7 September 2009
2 September 2009
laughindrums20 August 2009
Kalamezhuthu - The art of creating very large pictures on floor is more than 2000 years old .
The art of creating very large pictures on floor is more than 2000 years old, with coloured powders have been in vogue for ages as a ritual art form. It is typically south indian and unique to Kerala.It is a harmonic blend of Dravidian and Tribal traditions.
As an art form it has found a significant place among our rich spectrum of fine arts and is the only art form that exists with a three dimensional perspective not found in any other art form that exisits from the ancient world.In most other parts of India this art exists as a domestic routine of Hindus, who consider it auspicious to draw certain patterns at the door step and courtyard to welcome a deity into the house. It is called by names like Rangoli, Kolam etc.
Usually Kalamezhuthu is conducted as part of the general festivities in the temple, or as part of a major ritual like Nagapuja. The rituals related to the Kalam are performed by the artists themselves, usually the traditional drummers. Offerings like rice and other grains are heaped in appointed places in and around the drawing and the room is decorated with flowers, leaves and garlands. Lighting is of utmost importance in these rituals. Only oil lamps are used. Singing hymns in praise of the deity is the most important part of the ritual. The type of songs vary considerably (from folk to classical) depending on the deity being worshipped. The drawing starts at appointed time and shall be erased immediately after the rituals related to the Kalam are over.
All these rituals are performed in places of worship called "Kavu" (roughly translated as grove) or small temples. Besides general welfare of the village, these rituals aim at warding off of such calamities like Small Pox and other epidemic diseases, by the benevolence of the goddess. This belief is stemmed in the story of Bhadrakali defeating and killing Darikasura, whose associates terrorised the entire universe by spreading terrible contagious diseases. Theeyattu is one of such performing arts, popular in the central part of Kerala. Like most others of similar lines, Theeyattu also is accompanied by a number of mandatory rituals, some of them artistic and others purely ritualistic, often associated with Bhadrakali worship.
Kalamezhuthu & Pattu
The word Kalamezhuthu may be roughly translated as Powder Drawing. This is a magnificent form drawing performed by drawing large figures using coloured powders. No tools like brush are used for the purpose. The powder is spread on the floor in the desired pattern with bare hands, letting it in a thin stream between the thumb and the index finger. These large pictures are drawn on the floor of the temple hall or specially prepared pandal (pavilion) rendered sacred by purifying rituals and decorated elegantly with tender leaves and colourful flowers.
The picture (called Kalam) is drawn according to stringent guidelines in respect of pattern, details and dimensions. The powders are made out of naturally available material. The are of five colours, representing the five elements (Water, Air, Sky, Fire and Earth) called Panchabhootas, which constitute everything created. These materials are Rice (white), Charcoal of husk (black), Turmeric (yellow), a mixture of lime and turmeric (red) and green leaves of certain trees.
The process of Kalamezhuthu starts at noon on the day when Theeyattu is to be performed during the night. The ritual starts with singing songs in praise of Ganapathi, Saraswathi, Guru (celestial preceptor) and other gods. The singing is accompanied by drums and gongs. The figure drawn is that of goddess Bhadrakali, in the fierce mood after killing Darikasura. She is portrayed with eight hands, each bearing a different weapon (like sword, spear, discus, pestle, bow etc..), except two. One of these holds aloft the severed head of Darikasura by the hair. The other hand holds a platter to collect the blood dripping from the severed head. When the drawing completed, lighted oil lamps are placed in strategic positions to further brighten the colours.
Sandhya kottu (Percussion concert at dusk)
All the percussion instruments used in the performance join in a concert at sunset. This is a ritual announcing to those staying around that a performance is due that night. This had a particular significance in the old days when modern publicity methods were not available. Ethirelpu (Procession)
This is a ritual in vogue almost in every temple as part of the festivities. The idol designated for the purpose will be taken out in a procession around the temple. It will be preceded by girls bearing decorated platters and percussion concert.
