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Event 42: Kummāṭṭī - villu (with bows) - Thrissur

Description:
Kummāṭṭī - villu (Kummattikali) demonstration and performance. Kummāṭṭī is a form of processional mask dance from the central parts of Kerala. Earlier the group had listened to Bake's 1938 recordings, and said it was very old music, with the sound of the pancha vadyam made with the bows, which they could not do. There is discussion between the performances. 1. Bamboo villu demonstration. A musician demonstrates playing a villu, a struck bamboo bow with bamboo "string." 2. Palmwood villu - assembled. A musician demonstrates assembling a villu: he inserts the iron "string" into the bow; he taps the bow after the string is in place. Then he taps the iron "string." 3. Invocation to Siva (song). (4. & 5. Listed with but not identified on the Data Sheet; not in the audio recording). 6. Ganapati. Six Nair Hindu boys perform these chanted songs in call-and-response form, while each strikes a villu in steady duple pulse. 7. Mask dance. Three villu musicians and six mask dancers, joined and were instructed by Choomar Choondal, perform. 8. "Talai" song. The masked dancers perform in front of thrikakara appan pyramids (the pyramids hold incense and diya holding flame, as would be displayed in front of Nair houses during Onam to show the path of the Kummāṭṭī procession) as the musicians play and recite verses to duple pulse villus. Organized by V. P. Paul, Kerala Sahitya Akademi, Thrissur, and A. K. Nambiar, Calicut University School of Drama. Performed at the Casino Hotel.
Date:
April 2, 1984
Resource Type:
sound recording
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 42: Kummāṭṭī - villu (with bows) - Thrissur

Event 38: Pulayar (Paraya) transplanting songs - Ettumānūr

Description:
Two women and one man sing a long, unidentified song. The purpose of this session was to playback and re-cord transplanting songs from 1938 recordings made by A. A. Bake, Bake 28.3 "Two Pulliya transplanting songs, Bake 28.4 "Two Pulliya kolāttam songs, Kolāttam (sticks)," and Bake 28.5 "Two boat racing songs, Kolāttam (sticks)." But one non-Bake song was recorded. The singers are Nani, whose father was renowned for singing these songs; her husband, Thankappan, and their daughter, Molly, from Edayazham Vechoor, Taluk Vaikam, North Kottayam district. The recording location is the Mural Art Center, Archaeology Dept., Ettumānūr Post, Kottayam, Kerala. In the recent past transplanting songs were sung by 50 or more women in a row, with one or two singing as leaders who do not do the transplanting work. Their lines are repeated in chorus by the others. The tradition is becoming rare because many of the Puliyas have converted to Christianity and become educated, and seek jobs outside their traditional laborer class, so that other castes are doing the field labor. Molly, in fact, held a paper with the song texts from which she sang. The family did not know the Bake 28.4a song, but they remembered hearing it as children when their mothers and aunts sang it. They identified it as kadambi, a kolāttam (stick-dancing) song. Playback of Bake 28.4b was identified as a Paraja, not Pulaya. Item 3: They sang another song, and could have sung many more, but the others were waiting to dance and it had become very late."
Date:
March 27, 1984
Resource Type:
sound recording
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 38: Pulayar (Paraya) transplanting songs - Ettumānūr

Event 39: Thiruvathirakali - 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. The recording ends before the end of dance. 2. Incident from the story of Daksayaga. 3. Traditional song by an anonymous poet. 4. Uttara Svayamvaram: about a princess' marriage in the Mahābhārata, originally a Kathakali song composed by Irayamman Tampi. 5. Traditional Thiruvathirakali song by an anonymous poet. 6. Mangalacharanam: auspicious concluding song. Group leader: L. Chinnamma; members Parukutti 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:
sound recording
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 39: Thiruvathirakali - Ettumānūr

