons attached to them? The conclusion, raga tana (the giving or extension of raga), and therefore, is that it would be fit and proper (2) the song. The alapana part is divided into first to put in record these songs in notations four sub-parts, the third of which, being in high as they are performed by the traditional artists, pitch, being known as ~, tolani (the raising, and, then only, try to assess its place in the presumably of the voice). In their analysis, history of Indian music. the two research workers try to find out two notes which are most prominent in the execu Bargits, strictly and literally speaking, are tion of a raga by a particular singer. These a set of 191 songs composed for the purpose they do not venture to call ~r, vadi and ~GIT (i) In performing the songjaya jaya jaga jana-tarana-karana in this raga, Shri Maniram Gayan Muktiyar had m ~ 'IT +IT liT tiT ij"T in the m-*r;r-w II '" arohana, and f;r ~T tiT f;r qr tiT '1T +IT 'IT~ min the avarohana. 'TT and tiT come out as the promi ~Gfg~~1 nent notes. The notes in the alapa conform ~~ ~- 'filffi-llt!-~ to those in the gil part. Only Komala ni (f.f) ~ is used obliquely beside the sudhha svaras. The (ii) Shri Jadaochandra Pathak uses m =t if NOTATIONS lIT qr tiT m in the ascent and f;r ij"T tiT Performed by Shri Maniram Gyan Muktiyar, f.:r qr tiT qr lIT 'IT =t m as the descent. 'IT and tiT Accompanied on Khol by Shri Maniram are the two predominant notes in the two Datta Muktiyar. respective parts of the scale. The svaras in II <:flT G-IT II both the parts of the performance conform to each other. Shri Pathak uses the same Khar man tala with eight matras although the bol or <: -- m_ tiT~lfT vani is not the same as used ~y Shri Muktiyar. 9;fJ°V<:Tolfooo , (iii) Shri Girikanta Mahanta has no alapa to precede the gil portion. He has m <: 'IT +IT qr tiT mas his ascent and mtiT f;r tiT '1T'IT =t m as the descent, only in one place f;r being used. All sudha svaras and komala f;r are thus here. _ooooqrooooooooo m may perhaps be pointed as the sonant. The 00'0 olfo oom--- Kharman tala as played by Shri Mahanta has the same 8 matras. 'U If 0 0 II mrTll' iifllS II THE SONG mmmm~ lJT'ClT----.,....Rm m - By Shri Madhavadeva ~ooo ~ n:'Ulf'UlfU~ ~ 0 0 0 0 0 o o o 0 0 41 q"f ~ 1Tt- "< -~t~tm fIT 'OTT or 0 <: ~I ~ ~ m<: llf 0 0 0 0 0 0 0 0 iTT fq ~ 'l'r I \ q"f ~rl fEtBif I 'OTT : q"f llr-- U o!lJfooifT ~i II ;:q~ l.'fIlS II 'EJ~I<: I m-..... ~--- 5fqlT 42 CULTURAL DIARY JULY nising a small museum of old Bhaona dresses masks, musical instruments, etc. ' During her recent tour of Andhra Pradesh, Shrimati Kamala Devi Chattopadhyaya, Shri Kunja Barua is the President of the Chairman of the All- Sa"?aj, while Shri Chandra Majumdar and Making Musical India H~ndicrafts Board, Shn Bapukon Neog are its Vice-President and and Vice-Chairman of Secretary, respectively. Instruments the Sangeet Natak Akademi, explored the possibility of promoting cottage industries for • • the manufacture of musical instruments such * as Veena, Harmonium and Violin on co operativ.e lines. She visited the Lalitha A proposal to construct a theatre at an Musical Works and similar institutions in estimated cost of Rs. 4 lakhs in Andhra region Hyderabad and held discussions with the local is under active conside- people and Andhra Pradesh Government Proposal for Rs. ration of the Andhra officials on the possibility of starting similar Pradesh Sangeet Natak industries. 4-Lakh Theatre Akademi, according to * * * Shri M. S. Ramachary, Rajasthan is reported to have taken the who has been deputed by the Akademi to tour lead as being the first State to organise train the districts of Khammam, Krishna, East and ing camps for rural West Godavari, to find out the existing condi Training Camps artistes. A number of tions of various dramatic associations, sangeet • such camps were orga- and janapada organisations in order to promote For Artistes nised by the Bhartiya Lok them in the State. Kala MandaI for the State Development Department and rural artistes from different development blocks were enrolled as trainees. The Mandal organised * * * a camp recently in the Udaipur area. The camps were intended to inculcate in Inaugurating the fourth Annual Drama terest in recreative aspects of life and develop Festival organised in Tirupati by the Tirupati taste in healthy and educative entertainment in Amateurs' Association, rural areas, to train artistes in simple rural Shri R. B. Ramakrishna types of community singing, community danc Drama Festival Raju, President of the ing and community dramas. Inaugurated Andhra Pradesh Sangeet *** Natak Akademi regretted An association known as Sreemanta the neglect of music in modern dramas. The Sankardev Natya Samaj has been formed at function was presided over by Shri M. Ramanuja Shillong for propagating Rao Naidu, Registrar, S. V. University, and Sankari Art and Music, messages wishing the Festival success were Sankardev organising stage Bhaonas, received from Dr. S. Radhakrishnan, Dr. P. V. Natya Samaj reviving and carrying on Rajamannar, Dr. B. V. Keskar, Shri Ananthasa research on original tunes yanam Ayyangar, Shri B. Ramakrishna Rao of Bargeet and other Sankari music, orga- and Shri B. Gopala Reddi. 