Kalam Pattu
Songs in praise of the goddess are sung near the Kalam. In this she will be narrated from head to foot and vice versa, with the accompaniment of designated percussion instruments.
Gurudi
This is a mandatory ritual performed before Theeyattu to appease the demonic spirits (Bhootha) who assisted the goddess in her ordeal. This is a tantrik ritual resembling a sacrifice.
Theeyattu
The performance part of the art is done by a single actor called Theeyattunni. He enters the venue, lighted by a huge oil lamp, with the make up of goddess Bhadrakali, minus the headgear. He chants several hymns invoking the benevolence of various gods for the success of the performance and welfare of the audience. He wears the huge headgear in front of the audience. From that moment onwards he represents the goddess. The performance is presented as if Bhadrakali is reporting the incidents leading to the killing of Darikasura to her father, Lord Siva, represented here by the lighted lamp.
The performance develops through several chants, dances of thandava style, gestures and gesticulations. The gestures are rarely in strict accordance with Hastha Mudras of classical dance. The script, prose or verse, of the goddess is rendered by the actor, whereas all others are rendered by one of the accompanists.The act is concluded by the enacting of the killing of Darikasura, representing the destruction of evil
Sadly there are few communities left in kerala to continue with this amazing,three dimensional art form
Kings/Kingsley
As an art form it has found a significant place among our rich spectrum of fine arts and is the only art form that exists with a three dimensional perspective not found in any other art form that exisits from the ancient world.In most other parts of India this art exists as a domestic routine of Hindus, who consider it auspicious to draw certain patterns at the door step and courtyard to welcome a deity into the house. It is called by names like Rangoli, Kolam etc.
Usually Kalamezhuthu is conducted as part of the general festivities in the temple, or as part of a major ritual like Nagapuja. The rituals related to the Kalam are performed by the artists themselves, usually the traditional drummers. Offerings like rice and other grains are heaped in appointed places in and around the drawing and the room is decorated with flowers, leaves and garlands. Lighting is of utmost importance in these rituals. Only oil lamps are used. Singing hymns in praise of the deity is the most important part of the ritual. The type of songs vary considerably (from folk to classical) depending on the deity being worshipped. The drawing starts at appointed time and shall be erased immediately after the rituals related to the Kalam are over.
All these rituals are performed in places of worship called "Kavu" (roughly translated as grove) or small temples. Besides general welfare of the village, these rituals aim at warding off of such calamities like Small Pox and other epidemic diseases, by the benevolence of the goddess. This belief is stemmed in the story of Bhadrakali defeating and killing Darikasura, whose associates terrorised the entire universe by spreading terrible contagious diseases. Theeyattu is one of such performing arts, popular in the central part of Kerala. Like most others of similar lines, Theeyattu also is accompanied by a number of mandatory rituals, some of them artistic and others purely ritualistic, often associated with Bhadrakali worship.
Kalamezhuthu & Pattu
The word Kalamezhuthu may be roughly translated as Powder Drawing. This is a magnificent form drawing performed by drawing large figures using coloured powders. No tools like brush are used for the purpose. The powder is spread on the floor in the desired pattern with bare hands, letting it in a thin stream between the thumb and the index finger. These large pictures are drawn on the floor of the temple hall or specially prepared pandal (pavilion) rendered sacred by purifying rituals and decorated elegantly with tender leaves and colourful flowers.
The picture (called Kalam) is drawn according to stringent guidelines in respect of pattern, details and dimensions. The powders are made out of naturally available material. The are of five colours, representing the five elements (Water, Air, Sky, Fire and Earth) called Panchabhootas, which constitute everything created. These materials are Rice (white), Charcoal of husk (black), Turmeric (yellow), a mixture of lime and turmeric (red) and green leaves of certain trees.
