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Yakshaganam
Yakshagaana is a traditional theatre, developed in Dakshina Kannada, Udupi, Uttara Kannada, Shimoga and western parts of Chikmagalur districts, in the state of Karnataka and in Kasaragod district in Kerala that combines dance, music, dialogue, costume, make-up, and stage techniques with a unique style and form. It is believed to have evolved from pre-classical music and theatre during the period of the Bhakti movement.Prof. Sridhara Uppura; 1998; ''Yakshagana and Nataka Diganta''; publications. It is sometimes simply called "Aata" or ''āṭa'' (meaning "the play"). This theatre style is mainly found in coastal regions of Karnataka in various forms. Towards the south from Dakshina Kannada to Kasaragod of Tulu Nadu region, the form of Yakshagana is called ' and towards the north from Udupi up to Uttara Kannada it is called '. Both of these forms are equally played all over the region.(Not sure about this one but) Yakshagana is traditionally presented from dusk to dawn. Its stori ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yakshagana Progress1
Yakshagaana is a traditional theatre, developed in Dakshina Kannada, Udupi, Uttara Kannada, Shimoga and western parts of Chikmagalur districts, in the state of Karnataka and in Kasaragod district in Kerala that combines dance, music, dialogue, costume, make-up, and stage techniques with a unique style and form. It is believed to have evolved from pre-classical music and theatre during the period of the Bhakti movement.Prof. Sridhara Uppura; 1998; ''Yakshagana and Nataka Diganta''; publications. It is sometimes simply called "Aata" or ''āṭa'' (meaning "the play"). This theatre style is mainly found in coastal regions of Karnataka in various forms. Towards the south from Dakshina Kannada to Kasaragod of Tulu Nadu region, the form of Yakshagana is called ' and towards the north from Udupi up to Uttara Kannada it is called '. Both of these forms are equally played all over the region.(Not sure about this one but) Yakshagana is traditionally presented from dusk to dawn. Its stori ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yakshagana Poetry
Yakshagana poetry (Kannada:ಯಕ್ಷಗಾನ ಪ್ರಸ೦ಗ, pronounced as ''yaksha-gaana prasanga'')(Yakshagana Padya or Yakshagana Prasanga) is a collection of Kannada poems used to enact a music dance drama called Yakshagana. The poems are composed in well known Kannada metres using the frame work of Yakshagana Raga and Yakshagana Tala Yakshagana Tala (Kannada:ಯಕ್ಷಗಾನ ತಾಳ, pronounced as ''yaksha-gaana taala''), is a rhythmical pattern in Yakshagana that is determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by .... Yakshagana also has what is called a Yakshagana metre. The collection of Yakshagana poems forming a musical drama is called a Prasanga. Oldest surviving parasanga books are believed to have been composed in the 15th century.Prof Sridhara Uppura, Diganta Sahitya publications, Managalore, 1998. Many compositions have been lost. There are evidences to show that oral compositions were in use ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kannada
Kannada (; ಕನ್ನಡ, ), originally romanised Canarese, is a Dravidian language spoken predominantly by the people of Karnataka in southwestern India, with minorities in all neighbouring states. It has around 47 million native speakers, and was additionally a second or third language for around 13 million non-native speakers in Karnataka. Kannada was the court language of some of the most powerful dynasties of south and central India, namely the Kadambas, Chalukyas, Rashtrakutas, Yadava Dynasty or Seunas, Western Ganga dynasty, Wodeyars of Mysore, Nayakas of Keladi Hoysalas and the Vijayanagara empire. The official and administrative language of the state of Karnataka, it also has scheduled status in India and has been included among the country's designated classical languages.Kuiper (2011), p. 74R Zydenbos in Cushman S, Cavanagh C, Ramazani J, Rouzer P, ''The Princeton Encyclopedia of Poetry and Poetics: Fourth Edition'', p. 767, Princeton Unive ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Epic Poetry
Indian epic poetry is the epic poetry written in the Indian subcontinent, traditionally called ''Kavya'' (or ''Kāvya''; Sanskrit: काव्य, IAST: ''kāvyá''). The ''Ramayana'' and the ''Mahabharata'', which were originally composed in Sanskrit and later translated into many other Indian languages, and the Five Great Epics of Tamil literature and Sangam literature are some of the oldest surviving epic poems ever written. Hindi epics In modern Hindi literature, ''Kamayani'' by Jaishankar Prasad has attained the status of an epic. The narrative of Kamayani is based on a popular mythological story, first mentioned in Satapatha Brahmana. It is a story of the great flood and the central characters of the epic poem are Manu (a male) and Shraddha (a female). Manu is representative of the human psyche and Shradha represents love. Another female character is Ida, who represents rationality. Some critics surmise that the three lead characters of Kamayani symbolize a synthes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metre (music)
