EDUVENTURE RESEARCH JOURNAL OF QUEEN MARY’S COLLEGE

VOL. 3 – ISSUE – 2 – p-10-12. JULY – DECEMBER 2010

THE RHYTHMIC STRUCTURE· OF VANNAM IN TOLKAPPIYAM

K.R. SEETHA LAKSHMI *
Head of the Department and Associate Professor of Music

ABSTRACT
“Vannam tame Nal ainthu enba".
Tol-cei.Nur. 204.

The syntax and symantics of ancient tamil music has a rich tradition from time
immemorial. Tolkappiyam the earliest work on grammer is dealing with music
exhaustively. It consists of three chapters eluttu (orthography) Col (Syntax) and Porul
(poetics). While framing the grammar for eluttu, col, porul, the author Tolkappiyar also
forms the grammer for Pavagai, vannagam and vannam that forms part of music.

vannagam tane, tarave talisai, enne,

varam endru
annal vakaiyin tondrum enba"
- Tol - cei-nur -135
The rhythmic structure of vannam is dealt with in this article.

INTRODUCTION
The treasure trove Tolkappiyam is supposed to be a work on poetics and grammar in the
pre - Christian era, yet accommodates the factors common to poetry and music. In the
chapter on eluttu, the Nurpa 6 and 33 deal with alabedai which is a essential requisite and
forms the basis for both poetry and music. A letter can be prolonged suitably to effect
pleasant audition.

In the chapter on Col, the metre - based verses pattu has 6 main forms namely Aciriyam,
Venpa, Kali, Vanci, Marutpa and Paripadal. Though Kali and Paripadal are metrical, they
are musical as well. The Kali rhythm has sections like Taravu, Talisai, etc that paved the
way for the musical form Kirtana.

In the chapter Porul, the author refers to the landscape, time, duty, food, animal, tree,
bird, types of occupation and musical instruments Parai and yazh which vary according to
landscape.
The prosody in Tamil occupies a proud position among the classical metrical system. It is
further beautified by its distinguished pattern and rhythm. This is a monumental work on
grammer for Tamil and ancient Tamil music.

METHODOLOGY
Tolkappiyam is a torch bearer of musical heritage of Tamils. The facts pertaining to
eluttu, pa vagai, vannagam and vannam are observed with musical and rhythmical
excellence.
''Alabirandu . …………………………………….
Narambin
maraiya emmanar pulavar"
- Tol - elu -nur - 33.

The musical solfa syllables are referred to as Narambu. Here the grammer for the
above is defined as 'Narambin mar ai' .
In the ceyyuliyal, the pa vagai is grammatically explained. The four types of
metrical verses:
Venpa - Cheppal Osai

Aciriyam - Agaval Osai

Kalipa - Tullal Osai

Vanci - Tungal Osai

.
The Kalipa has sub-components like Taravu, Talicai, Ambodharangam, Aragam,
Peren, Chittren, Alaven & Curitagam. This paved way for further development in the
musical form Kirtana.

In order to facilitate proper understanding of Tamilisai marabu, Tolkappiyar

defines Twenty types of rhythmical patterns. The examples are cited from Tirupugazh
songs composed by Arunagiri Nathar

THE 20 VANNAMS ARE AS FOLLOWS

1) Paa Vannam - The rhythmic struc;ture found in the Nul (or) treatises.
"Umbar Taru"
2) Ta Vannam - The second letter synonym in alternate lines.
SenTamil nadenumpodhinile
Thadaiyar nadendra.

3) Vallicai Vannam - Predominance of plosives.

Example: "Muthai taru patti tiru nagai.

4) Mellicai Vannam- Prominence of nasals.

Example: Canthatam banda thodarale.
5) lyaibu Vannam Predominance of metrical consonants.
Example: Taraka charan carindu. ,
6)Alapedai lVannam Eongations of vowels & consonants.
Example: Niramaya parapara.
7) Netuncir Vannam Long vowels
Example: Cucade Parecade.
8) Kuruncir Short vowels
Vannam Example: Karamulariyin
malarmuga -
"Tirupugazh"

9) Cittira Vannam Both short & long vowels.

Example: Orur Vazhinum cerivarar.-Kurun 231
10)Melibu vannam The sound of the Ayutam letter with weakened note.
Example: Mannil nalla vannam . vazhalam
Kannil nallathakthurum kazhumala
valanagar.
11) Akapattu Vannam Apparent incompleteness of the last line of the
verse actually completed.
Example: Un kan civappathen kollannai.
12)Putapattu Vannam Apparent completeness of the
verse actually incomplete.
Example: Ceya ceya Arunagiri civaya nama.
13) Oluku Vannam Pleasing even sound flow.
Example: Vazhiya CenTamil vazhka natramizhar.
14) Orutu vannam Contrasting pattern of sound flow.
Example: Yane yendai yene yennalane.
15) Ennu Vannam Sound flow caused by use of
enumerative particles.
Example: Ariyanai andanartam Chindaiyanai
16) Akaippu Vannam Staccato flow of sound caused
by alternations of long and short feet.
Example: Banthattal vandeppal
17) Tungal Vannam Slow - paced rhythm of Vane metre.
Example: Yanuta tanunartha
Yanunara vittapin.
18) Elthal Vannam Lengthened utterance with repetition of the same word.
Example:. Arumugam Arumugam
19) Uruttu Vannam Rolling utterance with sequences of two short vocalic
sounds.
20) Muduku Vannam Fast movement in the sequences of lines based on feet of
the short sounds.
Example: Viran maranaindu malar
Example: Edrinum Talarinum
Eduvo emmai Alummaru
CONCLUSION
From the above study it can be inferred that there can be no parallel to Tolkappiyam,
which is an unique grammar work, which also provides valuable grammatical
contributions even to music apart from poetry.
 EDUVENTURE RESEARCH JOURNAL OF QUEEN MARY’S COLLEGE
VOL. 4 – ISSUE – I – p-49-51. JUNE 2011

