SARASWATI VINA
Saraswati vina (Saraswathi veena) is the instrument associated with Saraswati, the goddess of learning and the arts. This instrument is common in south India and is an important instrument in carnatic sangeet. It is variously called simply vina, or veena, the "Saraswati" part being implied.
The saraswati vina has an interesting construction. It has a body made of wood, generally, this is jackwood. The highest quality vinas have the entire body carved from a single block of wood, while the ordinary vinas have a body which is carved in three sections (resonator, neck and head). There are 24 frets made of brass bars set into wax. (see "Fretting and Fingering the Vina") There is another resonator at the top of the neck. This is no longer a functioning resonator, but is mainly used as a stand to facilitate the positioning of the instrument when it is played. Because it is no longer functioning it is not unusual to find that this upper resonator may be made of acoustically neutral materials such as paper mache, cane or other similar materials. Unlike north Indian instruments like the sitar, the saraswati vina has no sympathetic strings. It has only four playing strings and three drone strings (thalam). (see also "Tuning the Vina") The main bridge is a flat bar made of brass. This bar has a very slight curve. It is this light curve which gives the vina its characteristic sound. A major centre for the manufacture of the saraswati vini is in Tanjore.
The playing position is shown below. We see that the performer sits cross-legged on the floor, the small vestigial gourd rests against the left thigh while the main resonator rests on the floor. The right hand plucks the strings while the left hand frets the instrument.
The Saraswati Veena is one of the most ancient and revered of South Indian instruments. Together with Bansuri flute this form of veena may be seen in many sacred pictures of Saraswati, goddess of music.
Have you ever seen "Rudra Veena"? The Rudra Veena is an instrument that is rarely heard on the concert stage now. Although,two centuries ago it was regarded as the king of all instruments. The duration of these veena's notes is incredibly long. The sound produced by rudra veena composed of regular, uniform vibrations. The Rudra Veena is considered the mother of all string instruments. Around since very ancient time, Lord Shiva is said to have played this instrument when he created whole Brahamanda . The belief is that Shiva and Parvati used to dance to the music that emanated from this instrument.
Saraswathi Veena Chart: Discription of Veena
Melody is produced on four metal strings that run above the frets. These are stretched over a wide bridge that sits on the body of the veena. Three other strings run alongside the neck of the instrument. These are used for maintaining time and for playing the drone. The performer, who sits cross-legged on the stage, rests the small resonator on the left lap. The fingers of the left hand are used to press, pull and glide on the frets, while the fingers of the right hand are used to pluck and twang the strings.
The veena is one of the most ancient string instruments of India. Its origin can be traced back to the ancient yazh, a stringed instrument, similar to the Grecian harp. Bharata, in his Natya Shastra, explains the theory of the 22 sruti-s in an octave with the help of two experimental veena-s.
The veena is a complete instrument and provides the basic components: sruti, laya and sahitya. Its main attraction is the mellow tonal quality which is capable of evoking a meditative atmosphere
Saraswati vina (Saraswathi veena) is the instrument associated with Saraswati, the goddess of learning and the arts. This instrument is common in south India and is an important instrument in carnatic sangeet. It is variously called simply vina, or veena, the "Saraswati" part being implied.
The saraswati vina has an interesting construction. It has a body made of wood, generally, this is jackwood. The highest quality vinas have the entire body carved from a single block of wood, while the ordinary vinas have a body which is carved in three sections (resonator, neck and head). There are 24 frets made of brass bars set into wax. (see "Fretting and Fingering the Vina") There is another resonator at the top of the neck. This is no longer a functioning resonator, but is mainly used as a stand to facilitate the positioning of the instrument when it is played. Because it is no longer functioning it is not unusual to find that this upper resonator may be made of acoustically neutral materials such as paper mache, cane or other similar materials. Unlike north Indian instruments like the sitar, the saraswati vina has no sympathetic strings. It has only four playing strings and three drone strings (thalam). (see also "Tuning the Vina") The main bridge is a flat bar made of brass. This bar has a very slight curve. It is this light curve which gives the vina its characteristic sound. A major centre for the manufacture of the saraswati vini is in Tanjore.The playing position is shown below. We see that the performer sits cross-legged on the floor, the small vestigial gourd rests against the left thigh while the main resonator rests on the floor. The right hand plucks the strings while the left hand frets the instrument.
