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.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
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.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 44-45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
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.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
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.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
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.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 38, Jairazbhoy Diary, p. 77, Data Sheets, p. 161-166
A dresser adjusts the costume of dancer B. C. Balachandar for his performance of Kalyana Sougandhikam (“Auspicious Fragrant Lily”), an Ottan Thullal solo dance drama. It is similar to the “Rukmini Swayamvaram” Ottan Thullal recorded by A. A. Bake (Tefi 27.5) in Kottayam on 22 March 1938.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
A dresser finishes the costume of Ottan Thullal dancer B. C. Balachandar for his performance of Kalyana Sougandhikam (“Auspicious Fragrant Lily”), a solo dance drama, recorded by A. A. Bake (Tefi 27.5) in Kottayam on 22 March 1938.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
A Urali man and his family with wife and children stand in front of their thatched and insulated home. Two of the women, Rehmani and Rajamma sang a Urali lullaby and “Tindodi,” a mother’s song about her adolescent daughter with brother-in-law Prasad’s help. The location is the Vancivayal Koledi Colony, in the vicinity of Vandiperiyar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 39 (translation), Jairazbhoy Diary, p. 78, Data Sheets, p. 173-174
Characters: (center) Marikkalivan, with a crown, headdress and face paint; (left) Marikkalichi, his wife; (right) and Marikkuliyan (or "Maripottan"), an incarnation of fierce form of Lord Shiva, with a wooden mask and staff. Round spots painted on the skin of Marikkalichi probably represent the diseases of the rainy season which the ritual seeks to eradicate and sweep to the ocean. The "haystack" costumes are made from kuruthola (coconut palm leaves). Maritheyyam is a ritual mask dance drama and kind of theyyam performed by the Pulaya community. "Theyyam" could come from the word "daivam" which in Malayalam means god, and "attam" meaning "dance." This genre of theyyam comes from Madayi area of Kannur District in Kerala. Performed by N. Kanjan Pujari and party.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 67, Jairazbhoy Diary, p. 110, Data Sheets, p. 251
Pulluvan sarpam thullal ritual enactment at the Kalliasseri Theyyam Festival. Two Pulluvan musicians play Pulluvan vīṇā bowed fiddle chordophones with udumbu (uṭumpu) monitor lizard skin bellies (left and right). One Pulluvan musician plays a Pulluvan kudam variable tension chordophone with a clay pot resonator (center). The leader is V. P. Bahuleyan.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 65, Jairazbhoy Diary, p. 110, Data Sheets, p. 239
Sarpam pāṭṭu (song in honor of the snake god) / thullal (dance that imitates the movement of a snake), a serpent trance healing ritual enactment, with a kalam ritual floor drawing. Pulluvan (men) and Pulluvati (women) musicians sing Pena Pattu “Woman’s Song” (left). A kalam ritual drawing made of colored powders has been prepared on the raised earth platform. The Pulluvan ritualist sits at the base of the kalam (center). Pulluvan and Pulluvati stand at the upper margin of the kalam. The leader is V. P. Bahuleyan. <br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 65, Jairazbhoy Diary, p. 110, Data Sheets, p. 239
Sarpam pāṭṭu (song in honor of the snake god) / thullal (dance that imitates the movement of a snake), a serpent trance healing ritual enactment with a kalam ritual floor drawing. A kalam drawing of a five-headed naga serpent, drawn with colored powders on the pounded earth floor. A pujari sits below drawing of snakes’ heads. Ritual objects including diya oil lamps, coconuts, flowers and supari blossoms adorn the kalam. The leader is V. P. Bahuleyan.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 65, Jairazbhoy Diary, p. 110, Data Sheets, p. 239
Two aṅkakkāran (fighter) characters with bamboo sticks perform. A man holding a torch, and a table with a nilavilakku (lamp) are in the foreground. Musicians with membranophones are in the background. Thirayāṭṭam, "colorful dance," is a divine ritual dance-drama of the South Malabar district in Kerala state that blends dance, drama, songs, instrumental music, masking, and facial and bodily makeup.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 62, Jairazbhoy Diary, p. 107, Data Sheets, p. 223
Chummar Choondal, in a blue shirt, poses for a group portrait with and the residents of a Choondal Village, with the children lined up in the front.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 58, Jairazbhoy Diary, p. 104, Data Sheets, p. 210-214
Rakteswari Theyyam: Naga Kali. The goddess Rakteswari (Rakteshwari, Rikteswari) with a cobra image on crown and areca blossoms in her hands, dancing wildly. Ceṇḍa (chenda) drummers are in the background. <br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84):Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Rakteswari Theyyam: Naga Kali. The goddess Rakteswari (Rakteshwari, Rikteswari) with a cobra image on crown and areca blossoms in her hands. Men in dhotis restrain her wrists to reduce her destructive fury, and hold the log pedestal to prevent her from falling. <br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
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). <br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
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). Blurry shot due to camera movement.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
After listening to the A. A. Bake 1938 recording (Tefi 27.6), identified as a Parayan Thullal genre dance drama song from “Pulundhi Moksham” written by Kunjan Nambiar about an Ādivāsī couple sung by two singers, thullal musicians perform the same song for the field researchers to record on PCM. Right, seated: Thankappan Nair, lead singer. Center, standing: uḍukku variable tension hourglass drum player. Second singer using book to sing lyrics. Center: B. C. Balachandar, thullal dancer. Location: Ayamkudy village, Kottayam District, Kerala.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