INDALA PAN & MIRACLES IN TEVARA TIRUPPADIGAMS

K.R.SEETHALAKSHMI
Head of the Department and Associate Professor of Music

Abstract

PANNULIRAI PATTUM ANIR

‘PAN’ is the divine gift endowed with the power of miracles. It is the language of
pure sound, capable of expressing subtle thoughts, delicate shades of feelings, sublime
ideas effectively portrayed through the medium of Music.
The Saiva saint Sundaramurthy Nayanmar in the above Padigam mentions that
the Lord Himself is in the form of 'Pan' and the Pattu that praises me Lord is by itself the
embodiment of the Almighty for the ardent worshipper.
This article pertains to the illustration of efficacy 'Indalappan' in enacting
miracles.

Introduction:
Pan is that which is rendered with embellishment confined to the Lakshana that
brings out the colour of the raga. The ancient Tamil literary works Tolkappiyam, Sanga
Ilakkiyam, Kappiyams, Bakti Ilakkiyam, Chitrilakkiyam deals with four main Pans,
Palais and their derivatives.

PAN SURANGALAI NIRAM TONDRA

ASAITTUM VAZHUKKIYUM UNDAIYUM

NUN OLIMANGAL KUTTIK KUZHAITTU

ISAITTAL INDRIYAMAIYADHANA
(TAMIL ISAI IYAL - V.P.K.SUNDARAM)

The Tamil scholar V.P.K.Sundaram in the above verse emphasizes the 'Pan' should not be
rendered as mere scale (or) Ascent & descent. It should be rendered as Pan-raga in its full
form.

The sixty three Saiva Canons contributed the Tirumurais to propagate the Cult of
Bhakti. The Saiva Tirumurais are twelve. Of these the first three Tirumurais are of the
divine child Tirugnana Sambandar who has composed his first padigam at the age of
three securing the place as the youngest composer in the World. The next three
Tirumurais are of Tirunavukkarasar and the seventh Tirumurai is of Sundaramurthy
Swamigal.

The contribution of 'Tevara Moovar' collectively known as 'Tevaram'. The term

literally means the garland of songs that adorns the lotus feet of Lord Siva.

Three padigams in 'Indalappan' of Tevara Moovar is taken to illustrate the

miracles that occurred during their period.
Methodology

The hypothesis is to highlight the power of divine hymns of Tevaram in

'Indalappan'.

It is observed that the deceased person owing to fatal snake bite was brought to
life by the sacred hymns. This is the Testimony of Godly events and the devotion towards
the Almighty.

The miracles are explained in chronological order. Karaikal Ammaiyar the foremost
Nayanmar has composed Two Mootha Tirupadigam, one of which is in Indalappan
'YETHI ILAVAM'

The lakshana of Indalappan as in the history of Panniru Tirumurai is portrayed. A

special point is that the 'Aludai Nambi' Sundara Murthy poured out his first composition
in Indalappan after having obtained the divine command of the Lord.

Discussions
The bond that exists between Music of the ardent devotees & their musical works
can be traced back to ancient Tamil Literature. The Tevara Tirumurais are compiled in
three groups. Panmurai Paguppu, Sthalamurai Pagupu & Adanganmurai Paguppu. The
Panmurai paguppu is applied for this article. According to musical & prosodical structure
known as Kattalai. The Tirugnana Sambandar's hymns are called Tirukkadaikappu
Tirunavukkarasu Padigams are called Tevaram. Sundaramurthy Swamigal Padigams are
known as Tiruppattu.

The Tevara hymns are rendered in two ways Suddangam (without tala) and
Layangam (with tala). The hymns are sung according to the time theory (gana Kala
Niyama). The Tevara Pans are twenty three & classified into Pagal Pan (Morning ragas)
Iravuppan (Evening raga) and Poduppan.

The musical aspects of 3 are dealt in detail herewith; Vellai Varanar in the first
part of the history of Panniru Tirumarai (page 612) mentions that the 'Indalappan' is the
derivative of Marudapperumpan & named as Vadugu Niram & enumerated as 73 pan.
The Indalappan occurring in the Tevara Padigam are listed below:
a) Second Tirumurai 1 - 39 Padigams.
 b) Fourth Tirumurai 16 - 18 Padigams
c) Seventh Tirumurai 1 - 12 Padigams
This Pan in Tamil Nadu is known as Vadugu, in North India Telunga. The
Padigams in this Pan is also sung in Natha Nama Kriya & Lalitha Panchagam. This Pan
is equivalent to Maya Malava Gowla its Janya Natha Nama Kriya of the present day.

The first anecdote: is the Padigam of the World's youngest poet Tirugnana
Sambandar the Child prodigy while Tirugnana Sambandar was approaching Tirumarugal
Temple during early morning when he heard the sobbing of a young lady. On enquiry he
learnt that the girl had eloped with her uncle to get married at his place. Unfortunately he
was bitten by a snake & died. A sorrow stricken woman was weeping' helplessly and
Tirugnana Sambandar took pity on the woman and sang the Padigam rilaha; invoking the
mercy of the Lord in bringing him back to life.

