Looking at the Divine cosmic dance, the great Tamizh poet Karaikkal Ammaiyaar said ,
‘Melody of the seven swaras.. Resounding rhythm. He dances in this grandeur’.
துத்தம் கைக்கிள்ளை விளரி தாரம்
உழை இளி ஓசை பண் கெழுமப்பாடிச்
சச்சரி கொக்கரை தக்கையோடு
தகுணிச்சம் துந்துபி தாளம் வீணை
மத்தளம் கரடிகை வன்கை மென்றோல்
தமருகம் குடமுழா மொந்தை வாசித்து
அத்தனை விரவினோடு ஆடும் எங்கள்
அப்பன் இடம் திருவாலங்காடே.
This verse is very interesting.
Yes.. it does mention the name of all seven swaras as they are called in Tamizh.
Yes.. it does talk about the various melodic and percussion instruments of yore.
But what strikes one is way the poem depicts the relationship between Music and Dance.
Sometime back, I had explained as to how there is a dancer in every musician just as there is music in every dancer.
One may argue that dance depends on music while music does not depend on dance. While this statement may appear to be true, it should be understood that it is not dependency one is talking about. It goes much beyond that.
A true musician has a sense of dance. Just as a dancer has a sense of music.
A musician sings to the inward dance just as a dancer dances to the inward music..
Music and Dance have a symbiotic relationship. A relationship which is very special and divine.
In the last 3 months, we have been seeing the various forms of Classical dances of India with each post followed by a discussion on a composition of the Maestro in which dance is the fulcrum.
Starting with Bharatanatyam, we saw Kuchipudi, KathakaLi, Mohinaattam, Kathak, Odissi and Manipuri.
We saw the basic three N’s-Nritta, Nrithya, and Natya.
We saw the Adavus or the basic steps and the Hasthas or the hand gestures.
We also saw the format of a present day performance.
The series come to an end today with a wonderful composition of his.
It is a fact that not only is he Raaga Raaja and Laya Raaja but also Natana Raaja.
The compositions we saw in the last 5 posts stand testimony to this.
Today’s composition is unique.It is a competition between two sisters-one a dancer, and the other a musician.
The song is ‘Abhinayam Kaattu’ from ‘Vidiyum varai kaaththiru’(1981).
It is based on Simhendra Madhyamam.
Simhendra Madhyamam is the 57th melakarta.Its structure is: sa ri2 ga2 ma2 pa dha1 ni3 Sa/Sa ni3 dha1 pa ma2 ga2 ri2 sa.
Though it is the pratimadhyama ragam of Keeravani, Simhendra madhyamam has a beauty of its own and some prayogas/phrases have a melting quality.
It is also in the same Gruha Beda group as Mayamalavagowlai and Rasikapriya.
Let us now look at the composition.
We taste the quintessence of the raga in the beginning itself in the Aalap. A single stroke of a painter’s brush and we see an incredibly beautiful terrain strewn with glittering gems. The emphatic rendition and the beats of mridangam prepare us for a grand spectacle.
The Pallavi is threaded around mellifluent prayogas of the raga. The dainty Veena and the pulsating mridangam heighten the air of serenity.
The crystal clear Jalatharangam and the melodic Tabla tarang dance with dexterity as the anupallavi starts.
The sangati that lasts for 2 avarthanas following the first line of the anupallavi is soaked in classical melody.
The raga dances with the fleet footedness of a deer, with the elegant charm of a peacock and the flowing fish.
In the first interlude, the effervescent veenas play the poorvanga of the raga with the flowery violins, the captivating Tabla tarang and the matchless Jalatarangam smiling in appreciation. All of them join together in the end and play the arohanam of the raga in unison.
The first line of the beautifully structured first CharaNam is aesthetically elegant. The second line has purposeful deliberation with the swaras traversing the octaves. The third line and the sangati that follows show us the subtle nuances of the raga. The last line is as graceful as the movement of a swan.
The reflective veena at the end of the first line and the melodious flute at the end of the second line decorate the already beautiful CharaNam.
The composition gathers further sheen now as the intense violins, the regal veena and the lucent Jalatarangam delve deeply into the raga.
The second charaNam is etched with sensitive strokes...
The first two lines sparkle with effective permutations in the Tisram and the Chatusram gaits. We see the power, verve and the melody in the lines that follow.
There is a plethora of imaginative phrases encompassing all aspects of the loftiness of classical dance and classical music. Music walks, leaps, prances, and dances while the Dance sings with the arc of the raga’s radiance.
Cohesively designed jatis are festooned with glowing strand of swaras..
It is a linear and circular musical geometry..
Abhinayam paarththu nadai podum isai..
ps:This Natana Raaja-VI and the Tamizh version were specially written and read out to an invited audience in Chennai on the 29th of Aug 2010.
Tuesday, 31 August 2010
நடன ராஜா
தெய்வீக நடனத்தை, இந்த அண்டத்தின் நாட்டியத்தைத் தன் கண்முன்னால் திருவாலங்காடு எனும் ஊரில் கண்ட காரைக்கால் அம்மையார் என்ற தமிழ்ப் புலவர்,இவ்வாறு பாடுகிறார்:
துத்தம் கைக்கிள்ளை விளரி தாரம்
உழை இளி ஓசை பண் கெழுமப்பாடிச்
சச்சரி கொக்கரை தக்கையோடு
தகுணிச்சம் துந்துபி தாளம் வீணை
மத்தளம் கரடிகை வன்கை மென்றோல்
தமருகம் குடமுழா மொந்தை வாசித்து
அத்தனை விரவினோடு ஆடும் எங்கள்
அப்பன் இடம் திருவாலங்காடே.
இந்தப்பாடலில் பல சிறப்புகள் இருக்கின்றன.
ஸ ரி க ம ப த நி என்ற ஏழு சுவரங்களின் தமிழிசை குறிப்பீடுகளாகிய துத்தம் கைக்கிள்ளை விளரி தாரம் உழை இளி ஓசை இடம்பெறுவது முதல் சிறப்பு.
பண்டைய தமிழகத்தின் இசைக்கருவிகளாகிய சச்சரி கொக்கரை தக்கை
தகுணிச்சம் துந்துபி தாளம் மத்தளம் கரடிகை வன்கை மென்தோல் டமருகம் குடமுழா மொந்தை இடம்பெறுவது இரண்டாவது சிறப்பு.
இதில் தாளஇசைக்கருவிகளும் பாடல் இசைக்கருவிகளும் ஒன்றொடொன்று பின்னிப்பிணையும்படி அமைந்திருப்பது மூன்றாவது சிறப்பு.
விரவினொடு என்றால் மிகச்சிறப்போடு என்று பொருள்.
இவ்வளவு சிறப்புகள் நிறைந்த இந்தப் பாடல் நமக்கு உணர்த்துவதுதான் என்ன?
ஆடலும், பாடலும் இறைக்கு நிகரானது என்பது ஒன்று.நடனமும், இசையும் ஒன்றோடொன்று தொடர்பு உடையது என்பது இன்னொன்று.
சில மாதங்களுக்குமுன், எவ்வாறு ஒவ்வொரு நடனக்கலைஞர் உள்ளேயும் இசை இழையூடுகிறதோ, அதேபோன்று ஒவ்வொரு இசைக்கலைஞன் உள்ளேயும் நடனம் அடிநாதமாக இருக்கிறது என்று சிறிது விளக்கமாக எழுதியிருந்தேன்.
இசை எப்படி நடனத்தைச் சார்ந்து இருக்க முடியும் என்று சிலர் வினவக்கூடும்.
ஒரு இசைக்கலைஞன் தனக்குள் தானாகவே ஆடிக்கொண்டிருக்கும் நடனத்திற்குப் பாடுகிறான்.ஒரு நடனக் கலைஞன், தனக்குள் ஒலித்துக்கொண்டிருக்கும் இசையில் நடனமாடுகின்றான்.
எனவே, இசைக்கும் நடனத்திற்கும் சேர்ந்து ஒன்றாக வாழும் தன்மை இயற்கையாகவே அமைந்து இருக்கிறது.இரண்டிற்கும் உள்ள தொடர்பு புனிதமானது.
