MUSIC & DANCES OF KARNATAKA

Dances of Karnataka

Kunitha - A Ritual Dance

The ritualistic dances of Karnataka are known as Kunitha. One of such ritualistic dances is the Dollu Kunitha. It is a popular dance form of Karnataka, accompanied by the beats of decorated drums and singing. This dance form is mainly performed by the men of the shepherd community known as the Kuruba community. The Dollu Kunitha is characterized by vigorous drum beats, quick movements and synchronized group formations. Another dance form of Karnataka is the Puja Kunitha. In this dance form the dancers carry a wooden structure having a deity on their heads.

Other dance form - Devare Thatte Kunitha, Yellammana Kunitha, Suggi Kunitha are named after the deity or the symbol or instruments which are balanced on the head or held in the hand of the dancer. The Pata Kunitha, the Gorava Kunitha and the Kamsale are some of the other common ritualistic dances.


Classical Dances

Among the classical dances of India, the Mysore style of Bharatanatyam, is the oldest and most popular dance form. It is widely performed here. Other mainstream classical dances here include Kuchipudi and Kathak.


Folk Dances

Krishna Parijatha
Krishna Parijatha is a popular folk theater art form of North Karnataka. It is an amalgamation of Yakshagana and Byalatta, portraying stories or incidents from the great epic Mahabharata.

Bhootha Aradhane
This dance form is widely performed in the coastal areas of Karnataka. The Bhootha Aradhane or devil worship, includes a procession of idols depicting 'bhoothas". This procession is characterized by the beating of drums and bursting of firecrackers. After the end of the procession, the idols are placed on a plinth. Then, a dancer personifying a devil dances around the plinth with sword and jingling bells. The dancer dances vigorously at one point of time and then slows down, signifying that he is now a divine person.

Nagamandala
This ritualistic dance form is performed by the people of south Karnataka. It is done to tranquilize the serpent spirit and is an extravagant affair held throughout the night. The dancers called the Vaidyas are dressed as nagakannika. They dance all night long around a huge figure, drawn on the sacred ground with natural colors, in a pandal specially erected in front of the shrine. This ritualistic dance is generally performed between December to April.

Dance Drama

Yakshagana
Yakshagana is a dance drama performed in the coastal areas of Karnataka. This unique dance form is a perfect blend of dance, music, songs, scholarly dialogues and colorful costumes. Yakshagana mesmerizes each and everyone in the audience with its enchanting music and colorful performances.

The word Yakshagana litreally means celestial music. This dance drama is also performed throughout the night, usually after the winter crop has been reaped.

Folk arts & Dances of Karnataka
Folk performing arts represent the cultural segments of a particular region and language. The performances presented on the stage or open fields are blended with songs, dances, facial expressions (with or without make-up), and music. These elements form the basis of any folk performing art. Audience is the most important element, whether it is an indoor or outdoor performance. The complexity traits of the performing arts gained popularity in a few regions because of its regional uniqueness. According to a recent study, regional art forms like 'Boodkali' of Coorg, 'Daasaraata' of North Karnataka and few other dance forms have lost their popularity due to the advent of electronic media - satellite television, video games, internet and so on.

To know the folk art, on the forefront it is essential to know the territorial limitations of the State. Based on an academic study on the folk performing arts of Karnataka, the State has three major territories and one province namely:

Coastal Karnataka: ( South and North Kanara; Arabian Sea belt )

South Karnataka: From Chitradurga towards South i.e., Tumkur, Kolar, Bangalore, Mysore, Mandya, Hassan, Shimoga and Chickmagalur.

1. North Karnataka: From Chitradurga towards North i.e., Belgaum, Bijapur, Bidar, Gulbarga, Dharwad, Bellary, Koppal, and Raichur area.

