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Some of us may have grown up attuned to the sound of carnatic music, yet many may not know much about it. This article is for those of us who would like to know a little more about this incredibly sophisticated musical system.

What is carnatic music?

Carnatic music is the classical music of South India. It is one of the oldest systems of music on earth and one of the two systems of music in India, the other being Hindustani music.

Carnatic or karnatak music is believed to have gotten its name from the Karnatakam, the region sounth of the Vindhyas (a stretch of hills that separates the Indian subcontinent into North India and South India). Karnatakam also translates into “that which is old” and may have been chosen as a suitable name for a system of music which virtually dates back to the beginnings of civilisation. As the word “karna” refers to the ear and “ata” means “to haunt”, another explanation suggests that the aurally haunting sounds of carnatic music led to the pairing of those two words to result in “carnatic”.

Carnatic music in its basic form is a monophonic song based on a certain melodic structure (raga) with improvised variations, a cyclical rhythmic form (tala) and a wealth of melodic motion, all delivered with specific feeling (bhava) and flavour (rasa).

Carnatic music has 72 parent or basic scales called “ragas”, hundreds and perhaps thousands of “offspring” ragas, seven rhythmic patterns or “talas”, and five tempos (in beats of 3, 4, 5, 7 and 9) called “gathi.”

Carnatic music is largely sung music without polyphony or harmony. For those of us familiar only with the western classical system of music, it may be easier to understand what carnatic music is by talking about the main differences between carnatic and western classical music:

1. Western classical music is organised into octaves which each have 12 keys.
Carnatic music has 22 “tones” per “octave” and many intermediate microtones (gamakam) and frequencies that the western classical music system does not and cannot represent.
(Note: Think of the singing in carnatic music and the way the singer’s voice seems to glide through a continuum of sound frequencies.)

2. In Western classical music, keys are labeled alphabetically.
In carnatic music, notes or swarams are represented by the syllables sa, ri, ga, ma, pa, dha, ni.

3. Western classical music is polyphonic (music with two or more independent melodic voices) and has chords and harmony.
Carnatic music is monophonic and free from chords and harmony.

4. 4. For the reason above, there is orchestration in western classical music.
But the concept and practice of orchestration do not exist in carnatic music.

5. Western classical music is score-based.
Carnatic music falls into two categories – kalpita or pre-existing compositions which are taught, and manodharma or creative, improvised works.

6. In Western classical music, octaves are “pegged” at 240 Hz.
In carnatic music, octaves are free-floating, differing from individual to individual.

A carnatic music performance

In a typical carnatic music performance, the singer begins with an alap in which he wordlessly sings a raga and brings out its beauty with improvised variations, and without any particular rhythmic pattern or tala.

Then the tala is seamlessly introduced, usually by a musical instrument, and developed. Tirelessly, it repeats in rhythmic cycles upon which the musicians and singer introduce innumerable variations with specific rasa (flavour). These intensify in fast runs and emotion, finally building up to a rapturous, peaceful climax.

From ancient chant to sung poetry

Carnatic music began as the music of worship when Hindu priests chanted mantras from the Vedas (sacred texts which contain about 1,000 Hindu hymns and chants) in ancient times. As the Vedas date back to around 4000 B.C. - 1000 BC, it is believed that carnatic music is more than a thousand years old.

However back then, the categorisation of carnatic and hindustani music did not exist. There was mainly one stream of Indian music whose foundation was laid in the Vedas, in particular, the last and most musical of the Veda texts, the Sama Veda.

However, theories and treatises started to get written about how the universal “om” sound gave rise to musical notes. These included Bharata’s writing of the Natyashastra in 300 B.C. This was an authoritative treatise on the classical science of music and dance which “proved” that only 22 basic frequencies could be generated in one octave and set much of the framework for Indian classical music.

This was followed by sage Matanga’s writing of the Brihadesi sometime between the 6th and 8th centuries which defined and classified the scales (raga) properly for the first time, and the scholar Narada’s coding of 22 microtones (shruti) in his book, the Sangeeta Makaranda, believed to have been written in the 11th century.