43 A branch ofthe Mysore State Sangeet Natak Akademi was inaugurated in Belgaum recently with a music recital by Branch of Shrimati Gangubai Han- Mysore State gal, a noted musician. Shri K.R. Ramachandran, Akademi Deputy Commissioner of Belgaum, who is also th~ p~esident of ~he branch, welcomed the distinguished gathering on the occasion and said that the branch would help financially or otherwise the existing. or ganisations of dance, drama and mUSIC to carryon their activities. * * • Kalidasa's Shakuntala was staged in the Netherlands this summer as part ofthe Holland Festival, 1958. The play "Shakuntala" in has been translated by the well-known poet, Bert Holland Festival Voeten into Dutch from English and German translations of the Sanskrit original. Bert Voeten According to a spokesman of the Indian Embassy at The Hague, "the successful actor producer and director Cees Laseur achieved yet another milestone in the history of dramatic art in the Netherlands when he presented Kalidasa's Shakuntla at a gala performance during the Holland Festival. The decor and costumes were excellent and contributed to a large extent to the admirable atmosphere that was created. Westerners, who might find it difficult to fully comprehend the simplicity of the play, were vividly affected by the poetic genius of adaptation. The credit, however, goes also to Nicolaas Wijnberg for translating in actual effect the spirit of Kalidasa 00 the Dutch stage. "Contributing to all this was Indian music adapted to Western ears by Jurriaan Andriessen which completed the picture". The Dutch Press on July 1 acclaimed the performance of the Indian play Shakuntla as a "clima~ of the Holland Festival". Queen Juliana, the Indian Ambassador, Shri John A. Thivy Shrimati Thivy and several Dutch Cabinet Ministers attended the performance. Cees Laseur 44 The well-known Negro singer, Paul Robeson said in New York on July I that he was look: ing forward to visit India Robeson May "in the near future". In •• a signed statement released VISit India Soon to the Press, he thanked . the Robeson Birthday Committee and all Indians for their wonderful manifestation of interest, support and warm feeling on the occasion of his 60th birthday. The statement said: "I now have my passport restored and I am preparing to travel abroad. I look forward to coming to India some time in the near future to thank you all in person. Meanwhile, my warmest greetings and thanks". * * * A Children's Little Theatre, sponsord by the Natya Sangh, Bombay, was inaugurated in Bombay on July 2. The Little Theatre Theatre has, as its aim, promotion of theatrical for Children activity in all its forms. amongchildren andyouth. Nicolaas Wijnberg It will also try to discover and encourage talent in children in the field of drama and allied arts. The programme of the Theatre also includes. regular presentation of plays by children. * * * The Andhra Pradesh Sangeet Natak Aka demi has decided to give a monthly allowance of Rs. 25 each to ten Grant to actors and artistes for a period of eight months, Artistes according to a report in Hyderabad on July 10. This is the first time that the State Akademi has. given financial assistance to artistes. * * * The Rangpur Jyoti Sangha organised a three-day demonstration of songs and dances in the Sibsagar Natya Mandir Musical Soiree on July 18, 19 and 20. The dances oflittle Abanti at Sibsagar Barua and Baby Sharma of Usha Nritya Parishad, Jorhat, the songs of Deben Sharma and Ramen Barua of Gauhati, the bhajans of Durga Bhuyan and Tariquddin of Nowgong, the Sitar solo of Jurriaan Andriessen Satish Rajkhowa, the Violin solo of Indra 45 Sharma and the dances by the artistes of the direction of Dr. Roma Chaudhuri. The Manipur Nritya Ashram were the highlights of Sanskrit songs of Dr. Chaudhuri, sung by the function. Smt. Chhabi Banerji at the beginning of the play, were applauded by the large audience. * • * The Government of the Federal Republic * of Germany has offered one scholarship to Indian nationals for train Speaking at a function to celebrate the 16th Scholarship ing in Theatre Arts at anniversary of the Institute of Indian Music for Training in one of its universities with (Ganamandiram), Prof. Germany a view to exchanging tech- Prof. P Sambamoorthv Head nical knowledge