The Saraswati Veena is one of the most ancient and revered of South Indian instruments. Together with Bansuri flute this form of veena may be seen in many sacred pictures of Saraswati, goddess of music.Have you ever seen "Rudra Veena"? The Rudra Veena is an instrument that is rarely heard on the concert stage now. Although,two centuries ago it was regarded as the king of all instruments. The duration of these veena's notes is incredibly long. The sound produced by rudra veena composed of regular, uniform vibrations. The Rudra Veena is considered the mother of all string instruments. Around since very ancient time, Lord Shiva is said to have played this instrument when he created whole Brahamanda . The belief is that Shiva and Parvati used to dance to the music that emanated from this instrument.
Saraswathi Veena Chart: Discription of Veena
Melody is produced on four metal strings that run above the frets. These are stretched over a wide bridge that sits on the body of the veena. Three other strings run alongside the neck of the instrument. These are used for maintaining time and for playing the drone. The performer, who sits cross-legged on the stage, rests the small resonator on the left lap. The fingers of the left hand are used to press, pull and glide on the frets, while the fingers of the right hand are used to pluck and twang the strings.
The veena is one of the most ancient string instruments of India. Its origin can be traced back to the ancient yazh, a stringed instrument, similar to the Grecian harp. Bharata, in his Natya Shastra, explains the theory of the 22 sruti-s in an octave with the help of two experimental veena-s.
The veena is a complete instrument and provides the basic components: sruti, laya and sahitya. Its main attraction is the mellow tonal quality which is capable of evoking a meditative atmosphere
Mohiniattam-The dance of the enchantress
This Indian classical dance form - Mohiniattam - comes from one of the South states of India, Kerala. And the mere mention of Kerala brings up in one’s mind the wondrous and incomparable beauty of its landscape .The scenic backwaters where the palm fronds fill up the Kerala skyline moving gently and gracefully in the breeze, the boats bobbing up and down gently, gracefully and in perfect tune with nature and its rhythm .
A Mohini Attam dancer immediately reminds you of this scenic beauty in her dance. The movements are beautiful and lyrical and they are always in an unbroken chain, from one movement very gently and gracefully merging into another . Though the movements are swaying and gentle the presentation comes out with a tremendous and strong impact leaving the spectator in an atmosphere of grace, charm, vitality and a forceful vivacity. The graceful and long limbs of a Mohini Attam dancer brings before your eyes the vision of the palm fronds swaying and dancing in the breeze and the movements are like those of a boat bobbing up and down in the back waters. There is a tremendous amount of force that a Mohini Attam dancer brings out in her performance without which the performance would be lacking in its lustre but this tremendous energy is released in a very controlled and graceful manner which can be achieved only with discipline , hard work and (bhakti) or devotion to the art form.
Also, another feature that influences Mohini Attam is the simplicity of dressing by the people in Kerala which is visible in the costume of the dancer .White is a favourite colour of the people basically because of the hot and humid climate , and a Mohini Attam costume is always white or off white with gold or red border . The hair is tied in a bundle on the left side with white flowers (mogra) around it, with a simple ornament tied on the bun.The jewellery used for the neck is a ‘choker’ ,and a kasimala(coin chain).For the ears a dancer wears a “toda’ which is circular like a coin and has dangling earrings with it known as “jhumka” .The face is done up with an exaggerated eye make up to help her express her emotions . The eyes reflect immediately the mental state of the situation or character the dancer is representing and a description of Mohini Attam cannot be complete without the mention of the nayanabhinaya or the use of the eyes, eyebrows and eyelids.
But at the end of it all the transformation is tremendous. The merrily dancing eyes and the fluttering of the eyebrows of the dancer all create a devastatingly mischievous atmosphere .The sweet smelling of the flowers, the gentle, swaying movement of the torso in perfect harmony with the music and the bewitching personality of a Mohini attam dancer all take us to the highest aesthetic order “the atmosphere of enchantment ” .
The Indian mythology mentions a few times when Lord Vishnu (one among the trinity of Gods-Brhma, Vishnu, Mahesha) assumes the form of Mohini to save the Gods from their clash with the asuras or demons. In one instance when the Gods and demons were churning the mighty ocean for the pot of nectar (amrita), with the serpent Vasuki twined around the mountain Mandaragiri. The ocean brought out all the treasures buried in its depth, while the devas (gods) and asuras (demons) churned on and on. Finally when the pot of nectar appeared ,the demons true to their nature grabbed it. The universe would be in total darkness if the demons had their way. It is at this moment the Lord, assumes the form of Mohini to save the Universe from the hands of the demons and total darkness.
