Recent scholarship on the history of music in South Asia has examined the processes by which music as an art form was reinvented for nationalist purposes, yet, the disciplined study of music (and its aesthetics) remains only a few centuries old. Studying music through a historical lens has opened new approaches to interdisciplinary studies. Music as History in Tamilnadu examines how history can be interpreted through aesthetics and music and vice versa. Musicologists focus on the study of musical activity, while ethnomusicologists examine this activity first-hand using the 'field' research methods of cultural anthropology. The historian's task, then, is to interpret the musical past as part of cultural production and thereafter relate music to general historical trends. This collection of essays seeks to establish the interdisciplinarity between music (the Karnatak system) and the history of Tamilnadu, south India.
Edition: Deluxe edition with color.The history of Tamil̤ Nāḍu from the sixteenth century to the eighteenth is eventful with political developments which had far-reaching consequences. It was a significant period in which non-Tamil̤ rulers ruled the country which ultimately led to the establishment of foreign rule. The period commences with the appointment of the Telugu-speaking Vijayanagar governors in the Madurai, Thañjāvūr and Señji regions. The decline of the Vijayanagar rule led to the rule of the Marāthas in Thañjāvūr and the Mughals in the Carnatic. The invasion of the Tamil̤ country by the Mughal general, Zulfikar Khan, made the Tamil̤ States tributaries of the Mughals and established the rule of the Carnatic Nawabs. This period witnessed the efforts of European powers to establish trade centres. The war of succession between the two dynasties of the Carnatic Nawabs and the wars between the competitive trading countries, the English and the French, had their impact on the native powers which thereby became weakened. By providing military and financial aid to native powers, the British gradually took over their territories and expanded the Madras Presidency. Another notable feature is that the success in getting political power in the Tamil̤ country encouraged the British to acquire political power in North India using their base in the Tamil̤ country as a springboard. Native rulers' military weakness and tendency to allow foreign powers to interfere in native politics and Muhammad Ali's total reliance on the English to control his subordinates and meet his financial needs necessitated by his extravagant lifestyle were contributary factors which helped the English, who came as traders, become rulers of the country.In this period, resenting the interference and oppression of the British, the poligars rose against them. The Poligar Rebellion under Pūli Thēvar and Kaṭṭabomman̤ and the South Indian Rebellion under Marudu Pāṇḍyan̤ are notable events of this period. The political development in the Tamil̤ country in this period had serious repercussions on the political future of India since they provided the British with experience and resources for the expansion of their rule in the rest of India. The year 1801 A.D. in which the Madras Presidency, the biggest in the British India, attained its total expansion is politically significant in the history of Tamil̤ Nāḍu and India.The rule of foreigners had its impact on the social life of the people and the economy of the country. The advent of Christian missionaries along with trading companies influenced the social life. The exploitation of native resources by the foreign rulers and the constant wars among them shattered the economy. In the midst of such turmoil, the Nāyaks and the Marāthas contributed to the developments of arts and culture. This book is a study of not only political events, but also the contemporary social, economic and religious conditions. The Nāyak architecture, which is the last phase of the Dravidian architecture, along with the contributions of the Marathas of Thañjāvūr, is highlighted. Besides its use to students and those who prepare for competitive examinations, it is an interesting study to those who are interested in the history of Tamil̤ Nāḍu. For the proper understanding of the details presented, maps and pictures are added at appropriate places.
Zoe C. Sherinian shows how Christian Dalits (once known as untouchables or outcastes) in southern India have employed music to protest social oppression and as a vehicle of liberation. Her focus is on the life and theology of a charismatic composer and leader, Reverend J. Theophilus Appavoo, who drew on Tamil folk music to create a distinctive form of indigenized Christian music. Appavoo composed songs and liturgy infused with messages linking Christian theology with critiques of social inequality. Sherinian traces the history of Christian music in India and introduces us to a community of Tamil Dalit Christian villagers, seminary students, activists, and theologians who have been inspired by Appavoo's music to work for social justice. Multimedia components available online include video and audio recordings of musical performances, religious services, and community rituals.
In this volume, sixty-eight of the world's leading authorities explore and describe the wide range of musics of India, Pakistan, Bangladesh, Sri Lanka, Kashmir, Nepal and Afghanistan. Important information about history, religion, dance, theater, the visual arts and philosophy as well as their relationship to music is highlighted in seventy-six in-depth articles.
The peerless young Kovalan leaves his loyal wife Kannaki for the courtesan Madhavi, and though he returns to her, he still meets his death because of her ill-omened ankle bracelet. The Shilappadikaram has been called an epic and even a novel, but it is also a book of general education. Adigal packed his story with information: history merging into myth, religious rites, caste customs, military lore, descriptions of city and country life. And four Cantos are little anthologies of the poetry of the period (seashore and mountain songs, hunters and milkmaid s song). Thus the story gives us a vivid picture of early Indian life in all its aspects.
Unlike other parts of India, Kerala's geographic location in the extreme south-west protected it from extraneous influences allowing its many splendoured arts to continue and evolve with a certain insularity. Besides the world-renowned Kathakali, Kerala boasts of the oldest form of Sanskrit theatre, Kootiattam; ritual dances where blood sacrifices are still prevalent; masked and trance performances where dancers wear headgear more than 5 metres high; the most ancient martial arts technique, Kalaripayattu, and many other little-known forms of dance, war and ritual. In a society where every act is codified and every colour symbolic, it needs a lifetime to understand the intricacies and the layers of meaning and sophistication that make up the culture of region. In this book, Kerala's many art and ritual forms are introduced by eminent scholars. Stunning colour visuals, many of rites never seen outside the temple, allow, for the first time, a comparative look into the intricacies of style, make-up, adornments and costumes, making this book a first-ever introduction to the mysterious arts of Kerala.
This book deals with the production of knowledge about music and the related institution-building process in south India. It also examines the role of identity, imagination, nationalism, and patronage in the development of musical tradition in south India.
The book presents a wealth of information on the music rituals in temples at various places in south India. Following visits to a number of temples and based on interviews with temple artistes, the author shows that the musical traditions of temples differ from temple to temple, particularly from Vaishnavite to Shaivite temples. Beginning with the place of music in the Vedas, the book discusses music itself as a form of worship and the role of temples in promoting it. It focuses on the musical contributions of Nayanmars and Alvars whose hymns are sung today as a daily ritual in many temples, and compares their music. It concentrates on both vocal and instrumental music, dance forms as rituals in temples, and music and singing involved in temple festivals. Many interesting inscriptions and sculptures related to dance and music have also been taken up for discussion. In a fascinating attempt, the author has dealt with unique music traditions in some temples of south India like ragas associated with specific temples only and the tradition of nadasvaram playing in Tiruvarur temple. The volume will enthral scholars of Indology, particularly those involved in study of religious art and music traditions.
