TAKKAI

RESONANCE MUSIC

Linked to Ramayana

Dr. M. Lalitha and M. Nandini

NOVEMBER 02, 2017

A 17th century version of the epic is named after the Takkai

Coimbatore (Kovai) is a favourite place since it is close to Anaikatti, where we used to visit Sri Dayananda Saraswati at his serene ashram.

Once during a visit to Kongu Nadu, we heard the Takkai Pattu, where stories from the Puranas were sung to the rhythm of the takkai.

The Takkai Ramayanam composed by Emperuman Kaviraayar around 1600 AD was so named because the Ramayana was rendered to the accompaniment of the instrument. In fact the verses are set to the pace of takkai.

Emperuman Kaviraayar composed 3250 songs divided into 6 Kandas. This work is classified under the folk songs that is sung to the rhythm of takkai, which is performed at night in the villages. There was also a custom of reciting the Takkai Ramayanam in the Kalakshepa style. From ancient times, the takkai has been performed at all auspicious functions in Kongu Nadu. It was popular in the region till the end of the 17th century.

Udukkai family

Takkai, also referred to as Tala Isai Karuvi, is an Avanaddha vadya, a membranophone with two faces that comes under the family of Udukkai. It is a bit larger than Udukkai but smaller than Davandai.

Another difference is that the Udukkai is played with the right hand, whereas the takkai is played with a bamboo stick. There are 7 to 11 holes and there are leather straps or rope that is used to join the two faces that are covered with leather. This instrument is about 1 foot long. The pitch of the instrument may be altered by squeezing the rope, which is tied in the narrow middle of the instrument that is held by the left hand of the performer. Takkai could be made of wood or bronze.

It is played at the Srirangam temple during Pagal Pathu (day time for 10 days) and Ra Pathu (night for 10 days), which are celebrated in Margazhi.

Ranjitkumar, temple musician, at Srirangam says, “During Pagal Pathu when the Lord goes to Arjuna Mandapam, different nadais are played on the takkai according to the movement of the procession. Similarly, during Ra Pathu, when the procession moves to the Ayiram Kal Mandam.”

In Srirangam, the takkai has a special position in Araiyar Sevai during two festivals.

Dr. Rama Kausalya, says, “During the Kausika Ekadesi the Arayars perform Tirunedunthandagam to the accompaniment of this instrument and again, during Vaikunta Ekadesi, when the Arayars recite Divya Prabhandam... It is a tradition to play a suddha maddalam, davalai and takkai alternately during the recitation of Prabhandams.”

It is learnt that in the old texts there is a mention of takkai as being one of the accompanying instruments of Villupattu. In Ilango Adigal’s Silapadikaram, there is a reference to the takkai under the category of Agappuramuzhavu along with Tannumai and Tagunicham.

Tirumurai too mentions the instrument as does Appar in his Tiruthandagam, Karaikal Ammaiyar in Tiruvalangadu Mootha Tirupadigam (included in the 11th Tirumani) and Arunagirinathar in the Tirupughazh.

It is also mentioned in Kanda Puranam, Tiruvilayadal Puranam and Kamba Ramayanam.

The writers are well-known Carnatic musicians

http://www.thehindu.com/entertainment/music/instrument-takkais-ramayana-connect/article19967888.ece

Mizhavu

RESONANCE MUSIC

Serpent as the storyteller

Dr. M. Lalitha and M. Nandini

Oct 12, 2017

Mizhavu is the main accompaniment for the Chakyar

Watching Chakyar Koothu at the Ernakulathappan Temple in Ernakulam was a treat. The major instruments that accompanied the performance of this traditional art form were mizhavu and ilatalam. The presiding deity here is Lord Siva, who is in Gaurisankara form. The Lingam in the sanctum sanctorum is swayambu (worshipped by Arjuna as Kirthamurty).

Chakyar Koothu is performed as a solo narrative act and the performer wears a distinct headgear resembling the snake’s hood to signify that the story is being told by Anantha, the thousand-headed serpent. Koothambalam is the place where it is performed.

After the mizhavu player performs Mizhavanakkal to announce the performance, the Chakyar recites the story based on ‘Champu Prabandha,’ which is a combination of prose and poetry.

While members of the Chakyar community are the traditional performers of this art form, the Ambalavasi Nambiars are the mizhavu players.