The tinkling sound of bells, the sweet smell of flowers, the divine being, the beauty unparalleled -The Enchantress . The one, who could take your minds away from the present to another world of beauty and charm. The lotus eyed one dancing gently and gracefully filling the atmosphere with unsurpassed heavenly beauty. The demons true to her instructions shut their eyes to relinquish and behold the beauty they envisioned . She is Mohini the celestial dancer, one who has come to enchant.
Until, a few decades ago it was presumed that in India there were only four classical dances. Bharata Natyam, Kathak, Manipuri and Kathakali . But then due to the pioneering works of great gurus (teachers), dancers and scholars the dance forms of Mohini Attam, Kuchipudi and Odissi were discovered in their native settings and brought out into the urban stage, much to the delight and wonderment of the lovers of dance .
There is a considerable amount of disagreement among scholars regarding the antiquity of Mohini Attam. Most of them agree that it was during Maharaja Swati Tirunal‘s rule in the 16th century that Mohini Attam achieved its refined form. The Maharaja of Travancore was a great patron of arts and he encouraged artistes, singers, dancers from all over the country to come and perform in his court. During this time he also invited the Tanjore quartets from Tamil Nadu who were great Bharata Natyam nattuvanars ( or teachers) who brought with them dancers and thus influenced the already present local dance form. The Maharaja was a great bhakta or devotee of Lord Padmanabha and wrote and composed in Hindustani as well as Carnatic innumerable kritis, padams and varnams in his praise. The Maharaja’s padams are always a part of a Mohini Attam dancer’s repertoire.
But it was finally only in the 20th century that Mohini Attam got its fresh impetus that it actually deserved, and it has come to stay. It was when Mahakavi Vallathol set up the premiere institution for Kathakali , Kerala Kalamandalam in India that he invited three dancers practicing Mohini Attam at that time Kalpuratte Kunjukutty Amma, Tottacheri Chinnamuamma and Kalyani Kutty Amma to come and teach Mohini Attam in his institution. Till ,little more than a decade ago the Mohini Attam repertoire ran almost parallel to the Bharata Natyam repertoire. But just as each region has its own individuality and identity it was natural that Mohini Attam had to find its own identity. Due to the relentless work of great researchers, scholars, performers of Mohini Attam , this dance form achieved its present classical standing.
But it was finally only in the 20th century that Mohini Attam got its fresh impetus that it actually deserved, and it has come to stay. It was when Mahakavi Vallathol set up the premiere institution for Kathakali , Kerala Kalamandalam in India that he invited three dancers practicing Mohini Attam at that time Kalpuratte Kunjukutty Amma, Tottacheri Chinnamuamma and Kalyani Kutty Amma to come and teach Mohini Attam in his institution. Till ,little more than a decade ago the Mohini Attam repertoire ran almost parallel to the Bharata Natyam repertoire. But just as each region has its own individuality and identity it was natural that Mohini Attam had to find its own identity. Due to the relentless work of great researchers, scholars, performers of Mohini Attam, this dance form achieved its present classical standing.
Today, we have different schools of Mohini Attam just as you have schools for Bharata Natyam. But they all have one thing in common they all imbibe the beautiful lyrical elements of the social folk dances of the graceful women from Kerala. Every classical dance form from India has its beginnings in the local prevalent folk art forms and has also been very strongly influenced by the social, political, religious and behavioral pattern of the people of the region. The classical dance forms have imbibed these features to give them all a distinct flavour of its own, but they are still all bound by the great traditions set by the ‘Natyashastra’ around the 2nd century B.C.. The ‘Natyashastra’ is a treatise on dance and drama and lays down rules regarding the practice and presentation of drama and dance. Each dance form adopts it to suit the regional changes in the social, religious, political and behaviour of the people. But it was around the 3rd century A.D that Nandikeshvara wrote the Abhinaya Darpanam which is very religiously followed by the practitioners of Bharata Natyam .It gives the usage of hastas (hand gestures), pada bhedas (feet positions) ,caris (gaits) , gatis (steppings) etc.
Similarly a study of Mohini Attam wouldn’t be complete without the study of Balaramabharatam. The author Maharaja Kartikatirunal Rama Varma was a descendant of the ancient Chera kings of South India who encouraged arts and literature in the 18th century.. The Maharaja was a great scholar and had an extraordinary talents not only for literature but also for music, dance and other allied arts and was also a great poet .His contribution to Kathakali ( a dance drama tradition) of Kerala is incomparable. The book gives a detailed insight into the technical performing aspects for Mohini Attam. There is a mention of the use of hastas(hand gestures), angas ( major limbs) upangas ( minor limbs ) and pratyangas ( neck, wrists, knees, thighs etc).Reading through the text and the practical details mentioned in the book leaves a student of Mohini Attam with very few doubts on the technicalities. The Balaramabharatam is an accepted text by most leading dancers, scholars of India today for Mohini Attam.