In the 12th century, famous poet Jayadeva from Orissa wrote the epic Hindu poem Geeta Govinda (Gita Govinda) depicting the love between Lord Krishna and his consort Radha. His lyrical verses written in Sanskrit became the first verses set to rhythm, and are still sung today.

Another great treatise was born in the next century when Kashmiri-born but South India-based composer-musician Sarangadeva wrote the Sangita Ratnakara which further defined and delineated the ragas according to seasons, times of the day, intonation and moods.

Thus over time, simple Vedic chants passed down in the oral tradition evolved into a formal and complex system of sung music, with unique and sophisticated scales, microtones, instrumentation, purposes, principles, theories and forms.

A splitting of Indian music into the carnatic and the hindustani

During the 12th and 13th centuries, northern India was invaded by Muslim rulers from Asia Minor and Indian music began, for the first time, to split into two distinct systems. By the 15th century, South Indian music had become known as carnatic music and North Indian music was termed Hindustani music. While both shared the same foundation and framework, they began to evolve in different directions.

Then in the 15th century, Purandara Dasa, today referred to as “the father of carnatic music”, helped lay the foundation of carnatic musical education for generations to come with his prolific composing of works for all levels of musicians as well as his writing of a concrete syllabus which included basic ragas for beginners. Up till today, his basic ragas are the standard for beginning learners of carnatic music.

A flourishing art in the modern period

By the 17th century, carnatic music had moved further south to Tanjore where it flourished as a major art form under benign rulers who were themselves music lovers. During this time, carnatic music’s repertoire was enhanced by the addition of a great many bhajans, folk songs and operas.

In the early part of this century, the scholar Venkatamakhi further developed the carnatic system by creating the Melakarta system with 72 parent scales (ragas). But it was three scholar-composers from Tiruvarur who really ushered carnatic music into its next phase – that of the modern era.

They were Shyama Sastri (1762-1827), Tyagaraja (1767-1847) and Muthuswamy Dikshitar (1776-1827) – dubbed the “Trinity” of carnatic music. They wrote a vast and diverse repertoire of beautiful compositions that were widely propagated by their disciples and are today still performed commonly, as they are considered gems of carnatic music. In addition, Tyagaraja introduced the concept of the sangati (variations on the melodic line) and other creative uses of rhythm, as Dikshitar introduced the violin to carnatic music, thanks to his brother who saw westerners using the violin in Madras and adapted the instrument for use in carnatic music. later in the 19th century, a court musician, dance music composer and member of the renowned musical family known as the Thanjavur Quartet, Vadivelu, also played the violin and quickly started a new trend. Soon musicians and composers were incorporating the violin in their performances and today, the violin is considered an important Indian classical musical instrument.

Many other illustrious composers such as the Tanjore Quartet, Maha Vaidyanatha Sivan (1844-93), Patnam Subramania Iyer (1845-1902) followed through the centuries, as did a great many developments to carnatic music.

Then in the late 19th and early 20th centuries, the world of carnatic music received a great boost in terms of lyrics and poetry in the form of independence fighter, human rights activist and gifted poet Subramania Bharathi a.k.a. Bharathiyar. His many beautiful Tamil poems inspired musical compositions and were set to ragas, and are still sung today as part of the carnatic repertoire.

A fusion of sounds in the present day

Through time, temple traditions, formal music schools, the emergence of printing and the availability of publishing, the recording and broadcasting boom, the rise of cinema, social reformation and the dedication of a minority have helped to keep carnatic music alive in the lives of Indian people.

And all this while, carnatic music has not stopped evolving. The last century has seen the phasing out of a few ancient instruments such as the nadhaswaram and yazh, and the introduction of more modern instruments which have steadily and surely changed the sound of carnatic music.

Besides instrumentation, carnatic music has also adapted to embrace structural and melodic influences such as orchestration. Carnatic music, unlike western music, has no orchestration as it has no chords and harmony. However, in the 70s and 80s, composer-musician L Subramaniam studied both western and Indian music and created compositions that were based on ragas but meant for instrumentation and orchestration. Since then, many composers have followed suit, creating such adapted carnatic music for recordings and film scores.

