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Krishna Pārijāt - Mallava Megeri Krishna Pārijāta Company members pose for a group portrait, Bailhongal (India), 1984

Description:
On the day of an enactment of the folk tale about Lord Krishna, his two wives, and the magical pārijāt tree, the Mallava Megeri Krishna Pārijāta Company poses outdoors on a dhurrie carpet, with actors Shrimati Mallava Megeri, troupe leader, holding a doll; Gudusab Nadat Khajidoni; and Mallakajappa Mallappa Gaddankeri (Krishna); and with musicians Krishnaji Varad Tulasigiri (tablā); Hanuman Mastar (harmonium); and Ramanna Sonshi (taal).
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Krishna Pārijāt - Mallava Megeri Krishna Pārijāta Company members pose for a group portrait, Bailhongal (India), 1984

Om Periyaswamy with Nāiyāndī Mēḷam musicians with instruments at Tamilnadu Hotel, Madurai (India), 1984

Description:
Nāiyāndī Mēḷam musicians play in front of TamilNadu Hotel. From the left: Om Periyaswamy watches, in white kurta and lunghi; a man in white shirt stands behind him; a younger drummer in light blue shirt and white shawl plays a small single-headed membranophone with two sticks; Arunachalam Pillai (?) stands behind him; Conai plays urumbi (urummi, uṟumi) double-headed variable tension membranophone with curving stick to his right; Mukkasāmi plays a sattakulai (cattak kuḻāy) multiple-reed aerophone; Kalidasa, seen from the back, plays a pambai double-headed membranophone pair with two slightly curving sticks; Venkatesan plays tavil double-headed membranophone; and Cuppiramaniyan with hand taḷām cymbals, in a dark blue shirt and lunghi. The jeep of the Archives and Research Center for Ethnomusicology is visible behind the group.
Date:
March 14, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Om Periyaswamy with Nāiyāndī Mēḷam musicians with instruments at Tamilnadu Hotel, Madurai (India), 1984

Kota women dance in a line with Kota men musicians playing behind them, Kollimalai (India), 1984

Description:
Five Kota women dance: Thirti Seethalakshmi, Thirti Mari, Thirti Neeji, Thirti Rajanmal, and Thirti Deki. Kota men play Kota musical instruments. From left: Thiru Kavundhan (kombu curved horn); Thiru K. Puchan, age 70, and Thiru Kavundhan, age 60 ( koḷ double-reed aerophone); Thiru K. Mylan (tabaṭk frame drum); Thiru M. K. Bellan and Thiru Beddi (kinpar double-headed drum). A Kota family watches on the right. In the background are Kota houses with stripes and tile roofs are visible with large trees and hills beyond. This scene was used in the video referenced below.
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Kota women dance in a line with Kota men musicians playing behind them, Kollimalai (India), 1984

Om Periyaswamy with Nāiyāndī Mēḷam musicians at TamilNadu Hotel, Madurai (India), 1984

Description:
Arunachalam Pillai, a hereditary musician, plays a nāgasvaram quadruple-reed aerophone artist (4th from left); Sankarayya Pillai, a nāgasvaram soloist, (center) plays an ottu drone nāgasvaram. Om Periyaswamy (2nd from left); Kalidasa (in profile) plays a pambai drum pair (3rd from left); Venkatesan plays a pambai double-headed membranophone pair with two slightly curving sticks (7th from left); Cuppiramaniyan with hand talām cymbals, in a dark blue shirt and lunghi (6th from left); Mukkasāmi watches, holding a sattakulai (cattak kuḻāy) multiple-reed aerophone (8th from left); and other musicians watch. The jeep of the Archives and Research Center for Ethnomusicology stands behind the group.
Date:
March 14, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Om Periyaswamy with Nāiyāndī Mēḷam musicians at TamilNadu Hotel, Madurai (India), 1984

Om Periyaswamy with Nāiyāndī Mēḷam musicians with instruments, Madurai (India), 1984