Event 40: Syrian Christian songs - Kottayam

Description:
Eight singers perform at a Bake playback session of songs recorded in 1938. The recording begins with a few minutes of talking. The singers located all but one of the Bake songs (Bake 28.8 "Dance") in two books: Ancient Songs, and Putan Pānā (death songs). 1. Syrian Christian wedding song, "Munnam malangara." In response to Bake 28.6 "Historical song." Main singer, T. K. Kurvilla, with Alex Kutty Phillip, Lissiamma Phillip, and Gigy Kurvilla. 2. Syrian Christian song about St. John the Baptist. "Tamara Bangani." In response to Bake 28.7 "John the Baptist." 3. Syrian Christian song of death, referring to the grief of the mother of Christ after the Crucifixion. Sung from memory, in response to Bake 28.9 "Paruan." Singers: T. M. Kurvilla and Alex Kutty Phillip. 4. Margamkali first song. Book of Ancient Songs, pg. 159. Indians invite St. Thomas to come to Kerala to bless them. Sung in response to Bake 28.10 "Margamkali."
Date:
March 28, 1984
Resource Type:
sound recording
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 40: Syrian Christian songs - Kottayam

Event 41: Jewish songs - Cochin

Description:
1. Psalm 29 "A Psalm of David." In response to the A. A. Bake 1938 recording Bake 30.4 "Psalm 29." Sung by Samuel Hallegua. 2. Morning Hymn. For 30 days before the new year there are early morning services; this may be sung on any Saturday. In response to Bake 30.5 "Morning hymn." Sung by Samuel Hallegua. 3. Purim song, "Purim hayom, Purim lanu" (Today is Purim, Purim for us). By Isaac Elias Hallegua, grandfather of the singer (1941, age 80+). In response to Bake 30.6 "Purim." Tells the story of the scroll of Esther. Sung by Samuel Hallegua. 4. Hosanna. In response to Bake 30.7 "Oanam." Sung by J. E. Cohen. 5. Call to bridegroom. Sung by Samuel Hallegua. A Shingli tune. There are four crowns: The Torah (Moses), the Priest (Aaron), the monarch (David) and a good name for a righteous man. Good oil may spoil, but never a good name. Call to the bridegroom to read the law (wedding). In Aramaic. 6. Torah neumatic notation. Sung by Samuel Hallegua.
Date:
March 29-30, 1984
Resource Type:
sound recording
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 41: Jewish songs - Cochin

Event 36: Syrian Christian songs - Kottayam

Description:
Syrian Christian songs. Performers, T. M. Kurruvilla, Kuttappan Aykara and Mariamma Malietera, sing along during a playback of the 1938 Bake recording 28.10 "Margamkali." Recorded at the house of Kuttappan Aykara. At the end of the recording session, the speaker says that in 1938 singers recorded by Bake performed the ... part 2 and Margamkali part 2 at the Sacred Heart Chapel...an arranged program and the father who took special interest to record these things asked them to assemble in front of the church for the recording session.
Date:
March 26, 1984
Resource Type:
sound recording
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 36: Syrian Christian songs - Kottayam