Province: Coorg is as provincial region because o the settlement of Coorg ethnic population. Coorg Region
"Huttari Dance" and "Bolak-aat" of Kodagu
During the harvest season in Coorg people assemble in designated rural centers to perform their annual Harvest Dance. Wearing the ethic Coorgi Costume - black tunic, and a decorative traditional knife, the men present their slow-moving dance to the background music holding long sticks. Generally known as 'Luttari Koolata', it has different varieties

Bolak-aat
According to a legend 'Lord vishnu' took various avatars (in Carnation) for the destruction of the evil demons. To destroy the demon 'Bhasmasura' Vishnu danced in the 30 varieties, and one among them is 'Bolkat' . This dance is performed in front of oil lamp in an open field. This performed exclusively by men in the Kodava Dress. Performers in their hand 'chavari' (Yak-animal fur) and in the another hand holds 'Kodava (Sickle') kodava katti. Many regional variations are found in dance forms that few performers use only 'chavari' and dance to the tune of 'Dudi'. When they dance with a sickle in their hand it is identified as 'kattiyaata'. They sing songs to the tune of 'Dudi', an hour glass drum on theme of Kodava heroic deeds of gods and goddess of the region.

Ummattat
Participants are exclusively women folk of Coorg ethnic. The myth says that on the occasion of 'samudra manthan' (churning motif) the distrubution of 'amruta' (nector) went in the hands of Vishnu who he appeared in the guise of 'moohini' (female roll). The replica of 'moohini' and dance is today named as 'ummattata' in the Kodava region. Kodava women folk wear the Kodava national dress with jewellary ribben on the forehead and kunkum, holding the bross cymbals in their hands, in a swinging rhythem they dance in the circle. At the centre one women stands with a pot full of water who she represent water diety 'Kaveri'. Kodava people worship the 'Kaveri Diety' as their community goddess.

Kombat
This dance form used to be performed with religious sentiments only in the temple premises. In the recent years, it is performed in other places also. Men dancing, holding deer horns is the main attraction of this dance. The wind piping musicians and percussionist render rhythmic tunes to the performers. This art has certain martial movements because the Kodavas are known for the in war techniques and valour. The performers wear their ethnic dress, and deer horns are used in place of daggers for self protection. In the legend of the horns of 'Krishnmuruga' ( a dark coloured spotted deer) while dancing.

RELIGIOUS DANCES

Most folk dances owe their existence to religion and are performed during fairs, festivals and other religious occasions celebrated by a local communities.

The dances like 'Nandi Dhwaja', 'Lingada-Berana', Gorava dance, Veeragase, Beesu Kamsale and Puravanthike are dedicated to the worship of Lord Shiva.

Bhagawanthike, Pata Kunitha and Bana Devara Kunitha are dances performed to worship Lord Vishnu.

Mariammana Kunitha, Urimarammana Kunitha, Puja, Karaga, Dollu, Soman Kunitha, Harige, Sedere, Bhoota Nrutya, Naga Nrutya, Vatte Kola, Kombat and Billat are being performed to worship all incarnations of 'Shakti', the deity of power.

The dance performance in Nandi Dhwaja consist of an attractively decorated bamboo pole measuring about 20 to 25 feet long and 4 inch wide in circumference. Nandi Dhwaja is performed by skilled and experienced dancers. The performance begins with the erection of the Nandi pole which is initially thrust into a 'Navara'-the pouch worn by the performer. Balancing the pole at 90^o , the dancer accomplishes rhythmic movements and intricate acrobats to the emotional tunes of the musical accompaniments. This dance is prevalent in all parts of the state except Kodagu.

The artistes of Beesu Kamsale are an expert singing community. But vigorous, rhythmic movements dominate the performance of Beesu Kamsale. Narration is regulated to the background.

In Pata Kunitha, the major emphasis is more on the manipulation of pata (embellished bamboo pole, each measuring 10 to 15 feet high, carried by 10 to 15 artistes) than the narration. The dances Beesu Kamsale and Pata are widely popular in Mysore region.

In Bana Devara Kunitha, the folk artistes will be preoccupied with attaining perfect harmony to the clinking of bow bells rather than on oral communication of any religious content. The striking feature of this dance is archery. This form of dance is found in places like Hassan, Chitradurga and Chikkamagulur.