கடந்த மூன்று மாதங்களாக இந்திய பாரம்பரிய நடனங்களாகிய பரதநாட்டியம், குச்சிப்புடி,கதக்களி,மோஹினியாட்டம்,கதக்,ஒடிசி,மணிபுரி இவைகளைப் பற்றிப் பார்த்தோம்.
நிருத்தியம்,நிருத்தம்,நாட்டியம், மற்றும் அடவுகள்,ஹஸ்தங்கள் இவைகளைப் பற்றி சிறிது அறிந்து கொண்டோம்.ஒவ்வொரு பதிவிலும் நடனம் சம்பந்தப்பட்ட இசைஞானியின் பாடலை விவரமாகப் பார்த்தோம்.
ஜூன் 2 தொடங்கிய இந்தத் தொடர்,இன்றுடன் முடிவடைகிறது.
இன்றும் அவரின் மிகச் சிறந்த ஒரு நடனப்பாடலைக் காண்போம்.
அவர் ராக ராஜா மட்டும் அல்ல.லய ராஜா மட்டும் அல்ல.நடன ராஜாவும்தான் என்பது இந்த சில பாடல்கள் மூலம் நன்றாகவே புலன் ஆகி இருக்கும்.
இன்றைய ஆக்க அமைவும் தனித்தன்மை வாய்ந்த தன்னிகரில்லா ஒரு பாடல்.
அது 'விடியும் வரை காத்திரு' என்னும் திரைப்படத்தில் இடம் பெற்ற 'அபிநயம் காட்டு..' என்ற பாடல்.
இந்தப் பாடல் சிம்மேந்திர மத்தியமம் எனும் ராகத்தில் அமைந்தது.
57வது மேளகர்த்தாவாகிய சிம்மேந்திர மத்தியமத்தில் உள்ள சுவரங்கள் ஷட்ஜமம், சதுஸ்ருதி ரிஷபம், சாதாரண காந்தாரம், பிரதி மத்தியமம், பஞ்சமம், சுத்த தைவதம், மற்றும் காகலி நிஷாதம்.கீரவாணி எனும் கம்பீரமான ராகத்தின் பிரதி மத்தியம ராகமாகிய இந்த ராகம் தனக்கேயுறிய சில பிரயோகங்களால் அழகுடனும், மெருகுடனும், உள்ளத்தை உருக வைக்கும். மாயாமாளவகொளள மற்றும் ரசிகப்ரியா இந்த ராகத்தின் கிரஹபேதக் குழுவில் இருக்கின்றன.
இன்றைய பாடலில் இசையும், நடனமும் மோதுகின்றன.அதாவது இரண்டு சகோதரிகள்.ஒருவர் இசைக்கலைஞர்;மற்றவர் நடனக்கலைஞர்.இருவருக்கும் நிகழ்கிறது போட்டி இசையா,நடனமா?
பாடலை இப்பொழுது கவனிப்போம்.
முதலில் வரும் இனிமையான ஆலாபனையிலேயே, ராகத்தின் பிழிசாறினை அனுபவிக்கிறோம்.
கைதேர்ந்த ஒவியனின் தூரிகையில் ஒரே வருடலில் மிக அழகிய நிலப்பகுதியில் மின்னும் மணிகளாக ஒலிக்கிறது இந்த ஆலாபனை.
ஜானகியின் அழுத்தமான ஆலாபனையும், மிருதங்கத்தின் ஒலியும் பல இசை விந்தைகள் நிகழ இருப்பதை நமக்கு முன்கூட்டியே அறிவிக்கின்றன.
இனிமையான பிரயோகங்கள் இழைநுணுக்கமாக அமைந்திருக்கிறது பல்லவி.இசைச்சுவை நிரம்பிய வீணையும்,அதிரும் மிருதங்கமும் மன அமைவை இன்னும் உயர்த்துகிறது.
படிகத்தைப் போன்ற தெளிவான ஜலதரங்கமும், பண்திறம் வாய்ந்த தபலா தரங்கும் லாகவத்துடன் நடனம் ஆடும்பொழுது அனுபல்லவி தொடங்குகிறது.
தொடர்ந்து இரண்டு ஆவர்த்தனத்திற்கு நிலைக்கும் சங்கதி தொன்மையான இன்னிசையில் தோய்ந்து நம்மை மெய்மறக்கச் செய்கிறது.
துள்ளும் மானாகவும், மனதை அள்ளும் மயிலாகவும், கொள்ளை கொள்ளும் மீனாகவும் ராகம் நடனம் ஆடுகிறது.
பாட்டிடைக் கருவி இசைப்பில், இன்னிசை பொங்கிப் பெருகும் வீணை, ராகத்தின் பூர்வாங்க சுவரங்களாகிய ஸ ரி க ம மட்டும் வீணை மிக அழகாக இசைக்க,இதைப்பாராட்டும் வகையாக சித்திரத்தைப் போன்ற வயலின்கள்,மனங்களைத் திருடும் தபலா தரங், மற்றும் இணையே இல்லாத ஜலதரங்கம் புன்னகை புரிகின்றன.இந்த எல்லா இசைக்கருவிகளும் ஒன்று சேர்ந்து ஒருமுகமாக ராகத்தின் ஆரோகணத்தை இப்பொழுது வாசிக்கின்றன.
சரணத்தின் முதல் வரி அழகுணர்ச்சியுடன் நேர்த்தியாக அமைக்கப் பெற்றிருக்கிறது.ஆழ்ந்தாராய்வுடன் அமைந்த இரண்டாவது வரியில் எண்மங்கள் ஊடு கடக்க,மூன்றாவது வரியிலும் அதனைத் தொடர்ந்து வரும் சங்கதியிலும்,ராகத்தின் மென்மையான கூறுகளை காணுகிறோம்.முதல் சரணத்தின் இறுதி வரி, அன்னத்தின் நடைபோன்று வசீகரமாக அமைந்திருக்கிறது.
முதல் வரியின் இறுதியில் எதிர் ஒலிப்பாக வரும் வீணையும், இரண்டாம் வரியின் இறுதியில் பட்டெறிவாக வரும் குழலோசையும் ஏற்கெனவே அழகாக இருக்கும் சரணத்தை மேலும் அலங்கரிக்கின்றன.
இரண்டாவது பாட்டிடை இசைக்கருவி சேர்ப்பில், முனைப்பான வயலின்கள்,கம்பீரமான வீணை,ராகத்தினுள்ளே தீவிரமாகச் செல்லும் ஜலதரங்கம் முதலியவை பாட்டை இன்னும் பளீரென்று ஒளியுடன் மின்னச் செய்கின்றன.
இரண்டாவது சரணம் கூர் உணர்வுடன் தீட்டப்பட்டிருக்கிறது.
வரிசை மாற்றமாக திஸ்ரமும் சதுச்ரமும் மிருதங்கத்தில் ஒலிக்கின்றன.தொடர்ந்து வரும் வரிகளில், திறன்,சக்தி,இனிமை இவை மூன்றும் ஒன்று கலந்து நம்மை ஒரு தனி உலகிற்கு அழைத்துச் செல்கிறது.இசை,நடனம் இவற்றின் மேன்மையினை உணர்த்தும் பெருவளம் நிரம்பிய கற்பனைத்தொடர்களை இப்பொழுது காண்கிறோம்.
இசை துள்ளுகிறது.குதிக்கிறது.பாய்கிறது.ந்டனம் ஆடுகிறது.
ராகத்தின் ஒளியுடன் நடனம் பாடுகிறது.
கட்டுக்கோப்பான ஜதிகளை பூவளையங்களாக சுவரங்கள் அலங்கரிக்கின்றன.
இது நீட்சி மிகுந்த, வட்டமான இசை வடிவயியல்.
அபிநயம் பார்த்து நடை போடும் இசை!
துத்தம் கைக்கிள்ளை விளரி தாரம்
உழை இளி ஓசை பண் கெழுமப்பாடிச்
சச்சரி கொக்கரை தக்கையோடு
தகுணிச்சம் துந்துபி தாளம் வீணை
மத்தளம் கரடிகை வன்கை மென்றோல்
தமருகம் குடமுழா மொந்தை வாசித்து
அத்தனை விரவினோடு ஆடும் எங்கள்
அப்பன் இடம் திருவாலங்காடே.
