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PADAM and JAVALI MODULE 1 Padam, Atreasure Trove for Abhinaya

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PADAM and JAVALI MODULE 1 Padam, Atreasure Trove for Abhinaya PAPER 13 PADAM AND JAVALI MODULE 1 Padam, Atreasure trove for Abhinaya. Padams are scholarly compositions, mostly monologues. Padams stand on their own merit, with their pristine music and emotion-packed lyrics. It is a musical monologue which resembles a kirtana in structure and propagates the sentiment of love for God through the innumerable aspects of Nayika– nayaka bhava / नायक-नाययका. It is a scholarly composition with a perfect blend of Sangita and Sahitya / संगीत तथा साहित्य. The padams / ऩदम ् treat various aspects of the nayika nayaka bhava dwelling on shringara (the erotic sentiment), depicting the longings of a nayika for union with her nayaka or beloved. The bhakti school of poetry has found its finest expression in padams composed mainly in the medieval period. Kshetrayya / क्षत्रिय is one of the greatest of composers of Padam. Madhurabhava bhakti / मधुरभाव भक्तत is the main concept. It admits to outward shringara / �ींगार with an inner philosophical meaning. The nayika is the soul (jivatma / जीवात्मा) longing for union with the nayaka (Paramatma / ऩरमात्मा) and helped by the sakhi (Guru) in her endeavour. The Gita Govinda of Jayadeva is the earliest work which deals with this concept. 1 Structure A padam comprises of a pallavi, anupallavi and charanam. It may have multiple charanas / चरण. In the original compositions, there are not many sangatis. Those we hear now have been added over the years. The mudra (signature) of the composer may appear in the pallavi, anupallavi or in the last charanam. Language Padams are scholarly compositions in Telugu and Tamil. Though they are composed mainly as dance forms, they are also sung in concerts, on account of their musical excellence and aesthetic appeal. The language is simple and many times colloquial. Many of the words have dual meanings, so care has to be exercised to understand the sentiment behind the composition and infuse it with the right bhava. Musical Content As gems of melodic beauty, they stand unrivalled. The music is slow-moving and dignified. The music flow is continuous and sustained from one word to the other calling for great expertise in rendering them especially if they are in vilamba kaalam / ववऱ륍बा काऱम or slow tempo. They have a depth of musical intricacies which bring out the raagabhava / राग भाव beautifully. There is an intensity of outpouring of emotions in padams. The padams have to be learnt under able gurus who guide the student to present the raga bhava in the composition 2 in its entirety, with every anuswara and gamaka / अनुस्वर तथा गमका emphasized the way it should be. Breath control is very important in padams as the words are few and far between, so continuity in the sentiment has to be maintained. The long kaarvais have to be maintained with perfect sruti shuddham / सुध्धध्धम and finesse. The ponderously slow gait has to be maintained with perfect kaala pramaanam / कऱा प्रमाणं. The ragas are usually indicative of the sentiment in the padam. Ragas specially noted for evoking typical rasa bhavas, such as Suruti / �ुयत, Anandabhairavi / अनुभैरावी, Punnagavarali Sahana / ऩुन्नागावाराऱी सिाना, Ahiri / अिरी, Mukhari / मुखारी, Huseni / िुसेनी, Navroz / नवरोज़, Nilambari / नीऱा륍बरी, Sourashtram / सौराष्ट्रम and Ghanta / घंटा, to mention a few, are specially chosen for padams. Learning to sing the padam is as difficult as learning to do abhinaya to it with utmost involvement, to evoke rasa in the rasika / रससका. The sangitam / संगीतम and sahityam of a padam are heavy. Rhythmic Aspect Most padams are in slow tempo, especially the Telugu ones. Tamil padams are generally faster in pace, many are in madhyama kala. To bring out the lilting gait in the padams, they are set to misra chapu talam / सम� छाऩू ताऱम and triputa talams / त्रिऩुट ताऱम. 3 Placement in a concert In the words of the eminent dancer, T. Balasaraswati, “In dancing to Padams, one experiences the containment, cool and quiet of entering the sanctum from its external precinct. Dancing to the padam is akin to the juncture when the cascading lights of worship are withdrawn and the drum beats die down to the simple and solemn chanting of sacred verses in the closeness of God”. It is therefore placed after the varnam, when the dancer and the rasika are deeply involved and ready to explore the finer aspects of dance and music with concentration. In Carnatic music concerts too, the padam comes after the main ragam has been sung, late in the concert. By then, the singer’s voice has mellowed sufficiently and she is relaxed enough to sing the padam in all its grandeur. Musical Aspects The music is slow, dignified and flows in