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Gangadhar Nagar - Haranśikārī daf musician with ritualist Chandappa Jampana Kattimani, Hubli (India), 1984

Description:
A man in white plays a daf; Haranśikārī (Haran Shikari, Haranshikari) ritualist Chandappa Jampana Kattimani dances with his eyes closed as men, women and children gathered around him watch; Gaekwad, driver of the Archives and Research Center for Ethnomusicology research team, stands and guards villagers.
Date:
February 23, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gangadhar Nagar - Haranśikārī daf musician with ritualist Chandappa Jampana Kattimani, Hubli (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

Kota men playback music after listening to a 1938 recording by A. A. Bake, Kollimalai (India), 1984

Description:
Kota musicians of Kollimalai playback after listening to an A. A. Bake recording (Tefi# 48.8: “Kota Music Dance Tune” for men’s dancing). Musicians include: Thiru Kavundhan (kombu curved trumpet); Thiru K. Puchan (koḷ double-reed aerophone, age 70), Thiru Kavundhan (koḷ double-reed aerophone, age 60); Thiru K. Mylan (tabaṭk frame drum); Thiru M. K. Bellan (kinpar double-headed drum); Thiru Beddi (dobar double-headed drum). Hills and sunset-lit clouds are visible in the background. 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 men playback music after listening to a 1938 recording by A. A. Bake, Kollimalai (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 a 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

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

Description:
Gondhal ceremony--Inauguration 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

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), and R. H. Garuda (sambal). Bhagvan Renake holds a stick above a flame.
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

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

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. 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). A flame, incense and objects are on the left.
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

Baraat wedding procession - vocalist, Mahadev B. Tavare with the Basavanneppa Band, Belgaum (India), 1984

Description:
At a baraat wedding procession, the male vocalist Mahadev B. Tavare sings, in imitation of a woman's voice, into a microphone (attached to a bicycle with an amplifier) with two clarinets; band members playing a side drum, a tāsa drum and trumpet are behind them. The location is 35/1 Vardhappa Rd., Belgaum 590004.
Date:
February 18, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Baraat wedding procession - vocalist, Mahadev B. Tavare with the Basavanneppa Band, Belgaum (India), 1984

Nāiyāndī Mēḷam ensemble - Villagers watch as the ensemble is recorded, Usilampatty (India), 1984

Description:
In an open area in the village as villagers watch, from the left: Karutta Kannan (pambai), A. K. Ganesan (tavil), I. P. Kurusāmi (nāgasvaram), and Kurusāmi (urumbi, uṟumi, urummi). A microphone is in the left foreground; the jeep of the Archives and Research Center for Ethnomusicology is in the background on the right. Nāiyāndī Mēḷam ensemble (also known as Periya Nayanam ensemble; Kaliyappan Mela Cettu, 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 - Villagers watch as the ensemble is recorded, Usilampatty (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) player). Nāiyāndī Mēḷam ensemble (also known as Periya Nayanam ensemble; Kaliyappan Mela Cettu, 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 - Karutta Kannan, A. K. Ganesan, I. P. Kurusāmi, M. Raman, and Kurusāmi, Usilampatty (India), 1984

Venkatachalam Pillai, professional singer and tep player, Madurai (India), 1984

Description:
Venkatacalam Tevar (aka Pillai) professional singer and tep player. Singing “Kaman Pāndigai,” a Tamillavni genre in debate form, while playing tep (frame drum). Looking at audience, he gestures with his right hand. There is a silver ring on his left index finger. A man in the audience listens intently, and boys look into researchers’ camera.
Date:
March 12, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Venkatachalam Pillai, professional singer and tep player, Madurai (India), 1984

Nāiyāndī Mēḷam ensemble - Villagers watch as the ensemble is recorded, Usilampatty (India), 1984

Description:
In an open area in the village, as villagers watch, from the left: Karutta Kannan (pambai), A. K. Ganesan (tavil), I. P. Kurusāmi (nāgasvaram), Kurusāmi (urumbi, urummi, uṟumi), with the head of M. Raman behind and to the right of Kurusami. Jeep driver, Ram Gaekwad (right of Karutta Kannan), secures the space; a microphone is in the left foreground; the jeep of the Archives and Research Center for Ethnomusicology is in the background on the right. Nāiyāndī Mēḷam ensemble (also known as Periya Nayanam ensemble; Kaliyappan Mela Cettu, Urumbi 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 - Villagers watch as the ensemble is recorded, Usilampatty (India), 1984