இந்தப்பாடலில் பல சிறப்புகள் இருக்கின்றன.
ஸ ரி க ம ப த நி என்ற ஏழு சுவரங்களின் தமிழிசை குறிப்பீடுகளாகிய துத்தம் கைக்கிள்ளை விளரி தாரம் உழை இளி ஓசை இடம்பெறுவது முதல் சிறப்பு.
பண்டைய தமிழகத்தின் இசைக்கருவிகளாகிய சச்சரி கொக்கரை தக்கை
தகுணிச்சம் துந்துபி தாளம் மத்தளம் கரடிகை வன்கை மென்தோல் டமருகம் குடமுழா மொந்தை இடம்பெறுவது இரண்டாவது சிறப்பு.
இதில் தாளஇசைக்கருவிகளும் பாடல் இசைக்கருவிகளும் ஒன்றொடொன்று பின்னிப்பிணையும்படி அமைந்திருப்பது மூன்றாவது சிறப்பு.
விரவினொடு என்றால் மிகச்சிறப்போடு என்று பொருள்.
இவ்வளவு சிறப்புகள் நிறைந்த இந்தப் பாடல் நமக்கு உணர்த்துவதுதான் என்ன?
ஆடலும், பாடலும் இறைக்கு நிகரானது என்பது ஒன்று.நடனமும், இசையும் ஒன்றோடொன்று தொடர்பு உடையது என்பது இன்னொன்று.
சில மாதங்களுக்குமுன், எவ்வாறு ஒவ்வொரு நடனக்கலைஞர் உள்ளேயும் இசை இழையூடுகிறதோ, அதேபோன்று ஒவ்வொரு இசைக்கலைஞன் உள்ளேயும் நடனம் அடிநாதமாக இருக்கிறது என்று சிறிது விளக்கமாக எழுதியிருந்தேன்.
இசை எப்படி நடனத்தைச் சார்ந்து இருக்க முடியும் என்று சிலர் வினவக்கூடும்.
ஒரு இசைக்கலைஞன் தனக்குள் தானாகவே ஆடிக்கொண்டிருக்கும் நடனத்திற்குப் பாடுகிறான்.ஒரு நடனக் கலைஞன், தனக்குள் ஒலித்துக்கொண்டிருக்கும் இசையில் நடனமாடுகின்றான்.
எனவே, இசைக்கும் நடனத்திற்கும் சேர்ந்து ஒன்றாக வாழும் தன்மை இயற்கையாகவே அமைந்து இருக்கிறது.இரண்டிற்கும் உள்ள தொடர்பு புனிதமானது.
கடந்த மூன்று மாதங்களாக இந்திய பாரம்பரிய நடனங்களாகிய பரதநாட்டியம், குச்சிப்புடி,கதக்களி,மோஹினியாட்டம்,கதக்,ஒடிசி,மணிபுரி இவைகளைப் பற்றிப் பார்த்தோம்.
நிருத்தியம்,நிருத்தம்,நாட்டியம், மற்றும் அடவுகள்,ஹஸ்தங்கள் இவைகளைப் பற்றி சிறிது அறிந்து கொண்டோம்.ஒவ்வொரு பதிவிலும் நடனம் சம்பந்தப்பட்ட இசைஞானியின் பாடலை விவரமாகப் பார்த்தோம்.
ஜூன் 2 தொடங்கிய இந்தத் தொடர்,இன்றுடன் முடிவடைகிறது.
இன்றும் அவரின் மிகச் சிறந்த ஒரு நடனப்பாடலைக் காண்போம்.
அவர் ராக ராஜா மட்டும் அல்ல.லய ராஜா மட்டும் அல்ல.நடன ராஜாவும்தான் என்பது இந்த சில பாடல்கள் மூலம் நன்றாகவே புலன் ஆகி இருக்கும்.
இன்றைய ஆக்க அமைவும் தனித்தன்மை வாய்ந்த தன்னிகரில்லா ஒரு பாடல்.
அது 'விடியும் வரை காத்திரு' என்னும் திரைப்படத்தில் இடம் பெற்ற 'அபிநயம் காட்டு..' என்ற பாடல்.
இந்தப் பாடல் சிம்மேந்திர மத்தியமம் எனும் ராகத்தில் அமைந்தது.
57வது மேளகர்த்தாவாகிய சிம்மேந்திர மத்தியமத்தில் உள்ள சுவரங்கள் ஷட்ஜமம், சதுஸ்ருதி ரிஷபம், சாதாரண காந்தாரம், பிரதி மத்தியமம், பஞ்சமம், சுத்த தைவதம், மற்றும் காகலி நிஷாதம்.கீரவாணி எனும் கம்பீரமான ராகத்தின் பிரதி மத்தியம ராகமாகிய இந்த ராகம் தனக்கேயுறிய சில பிரயோகங்களால் அழகுடனும், மெருகுடனும், உள்ளத்தை உருக வைக்கும். மாயாமாளவகொளள மற்றும் ரசிகப்ரியா இந்த ராகத்தின் கிரஹபேதக் குழுவில் இருக்கின்றன.
இன்றைய பாடலில் இசையும், நடனமும் மோதுகின்றன.அதாவது இரண்டு சகோதரிகள்.ஒருவர் இசைக்கலைஞர்;மற்றவர் நடனக்கலைஞர்.இருவருக்கும் நிகழ்கிறது போட்டி இசையா,நடனமா?
பாடலை இப்பொழுது கவனிப்போம்.
முதலில் வரும் இனிமையான ஆலாபனையிலேயே, ராகத்தின் பிழிசாறினை அனுபவிக்கிறோம்.
கைதேர்ந்த ஒவியனின் தூரிகையில் ஒரே வருடலில் மிக அழகிய நிலப்பகுதியில் மின்னும் மணிகளாக ஒலிக்கிறது இந்த ஆலாபனை.
ஜானகியின் அழுத்தமான ஆலாபனையும், மிருதங்கத்தின் ஒலியும் பல இசை விந்தைகள் நிகழ இருப்பதை நமக்கு முன்கூட்டியே அறிவிக்கின்றன.
இனிமையான பிரயோகங்கள் இழைநுணுக்கமாக அமைந்திருக்கிறது பல்லவி.இசைச்சுவை நிரம்பிய வீணையும்,அதிரும் மிருதங்கமும் மன அமைவை இன்னும் உயர்த்துகிறது.
படிகத்தைப் போன்ற தெளிவான ஜலதரங்கமும், பண்திறம் வாய்ந்த தபலா தரங்கும் லாகவத்துடன் நடனம் ஆடும்பொழுது அனுபல்லவி தொடங்குகிறது.
தொடர்ந்து இரண்டு ஆவர்த்தனத்திற்கு நிலைக்கும் சங்கதி தொன்மையான இன்னிசையில் தோய்ந்து நம்மை மெய்மறக்கச் செய்கிறது.
துள்ளும் மானாகவும், மனதை அள்ளும் மயிலாகவும், கொள்ளை கொள்ளும் மீனாகவும் ராகம் நடனம் ஆடுகிறது.
பாட்டிடைக் கருவி இசைப்பில், இன்னிசை பொங்கிப் பெருகும் வீணை, ராகத்தின் பூர்வாங்க சுவரங்களாகிய ஸ ரி க ம மட்டும் வீணை மிக அழகாக இசைக்க,இதைப்பாராட்டும் வகையாக சித்திரத்தைப் போன்ற வயலின்கள்,மனங்களைத் திருடும் தபலா தரங், மற்றும் இணையே இல்லாத ஜலதரங்கம் புன்னகை புரிகின்றன.இந்த எல்லா இசைக்கருவிகளும் ஒன்று சேர்ந்து ஒருமுகமாக ராகத்தின் ஆரோகணத்தை இப்பொழுது வாசிக்கின்றன.
சரணத்தின் முதல் வரி அழகுணர்ச்சியுடன் நேர்த்தியாக அமைக்கப் பெற்றிருக்கிறது.ஆழ்ந்தாராய்வுடன் அமைந்த இரண்டாவது வரியில் எண்மங்கள் ஊடு கடக்க,மூன்றாவது வரியிலும் அதனைத் தொடர்ந்து வரும் சங்கதியிலும்,ராகத்தின் மென்மையான கூறுகளை காணுகிறோம்.முதல் சரணத்தின் இறுதி வரி, அன்னத்தின் நடைபோன்று வசீகரமாக அமைந்திருக்கிறது.
