Search

Browse items

–

Current results range from 1905 to 2017

View distribution

Search Constraints

You searched for: Resource Type moving image ✖Remove constraint Resource Type: moving image
Start Over

4041 Catalog Results

Number of results to display per page
View results as:
List Created with Sketch. List View List Gallery Created with Sketch. Gallery View Gallery

Search Results

Event 12: Haranśikārī ritual - Hubli

Description:
Haranśikārī (Haranshikari) ādivāsi ritual at the Hubli Free Settlement lead by Chandappa Jampanna Kattimani ("verandah house," a headman's title, as disputes are solved on his verandah). Kattimani was a Haranśikārī who held the office of Municipal Corporator, and who was the leader of all of the Haranśikārīs, including those who had migrated to other states. In a pandal, he begins by performing rituals to the devi altar to seven goddesses, dispersing incense for all as he spins, hops and shouts in a state of trance. Halgi drums can be heard. Participants include the sons and grandson of Kattimani. Kattimani leads singing and invocation, dressed in a long red skirt held at the waist by a belt of bronze bells. There are ecstatic scenes and dancing. The language spoken by Haranshikari people is Pardhi, a dialect of Bhil, an adivasi language.
Date:
February 23, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 12: Haranśikārī ritual - Hubli

Event 06: Haḏgā girls' dance - Belgaum

Description:
Haḏgā is a seasonal festival circle dance with a cumulative song of 16 verses (also called Bhondla, Hadaga). This is an arranged performance of 12 of the verses by 18 schoolgirls from the Mahila Vidyalay school. Haḏgā is performed on the first day of Navaratri, when girls and young brides reunite in their natal home. One verse is sung the first night, when one of 16 dots is erased from beneath the image of an elephant, placed in the center of a circle. On the second night, two verses are sung, etc. On the last night, a covered dish with special food is passed from girl to girl, as each tries to guess its contents. Verse #9 tells of a mother-in-law and her son who want to bring the daughter-in-law/wife back to her new marital home. They offer her everything, including pearls. She agrees to return only if her husband gives her a whip.
Date:
February 20, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 06: Haḏgā girls' dance - Belgaum

Event 24: Om Periyaswamy & Nāiyāndī Mēḷam - Madurai

Description:
A Nāiyāndī Mēḷam ensemble plays two preludes before the dance and song performances begin. <br/><br/>1. Folk Tune prelude. (00:00) There are bird sounds, visuals of horse costumes, a man assembles the dancers' headgear and props. (04:00) Nazit Jairazbhoy, off camera, asks "Shattakolai?, shattakolai?" A player nods. <br/><br/>2. Music prelude with karam pot dance tune. The musicians are, from left, Conai (urumbi, urummi, uṟumi) double-headed variable tension membranophone with curving stick), Mukkasāmi, the leader, a Paraiyan (non-hereditary musician) from Karamattur (sattakolai multiple-reed aerophone with 10 holes), a drummer in light blue shirt and white shawl (small single-headed membranophone with two sticks), Kalidasa, tall drummer, (pambai double-headed membranophone pair with two slightly curving sticks), Venkatesan (tavil double-headed membranophone); and Cuppiramaniyan, in a dark blue shirt, (taḷām cymbals). <br/><br/>3. Poikkaal Kuthirai Aattam dance is performed by Madurai Om Periyaswamy, son of Om Periyaswamy, and another dancer, each wearing a “false leg horse” or "dummy-horse” costume. They do battle with dancers in red costumes, who are "slain" and carried away. Om Periaswami talks to musicians, followed by a series of Karakāṭṭam pot dances. <br/><br/>4. - 9. Karakāṭṭam, an acrobatic dance performed with pots balanced on the head, in praise of the rain goddess Mariamman. Dancers include daughters of Om Periyaswamy, Madurai Om Periyaswamy, and 1 other man. <br/><br/>7. Karakāṭṭam dance, hoops. <br/><br/>8. Karakāṭṭam dance ladders. 9. Karakāṭṭam dance ladders and karana poses. A woman perched on the ladders holds karana poses. <br/><br/>10. Karakāṭṭam dance, sari. Madurai Om Periyaswamy, wearing a Karakam on his head that is topped by a parrot, unwraps a sari on the ground, then rolls on the sari until he rises fully clothed in the sari, and wears it as he performs with the other dancers, Cārangapāni and Ayyamāl, also balancing pots and parrots on their heads, to the kāvadi cintu hemiola meter. He then unwraps the sari, folds it, and dances with the two other dancers to the continuing kāvadi cintu hemiola meter, until they all bow. <br/><br/>11. Kāvadi. Dance performed by Cenatipati (son of Om Periyaswamy). <br/><br/>12. Nāiyāndī Mēḷam postlude. Musicians Arunachalam Pillai (nāgasvaram) and Sankarayya Pillai (ottu drone nāgasvaram) perform. <br/><br/>13. Sattakolai Demonstration. At the end a sattakolai (cattak kuḻāy) demonstration is performed by Mukkasāmi.
Date:
March 14, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 24: Om Periyaswamy & Nāiyāndī Mēḷam - Madurai