In Puja Kunitha dance, the emphasis is more on the visual presentation than the oral narration. Here the spectacular exhibition of colourful bamboo structure is ably matched by the skilful body movements. It is prevalent in Bangalore and Mandya districts.

Karaga is known for its rigidity with high ritualistic significance. It is popular in Mysore and Bangalore districts.

In Sedere dance, the performance in an emotion charged atmosphere. Any communication through music gets drowned in the din of the thunderous sound of musical instruments amidst fast paced virile performance. Sedere is performed by scheduled castes and washer men in some parts of Bangalore and Hassan districts.

In Gorava mela which is extensively practiced in Mysore, Shimoga, Belgaum and Dharwad districts, the artistes display immense abilities of oral communication and perception. Goravas are singing tribe who narrates stories of deeper religious value.

Dollu, a group dance which is widely practiced in Melkote in Mandya district offers a desirable atmosphere for the integration of new ideas in an unusual way, through interaction and exchange of information between the two groups of performers. Dollu, a semi circular dance, with a brilliant combination of sound and speed, performed by the Kurub community in North Karnataka, Shimoga and Chitradurga districts is worth noting. The soul of Dollu Kunitha is the indigenous folk instrument called Dollu which when struck emits a thunderous sound. Mythological, historical and social themes are narrated by the chief narrator with the powerful musical accompaniment consisting of the Dollu, the cymbals and the flute providing appropriate musical setting to the narration. Messages on loan melas, small savings, adult education and population control programmes have been integrated into this folk dance.

Bhagavanthike involves a competition of a witty dialogue between two groups of 10 to 12 artistes, who wearing spectacular costumes recreate the fanciful tradition of folk dance. Bhagavata, who is the chief narrator cum performer makes the folk dance of Bhagavanthike, a viable medium of non-formal communication. There is also a jester. During the performance, the jester sings and dances along with other artistes sometimes following the traditional and sometimes setting up new precedents and serves as a change-agent. Attracting wider attention through his acrobatics, the jester skillfully adapts himself to the changing needs and demands of the audience eventually establishing a rapport with the audience with ease.

The community dance, Mari Kunitha which is wide spread in Mysore and Mandya districts, display an insular flexibility in the presentation and narration. Originally belonging to the Shakti cult, these dances consist of performers standing either in rows or forming a big circle and dancing to the tune of 'Chakravaddya', an indigenous flat percussion instrument. The dance begins at a slow pace, gathers momentum, reaches a frenzied pitch as the tempo of the beat increases and continues till the rhythm fades away. The songs are sung intermittently at each pause and hence could be heard by the audience clearly. In the dances like Kombat and Billat, which is similar to the Mari Kunitha, the artistes attired in customary 'Kodava' costume (consist of black robe, a silk waist belt and a 'Zari' bordered white turban) perform carrying deer-horns to the accompaniment of a drum and the dudi- a small drum.

The folk dance of 'Urimaramma' is performed by a team of a husband and wife. The artistes are nomads, wandering from one place to another carrying an unusually designed mobile temple, eventually facilitating a simultaneous performance of dance and worshipping of the deity, right at the door of the people. The performer, acting like a messenger emphasises on a social problem and he tries to motivate the people to invoke the blessings of the deity so as to enable them to overcome an impending crisis.

Dances like Harige, Bhoota Nrutya, Naga Nrutya and Vatte Kola aim at appeasing the supernatural powers, lest the community is harmed. These dances are deep rooted particularly in the picturesque coastal region of South and North Karnataka. The dance serve as a traditional forum for community members to conduct a dialogue with the performer - the re-creator of ghost image, consequently paving way for a two way communication. The image of the ghost is most appealing.

In the coastal region of South Kanara, the Bhoota Nrutya takes different forms, depending upon the type of the ghost it represents. Koratti, Koraga Taniya, Ali Bhoota, Punjurli, Kuppe Punjurli, Kalkuda, Kallurti, Shiradi Bhoota and many others represent a galaxy of ghosts worshipped in places like Puttur, Mangalore, Bantwal and Uppinangadi.