The process of Kalamezhuthu starts at noon on the day when Theeyattu is to be performed during the night. The ritual starts with singing songs in praise of Ganapathi, Saraswathi, Guru (celestial preceptor) and other gods. The singing is accompanied by drums and gongs. The figure drawn is that of goddess Bhadrakali, in the fierce mood after killing Darikasura. She is portrayed with eight hands, each bearing a different weapon (like sword, spear, discus, pestle, bow etc..), except two. One of these holds aloft the severed head of Darikasura by the hair. The other hand holds a platter to collect the blood dripping from the severed head. When the drawing completed, lighted oil lamps are placed in strategic positions to further brighten the colours.
Sandhya kottu (Percussion concert at dusk)
All the percussion instruments used in the performance join in a concert at sunset. This is a ritual announcing to those staying around that a performance is due that night. This had a particular significance in the old days when modern publicity methods were not available. Ethirelpu (Procession)
This is a ritual in vogue almost in every temple as part of the festivities. The idol designated for the purpose will be taken out in a procession around the temple. It will be preceded by girls bearing decorated platters and percussion concert.
Kalam Pattu
Songs in praise of the goddess are sung near the Kalam. In this she will be narrated from head to foot and vice versa, with the accompaniment of designated percussion instruments.
Gurudi
This is a mandatory ritual performed before Theeyattu to appease the demonic spirits (Bhootha) who assisted the goddess in her ordeal. This is a tantrik ritual resembling a sacrifice.
Theeyattu
The performance part of the art is done by a single actor called Theeyattunni. He enters the venue, lighted by a huge oil lamp, with the make up of goddess Bhadrakali, minus the headgear. He chants several hymns invoking the benevolence of various gods for the success of the performance and welfare of the audience. He wears the huge headgear in front of the audience. From that moment onwards he represents the goddess. The performance is presented as if Bhadrakali is reporting the incidents leading to the killing of Darikasura to her father, Lord Siva, represented here by the lighted lamp.
The performance develops through several chants, dances of thandava style, gestures and gesticulations. The gestures are rarely in strict accordance with Hastha Mudras of classical dance. The script, prose or verse, of the goddess is rendered by the actor, whereas all others are rendered by one of the accompanists.The act is concluded by the enacting of the killing of Darikasura, representing the destruction of evil
Kalamezhuthu is unique form of ancient art found only in Kerala South India. Here it is essentially a temple art. The patterns to be drawn and the colours chosen are traditionally stipulated, and the tradition is strictly adhered to. Kalams are drawn in connection with the worship of Devi, Naga and Sastha. Certain variations of the rituals are found in Tantric rituals too. In each case the patterns, minutest details, dimensions and colour choice are mandatory and not arbitrary. The patterns vary considerably depending on the occasion, but rarely by the choice of the artist. Even the order of creation is laid down. The drawing of the large picture develops gradually about a central line, drawn with the black powder. Sketching, if done, is also with powder only. The coloured picture is developed patch by patch, growing outward.
Sadly there are few communities left in kerala to continue with this amazing,three dimensional art form
Kings/Kingsley
18 February 2009
South Indian Music and its English and South Indian names
In brief South Indian Music and its English and South Indian names
“In Carnatic music, the octave is divided, as in other major systems, into twelve parts, but the seven notes are given sixteen different names(though some of their melodic values overlap).The first note(Sa)and its fifth perfect or dominant(Pa)are constants. Among the other notes, Ri,Ga,Da and Ni have got three values each, while Ma has two values.”
In the history of Indian music, great musicologists and composers such as Bharata, Mªtanga,Purandara Das and Tyªgarªja treated it as a purely melodic system.In fact all the musical systems of the world had been melodic in the past.Harmonic progressions only started to be used in music in 1600 A. D.The European musical system was the first in the world,to successfully introduce harmonic progressions in music.Since then,efforts have been going on to experiment harmonic elements in South Indian music too.Yet an integral South Indian harmonic system is not yet mature.