Event 62: Velikkaḷaṃ - Kalliasseri

Description:
Velikkala pāṭṭu (Velikkaḷaṃ). A puja offering introduces the velikkaḷaṃ, a ritual healing method to help a woman conceive. The ceremony is led by Panayi Kumaran and party of the Pulayar community. <br/><br/>1. Rhythmic introduction to Velikkala pāṭṭu and creation of an altar: View of a kaḷameḻuttȧ (drawing of designs on floor with colored powder) of 3 deities enclosed by a decorative reed frame, and ritual tools. (00:05) A loudspeaker announcement about the event begins. Three men in white lunghis play a duple meter rhythmic prelude on ceṇḍa (chenda) drums (loss of sound 03:05-07:10). Other men construct a sacred offering tree (a type of altar) from banana leaves and areca blossoms, and women in white saris join on kinnam (bronze bowl instrument) and jālra (elathalam, bronze cymbals). Four children stand between the men and women. A seated pujari (priest) conducts a puja behind the offering tree. An elderly pujari (priest) holds a diyā oil lamp, walks around the offering tree, pours abhishekha libations of water, and performs an ārati ritual to offer light as sacred fire to the deity by installing the diyā oil lamp inside the offering tree. <br/><br/>2. Curing ceremony: Pāṭṭȧ song in triple meter while constructing another ritual altar. Women perform ārati worship by waving a flaming diyā oil lamp and bronze bowl above the kalam deity drawing. Triple meter drumming can be heard. They sit and continue the ārati ceremony. <br/><br/>3. Velikkaḷaṃ teyyam: Kalam figure as Gandharva in an exorcism ritual. One singer plays a horizontal drum. (18:08) The kalam figure of Gandharva enters to do the teyyam dance. Spinning and shouting, it enters downstage approaching the audience, traversing large swaths of ground before the audience. Musicians shout verses between duple meter drum phrases. A woman seated behind the drummers sings verses between the drum phrases. (31:08) The kalam bows to the musicians and the audience, and exits. (31:37) There is an announcement: "Next Item Kalam [unclear]" Followed by percussion in triple meter, a man's vocal solo, and a responding woman's vocal solo. (35:51) The singing ends and duple meter percussion begins.<br/><br/>4. Velikkaḷaṃ teyyam: Kalam figure as Bhairavan. A continuation of the Velikkala exorcism, with the lady sitting in back visible. A red curtain is held up as the Bhairavan kalam figure dances and jumps behind it. The kalam with long black locks and a white beard dances, prostrates and prays at the tree altar. (50:45) The musicians play a seven-beat meter, which changes (54:38) to duple meter. (57:39) The kalam sits on a stool and dances. (1:01:57) It then hops on its haunches. (1:02:03) A woman sings verses to drums in an unknown meter, a man responds. There is a closeup of a thappu, and/or mṛdaṅgam (?). (1:09:8) The music is triple meter. (1:11:09) A man sings in 14-beat (?) meter and women respond. (1:16:08) A younger man replaces P. K. Madhavan (Pillai) as the drummer. The woman continues to sing. (1:20:09) The young drummer is replaced by another young drummer, who plays triple meter, then duple meter. Ceṇḍa drums join and accelerate the tempo. <br/><br/>5. Velikkaḷaṃ teyyam: Kalam figure green face with two girls with paint on their cheeks. A white curtain is held by two men. A kalam arrives with two small girls. They stand together facing the audience. (1:27:53) The kalam figure begins to step forward with the girls. (1:28:57) The kalam figure and the girls rotate toward the tree altar and bow. (1:29:29) The tempo accelerates and the kalam figure steps in place quickly. (1:30:10) The kalam figure and the girls rotate to face the audience. The kalam figure embraces each girl, gives his stick to one girl, and dances in place with abhinaya gestures (dance gestures to communicate to the audience), as if instructing them to fly. He sits on the ground and continues abhinaya, then stands again. (1:37:19) There is a cut. The kalam figure urges and caresses each girl. There is a cut/fade up (1:42:07). Music between Item 5 and Item. (1:42:25) A man and woman alternate singing verses, during a 14-beat cycle, with a thappu drum and ilathalam (bronze cymbals). (1:45:38) a ceṇḍa drum enters.<br/><br/> 6. Velikkala teyyam: Kalam figure with face painted black. The kalam figure with a black face and long black locks, dances furiously, brandishes a crooked stick, screams, and runs throughout stage. <br/><br/>7. Velikkala teyyam: Kalam figure wearing a grass skirt and a crown dances with another kalam figure dressed in red.
Date:
April 8, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 62: Velikkaḷaṃ - Kalliasseri