Being associated for a very long time and having the opportunity to learn under one of the pioneer’s of Mohini Attam , Padmashri (Dr.) Kanak Rele who is responsible for bringing Mohini Attam into the classical map of India , I would say is a blessing .Also the privilege of working with one of the leading theater personalities , scholar, poet and a great musical composer Shri Kavalam Narayana Panikker whose contribution to Mohini Attam also needs a special mention. Mohini Attam will flourish and go a long way. With due respect to all performers, scholars, and teachers of the art form, we shall have just one aim in mind to carry on this great art form from one century into the next .The responsibility put into us by the great performers of the last and present century to carry on this great tradition and initiate the uninitiated into another world of beauty , grace and charm.
GHATAM
Ghatam is nothing more than a large clay pot. It is very commonly played in South Indian classical performances. There are two actions of resonance. The primary one is the ringing of the pot caused by striking. A very low resonance is also produced by the cavity. This pitch is raised or lowered by opening or closing the hole with the stomach.
Ghatam is one of the oldest carnatic instrument used in the percussion side. However this is made up of clay and iron ore which makes it a good solid body to play.
Ghatam is an earthern pot where player used all there fingers to produce the sound. However the sound is a metallic sound.
TH Vinayakram plays the Indian clay pot called the Ghatam. During performance he keeps his belly exposed to facilitate the use in creating tones on the mouth of the Ghatam. He plays fast rhythms of knuckle-cracking intensity using different parts of the Ghatam from the mouth to the bottom of pick up different resonant tones due to thickness of the clay. He is featured in the Taal Ensemble and in the Shakti recordings of Zakir Hussain and John McLaughlin.
ghatam is made with special metal ores such that it gives a good sound and it can be used as an instrument.
ghatam is of two type madras ghatam and maana madurai ghatam. The earlier madras ghatam is light and the maana madurai ghatam is a heavy ghatam and tone is beautiful in both the ghatams
A good quality South Indian Ghatam/Clay pot made of special resonant fire treated clay for high quality sound.
Ghatam is nothing more than a large clay pot. It is very commonly played in South Indian classical performances. There are two actions of resonance. The primary one is the ringing of the pot caused by striking. A very low resonance is also produced by the cavity. This pitch is raised or lowered by opening or closing the hole with the stomach.
Ghatam is one of the oldest carnatic instrument used in the percussion side. However this is made up of clay and iron ore which makes it a good solid body to play.
Ghatam is an earthern pot where player used all there fingers to produce the sound. However the sound is a metallic sound.
TH Vinayakram plays the Indian clay pot called the Ghatam. During performance he keeps his belly exposed to facilitate the use in creating tones on the mouth of the Ghatam. He plays fast rhythms of knuckle-cracking intensity using different parts of the Ghatam from the mouth to the bottom of pick up different resonant tones due to thickness of the clay. He is featured in the Taal Ensemble and in the Shakti recordings of Zakir Hussain and John McLaughlin.
ghatam is made with special metal ores such that it gives a good sound and it can be used as an instrument.
ghatam is of two type madras ghatam and maana madurai ghatam. The earlier madras ghatam is light and the maana madurai ghatam is a heavy ghatam and tone is beautiful in both the ghatams
A good quality South Indian Ghatam/Clay pot made of special resonant fire treated clay for high quality sound.
CHIMPTA (CHIMTA)
(MUSICAL FIRE TONGS)
The chimpta is actually a fire tong. However, it has evolved into a musical instrument by the permanent addition of small brass jingles. This instrument is especially popular in Punjabi folk music and the Sikh religious music known as Shabad.
Selected Vedio
(MUSICAL FIRE TONGS)
The chimpta is actually a fire tong. However, it has evolved into a musical instrument by the permanent addition of small brass jingles. This instrument is especially popular in Punjabi folk music and the Sikh religious music known as Shabad.
Selected Vedio
INDIAN MUSICAL INSTRUMENTS
There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.
There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). Here are the classes and representative instruments.
NON-MEMBRANOUS PERCUSSIVE (Ghan)
This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal.