a natural manner. All padams are replete with raga bhava and a sustained balance is maintained between the music and the words throughout. All caranams have the same music. The padams lend immense scope to expression of variegated sentiments and shades of emotion in a very leisurely tempo with exquisite raga bhava. Kshetragna has done yeoman service to the cause of Carnatic music in his choice of the appropriate raga perfectly suited to the sentiments and emotional atmosphere of the sahitya. Of the ragams employed by Kshetragna / क्षेिंगा, mohanam / 4 मोिनम, kalyani / क쥍याणी, pantuvarali / ऩंतटू वाराऱी, shri / �ी, surutti / �ुक्त्त and kEdaragaula / केदागौऱा have been used to depict sambhoga shringara / संभोग ��ंगार (love in union). Some of these have been used to depict vipralamba shringara / ववप्रऱा륍बा �ींगार (separation). The mood of a particular context in a padam is usually complex and is the resultant of various circumstances and problems of emotional nature. The sahitya of the padam alone may not be able to reveal the mood of the situation. When suitable music is used, the meaning of the sahitya is forcefully expressed. Most padam compositions deal with the theme of separation in love with ample scope for varied treatment and the ragams have been so shaped as to suit the theme and the context. For example, sAvEri / सावेरी has been used as a vehicle for expressing the interference of a nAyikA born of pride and excessive love towards her lover and also to portray karuNa rasa arising from the quarrel between the lovers. Emotional Content Padams occupy a unique place, both on account of their heavy musical content and high literary value. The elastic nature of padams affords a fertile field for portraying various rasas (emotions) in all their delicate shades. The tempo of the compositions also contributes to the creation of deep enjoyment. The audience also should be aware of nayaka- nayika relationships and their subtle shades to be able to enjoy 5 the padam. All the eight rasas find their place in padams. Moods like anger, expectancy, jealousy, love, aggressiveness, self-abrasion, sorrow and mixture of various emotions get portrayed in the padam very effectively. The Tamil Padam is often on Lord Subramanya and Lord Shiva and Telugu Padams have Lord Krishna as their nayaka. In the past, some padams were also addressed to the royal patrons. A padam may have as its protagonist a nayaka, a nayika or a sakhi, who bring out the appropriate emotions. The Tamil padams composed in the latter half of the 18th and the 19th centuries, broadly fall into two categories, bhakti and sringara. Some of the bhakti- oriented padams employ sringara in the madhura bhakti mode. Muthu Thandavar’s ‘Theruvil Vaarano’ is a classic example of this genre. By addressing a God, some of the sringara padams border on madhura bhakthi. Kavi Kunjara Bharathi’s enchanting compositions such as ‘Varattum Swami Varattum’ on Muruga fall into this category. Many padams depict day to day situations and emotions. They are monologues with catchy refrains as their pallavi. In the court where many artistes vied with one another to catch the attention of a patron, these compositions scored over poetry that was recited and sung. The padams could be performed in dance, far more vividly than recitation or music. The composers wrote from real life around them and picked up words and phrases in common parlance, chiefly among the women of their times. Hence a nayika fretting over the tardiness or infidelity of her nayaka could be compared to a maiden today lamenting over her lover’s behavior. The spokesperson of a sringara padam could be a maiden, a friend advising the nayika, 6 a mother chiding the errant daughter, a matron and mistresses quarrelling amongst each other and so on. Human nature is the same then and now, anywhere in the world. Hence the audience anywhere in the globe can relate to the padams and the emotions portrayed therein. However, it has to be borne in mind that underlying these emotions is a deep philosophical connection of the yearning of the jeevatma to become one with the paramatma. Male domain To find himself described as the cynosure of the maidens of the land, would flatter the male ego no doubt. It is to be remembered that this was an exclusively male domain and the songs were composed by the males, for the males and of the females. Many of the padams indulge in description of the female anatomy and were perhaps not meant for the general public. The lyrics are conversational, colloquial, and ungrammatical and have a liberal sprinkling of words and phrases that are region specific and dialect oriented. The reader is flummoxed by indecipherable words such as pathakku, alavaadi, koetti, idumbu, tholi etc., that may be obsolete or an error of the scribes.
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