Mizhavu is said to be one of the largest percussion instruments belonging to this region. Apart from Chakyar Koothu, it is the main accompanying instrument in Koodiyattom and Nangiyar Koothu. References to Koodiyattom and Chakyar Koothu are found in ancient Sangam literature and also in the epigraphs belonging to the Pallava, Chera and Chola periods.

Mizhavu or mizhav is a large pot with its mouth tightly covered with hide. Earlier, it was made of clay, but now bronze or copper is used as these give it more resonance.

The shell of the instrument is made first after which the neck and the upper body are fixed as separate portions. A hole is made in the side of the body in order to get a proper tone. The principles of temple architecture and iconography are followed while making the mizhavu.

Upanayanam

Since it is considered a sacred instrument, the newly made ones are initiated into the world of music through a ritual called upanayanam along with the chanting of slokas. This is because Koodiyattam is considered Chakshush Yagnaand mizhavu is its main accompanying instrument.

The mizhuvu is kept on a peetam with kolam with grains and darbha grass spread over it. After praying to Lord Ganapati, consecration with holy water is done. Rituals like Nandi and Bhuta Visodhana are performed before invoking Lord Nandikeswara to come and reside in it.

The top of the mizhavu is covered with pattu vastram after which homa is performed followed by the performance of the eight samskara rituals. Then the instrument is adorned with the sacred thread. Puja is done, naivedya offered followed by arati. . After this ceremony, the main priest initiates the playing and the mizhavu artiste covers the mouth of the instrument with the skin and ties it tightly with cotton strings and then begins playing.

At the Mridanga Saileswari temple in Muzhakunnu, Kannur district there is the Mizhavu Bhagavathy — goddess in the shape of mizhavu.

The Ambalavasi Nambiar community perform inside the Koothambalams, a place inside Hindu temples specifically designed for these arts. Mizhavu is played only with hands; sticks are not used. The palm and fingers of both the hands are used for playing this instrument. The mizhavu artiste uses the full hand technique for drumming. The half metallic beats are typical of this instrument. In the past, different beats were played, but now only eight exist, including the Chempata, Atanta, Eka and Triputa.

Considered a deva vadyam meant only for religious performances, it is not put down on the ground and is kept in a cage of wooden slats.

Mizhavu has been traditionally played by male percussionists and the instrument is regarded as a Brahmacharya. For Koodiyattam, mizhavu, kuzhitalam, kurumkuzhal, edakka and sanku are the traditional accompanying instruments. The mizhavu complements the movements of the actor.

Today, there are no restrictions and anyone can play the instrument, which is also performed solo or is featured in the mizhavu thyaambaka, where it is played by a group of performers. It is also played along with Idakkya in the mizhavu melam.

The writers are well known Carnatic musicians

http://www.thehindu.com/entertainment/music/mizhavu-is-a-sacred-instrument-that-accompanies-chakyar-koothu-performances/article19845862.ece

Nandurni

RESONANCE MUSIC

Notes of nandurni and colours of kalam

M. LalithaM. Nandini

SEPTEMBER 21, 2017 16:30 IST

UPDATED: 

A string instrument of Kerala, it is played at Bhagavathy temples

Recently, we were in Kerala, our favourite place, for a concert. Not only does it have discerning audience, but it is also our grandparents’ home state. And like Tamil Nadu, it has a rich musical heritage and unique instruments. The two-stringed nandurni or nanduni is one such instrument.

The nandurni is usually played during Kalamezhuthu Pattu and Kalam Pattu (kalam means, a drawing, and pattu, a song), as part of the rituals at the Mannarkad Bhagavathy temple. Kalamezhuthu is the art of drawing large pictures on the floor using natural coloured powders. The other varieties of Kalam Pattu are Bhagavathy Pattu, Ayyappan Pattu, Vettekkorumakan Pattu and Kalam Sarppam Pattu. Nanduni Pattu (also known as Tottam Pattu) is sung as part of the dance ritual — Karika Thullal, and describes the killing of Darika by Goddess Bhadrakali.

Divine offering

The nandurni comes under the category of tata vadyas or chorophones and is played in all Bhagavathy temples. At the Mannarkad Bhagavathy temple, Thirumandhankunnu temple and in Tharavadus, it is played by artistes from the Kurup community, while the Mannan community (who also perform the Bhagavathy Pattu) play this instrument at Kavus. There is a song, which says that Nanduni is the goddess of Kurumba and should be placed in the divine lap.