Description:
Overhead shot of Nāiyāndī Mēḷam musicians. Mukkasāmi (center, seen from the back) plays a sattakulai (cattak kuḻāy) multiple-reed aerophone, and Conai plays urumbi (urummi, uṟumi) double-headed variable tension membranophone using a curved stick in his left hand. They interact facing each other. Behind them is a tamukku membranophone musician in a light blue shirt and white shawl. Kalidasa (left) plays a pambai membranophone pair, and a young musician (2nd from left) plays a small single-headed membranophone with two sticks. Om Periyaswamy (3rd from left) watches. Recorded outdoors near TamilNadu Hotel.
Date:
March 14, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Om Periyaswamy with Nāiyāndī Mēḷam musicians with instruments, Madurai (India), 1984

Babu Sherbande, Nila Sewlinga Vaghmare, and Ratna Shanka Vaghmare, Miraj (India), 1963

Description:
Musician and teacher Babu Sherbande plays manjira (small bronze finger cymbals) for a song sung by his student, Nila Sewlinga Vaghmare. She plays a cawandga, a variable tension monochord whose string is attached to a wooden handle, and stretched and loosened by the left hand, while being plucked with the right-hand fingers. Bronze bells (ghanti) are attached to the bronze holder for the strap that is attached to the wooden cylindrical body, whose upper edge is rimmed in bronze, and whose bottom is covered by a thin leather membrane, through which the end of the string passes and is tied. Bronze jingles are attached to the wooden handle. Nila Vaghmare’s daughter, Ratna Shankar Vaghmare, sings along and plays a tuṇtuṇe, a plucked monochord with a horsehead peg and a wooden cylindrical resonator. The cawandga and tuṇtuṇe were made in the shop of Abdul Karim Ismail Saheb, sitar makers of Miraj.
Date:
December 19, 1963
Resource Type:
still image
Photographer:
Jairazbhoy, Nazir Ali, 1927-2009
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Babu Sherbande, Nila Sewlinga Vaghmare, and Ratna Shanka Vaghmare, Miraj (India), 1963

Ottan Thullal - B. C. Balachandar performs, Ayamkudy (India), 1984

Description:
Dancer B. C. Balachandar performs an episode from the Ottan Thullal solo dance drama Kalyana Sougandhikam (“Auspicious Fragrant Lily”). Musicians are behind him: a musician playing a mṛdaṅgam, a barrel shaped double-headed membranophone (seated, left), a singer and shruti peti musician (seated, center), a singer playing kai mani/jālra / taḷām cymbals (seated, right), a musician with an uḍukku variable tension hourglass drum (standing, right). Village children begin to appear to watch. Blurry shot due to camera movement.
Date:
March 27, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ottan Thullal - B. C. Balachandar performs, Ayamkudy (India), 1984

Mannan man, Perumal, dances at a festival of the Mannan Ādivāsī people, Mannakudi (Tamil Nadu, India), 1984

Description:
Mannan men dance beside Perumal (Mannan man), who dances wearing a floral garland, dressed in a pink floral half-sari, a white choli, an orange shrug, and a pink headband with a flower in the center. Behind him, a Mannan man bends forward and plays a maddaḷam, a barrel-shaped membranophone. The event is a festival of the Mannan Ādivāsī people with dance and music. The festival was held in honor of the goddess Madurai Minatci, and/or Kannaki and Kovalan (the heroine and hero of the Silappadikaram, a semi-legendary Hindu-Jain Tamil epic poem). The village of Mannankudi is near Kumili, which is 5 km from Thekkady.
Date:
March 23, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mannan man, Perumal, dances at a festival of the Mannan Ādivāsī people, Mannakudi (Tamil Nadu, India), 1984

Kota men demonstrate the tiruganāṭ dāk “turning dance” at an A. A. Bake playback session, Trichagadi (India), 1984