முதல் வரியின் இறுதியில் எதிர் ஒலிப்பாக வரும் வீணையும், இரண்டாம் வரியின் இறுதியில் பட்டெறிவாக வரும் குழலோசையும் ஏற்கெனவே அழகாக இருக்கும் சரணத்தை மேலும் அலங்கரிக்கின்றன.
இரண்டாவது பாட்டிடை இசைக்கருவி சேர்ப்பில், முனைப்பான வயலின்கள்,கம்பீரமான வீணை,ராகத்தினுள்ளே தீவிரமாகச் செல்லும் ஜலதரங்கம் முதலியவை பாட்டை இன்னும் பளீரென்று ஒளியுடன் மின்னச் செய்கின்றன.
இரண்டாவது சரணம் கூர் உணர்வுடன் தீட்டப்பட்டிருக்கிறது.
வரிசை மாற்றமாக திஸ்ரமும் சதுச்ரமும் மிருதங்கத்தில் ஒலிக்கின்றன.தொடர்ந்து வரும் வரிகளில், திறன்,சக்தி,இனிமை இவை மூன்றும் ஒன்று கலந்து நம்மை ஒரு தனி உலகிற்கு அழைத்துச் செல்கிறது.இசை,நடனம் இவற்றின் மேன்மையினை உணர்த்தும் பெருவளம் நிரம்பிய கற்பனைத்தொடர்களை இப்பொழுது காண்கிறோம்.
இசை துள்ளுகிறது.குதிக்கிறது.பாய்கிறது.ந்டனம் ஆடுகிறது.
ராகத்தின் ஒளியுடன் நடனம் பாடுகிறது.
கட்டுக்கோப்பான ஜதிகளை பூவளையங்களாக சுவரங்கள் அலங்கரிக்கின்றன.
இது நீட்சி மிகுந்த, வட்டமான இசை வடிவயியல்.
அபிநயம் பார்த்து நடை போடும் இசை!
Tuesday, 24 August 2010
Natana Raaja- Part V
Repetition is a interesting concept.
I am not referring to the repetition of empty rhetoric from our politicians nor am I referring to the shameless ‘Breaking News’ on the Television channels.
This is purely a thread for classical elements, a fact I am sure regular followers of this Blog know very well.
Yes..I am referring to the concept of Repetition in Classical music. Though one finds it in all major classical forms,’repetition’ in carnatic music is somewhat unique. Most of you who have listened to a Carnatic music concert must have noticed that the vocalist (or the instrumentalist) repeats a line (the number of times varies from Kriti to Kriti).A careful listener would have also noticed that each time the line appears with some additional quality. This additional quality is called as the ‘sangati’, a term I have used quite often in this thread.
Apart from this, the performer also takes up a line in one particular kriti , keeps repeating it and then starts singing swaras with the line repeated again at the end of each swara segment. This is called as the Niraval in carnatic music. Here again, the line would sound different , each time it is sung.
Let us now look at a very interesting verse:
kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai
கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை.
All the four lines identical..
Would you believe me if I say each line carries a different meaning?
The words have to be split to get the real meanings.
The first line is split thus:
kazhumal amudhu padhikka uLNee an kattu urai- You are born from the filth and die filthily.
Second line:
kazhu malam udhu padhi kavuNi ankaN thu urai- Pray to that Lord who removes the Maya, KaNmam, AaNavam(the impurities)
Third line:
kazhum alam amudhu padhi kam uNiyan kattu urai-The Lord who is in the guise of a mendicant is like the nectar and it is not easy to realize him(possible only for the ‘initiated’)
Fourth line:
kazhumalam mudhupadhik kavuNiyan kattu urai- Chant the verse about the Holy place Thirukkazhumalam(a.k.a. Sirgazhi) composed by Sambandar (who is from the Kaundinya gotra) .
This must be one of the best ever written poem/verse in Tamizh. As some of you might have guessed, this was written by Thirugnanasambandar- whose mastery over Tamizh language is amazing (and whose ‘palindrome’ verse was quoted in my second Natana Raaja post in this Blog).
Just like music and poetry, there is repetition in dance too. In a Bharatanatyam recital-mainly in the varnam piece- a single line will be repeatedly sung by the vocalist and the dancer would narrate a story in abhinaya generally related to the Lord on whom the song is composed. This is called as ‘sanchaari’.
In keeping with the objective of the thread, let us see the other three classical dance forms of India now.
Today’s Natana Raaja composition also shows us some facets of Kathak. More about this later. Before that, let us also briefly look at the two other classical forms-that appeared in the first Natana Raaja post in this thread.
They are Odissi and Manipuri.
Odissi, as the name suggests originates from the state of Orissa and is one of the most graceful dance forms.The movement of the head, chest and the pelvis-called as the Tribhangi- forms the core of this dance form.
Odissi is supposed to be one of the oldest dance forms and like Bharatanatyam, this too was mainly practiced by the Devadasis also called as Maharis.Over a period of time, two more types of schools emerged.Gotipau-where young boys dressed up like women and danced and Nartaki-which was essentially a Royal court dance.
Like the other dance forms, Odissi too has the pure dance item called as ‘Pallavi’where there are graceful movements of the eyes, neck, chest and the feet finally reaching a crescendo. There is an abhinaya piece as well-which is generally an Ashtapati of Jayadeva.
Manipuri is a subtle, graceful and unique dance form. Manipuri dancers do not wear ankle bells and also touch the ground very subtly while dancing. Devotion is the key in Manipuri dance. Delicate rounded movements mark this beautiful dance form.
Time now for the Natana Raaja composition of today. As mentioned earlier, it reminds one of a Kathak performance particularly towards the end.
The song is ‘Gokulame Needhira..’ from Chakravyham(Telugu-1990).
It is based on Darbari Kaanada, a Hindustani Raag.
This Raag was adapted from Kaanada of Carnatic music first by Tansen. There is of course a lot of difference between Kaanada and Darbari Kaanada in the way they are sung- though in principle there is a similarity.
The structure of Darbari Kaanada is: sa ri2 ga2 ma1 pa dha1ni2 Sa / Sa dha1 ni2 ma1 pa ma1 pa ni1 ga2 ma1 ri2 sa .
However, like most of the Hindustani raags, this raag is also defined more by the prayogs and pakads than by the Aroh/Avaroh.
The Gandhar(ga) plays a very major role in giving the raag its special flavour.It is a very special ‘ga’(called as ati-komal gandhar).
Moreover, the occurrence of repeat swaras- as double or triple combinations like sasasa ninini papa..-is a special feature of this Raag.
Let us now look at the composition.
Ankle bells, Pakhawaj..Flute .. We enter the world of delicate imagery.
The leisurely floats of Sitar, the elegant flute and the circular motion of the Violins prepare us for the ethereal experience.
The humming of Chitra is beguilingly soft. It is a tryst with melody even as the subtle patterns of the Raag Darbari are rendered..
The first line of the Pallavi itself creates a reposeful ambience.
The line ‘Gopika maanasa chora..’ moves with a chiseled refinement while the last line which is an interplay of octaves is an exquisite glow of finesse.
One sees a clear stream of music in the first interlude the flute plays with sensitivity with the ankle bells as the undercurrent and the violins giving the melodic essence of the raag. The rhythmic cycle is clearly delineated by the pakhawaj.
The CharaNams are full of joyful phrases.
The first line is soaked Darbari .One hears the perpetual mellowness of the Raag in the lines that follow.. The raag moves with gay abandon but at the same time without any maudlin frills.
The last line that depicts the circular motion (spin) in a Kathak performance is a marvel.
When the Pallavi is rendered again after the first CharaNam, it is embellished with the resounding tabla and the salutary tonal modulation is mesmerising.
The second interlude is dominated by the vocals with Chitra singing the swaras and Mano singing in ‘akaaram’. The diligent weaving of swaras rendered with considerable panache and felicity of expression giving us the light and shade contrasts of the Raag shows the musical brilliance of the composer.