Nandurni has a rectangular hollow body, which is primarily made from the wood of the jackfruit tree. About five feet long and six inches wide, it has a projecting tail. Two strings pass over its body through the bridge and are tied to an iron hook at the top end. This is tightened to the two pegs at the bottom. The strings are usually made of palm fibre or sisal.

Of the two strings, the thicker one is used as drone and the thinner is used to produce different notes by pressing the strings on the frets, which are tuned to ‘sa’ and ‘pa’.

It also has a 14-inch resonator, on which the frets, numbering 3 to 5 are fixed.

The strings are strummed by a plectrum made from buffalo horn. It is usually placed on the lap and held in a vertical position, with the pegs on top. The left fingers press the frets, as the artiste strums with the right hand. Nandurni is used both as sruti and laya vadya during the Kalam Pattu.

At the ancient Sree Veerasthanam Viruttanam Bhagavathy Temple situated along the borders of Thrissur and Palakkad, the Kalamezhuthu Pattu is one of the important offerings to Devi.

It starts with the traditional Koorayidal ceremony and is followed by the Kalam Pattu. The pictures of Devi and Veerabhadran are drawn daily and is performed in different stages. The first stage involves the Kalamezhuthu, or the drawing of the deity’s picture, followed by the Kalam Pattu, where songs related to the deity are rendered to the accompaniment of nandurni.

This is followed by the Kalam Thullal, after which the kalam is erased.

The Kurups believe that the nandurni instrument is a form of Siva and Sakthi, where Bhadrakali resides in the middle and the two strings are Anna and Alamba.

The writers are well known Carnatic musicians

http://www.thehindu.com/entertainment/music/music-in-bhagvathy-temples/article19728291.ece

Kudukka Vina

RESONANCE HISTORY & CULTURE

Under the spotlight

M LALITHA AND NANDINI

AUGUST 24, 2017 16:48 IST

UPDATED: AUGUST 24, 2017 16:50 IST

Kudukka veena, originally played only in temples, has shifted to the concert stage

We had just finished performance at PN Sivaramakrishnan Sri Tirumeni Guruji’s 400-year-old Siva temple in Chippleri near Punjapadam, Palakkad. Then it was our turn to listen to an instrument, a rare on at that.

Made from two coconut shells and played with a stick, its sound and appearance were unique. The single-stringed Kudukka veena is an ancient instrument of Kerala.

Half a coconut shell, which is the resonator, is placed on the left shoulder and kept in position by a cloth belt called kacha. The shell is covered by fine leather at the centre of which is a small hole. At the lower end is the full shell (kudukka). A wooden rod, called the korada/perada, passes diametrically through the eye of the kudukka and a string is attached to it. This is tied onto the Korada which is inserted through the hole in the leather. Sometimes both shells are painted and decorated.

String matters

Regarding the strings, sometimes those of the Vina Tala Kambi or guitar are used. According to Thrikkampuram Sri Jayandevan Marar, son of the late Thrikkampuram Krishnankutty Marar, kudukka veena is more than 300 years old.

This instrument is played by strumming the string using the eerkkili, which is the thin rod from the coconut palm leaf. Sometimes the thin stem of a peacock feather is is also used.

The different notes are produced by adjusting the tension of the string. The tension is varied through pressure on the lower shell.

It is a difficult instrument to play, and requires practice. Notes cannot be sustained on it for long. One practises this instrument before learning to play the edakka. Like the ‘pulimutti’ for chenda and ‘sravanappalaka’ for maddalam, kudukka veena is basically a simulator of edakka.

Rakesh Kammath, who plays the kudukka veena, says, “This instrument used to accompany sopana singing during pujas in temples.” Sopana Sangeetham is sung, traditionally by men belonging to the Ambalavasi community, by the side of the holy steps (sopanam) leading to the sanctum sanctorum of a shrine. It is generally performed when the neivedyam is offered to the deity.

The last master

Apparently, the kudukka veena was later replaced by the edakka. Both the instruments can produce melody/swarams along with rhythm/talam.

The legendary Thrikkampuram Krishnankutty Marar was one of the last masters of this instrument, and some of his disciples play this instrument.