Venkatachalam Pillai, professional singer and tep player, Madurai (India), 1984

Description:
Venkatacalam Tevar (aka Pillai) professional singer and tep player. Singing “Kaman Pāndigai,” a Tamil lavani genre in debate form, while playing tep (frame drum). Looking downward, his fingers are splayed in both hands. He wears a silver ring on his left index finger. Young boy in the audience smiles.
Date:
March 12, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Venkatachalam Pillai, professional singer and tep player, Madurai (India), 1984

Gangadhar Nagar - Haranśikārī daf musician and a dancing man holding a sword, Hubli (India), 1984

Description:
Induced enactment of a Haranśikārī (Haran Shikari, Haranshikari) ritual dance. A man in white plays a daf frame drum, a bearded man dances while holding a sword above his head with both hands. The sword is a Haranśikārī cultural symbol. At Gangadhar Nagar.
Date:
February 23, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gangadhar Nagar - Haranśikārī daf musician and a dancing man holding a sword, 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

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

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

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

Nāiyāndī Mēḷam ensemble, Usilampatty (India), 1984

Description:
In an open area in the village, the musicians are, from left: 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 (timiri – small membranophone played with two sticks), unidentified musician, behind timiri (nāgasvaram), unidentified musician (tāḷam cymbals), M. Raman behind a (tavil), Karutta Kannan, turned away from the camera (pambai, single drum), and behind, unidentified (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

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

Nāiyāndī Mēḷam ensemble - Karutta Kannan, a pambai musician, Usilampatty (India), 1984

Description:
Karutta Kannan, a hereditary temple processional musician, plays a pambai (single drum), variable tension rubbed and struck cylindrical drum. 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 - Karutta Kannan, a pambai musician, Usilampatty (India), 1984

Kota couple sing a song at an A. A. Bake playback session, Trichagadi (India), 1984

Description:
An elderly Kota couple sings a song after hearing the "same" song recorded by A. A. Bake in 1938. A man leans on a dobar double-headed drum. To his left, a koḷ shawm (double-reed aerophone) is held upright. Another man (left) holds a bugīr (3’ long bamboo trumpet). Kota men listen under large tree. 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 couple sing a song at an A. A. Bake playback session, Trichagadi (India), 1984

Museum display of a nagāṙā-type drum, Pune (?) (India), 1984

Description:
View of a nagāṙā type drum (naqqāra, naqareh, nagada) possibly in the Raja Dinkar Kelkar Museum in Pune. This is an open display of a membranophone with a laced head of skin, conical shape and clay body, sitting on a hindoni balancing ring made of rattan. Rings are attached to side for carrying the instrument. The drum is installed on a stone pedestal. A Kodak 1000 film box is on pedestal, perhaps the film used for the photo. Musical instruments visible behind glass doors include aerophones and chordophones.
Date:
1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Museum display of a nagāṙā-type drum, Pune (?) (India), 1984

Museum display of a nagāṙā-type drum, Pune (India), 1984

Description:
View of a nagāṙā type drum (naqqāra, naqareh, nagada) possibly in the Raja Dinkar Kelkar Museum in Pune. This is an open display of a membranophone with a laced head of skin, conical shape and clay body, sitting on a hindoni balancing ring made of rattan. Rings are attached to side for carrying the instrument. The drum is installed on a stone pedestal. A Kodak 1000 film box is on the pedestal, perhaps the film used for the photo. Musical instruments visible behind the glass doors include aerophones and chordophones.
Date:
1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Museum display of a nagāṙā-type drum, Pune (India), 1984

Museum display of a clay gumatta goblet membranophone, Pune (?) (India), 1984

Description:
View of a clay gumatta goblet membranophone with a rope to attach the monitor udumbu (uṭumpu) lizard skin drumhead and bottom open sound hole and debossed designs, in a museum display case (also known as: gummata, gumott, gumot, ghumot, ghumatt). The label in Kannada script reads: "Halakki gowdara gummata vaadya." Halakki Vokkaliga are Ādivāsīs from North Karnataka. Possibly in the Raja Deen Dayal Musical Instrument Museum in Pune.
Date:
1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Museum display of a clay gumatta goblet membranophone, Pune (?) (India), 1984