in the Sambamoorthy's of the DepartriJ~nt of field of drama and also promoting better Lecture Music, Madras Univer- understanding between the two countries. The sity, said in Bangalore duration of the scholarship will be one year. on July 27 that in view of the great traditions Mysore had established in music, he was very * * * anxious that all facilities should be provided to The Indian Sitar player, Ustad Vilayat the State for advanced study in the subject. Khan, was warmly cheered by a large audience on July 21 when he pre Prof. Sambamoorthy spoke at length on Indian Artistein sented Indian classical how Indian music, particularly Karnatic music music in the American differed from Western music and said our Brussels Fair Pavilion theatre at the ancestors had developed an inexhaustible foun Brussels World Fair. The tain of Ragas. Therefore, he added, the West programme, the first in a series to be given in was looking to the East for inspiration in U. S. Pavilion theatre as a token of recognition music. to artistes ofother nations, was presented under the auspices of the Asian Music Circle. Accom panying Ustad Vilayat Khan was Nikhil Ghosh Earlier, the pupils of the Ganamandiram on the tabla. entertained the gathering to a programme of music and dance. • * * * The citation for the best actress in Czecho * * slovakia's International Film Festival at Karlovy All India Radio is organtsmg an All-India Vary, which ended on Music Competition for discovering and encou Czech Film July 27, went to Nargis raging young artistes. for her role in the Indian A.I.R. Music The competition will be festival film, "Mother India", held in two stages: (1) a according to the official Competition preliminary competition news agency, CTK. The Festival's Grand Prix at each station of All was shared by Japan and the Soviet Union, the India Radio and (2) a final competition at two former winning the prize for the "Step-Brothers" centres, Delhi and Madras, for the Hindustani and the latter for "Quiet Flows the Don". The and the Karnatic systems, respectively. United Arab Republic received an honourable mention for "Land of our Father". The competition will be open to those who are between 16 and 21 years of age on Septem * * * ber 15 and who have never broadcast from any On the occasion of the Foundation Day A. I. R. Station in general or minority music celebrations of Bangiya Sanskrita Siksha Pari programmes except in children's programmes. shat, West Bengal, the Sanskrit Drama Sanskrit play, Sakti Saradam, by Dr. Jatindra The competition will cover the following Staged Bimal Chaudhuri, was categories: staged in Calcutta on July 24 by the members ofthe Pracyavani under 1. Vocal Music (Classical, Light Classical 46 and light) and 2. Instrumental Music (Classi of Rs. 5,000 by the Sangeet Natak Akademi cal, and Light Classical). for developing choral music. The preliminary competition will be held .. • from September 15, winners of which will be * eligible for the final competition to be held at Delhi and Madras. Suitable prizes will be Music and dance programmes are to be awarded to those adjudged as the best in the exempted from payment of entertainment duty final competition. in Bombay State by the N o Tax on middle of August. So Dance and far, only drama and AUGUST Music "tamasha" performances were exempted from this tax. The State Minister for Social Welfare A survey of Bengal's folk songs has been Tirpud~, completed by the State Government and a Shri N.K. announcing this in Bombay book incorporating the on August 2, said that Western music and Survey of findings of the survey is dance performances would not be covered by the new concession. He added that ballet Bengal's Folk to be published soon by clas~ical and folk dances, classical and light Songs the authorities. An emi- nent artiste, Shri Mani mUSIC, concerts, bhavgeets, kavi sammelans and mushairas would be exempted from enter Bardhan, toured large parts of the State for tainment duty. Shri Tirpude said that the a couple of years in order to collect material Government would announce its decision and a sum of Rs. 20,000/- has been spent on through a notification within a fortnight. the survey. The Minister said that the Government * * was already losing Rs. 2,50,000 a year by the exemption of drama performances from duty The Kishore Kala Kendra presented an and Rs. 40,000 on "tamasha" shows. The new interesting programme of music and dance concession, according to Shri Tirpude would in Delhi on August 3 to mean an additional loss of Rs. 1,00',oeO a Rainy Season welcome the rainy season. year to the State Government. The programme consisted Songs mainly of the famous .. songs of poet Tagore. * * The other highlights of the evening were some songs sung in chorus, attractive solos by ~hrimati Kamala I?evi ChaUopadhyaya, Miss Krishna Dass Gupta and Miss Sumitra President of the Bharatiya Natya Sangh, in- Ghosh and a couple of Manipuri dances. augurated the Natya Smt: Kamala Academy set up by the Devi Opens Natya Sangh, Bombay, in * * * Natya Academy Bombay. on August. 