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Sopanam
Sopana Sangeetham is a form of Indian classical music that developed in the temples of Kerala in south India in the wake of the increasing popularity of Jayadeva's Gita Govinda or Ashtapadis. Etymology The name derives from two Malayalam or Sanskrit words: Sopanam and Sangeetham. The word ''Sopanam'' refers to the sacred steps of main shrine of a temple and ''Sangeetham'' refers to music. Performance Sopana sangeetham (music), as the very name suggests, is sung by the side of the holy steps (sopanam) leading to the sanctum sanctorum of a shrine. It is sung, typically employing plain notes, to the accompaniment of the small, hourglass-shaped ethnic drum called ' edakka' or idakka, besides the chengila or the handy metallic gong to sound the beats. Sopanam is traditionally sung by men of the Maarar and Pothuval castes of Ambalavasi (semi-Brahmin) community, engaged to do it as their hereditary profession. The late Njeralattu Rama Poduval of Thirumandhamkunnu bani, Janardha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Malayalam Music
Kerala music has a complex history distinct from Malayalam poetry, with which it is often associated. Though it is often driven by poetry, Kerala also has its roots in Carnatic music. Songs have always been a significant part of early Malayalam literature dating back to the 9th century Common Era, CE. The significance of music in Culture of Kerala, Kerala's culture can be deduced from the musical poetry that developed in the Malayalam, Malayalam language long before prose. As music evolved in the region, various branches emerged from it History The earliest written record of Malayalam is the ''Edakal-5'' inscription, dating to around the 4th century CE. Early Malayalam literature comprised three types of composition: *Classical songs (''Naadan Paattu).'' *''Manipravalam'' of the Sanskrit tradition, which permitted a generous interspersing of Sanskrit with Tamil language, Tamil. *Folk songs rich in native elements. Malayalam poetry up to the late 20th century CE exhibits var ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Njeralattu Rama Poduval
Neralattu Rama Poduval or Njaralathu Rama Poduval (1916–1996) was an exponent of the ashtapadi/sopanam music form practised in Kerala in southern India. A recipient of the Kendra Sangeet Natak Akademi Award, he hailed from a rugged village called Thiruvaazhaamkunnu, near Mannarkkad in Palakkad district and lived most of life in Angadipuram in Malappuram district, the place famous for the Thirumanthamkunnu Temple. Born into an Ambalavasi family on 16 February 1916, to Koodallur Kurinjikavil marath Shankunni Marar and Njeralathu pothuvat Janaki Poduvalasyar. Poduval had his schooling till the fifth standard and moved on to practice the idakka and the chenda. He inherited the art of playing the edakka from his uncle, Njeralathu Karunakara Pothuval, and went on to establish an indelible mark in this field. He also practiced instruments like the veena from Parappanaatu Rama Kuruppu. He practised Carnatic music from the Chembai Vaidyanatha Bhagavatar besides Kodikunnath Madhav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Culture Of Kerala
The culture of Kerala has developed over the past millennia, with influences from other parts of India and abroad.. It is defined by its antiquity and the organic continuity sustained by the Malayali people.. Modern Kerala society took shape owing to migrations from different parts of India and abroad throughout Classical Antiquity. Kerala traces its non-prehistoric cultural genesis to its membership (around the AD 3rd century) in a vaguely defined historical region known as ''Thamizhagom'' – a land defined by a common Tamil culture and encompassing the Chera, Chola, and Pandya kingdoms. At that time, the music, dance, language (first ''Dravida Bhasha'' – "Dravidian language (possibly Proto-Tamil)". – then Tamil), and '' Sangam'' (a vast corpus of Tamil literature composed between 1,500–2,000 years ago) found in Kerala were all similar to that found in the rest of ''Thamizhagom'' (today's Tamil Nadu). The culture of Kerala evolved through the Sanskritization of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maarar
