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The Music of Kerala

  The Music of Kerala

Kerala is very rich in its folk song tradition and has many varying folk songs as there are there are variances in the climate, land, people and their occupations.

The nadanpattu (nadan-native, pattu-songs) of Kerala or Kerala folk songs narrate unrecorded tales of the land and people. These lyrical songs are evoked from the emotions and simple wisdom of agrestic folk. The toiling group of boatmen, peasants and farmers forgets the monotony of their humdrum life by humming these melodious songs..........

Almost every aspect of life and occasions such as childbirth marriage, festivals, the glee of the harvest season, weddings, war, the union of man and woman, mythology and religion and death finds a place in Kerala folksongs. We acquire a better comprehension of Kerala folk and their culture just by listening to the musical folksongs. Mappilapattukal, Pallipattukal, Onapattukal, Mappilapattu, Vilppattu and Vanchipattukal, are some of these native songs of different castes and communities of Kerala. There is a rich collection of Malayalese traditional and folk songs which are sung during the great festival of Onam and these songs are called Onappaattu.

Among other folk songs, the most remarkable are the Northern Ballads (vatakkan paattukal) which gives a detailed description of the valiant feats of the heroes of North Malabar. Also noteworthy are the Southern Ballads (tekkan paattukal).

The early music of Kerala, with natya line at its helm, finds an eloquent expression in the contents of the chapter called arangettru-kkadai of Chilappathikaram, one of the five great epics of the ancient Dravida literature, for which an exhaustive commentary has been supplied by Adivarkku-Nallar, its leading commentator. This music had its hey day during the dominance of jainism and buddhism in south India, a few centuries before and after Christ. It is said to be the mirror of the music culture of the above sects, famous for their artistic achievements and organizations. As centuries moved on, these two religious systems were overpowered by Hinduism which came as a storm to uproot them. Yet, it took a few centuries for Hinduism to establish its supremacy. Though religion changed music and other arts they were not very much affected during these years except for the fact that from then onwards, the spiritual line became more prominent.

 

Starting as a powerful spiritual force during the early fifth century, Hinduism became a peaceful and pious discipline from the seventh century onwards. In its transformation the dedicated services of nayanars, the religious bards of saivism and aalwars, the religious bards of vaishnavism had significant roles. They preached their respective faiths through innumerable spiritual songs called thevaram, thiruvachakam etc., composed by saivites and tiruvaymozhi, composed by the vaishnavites under the tender care and kind patronage of the Cola, Cera and Pandya kings who were famous not only as patrons and masters of arts, but also as followers of the above two cults. Kulasekhara, said to be a ruler of Kerala during ninth century, was himself a great devotee of Vishnu and kala-sarva bhauma who is said to be the builder of many temples in Kerala with solid and scientific scheme of construction. The king planned and developed various ceremonies and festivals of the temples, and improved and strengthened the various institutions of the temple artists and their whole-time participation in daily rituals and festive occasions. The credit of building the koothambalams under strong and architectural principles also is said to be the brain child of this great king. A few Sanskrit plays like Tapati Samvaranam etc., to be staged at these theaters by the traditional artists called chakkiyars and nangiars have been attributed to him. There were also exchange of temple musicians, actors and dancers between Kerala and Tamil Nadu during this period.

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The Folk Music of Arunachal Pradesh

Music & dance are an integral part of every festival and occasion, taking place in Arunachal Pradesh. Every festival is celebrated with much fun & fair, which also includes music and dance. The music and dance of Arunachal Pradesh are generally performed in groups, in which both men & women participate.

The Music & Dance of Arunachal Pardesh
The Dance of Arunachal Pradesh
Dance forms an important aspect of the socio-cultural heritage of the people of Arunachal Pradesh. The people of Arunachal dance on important rituals, during festivals and also for recreation. The dances of the people of Arunachal are group dances, in which both men and women participate.

There are some dances such as igo dance of the Mishmi priests, war dance of the Adis, Noctes and Wanchos, ritualistic dance of the Buddhist tribes, which are specifically male dances. Females are not allowed to take part in these dances.
Some of the popular folk dances of the people of Arunachal Pradesh are Aji Lamu (Monpa), Roppi (Nishing), Buiya (Nishing), Hurkani (Apatani), Popir (Adi), Pasi Kongki (Adi), Chalo (Nocte), Ponung (Adi), Rekham Pada (Nishing), Lion and Peacock dance (Monpa) and so on. Most dances are performed to the accompaniment of songs sung generally in chorus. Musical instruments like drums and Cymbals are played along with the songs sung for the dances.

Music of Arunachal Pradesh
The themes of songs sung are like fables involving creatures or the animal and words signifying moral deduction. The folksong of Pailibos are related more to their folk history, mythology and description of their known historic past.

Following are the chief folk songs of Arunachal, sung on different festivals and occasion :
Ja-Jin-Ja : On occasion of feasts and merriment, during marriages or other social meets, this song is sung. Both men and women sing it in chorus or individually. But once the song starts, all those who are present join them in singing.

Baryi : It is a song which narrate their history, their religious lore and mythology. Its whole cycle takes hours to complete. It is also a feature of festivals or of occasion of important social or religious gatherings.

Both Ja-Jin-Ja and Baryi produce a nostalgic feeling in Pailibos, as the glories of the past ancestors are narrated through them.

Nyioga: It is sung when a marriage ceremony is concluded and the bridal party returns leaving the bride in her home. The theme is that of the joy. It contains pieces of advice to the bride for her future life.

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