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

Description:
Nine Kota men demonstrate the tiruganāṭ dāk / tirukanat (turning dance) counter-clockwise 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 two rows of triangular appliqué at the hem in blue and green colors. Three men hold handkerchiefs. In the center of the line of dancers, three men blow raised kombu valveless curving trumpets, two men (one blocked from view) play koḷ double-reed aerophones, and two men appear to play one tabaṭk frame drum together, with one stick and two bare hands. One man stands watching. Buildings and terraced paddy fields 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

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

Description:
Three Kota men demonstrate the tiruganāṭ dāk / tirukanat (turning dance) in a half circle in the foreground, with arms raised. They wear pink turbans, glasses, 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 stand holding kombu valveless curving trumpets. Two Kota men play koḷ double-reed aerophone. Young Kota man plays kaimani bronze hand cymbals. Another man plays a kinpar barrel drum with both hands. Another man plays a tabaṭk frame drum with one stick and one hand. The backs of dancers wearing white dhotis and white shawls lead the circle, dancing 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

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

Description:
Five Kota men demonstrate the tiruganāṭ dāk / Tirukanat (turning dance) in a half circle, their skirts flaring from the turning movements. They wear pink turbans, glasses, long white full skirts with red triangular appliqué on the hems, white shawls with woven red borders, and leather belts with silver clasps. One skirt has three rows of triangular appliqué at the hem, in red, blue, and green colors. Three men stand holding kombu valveless curving trumpets. Two Kota men play koḷ shawm (double-reed aerophone). A young Kota man plays kaimani bronze hand cymbals and another man plays a kinpar barrel drum with both hands. Brick buildings with tile roofs can be seen 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

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

Description:
Two Kota men demonstrate the tiruganāṭ dāk / tirukanat (turning dance) in the foreground. They wear pink turbans, glasses, long white full skirts with red triangular appliqué on the hems, white shawls with woven red borders, and leather belts with silver clasps. A Kota man plays a kinpar barrel drum, and another man plays a tabaṭk frame drum with one stick. Two men hold kombu (kob) valveless curving trumpets. A young Kota man plays jālra bronze hand cymbals. Another Kota man dances in the background with hands held high. Buildings and terraced paddy fields 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 tiruganāṭ dāk “turning dance” at an A. A. Bake playback session, Trichagadi (India), 1984

Kota men prepare to dance in an open space at an A. A. Bake playback session, Trichagadi (India), 1984

Description:
After hearing A. A. Bake’s 1938 recordings of Kota dance music, Kota men prepare to dance in a village open space. Six wear pink turbans, long white full skirts with red triangular appliqué on the hems, white shawls with woven red borders, and leather belts with silver clasps. Two dancers wear glasses and one wears sunglasses. One elderly dancer wears a dhoti, an unstitched lower garment, and large shawl. Musicians wearing dhotis and shirts begin to play a tabaṭk frame drum with one stick, and a kinpar barrel drum with both hands in front of the dancers. Two musicians hold kombu (kob) valveless curving trumpets. Buildings and terraced paddy fields are visible 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 prepare to dance in an open space at an A. A. Bake playback session, Trichagadi (India), 1984

Kota women dance in a circle around Kota men musicians, Trichagadi (India), 1984

Description:
Five Kota women dance in a circle with hands above their heads while encircling Kota men musicians playing two kinpar barrel drums, a koḷ double-reed aerophone, jālra bronze cymbals and a tabaṭk frame drum. The women wear traditional cotton varad 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 Lovedale, 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 Kota men musicians, Trichagadi (India), 1984

Madhukar Barve teaching students to play musical instruments, Mumbai (India), 1963

Description:
“Music class in progress Barve’s school.” Madhukar Barve, son of Manahar Barve, teaches a group of three violinists, two sitarists, one vertical flutist, one tablā player, and one harmonium player. Two small children sit in the center of the circle. At Manahar Barve Sangeet Vidyalaya music school.
Date:
October 10, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Madhukar Barve teaching students to play musical instruments, 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 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

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

Description:
J. R. Yadav in white hat playing (shehnai double-reed aerophone) and another musician playing surpeṭī 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 - J. R. Yadav and another musician, Dhobi Talao (Mumbai, India), 1963

B. K. Gurav, Balkrishna Maruti Rao Shirke, and a surpeṭī musician perform, Vadodara (India), 1963

Description:
B. K. Gaurav playing a sambal drum pair, his left hand holding a curving stick for creating variable sliding pitches on larger drum; Balkrishna Maruti Rao Shirke, playing a sundari or piti (small shehnai), with a larger shehnai at his feet. A third musician is playing a peti drone box. A microphone at the center records the session.
Date:
November 4, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
B. K. Gurav, Balkrishna Maruti Rao Shirke, and a surpeṭī musician perform, Vadodara (India), 1963