Marar is the name given to the caste of hereditary temple musiciansBodies of Silence, Floods of Nectar: Ritual Music in Contemporary Brahmanical Tantric Temples of Kerala. Yale Journal of Music & Religion: Vol. 7: No. 2, Article 2. of Travancore, Kingdom of Cochin, Cochin and Malabar District, Malabar region in the state of Kerala, whose primary duty was to provide the traditional temple ''Sopanam'' music. They belong to the Ambalavasi caste. Etymology The word 'Marar' comes from the Tamil word 'mar', which means 'beat' and marar meaning the one who beat instruments like chenda and idakka in temples. Men of marar caste are called Mārar and ladies are called Mārasyar or Amma. Paani, the indispensable part of high tantric rituals of temple such as ulsavabali, sreeboothabali etc. is another main hereditory temple profession of Marar. They were also known for their playing of chenda (valam thala represents deva vadyam (usually play inside the nalambalam) and edam thala rep ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ambalavasi
Ambalavasi, more properly Ampalavasi, (IAST: Ampalavāsi; ) is the generic name for a group of Caste system in India, castes among Hindus in Kerala, India, who have traditionally rendered temple services. Castes The Ambalavasis are broadly divided into two groups, being those who wear the sacred thread and those who do not. Sacred thread wearers Pushpakan * Pushpaka (Pushpakan Unni) * Theeyattunni, Theeyatt Unni * Puppalli * Plappalli (caste), Plappalli (Pilappalli) * Nambidi * Nambeesan Threadless Ambalavasis *Pisharody *Marar (Caste), Marar *Variar, Varyar *Pothuval Others * Chakyar * Nambiar (Ambalavasi/Mizhavu), Nambiar * Kurukkal Temple services Though all Ampalavāsis have to do service in temples, they have sufficiently distinct functions to perform. Pushpakans and Nambeesans are teachers in the Pathasalas or Mutts and suppliers of flowers to temple. Chakyar stages dramas called Kooth and Koodiyattam. Marars are temple musicians. Variar and Poduval performed mana ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnatic Music
Carnatic music (known as or in the Dravidian languages) is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, Telangana and southern Odisha. It is one of three main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. (The other two are Hindustani music and Odissi music.) The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in ''gāyaki'' (singing) style. Although there are stylistic differences, the basic elements of (the relative musical pitch), (the musical sound of a single note), (the mode or melodic formulae), and (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kathakali
''Kathakali'' (International Alphabet of Sanskrit Transliteration, IAST: Kathakaḷi ) is a traditional form of Indian Classical Dance, and one of the most complex forms of Theatre of India, Indian theatre. It is a play of verses. These verses are called Kathakali literature or ''Aattakatha (performance), Attakatha''. Mostly played in the courts of kings and temple festivals. Hence it is known as suvarna art forms. This performance uses the ''navarasas'' from the Natya Shastra text, authored by sage Bharata. Makeup and costumes are unique and large. It represents one of Kerala's traditional theater artforms. It is native to the Malayalam-speaking state of Kerala and is almost entirely practiced by Malayali people. Kathakali is closely related to a more ancient theater artform of Kerala called ''Kutiyattam'' which is the only surviving specimen of the ancient Sanskrit theatre, thought to have originated around the beginning of the common era, and is officially recognized by UN ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sadanam Divakara Marar
Sadanam Divakara Marar was an Indian percussionist, known for his scholarship on sopana sangeetham, ''marappani'', ''parisha vadhyam'' and '' thimila paani'' and his mastery over various temple and ritual percussion instruments of traditional Kerala music. Biography Divakara Marar was born on 29 April 1937, to Venkittaramanan Embranthiri and Parukutti Marasyar Amma at Pazhoor, a small hamlet near the town of Piravom, Ernakulam district, in the south Indian state of Kerala. Marar started learning music at the age of nine, under the tutelage of his uncles, Narayana Marar and Kunjikrishna Marar. Later, aged 18, he enrolled at Unnayi Warrier Smaraka Kalanilayam, Irinjalakuda, a known Kathakali institution and mastered chenda, under the guidance of Alankarathu Appu Marar. He, then, submitted himself to advanced training on chenda under the renowned chenda exponent, Chandra Mannadiar. This was followed by his training stint on thayambaka at '' Peroor Gandhi Seva Sadanam'', which ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mudiyettu