3. . Addressing the gathering A leading music and dance organisation of on the occasion, she said that to improve the Delhi, the Gandharva Mahavidyalaya, presen standard of theatrical art in the country it ted a programme of was necessary that training in all aspects' of Ballet on classical and modern stagecraft should be given to the votaries of music in the Capital on the art. Shrimati Kamala Devi emphasised Mirabai's Life August 2 to celebrate its that unless training was imparted on scientific 18th anniversary. A and systematic lines, the standard of the In feature of the programme was a dance-ballet dian stage would continue to deteriorate. based on the life of Mira, the woman saint, whose hymns in praise of Lord Krishna have Paying a compliment to the Academy, immortalised her. An item of choral music which will also train teachers, she said was also presented. that in the absence of trained personnel pupils were deprived of proper guidance~ The Vidyalaya was given a special grant By imparting training to teachers, she added, 47 the Academy would be fulfilling a long-felt The Bombay Gramophone Society and the need. Indo-Czechoslovak Cultural Society jointly sponsored a concert of Shri Herbert Marshall, Principal of the In Commernora- recorded music in Academy, who also addressed th~ gathering, tion of Czech Bombay on August 12 disclosed that training would be Imparted m Composer to commemorate the direction, acting, production, and allied sub 30th death anniversary jects. He also announced that seven full and of the Czech Composer, Leos Janacek. three partial scholarships had been awarded by the Academy to students of the current session. * * * * * An appeal to literary Critics, especially those in the field of re The Government of Bombay has appointed Russian Founder search work in the evo- a 30-member Central Committee under the • lution of Bengali drama, Chairmanship of the of Bengali Stage was made by Shri Fifth Natya State Minister for Social Ahindra Chaudhury, Welfare to organise dra Dean of the Faculty of Drama in the West Mahotsava matic competitions for Bengal Academy of Dance, Drama and Music, the Fifth Natya Mahot for the collection of material connected with sava which will be held at the close of this the life and work of Shri Lebedoff, the Russian year. scholar, who started the first Bengali stage in Calcutta and his Indian tutor, Shri Golak Nath Das, who taught him Bengali and helped * * * him in his maiden venture. Shri Choudhury was delivering his first of the four lectures at The Shahabad Sangeet Sangh, a premier the Calcutta University on August 11, in the cultural organisation ofArrah, celebrated its anniversary recently by Girish Memorial Lecture series. Musical Concert organising a musical concert in which prizes * at Arrah were given to outstand- ** A programme of classical and folk dances ing performers. was presented in Bombay on August 13 by the Sitara Dance Ballet on * Classical and the eve of the team's * * departure on a cultural Folk Dances tour of East Africa. To celebrate the 6lst birthday of Sangeet Sitara Devi, a leading Choodamani, Pandit Vinayaka Rao Patwar exponent of the Kathak school of Indian dance, dhan, a function was gave several performances. During its three V.R. Patwar- organised by the Delhi month stay in East Africa, the Ballet will give • University Music Society, programmes in Kenya, Uganda, Tanganyika, dhan's Birthday in co-operation with Zanzibar, Rhodesia, Madagascar, Mauritius music institutions of and Aden. Delhi, in Delhi on August 3. * * * The programme started with an invocatory dhrupad (10 praise of Mahadev) sung in chorus Shrimati Snehlata Sanyal, well-known in by the boys and girls of the local Gandharva Delhi and Punjab for her pioneer work in Mahavidyalaya. This was followed by speeches theatrical ventures like stressing the achievements of Pandit V. R. "Shakuntala" in Hir Ranjha, has been Patwardhan and his services to the art of given an assignment in classical music. There was a violin recital by East Germany East Germany. She will V. G. Jog. Pandit Patwardhan himself gave advise the Karl Marx a rendering of Bhupali. Stadt Theatre in settings, costumes and basic 48 interpretations for the Sanskrit play, Shakuntala. with Indian students who came from different The theatre first produced this play last year parts of India. Though the play was done in but were not satisfied with it and are now German, yet all