A comprehensive research into the harmonic grammar of South Indian music has
never been done before.This pioneering exploration assesses one by one,the chordal
structure of seventy-two fundamental scales (mÂlakarta rªgams),and the chordal
structure of sample derivative scales (janya rªgams). The critical evaluation of the
chordal structure of scales brings forth the salient features of South Indian harmony.
This survey also exposes certain original features of South Indian harmony such as
basic dyads, solitary-roots and avoided-roots.
The first sphere is common sphere for the South Indian melodic school and for the South Indian harmonic school.It includes twelve notes, sixteen note-positions (svara stªnams),the scheme ofseventy-two fundamental scales (mÂlakarta rªgams),the scheme of countless derivativescales (janya rªgams),the scheme of hepta-rhythms(sapta tªlams)and the scheme ofnine feelings (nava rasams).The second is the exclusive sphere of the South Indianharmonic school.It includes octaves of semitonal intervals,structure of chords,methods of harmonic refinement,inversions of the chords, the grammar of harmonicprogressions and harmonic musicography(sangeeta lipi).
THE SCHEME OF FOUR DISSONANT NOTES (VIVDI SVARAMS)
In South Indian music, there is an intricate scheme of four dissonant notes (vivªdi
svarams). E double flat, D sharp, B double flat and A sharp (sudha gªndhªram, shatsrutirishabham, sudha nishªdam and shatsruti dhaivatam ) are the four components of thisscheme. One should remember that without the scheme of four dissonant notes (vivªdisvarams), only thirty-two consonant fundamental scales (samvªdi mÂlakarta rªgams)could exist. The production of dissonant notes is done by alloting two values, to fourkeys of the octave. In the consonant mode, these four keys will function as consonantnotes. But in the dissonant mode, the same four keys will function as dissonant notes.
THE SCHEME OF SIXTEEN NOTE POSITIONS (SVARA STNAMS)
This scheme of South Indian music, envisages sixteen intervals in an octave.
There are four note positions (svara stªnams) in this arrangement, which are additional to the twelve semitones.They are E double flat, D sharp, B double flat and A sharp (sudhagªndhªram, shatsruti rishabham, sudha nishªdam and shatsruti dhaivatam ).
Without the scheme of sixteen note positions (svara stªnams), the formation of seventy-two heptatonic scales (sampoorÖa rªgams)1 would be impossible. The English names,traditional South Indian names and abbreviations of sixteen note-positions (svarastªnams) are as follows.
SIXTEEN NOTE-POSITIONS OF AN OCTAVE
ENGLISH NAMES ORIGINAL SOUTH INDIAN NAMES
1 C (tonic) Shadjam (Sa)
2 D flat (Db) Sudha rishabham (Ri.1)
3 D natural (D) Chathusruti rishabham (Ri.2)
4 D sharp (D#) Shatsruti rishabham (Ri.3)
5 E double falt (Ebb) Sudha gªndhªram (Ga.1)
6 E flat (Eb) Sªdhªrana gªndhªram (Ga.2)
7 E natural (E) Antara gªndhªram (Ga.3)
8 F natural (F) Sudha madhyamam (Ma.1)
9 F sharp (F#) Prati madhyamam (Ma.2)
10 G natural (G) Panchamam (Pa)
11 A flat (Ab) Sudha dhaivatam (Dha.1)
12 A natural (A) Chathusruti dhaivatam (Dha.2)
13 A sharp (A#) Shatsruti dhaivatam (Dha.3)
“In Carnatic music, the octave is divided, as in other major systems, into twelve parts, but the seven notes are given sixteen different names(though some of their melodic values overlap).The first note(Sa)and its fifth perfect or dominant(Pa)are constants. Among the other notes, Ri,Ga,Da and Ni have got three values each, while Ma has two values.”