The second charanam is followed by some beautiful melodic phrases.
First we hear the melodic strains of the violins playing the leitmotif.
Then we have Mano singing the swaras and we see the Kathak patterns in the percussion and the ankle bells.
The swara singing picks up with the swaras covering the entire spectrum of the Raag with the triple combinations (sasasa papapa ninini..)
It is a rhapsody of sorts.
Next is the turn of the violins again.
The phrases that follow show us the beauty of Kathak in a matter of seconds.
We see the gracious patterns in an orderly progression.
It is like a stream flowing in a mountainous terrain that finally cascades like a gushing waterfall.
The melting last piece of the violins in the end says it all..
Gokulame mee Sangeetam…
I am not referring to the repetition of empty rhetoric from our politicians nor am I referring to the shameless ‘Breaking News’ on the Television channels.
This is purely a thread for classical elements, a fact I am sure regular followers of this Blog know very well.
Yes..I am referring to the concept of Repetition in Classical music. Though one finds it in all major classical forms,’repetition’ in carnatic music is somewhat unique. Most of you who have listened to a Carnatic music concert must have noticed that the vocalist (or the instrumentalist) repeats a line (the number of times varies from Kriti to Kriti).A careful listener would have also noticed that each time the line appears with some additional quality. This additional quality is called as the ‘sangati’, a term I have used quite often in this thread.
Apart from this, the performer also takes up a line in one particular kriti , keeps repeating it and then starts singing swaras with the line repeated again at the end of each swara segment. This is called as the Niraval in carnatic music. Here again, the line would sound different , each time it is sung.
Let us now look at a very interesting verse:
kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai
kazhumala mudupathik kavuNiyan katturai
கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை
கழுமல முதுபதிக் கவுணியன் கட்டுரை.
All the four lines identical..
Would you believe me if I say each line carries a different meaning?
The words have to be split to get the real meanings.
The first line is split thus:
kazhumal amudhu padhikka uLNee an kattu urai- You are born from the filth and die filthily.
Second line:
kazhu malam udhu padhi kavuNi ankaN thu urai- Pray to that Lord who removes the Maya, KaNmam, AaNavam(the impurities)
Third line:
kazhum alam amudhu padhi kam uNiyan kattu urai-The Lord who is in the guise of a mendicant is like the nectar and it is not easy to realize him(possible only for the ‘initiated’)
Fourth line:
kazhumalam mudhupadhik kavuNiyan kattu urai- Chant the verse about the Holy place Thirukkazhumalam(a.k.a. Sirgazhi) composed by Sambandar (who is from the Kaundinya gotra) .
This must be one of the best ever written poem/verse in Tamizh. As some of you might have guessed, this was written by Thirugnanasambandar- whose mastery over Tamizh language is amazing (and whose ‘palindrome’ verse was quoted in my second Natana Raaja post in this Blog).
Just like music and poetry, there is repetition in dance too. In a Bharatanatyam recital-mainly in the varnam piece- a single line will be repeatedly sung by the vocalist and the dancer would narrate a story in abhinaya generally related to the Lord on whom the song is composed. This is called as ‘sanchaari’.
In keeping with the objective of the thread, let us see the other three classical dance forms of India now.
Today’s Natana Raaja composition also shows us some facets of Kathak. More about this later. Before that, let us also briefly look at the two other classical forms-that appeared in the first Natana Raaja post in this thread.
They are Odissi and Manipuri.
Odissi, as the name suggests originates from the state of Orissa and is one of the most graceful dance forms.The movement of the head, chest and the pelvis-called as the Tribhangi- forms the core of this dance form.
Odissi is supposed to be one of the oldest dance forms and like Bharatanatyam, this too was mainly practiced by the Devadasis also called as Maharis.Over a period of time, two more types of schools emerged.Gotipau-where young boys dressed up like women and danced and Nartaki-which was essentially a Royal court dance.
Like the other dance forms, Odissi too has the pure dance item called as ‘Pallavi’where there are graceful movements of the eyes, neck, chest and the feet finally reaching a crescendo. There is an abhinaya piece as well-which is generally an Ashtapati of Jayadeva.
Manipuri is a subtle, graceful and unique dance form. Manipuri dancers do not wear ankle bells and also touch the ground very subtly while dancing. Devotion is the key in Manipuri dance. Delicate rounded movements mark this beautiful dance form.
Time now for the Natana Raaja composition of today. As mentioned earlier, it reminds one of a Kathak performance particularly towards the end.
The song is ‘Gokulame Needhira..’ from Chakravyham(Telugu-1990).
It is based on Darbari Kaanada, a Hindustani Raag.
This Raag was adapted from Kaanada of Carnatic music first by Tansen. There is of course a lot of difference between Kaanada and Darbari Kaanada in the way they are sung- though in principle there is a similarity.
The structure of Darbari Kaanada is: sa ri2 ga2 ma1 pa dha1ni2 Sa / Sa dha1 ni2 ma1 pa ma1 pa ni1 ga2 ma1 ri2 sa .
However, like most of the Hindustani raags, this raag is also defined more by the prayogs and pakads than by the Aroh/Avaroh.
The Gandhar(ga) plays a very major role in giving the raag its special flavour.It is a very special ‘ga’(called as ati-komal gandhar).
Moreover, the occurrence of repeat swaras- as double or triple combinations like sasasa ninini papa..-is a special feature of this Raag.
Let us now look at the composition.
Ankle bells, Pakhawaj..Flute .. We enter the world of delicate imagery.
The leisurely floats of Sitar, the elegant flute and the circular motion of the Violins prepare us for the ethereal experience.
The humming of Chitra is beguilingly soft. It is a tryst with melody even as the subtle patterns of the Raag Darbari are rendered..
The first line of the Pallavi itself creates a reposeful ambience.
The line ‘Gopika maanasa chora..’ moves with a chiseled refinement while the last line which is an interplay of octaves is an exquisite glow of finesse.
One sees a clear stream of music in the first interlude the flute plays with sensitivity with the ankle bells as the undercurrent and the violins giving the melodic essence of the raag. The rhythmic cycle is clearly delineated by the pakhawaj.
The CharaNams are full of joyful phrases.
The first line is soaked Darbari .One hears the perpetual mellowness of the Raag in the lines that follow.. The raag moves with gay abandon but at the same time without any maudlin frills.
The last line that depicts the circular motion (spin) in a Kathak performance is a marvel.
When the Pallavi is rendered again after the first CharaNam, it is embellished with the resounding tabla and the salutary tonal modulation is mesmerising.
The second interlude is dominated by the vocals with Chitra singing the swaras and Mano singing in ‘akaaram’. The diligent weaving of swaras rendered with considerable panache and felicity of expression giving us the light and shade contrasts of the Raag shows the musical brilliance of the composer.
The second charanam is followed by some beautiful melodic phrases.
First we hear the melodic strains of the violins playing the leitmotif.
Then we have Mano singing the swaras and we see the Kathak patterns in the percussion and the ankle bells.
The swara singing picks up with the swaras covering the entire spectrum of the Raag with the triple combinations (sasasa papapa ninini..)
It is a rhapsody of sorts.
Next is the turn of the violins again.
The phrases that follow show us the beauty of Kathak in a matter of seconds.
We see the gracious patterns in an orderly progression.
It is like a stream flowing in a mountainous terrain that finally cascades like a gushing waterfall.
The melting last piece of the violins in the end says it all..
Gokulame mee Sangeetam…
Tuesday, 17 August 2010
Natana Raaja-Part IV
Poetry in motion..
This is how one can describe an infant on the cradle.
The way it kicks its legs..
The way it moves its hands..
The way it cries..
The way it grumbles..
What is this if not poetry?
Periyaazhwar, the 9th Century Tamizh poet who composed 473 verses- out of which 210 verses are on the ‘growing-up’ of Child Krishna where he imagines himself to be Yasodha - says,
‘When I put him on the cradle, he kicks it and breaks it.
When I keep him on my waist, he breaks my ribcage.
When I feed him, he dances and kicks my stomach.
Oh..No! I am unable to bear his mischief!!’