" Sadaiyai Yenumal Sharan nee Yenumal

Paying heed to an ardent devotee's request the Lord gave life to the Woman's
fiance. They got married under the august presence and blessings of Tirugnana
Sambandar. This proves that the rendering of this Pan will enable rising of the Kundalini
Sakthi to the highest level. In Tingalur there was a devotee named 'Appoodhi Adigal'. He
had invited Tirunavvukkarasar for a feast. In the meanwhile Appoodhi Adigal's First son
Mootha Tirunavvukkarasar went to the garden to fetch the Plaintain leaf for the feast.
There he was bitten by a snake & died.

Tirunavvukkarasu was welcomed by Appoodhi Adigal with great reverence.

Preparations were on to serve the meal thoua' with great hesitation to divulge the boy's
death. Appar enquired about the whereabouts of his son. Only then with great reluctance
Appoodhi Adigal burst into tears & informed the death of his son in the garden. Appar
ordered that the boy's body be brought to the Temple premises invoking the Lord's grace
bring life back to the boy. He sang the following padigam and called the boy by name
Ondru Kolam avar Chindai Vyaar Varai
Ondru Kolam Vyarum Madi Choodukar
Ondru Kolamidu Ventalai Kaiyadu
Ondru Kolam Avar Oorvadu Tane.

Immediately the boy sprung into was blessed by him. Thereafter he joined family
members for the feast and blessed them all.
The Third anecdote: is Sundarar wed the daughter of Sadangavi Sivachariar. On
the day of the wedding Lord Siva came in the guise of an old man; he asserted
Sundaramoorthy was his slave as agreed by his predecessors for generations. To prove
his claim he showed his documents in palm leaves. Sundarar had no other choice except
to follow him upto Tiruvennai Nallur “he scolded him as Pitha" (Mad). He pleaded for
justice in Public. The Lord finally disclosed his identity as Siva. Then he requested him
to sing in praise of him beginning with the word Pitha.
Conclusion
From the above inferences we find that Thevaram hymns are not only soothing to
the ear and soul-stiring but also are capable of bringing about miracles through divine
grace, thus highlighting the supreme powers of the almighty.

The saints and musicians of India whose spiritual genius had undoubtedly stood
the test of time inspite of several odds served as the pillars supporting the great edifice of
Indian thoughts. They developed an easier path for their emancipation through Bhakthi
Cult.
 EDUVENTURE RESEARCH JOURNAL OF QUEEN MARY’S COLLEGE
VOL. I – ISSUE – I – p-35-37. JANUARY 2008

SAMBAMURTI AS A COMPOSER
M.A. BHAGEERATHI*
Associate Professor of Music

ABSTRACT
This article focuses on Professor Sambamurti - a composer. Professor
Sambamurti is a multifaceted personality. He was instrumental in introducing music
education in institutions, the first one in the whole world being Queen Mary's college, as
far as South Indian music is concerned. His contribution as a composer is unique, because
it was he who introduced musicological facts in his positions, while others generally
composed in praise of their favourite deities. He can also be pointed out as composer with
social awareness. His compositions, based on musicology, help music students to learn
musicological facts in the easiest possible manner. This article focusses on some of
important compositions of Professor Sambamurti.

INTRODUCTION
“Professor Sambamurti was a musicologist of this century", so said Professor
S.R.Janakiraman, himself a musicologist. Sambamurti has written more than fifty books
and more than thousand articles on music and musicology. This article focuses on
Sambamurti as a composer, who went on a legend in his own lifetime.

METHODOLOGY

The article first focusses on introducing Sambamurti as a person and how he

developed his musical skills. Then, a detailed analysis is done, taking into account, his
various compositions.

Birth details

Professor Sambamurti was born on 14th February 1901. His father's name was
Pitchu Aiyyar and his mother's name was Parvati ammal.

He belongs to the Tamiz speaking Brahmin community of South India, known by

the name, Mazanattu Brahacharanam. His ancestors were originally from Varahur in
Tanjore District.
At the time of his birth, his father was working as a station-master at Bitragunta
Railway station in Andhra Pradesh. He lost his father in his 4th year. After his father's
demise he and his mother came to Madras and settled down at No.205 Tambu chetty
Street. When he was a child, his mother used to narrate to him stories from the
Ramayana, Mahabharatam and the Periya Pural1am and also taught him a number of
songs. He had his vocal training, formally, under Mannatattai Duraisami Aiyyar of
Tyagaraja sishya parampara. He had his training in flute under Astaputra Venkatrama
Sastri and violin under Boddu Krishnaiyyah. Thus, he developed a sound knowledge in
Karnatik music. He studied law but never practiced it. He was into teaching and writing
about music as early as 1924. He was the first lecturer appointed by the Director of public
affairs, in the Department of Music, Queen Mary's college, in the year 1928, when Ms.
De La Hey was the Principal. With this background, an attempt is made here to analyse
Sambamurti as a composer.
Sambamiirti as a composer

Sambamurti has written about many composers and musicians. In fact he has
written separate books about Tyagaraja and Syama Sastri. What is not much known, is
the fact that Sambamurti himself is a composer. For analyzing Sambamurti as a
composer, let us start from the definition given by him.

According to Sambamiirti "A composer III India is a vaggeyakara or a dhatu matu

kara i.e., one who is the author of both the music and the sahitya" (Sambamurti, 1978,
p.2). He also states that a 'Prolific composer' is one who has composed many
compositions and a "Versatile composer' is one who has composed many types of
musical forms. With this in mind, the topic 'Sambamurti as a composer' can be analysed.

Sambamurti has composed many musical forms like kritis, siitra gItas,
murchchanakaraka mela ragamalika etc. He started composing from 1919, as can be seen
from the paper manuscripts preserved at The Music Academy, Chennai. He has also
composed songs based on musicological facts. His total number of compositions exceeds
150. The analysis, of some of his compositions, is done below.