Description:
Twelve Kota men demonstrate the tiruganāṭ dāk / tirukanat (turning dance) counter-clockwise in a half circle behind the musicians, with one arm stretched and one arm lowered. Twirling counter-clockwise causes their skirts to flare upwards. Two men hold lowered kombu valveless curving trumpets. Musicians play a koḷ double-reed aerophone, a tabaṭk frame drum, with one stick one hand, and kaimani bronze hand cymbals; two musicians play kinpar small barrel drums. A man in Western shirt stands behind the performers, angrily gesturing to an elderly man in dhoti and shawl. A man and a woman wearing shawls stand watching beside a concrete power pole, outside a building with a tiled roof, one side of the roof in disrepair. Buildings, terraced paddy fields with a single globular tree, a row of tall trees, and a hill are in the background. In Ticgār (Trichagadi) Village, near Ooty (Udagamandalam).
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Kota men demonstrate the tiruganāṭ dāk “turning dance” at an A. A. Bake playback session, Trichagadi (India), 1984

Two-headed clay drum (madiala ?), of the Bagata people, Hyderabad (India), 1963

Description:
Two-headed clay drum, a vase-type pot drum, with paste on both sides (madiala?). An instrument of the Bagata (Bhagatā) people and other tribes in Āraku Valley. “Paste” refers to weighted paste applied on both drumheads. The image shows the smaller head, usually played by the right hand. A.P. photo. Possession of the Tribal Cultural Research and Training Institute.
Date:
December 21, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Two-headed clay drum (madiala ?), of the Bagata people, Hyderabad (India), 1963

Durgā-pūjā Mahotsav festival - Datta Saunke, J. R. Yadav and another musician, Dhobi Talao (Mumbai, India), 1963

Description:
Datta Saunke (nagāṙā drum pair), J. R. Yadav playing (shehnai double-reed aerophone), and another musician (surpeṭī drone) at the Durgā-pūjā Mahotsav festival, during a recording session. The festival was held at the Cross Maidan garden in Dhobi Talao neighborhood.
Date:
October 24, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Durgā-pūjā Mahotsav festival - Datta Saunke, J. R. Yadav and another musician, Dhobi Talao (Mumbai, India), 1963

Durgā-pūjā Mahotsav festival - Datta Saunke, J. R. Yadav and another musician, Dhobi Talao (Mumbai, India), 1963

Description:
Datta Saunke (nagāṙā drum pair), J. R. Yadav (shehnai double-reed aerophone) and another musician at a recording session (microphones visible) during the Durgā-pūjā Mahotsav festival. The festival was held at the Cross Maidan garden in Dhobi Talao neighborhood.
Date:
October 24, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Durgā-pūjā Mahotsav festival - Datta Saunke, J. R. Yadav and another musician, Dhobi Talao (Mumbai, India), 1963

Nāiyāndī Mēḷam ensemble, Usilampatty (India), 1984

Description:
In an open area in the village, the musicians are, from left: unidentified musician (pambai, drum pair), A. K. Ganesan (tavil), unidentified “shrutiputtu” (shrutipeti, “tone box”) pumped free-reed aerophone (substitutes for traditional ottu reed pipe), I. P. Kurusāmi (nāgasvaram), unidentified musician (nāgasvaram), unidentified musician (timiri – small membranophone played with two sticks), unidentified musician (tāḷam cymbals), M. Raman behind a Kannan (tavil), Karutta Kannan, turned away from the camera (pambai, single drum), and unidentified musician (pambai, drum pair). Nāiyāndī Mēḷam ensemble (also known as Periya Nayanam ensemble, Kaliyappan Mela Cettu, Urumbi (Urummi, Uṟumi) Mēḷam).
Date:
March 11, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Nāiyāndī Mēḷam ensemble, Usilampatty (India), 1984

Gangadhar Nagar - Gopibai Sivlal, a Kanjar Bhāṭ woman, dances alone, Hubli (India), 1984

Description:
Gopibai Sivlal, a Kanjar Bhāṭ woman, dances in the Rajasthani ghumar style with left hand outstretched and lifting her sari hem, while children, women, and men watch. Ranjit, a bearded drummer, plays ḍholak. At Gangadhar Nagar.
Date:
February 24, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gangadhar Nagar - Gopibai Sivlal, a Kanjar Bhāṭ woman, dances alone, Hubli (India), 1984

Krishna Pārijāt - Mallava Megeri Krishna Pārijāta Company members pose for a group portrait, Bailhongal (India), 1984