Classical music has also evolved to include amplification, modified instruments, collaboration with artists from other genres and fields, and fusion music. The concert Memory of Time is a good example of how far the boundaries of carnatic music can be pushed without compromising on the beauty and musicality of the form. In the concert, western classical pianist (and carnatic music-trained) Anil Srinivasan plays the piano as carnatic vocalist Sikkil Gurucharan sings. Although the piano, with its limited keys, is an instrument that seems unsuited to the complexities of carnatic music, Anil brilliantly provides both melody and rhythm while remaining a non-intrusive, restrained accompaniment to Sikkil’s powerful vocal delivery. Instead of detracting from the beauty of the raga, Anil and Sikkil’s collaboration brought out the beauty of each raga in subtle, new ways, giving an overall effect of slightly melancholic, dreamy beauty.

“For us, as a family, music is like food. When you need it you don't have to explain why, because it is basic to life.”
- Ali Akbar Khan

Resources used in the writing of this article:
http://www.indianmelody.com/carnaticintro.htm
http://www.musicnamaste.com
http://nadasurabhi.org
http://www.raagalaya.org/Music.html
History of South Indian (Carnatic) Music, Dr R. Rangaramanuja Ayyangar, 1972
Interview with carnatic violinist R Ramachandran

Watch MEMORY OF TIME on 20 Nov 09, Fri
Watch SANGAM - A MUSICAL CONFLUENCE on 22 Nov 09, Sun

The sarangi is a short-necked wooden lute used in hindustani music. Traditionally used as a subordinate instrument to accompany singing and dancing, the centuries-old sarangi enjoyed elevated status only in the 20th century when it became established as a classical solo instrument.

However, that has not stopped its slow slide into near-oblivion and its replacement by the easier-to-play harmonium. For the sarangi is notoriously difficult to tune and master. It can cause a terrible racket when improperly tuned, but, when properly tuned, produces a keen, resonant, melancholic sound with impressive tone colours and an unusually expressiveness, almost like the human voice.

A much younger instrument than the ancient sarangi, the kanjeera (also known as the kanjira or ganjira) is commonly used in classical carnatic music as a supporting instrument for the mridangam (the main drum of carnatic music), and is the main percussive instrument of folk music.

However, the kanjeera is also a rather difficult instrument to play due to its intricate percussive technique and the complex percussive patterns of carnatic music. When performed by a master percussionist, the kanjeera is capable of producing two basic sounds – open, bass and ringing or flat, closed and slapping – in the most intricate patterns.

Watch MEMORY OF TIME on 20 Nov 09, Fri

- Jairazbhoy, music scholar

- Hairprasad Chaurasia, renowned flautist

Resources used in the writing of this article are:
The Ragas of North Indian Music. Mumbai: Popular Prakashan, Jairazbhoy, Nazir. 1995.
“Music is a Prayer: Interview with Hariprasad Chaurasia”New Renaissance Magazine

Watch SITARASA on 22 Nov 09, Sun
Watch SWAR SANGAM - A MUSICAL CONFLUENCE on 22 Nov 09, Sun

A jugalbandhi means a uniting of two. The word is taken from the Sanskrit term “yugala” which means “a pair” and “bandh” which means “to join together”.

A jugalbandhi involves two highly and equally skilled musicians or singers performing together in a duet of sorts, playfully challenging each other with improvisations that demonstrate their level of skill and inspire their listeners. The emphasis on improvisation lies in the fact that improvisation is the crux of both carnatic and hindustani music and what distiniguishes a senior musician from one of a lower skill level is his ability to take a raga to new heights of artistry.

The tradition of jugalbandhi is an old and respected one. In the past, jugalbandhis were limited to artists performing the same music but that has since changed. The duet can be instrumental or vocal and can pair a carnatic musician with a hindustani artist. Its intention is to pair the best of two worlds and allow the dynamics between both elements to give rise to something inspiring.