Compositions based on modal shift of tonic

The modal shift of tonic or graha bheda, is that if a tonic is shifted in a scale it
gives rise to another scale. Sambamurti has composed sutra gitas based on this
musicological fact. The lyrics are such that a student can easily remember the ragas that
arise when graha bheda is performed in each svara of the scale. The gitas 'Sankara todi
kal hari nata' in the raga Sankarabharanam and "Mohana madhya hindo1a Suddhodaya
ravi candrika', in the raga Mohanam, both set to AAdi tala are good examples
(Sambamurti, 1996, pp 1 06-1 07).

Miirchchanakara mela ragamalika:

This is a long composition starting with the words 'Kanakangi ri kamavardhani'. It

explains the scales that arise out of each mela and the svaras that give rise to these scales.
Only those scales that are acceptable to South Indian music are considered. For instance,
the prati madhyama is not taken into account as a svara for performing modal shift. This
is because it will give rise to a dvimadhyama scale, which is not acceptable. The
ragamalika has seven sections. The first six sections deal with two cakras each and the
last section mentions the names of the cakras. Each section is composed in a raga that is a
janya of one of the melas in that section. For instance the first section is in dhanyasi, a
janya of todi, which is the 8th mela. The last section also mentions that 122 melas arise
out of the 72 me las, because of modal shift. An example of the sahityam will illustrate
the concept behind this composition. "Ratnangi ri ma gamana jhankaram".
This means, if modal shift is performed on the scale ofratnangi on 'ri' and 'ma', the
resulting scales will be 'Gamanasrama' and 'Jhankaradhvani' (Sambamurti, 1996, pp.57-
64).
Composition mentioning about lakshanakaras
In a kriti in bhairavi raga starting with the words 'Paramatmuni padamulanu"
Sambamurti gives the names of the lakshanakaras like Bharata, Dattila. Matanga etc., in
the chronological order, in tb carana (Sambamurti, 1982, pp.79-81).

Compositions based on Western Music:

Sambamurti has composed many march based on Western music. He has named
them "Nadai gItams". "Nadai"is a Tamil word will means walk. His hamsadhvani raga
"Nadai gItac gives the contour of the raga very easily for -students to follow
(Sambamurti, 1996, p.94).

Composition explaining the ganas:

He has composed a sutra gita explaining the ganas. The asta gana gita is in the
raga kambhohji set to Rupaka tala. The gita starts with the w 'Maganam mayuram".
Sambamurti has used letters for representing 'guru' and brasva letters for representing
'laghu'. For instance the 'Mayuram' gives the idea of '888' or 'guru guru guru’
(Sambamurti, 1996, p.1 07).

Compositions based on social awareness

Sambamurti is a person with good public awareness. The best example one can give for
this is the "Varuna Gitam' composed by Amritavarshini raga, set to Adi tala. He ill that if
this gitam is sung twelve times then rain is certain to come. This gitam starts with words
"Varuna Varuna". "Varuna" refers to the the God of rains (Sambamurti, 1982, p.220).
DISUSSION
Since Sambamurti has composed m musical forms, he can be termed as a versatile
composer, according to his own definition. Generally, Vaggeyakaras composed
compositions praising their favourite diety. For Tyagaraja, it was Rama, for Syama Sastri
it was Devi etc. Here Sambamurti's ista devata seems to be "Musicology". He also seems
to be a aware of the sufferings of the common man.
CONCLUSION
Sambamurti has concentrated on various musicological aspects, while composing.
Generally composers think of their favourite deity and compose many musical forms
praising them. But Sambamurti has thought of various musicological facts while
composing. This makes him unique, since no other composer prior to Sambamurti has
taken so much interest in musicology. This is a very useful contribution for both the
students as well as experts in the field. Students can learn his compositions, to know
about theoretical aspects, without much difficulty. These compositions will be useful for
experts to demonstrate musicological facts. Hence, the fraternity will ever remember his
contribution as a composer, especially for his compositions based on musicological facts.
 RESEARCH JOURNAL OF QUEEN MARY’S COLLEGE
VOL. I – ISSUE – I – p-38-40. JANUARY 2008

RAGALAKSANA

R. ABHIRAMASUNDARI
Assistant Professor of Music

ABSTRACT

The classification of raga-s is seen to be present as chapters in the various Musical

Texts from 15th century onwards after the emergence of Mela System. The descriptions
of raga-s given in various texts have many interesting information regarding their
'lakshya' and 'lakshaya' value. This article highlights the important landmarks seen in the
history of ragalaksana and also focus the recent changes seen in the last two centuries.

INTRODUCTION

The classification of raga-s under various categories started coming up from

ancient period. The Grama, Murcana Jati system of classification existed from the period
before the term 'raga' came in to music. Brhaddesi of Matanga deals with 'desi' music as
the title itself has the term within it. The system of classification became more prominent
when the term 'me la' was introduced in the context. The term 'mela' came to denote
'group of svaras' . The historical study of ragalak~al1a start from the period when the
term 'raga' came in to the sphere of classification. The study of various musical texts
describing raga also helps to know about the classifications followed by different authors
belonging to different period.

Raga-s and their classification play important role in the history of Indian
Classical music, raga-s being an inevitable part of 'lakshaya' sangita, have 'laksana' value.
The various important features of raga-s are part of laksana along with the sancara (svara
movements) specifications, gamaka specifications, ml1rcana (arahal1a, avarahal1a),
graha svara, amsa svara, nyasa svara etc.