the songs were sung in Bengali trying their hand again-this time with the with their original tunes. ~. assistance of an Indian adviser. * * * * * * The TV premiere of the play, The Roads The Swami Samarth Sangeet Vidyalaya, Apart (Alag Alag Raste) written by Upendra Bombay, an institute of music and dancing for nath Ashk was held in • women, celebrated In- Swami Samarth dependence Dav with a Indian Play Moscow recently. It is programme of dance. not very often that Sangeet on TV modern Indian plays are Vidyalaya and music. The pupils shown on the Soviet of the institute, under the stage and this explains the keen interest dis guidance of Shrimati Hirabai Javeri and played by Muscovites in this play. Shrimati Shamala Majgoanker. presented interesting items of vocal and instrumental music and classical dances. Soviet readers became aquainted with the work of the Indian novelist through several selections of stories by Indian writers translated * * * into Russian. Upendranath Ashk is known to redears as a fine Psychologist, imbued with Under the auspices of the Sree Shanmukha- humanism and patriotism. nanda Sangeetha Sabha, Maharajapuram Viswanatha Iyer gave a Karnatik Music concert of Karnatik * * music in New Delhi on Concert August 24. It was a The four-day festival of classical music, delightful performance, sponsored jointly by the Saraswati Samaj and packed with crisp kritis that had been judi the Gandharva Maha ciously selected. R. K. Venkatarama Sastri, Vishnu Digam vidyalaya, in commemora who accompanied Maharajapuram on the tion of the 86th birth violin, gave able support to the artist. ber Jayanti anniversary of the late Pandit Vishnu Digamber Paluskar, was inaugurated in Delhi on August * * 29 by Dr. S. Radhakrishnan. Ustad Hafiz Ali Khan presided. The musicians, who too k The Indian Cultural Association (Der part in the opening session, included A. Kanan, Indische Vereini of Bonn, West Germany, Malavika Roy, Amjad Ali Khan and Urmil staged with great success Arora. Tagore Drama Rabindranath Tagore's drama, Taser Desh, at in Bonn the University of Bonn Ustad Hafiz Ali Khan's son, Amjad Ali, recently. The audience who is just 12 years old, surprised the audience consisted of distinguished citizens of the Capi with his talent and skill in handling the sarod. tal and senior officials of the Indian Embassy. There was a record crowd. The original play The highlights of the programme on August was translated into German and then dramati 30 were the recitals of Shara'at Hussain Khan, sed with the help of the Pantomime technique. Balram Pathak, Mani Krishna Swamy, Gopal Its theme and spirit were highly appreciated Krishan and V. R. Athavale while the morning by the German public. session on August 31 featured recitals by Mah mood Mirza, Sudha Malhotra, D. K. Datar, Hafiz Ahmed Khan and U. R. Patwardhan. One of the striking novelties of the perfor Narayan Rao Vyas, D. L. Kabra, Kamal Singh, mance was the participation of German stu Arvind Parikh, Kasir Ahmed and Prakash dents in some of the important roles along Wadhera presented recitals in the evening 49 A group photograph ofthe students who joined the Kerala Kala Kendra, New Delhi, on the opening day. Guru Gopinath, Principal ofthe Kendra, is seen at extreme right session. In the concluding session of the festi Messrs S. Venkateswaran, K. V. Rama val on September 1, T. K. Jayarama Iyer nathan, Deputy Secretary, Education Depart- (violin), Alia Rakha (tabla) and Ravi Shankar ment, M. Periaswami (sitar) gave memorable recitals. Madras San- Thooran, K. Chandra geetha N ataka sekharan, M. G. Rama SEPTEMBER Sangam chandran, P. S. Veerus: wami Pillai and Shrimati All India Radio will hold an Inter-University Soundaram Kailasam have been appointed Radio Play Competition this year. Each members of the General Council ofthe Madras university has been re State Sangeetha Nataka Sangam for a period Radio Play Com- quested to enter one play of three years with effect from August 28, 1958. •• each, in Hindi (for stu- Shri Venkateswaran and Shri Ramanathan petition dents from non-Hindi have been chosen as Chairman and Treasurer, universities. This should respectively. be confined to students whose mother tongue is not Hindi) and in as many languages as possible (viz., English, Urdu, Telugu, Marathi, Kannada and Sanskrit). The General Council consists of 29 mem bers of whom 12 eminent artistes have been The author of the best play in each language elected by the outgoing Council and 10 per will be awarded Rs, 100. The second best, if sons elected by the representative organisations any, will be awarded Rs. 50. recognised for the purpose by the Sangam. 