* Chimpta
* Ghatam
* Ghungharu
* Jal Tarang
* Kartal
* Kasht Tarang
* Manjira
* Nout
* Murchang
BLOWN AIR (Sushir)
This class of instrument is characterized by the use of air to excite the various resonators.
* Bansuri
* Bombashi
* Harmonium
* Mukhavina
* Nadaswaram
* Ottu
* Pungi
* Shankh
* Shehnai
* Surpeti
PLUCKED STRINGED INSTRUMENTS (Tat)
This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina.
* Bulbul Tarang
* Dotar #1
* Dotar #2 (Dotora)
* Ektar
* Getchu Vadyam (Gettuvadyam)
* Gopichand (ektar)
* Gotuvadyam
* Katho
* Magadi Vina
* Nakula Vina
* Rabab (Kabuli Rabab)
* Rudra Vina
* Saraswati Vina (South Indian Vina)
* Santur
* Sarod
* Seni Rabab
* Sitar
* Surbahar
* Surmandal
* Swarabat (Swaragat)
* Tanpura
* Vichitra Vina
BOWED-STRINGED INSTRUMENTS (Vitat)
This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma.
* Chikara
* Dilruba
* Esraj
* Kamancha
* Mayuri Vina
* Pena (a.k.a. Bana)
* Ravanhasta
* Sarangi
* Saringda
* Tar Shehnai
* Violin
MEMBRANOUS PERCUSSIVE (Avanaddh)
This is a class of instruments which have struck membranes. These typically comprise the drums.
* Chenda
* Daf (Duf, Daphu, Daffali)
* Damaru
* Dhol
* Dholak
* Dholki (Nal)
* Idakka and Udaku (Udakai)
* Kanjira
* Khol (Mridang)
* Maddal
* Mridangam
* Nagada
* Pakhawaj
* Pung
* Shuddha Madalam
* Tabla
* Tabla Tarang
* Tasha
* Tavil
* Thanthi Panai
* Tumbak
We have given a brief overview of the Indian instruments. We mentioned that the instruments fall into five categories: ghan (non-membranous percussion), sushir (wind blown), tat (plucked stringed), vitat (bowed stringed) and avanaddh (membranous percussion). Within these five classes there are a large number of individual instruments.
There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.
There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). Here are the classes and representative instruments.
NON-MEMBRANOUS PERCUSSIVE (Ghan)
This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal.
* Chimpta
* Ghatam
* Ghungharu
* Jal Tarang
* Kartal
* Kasht Tarang
* Manjira
* Nout
* Murchang
BLOWN AIR (Sushir)
This class of instrument is characterized by the use of air to excite the various resonators.
* Bansuri
* Bombashi
* Harmonium
* Mukhavina
* Nadaswaram
* Ottu
* Pungi
* Shankh
* Shehnai
* Surpeti
PLUCKED STRINGED INSTRUMENTS (Tat)
This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina.
* Bulbul Tarang
* Dotar #1
* Dotar #2 (Dotora)
* Ektar
* Getchu Vadyam (Gettuvadyam)
* Gopichand (ektar)
* Gotuvadyam
* Katho
* Magadi Vina
* Nakula Vina
* Rabab (Kabuli Rabab)
* Rudra Vina
* Saraswati Vina (South Indian Vina)
* Santur
* Sarod
* Seni Rabab
* Sitar
* Surbahar
* Surmandal
* Swarabat (Swaragat)
* Tanpura
* Vichitra Vina
BOWED-STRINGED INSTRUMENTS (Vitat)
This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma.
* Chikara
* Dilruba
* Esraj
* Kamancha
* Mayuri Vina
* Pena (a.k.a. Bana)
* Ravanhasta
* Sarangi
* Saringda
* Tar Shehnai
* Violin
MEMBRANOUS PERCUSSIVE (Avanaddh)
This is a class of instruments which have struck membranes. These typically comprise the drums.
* Chenda
* Daf (Duf, Daphu, Daffali)
* Damaru
* Dhol
* Dholak
* Dholki (Nal)
* Idakka and Udaku (Udakai)
* Kanjira
* Khol (Mridang)
* Maddal
* Mridangam
* Nagada
* Pakhawaj
* Pung
* Shuddha Madalam
* Tabla
* Tabla Tarang
* Tasha
* Tavil
* Thanthi Panai
* Tumbak
We have given a brief overview of the Indian instruments. We mentioned that the instruments fall into five categories: ghan (non-membranous percussion), sushir (wind blown), tat (plucked stringed), vitat (bowed stringed) and avanaddh (membranous percussion). Within these five classes there are a large number of individual instruments.
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