Description:
On the day of an enactment of the folk tale about Lord Krishna, his two wives, and the magical pārijāt tree, the Mallava Megeri Krishna Pārijāta Company poses outdoors on a dhurrie carpet, with actors Shrimati Mallava Megeri, troupe leader, holding a doll; Gudusab Nadat Khajidoni; and Mallakajappa Mallappa Gaddankeri (Krishna); and with musicians Krishnaji Varad Tulasigiri (tablā); Hanuman Mastar (harmonium); and Ramanna Sonshi (taal).
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Krishna Pārijāt - Mallava Megeri Krishna Pārijāta Company members pose for a group portrait, Bailhongal (India), 1984

Nāiyāndī Mēḷam ensemble - A. K. Ganesan, a tavil musician, Usilampatty (India), 1984

Description:
A. K. Ganesan, hereditary temple processional musician, plays tavil barrel-shaped drum. Ganesan was a member of a Nāiyāndī Mēḷam ensemble (also known as Periya Nayanam, Kaliyappan Mela Cettu, Urumbi (Urummi, Uṟumi) Mēḷam).
Date:
March 11, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Nāiyāndī Mēḷam ensemble - A. K. Ganesan, a tavil musician, Usilampatty (India), 1984

Pair of sambal, in the possession of B. K. Gurav, Vadodara (India), November 1963

Description:
Conical kettle drums. The larger left hand drum is played with a curving stick, which applies pressure to the drumhead, varying its pitch. The smaller right hand drum is played with a straight stick. These drums are usually played by devotees during rituals to the goddess Mahalaxmi. The drums are tied together and around the waist of the player for ease of access.
Date:
October 4, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Pair of sambal, in the possession of B. K. Gurav, Vadodara (India), November 1963

Kota men demonstrate the tiruganāṭ dāk “turning dance” at an A. A. Bake playback session, Trichagadi (India), 1984

Description:
Thirteen Kota men demonstrate the tiruganāṭ dāk / tirukanat (turning dance) dancing and turning counterclockwise in a half circle in the foreground, with arms raised. Five men wear pink turbans, long white full skirts with red triangular appliqué on the hems, white shawls with woven red borders, and belts. One skirt has three rows of triangular appliqué at the hem in red, blue, and green colors. Three men hold handkerchiefs. In the center of the line of dancers, three men hold raised kombu valveless curving trumpets, two men play koḷ double-reed aerophones, one man plays a tabaṭk frame drum, and one man plays a kinpar barrel drum. One man stands watching. Buildings, terraced paddy fields with a single globular tree, a row of tall trees, and hilltops in the background. In Ticgār (Trichagadi) Village, near Ooty (Udagamandalam).
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Kota men demonstrate the tiruganāṭ dāk “turning dance” at an A. A. Bake playback session, Trichagadi (India), 1984

Ottan Thullal - B. C. Balachandar concludes his performance, Ayamkudy (India), 1984

Description:
Dancer B. C. Balachandar performs a namaskaram gesture to conclude his performance of an episode from the Ottan Thullal solo dance drama Kalyana Sougandhikam (“Auspicious Fragrant Lily”). He gestures in mock impatience at children in audience. Musicians are behind him: a musician playing a mṛdaṅgam, a barrel shaped double-headed membranophone (seated, left), a singer and shruti peti musician (seated, center), a singer playing kai mani/jālra / taḷām cymbals (seated, right), a musician with an uḍukku variable tension hourglass drum (standing, right). Village children sit and stand to watch from the side. Adult men stand and watch from behind. Photo blurred due to camera movement.
Date:
March 27, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ottan Thullal - B. C. Balachandar concludes his performance, Ayamkudy (India), 1984

Dhol-Lezim dance troupe musicians, Lonāvale (India), 1963

Description:
Musicians in a Dhol-Lezim (Lejim) mandal dance troupe (Shri Ram Mandir Gowli: Ram Temple Milkmen) play a large ḍhol barrel membranophone and a tāsa shallow bowl drum played with cane sticks (chob). About 20 Gowli men encircle them playing pairs of jhāñjh bronze cymbals, and lezim rattles with jingling cymbals loosely attached.
Date:
December 13, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Dhol-Lezim dance troupe musicians, Lonāvale (India), 1963