50 The Kerala Kala Kendra, the first school ofsocial support to the theatre. Twenty ama of Kathakali dancing in Northern India, found ed under the auspices of teur groups are expected to take part in this Kerala Kala the Kerala Education year's festival which will extend up to February Society, was inaugurated next. Kendra in Delhi in New Delhi on Septem ber 6. Mama Warerkar, M. P. and well-known Marathi playwright, * * * presided over the function. The Kishinchand Chellaram College, Bom Guru Gopinath, well-known exponent of bay, won the trophy for the best play in the Kathakali and Principal of the School, initiated eighth Inter-Collegiate a number of students and demonstrated some K. C. College Dramatic Competition forms of the art. Wins Best Play (final) held in Bombay Trophy on September 6 at the * * * Bharatiya Vidya Bhavan under the auspices of the Bhaven's Kala The eighth annual drama festival of the Delhi Natya Sangh got off to a start in New Kendra. Delhi on September 6. Natya Sangh Prof. Humayun Kabir, The winning college presented Vigil, a one Union Minister for Scienti- act play. Three colleges participated in the Festival fie Research and Cultural Affairs, who inaugurated competition-K. C. College, Wilson College the festival, stressed the need for a solid body and Elphinstone College. A scene from "Nagananda" staged in the Bharatiya Vidya Bhavan Kala Kendra Inter-Collegiate Drama Competition held in Bombay recently The local conference of the Gauhati Branch and he admired equally the kritis of Shyama of the Indian People's Theatre Association was Shastri and Dixitar. held on September 6, 7, Gauhati I.P.T.A. 9 and 10, 19~8. The He founded the Music Academy at Madras conference was maugura- in 1928 and was the editor of its journal and the Conference ted by Mr. Justice Mehro- Principal of the Teachers' College there. The tra of the Assam High title of Sangeet Kalanidhi was conferred on him Court. Shri Raghunath Chaudhuri, the famous by the Academy. Shri Subba Rao was res bard-poet of Assam, addressed the conference ponsible for introducing music as one of the as Chief Guest. Messages wishing success to subjects in the Universities of Madras, (Anna the conference and festival were received from malai), Chidambaram and Andhra. He was as Dr. Radhakrishnan, Vice-President, Shri S. ardent and zealous in his study of the North Fazl Ali Governor of Assam, Shri Sachin Sen Indian music as in that of the Karnatik music. Gupta, Shri Ahindra Chowdhury, S~ri. Balraj He was the Vice-Chairman of the Southern Sahni, Capt. Williamson Sangma, MInister of Panel of the Music Audition Board. Assam, Kumari Nirmala Joshi, Secretary, San geet Natak Akademi, New Delhi, Smt. Sabita Devi, Hony. Secretary, Assam Sangeet Natak His passing away is a great loss to the Akademi and many other noted personalities country and has created a gap in the musical in the field of art and culture of Assam and sphere which cannot easily be filled. elsewhere. The conference discussed and adopted reso * * lutions on repealing the Dramatic Performances Act of 1876,abolition of the entertainment tax Ravi Shankar, noted sitar player, kept one on cultural shows, provision of adequate open of Patna's largest and distinguished musical air theatres in Gauhati, awarding Rupkonwar gatherings spellbound for Jyotiprosad Agarwalla Memorial Scholarships Ravi Shankar's nearly three hours with to deserving youths of Assam to learn cine his sitar recital on Sep- matography and on other important issues. Sitar Recital tember 14. Earlier on September 12, speaking at a function arranged in his honour in the city A symposium was also held on the first by the Patna Sangeet Parishad, Ravi Shankar day of the conference. The subjects selected said that Indian music was much appreciated were: (i) Progressive trend in Assamese Music by foreign audiences. Giving impressions of and (ii) Problems of Assamese drama. his tour abroad, he said wherever he gave his performance, he found the audience highly The principal items presented in the Festival receptive. He added that the people ef Japan sessions were the ballets-Panier Ponakan and were very much interested in Indian music. Ek Paisar Bhepu, a one-act play, Sonar Kharu Ravi Shankar had been to Japan recently on (Gold Bangles), modern and folk songs, Mani an invitation from that country. puri style Kartali Nritya, Dhole display by Moghai Ojha and songs by the famous Calcutta singer, Shyamal Mitra. * * A Punjabi play, Ratta Salu, depicting the ** .. police terror and zamindari oppression in the former princely St~tes T. V. Subba Rao, a great musicologist and Punjabi Cultural before 1947, was the high a leading personality in the world of music, light of a cultural pro- passed away on Septem- Programme gramme presented in New T. V. Subba ber 9, 1958. Even as a Delhi on September 13 busy lawyer, the late