In music, metre ( Commonwealth spelling) or meter (American spelling) refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener. A variety of systems exist throughout the world for organising and playing metrical music, such as the Indian system of '' tala'' and similar systems in Arabic and African music. Western music inherited the concept of metre from poetry, where it denotes: the number of lines in a verse; the number of syllables in each line; and the arrangement of those syllables as long or short, accented or unaccented. The first coherent system of rhythmic notation in modern Western music was based on rhythmic modes derived from the basic types of metrical unit in the quantitative metre of classical ancient Greek and Latin poetry. Later music for dances such as the pavane and galliard consisted o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yakshagana Tala
Yakshagana Tala (Kannada:ಯಕ್ಷಗಾನ ತಾಳ, pronounced as ''yaksha-gaana taala''), is a rhythmical pattern in Yakshagana that is determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance.Prof. Sridhara Uppara. 1998.Yakshagana and Nataka Diganta publications Tala is maintained by the singer using a pair of finger bells. The instrument for rhythm in Yakshagana are the Chande, Maddale and a Yakshagana Tala (bell) is also used along with chande. Yakshagana has a complete and complex system for rhythms. The most common Talas in Yakshagana are Matte, Eaka,Udaape, Jampe, Rupaka, Trivde, Atta, KorE and Aadi. Each tala has a cycle of N beats divided in M bars. Some talas are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chande
The ''chande'' is a drum used in the traditional and classical music of South India and particularly in Yakshagana theatre art of Karnataka. It follows the Yakshagana Tala system. The rhythms are based on pre-classical music forms that Karnataka Sangeta and Hindustani Sangeetha are based on.''Prof. Sridhara Uppura, Yakshagana and Nataka, Diganta Sahitya Publications, 1998, Managalore. There are different varieties of this instrument; two major varieties being the ''Badagu Thittu Chande'' (Northern School) and the ''Thenku Thittu Chande'' (Southern School). The latter can also be spelled ''chenda'' and is used exclusively in the art forms of southern coastal Karnataka and Kerala. This article deals with ''Badagu Thittu Chande'', used exclusively in Yakshagana of Karnataka. The chande used in ''Badagu Thittu'' is structurally and acoustically different from the ''chenda'' used in Kerala. History In ancient Hindu sculpture, painting, and mythology, the ''chande'' is often depi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pump Organ
The pump organ is a type of free-reed organ that generates sound as air flows past a vibrating piece of thin metal in a frame. The piece of metal is called a reed. Specific types of pump organ include the reed organ, harmonium, and melodeon. The idea for the free reed was imported from China through Russia after 1750, and the first Western free-reed instrument was made in 1780 in Denmark. More portable than pipe organs, free-reed organs were widely used in smaller churches and in private homes in the 19th century, but their volume and tonal range were limited. They generally had one or sometimes two manuals, with pedal-boards being rare. The finer pump organs had a wider range of tones, and the cabinets of those intended for churches and affluent homes were often excellent pieces of furniture. Several million free-reed organs and melodeons were made in the US and Canada between the 1850s and the 1920s, some of which were exported. The Cable Company, Estey Organ, and Mason & ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pungi
The pungi (Hindi: पुंगी, ur, پُنگیپُنگی, Burmese: ပုန်ဂိ), originates from the Indian subcontinent. The instrument consists of a reservoir into which air is blown and then channelled into two reed pipes. It is played with no pauses, as the player employs circular breathing. In street performances, the pungi is used for snake charming. History The pungi is an Indian folk music instrument that is mostly played by cobra charmers in Sindh, Pakistan, and Rajasthan, India. The instrument is made from a dry hollowed gourd with two bamboo attachments. It is also a double-reed instrument. The pungi is played by Jogi in the Thar desert. It was theorized that it was made not just for snake charming, but to make people enter a half-conscious state as part of a religious practice. It is in particular played by snake charmers, mostly in the Terai and Nepal, to arouse snakes to dance. The instrument has a high, thin tone and continuous low humming. It ha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maddale
The Maddale ( kn, ಮದ್ದಲೆ) also called Mrudanga(ಮೃದಂಗ) in North Canara region is a percussion instrument from Karnataka, India. It is the primary rhythmic accompaniment in a Yakshagana ensemble along with Chande. Maddale also represents a remarkable progress in percussive instruments as it produces the perfectly hormonic tonic (shruti swara) when played anywhere on the surface compared to Mrudangam, Pakawaj or Tabla that can not produce the tonic (shruti) on all parts of the drum surface. The traditional variety of Maddale was 30 cm long, had 8 inch drum head for right and produced the louder sound. These days 6 - 6.5 inch wide right side maddale is used with only a few using 7 inch wide. Left bass side is about an inch (few hairs less) bigger than right. Maddale is available in more than three different variations. Maddale used in Yakshagana looks similar to mridangam but is markedly different in structure, acoustics, playing techniques and the rhythm ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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