The chief narrator of the Naga Nrutya (snake dance) is known as Vaidya or Patri. The dance is performed with religious fervour to appeal to the religious susceptibilities of the people.

Vatte Kola is another folk dance that comes under the umbrella of the Bhuta tradition. It is dedicated to ghost worship. The presentation of Vatte Kola begins with the preparation of burning coal in an open field. The performers are required to walk over the burning charcoal pits. The performer of Vatte Kola is an excellent communicator who steals the show through his sincere worshipping of deity for the total welfare of the community.

Lingada Birana Kunitha which is wide spread in the southern parts of the state and where the dancers perform splendidly, holding a sword in one hand and a shield bearing their religious emblem in the other to the tune of the devotional narration.

Puravanthike is a highly expressive and credible narrative art which draws its strength from the heavy sprinkling of riddles in its content. These riddles are folksy, woven around familiar things of daily life and also amuse people in the form of simple folk poetry and they serve as excellent channels of social education. In Puravanthike the costumes and ornaments are colourful. Dressed like warriors, the dancers present a skilful display of vigour with a sword in one hand and a trident in the other.

SECULAR DANCES

If religious dances arouse religious sentiments of the people, the secular dances provide entertainment. Kolata, Chit mela, Marakalu Kunitha, Chennu Kunitha and Simha Nrutya are some of the important secular folk dances in the state.'

'Chit mela' which is performed by a group of ten artistes and is replete with colourful exhibition of eye-catching presentation is dominated by an unusual butterfly like display.

The folk art of 'Chennu Kunitha', the harvest dance found in Puttur, Coondapura and other villages of South Kanara give an insight into the cheapest mode of communication through entertainment.

The folk dance of 'Maragalu Kunitha' consist of unique wooden legs which the artistes literally wear to gain unusual height. Wearing uniquely designed artificial legs the artiste easily captures the attention of the people through executing impressive but difficult feats.

Kolata or stick dance is a kind of valour dance involving groups of people who indulge in bending, swaying and jumping activities to the tune of rhythmic clashing of sticks. With two sticks in hand, each dancer can strike in various patterns and rhythms. There is considerably more flexibility in the pattern of dancing so also singing. Members of Vokkaliga, Nayaka and Golla communities of Mysore, Mandya and Hassan districts and the Hallakki Gowda community of North Karnataka and the Kodavas of Coorg excel in Kolata. There is a rich spread of romantic and valour themes and references to contemporary, political and social issues in Kolata songs.

'Alayi Hejje', a semi religious dance of the Muslim community of Karnataka, is a classic illustration of harmony between the two predominant communities of India, the Hindus and the Muslims. Jointly performed by both Muslims and Hindus, the presentation in Alayi Hejje consists of performers dancing around a fire pit. It appears like a rope dance with 20 to 25 dancers holding identical ropes which are hung from bamboo poles. The dancers form a circle and dance around the pole artistically winding and unwinding the ropes like plaits.

Alayi dance is an amalgamation of action and dexterous footwork, supported by appropriate devotional theme. Performed as part of 'Muharram' festival, Alayi Hejje provides a favourable forum for accomplishing the much needed communal amity in this much diversified society. Serving as a symbol of communal harmony, the theme of Alayi Hejje can be explored for other purposes, than it presently expounds on the stage, besides its religious functions.

The folk dance which is totally free from ritualistic and religious barriers is 'Simha Nrutya' (lion dance), the popular dance of the Honnavara taluk in the Uttara Kannada districts, usually performed by 'Yakshagana' artistes. The dance is in effect a charming imitation of a lion's movements. Hence the dancer wears a costume which closely resembles the lion. The costume is specially made of bark and yarn using natural dyes. The dancer wears a mask which is made up of cotton and is done to look like a lion's face. Two silver pangs are inserted in the mouth to create a visual impression of fangs. With the perfect portrayal of a lion's behaviour, movements, mode of hunting and preying, Simha Nrutya is not only entertaining but educative also. Simha Nrutya, generally performed during the Yakshagana play is attracting attention and has been used in the propagation of messages like preservation of wild life, dangers of deforestation, dangers of poaching etc.