Jayandevan Marar said, “It was my father who brought this instrument back to the forefront.” His predecessors, who could play on this rare instrument were Vadakkedath Appu Marar (Krishnankutty Marar’s guru) and Thazhathedath Govinda Marar. By presenting kudukka veena recitals, accompanied by violin and mridangam, during the 1990s, he introduced this instrument to the concert stage. Sometimes the edakka is added as an accompaniment. Currently, some artistes use a pickup to amplify its sound.

Kudukka veena is no longer used in temples but is played at performances and social events. Some of its performers include Uramana Rajan Marar, Kavil Sundaram Marar, Rakesh Kammath, Kottaram Sangeet Marar and Kavil Unnikrishnan.

Writers honoured

Violinists M. Lalitha and M. Nandini were honoured recently with the Chennai Awards for 2017 by the Chennai 2000 Plus Trust in association with the Department of Museum and Archaeology, Government of Tamil Nadu. The award was presented in recognition of their services to the cause of Carnatic music.

The writers are well-known Carnatic musicians.

http://www.thehindu.com/society/history-and-culture/how-a-temple-musical-instrument-has-moved-to-concert-stage/article19552989.ece

News Today 24th Aug 2017

https://www.newstodaynet.com/index.php/2017/08/24/plea-to-save-rare-temple-musical-instruments/

Plea to save rare temple musical instruments

 NT Bureau  August 24, 2017  0

Chennai: What kept ringing in one’s ears after a lecture by violin duo M Lalitha and M Nandini as part of the Chennai Maadham Festival organised by the Chennai 2000 Plus Trust here on Wednesday was their plaintive cry to save rare musical instruments used in temples.

The siblings, well-known violinists in music circles, had been granted a project by the Ministry of Culture, Government of India, to do research on rare and vanishing instruments. Though that was just a year’s project, once they started on the mission, they could not put the brakes on their enthusiasm.

“We started out on the government project but later found that there was so much more to do. So, we are continuing the research out of our own passion. Now, every time we visit a temple, instead of heading for the sanctum sanctorum our eyes seek out the musical instrument player to get some information about the instrument and its history,” laughs Lalitha.

The audio-visual PowerPoint presentation at Tamil Valagam brought to light the importance of music in temple worship. “In fact, the rituals in a temple are believed to be incomplete without the accompaniment of a musical instrument,” explains Nandini.

They dealt with four kinds of instruments – stringed, wind, percussion and ones that are metallic and need to be struck – like the cymbals.
There were interesting names like Ekkalam, Bari Mani, Kidikatti, Makudam, Gettuvadhyam, Davandai, Brahma Talam, Damaram, Danga, Nagar, Tutti, Tiruchinnam and many more.

According to the sisters, they found during their research that covered almost 250 temple instruments, it is possible to save some instruments as they are still played during rituals. In other temples they are there but there is no one to play them as the skill has not been passed on to the next generation. In some other temples, there are no instruments and the ones that are available have to be repaired. The sad part is nobody knows how to do it.

The researchers also found private trusts taking an interest to preserve some instruments, as in the case of Srirangam where a business family ensures that all the rare instruments are played regularly during rituals.

Their plea is for the government to take steps to save the surviving instruments and ensure they are taken to the coming generations.

PLAY IT ON

Some of the rare instruments mentioned by Lalitha and Nandini make for interesting read: Ekkalam: Wind instrument. Though made of copper, Srirangam temple has twin Ekkalams made of silver. It is still played in Thanjavur Big Temple. Bari Mani: Two bells attached to two ends of a pole. The walking rhythm of the person carrying it, creates the musical sound. Tutti: Tamilnadu’s answer to the bagpipe. But there is none to play it now. Thudumbu: A percussion instrument peculiar to the Coimbatore belt. Danga: A couple of percussion instruments tied to either side of a horse. This is still played in Kanchi Varadaraja Perumal temple on special occasions.

Bari Mani

Chimes played during nagarasankirtanam

On a Purattasi Saturday afternoon, as we were rendering the kriti ‘O, Rangasayee’ the immortal composition of Saint Tyagaraja on Lord Ranganatha, we were immersed in the beauty of the kriti and its beautiful phrase in the charanam – ‘Bhooloka Vaikuntam.’ Our thoughts raced back to the Ranganathar temple at Srirangam, which inspired Tyagaraja to compose such a masterpiece in raga Khambodi.