Resources used in the writing of this article are:
http://www.soundofindia.com

Watch SWAR SANGAM - A MUSICAL CONFLUENCE on 22 Nov 09, Sun

"As the wide-spreading nargodha (Sanskrit for banyan) tree is compressed in a small seed,
So at the time of dissolution,the whole universe is comprehended in Thee as its germ;
as the nargodha germinates from the seed,and becomes just a shoot and then rises into loftiness,
so the created world proceeds from Thee and expands into magnitude." -
excerpt from the religious Hindu text, the Vishnu Purana.

Tree of many names…

The banyan tree is known by many names. Among botanists, it is identified as the ficus benghalensis (botanical name) from the Moraceae (fig) family. In English and Portuguese, it is known as the banyan, a name inspired by the “banian”, the iconic figure of the Hindu trader who has traditionally rested and worked under the vast, shady canopy of banyan trees.

Among the South Asian ethnic groups, it is know as bahupada, vata (Sanskrit), bar, bargad, bor (Hindi), bar, bot (Bengali), vad, vadlo, vor (Gujurati), vada, wad, war (Marathi), marri, peddamarri, vati (Telugu), al, alam (Tamil), ala, alada mara, vata (Kannada) and alo, vatan (Malayalam).

Many trunks…

The banyan tree is famous for its ability to grow to a grand age (many centuries), great heights (of 30m and more) and incredible expanses (several hectares), developing into a vast forest all by itself. It “spreads” by sending aerial roots down from its branches to the ground. As it matures, these roots thicken and become accessory trunks that prop up an ever-widening canopy.

Many uses…

The banyan tree is India’s national tree and is considered sacred among Hindus and Buddhists for whom it is a symbol of immortality and a place of rest, meditation and enlightenment. Under its canopy’s shade, teachers have traditionally taught classes, traders have conducted business, headmen have held village meetings, storytellers have narrated folktales and mystics have meditated. In South Asia, banyan trees are sometimes grown in front of temples. Some banyan trees are themselves the ashram of sages.

Traditionally, the sap of the banyan tree has been used in Ayurvedic, Unani and Siddha medicinal practice to treat inflammation and bruising of the skin. Its twigs have also long been sold and used in Asia as toothbrushes. It also hosts the lac insect which feeds on the tree and secretes a resin essential for the making of shellac (used to make varnish, adhesives, primers and sealers) and dye. Different parts of the tree are used to make paper, poles, fabric, rope and other things.

Many meanings…

Across South and Southeast Asia, the banyan tree is imbued with symbolism. In South Asia, its significance is closely linked with the beliefs, mythologies and practices of Hinduism, Buddhism, totemism and shamanism.

In Buddhism:
Buddha is believed to have sat in the shelter of the banyan tree for seven days after attaining enlightenment

In Hinduism:
The tree symbolises the Trimurti. Lord Vishnu is believed to be the bark, Brahma, the roots, and Shiva, the branches. Vishnu, in one of his incarnations, is shown resting under the banyan tree where he also taught humanity philosophy and the sciences. Thus it is under the shade of banyan trees that Hindu sages and gurus conducted discourses, held holy rituals, meditated and initiated disciples into the mysteries of life and death. For this reason, the banyan tree is also dubbed the "Tree of Knowledge" and the "Tree of Life". It is also called “kalpavriksha”, the tree that fulfils wishes.

Many stories

Fascinating stories about the banyan tree abound in South Asia. Here are two in brief.

How the banyan tree came to be on earth (Hindu legend)
Naga King Vasuki, the great serpent who ruled the underworld Patallok, had a giant banyan tree in his garden. But the goddess Amba or Mother Earth coveted it for her children on earth. She managed to extract information on how to get to the tree from a beetle which she tortured with boiling oil and thus found her way to the garden. However, the sight of Vasuki was enough to kill her. Walking through the garden, Lord Mahadeo and Goddess stumbled upon her body but did not revive her. Instead, Lord Shiva did. With Shiva’s help, Amba killed Vasuki and persuaded the Banyan tree to come to earth.