Music of Karnataka

Karnataka is a state of India with a long tradition of innovation in the fields of both Carnatic and Hindustani classical music.

Basaveshwara, King of Kalyana, leader of the Bhakti movement and Prime Minister of Bijjala, created his Vachanas, an integral part of the Indian classical music's development during this period, which also saw the rise of composers like Chandraja, Shantala, Akka Mahadevi and Allama. Later, Vidyaranya's Sangitasara, Ventamakhins Chaturdandi Prakashika and Chaturkallinatha's Sangitaratnakara further refined these traditions.

With the rise of Vaishnavism and the Haridasa movement came Karnataka composers like Purandaradasa, whose Kannada language works were complex, devotional and philosophical, as well as Kanakadasa, Vijayadasa and Jagannathadasa. Later came the Wodeyars of Mysore, great patrons of the arts, who helped support composers like Jayachamarajendra Wodeyar, Veene Sheshanna, Veene Subbanna, Bidaram Krishnappa, Muthiah Bhagavatar, Bhairavi Kempegowda, Mysore Vasudevaraya and T. Chowdiah.

Hindustani classical musicians from Karnataka include Mallikarjun , Bhimsen Joshi, Basavraj Rajguru, Nagarajarao Havaldar and Gangubai Hanagal

Contributions to Carnatic music

In earlier times, sangeeta shaastra followed the "Guru-Shishya" tradition, and there did not exist any written text. First classical music began as abhyasa, and it was only later that shaastras were formed. It is estimated that only during the period of Bharatamuni (300 BC) for the first time the theories of sangeeta were documented. It was termed as "Naatya Shaastra".

For a considerable period of time it was the only authoritative treatise (PramaaNa Grantha) for the whole of India. After that, independent growth of classical music occurred across different parts of India, in different forms. In South India, around 1200 BC, that is around 800 years ago, a scholar by name "Shaarjnadeva" wrote a treatise, which was named as "Sangeeta Ratnakara". This is considered to be the first documented work on South Indian classical music.

He hailed from Devagiri (which is now Daulatabad, province of Hyderabad). This region was part of Karnataka desha (majority of Karnataka Desha is currently Karnataka state), during that time. Later, South Indian classical music obtained a well-defined structure (nirdishta roopa) through the works of Maadhava and VidhyaraNya (1350BC). Apart from strengthening the sangeeta shaastras ( sangeeta shaastra pravartane) by writing "Sangeeta Saara", they were also ministers of the Vijayanagara Empire, and Heads of Shringeri Mutt. Both of them were from Karnataka and kannadigas.

They were followed by Shivayogis (1500) and Purandara daasa (1550) (who is also known Pitamaha of Karnataka shaastriya sangeeta) and other daasas. All of them were from Karnataka.

Among the haridasas Purandaradasa gets the credit for founding the system of teaching Karnataka Music. He composed Sarale (Svaravali), Janti (varase) and Tala Alankaras and a group of songs called Pillari Gitas He introduced Mayamalavagoula raga scale for the beginner. It was also a Mela reference scale and had a large number of ragas grouped under it. The talas employed for the beginner were called Suladi Talas and these talas systematized the conceptual underpinnings for maintenance of rhythm. Haridasas created the Pada form, first developed by Narahari Thirtha. Pada is the prototype of Kriti and Javali and it is retained in its original form in the present day Devaranama.

Haridasas of Karnataka indisputably shaped the music of their time and prepared for the future by influencing the composers who came after them. Tyagaraja acknowledges the unmistakable influence of Purandaradasa Tulajaji the Maharashtra, ruler of Tanjore (1729-35 A.D.) writes of the music of Haridasas in his book Sangita Saramrita. He venerates Vyasaraya and Purandaradasa as great composers. Songs of Haridasas were very popular in Tamilnadu as recently as 19th century. Eminent exponents of Hindusthani Music have popularized the Kannada songs of Haridasas.

