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Event 07: Women's songs - Bailhongal (video recording)

Description:
Five Kanarese songs performed by women of the Holeya community of agricultural farmers and Yellamma cult devotees at a playback session of 1938 A. A. Bake recordings. The main instrument is voice. The performers include Basavva Bhimshappa Bharamannavar, Gangavva Shivappa Bharamannavar, ayamavva Phakirappa Bharamannavar, Bhimavva Yallappa Bharamannavar, and Phakirava Basappa Bharamannavar. The session was arranged by Chandrakanta Kusanoor, a writer, poet and painter, and Kalpana Bandiwdekar, and Kalpana Bandiwdekar, archive assistant at the Archives and Research Centre for Ethnomusicology. Chandrakanta Kusanoor interviewed the performers during the recording event.<br/><br/>1. Lullaby: four voices. <br/><br/>2. Women's songs. (08:17). Playback of of the 1938 A. A. Bake recording "Lullaby" which was performed by two women from Wadagaum. The song has been identified as a "Cradling ceremony (naming ceremony)" song (S.A. Krishnaiah). (12:16) Performance of a puberty rituals folk song. The song begins with the refrain "So o (a) ninga..." a phrase having the meaning to stay blessed (S.A. Krishnaiah). (20:53) Playback of Bake 68.7 "Adorning the bridal couple with turmeric, Kanarese wedding," performed by two women. As the women listen to Bake's recording, (23:17) Chandrakanta Kusanoor, the local scholar-guide, interrupts saying "One minute please," after which the women sing the same song exactly as heard on the tape (22:35). <br/><br/>3. Sōbānepada song (23:35) - one of the types of songs sung on the occasion of marriage - is performed (S.A. Krishnaiah). The event, in this case, is suggested by the Bake song that is played back (29:00): Bake 68.8 "Homecoming of the bride" performed by two women. <br/><br/>4. ‘Biisoo pada’ - Grinding song. Playback of Bake 68.5 "Grinding song" performed by two girls. Followed by a performance of a Grinding Song: "Bangārala." Listening to the playback (36:17), the performers respond to the music the music and begin to sing. During Event 03: Women's songs - Kanbargi, for Item 1, the performers sang a grinding song similar to Bake 68.5 "Grinding song," but with a different tune.<br/><br/> 5. (35:27) Playback of Bake 70.1 "Song for women in their seventh month" performed by women from Wadagaum. (36:18) Followed by a performance of a seventh month of pregnancy song: "Arjunanā satina galu garbhini nathalu" (Arjuna's wife is pregnant). (40:56) Then Bake 70.1 is played back, again. During the playback the looks of recognition of the song can be seen on the women's faces. The song describes the cravings experienced by the woman through the 8th month of her pregnancy. The first month, whatever she wants, a single item is fulfilled. Second Month, she has two desires. The third month, she desires thirty “muvada (moodaka) cakkulis” (a ring-shaped, fried item made of rice). The fourth month, she desires piriṭōḷigina (pēṭiyoḷagina) (prepared in the city) dvaasey (doose). The fifth Month she wants “malligi dandi” (fresh Jasmin flower woven) and desires tiniṭ'hōḷigi (‘hōḷige’), sweet pan cake. The sixth month she desires “agrada hoolige,” a sweet milk dish. The seventh month a traditionally woven saree is desired; it is her wish. The eighth month she craves sunti, (ginger), eelakki, (cardmom), and tuppa (ghee) food. The ninth month, she completes her pregnancy and gives birth to a son (S.A. Krishnaiah).
Date:
February 21, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 07: Women's songs - Bailhongal (video recording)

Event 37: Ottan Thullal - Ayamkudy

Description:
Ottan Thullal - Kalyana Sougandhikam: a solo narrative dance form with music, in Malayalam. Performers: B. C. Balachandar (singer, actor) who studied at the Kerala Kalamandalam in Cheruthuruthy, Unni Krisnan (second singer), Parameswaran Nair (mṛdaṅgam), Thankappan Nair (singer, elathalam cymbals, uḍukku), and an unidentified musician (surpeṭī / sruti box). 1a. Make-up and costuming: Ottan Thullal artist B. C. Balachandar completes makeup for the green-faced (pacha) storyteller character he will enact. He smiles at the elderly mother of Thankappan Nair, who walks in and sits beside him, engaging him in conversation. Balachandar ties the black headcloth at the back of his head. He stands and puts on the brown cotton pajamas, and knocks on the wall, signaling that he is ready for the ornaments to be brought to him. Costuming is completed. <br/><br/>1b. Performance of the story of Kalyana Sougandhikam (The Auspicious Sweet-Smelling Flower), a satirical narrative dance written in verse by Kunjan Nambiar (1705-1770), originator of the form. The story is based on an episode from Mahābhārata. Thankappan Nair (singer, with elathalam cymbals); dancer/singer B. C. Balachandar; Prameswaran Nair (mṛdaṅgam); Thankappan (uḍukku, standing), musician (surpeṭī / sruti box). The main part of the dance is the verbal confrontation between Bhima and Hanuman. Bhima is searching for the flower in the jungle, and comes upon Hanuman, his half-brother. Hanuman recognizes Bhima, but Bhima does not recognize Hanuman. Bhima is furious at Hanuman for blocking the pathway with his enormous tail. The storyteller enacting Bhima directs his fury at the children in the audience in a comical way, which causes the children to giggle and laugh. Performed at the home of the Sithankan Thullal artist B. C. Balachandar.
Date:
March 27, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 37: Ottan Thullal - Ayamkudy