Event 39: Thiruvāthirakali - Ettumānūr

Description:
Thiruvathirakali, women's dance and song. Performed in response to the 1938 A. A. Bake recording, Bake 31.1 "Karkotakali (Thiruvadarakali)." Thiruvathirakali is a dance tradition named for a star of Siva. The star has a festival in December-January, Dhanu, when Thiruvathirakali is performed, as well as at the Onam harvest festival. It is also called kaikottikali, "hand-clap-play." Ten ladies perform the six dances in a clockwise circle around a tall diya, bronze oil lamp. 1. Praise of Saraswati.<br/><br/> [2. Incident from the story of Daksayaga. Only in the audio?] <br/><br/>3. Traditional song by an anonymous poet [not in video?]. <br/><br/>4. Uttara Swayamvaram: about a princess' marriage in the Mahābhārata, originally a Kathakali song composed by Irayamman Tampi.<br/><br/> 6. Mangalacharanam: auspicious concluding song. Group leader: L. Chinnamma; members Parubutti Amma; Ammini Mussath and seven others. The recording location is the Mural Art Center, Archaeology Dept., Ettumānūr Post, Kottayam, Kerala.
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 39: Thiruvāthirakali - Ettumānūr

Event 61: Pulayarpāṭṭȧ - Kalliasseri

Description:
Pulayarpāṭṭȧ performed by E. Kunhikannan and party. Song of the Pulayar people, to introduce Maritheyyam, a ritual dance drama. There are two songs: <br/><br/>1. (00:00) Tuṭiyuṭe aitihyaṃ (the mythology/ story of thudi), and <br/><br/>2. (05:34) kālperumāṯṯaṃ song (literal meaning- sound of footstep). The singer strikes a chengila, a thin hanging metal plate used as a gong, while 4 drummers strike tudi squeeze drums in a 6-beat rupaka taalam. The song tells the origin of the tudi. The percussion begins alone in a syncopated 8-beat meter sarva laghu taalam (3+2+3). (06:25) All sing in unison with the percussion. (07:04) The lights resume and a tudi player leads the singing. (09:57) A man in a kurta and lunghi signals to them to stop. They stop and begin a different rhythm. There is minimal audio throughout. This was also recorded successfully on an audio cassette.
Date:
April 8, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 61: Pulayarpāṭṭȧ - Kalliasseri

Event 28: Villupāṭṭu - Kottaram

Description:
Villupāṭṭu performance in the temple to Santhanamari, in the village of Kottaram (Kanyakumari district, Tamil Nadu). Villupāṭṭu is an ancient form of musical story-telling in India. Performance by a Villupāṭṭu ensemble with seven musicians: Agasta Lingam Pillai (voice, Villu), Ganapati (jhala - bottle cap rattle), Ayappan (kuḍam), Ramayya (voice, jālra), Ramasam (kaṭṭai - wood blocks), Tangam (uḍukku), Minatci Nathan (harmonium / hmnm). The portions of the performance recorded on video cassette are described below.<br/><br/> Items 1-27 were recorded on PCM (audio digital pulse code monulation, on vhs cassette). The last pieces, perhaps starting with the Shāstā Story, were recorded on video cassette and audio cassette. <br/><br/>28. Beginning of the Shāstā Story. Speech, song: six beats. Another song: eight beats: The meeting of Mohini and Shiva, the birth of Shāstā (also recorded in 1938 by A. A. Bake, Bake 21.1 "Villupatu from Kottara: Birth of Shāstā"). <br/><br/>29. Story of Shāstā. Repeated. Performed in response to Bake 20.5 "Thanksgiving (Chorus) Guru Kumaraswami of Kottara." About the Bombai River, where Shāstā is born. <br/><br/>30. Vali "Thanksgiving." After hearing a playback of the March 5, 1938 A. A. Bake recording, Bake 20.5 "Thanksgiving (Chorus) Guru Kumaraswami of Kottara," the group performed. <br/><br/>31. Mangalam. Auspicious closing song. <br/><br/>32. Demonstrations of musical instruments: (13:02-13:54) kuḍam (bronze pot resonator) and palai (palm frond beater of kuḍam's mouth, (13:55-15:55) uḍukku (small hourglass drum), (16:00-17:27) villu (a large musical bow with 7 hanging bronze bells), (18:00-18:31) kaṭṭai - wood blocks, (18:33:18:59) jālra (small bronze hand cymbals), (19:00-19:27) harmonium drone on Db, G and C pitches. At the end of the demonstration the remainder of the video shows the audience talking, mostly young boys, and an interior view of Santhanamariambal mandir. An honorarium was given to Agasta Lingam Pillai for the Bake restudy villupattu performance.
Date:
March 18, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 28: Villupāṭṭu - Kottaram