After them, around 1650 AD South Indian classical music got a new lease of life from Govinda Deekshit. Even Govinda Deekshit was from Karnataka. He was a minister in the court of King Achyuta Nayaka of Tanjavore. He wrote a Grantha "Sangeeta Sudha". In his "Sangeeta Sudha" he has quoted a lot about "Sangeeta Saara" by Maadhava- VidhyaraNya. His son was the renowned Venkata Mukhi. He wrote "ChaturdanDee Prakaashika", which even today is a novel work. "ChaturdanDee Prakaashika" for grammar of sangeeta is like how "PaaNini" is for Sanskrit grammar. It is important to mention at this point that even Kshetrajna who wrote "Shrungaara padas" (also deals with theory of sangeeta shaastra) with pseudonym of "Muvva Gopaala" was also around this time (1650). Around 150 years after Venkata Mukhi, arrived two of the Divine Trinity- Tyagaraaja, and Muttu Swamy Deekshit. It is very crucial to note that both of them followed the Shaastra Paddati set by Venkata Mukhi. During the time of VidhyaraNaya there were 15 meLakarta raagas, which became 22 during the time of Venkata Mukhi. Even for today's classification of raagas, these 22 meLakarta raagas act as a base. Apart from above mentioned theorists many other theorists like kallinatha, raamaamaatya, somanatha, etc, have contributed a lot to the development of South Indian classical music. Majority of them, if not all, were from Karnataka.

From Sharngadeva to Venkatamakhi (about 650 years) the southern system of music was expanded and established on a firm footing by mostly people from Karnataka. Many Kannada words like Thavi, Ela,Ovi,Kaivada- have gone into the descriptive lexicon. In the final analysis people from Karnataka formulated and codified the music (Shastrakartas), the Andhra musicians added the innovation and experimentation (Lakshyakartas), and the Tamil musicians presented the music in all its glory (Prayogakartas).

Puppetry
String Puppets Play Of North Karnataka

Puppetry is one of the most remarkable devices of art, which is capable of universal appeal. India is said to be the motherland of Puppetry. The concept of this earth as the stage for God to perform his plays pervades Indian philosophy. The Sanskrit word for puppet is Puttalike or Puttika which is related to the word Putra which means son. The animation of puppets though imaginative manipulation is what is suggested by the etymology of Puutalika, or Pupa. The earliest reference to Puppetry in India is in the Tamil Epic Silappadikaran of about 2nd century B.C. The term Sutradhara the "holder of strings" seems to suggest puppetry and it is used in relation of to plays like Kamsavadha in Patanjali"s "Mahabhashya" - indicating the long history of puppetry in India, since even the 5th century B.C.

Generally string puppets are made of softwood, painted according to the character. The puppets are designed according to the live Yakshagana or regional folk play pattern. Demon characters of puppets reflects the design of village Mother Goddess temple iconography. String puppets are manipulated from above the stage, manipulator's handling technique is unseen because of the upper part of the stage covered with block screen. Puppets appear from the left wing to right, sometime from above the stage. Stories selected for the performance are from the Ramayana and Mahabharata episodes. Song, dialogue exchange delivered by the manipulator behind the screen. traditionally performance played in the oil lamp, it has now substituted to electric bulb. Devindrappa troupe "Shakti Yakshgaana Gombeyata Mandali" has earned very good name in the string puppets play of north Karnataka. Special attraction of the play is that percussionist (maddalegaara) sits outside of the stage and converse with the jester character "Hanumanaayaka" amusing the audience with proverbs, jokes. Size of the puppets are 2 feet to 3 and half feet only. Gorgeous costume of the puppets are similar to the regional yakshagana and made out of goldpaper, ornaments adorned shoulder, chestgears and headgear's, paints reddish to demon character and bulged eyes with long teeth. The divine characters colored with yellow, green and jester character face paints quite jet black. Accompanying instruments to marionette play are "Maddale" (percussion) "Shehonoy" (wind pipe) and "Taala" (metal cymbals) and leading singer sings the major songs assistants add the chorus voice.

Leather Puppets Play- of Karnataka

In Karnataka there are two major varieties in the leather puppet shows, depending on the size of the puppets.