METHODOLOGY

The theoretical descriptions of the 'raga-s' seen in the various texts have
undergone changes during different centuries. The 'raga' description and the focus of the
area differ from text to text and some features like 'graha, amsa, nyasa' remain the same.
Thus this research article is mainly relied on the sources based on the descriptions of raga
in Musical texts. The reference to the descriptions belonging to the period from 16 th to
19th century were mainly from the 'Ragalaksanagraha' of HemaRamanathan.

DISCUSSION

Musical Texts enumerating various aspects Indian music, have chapters on raga-s
and their classification in a detailed manner. The word raga occurring for the first time in
'Brhaddesi' Matanga. Some of the 'jati-s' mentioned Brhaddesi (9th cent) and Sangita
Ratnakara 13th cent) are the names of some the present raga-s. The mention of these
raga-s were classified as Margi and Desi' system of classification and in to grama, upa,
raga, bhasa, vibhasa and antarabhasa and further into 'raganga, upanga, bhasanga and
kriyanga'. We find the terms 'arohi, avarohi, sthayi, sancari' were used in the description
of music in 'Natya sastra of Bharata (2 nd cent). The terms arohi, avarohi' denote those
which increase and decrease in sruti order.

The raga-s mentioned in earlier treatises not fully in vogue, some of them have
their names existing, even though had undergone changes. The raga Takka mentioned
with the feature pancama found in Sangita Ratnakara is being found till now. The raga
Lalita with the absence of the svara 'pancama' is seen today.

Thus the raga classification form an important part in the history of music. While
mentioning about each text's raga description there account on the classification is also
felt to be mentioned as it is associated with the description/s (historically).

Sangita Ratnakara of Sangadeva describes ‘jati’ with ten characteristic features

starting
With graham, amsa nyasa' etc. Sarngadeva gives 264 ragas in all. Sangita ratnakara
enumerates in its 'Ragavivekadhyaya' the ten laksna-s of a raga.

l.graha 2.amsa 3.nyasa 4.alpatva 5.bhahutva .~panyasa 7.sanyasa8.vinyasa

9.mantra 10.tara

The descriptions of 'jati' suit to the different characters of the raga. The
classification in to 'mela- raga' is seen in the musical texts from later 15 th century. The
classification of raga-s in to 'mela Janya' system emerged some time during Vidyaraqya's
period. Even though it is believed that idhyaraqya classified the ragas under mela
scheme, the manuscripts are not available. Prof. S. Ramanathan (The Journal of the
Music Academy while saying about Vjdhyaraqya's 'Sangita Sara mentions that 'the
original manuscript of this has not so far been discovered but fortunately a reference is
found in the Sangita Sudha of Ragunatha Naik (1610). The Sangita Sudha ascribed to
Raghunatha was written by G6vinda Diksitar, Venkatamakhi's father'. Further it is
mentioned that Govinda Diksitar describes fifty well known raga-s and their six anga-s
according to Vidhyaraqya, while dealing with the raga-s prevalent during his time.
 This mela-raga classification is seen to be found in the musical text-s starting
from Sangita Sudha Svaramelakalanidhi. Thus the works like Caturdandiprakasika,
Ragavibhoda, Ragalaksanamu, Sangitasaramta started mentioning mela-s numbering
from 15 to 23 (the works and mela numbers and the raga numbers).The number of mela-s
and raga-s given in various texts vary in number.

Thus the study of raga laksana also include a brief look in to the mela raga
classification or general classification existed/existing.

The description of ragas with various features are interesting to note. The
description we find in the Laksana granta/s and books are broadly based on the
characteristic feature of each raga. Based on this we find texts and books on music
describing the raga based on historical, melodic and musicological aspects.

The raga svarupa or laksana described may be seen under various stages.

a. mention of graha svara, nyasa and amsa Raga vibhoda, Sangita sudha (early 17th
cent) and later works
b. mention of sancara-s from one svara to another svara Sangita Sudha

c. giving sancara-s Raga Laksanamu and Sangita Saratmta (later 17th cent and early
18th cent)

d. giving arohaqa avarohaqa for the raga-s. SangrahaCudamani (18th cent) and later
works. Sangita sampradaya pradarsini (20th cent) mentions 'arohana avarohona' as
Murcana.

e. along with arohaqa avarohana, the features of the raga-s including many kinds of
compositions - Prof. Sambamurthy (20th cent). Books written for music education
purpose have a brief account on various features.

f. giving historical references as well as the present status. Raga Laksana of Prof
S.R. Janakiraman

g. giving references about the raga's description in other systems like Hindustani
music Raganidhi of B.Subbarao.

The 72 mela-s expounded by Venkatamakhi (17th cent) along with the 19 mela-s
of his time are seen in his Caturdandiprakasika. Along with the well known raga-s of his
time and the appendix portion of the Caturdandiprakasika has the further mention of
Ghana Naya and Desya raga-so The mention of Ghana Naya Desya has already been
mentioned in the Musical Text 'Ragalaksanamu' of Sahaji Maharaja.

The 72 mela scheme is also seen in Sangraha Cudamani of Govinda (later 18th
cent). The raga-s are classified under these mela-s and this system of classification is
followed in the later works.
 The names of 72 mela-s are associated with the term 'raganga raga' in the
appendix of Caturdandiprakasika. This feature was followed by Muthusvami Diksitar and
he has composed krti-s in all the raganga raga-so Later these raganga raga-s are
mentioned in the work 'Sangita sampradaya pradarsini' of Subbarama Diksitar.