கிடக்கில் தொட்டில் கிழிய உதைத்திடும்
எடுத்துக் கொள்ளில் மருங்கை யிறுத்திடும்
ஒடுக்கிப் புல்கில் உதரத்தே பாய்ந்திடும்
மிடுக்கிலாமையால் நான் மெலிந்தேன் நங்காய்!
Though the mother sounds very tired, one can easily see the appreciation and the adoration for her child.
Does one not feel poetry, hear music, and see dance in this?
A child is as beautiful as the Poetry, as mesmerizing as Music and as graceful as Dance.
In this thread, we have been seeing about poetry and music.In the last three posts, we have also been seeing albeit briefly about the various classical dance forms of India.
Today, let us see the two beautiful but somewhat contrasting forms from Kerala-KathakaLi and Mohiniaattam.
KathakaLi-meaning ‘Story play’- originated from Ramanaattam and Krishnanaattam, the earlier Dance drama forms of Kerala. Known for its unique make-up and costumes, beautiful body movements in synchronization with the vocal and the percussion music and detailed gestures, KathakaLi is not an easy dance form to perform (though an easy form to understand).A typical KathakaLi artiste is also well versed with KaLaripayattu, the martial art of Kerala that improves the concentration, stamina and co-ordination.
There are essentially 5 features in KathakaLi-Facial expressions with special emphasis on the eye-movements, Hand gestures (Mudras), rhythmic movements of hands, legs and the body as a whole(Nrittam), Vocal music(the musician also narrates the story from time to time and recites the dialogues of the different characters) and the percussion music(cymbals and 3 different types of native drums each producing a unique sound of its own).
This highly stylized classical performance involves a lot of co-ordination and is a team work. Generally, stories from the Mahabharata and the Ramayana are performed and it is said that some of the legendary dancers would literally transform themselves on the stage making the audience feel as though they were watching the real characters live in action.
Mohiniaattam, the other classical dance form of Kerala means the ‘Dance of the beautiful woman’.Though ‘Mohini’ means a beautiful woman, here it is referred to Lord Vishnu who is believed to have taken the form of a very beautiful woman twice- during the churning of the Ocean -for the nectar- to distract the Rakshasas(the Demons) and then to kill a Demon called Basmaasura.
This dance form has slow graceful movements. The sensuous movements, the subtle footwork, the unique costume in white and golden colour, jasmine flowers woven around the tied hair and the classical style of music make Mohiniaattam a very beautiful dance form.
Devotion to the God forms the fulcrum of Mohinaattam. The Hero is generally Krishna and a typical performance has a jatiswaram, a varnam, a padam, and a Tillana very similar to a Bhartanatyam recital though the ‘adavus’(basic dance steps) are different from that of the latter.
Let us now look at the Natana Raaja composition of today that reminds one of both these forms.
The speciality of the composition is the interspersing of some lines from two Ashtapathis- that were composed by Jayadeva in the 12th century are one of the most beautiful Love poems that also gives the essence of the Jeevatma-Paramatma philosophy-and the poetic cry of a child.
The composition is ‘Aalolam peelikaavadi theril..’ from the Malayalam film Aalolam(1982).It is based on Malayamarutam.
Malayamarutam is a janya of the 16th melakarta Chakravaagam and its structure is
Sa ri1 ga3 pa dha2 ni2 Sa/Sa ni2 dha2 pa ga3 ri1 sa.
The composition starts with the alluring flute which is couched in melody. It is sublime music as the santoor joins the flute as the Tabla nods its head in appreciation.
The song in the dainty voice of Yesudass is a document of delicacy.
One sees the aesthetic instincts of the composer as the Pallavi glows like a bright Kerala Lamp even as the rhythm undulates back and forth making us all sway.
The ebb and flow of the percussion in the beginning of the first interlude is scintillating and it conjures up images of a mischievous child playing hide and seek with us. The synthetic blend of the western and the eastern instruments is another beauty. The synthesizer and the Bass Guitar are ingeniously integrated while the lilting flute is laced with the charming Guitar and Malayamarutam smiles with a burnished shimmer.
The first two lines of the first CharaNam are fluently phrased. The third line has the poise and the fourth line has the pace.
It is mesmerizing ravishment.
As the CharaNam ends, we hear the special tone of the native Kerala drum followed by the first line of the 6th Ashtapati in which Radha complains about Krishna to her friend saying ‘why can’t he reform his ways and meet me?’.
This line alone is set in Kambodi ragam.
The innocent cry of the child at the end of this line gives a very special feeling.
The second charaNam is different from that of the first.
We see the clear stream of the Yamuna river..
We see the cross currents..
We see the graceful dance of the Gopikas and Krishna..
We see the kaleidoscope of colours..
We see the Nature’s regeneration..
We see the interplay of the human and the divine..
Exhilarating!!
The 19th Ashtapati of Jayadeva , ‘Priye Charusheele’ in Mukhari ragam, a rakti ragam known for its pristine beauty appears in the end with a pearly shine. The lines rendered with fervour take us to the realm of serenity.
‘Thwamasi mama bhooshanam..thwamasi mama jeevanam..thwamasi mama bhavajalati ratnam..’
You are my ornament..You are my breath..You are my jewel in the endless sea of life..
This is how one can describe an infant on the cradle.
The way it kicks its legs..
The way it moves its hands..
The way it cries..
The way it grumbles..
What is this if not poetry?
Periyaazhwar, the 9th Century Tamizh poet who composed 473 verses- out of which 210 verses are on the ‘growing-up’ of Child Krishna where he imagines himself to be Yasodha - says,
‘When I put him on the cradle, he kicks it and breaks it.
When I keep him on my waist, he breaks my ribcage.
When I feed him, he dances and kicks my stomach.
Oh..No! I am unable to bear his mischief!!’
கிடக்கில் தொட்டில் கிழிய உதைத்திடும்
எடுத்துக் கொள்ளில் மருங்கை யிறுத்திடும்
ஒடுக்கிப் புல்கில் உதரத்தே பாய்ந்திடும்
மிடுக்கிலாமையால் நான் மெலிந்தேன் நங்காய்!
Though the mother sounds very tired, one can easily see the appreciation and the adoration for her child.
Does one not feel poetry, hear music, and see dance in this?
A child is as beautiful as the Poetry, as mesmerizing as Music and as graceful as Dance.
In this thread, we have been seeing about poetry and music.In the last three posts, we have also been seeing albeit briefly about the various classical dance forms of India.
Today, let us see the two beautiful but somewhat contrasting forms from Kerala-KathakaLi and Mohiniaattam.
KathakaLi-meaning ‘Story play’- originated from Ramanaattam and Krishnanaattam, the earlier Dance drama forms of Kerala. Known for its unique make-up and costumes, beautiful body movements in synchronization with the vocal and the percussion music and detailed gestures, KathakaLi is not an easy dance form to perform (though an easy form to understand).A typical KathakaLi artiste is also well versed with KaLaripayattu, the martial art of Kerala that improves the concentration, stamina and co-ordination.
There are essentially 5 features in KathakaLi-Facial expressions with special emphasis on the eye-movements, Hand gestures (Mudras), rhythmic movements of hands, legs and the body as a whole(Nrittam), Vocal music(the musician also narrates the story from time to time and recites the dialogues of the different characters) and the percussion music(cymbals and 3 different types of native drums each producing a unique sound of its own).
This highly stylized classical performance involves a lot of co-ordination and is a team work. Generally, stories from the Mahabharata and the Ramayana are performed and it is said that some of the legendary dancers would literally transform themselves on the stage making the audience feel as though they were watching the real characters live in action.
Mohiniaattam, the other classical dance form of Kerala means the ‘Dance of the beautiful woman’.Though ‘Mohini’ means a beautiful woman, here it is referred to Lord Vishnu who is believed to have taken the form of a very beautiful woman twice- during the churning of the Ocean -for the nectar- to distract the Rakshasas(the Demons) and then to kill a Demon called Basmaasura.
This dance form has slow graceful movements. The sensuous movements, the subtle footwork, the unique costume in white and golden colour, jasmine flowers woven around the tied hair and the classical style of music make Mohiniaattam a very beautiful dance form.
Devotion to the God forms the fulcrum of Mohinaattam. The Hero is generally Krishna and a typical performance has a jatiswaram, a varnam, a padam, and a Tillana very similar to a Bhartanatyam recital though the ‘adavus’(basic dance steps) are different from that of the latter.