(1) Chikka Togalu Gombeyaata (small leather puppet play). (2) Dodda Togalu Gombeyaata (life size or larger leather puppet play) Each variety shows several regional variations in the style of music, craftsmanship, stage technique and manipulation. Leather puppeteers are scattered all over the interior of Karnataka and other Dravidian states. They have vivid name for shadow theater or leather puppet play. In North Karnataka the leather puppeteers are called "Killikyaata's". The puppeteers of the small leather puppet theater performers use kannada language and in a box stage manipulator sits behind the screen, raise the puppets held in their hands. During the performance men, women, children, the whole community of the artiste, take part. The average dimensions of the leather puppet stage 12 feet in length, 6 feet in width. The small puppets players have their own mobile stage measures 9 feet and5 feet only. The visible portion in front where a white screen tied up. Behind the screen the manipulator sits and manipulates the epic characters from behind the screen. Behind the curtain the hands of the manipulators remain unseen. On front of the stage the puppeteers family or associate sits and give chorus and exchange dialogue with drum beater. In the projected light sources the leather puppets shadow appears with beautiful color. Gondaligara Ata (Narrative performing art of North Karnataka)
Gondaliga's are "Ambha Bhavani worshipers, either two or three artiste together gives theatrical performance in North Karnataka and in Maharashtra, The performance theme mainly on divine tales or folk tales or historical legends. The performance given in the public during the nighttime only. The performance rendered by the "Gondal" community people so it is called the "Gondaligara Ata" in Kannada. The Gondal community people are itinerants, few are now settled, on invitation the Gondal priest goes and gives the performance. They speak Marathi as their mother tongue, also well known the regional languages. The term "Gondal" means the army of Shiva Spirits. The shiva spirits are called "Gana" and the troupe of the "Gana" is called "dal" Combining these two words "Gan + dal" which became "Gan-dal" but in the regional language used as "Gondal". The main theme of the "Gondal" ritual is appeasing or appeases the Shiva spirits or mother deity spirits. In propitiation of these mystic spirits ritual is called "Goondal puja".

The myth states that "Parusharam" son to "Renuka" decimated the demon called "Baanasur". Threading veins from "Baanasur's" body through his skull "Parusharam" created an instrument which, when plucked, yielded a sound approximating "tintini". Today this instrument is known as chaudike. "Parusharam" went to worship "Renuka" while playing on the instrument and thus was begun the tradition of performing a goondal. alternatively it is also put forward that the goondal tradition was established when "Parusharama" killed kshatriya King "Sahasrarjun". The goondaL's who worship "Devi Renuka" are know as Renukraai and those who are devotees of "Tulja Bhavani" are called kadamraai.

Karadimajal
A powerful folk orchestra of North Karnataka the "Karadi Majalu" performers are in demand during various auspicious occasions, processions. The orchestra derives its name from the percussion instrument "Karade or Karadi". Palm size cymbals yield the metallic sounds while the "Shehanoy" adds to the continuous flow of musical waves. The performers produce Very vigorous and soul filling music.

Mudalapaaya Yakshagaana
"Muudalapaaya Yakshagaan" is a village theater in the eastern part of Karnataka, (muudala = Eastern) of Tumkur and Mysore region. The "Bhaagavat" (singer) and his small group of singers and instrumentalists (maddale, the percussion instrument and mukhaviine - a windpipe resembling Shehony instrument) form the musical part. The various characters of the play bedecked with gorgeous costumes and speaking flamboyant dialogue also give some vigorous dances. The entry of some demoniac characters is awe- inspiring, so also their dialogue.