CONCLUSION
The books written during 20th Century have all the 'laksana and laksaya' features
combined together while describing a raga. The melodic features of raga-s are explained
in the works like SangIta sampradaya pradarsini with more details including gamaka
specifications. The detailed description of the svara-s, important svara-s, characteristic
sancara-s, compositions, kind of raga and all the other features are seen in the books of
Prof. Sambamurthy. This pattern of description is seen in the later books written by many
authors like S.V.Leela, R.V. Krishnan, Dr. M.B.Vedavalli, Dr. Bhagyalakshmi and Dr.
Father P.T.Chelladurai. The 'Ragalaksana discussions' held at the Music Academy
Conference is one among the interesting sessions and musicians musicologists scholar:
participate every year, share their views arc conclude with the various features of raga-s
chos every year and this is published in the Journal of "Music Academy.
 EDUVENTURE RESEARCH JOURNAL OF QUEEN MARY’S COLLEGE
VOL. 3 – ISSUE – 2 – p-6-9. JULY – DECEMBER 2010

FOLK DANCE
SHANTI MAHESH*
Assistant Professor of Music

ABSTRACT
Women have excelled in arts and arts ensure the continuity of our culture and
heritage. Our folk arts represent our culture. The origin of the folk dances lies in the
instinctive sensitivity of the people to the rhythmic, ordered movements of the human
system. All over India, there are folk forms of the dance and song with instruments that
keep time and add harmony which express all the emotions and experiences of life in
exuberant, expressive rhythms and tunes, exhibiting skill and the ordered manifestation
of that, without taking toll of spontaneity.

INTRODUCTION

Of all human endeavors, arts are the most enduring and unifying. The history of
our country and our civilization flows through the arts. If we are now one nation, it is
largely because our culture binds us together and transcends whatever differences we
have. This paper is a small scrutiny of our Folk dances. Each region in our country is
unique with excellence in heritage and culture. Almost all regions have explicit distinct
music and dance expressing the tradition. The folk dances are performed for various
occasions. Music and dance is part of our life. The art with and within us is definitely our
greatest asset. It has been attempted to present a short study on some folk dances of our
country.

METHODOLOGY
The interesting view of the folk dancing for each festival and occasion motivates
anyone to view the richness of art, forming part of our regular routine. There are many
folk dances in our country and studying the various skills within them in the works of
great scholars has framed the essence of this paper.

Folk Dance
The unity and diversity of a country can be seen through its folk theatre and the
natya in India with its exciting and harmonious blend of dance, drama and music. For
instance, the theme of Siva and Parvati, the male and the female, purusha and prakriti, is
depicted in almost every dance form. The human being, since the beginning of
awareness, used dancing as a means of propitiating the gods, of mirroring the society in
which men lived, and to depict sheer exuberance, sorrow and emotional relief. All dance
was considered as prayer.

In Gujarat, during the nine nights before dassera, the Bhavai is enacted, before the
temples of the mother goddess Amba.

An interesting speciality of Bhavai is the recitation of the rhythmic syllables by

the actors and use of verse for some of the dialogues. As the two actors speak to each
other, they dance and end their conversation with .tata-thai thai, tat a-thai. - a dance full
stop to a poetic conversation.

Costumes and make-up are exaggerated and there is a curious intermingling of

both Hindu and Muslim styles of dress. Character acting is a Bhavai speciality and
topical subjects are introduced constantly.

The Jatra of Bengal, though not a dance form, uses dance and music in the telling
of stories. Stories from the Bhagavatam predominate, after the geat wave of the bhakti
cult was introduced by Chaitanya in the 15th and 16th centuries.

In Maharashtra, the folk form, Tamasha flourished especially during the reign of
Baji Rao II (1795-1818). The dancer of the Tamasha has a style of her own-saucy and
eloquent. She is known as the Navchi. and is one of the most popular of entertainers.

Folk forms have a marvelous unity, conditioned as they are by certain elements. -
The religious festival are celebrated by dance, as are the festivals of nature such as
harvest dances and the dances of the tribes describing the rhythm of their lives. In Kulu,
the valley of the Gods, at Dassera time, Lord Raghunathji is worshipped and the dance
called the Natti from the Sanskrit word natya, is performed, which is a colourful
spectacle. Usually the group of dancers in striking costumes dance together in a circle to
the music of pipes (shehnai) and drums (dhol, negara, dholak), trumpets (karual) and
gongs (bhana). The Shehnai has a peculiar tonal quality, and it is this player who is the
leader of the orchestra. Songs tell us of the life of the people and there is always an
encircling dance performed by the men with a fine display of technique, known as the
Kharait. The nattis are a series of dances of thirteen variations performed by both men
and women. It is interesting that the goddess of Kulu is the Rakshasi Hidamba, the Devi
of Manali, and the festival cannot begin without the presence of this powerful deity. Kulu
is a land filled with stories of the heroes of the Mahabharata and Ramayana.

Folk dances are usually a series of rhythmic group movements, the rhythm itself
suggesting the movement, the tempo and the natue of each dance. Slowly out of what
once must have been a disorderly pattern, has grown what it is today. We call dancing of
people, thus differentiating it from the technique and strict patterns of the classical
schools where, through the centuries, people have formed a highly evolved composition
of rhythmic movement and harmony. In classical dancing the music and dancing coincide
with each other and the final choreography, though seemingly evolved with simplicity, is
created out of separate fragments of ordered and highly skilled technique.

In very ancient cultures, dancing was closely connected with ritual. Rhythmic patterns
seemed to be the simplest method for :be earliest man to win the favor of the gods, for
good weather, for his crops, for auspiciousness in birth, marriage and death, in hunting
the wild beasts of the jungle, and in the defeat of his enemies.