The tale of honouring age (excerpted fable from the Buddhist text, The Jataka)
Once upon a time, by a great banyan-tree on the slopes of the Himalayas, there dwelt three friends – a partridge, a monkey, and an elephant – who came to lack respect for one another and had no ordering of their common life. The thought came to them that it was not seemly for them to live this way, and that they ought to find out which of them was the senior and to honour him.

An idea struck them. Said the partridge and the monkey to the elephant as all three sat together at the foot of the banyan-tree, "Friend elephant, how big was this banyan when you remember it first?"

Said the elephant, "When I was a baby, this banyan was a mere bush, over which I used to walk; and as I stood astride of it, its topmost branches used to reach up to my belly. I've known the tree since it was a mere bush."

Next the monkey was asked the same question and he replied, "My friends, when I was a youngling, I had only to stretch out my neck as I sat on the ground, and I could eat the topmost sprouts of this banyan. So I've known this banyan since it was very tiny."

Then the partridge was asked the same question and he said, "Friends, of old there was a great banyan-tree at such and such a spot; I ate its seeds, and voided them here; that was the origin of this tree. Therefore, I have knowledge of this tree from before it was born, and am older than the pair of you."

Hereupon the monkey and the elephant said to the partridge, "Friend, you are the oldest. Henceforth you shall have from us acts of honour and veneration, marks of obeisance and homage, respect of word and deed, salutation, and all due homage; and we will follow your counsel. You for your part henceforth will please impart such counsel as we need."

Thenceforth the partridge gave them counsel and established them in the Commandments which he also undertook to keep. Being thus established in the Commandments, and becoming respectful and subordinate among themselves, with proper ordering of their common life, these three made themselves sure of rebirth in heaven at this life's close.”

Resources used in the writing of this article:
http://www.plantcultures.org/plants/banyan_plant_profile.html
http://philtar.ucsm.ac.uk/encyclopedia/indon/batak.html
http://wiki.encyclopaediaindica.com/~encyclo3/wiki/index.php?title=BANYAN
http://www.teosofia.com/Mumbai/7508trees.html
http://www.sacred-texts.com/bud/j1/j1040.htm

Watch AALAM - BANYAN TREE OF BHARATHANATYAM on 21 & 22 Nov 09, Sat & Sun

One of the most ancient musical instruments known to the Indians and Nepalese, the humble bansuri, long associated with folk music and more recently with Hindustani music, is also one of the most special for two reasons – its surprisingly seductive sound and its folkloric status as the Hindu Lord Krishna’s musical instrument of choice.

The most famous bansuri player in history

Not only tall, dark, handsome and philosophical, but also a defender of the oppressed and a talented musician, Krishna is reputed to have been the great lover in Hindu mythology. He is often depicted playing the bansuri in works of art and literature, some of which are thousands of years old. According to mythology, he loved his bansuri so much that he not only played it often, but wove fables around it, carried it with him most times and demonstrated a devotion to it similar to that of a faithful devotee.

People of all ages and walks of life as well as wild and domestic animals also apparently loved his bansuri playing immensely. It is said that they flocked to hear him play wherever he went, spellbound by the beautiful melodies expressed so sweetly by this attractive man.

An instrument of love

In fact, it is said that Krishna regularly drove women in his neighbourhood of Braj, Uttar Pradesh, wild with his rasa lila (which roughly means “performance play”). Stories about Krishna’s teachings, good deeds and life abound in various great Hindu texts. Some of the most popular stories of Krishna are those of his youth when, as a young man, he captivated the hearts of many beautiful gopis (cowherd girls or milkmaids) — in particular, the lustrous Radha whom he fell in love with – with his flute playing, dancing and romantic, playful ways.

These tales of Krishna and the gopis were romanticised in the famous epic poem, Gita Govinda, written by 1200 AD Sanskrit writer Jayadeva and depicting the divine love between Krishna and the gopi Radha who became his consort. Since then, songs have been written, improvised, sung and played on musical instruments, in particular, the ancient bansuri, which depict episodes from the popular love story of Krishna and Radha with imagination and lyricism.

Here is one which paints a fascinating image of the lovely Radha, sensual and blissful in her love for Krishna.