Event 04: Women's songs, bhajans - Shāhapur

Description:
Kanarese, Marathi and Sanskrit songs at a playback session of 1938 Bake recordings. Vitthal Temple precincts in the village of Shāhapur (now a suburb of Belgaum). Performed by the Sraddha Bhajan Mandal group (30 women and 3 men). Main instrument: voice. Accompanying musicians (instruments): G. A. Kulkarni (tablā), Yeshvant Bondre (pakhāwaj), unidentified musician (hmnm - harmonium). 1. Palna (name ceremony): lullaby. Kanarese. Addresses baby Lord Krishna, "Jo jo" refrain. Three singers: Sumangala Matikali (Lingayat), Shakuntala Chavan (Maratha), and Hemlata Matikali (Lingayat). In response to the 1938 A. A. Bake recording, Bake 68.6 "Kanarese Lullaby." They sang five verses, then remembered two more. 2 & 3. Seven-month pregnancy song: describes woman's experiences from first month. Three singers: Sumangala Matikali, Shakuntala Chavan, and Hemlata Matikali. In response to Bake 70.1 "Song for women in their seventh month of pregnancy" (tune not the same). The same song was recorded using the same tune sung by Dalit (Harijan) women in Bailhongal (Event 7). Interesting because different communities shared similar content (Lingayat and Dalit/Harijan). 4. Shravan (Sawan) Gauri: Gauri Arati - Mangala. Two singers: Sarala Adhyapak and Sarla Tarlekar (?). In response to Bake 69.9 "Gauri-arati song (Mangala)." Before Item 5, (12:50), there is brief talking and laughing and singing phrases from the film song "Gauri Arati - Mangala." This film song was composed by Keshavrao Bhole for the Marathi/Hindi film Kunku/Duniya na Mane (Vermilion/The World Doesn't Care) (1937). The Shahapur women sang it perfectly, and then sang their "paramparik" (traditional) version of the Gauri Mangala ritual song. The Marathi film song became the most popular version of this ritual song, even to today. 5. They sing their "paramparik" (traditional) version of the ritual song. The traditional song was sung on Tuesdays of Sravan (in August). 6. They sang the Bake version; a cinema version of the traditional song, composed by Keshavrao Bhole for the Marathi/Hindi film Kunku/Duniya na Mane (Vermilion/The World Doesn't Care) (1937). The Shahapur women sang it perfectly. The Marathi film song became the most popular version of this ritual song, even to today. 7. Sung by Sarla Tarlekar (?) and the first line is "Jai jai he sumangala." 8. The first line is "Jaya devi mangala gauri," and this version is from the film Kunku, in Marathi. 9. Hadaga "Hadaga gand hari pujite, vaje." Two singers: Aswini (Herlekar's niece) and another woman. In response to Bake 69.10 "Hadaga (girl's play)." 10. Hadaga: differs from Bake 69. 10 "Hadaga (girl's play)." 11. Child's Song. Sung by ten year old niece of Nandan Herlekar. 12. Hadaga: "Eliama pailama." In response to Bake 69.10 "Hadaga (girl's play)." 13. Tukaram Bhajan (sung by women): "Lauakar yei, yei." Singer: Nandan Herlekar and party, with hmnm, tablā, and taal. Subject: Ganapati description. 14. Kabir Bhajan (sung by women): Singer: Nandan Herlekar and party, with hmnm, tablā, and taal. Genre: Bhajan. 15. Kabir Bhajan : "Hari bolo re." Singer: Nandan Herlekar, with hmnm, tablā. Genre: Bhajan. 16. Ovi: "Nagapanchami." Singer: Mangala Bapat. 17. Ovi for a wedding: "Ghana Bariyela." 18. Ovi sung during wedding preparations: "Ghana Bariyela." 2 Singers: Sarala Adhyapak and another woman. 19. Tukaram: "Kai Sukhāhe." Two singers: Usha Khadilkar and Sunita Mahajan, with hmnm, tablā, pakhāwaj. 20. Lehra: Jugalbandhi: pakhāwaj, tablā, and hmnm. 21. Purandaradas bhajan to Lakshmi: "Bhāgyadalakshmi." Singer: G. H. Kulkarni, with tablā and hmnm. 22. Shiva tandavam (Shivatandavam) ritya. Singer: Vedmurti Nagech Shastri Herlekar. In Sanskrit, with hmnm, and tābla.
Date:
February 19, 1984
Resource Type:
sound recording
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Event 04: Women's songs, bhajans - Shāhapur

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

Theyyam festival - Malayan Keṭṭu: Thottam, Kalliasseri (India), 1984

Description:
Thottam (invocation): A demon dances and plays a maddaḷam horizontal drum as musicians -- playing a horizontal drum, a ceṇḍa (chenda) vertical drum, a smaller viku ceṇḍa, and cymbals -- perform with the Malayan dancer, drummer and teacher P. K. Panicker (Pallipurattu House, Kizhara PO, Cannanore. Malayan and Panan communities).
Date:
April 6, 1984
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Theyyam festival - Malayan Keṭṭu: Thottam, Kalliasseri (India), 1984