Traces of the earliest ritual dances can be found in the reliefs on the temple wall of
ancient Egypt. Historians and archaeologists tell us of the Dance of Lamentation. in
which both men and women participated, the Dance of War and the Dance of Fertility.
To celebrate birth, dancers, disguised as the God Bes, danced around the figure of Ta-Urt,
Goddess of Birth. Usually when women danced, the musicians who accompanied them
were also women. Then there was the funeral dance, which can be found in certain parts
of India even today, one for instance, being amongst the Todas of the Nilgiri Hills where
men dance around the funeral hut, during the last rites and the Moharrum dances of
Mymensingh, where they move to the tune of sad dirges, waving red scarves.

The Savaras of Orissa have an interesting legend: when the daughter of God died,
she expressed a wish that there should be dancing at her funeral. So God Himself became
a dancer imitating the dance of the Peacock and so the dance was created upon the earth.
The rakhatla dance of Lashkers of the Lushai Hills is performed at the funeral of an
outstanding personality.

In India where the climatic conditions are so extremely varied, the folk dances
represent several centuries of social conditions, in all their diversity. The characteristics
and habits of the different people are reflected lastingly in their mode of dancing. From
the mild and gentle dancing of girls around a pole, plaiting colored threads in a fantastic
dazzle of tints, to the wild and dramatic leaps of jungle tribes, a whole history of man is
realized in plastic movement. Each new branch of form or melody suggests and recreates
for us the constant process and evolution of the human body in all its heroism and
struggle for supremacy in the disciplines of everyday life. In folk-dancing, man can
spontaneously exhibit all the eloquence of his body, all the subdued fear that harasses
him during his working hours, all the nobleness he desires to achieve, whether in simple
agriculture or in the fierceness of war. That is why, perhaps, in most folk dancing, there is
an extraordinary element of confidence and joy, man consciously becoming a more stable
and natural figure while he loses himself in the simple rhythmic outburst that is
characteristic of the folk-form.

The South for instance though the home of strict classicism, possesses a
fascinating selection of folk-dnaces. The girls dance in groups the Kolattam, foten
beating rhythm with their hands or with small colored sticks. In Tanjore there is the
Acchaponga, which is purely devotional. In Tiruchirapalli, the story of Shiva and
Kamadeva is enacted for about 15 nights with a great deal of singing and dancing.
Then there is the pot dance called the Kodda Kooto, celebrating Sri Krishna's victory
over Banasura.
 Another variety of the Kolattum is very beautifully executed in the Telugu
districts. Boys and girls, dressed as Krishna and Radha, take part. Two of the best dancers
taking their places in the centre: The song is a composition on Dasavatharam, describing
the ten avatars of Lord Vishnu. In Maharashtra also one of the most popular dance-
dramas is the Dasavatar, where sutradhara introduces the play, which begins with an
invocation to Ganesha and Saraswati. In this play, the actors wear masks. In the district of
Telangana during the Dassera celebrations, which last for nine days, women from all
stratas of society join in a group dance, singing and worshipping with flowers as they
dance. This dance is called Bath-Kamma.

Anyone who traveled far into the jungles of the Bastar state in M.P near Khamban
will never forget the experience. In the cold season, during the Dhanurmasam festival, it
is a strange and unworldly experience, to see in the depths of the jungle, by the light of
the fire, a group of girls dancing the whole night, their arms clasped around each other.

The west coast in Malabar is one of the few places in India, where the people
enjoy both classical and folk-dancing and, because of this, the folk-dancing has a more
mature and elaborate unity than the spontaneous movements of the same form in other
parts of the country. The Kaikottikali, done by a group of women, in a circle, is especially
interesting, as often, during festival days, women from different villages form teams and
vie with each other both in the intricate steps and in the refrain, sung by one women and
taken up in chorus by the others. The movements are well formed and exquisite patterns
are executed as the young women dance. Another dance popular with the women is the
Thiruvadirakali.

The Nairs of Malabar were essentially a warrior race, and often danced with
swords and shields, displaying the fine skill that, in the old days, was part of every young
boy's training. Dancing made their feet nimble and the rhythm not only gave them
dexterity in movement, but also contributed to the development of a keen mind and body,
that must have prepared them well for real fighting. For dancing, even with abandon,
slowly after tension is dissolved, builds up a discipline In its insistence of elaboration of
simple unity with oneself and with others, is unconsciously established.
The Velakali is a typical example of a martial dance relating the fight between the
Pandavas and the Kauravas.

The Bihu, the popular dance of Assam, is done by men alone in a circular group
(Hi chari) and also by men and women to the accompaniment of drum, cymbal and pipe.
The harves or Maigainai dance reflects the work of the people, as they harvest the crop.
So much of dance was linked to crops as thanks giving in West Bengal in the Karam
festival of Bengal.

The Naga warriors of Assam, richly and rather fiercely clad, dance a vigorous
Warlike dance. The ornaments they wear, the long spears, the shields and their painted
face give a realistic terror to their dances, and the incessant beating of the drum has a
queer effect on the spectators.
 In Gujarat, the garb a dance is still extremely popular. Seen in its proper setting in
the open, where the women worship Am Matha, singing and swaying in their wide
sweeping ghagras and brightly decorated cholis and odhnis, it is a vigorous and dance. As
they dance in a circle, the rich silver jewellery flashes in the sunlight, while the men
equally colorful in their frilled coats and turbans, watch enthusiastically.