Mudiyettu is a traditional ritual theatre and folk dance drama from Kerala that enacts the mythological tale of a battle between the goddess Kali and the demon Darika. The ritual is a part of the bhagavathi or bhadrakali cult. The dance is performed in bhadrakali temples, the temples of the Mother Goddess, between February and May after the harvesting season. In 2010 Mudiyettu was inscribed in the UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity, becoming the second art form from Kerala after Koodiyattam. Kali-Darika myth Darika was a demon who received a boon from Brahma which granted that he would never be defeated by any man living in any of the Hindu mythology, fourteen worlds of Hindu mythology. This made Darika immensely powerful and arrogant. Armed with this boon, Darika went on to conquer the world defeating even Indra, the king of the gods. As his atrocities became intolerable, the sage Narada requested Shiva to contain Darika. Shiva ag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Damodara Marar
Vatasseri Damodara Nambudiri was an astronomer-mathematician of the Kerala school of astronomy and mathematics who flourished during the fifteenth century CE. He was a son of Paramesvara (1360–1425) who developed the '' drigganita'' system of astronomical computations. The family home of Paramesvara was Vatasseri (sometimes called Vatasreni) in the village of Alathiyur, Tirur in Kerala. Damodara was a teacher of Nilakantha Somayaji. As a teacher he initiated Nilakantha into the science of astronomy and taught him the basic principles in mathematical computations. See also *List of astronomers and mathematicians of the Kerala school This is a list of astronomers and mathematicians of the Kerala school. The region surrounding the south-west coast of the Indian subcontinent, now politically organised as the Kerala State in India, has a long tradition of studies and investigat ... References {{Authority control Kerala school of astronomy and mathematics 15th-century I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Janardhanan Nedungadi
Janardhanan or Janardanan may refer to: * Janardhanan (actor) (born 1946), Indian Malayalam film actor * Janardhanan Ramdas (born 1970), Indian cricketer * Karamana Janardanan Nair (1936–2000), Indian Malayalam film actor * Kudamaloor Janardanan Kudamaloor Janardanan ��ുടമാളൂര് ജനാര്ദ്ദനന്(21 July 1969 – ) is an Indian flautist of the Carnatic music tradition. Early life and background Kudamaloor Janardanan was born into a musical fa ..., Indian flautist of the Carnatic music tradition * Ganesh Janardhanan (stage name VTV Ganesh), Indian Tamil film actor and producer * Babu Janardhanan, Indian Malayalam screenwriter and film director See also * Janardhan (other) * '' John Jaffer Janardhanan'', a 1982 Malayalam film {{disambiguation, given name, surname ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gurbani
Gurbani (, pronunciation: , lit. the Guru's words) is a Sikh term, very commonly used by Sikhs to refer to various compositions by the Sikh Gurus and other writers of Guru Granth Sahib. In general, hymns in the central text of the Sikhs, the Guru Granth Sahib, are called ''Gurbani''. Among Amritdhari Sikhs, a few texts from Dasam Granth which are read as Nitnem, like ''Tav-Prasad Savaiye'' and ''Chaupai'', are also considered ''Gurbani''. In Adi Granth, Gurbani is a sound which comes directly from the Supreme and the text is a written form of the same in worldly language and scripts. It is also called ''Guru’s Bani''. Prior to reading Gurbani or meditating, it is compulsory to cover the head with a turban, dupatta or other cloth, as well as removing shoes, performing at least the ''Panj Ishnan'' (washing of the 5 main parts of the body), and if possible using a teeth-cleaning twig. Gurbani are explanations of qualities of the Primal Lord and Soul which a Sikh should co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
