Toda woman in a traditional ceremonial Toda shawl pukhoor or "pootkhul(zh)y" covering her left shoulder and arm, and choli blouse, with her child in Western pants and top. She holds a framed photograph of a Toda man in a pukhoor, perhaps being bowed down to by another person. In the village of Kash Madh (Toda name), also known as Kandal Mund (outsiders’ name) within the city of Udagamandalam (also called Ooty or Ootacamund).
A Toda woman, possibly Nashan, wears a ceremonial Toda shawl pukhoor or "pootkhul(zh)y" wrapped around her body, with her left shoulder covered, and a choli blouse. She stands in front of a stone and concrete Toda dogle (hut), a modern version of the traditional Toda thatch roof dogle. In the village of Kash Madh (Toda name), also known as Kandal Mund (outsiders’ name) within the city of Udagamandalam (also called Ooty or Ootacamund).
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).
A Kota Ādivāsī man and woman laugh during a playback session of music recorded in by A. A. Bake in 1938. Behind them, many Kota men, women, and children are sitting together on the grassy ground. In Ticgār (Trichagadi) Village, near Ooty (Udagamandalam).
Kota Ādivāsī women sing and clap together at a session to play back music recorded by musicologist A. A. Bake in Southern India in 1938. Other Kota men and women listen. In Ticgār (Trichagadi) Village, near Ooty (Udagamandalam).
A Kota Ādivāsī man plays a bugīr aerophone (straight bamboo trumpet) with his left cheek puffed with air at a session to play back music recorded by A. A. Bake in 1938. A boy child is seated on his leg. Kota men and women listen and converse. In Ticgār (Trichagadi) Village, near Ooty (Udagamandalam).
A Kota Ādivāsī man plays a bugīr (straight bamboo trumpet) with his left cheek puffed with air. A boy child sits on his leg. Kota men and women listen and converse. In Ticgār (Trichagadi )Village, near Ooty (Udagamandalam).
Villagers on the left watch as four Kota men perform a men’s dance, including Dr. P. Varadharajan wearing a suit under a Kota shawl (behind a dance on the left). Kota musicians playback music after listening to a 1938 recording made by A. A. Bake (Tefi# 48.8: “Kota Music Dance Tune” for men’s dancing). The musicians are: Thiru Kavundhan and another musician (kombu curved horn); Thiru K. Puchan, age 70, and Thiru Kavundhan, age 60 (koḷ double-reed aerophone); with Thiru M. K. Bellan and Thiru Beddi (kinpar double-headed drum). Hills, Kota houses, and the skyline are visible in the background. This event appears in the video referenced below.
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.
Kota musicians playback music after listening to an A. A. Bake 1938 (Tefi# 48.8 “Kota Music Dance Tune” for men’s dancing). From the 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; and Thiru M. K. Bellan with Thiru Beddi: kinpar double-headed drum. Hills and sunset-lit clouds are visible in the in background. This scene was used in the video referenced below.