Thank you Vinnie for the articles, Ghar Ki yaad aa gayi 😭 😭

Thanx vinnie. will add/comment more after going thru the articles 😊

Delving into a treasure house By H Nov 10, 2006, 13:50

Chennai: T.M. Krishna and violinist Shriramkumar are documenting Sampradaya Pradarshini. What triggered the idea? A rare kriti in raga Mangalakaisiki in a Coimbatore concert catalysed the ambitious project. The song was from Subbarama Dikshitar's ''Sangita Sampradaya Pradarshini." A post-concert chat about the need to audio document SSP's treasures produced a concrete result. A cheque arrived from well wishers to start work. The musician recipients realised that they had to get into action. ''It was not easy,'' smiles T. M. Krishna. ''Formidable experts like T. L. Venkatrama Iyer, Mudicondan Venkatrama Iyer, V. Raghavan, S. Ramanathan, B. Rajam Iyer took 20 years to translate the Telugu text into Tamil.'' Opening his tattered 100 years old copy of the Telugu original R. K. Shriramkumar explains, ''The Music Academy's celebration of Subbarama Dikshitar's centenary (2004) had fanned our interest. We wanted to learn more about it ourselves, and make it more accessible to younger artistes. We knew that the task was as great as it was intimidating.'' Subbarama Dikshitar's was a gargantuan achievement. Prompted by connoisseur Chinnaswami Mudaliar, and patronised by the Ettayapuram ruler, this grand nephew of Muthuswami Dikshitar undertook to put down ''in writing and notation everything that he knew, without hiding anything.'' The result was astounding: two volumes of 1,700 pages; 76 profiles of historic figures in Carnatic music; sketches of raga, raganga, upanga, bhashanga; guide to tala and gamaka signs so detailed as to differentiate between jarus in ascent and descent; definitive notes on melakartas and janyas, their sancharis, illustrative lakshana gitas and compositions. Scattered through are fascinating bits of information — the Trinity went up to the tara sthayi madhyamam in raga Lalitha, diverging from practitioners who stopped with madhyasthayi dhaivatam; or that the use of antara gandharam (instead of sadharana gandharam) in Bhoopalam ensures prosperity. The compositions, painstakingly notated, range from prabandha, suladi and chittatanam to gitam, varnam, kriti, daru, padam, swarajati, ragamalika. The lakshana gitams are by Venkatamakhin, to whom the Dikshitar school gave adherence. The book follows his melakarta scheme of Kanakambari-Phenadyuti rather than Govinda's Kanakangi-Ratnangi system. SSP records 229 kritis of Dikshitar, besides those of Tyagaraja, Syama Sastri and lesser known Katikaimookku Pulavar and Krishnaswami Ayya. In this first phase of their work, Krishna and Shriramkumar have displayed a few pearls from the vast ocean. Their first audio-cassette records 10 Dikshitar compositions from the first book of SSP. ''A tremendous challenge, especially in following the gamakas,'' Shriramkumar admits. Krishna explains, ''It is natural for a Carnatic musician to INTERPRET — not READ — notation. It was really tough to follow the text with absolute fidelity.'' They were lucky to have musicologists N. Ramanathan and R. S. Jayalakshmi to guide them through the process. Jayalakshmi's doctoral research was on the gamakas of SSP. In the cassette she renders the songs on the veena before the vocal version. "SSP is based on the veena tradition of Dikshitar, and some of the gamakas are best illustrated on its strings,'' says Krishna. There were stumbling blocks. ''I wanted to give up when we reached Todi,'' says Shriramkumar. Krishna laughs and sings ''Kamalamba'' according to SSP notation. Strange notes waft in, suggesting old film songs and middle-eastern strains. The startled ears are somewhat healed when the familiar version follows. ''See how Todi has changed since then,'' he remarks. ''See how important SSP is for us to understand that tradition is constantly changing, evolving, re-inventing itself.'' ''This is a treatise of scientific, historical, technical and practical significance,'' Krishna concludes. ''A definitive reference manual for Carnatic music.'' Shriramkumar believes that audio recording the entire text is a lifetime's labour. ''But having begun, we mean to go on.'' The cassette produced by Jnanarnava Trust, will be released on February 20 (6.15 p.m. Kasturi Srinivasan Hall) before distinguished guests R. Seshasayee, Dr. V. V. Srivatsa and R. Vedavalli. This will be followed by a concert of Muthuswami Dikshitar's kritis from the SSP by veteran vidwan R. K. Srikantan.