Picture Radha dancing with joyous abandon to the rhythm of the universe as elements of nature simultaneously celebrate, as if in sync with her. Somewhere else, a cuckoo sings, lightning dances and the earth’s seas, lakes and rivers reflect the beautiful blue of the sky, the colour of Krishna.

(Note: “Dhrupad” refers to the original Hindustani temple singing style of bansuri playing.)

Resources used in the writing of this article are: http://www.indianetzone.com/2/lord_krishna.htm
“Far Away, a Kokila Sings...The Ashtanayika in the Poetry of Music” by Shantha Benegal, Bansuri: Volume 13, 1996

Watch ROMANCE OF THE BANSURI on 28 Nov 09, Sat
Watch ODISSI on 29 Nov 09, Sun

The bansuri is known to be one of the oldest of South Asian musical instruments. But no one knows for sure how and when it came to being.

From the time of early man

This is because, throughout the world, flutes (as well as drums) have been established through ancient texts, drawings and archaeological findings as one of mankind’s earliest musical instruments across continents and cultures.

This is not surprising, considering the nomadic nature of early man, the ease with which one could fashion a musical instrument out of common materials such as reed and bone, and the ultimate portability of the flute.

Before the time of Krishna

Krishna is believed to have been a historic person who lived on earth thousands of years ago, born as a human being and avataar of the Hindu Lord Vishnu. His birth is dated by historians to have roughly occurred sometime between 1400 and 5800 B.C.! As he is known to have been a great bansuri player, the bansuri would have been in existence long before Krishna’s time, which places the bansuri’s date of invention at 3,400 years or much older.

Ancient scriptural texts in South Asia such as the holy Hindu text, the Vedas, also make references to the bansuri and murals depicting bansuri players dating back to the 2nd century B.C. have been found in the Buddhist caves of Ajanta.

Watch ROMANCE OF THE BANSURI on 28 Nov 09, Sat

Some may know it, but not many DJs, film producers or music audiences today acknowledge the fact that their favourite money-spinning Bollywood hit songs are in fact adaptations of poignant Indian classical ragas.

Raga-based

Throughout the history of Indian cinema, Indian film music composers have commonly been inspired by the huge repertoire of beautiful Indian classical music and adapted them to suit popular tastes and the films’ pace and dramatic moments.

This is not surprising, considering the nomadic nature of early man, the ease with which one could fashion a musical instrument out of common materials such as reed and bone, and the ultimate portability of the flute.

Before the time of Krishna

Krishna is believed to have been a historic person who lived on earth thousands of years ago, born as a human being and avataar of the Hindu Lord Vishnu. His birth is dated by historians to have roughly occurred sometime between 1400 and 5800 B.C.! As he is known to have been a great bansuri player, the bansuri would have been in existence long before Krishna’s time, which places the bansuri’s date of invention at 3,400 years or much older.

The numbers of such raga-based film songs are enormous, and include famous songs such as Jhanak Jhanak Payal Baje based on Raag Adana, and Engey Enathu Kavithai (Sindhu Bhairavi), Sri Ranga Ranga Nathanin Paadam (Mohanam) and Oru Deivam Thantha Poove (Darbari Kanada), all of which are actually based on carnatic music.

They range from close adaptations of the original classical works, whether vocal or instrumental, to creative works that take inspiration from classical pieces and become something altogether fresh. One film music composer who has taken such adaptation to great, creative heights is South Indian composer Illayaraja.

Man of all genres - Illayaraja

Unlike many classical music and even film music composers, Illayaraja started his musical career with no formal training in music. However, he had a good ear and extraordinary musical talent and has since written a prolific number of original compositions (5,000 at least) for more than 840 movies for a clamouring audience.

Critics and audiences alike love his music and are often heard remarking that his is a truly original musical mind. Indeed, while Illayaraja loves many different genres of music from Indian classical music to American jazz, popular fusion music to Western classical music, he does not just blend these together in a patchwork of notes, instruments and rhythms. Instead, he creates new works from the threads of sound and inspiration he has gathered from multiple genres.