Theyyam festival - Mudiyeṭṭu mythological dance drama, Kalliasseri (India), 1984

Description:
Shiva Narada episode. The start of the performance, the moment before Lord Siva emerges above the curtain. A musician plays a ceṇḍa (vertical drum). Instruments not seen include: vik ceṇḍa (chenda), jālra, kuzhal (double-reed aerophone with straight tube), (generator noise). Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.
Date:
April 7, 1984
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Theyyam festival - Mudiyeṭṭu mythological dance drama, Kalliasseri (India), 1984

Nāiyāndī Mēḷam ensemble, Usilampatty (India), 1984

Description:
In an open area in the village, the musicians are, from left: unidentified musician (pambai, drum pair), A. K. Ganesan (tavil), unidentified musician (instrument blocked), unidentified musician (“shrutiputtu” shrutipeti, “tone box”) pumped free-reed aerophone (substitutes for traditional ottu reed pipe), I. P. Kurusāmi (nāgasvaram), unidentified musician (nāgasvaram), unidentified musician (taḷām cymbals), M. Raman is behind a musician (tavil), unidentified (timiri – small membranophone played with two sticks), Karutta Kannan (pambai, single drum), and behind Karutta Kannan, an unidentified musician (pambai, drum pair). Nāiyāndī Mēḷam ensemble (also known as Periya Nayanam, Kaliyappan Mela Cettu, Urumbi (Urummi, Uṟumi) Mēḷam).
Date:
March 11, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Nāiyāndī Mēḷam ensemble, Usilampatty (India), 1984

Kota musicians arrive, Ticgār (Trichagadi, India), 1984

Description:
Kota instrumental musicians arrive, carrying instruments up the hill: two kinpar/kinvar large cylindrical drums dobar (left) and one tabaṭk frame drum (right). Behind them is a white Kota temple ("guṛy" in Kota), probably to Aynor or Amnor (father god). The green area around the temple where they are walking is called the guṛyvāl. Man on right is either mundkānōn (ritual leader) or a tērkārn (ritualist). The jeep of the Archives and Research Center for Ethnomusicology is parked at bottom of the hill. Terraced rice fields are visible on the opposite hill. A white shrine with a silver dome sits halfway up the hill next to a large, leafy tree.
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Kota musicians arrive, Ticgār (Trichagadi, India), 1984

Kota women dance in a circle around a Kota man who plays a kinpar barrel drum, Trichagadi (India), 1984

Description:
Five Kota women dance in a circle with their hands above their heads while Kota men musicians play kinpar barrel drums with others. The women wear traditional cotton varad woven cloth with maroon and red woven strips wrapped around the body and left shoulder, over sari blouses. The dances are for the Kambattaraya festival held for 21 days in January, and announced as: (1) kalkujattam “leg joining dance,” (2) tiruganāṭ dāk / tirukanat (turning dance), (3) bibarmarattam (?). In Ticgār (Trichagadi) Village, near Ooty (Udagamandalam).
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Kota women dance in a circle around a Kota man who plays a kinpar barrel drum, Trichagadi (India), 1984

Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. Three musicians perform Marathi devotional ritual music to Hindu Goddess Amba. Standing behind a mandhab, vocal ensemble musicians with instruments (left to right): Jagannath Tite (tuṇtuṇe), Bhagvan Renake (Jālra), and R. H. Garuda (sambal).
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984, Pune (India), 1984

Nāiyāndī Mēḷam ensemble - Karutta Kannan, A. K. Ganesan, I. P. Kurusāmi, M. Raman, and Kurusāmi, Usilampatty (India), 1984

Description:
In an open area in the village, from the left: Karutta Kannan (pambai), A. K. Ganesan (tavil), I. P. Kurusāmi (nāgasvaram), M. Raman (tavil), and Kurusāmi (urumbi, urummi, uṟumi). Nāiyāndī Mēḷam ensemble (also known as Periya Nayanam ensemble; Kaliyappan Mela Cettu, Urumi Mēḷam).
Date:
March 11, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Nāiyāndī Mēḷam ensemble - Karutta Kannan, A. K. Ganesan, I. P. Kurusāmi, M. Raman, and Kurusāmi, Usilampatty (India), 1984