Let us now look at the Natana Raaja composition of today that reminds one of both these forms.
The speciality of the composition is the interspersing of some lines from two Ashtapathis- that were composed by Jayadeva in the 12th century are one of the most beautiful Love poems that also gives the essence of the Jeevatma-Paramatma philosophy-and the poetic cry of a child.
The composition is ‘Aalolam peelikaavadi theril..’ from the Malayalam film Aalolam(1982).It is based on Malayamarutam.
Malayamarutam is a janya of the 16th melakarta Chakravaagam and its structure is
Sa ri1 ga3 pa dha2 ni2 Sa/Sa ni2 dha2 pa ga3 ri1 sa.
The composition starts with the alluring flute which is couched in melody. It is sublime music as the santoor joins the flute as the Tabla nods its head in appreciation.
The song in the dainty voice of Yesudass is a document of delicacy.
One sees the aesthetic instincts of the composer as the Pallavi glows like a bright Kerala Lamp even as the rhythm undulates back and forth making us all sway.
The ebb and flow of the percussion in the beginning of the first interlude is scintillating and it conjures up images of a mischievous child playing hide and seek with us. The synthetic blend of the western and the eastern instruments is another beauty. The synthesizer and the Bass Guitar are ingeniously integrated while the lilting flute is laced with the charming Guitar and Malayamarutam smiles with a burnished shimmer.
The first two lines of the first CharaNam are fluently phrased. The third line has the poise and the fourth line has the pace.
It is mesmerizing ravishment.
As the CharaNam ends, we hear the special tone of the native Kerala drum followed by the first line of the 6th Ashtapati in which Radha complains about Krishna to her friend saying ‘why can’t he reform his ways and meet me?’.
This line alone is set in Kambodi ragam.
The innocent cry of the child at the end of this line gives a very special feeling.
The second charaNam is different from that of the first.
We see the clear stream of the Yamuna river..
We see the cross currents..
We see the graceful dance of the Gopikas and Krishna..
We see the kaleidoscope of colours..
We see the Nature’s regeneration..
We see the interplay of the human and the divine..
Exhilarating!!
The 19th Ashtapati of Jayadeva , ‘Priye Charusheele’ in Mukhari ragam, a rakti ragam known for its pristine beauty appears in the end with a pearly shine. The lines rendered with fervour take us to the realm of serenity.
‘Thwamasi mama bhooshanam..thwamasi mama jeevanam..thwamasi mama bhavajalati ratnam..’
You are my ornament..You are my breath..You are my jewel in the endless sea of life..
Tuesday, 10 August 2010
Natana Raaja- Part III
It is said that ‘Thiruvaachakam’ , the immortal work of the great Tamizh poet MaaNikka Vaachakar can melt even a stone.It is an outpouring of a honest devotee whose only objective was to reach the ultimate.
And he knew what that ‘ultimate’ was.
In one of his verses in the immortal work Thiruvaachakam, he says to the Lord,
‘ You are as sweet and pure as the Honey. You are the nectar. I am dishonest, deceitful, and full of lies and my love is not true . But I know if I cry, I can get you!’
யானே பொய் என்நெஞ்சும் பொய் என் அன்பும் பொய்
ஆனால் வினையேன் அழுதால் உன்னைப் பெறலாமே
தேனே அமுதே கரும்பின் தெளிவே தித்திக்கும்
மானே அருளாய் அடியேன் உனை வந்து உறுமாறே.
A totally different dimension to crying..
This is a verse that has a lot of inner meanings.
As humans, we are bound to make mistakes. Not one. .not two.. but many..
When we cry to the Lord, we pour out.
The tears come straight from the heart. The heart melts.. We feel light..
That is the moment when we feel the Divine.
Let it not be misconstrued that one can commit any number of sins and get away with it by finally crying to the Lord saying ‘I am a sinner. Save me!’
The ‘crying’ the poet is referring to is a very different one and not the usual crying of us mortals.
He realized that all things in this materialistic world do not have any value and only thing which is permanent is the Divine force.
He found poetry as a form of expression to express his inner feelings. One may agree or disagree with what he said. But the way it has been said melts us whether we are believers or atheists.
Just like poetry, dance is also a form of expression.
In my previous post, I tried to get into the reason for turning a blind eye towards classical arts.
There is one more reason too.. All the Indian Classical arts revolve around Bhakti or devotion and therefore, an atheist or an agnostic finds it difficult to identify himself/herself with a form associated with a thing which they feel is not in existence.
But I feel what is important is the way it is said than what is being said.
One’s personal belief should not obscure their appreciation for finer things in life.
But again this does not mean that anything can be said as long as it is said in an aesthetic way.
The long and short of it is-Let us appreciate arts without any prejudice.
In the previous posts, we saw some of the basic aspects of Bharatanatyam briefly.
Today, let us take up a dance form which is closely related to Bharatanatyam.
It is Kuchipudi.
Kuchipudi derives its name from Kuchelapuram, a village in Andhra Pradesh. Like Bharatanatyam,this dance form also involves hand gestures, subtle facial expressions and foot work. But where the two differ are in the foot movements and in the poses. Bharatanatyam has graceful, elegant movements while Kuchipudi is dazzling and has fast foot movements. There are sculptured poses in Bharatnatyam. There are more of rounded poses in Kuchipudi.
A normal Bharatanatyam performance comprises of a ‘Pushpanjali’-a prayer to the Divine/Nature, a ‘Allarippu’, that involves neck and hand movements-warming up the body essentially, a VarNam, that has all the three elements-the Nritta, Nritya and the Natya thus revealing not only the artiste’s skills but also the stamina, a Padam/Javali, that has the Abhinaya and finally the Tillana that has graceful movements as well as fast-paced hand and feet-movements.
A typical Kuchipudi performance too begins with an invocation and this is followed by a Jatiswaram. This will be followed by a Abhinaya piece, the theme of which is mostly be derived from the scriptures/mythology. In some special performances, the dance is executed on brass plate-at times with a pot on the head- and moving the plate with the feet to the tune of the accompanying music. Of course, the Tillana is the final piece and this will be marked by very quick movements of the feet.
Let us now have a look at today’s Natana song from Raaja which more or less follows the Kuchipudi.
It is again a very special composition based on a vivadi raga.
The composition ‘Om Jaya Mahadeva’ from the telugu movie ‘Kunti Putrudu’(1993).
It is based on Ragavardhini, the 32nd melakarta whose structure is sa ri3 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri3 sa.
Ragavardhini resembles Charukesi, the only difference being the vivadi note ‘ri3’.In a similar vein, VakulabharaNam too has a close connection with Ragavardhini.
Charukesi has the ‘ri2’ while VakulabharaNam has the ‘ri1’..
The VakulabharaNam connection is very well ‘exploited’ by the Raga Raaja in this composition. There are certain phrases with just ‘sa ga ma dha ni’ giving the gentle flavour of Sallappam(a.k.a. Surya) which in turn is a janya of VakulabharaNam.
The song has a rather unusual start in the upper octave. The ‘gagaNa yagaNa ragaNa thagaNa’ are syllables that were in vogue centuries ago and even the famous ‘Kooththa nool’(discussed in detail in my ‘sculpture’ series earlier in this thread) makes a mention about this. In fact, Raaja had earlier used it in ‘Sangeeta jaati mullai’(Kaadhal oviyam) very powerfully and beautifully.
This unusual start itself gives this composition the requisite impetus. The puissant voice of Chitra that also has the apt modulation is an added attraction.
The composition is set in the 5-beat cycle khandam.
A simple beat of the mridangam follows leading us to the Pallavi..
The effervescent veena to depict the ‘Naada swaroopa’(embodiment of melody) is what is called as brilliance!
The first two lines are dynamic while the following two lines are zestful. The last line of the Pallavi is evocative and has the esoteric appeal. The Pallavi ends with a sangati that lasts for 7 cycles of khandam.
The first interlude starts with the energetic violins and the ebullient mridangam.We hear the harmony as another set of violins enter with abhinaya.