Shri on the occasion of the Punjabi Writers' Con Rao Dead Subba Rao found time to ference. Among the music artistes, Jag~a study and practise music. deeply moved the audience with his powerful He had a complete mastery over Veena and recitation of verses from the tragic love story Violin. He was an authority on the works of of Sassi-Punnu. Surinder Kaur and Parkash the saint poet Thyagaraja and ofPurandar Das, Kaur rendered a lovely duet. 52 An interesting programme of Karnatic Mahavidyala MandaI at Belgaum. An excellent music and Bharata Natyam dances was presen- teacher, he had been working as a Kathak dance ted in New Delhi on instructor at the Gandharva Mahavidyalaya, Shanmukhananda September 14 by the Delhi, for the last 12 years. Sangeetha Sabha Sree Shanmukhanan~a Function Sangeetha Sa.bha .m * • connection with Its * annual day celebrations. The Executive Board of the Andhra Pradesh Sangeet Natak Akademi, at a meeting held A feature of the programme was, however, recently, resolved to take a pleasant vocal recital by Gomathi Rama New Theatre up the scheme of con- subhramaniam, who sang with ease and con structing a theatre in fidence in rendering three Karnatik songs. For Hyderabad Hyderabad at a cost of about Rs. 6 lakhs and to approach the Central and State Governments and the public for aid. The Board adopted a condolence resolution on the death of Sangeet Kalanidhi Shri Karai kudi Sambasiva Aiyar, the reputed Vainika. The Board also decided to hold a seminar on Kuchipudi dance shortly which all consider the question of starting a training school for teachers of that art. It was also decided to hold a dance, drama and music festival for seven days in February next. The Board approved the Akademi's participation .in t~e forthcoming Tagore's centenary celebrations m 1961. * * * A welcome addition in New Delhi's public buildings is a theatre hall with a seating. cap~- city of 800 which IS Permanent being constructed by the Theatre For Union Ministry o.f .l?e- D lhi fence at the Exhibition e I Grounds on Mathura Road. The theatre hall forms a wing ~f the Defence Exhibition building which will be The late Nrittyacharya Narayan Prasad retained after the "India-1958 Exhibition." The theatre hall, which may be used as a conference room and cinema hall for the use of the Defence Services, may also be loaned to cultural organisations in Delhi. Nrittyacharya Narayan Prasad, famous ex ponent of the Jaipur school.of Kathak ~ance, • * * died in New Delhi on Narayan Prasad September 12. He had The Capital's theatre lovers on September 25 been ailing for the last welcomed a new amateur dramatic group-The Dead three months. Son of American Theater Asso Shri Hanuman Prasad of New Amateur ciation-which presented Jaipur Narayan Prasad had distinguished him its first production In self as' a Kathak dancer of the highest class. Dramatic Group New Delhi t.hat evening. As a recognition of his merit, he was awarded The well-tried comedy the title of Nrittyacharya by the Gandharva was The Man Who Came to Dinner. The 53 Clad in priceless costumes, a young dancer from Bali gave a demonstration of Balinese REMISSION OF TAX dances in Calcutta recent Demonstration ly. The programme was ON DRAMAS of Balinese organised by the India I Asia Cultural Society. Dances All dramatic performances in Orissa The dancer, Wajandija, who has arrived in India on a scholarship to have been exemptedfrom the entertainment study Indian classical dances, is an exponent "> of the Kebyar style, a Balinese solo dance form tax with effect from Aprill, 1958, accord which depicts a series of rapidly changing ing to a notification issued by the State emotions through subtle movements of fingers, hands and eyes. Three of the four items pre Finance Department on March. 31, sented narrated certain episodes from the 1958. A recommendation to this effect Ramayana ond the Mahabharata, The most outstanding thing in the dancing was the abhi was made by the Drama Seminar naya and certain movements of the arms and eyes were similar to those of Kathakali. organised by the Sangeet Natak Akademi and the latter, after accepting this recom * ** mendation, addressed all State Govern Two important events for the music world ments for the exemption. The Government came about in Bombay in the end of the second of Orissa, in a notification dated Sep week of September, the Music Pioneers Jayanti of Swami Haridas tember 24, 1958, has informed the Sangeet and the 22nd death anni Commemorated versary of Pandit Vishnu Natak Akademi ofits decision. Narayan Bhatkhande. While the first was celebrated under the auspi ces of the Sur-Singer Samsad with a programme . of classical music and dance, a two-day festival main purpose of the new group is to promote was held by the Bharatiya Vidya Bhavan's interest in and appreciation of American Bharatiya Sangeet Shiksha Pithto pay homage drama. to the late Pandit Bhatkhande. 