B. K. Gurav, Balkrishna Maruti Rao Shirke, and a surpeṭī musician perform, Vadodara (India), 1963

Description:
B. K. Gaurav playing a sambal drum pair, his left hand holding a curving stick for creating variable sliding pitches on larger drum; Balkrishna Maruti Rao Shirke, playing a sundari or piti (small shehnai), with a larger shehnai at his feet. A third musician is playing a peti drone box. A microphone at the center records the session.
Date:
November 4, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
B. K. Gurav, Balkrishna Maruti Rao Shirke, and a surpeṭī musician perform, Vadodara (India), 1963

Mṛdaṅgam, ḍholak, pakhāwaj, and ḍamaru, possession of R. S. Mayekar, Mumbai (India), 1963

Description:
Large drums, from left: mṛdaṅgam: L 22”, diameter (ink i.e. syahi black spot) 6 ½; dia. (plain) 8 ½”. ḍholak: L 17”; diameter 9 ½; waist: 39 ½”. pakhāwaj (pakhavaj): L 23”, diameter (ink i.e. syahi black spot) 5”; dia. (plain) 7”. Ḍamaru: L 7”; diameter 6 ½”.
Date:
November 12, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mṛdaṅgam, ḍholak, pakhāwaj, and ḍamaru, possession of R. S. Mayekar, Mumbai (India), 1963

B. K. Gurav (tablā), Balkrishna Maruti Rao Shirke (shehnai), and shruti peti drone musician, Vadodara (India), 1963

Description:
B. K. Gurav plays tablā, Balkrishna Maruti Rao Shirke plays shehnai, a young man plays shruti peti drone. Two Neuman microphones on stands in the foreground indicate that this is a recording session. Two young boys and adult man watch from behind.
Date:
November 4, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
B. K. Gurav (tablā), Balkrishna Maruti Rao Shirke (shehnai), and shruti peti drone musician, Vadodara (India), 1963

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

Description:
Dhol-Lezim (Lejim) mandal dance troupe (Ram Mandir Gawli: Ram Temple Milkmen) perform a baithak (seated) dance. Percussionists stand and play a tāsa shallow bowl drum (let) and a large ḍhol (center) while dancers seated in two lines play jhāñjh bronze cymbals and lezim sticks with jingling cymbals loosely attached. The man closest to the drummers, seated at the end of the left line leads the dancers by blowing a whistle and clapping.
Date:
December 13, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Dhol-Lezim dance troupe dancers and musicians, Lonāvale (India), 1963

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

Description:
Dhol-Lezim (Lejim) mandal dance troupe (Ram Mandir Gawli: Ram Temple Milkmen) perform a baithak (seated) dance. Percussionists stand and play a tāsa shallow bowl drum (left) and a large ḍhol (center) while seated dancers play jhāñjh bronze cymbals and lezim sticks 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 dancers and musicians, Lonāvale (India), 1963

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

Tamasha performance - Ramachandra Babaji Salukhe (shehnai) with a surpeṭī musician, and D. M. Bhonsle ("congara"), Kolhapur (India), 1963

Description:
Two images. Left: Ramchandra Babaji Salukhe playing shehnai, with a shruti musician. Right: D. M. Bhonsle playing a “cangara” (nagāṙā?). They are performing prior to a tamasha performance. The diary of Nazir Ali Jairazbhoy states “Recorded shehnai party. Not very good.”
Date:
December 16, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Tamasha performance - Ramachandra Babaji Salukhe (shehnai) with a surpeṭī musician, and D. M. Bhonsle ("congara"), Kolhapur (India), 1963

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

S. B. Jadav, B. R. Jadav, D. G. Kadam, and S. K. Khadke, Miraj (India), 1963

Description:
S. B. Jadav plays a tuṇtuṇe (a plucked monochord) with a carved wooden horse head peg and a painted wooden cylinder resonator; B. R. Jadav plays manjira (small bronze hand cymbals); D. G. Kadam holds a daf (a shallow membranophone) with metal tuning pegs; and S. K. Khadke plays a ḍholki (a small cylindrical membranophone). The location is the shop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
S. B. Jadav, B. R. Jadav, D. G. Kadam, and S. K. Khadke, Miraj (India), 1963