In the history of Indian music, great musicologists and composers such as Bharata, Mªtanga,Purandara Das and Tyªgarªja treated it as a purely melodic system.In fact all the musical systems of the world had been melodic in the past.Harmonic progressions only started to be used in music in 1600 A. D.The European musical system was the first in the world,to successfully introduce harmonic progressions in music.Since then,efforts have been going on to experiment harmonic elements in South Indian music too.Yet an integral South Indian harmonic system is not yet mature.
A comprehensive research into the harmonic grammar of South Indian music has
never been done before.This pioneering exploration assesses one by one,the chordal
structure of seventy-two fundamental scales (mÂlakarta rªgams),and the chordal
structure of sample derivative scales (janya rªgams). The critical evaluation of the
chordal structure of scales brings forth the salient features of South Indian harmony.
This survey also exposes certain original features of South Indian harmony such as
basic dyads, solitary-roots and avoided-roots.
The first sphere is common sphere for the South Indian melodic school and for the South Indian harmonic school.It includes twelve notes, sixteen note-positions (svara stªnams),the scheme ofseventy-two fundamental scales (mÂlakarta rªgams),the scheme of countless derivativescales (janya rªgams),the scheme of hepta-rhythms(sapta tªlams)and the scheme ofnine feelings (nava rasams).The second is the exclusive sphere of the South Indianharmonic school.It includes octaves of semitonal intervals,structure of chords,methods of harmonic refinement,inversions of the chords, the grammar of harmonicprogressions and harmonic musicography(sangeeta lipi).
THE SCHEME OF FOUR DISSONANT NOTES (VIVDI SVARAMS)
In South Indian music, there is an intricate scheme of four dissonant notes (vivªdi
svarams). E double flat, D sharp, B double flat and A sharp (sudha gªndhªram, shatsrutirishabham, sudha nishªdam and shatsruti dhaivatam ) are the four components of thisscheme. One should remember that without the scheme of four dissonant notes (vivªdisvarams), only thirty-two consonant fundamental scales (samvªdi mÂlakarta rªgams)could exist. The production of dissonant notes is done by alloting two values, to fourkeys of the octave. In the consonant mode, these four keys will function as consonantnotes. But in the dissonant mode, the same four keys will function as dissonant notes.
THE SCHEME OF SIXTEEN NOTE POSITIONS (SVARA STNAMS)
This scheme of South Indian music, envisages sixteen intervals in an octave.
There are four note positions (svara stªnams) in this arrangement, which are additional to the twelve semitones.They are E double flat, D sharp, B double flat and A sharp (sudhagªndhªram, shatsruti rishabham, sudha nishªdam and shatsruti dhaivatam ).
Without the scheme of sixteen note positions (svara stªnams), the formation of seventy-two heptatonic scales (sampoorÖa rªgams)1 would be impossible. The English names,traditional South Indian names and abbreviations of sixteen note-positions (svarastªnams) are as follows.
SIXTEEN NOTE-POSITIONS OF AN OCTAVE
ENGLISH NAMES ORIGINAL SOUTH INDIAN NAMES
1 C (tonic) Shadjam (Sa)
2 D flat (Db) Sudha rishabham (Ri.1)
3 D natural (D) Chathusruti rishabham (Ri.2)
4 D sharp (D#) Shatsruti rishabham (Ri.3)
5 E double falt (Ebb) Sudha gªndhªram (Ga.1)
6 E flat (Eb) Sªdhªrana gªndhªram (Ga.2)
7 E natural (E) Antara gªndhªram (Ga.3)
8 F natural (F) Sudha madhyamam (Ma.1)
9 F sharp (F#) Prati madhyamam (Ma.2)
10 G natural (G) Panchamam (Pa)
11 A flat (Ab) Sudha dhaivatam (Dha.1)
12 A natural (A) Chathusruti dhaivatam (Dha.2)
13 A sharp (A#) Shatsruti dhaivatam (Dha.3)
Subscribe to:
Posts (Atom)
Posts