CONCLUSION
The rich spectrum of superiority of our folk signifying unity in diversity of
language culture and creed depicts the proficiency each and everyone from our rich
tradition. Thus it is no wonder, our nation is the rice in heritage.
 EDUVENTURE RESEARCH JOURNAL OF QUEEN MARY’S COLLEGE
VOL. 4 – ISSUE – I – p-47-48. JUNE 2011

MUSIC IN DIVYANAAMA KEERTHANAI

V. NAGARAJAN
Assistant Professor of Music

Abstract
This paper presents a study on the Divya Naama Keerthanai, its structure and the
ragas used in the same. Divya naama keerthanai composed in Raagas Shankarabharanam
and Sahana are presented here with a brief study of its characteristic.

Introduction
The word Divya means 'Divine' and Nama means the names of the Lords.
Divyanama means 'Divine Names'. Keerthana means chanting the glories of God. Music
is viewed as a heavenly bliss by ancient sages and used as vehicle for spiritual pursuit.
"Bhagavathamulu Kumikoodi Pade Keerthanamala" explains that saints sang the songs in
praise of God in groups with strict adherence to tradition. Divyanama keerthanas are rich
in meaning and are easy to grasp and sing in chorus. They are composed in simple
language so that even the people who do not have the knowledge of music are able to
understand and sing with ease. It is one of the forms of devotional music. Divyanama
keerthanas of Sadguru Thyagaraja are in Sanskrit and Telugu.

In Bhajana Samprathaya, devotees assemble in groups and sing the simple lyrics
set to music with Tambura, Chapla or cymbal. It is a form of mass prayer seeking
universal peace. The tunes are simple with easy rhythm. Soulful rendition of these
compositions gives great joy. The Sapthaswaras are considered not only equal to
"Manthra - Bijakasharas" but are also the very abode of the Goddess and aid in the
attainment of moksha.

Methodology
Sir Thyagaraja's Divyanama keerthanas are very lucid in style expressed in poetic
media with appealing musical settings in popular ragas. Not a single Vivadhi-Raga is
handled except 'Varali', ancient raga. These songs are set to simple rhythmic patterns with
the natural under-current of Sarvalaghu, the constant background of rhythmic beats.
Hence these compositions are ideally suited for group singing. By introduction of
Sangadhi's or melodic variations in his krithis Sir Thyagaraja has emphasized that
melody is more important in a highly artistic form in which dhatu & mathu form a
consumable whole.
 Sadguru Thyagaraja has composed Divyanama keerthanas in almost all ragas. Yet
Shankarabaranam, Saveri and Varali are extensively used. Some of his compositions
contain one charana and some contain more than one charana.
The commencement of the compositions and the charana is placed just after the
first beat of the avardha (thala). This is an ingenious device for the group to start
simultaneously after hearing the nadha of the cymbals of the leader of the. group and
render the devotional hymns with the harmonious blend of bhava, raga and thala.

Discussion
Here we discuss a few characteristics of the Divya Naama Keerthana sung in
Sahana and Shankarabharanam ragas.
1. Raaga - Sahana
Pallavi: Vandanamo Raghunandhana sethu Bandhana bhaktha chandana Raama

Charanam:
1. Srithama Naadho vaadhama ne Bhedhama idhi modhama Raama
2. Sri Rama Hricharamaa barova Bhaarama raayabha rama Raama

The above keerthana has 9 charanas. The song brings out the characteristics of the
Raaga and the melody is the same throughout the song. It evokes Karuna rasa and is set
to simple thala meter.
2. Raaga - Shankarabaranam
Pallavi: Sri Raghu varadha saradhe Raama Sri Raghu varadha saradhe Raama

Charanam:

1. Vandhitha suramani brindha paraathpara

Mandhara dhara Sri sundhara Raama
2. Sri kara koti vibhaakara bhaasusu
Dhaakara vadhana karunakara Raama
The above Keerthanai consists of 11 charanas set to Adhi thala. and
"Varaleela Ghana lola sura
Balasuguna jhaala paridha neela gala hru
Dhaalaya sruthi moola sugaru Naalavaala
Paalayasuma"

Is set to thisra lagu and is apt for singing when dancing in a circle by clapping the
hands.
Deepa Pradhakshina means going around the lamp in which God is invoked to
merge in jyoti swaroopa and going round it singing his praise reverentially with
appropriate abhinayas. The Bhagavadas sing the heroic qualities of the Lord with the
lamp placed at the center of the Sanchu savtorithu, their hands performing the abhinayas,
the feet dancing to the rhythm and the mind concentrated on the God's omnipotent
qualities (Naama gun a - gaana bhajana).
Devotion is said to consist of nine folds Le. Sravana, Kirtana, Smarana,
Padasevana Archana, Vandana, Dasya, Sakhya & Atmc nivedhana. Sincere Devotion to
the Lord i: emphasized as the essence of Kerthana. Sil Thyagaraja in his Sangita jnanamu
Bhaktivinc reiterates the importance of Bhakti in music.
Divine compositions of the varioUJ Mahanubhavas like Bhadrachala Ramada
Purandara Dasa, Thulasi Dasa, Surdasa Meerabai, Sadguru Thyagaraja etc. comprise the
"Dasa Keerthanai's". They have all enriched the legacy of our spiritual lore. The different
musical forma pertaining to the Maratha system like Abhays of Nama Dev, Gnana Dev
and Thukkaram are also rendered with gre enthusiasm. Each of them is the appropriate
namavallis in praise of Rama, Krishna, Siya Anjaneya and other deities.

Conclusion

Music is "atmartha", and soul enhancing It is a path to attain the absolute bliss and
Thyagaraja's divya naama keerthanas are ' proof for the same. They are not me. repetition
of names of the Lord but infuse various forms of bhakti.