Event 58: Sarpam pāṭṭu / thuḻḻal - Kalliasseri

Description:
Performance of a Sarpam pāṭṭu (song in honor of the snake god) thuḻḻal (dance that imitates the movement of a snake), a mystical ceremony to appease snake deities and bring prosperity to families, by appeasing the snake gods. The ceremony is conducted by members of the Pulluvan community. The video camera is hand held and the coverage is not continuous. The video begins before the start of the ceremony with an announcement in English in progress, a closeup of an altar to Nagara or a Goddess, and a view of the kolam floor design made of “colored powders,” depicting a five-headed snake. A Pulluvan family enters the stage area. "Two young girls (kanyas) will be made to sing. They will hold the flowers of the areca tree in their hands. The Pulluvans play on their traditional vīṇā and kudam. They sing to the accompaniment of these instruments.” The camera pans to the altar, a kudam is heard playing, and the announcement continues in Malayalam. (01:11) There is a cut to two male musicians bowing vīṇā kunjus, a male musician plucking two kudams, and a female musician striking a jālra hand cymbal. (01:42) There is a view from behind the priest, seated at base of the kolam. <br/><br/>1. Circumambulation of the kolam. Two young girls, a woman, a young man, and an older man playing vinā circumambulate the kolam, as the priest tosses flowers onto the kolam. The singers continue singing in unison, while the kudam plays rhythmic patterns that rise and fall in pitch and the jālra plays the same rhythms. (05:02) There is a closeup of the five heads of the snake. (05:25) There is a cut to the two Pulluvan girls and the woman seated at base of the kolam. There is a cut to the musicians: men play two vina kunju, one kudam, woman plays jhalra behind them. There is a cut to the priest and musicians playing and singing a different melody in a higher register, in triple meter. The priest mounts burning incense sticks above the snake heads. (08:32) The priest cuts coconut, gives libations to the incense, performs an ārati ritual (to offer light as sacred fire to one or more deities) above the snake heads and to the areca blossom altar. The priest gives blossoms to the woman, and to the young girls who circumambulate the kolam and toss their blossoms onto the kolam. They sit at the base of the kolam as the song continues. There is a fade-out/fade-in pan (11:34) to a full view of the kolam: a five-headed serpent entwined around a tree. The woman and two small girls stand, holding areca blossom branches in front of their faces. The kudam stops but the vīṇā kunju continues softly. The young man walks onto the kolam and tossing blossoms. He holds areca blossom branches and spreads the branches apart. The voice of the singing vīṇā player descends from a high pitch stepwise down, singing three notes, as he bows his vīṇā kunju. The kudam begins to play a rhythm. The musicians sing a response of three notes, first ascending, then descending, followed by other sung words. (13:37) The kudam plays faster triple meter patterns. (18:08) The two vīṇā kunjus musicians stand at the edge of the kolam and toss petal offerings on the young man and on the kolam. (18:32) The priest pours liquid over the young Pulluvan man standing on the kolam. <br/><br/>2. Trance, destruction of the kolam. The young girls, the woman, and the young man begin to sway and tremble. (20:13) Their movements become more energetic, as they hop across the kolam, as coconut water is again poured over the young man. He flails his arms and long strips of palm in the air, then waves a stick and dislodges the coconut sapling at the corner of the kolam. He carries the sapling on his back in rhythm with the music, drops the sapling at the base of the kolam, and rolls his body over the kolam. In a trance, the two young girls and woman continue to dance in a state of possession over the kolam gradually destroying the image of the naga (snake) as the vīṇā kunju players sing to them. (25:07) An attendant assists the trancing Pulluvatti woman with her sari. The video freezes. The Pulluvatti woman collapses and is assisted offstage with the young girls. Performed by V. P. Bahuleyan and party from Kāvayettu Vidu, Chāvara, P.O. Quilon.
Date:
April 6, 1984
Resource Type:
moving image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 58: Sarpam pāṭṭu / thuḻḻal - Kalliasseri