Theyyam festival - Malayan Keṭṭu: Pillai Theeni Theyyam - demon restrained, Kalliasseri (India), 1984

Description:
Pillai Theeni Theyyam: a demon, is being restrained from attacking a "pregnant" woman, who is hiding near singers, ceṇḍa (chenda) and smaller viku ceṇḍa drummers and cymbal players. The demon is played by the Malayan dancer and teacher P.K. Panicker (Pallipurattu House, Kizhara PO, Cannanore. Malayan and Panan communities).
Date:
April 6, 1984
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Theyyam festival - Malayan Keṭṭu: Pillai Theeni Theyyam - demon restrained, Kalliasseri (India), 1984

Theyyam festival - Poraṭṭu Nāṭakam: Malayalam/Tamil drama/satire, Kalliasseri (India), 1984

Description:
Poraṭṭu Nāṭakam of the Panan community (Palakkad District, Kerala). Man in a white mundu, hitched up to show aggressiveness, approaches the center of the stage, glaring at the musicians. Two musicians stand behind him, playing jālra bronze cymbals and responding. Two musicians sit on a table further behind them, playing harmonium drone, mṛdaṅgam or ḍholak, and ceṇḍa (chenda). (Performers: K. Viswam and Party. Chembagaseri, Tattamangalam P.O., Palakkad District, Kerala).
Date:
April 7, 1984
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Theyyam festival - Poraṭṭu Nāṭakam: Malayalam/Tamil drama/satire, Kalliasseri (India), 1984

Two-headed clay drum (madiala ?), of the Bagata people, Hyderabad (India), 1963

Description:
Two-headed clay drum, a vase-type pot drum, with paste on both sides (madiala?). An instrument of the Bagata (Bhagatā) people and other tribes in Āraku Valley. “Paste” refers to weighted paste applied on both drumheads. The image shows the larger head, usually played by the left hand. A.P. photo. Possession of the Tribal Cultural Research and Training Institute.
Date:
December 21, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Two-headed clay drum (madiala ?), of the Bagata people, Hyderabad (India), 1963

Kota musicians playing music at a recording session, Ticgār (Trichagadi, India), 1984

Description:
Kota instrumental musicians and singers re-record A. A. Bake 1938 recording Tefi# 48.7: "Buffalo-catching tune," and Tefi# 48.8: "Dance tune," for the video field recording session, along with several other items such as bhajana devotional group songs. The instruments include: dobar or gumbar large cylindrical drum, two koḷ double-reed aerophones, two curved kombu (kob) horns, and a tabaṭk frame drum played with sticks..
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Kota musicians playing music at a recording session, Ticgār (Trichagadi, India), 1984

Gummala, ḍholki, vette, and dappu, instruments of the Rāj Gond people, Hyderabad (India), 1963

Description:
From the left: gummala (pot drum), ḍholki (cylindrical drum), vette (flat, kettle drum), and dappu (wooden frame drum). Instruments of Rāj Gond people of Adilabad. The gummala also used by Kolām people in Adilabad. Possession of Tribal Cultural Research and Training Institute.
Date:
December 21, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gummala, ḍholki, vette, and dappu, instruments of the Rāj Gond people, Hyderabad (India), 1963

Ottan Thullal - B. C. Balachandar performs, Ayamkudy (India), 1984

Description:
Dancer B. C. Balachandar performs a namaskaram gesture to conclude his performance of an episode from the Ottan Thullal solo dance drama Kalyana Sougandhikam (“Auspicious Fragrant Lily”). He gestures in mock impatience at children in audience. Musicians are behind him: a musician playing a mṛdaṅgam, a barrel shaped double-headed membranophone (seated, left), a singer and shruti peti musician (seated, center), a singer playing kai mani/jālra / taḷām cymbals (seated, right), a musician with an uḍukku variable tension hourglass drum (standing, right). Village children sit and stand to watch from the side. Adult men stand and watch from behind. Photo blurred due to camera movement.
Date:
March 27, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ottan Thullal - B. C. Balachandar performs, Ayamkudy (India), 1984