-
Author: Virarajendra
Tamil Music Festivals (Thamil Isai Vilaakkal)
In the present days we see many Music Festivals being held all over Tamil Nadu. Many of them are referred to as “Tamil Music Festival” (Thamil Isai Vilaa). When we go to the venue of the "Thamil Isai Vilaa" the programmes are announced over Speakers as Carnatic Music ("Karnataka Isai" = Music of Karnataka) by a prominent - Singer, or Singers of Tamil Nadu with names given. Then when you sit - if the venue is a Hall, or stand - if the venue is an open air grounds or theatre and listen to the Singers, what is sung are "mostly" Telungu Keerththanaas.
The confusion is, are we justified in calling such Music Festival as “Thamil Isai Vilaa” instead of referring to them as the “Dravidian Music Festival” (Thiraavida Isai Villa). Are we not misleading the "upcoming young Tamil generation" by this "wrong interpretation" of “Thamil Isai Vilaa”.
What is happening to the "Thamil Isai Iyakkam" commenced by Sir Raja Annaamalai Chettiaar of Tamil Nadu, to revive the "traditional Thamil Isai" nurtured and nourished over 2000 years by the great kings of Tamil Nadu the Cholas, Pandiyas, Cheras and others, which lost it's grounds with the cultural waves that struck Tamil Nadu during the periods of Karnataka rule - in Kanchipuram and Madurai (A.D.1376-1520), and Telungu viceroy rule under Karnataka kings from A.D.1520-1565, and Telungu independent rule as it's kings thereafter - in Thanjavur (A.D.1520-1674), in Madurai (A.D.1520-1736) and in Senji {Gingee}(A.D.1520-1640), and with Maraattiyar rule also in Thanjavur (A.D.1675-1855).
Music is well beyond the barriers of language and should be appreciated by all whether it be Tamil, Malayaalam, Telungu, Kannadaa or Hindi. But what is stressed here is the "correct interpretation and practice" of "traditional Thamil Isai".
In the process of re-Tamilising the 'present day Tamil Nadu' in many spheres, will the great Musicians of Tamil Nadu revive the "traditional Thamil Issai" and elevate it to the pedestal of glory in Tamil Nadu, while appreciating the Music of the other sister languages of India.
Video with the following URL relevent to the foregoing:
http://www.youtube.com/watch?feature...&v=Gden5M_NXOI
http://www.tamilisaisangam.in/varalaru.html
The following extract from the "Website Article" titled
A brief history of Carnatic Music - Written by Sri.V.Sriram
----gives an insight knowledge on the spread of Carnatic Music from Karnataka region into the Tamil Nadu region.
"By the 15th Century, Kallinatha refers to the music of south India as Karnataka Sangita and records its practice between the rivers Krishna in the north and Kaveri in the south. Several treatises made their appearance from this time onwards.
Carnatic music had by the 17th Century shifted further south to Tanjore, where under the benign rule of the Nayaks and later the Maratha kings, it flourished as a major art form. Many of the kings were themselves greatly respected musicologists and composers. Attracted by employment opportunity and the stability, several Brahmins from Andhra region moved to Tanjore and its environs. This sect of Mulakanadu Smartha Brahmins was to play a major role in the development of Carnatic music. Several composers lived in Tanjore and the language of composing was invariably Telugu as that was the language of the court.
The Maratha influence brought about the development of the Harikatha or the tradition of discourses on the greatness of God in the form of stories, accompanied by music
"The brief history of Carnatic Music" - Written by Sri.V.Sriram (Extracted from the "Nadasurabhi" Website with much courtesy and thanks to the Website Owners & gratitude to the Author of the Reserach Article Sri.V.Sriram)
-
"Carnatic" is just a name to most. "Music of Karnataka" is etymology of little relevance, considering Madras has been the central hub for a long time...
-
-
-
-
-
-
-
-