The shrine, which is regarded the foremost in the eight self-manifested shrines of Lord Vishnu, houses many rare musical instruments that are used while performing the temple rituals.

One such is the Bari Mani bell, which belongs to the category of idiophones or metallic variety that comes under the group of hand percussion instruments.

It is said that Bari Mani is a favourite of Lord Siva and Goddess Kali and that the people belonging to the Nazhimanikarar community used to sing songs on the Lord during their nagarasankirtanam and the performers who wield the bells/mani will receive paddy inside these bells, the quantity of which equals the quantity of the Nazhi and hence these performers are called Nazhimanikarar. The instrument with such legendary aspect is now used only at the Srirangam temple. After the Artha jama puja, the Barimani, Bari Maddhalam and talam performers perform and go around the Chithirai veedhi adjoining the temple to announce the devotees that the day’s rituals have ended. This is known as Bari valam. Bari Mani, which is carried on the shoulder like the ‘kavadi,’ is an open-mouthed bell made up of brass attached to a long block of teak wood on either side. It is fastened to the wooden log in such a way that when the performers walk with them on their shoulders it automatically reverberates and produces a pleasant tone and in order to get the nadam its mouth is slightly narrowed down. This practice has been in vogue for many years though in between it became a rare phenomenon due to the increase in the number of devotees and space constraint where the performers found it difficult to walk all the way. But now this practice has been revived, thanks to the efforts of the TVS Group.

(The writers are classical violinists and researchers.)

http://www.thehindu.com/features/friday-review/history-and-culture/chimes-played-during-nagarasankirtanam/article8223223.ece

Tuntuna

http://www.thehindu.com/entertainment/music/on-the-tuntuna-trail/article19316630.ece

The single-stringed instrument is an integral part of Maharashtra’s folk culture

During a trip to Mumbai for a concert, we visited our cousin in Thane. There we witnessed a procession of the deity Amba Devi, where Gondhalis dressed in red, wearing a head gear decorated with shells (some had peacock feathers), danced to the accompaniment of drums and a one-stringed folk instrument called tuntuna.

Usually found in rural parts of the country among the Bhil, Kukna, Gondhal and Warli communities, the tuntuna is also used for devotional music, ballards and lavanis. Known as tuntina or tuntuni and chohokhode, it comes under two categories: Tata vadyas or chordophones of the plucked variety and sruti vadyas or stringed drone instrument, as it sounds the key note or the main tonic note.

The Gondhalis, who are professional musicians, play this instrument. They seek alms by singing and dancing in honour of their deities, Renuka and Bhavani to the accompaniment of the drum, cymbals and tuntuna. The instrument is also played by gypsies.

Single note drone

The tuntuna is further classified under the single note drones that produces only one note, which is the adhara shadja or the tonic note. The string is usually tuned to the main key of the performer or sometimes to a higher octave (tonic/shadja).

The tuntuna has a hollow wooden or metal cylinder and a parchment covers the lower part of this instrument. A stick fixed to the cylinder has a tuning peg at the top. A metal string is tied to a small stick, which passes through a copper coin and a hole in the centre of the parchment and this is fastened to the tuning peg. Peacock feathers are used to decorate the top of the stick sometimes.

Tuntuna is an integral part of the folk theatre form of Maharashtra called Tamasha, which combines music and dance. Dolki and manjeera are the other instruments used. The tuntuna players (also known as the tuntunawala) sing the refrain or chorus after the main singer, like in the ballad form powada, which is an older form of narrative singing. The powada was performed by the Gondhalis. The tuntunawala holds the instrument in his right hand and plucks the string with the nail of his index finger.

The instrument is played in honour of Devi Bhavani and at marriages. On this occasion, five Gondhali men dance after praying to the deity and her beloved Siva. Then they perform an invocation to Khandoba and other gods, after which, stories from the Ramayana and other mythologies are narrated with singing and dancing. The performance ends in the early hours of the morning.

Tuntuna, cymbals and sambal are also a part of the Gondhal, a religious practice that is also an important folk art form of Maharashtra.

Among the different global musical cultures, there are similar instruments such as the Cung of East Africa, Tushuenkin of China and Bau of Vietnam, which are known as monochords.

The writers are well known Carnatic musicians