54 ADDITIONS TO AKADEMI LIBRARY THE following books have been added to the Sangeet Natak Akademi Library during the period, July-September, 1958 :- Dances of Other Countries and Folk Dances Verma, B. C. : Tripathaga Sharma, K. C. : Roop Laxmi (Ambapali) Yugoslav (F.W.) : Yugoslav Folk Dances Verma, V. C. : Rakhi Ki Laaj Indian Dances Chiranjit : Rangarang . Mishra, A. B. : Kurukshetra Raja, Serfoji : Dance Pieces in Marathi Chandra, K. B. : Sarhad Sharma, Surachand: Maithei Jogi in Manipuri Prashad, R. S. : Kunik Jain, K. S. : Kathak Natwari Nritya Dass, R. V. : Nad Prabha (Hindi) Dixit, S. N. : Swapanavasvadatta Drama Shekher, S. : Nikamma Shastri, R. R. : Devhooti Shastri, Y. M. : Pratirajasuyam (A drama Sexena, S. D. : Vijay Aur Varuni in Sanskrit) Verma, V. C. : Dekha-Dekhi Ko, Hu : Steeled in Battles Bhatt, U. S. : Parvati Ching-Chi, Ho : The White-Haired Girl Verma, V. C. : Lalit Vikrama Mahalinga, Y. : Kalipradurbhavam (A Sharma, R. : Gram Panchayat play in 7 acts) Vasanti Devi : Sharnarthi Mahalinga, Y. Kaundinya Prahasna (A Verma, V. C. : Nistaar comic play in 2 acts) Verma, V. C. : Mangal Sutra Theatre Milind, J. N. P. : Pratap Pratigya Anand, M. R. : The Indian Theatre Children's Plays Moscow (F. Word) : Moscow Art Theatre Chalak, (F. W.) : Chalak Lomdi Pos, W. Ph. : Dutch Art Today (Theatre) Gupt, V. P. : Sikandar Jab Chala Hindi Drama Gupt, V. P. : Peepal Ke Patte Srikishan : Subha Ka Bhoola Venkateshvarao, P. : Rani Rudrama Prashant Laadle Ka Batidan Rahi, R. N. S. : Jai Bharat Prashant Vish-Priksha Thakur, R. N. : Ravi Rashim, Vol. I Prashant Hori Aur Heera Thakur, R. N. : Ravi Rashim; Vol. II Prashant Durg Vijay Mahundra, R.C. : Hindi Ekanki Prashant Naya Yug Verma, V. C. : Khilone ki Khoj Prashant Shirsh .Daan Madan, I. N. : Jaishanker Prashad (Chin- Singh, T. P. : Kath Putla ton Va Kala) Shastri, D. P. : Chhik-Chhik £hatt, B. N. : Vivah-Vigyapan Puppetry Pant, G. B. : Suhag Bindi Benipuri, R. V. : Netra-Daan Prague, O. The Puppet Theatre in Mishra, C. N. : Chakra Viyuh Czechoslovakia 55 Indian Music Tagore, R. N. : National Song: Arrange ment No 2. Symphony Orchestra Jathar, J. B. : Gokhale Dhranyateel Cheenja Tagore, R. N. Vande Matram: Arrange ment No.2 For Military Joshi, Umesh : Bharatiya Sangeet Ka Band Itihas Tagore, R. N. Vande Matram. Prajananand, Swami: Sangeet 0 Sanskrit Vol. I Prajananand, Swami: Sangeet 0 Sanskrit Vol. II Anthropology Prajananand, Swami: Raag-OsRoop Cook, S. F. : The aboriginal population Paluskar, V. D. : Raag Kalyan of Alameda, and Contra Costa countries (California) Paluskar, V. D. : Raag Malkaus Paluskar, V. D. : Raag Bhairav Folk-Lore Paluskar, V. D. : Raag Bhoopali Chaturvedi, P.S. : Bharatiya Vratotsav Paluskar, V. D. : Raag Parvesh Vol. 1 Pandeya, I. P. : Avdhi Lok Geet Paluskar, V. D. : Raag Parvesh Vol. 2 Hansen, T.L. : Types of Folktales in Cuba, Puerto Rico Paluskar, V. D. : Raag Parvesh Vol. 3 Paluskar, V. D. : Raag Parvesh Vol. 4 Browne, R.B. Popular Beliefs and Prac tices from Alabama Paluskar, V. D. : Raag Parvesh Vol. 5 Shastri, Raja Ram: Hariyana Lok Manch Ki Paluskar, V. D. : Raag Parvesh Vol. 6 Kahaniyan Paluskar, V. D. : Raag Parvesh Vol. 7 Poetry Paluskar, V. D. : Raag Parvesli Vol. 8 Paluskar, V. D. : Raag Parvesh Vol. 9 Prasad, r.s, : Kamayani Paluskar, V. D. : Raag Parvesh Vol. 10 Shastri, Y.M. : Kinknimala (Shorter Poems) Paluskar. V. D. : Raag Parvesli Vol. 18 Achal Singh Paluskar, V. D. : Raag Parvesh Vol. 19 : Prem-ra-duha Mishra, L. M. : Tabla Vigyan Epics Mahalingah, Y. : Sringara Naradiyam Valmiki Shahanshah : Raag Parichaya Mahamunitam : Shri Ramayanam lst Part Shastri, K. V. : Raga Alapanas J: Thyams Hindi Literature Sankaran, C. R. & Studies in Indian Musical Tandon, P. N. : Hindi Sahitya (Pichhala others : Scale (A Vedic Chant) Dashak) Tandon, P. N. Tagore, R. N. : Jan-Gan-Man-Adhynayak : Adhunik Sahitya (National Song) Govinddass Govinddass Granthavclt 2nd Part Tagore, R. N. : National Song: Arrange ment No.3 For Military Vyas, Surya Vishvakavi Kalidasa (A Band Narayan study) in Hindi 56 AKADEMI PUBLICATIONS FOR SALE I. Film Seminar Report: Edited by Dr. R. M. Ray Rs. 10.00 2. Ragatattvavibodha of Srinivasa : 4.00 Edited by Vibhukumar S. Desai " 3. Kitab-i-Nauras by Ibrahim Adilshah II : !, .. Introduction, Notes & Textual I .. Editing by Dr. Nazir Ahmad 1 M.A., Ph.D., D. l.ltt., Lucknow ,~ 15.00 University " Available at SANGEET NATAK AKADEMI 4-A Mathura Road, Jangpura NEW DELHI-14 Price One Rupee Edited and published by Nirmala Joshi, 4-A, Mathura Road, Jangpura, New Delhi-14 and printed at the Caxton Press Private Limited, Connaught Circus, New Delhi.