As the brilliant and prolific 19th century Bengali poet, novelist, musician, and playwright, Rabindranath Tagore, once wrote,


Watch ROMANCE OF THE BANSURI on 28 Nov 09, Sat

Most of us – no matter how old we are or where we come from – are familiar with the figure of the clown, as encountered on TV, in movies, at plays, circus acts, comedy routines, operas, puppetry or dance-dramas.

...Around the world

Very often, the clown appears to be a side character whose job is to joke, fool around and make people laugh, providing comic relief at intervals between more serious acts. Tripping, falling over himself, pulling funny faces, inevitably bumbling over some monumentally simple task he has set himself, squeaking and grunting, the clown is comic in looks, manners and utterance (if not speech).

But take a closer look and one soon realises that the clown’s actions and utterances are an ironic exaggeration of our own! More than that, his jesting serves as a form of social commentary. Through humour, the clown points out things that ordinary people are often reluctant to talk about, such as political issues, the foibles of the rich, and social injustices. In his own subtle way, the clown, we realise, is often the character with the most unusual perceptiveness, wisdom, and even dignity. More than just being the underdog, he is the folk anti-hero.

Most of us – no matter how old we are or where we come from – are familiar with the figure of the clown, as encountered on TV, in movies, at plays, circus acts, comedy routines, operas, puppetry or dance-dramas.

…In Indian performing arts

The clown in traditional and popular Indian theatre is no exception. Often, the Indian clown takes the side of the common folk, depicting everyday issues of caste while mimicking and making fun of both the downtrodden and their caste “superiors”.

In ancient classical Sanskrit dramas based on epic stories such as the Ramayana, the clown (called “vidusaka” in Sanskrit) serves as the hero’s servant and confidante, and is a character – amidst a fixed cast of characters which includes heroes, kings, deities and demons – that functions as both comic relief and social commentator with his gluttonous, bumbling but good-hearted ways.

In its younger theatrical form known as kutiyattam (“kuti” meaning “together”, and “attam” meaning “play”), the vidusaka remains that blustering and comic, yet noble, figure who has the subtle power to sway the hero, criticise wrongdoing and enlighten the audience. The actor playing the clown improvises on the given text and has the creative liberty to make fun of the audience, perform antics or offer silly “sage” advice as he deems fit.

…In Rajat Kapoor’s plays

Theatre and indie film actor and director Rajat Kapoor continues this precious age-old tradition of satirical clown theatre with his latest work, Hamlet, an ironic take on Shakespeare’s much-revered classic. Except in this work, he has not one clown character but six.

This production actually follows from Rajat’s earlier work, his 1999 C for Clowns. Also starring acting award-winner Atul Kumar as head clown, C for Clowns depicted a day in the life of a six circus clowns rehearsing for a performance. Its irreverent humour and exciting approach to form and language, blending physical theatre, mime, pantomime, dance, dialogue and acrobatics excited both audiences and critics. But it was C for Clowns’ creation from improvisation alone that made the work even more special, for such a work had apparently never taken the stage before in India then.

With Hamlet, Rajat builds on the concept of C for Clowns. The same group of clowns this time tries to understand and interpret Hamlet in all the ways they know. While their nonsensical utterances and bumbling make mincemeat of the original Hamlet, their efforts also surprisingly show up a great deal of society’s frailities and pretensions, as well as transform what was a revered English classic into a strangely surreal and beautiful new work about a human tragedy.

Explains director Rajat Kapoor, “This play is a search in the world of Hamlet through the eyes of clowns. The clown has fascinated me for many years and this motif appears again and again in all my work including my film work. It is through the eyes of a clown that I wanted to explore the vast world of Hamlet. The result is a comic way in which the actors have improvised the various parts of the play and yet touched upon the tragedy of the young prince”.

Watch HAMLET – THE CLOWN PRINCE on 26 & 27 Nov 09, Thu & Fri

Bharathanatyam and odissi are two of the oldest and most beautiful dances in the world. Discover what they have in common by looking at their unique differences!