How can there be a Natana Raaja without the Laya Raaja? As we immerse ourselves in the beauty, we see the Laya Raaja dance with glee. He divides the beats as 5, 8, 7 and this is done twice making the total to 40 which is equal to 8 cycles of Khandam (8x5=40).
The Sitar plays ta ka ta ki ta /ta ta ta ta ta ta ta ta /ta ki ta ta ka dhi mi.
In the first CharaNam, the line ‘Chandrasikha mauktaya sarveswaraaya..’ is rendered with finesse with a sangati that shows us the varieties of nuggets of the raga.
The next line and the violins that follow have succulent phrases.
The fifth line and the sixth traverse to the upper octave and are hauntingly beautiful while the last line resonates with depth. The sangati is again rendered with a flourish.
The violins play with great intensity in the second interlude with the percussion dancing in Khandam. The mellifluent Sitar thrums with excitement followed by the pulsating violins.
The second charaNam is exuberant and is full of energy.
The first line, the violins and the percussion move with imperious gait while the following lines are shaded by plaintiveness.
The line ‘Gajje kattina kaalu..’ moves with splendour. A silvery cascade of phrases follows. The last line in the higher octave is the acme of expressional delicacy.
The composition is capped by a sizzling finale in khandam with a fusillade of variations of ‘ta ka ta ki ta’. The sweeping flashes of violin laced with elegant cadences give the melodic and the rhythmic essence.
‘Nee Sangeeta Charana Saanidhyame Dikku Manaku..’
And he knew what that ‘ultimate’ was.
In one of his verses in the immortal work Thiruvaachakam, he says to the Lord,
‘ You are as sweet and pure as the Honey. You are the nectar. I am dishonest, deceitful, and full of lies and my love is not true . But I know if I cry, I can get you!’
யானே பொய் என்நெஞ்சும் பொய் என் அன்பும் பொய்
ஆனால் வினையேன் அழுதால் உன்னைப் பெறலாமே
தேனே அமுதே கரும்பின் தெளிவே தித்திக்கும்
மானே அருளாய் அடியேன் உனை வந்து உறுமாறே.
A totally different dimension to crying..
This is a verse that has a lot of inner meanings.
As humans, we are bound to make mistakes. Not one. .not two.. but many..
When we cry to the Lord, we pour out.
The tears come straight from the heart. The heart melts.. We feel light..
That is the moment when we feel the Divine.
Let it not be misconstrued that one can commit any number of sins and get away with it by finally crying to the Lord saying ‘I am a sinner. Save me!’
The ‘crying’ the poet is referring to is a very different one and not the usual crying of us mortals.
He realized that all things in this materialistic world do not have any value and only thing which is permanent is the Divine force.
He found poetry as a form of expression to express his inner feelings. One may agree or disagree with what he said. But the way it has been said melts us whether we are believers or atheists.
Just like poetry, dance is also a form of expression.
In my previous post, I tried to get into the reason for turning a blind eye towards classical arts.
There is one more reason too.. All the Indian Classical arts revolve around Bhakti or devotion and therefore, an atheist or an agnostic finds it difficult to identify himself/herself with a form associated with a thing which they feel is not in existence.
But I feel what is important is the way it is said than what is being said.
One’s personal belief should not obscure their appreciation for finer things in life.
But again this does not mean that anything can be said as long as it is said in an aesthetic way.
The long and short of it is-Let us appreciate arts without any prejudice.
In the previous posts, we saw some of the basic aspects of Bharatanatyam briefly.
Today, let us take up a dance form which is closely related to Bharatanatyam.
It is Kuchipudi.
Kuchipudi derives its name from Kuchelapuram, a village in Andhra Pradesh. Like Bharatanatyam,this dance form also involves hand gestures, subtle facial expressions and foot work. But where the two differ are in the foot movements and in the poses. Bharatanatyam has graceful, elegant movements while Kuchipudi is dazzling and has fast foot movements. There are sculptured poses in Bharatnatyam. There are more of rounded poses in Kuchipudi.
A normal Bharatanatyam performance comprises of a ‘Pushpanjali’-a prayer to the Divine/Nature, a ‘Allarippu’, that involves neck and hand movements-warming up the body essentially, a VarNam, that has all the three elements-the Nritta, Nritya and the Natya thus revealing not only the artiste’s skills but also the stamina, a Padam/Javali, that has the Abhinaya and finally the Tillana that has graceful movements as well as fast-paced hand and feet-movements.
A typical Kuchipudi performance too begins with an invocation and this is followed by a Jatiswaram. This will be followed by a Abhinaya piece, the theme of which is mostly be derived from the scriptures/mythology. In some special performances, the dance is executed on brass plate-at times with a pot on the head- and moving the plate with the feet to the tune of the accompanying music. Of course, the Tillana is the final piece and this will be marked by very quick movements of the feet.
Let us now have a look at today’s Natana song from Raaja which more or less follows the Kuchipudi.
It is again a very special composition based on a vivadi raga.
The composition ‘Om Jaya Mahadeva’ from the telugu movie ‘Kunti Putrudu’(1993).
It is based on Ragavardhini, the 32nd melakarta whose structure is sa ri3 ga3 ma1 pa dha1 ni2 Sa/Sa ni2 dha1 pa ma1 ga3 ri3 sa.
Ragavardhini resembles Charukesi, the only difference being the vivadi note ‘ri3’.In a similar vein, VakulabharaNam too has a close connection with Ragavardhini.
Charukesi has the ‘ri2’ while VakulabharaNam has the ‘ri1’..
The VakulabharaNam connection is very well ‘exploited’ by the Raga Raaja in this composition. There are certain phrases with just ‘sa ga ma dha ni’ giving the gentle flavour of Sallappam(a.k.a. Surya) which in turn is a janya of VakulabharaNam.
The song has a rather unusual start in the upper octave. The ‘gagaNa yagaNa ragaNa thagaNa’ are syllables that were in vogue centuries ago and even the famous ‘Kooththa nool’(discussed in detail in my ‘sculpture’ series earlier in this thread) makes a mention about this. In fact, Raaja had earlier used it in ‘Sangeeta jaati mullai’(Kaadhal oviyam) very powerfully and beautifully.
This unusual start itself gives this composition the requisite impetus. The puissant voice of Chitra that also has the apt modulation is an added attraction.
The composition is set in the 5-beat cycle khandam.
A simple beat of the mridangam follows leading us to the Pallavi..
The effervescent veena to depict the ‘Naada swaroopa’(embodiment of melody) is what is called as brilliance!
The first two lines are dynamic while the following two lines are zestful. The last line of the Pallavi is evocative and has the esoteric appeal. The Pallavi ends with a sangati that lasts for 7 cycles of khandam.
The first interlude starts with the energetic violins and the ebullient mridangam.We hear the harmony as another set of violins enter with abhinaya.
How can there be a Natana Raaja without the Laya Raaja? As we immerse ourselves in the beauty, we see the Laya Raaja dance with glee. He divides the beats as 5, 8, 7 and this is done twice making the total to 40 which is equal to 8 cycles of Khandam (8x5=40).
The Sitar plays ta ka ta ki ta /ta ta ta ta ta ta ta ta /ta ki ta ta ka dhi mi.
In the first CharaNam, the line ‘Chandrasikha mauktaya sarveswaraaya..’ is rendered with finesse with a sangati that shows us the varieties of nuggets of the raga.
The next line and the violins that follow have succulent phrases.
The fifth line and the sixth traverse to the upper octave and are hauntingly beautiful while the last line resonates with depth. The sangati is again rendered with a flourish.
The violins play with great intensity in the second interlude with the percussion dancing in Khandam. The mellifluent Sitar thrums with excitement followed by the pulsating violins.
The second charaNam is exuberant and is full of energy.
The first line, the violins and the percussion move with imperious gait while the following lines are shaded by plaintiveness.
The line ‘Gajje kattina kaalu..’ moves with splendour. A silvery cascade of phrases follows. The last line in the higher octave is the acme of expressional delicacy.
The composition is capped by a sizzling finale in khandam with a fusillade of variations of ‘ta ka ta ki ta’. The sweeping flashes of violin laced with elegant cadences give the melodic and the rhythmic essence.
‘Nee Sangeeta Charana Saanidhyame Dikku Manaku..’
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