Meanings:

Bharathanatyam – is a combination of bharata and natyam. “Bharata” can be broken down into “bhava” which means “expression”, “raga” which means “melodic form” and “tala” which means “rhythm”. Others believe that the dance form took its first part of its name from the sage Bharata Muni who wrote the Natya Shastra, a detailed account of the art of dance, sometime between the 1st and 2nd century A.D. “Natyam” in Tamil refers to “dance-drama”. (It is believed at bharathanatyam was known as “sadir” until the early 1900s.)

Odissi – takes its name from its place of origin, the state of Odissa in eastern India. Odissi is also known as Orissi, just as Odissa is also known as Orissa.

Style:

Bharathanatyam – is known for its rhythmic and vigorous footwork, crisp and athletic movements and sculpturesque poses combining the energy of its nritta (rhythmic movements) with the emotion of its nritya (expressive movements). Bharathanatyam’s lines are powerful and straight, its postures are angular and its movements are brisk.

Odissi – is distinguished by its sculturesque and feminine, curvy poses, in particular its two main postures are known as Chaukha and Tribhanga (which has a distinct three-body-bend), executed with a relaxed grace. The dance form has evolved over the centuries into three styles - Gotipua style of Guru Deba Prasad Das, Mahari style of Guru Pankaj Charan Das and Guru Kelucharan Mohapatra style of Odissi created under the guidance of Jayantika. Odissi’s lines are rounded, its poses are arched and curved, and its movements are flowing and lyrical.

Origins:

Bharathanatyam – is believed by many to be the oldest and purest Indian classical dance although it is difficult to pinpoint its year of birth. It has its roots in Tamil Nadu where it was born as a South Indian temple dance performed by temple maidens called devadasi as a form of praise and worship.

Odissi – is one of the oldest surviving dance forms of India, said to date back to 2200 B.C., and comes from Orissa. It began in Orissa’s Jagannath temple. Like bharathanatyam, it was danced primarily by devadasi to the recitation of hymns and bols of talas as a form of worship and meditation, as well as a way to attain a higher level of ecstatic realisation known as moksha.

Downfall and revival:

Bharathanatyam – With social and political change in Indian society, the falling of devadasi into general disrepute during 1910s-1930s, and the simultaneous suppression of the devadasi tradition by British colonists from 1858 till 1947, the dancing of bharathanatyam came to a halt in South Indian temples. However, unlike odissi, bharathanatyam was not lost for long as it was sustained by court traditions in which bharathanatyam dance was a form of entertainment for royals. In the 17th and 18th century, court artists called the Tanjore Quartette under a Maratha Ruler of Tanjore composed and directed many works of bharathanatyam. Today, these works are considered essential contributions to the bharathanatyam repertoire and are still performed in present day dance recitals. Subsequent artists who helped popularize the dance form in the early 1900s with their good work included renowned bharatanatyam artist E. Krishna Iyer and Rukmini Devi Arundale who played a significant role in modifying mainly the Pandanallur style of bharatanatyam and bringing the dance to the world stage.

Odissi – The devadasi of orissa’s temples met with the same fate as bhrathanatyam-dacing devadasi, and odissi dance moved out of the temples in the 16th century. The tradition of odissi was sustained by young dancers called gotipuas performing the dance to the masses as entertainment, but their version for popular appeal diluted the dance’s classicism. Odissi was revived during India’s early 20th century fight for independence when enthusiasts studied the temple sculptures of Orissa to regenerate the dance in its purer, traditional form, formed formal schools of odissi dance and began a tradition of teaching odissi to younger generations.

Costumes:

Bharathanatyam – Bharathanatyam dancers are adorned with gold ornaments.

Odissi – Odissi dancers wear silver ornaments.

Stories:

Bharathanatyam – Originally created to educate common folk about Hindu scriptures and its tales, and retaining its devotional core and storytelling purpose to this day, bharahtanatyam depicts tales from Hindu sacred texts and mythology.

Odissi – usually depicts the legends and stories of Lord Krishna in the famous 12th century text called the Geeta Govinda, written by Jayadev.

Resources used in the writing of this article are:
www.chandrakantha.com – Music of India
www.indianetzone.com
http://www.dancingforthegods.org

Watch ODISSI on 29 Nov 09, Sun