After listening to the A. A. Bake 1938 recording (Tefi 27.6) identified as a Parayan Thullal genre dance drama song from “Pulundhi Moksham” written by Kunjan Nambiar about an Ādivāsī couple sung by two singers, thullal musicians perform the same song for the field researchers to record on PCM. Right, seated: Thankappan Nair, lead singer. Center, standing: uḍukku variable tension hourglass drum player. Second singer using book to sing lyrics. Center: B. C. Balachandar, thullal dancer. Location: Ayamkudy village, Kottayam District, Kerala.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
A young Nadar man squats in front of villupattu performers to prepare a fire pit, clay pot, and water to boil. This portion of the day’s ritual concerns the Kalasami story. At the Ayyappan (Shasta) Temple.<br>Ref: Blackburn, Stuart Hart. Performance as Paradigm: The Tamil Bow Song Tradition (1980).<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 29, Jairazbhoy Diary, p. 64, Data Sheets, p. 142
Preparation of stiffly starched strips of white cotton for an Ottan Thullal ("running dance") costume in the garden of the dancer B. C. Balachandar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
Karakāṭṭam dance, an acrobatic dance performed with pots balanced on the head, and hoops, in praise of the rain goddess Mariamman. Om Periyaswamy's son (?) and two younger dancers perform a dance with hoops decorated with frills, while balancing pots, trays of roses, and parrots on their heads. At the TamilNadu Hotel.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 119-131
Pulluvan Pena pāṭṭu (“woman’s song”) for a ritual healing ceremony. (Left:) A Pulluvan man taps a kinnam brass bowl resting on a kudam clay pot. (Center:) A Pulluvan boy plays a small Pulluvan kudam variable-tension chordophone, with clay pot resonator, while leading five Pulluvan singers. (Right:) A second Pulluvan man plays a Pulluvān kudam variable-tension chordophone, with clay pot resonator. Two Pulluvatis (Pulluvan women) sing behind them. One is playing jālra bronze cymbals. The group leader is A.C. Narayanan Vaidyar (Arayalin Chalil House, Kuppam PO Kannur).<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 65, Jairazbhoy Diary, p. 110, Data Sheets, p. 236
Introduction to Mari Theyyam, a healing exorcism ritual of the Pulayars community. The song on the origin of the instrument tudi is performed by percussion musicians in a procession to the stage, including a musician playing a chengila bronze gong, and a musician playing a tudi variable tension hourglass drum, using a curving stick. Dark and out of focus image. Performed by N. Kanhan Pujari and party.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 67, Jairazbhoy Diary, p. 110, Data Sheets, p. 251
A Poraṭṭu Nāṭakam of the Panan community (Palakkad District, Kerala). A Chettichi woman in peach-colored sari (played by male actor) stands in center stage, having left her husband in the story. A clown character in a woman’s blouse, shorts, and tights listens and reacts to her story. Two musicians stand behind them, playing jālra bronze cymbals and responding. Two musicians sit on a table further behind them, playing mṛdaṅgam or ḍholak and ceṇḍa (chenda) (not seen).<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 242
Padayāni are a “row of soldiers” sent by Lord Siva at Lord Subrahmanya’s request to cool Goddess Kali’s anger, aroused the previous night during the Mudiyeṭṭu Theyyam when she fought and killed the demon Darika. The “soldiers” imitate the Goddess’ wrath, which causes her to laugh and forget her anger. In this image, a pakṣi bird with a short dhoti, a bare chest, and a birdlike mask with green beak, arms has “wings” of bamboo spines with palm leaves. Performed by Guru P. K. Madhavan (Pillai) and party.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 67, Jairazbhoy Diary, p. 110, Data Sheets, p. 252-259
The goddess Kali surrounded by ceṇḍa (chenda) player during a part of the performance that took place among members of the audience. The explosion of fire was created by the practice of thelli eriyal--throwing pine resin on a lit torch. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
Rakteswari Theyyam: Naga Kali. The goddess Rakteswari (Rakteshwari, Rikteswari), with a cobra image on crown, rises to her knees after devouring ten raw eggs, her face smeared with egg. Ceṇḍa (chenda) drummers drum behind her.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Rakteswari (Rakteshwari, Rikteswari) Theyyam: Darika-Danavendra. Two crowned and bearded male theyyam dancers in military stance to show determination to fight Kali.<br>Ref: G. Venu. Puppetry and Lesser Known Dance Traditions of Kerala, p. 46-47. <br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Rakteswari Theyyam: Naga Kali. The goddess Rakteswari (Rakteshwari, Rikteswari) stands while being fitted to enormous twenty (?) foot figure of a cobra figure made of slats of palm wood attached to his back by three men. The central “spine” of the cobra is made of a single piece of bamboo (?). Spectators watch.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Madurai Om Periyaswamy in costume for the a poikkal kuthirai aattam dance, wearing a “false leg horse” or "dummy-horse” costume, made of paper maché type material, elegantly caparisoned, and draped with South Indian block print textile skirt hiding the dancer’s bare feet. He wears a decorated red turban, blue silk kurta and golden jacket, flower garlands, and holds a wooden spear in his right hand. Conai, left, holds urumbi (urummi, uṟumi) double-headed variable tension membranophone with one curved stick in his right hand, and Venkatesan holds a tavil double-headed membranophone held in playing position with both sticks visible, and dancers, listen intently. Two karagam atta pot dancers stand at left. Each balances five decorated clay pots stacked on their heads: young woman balances an angel figure atop her pots, young man (probably son of Om Periyaswamy) balances a parrot figure atop his pots. At the TamilNadu Hotel.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 119-131
O. K. Raman, a musician holding a Pulluvan kudam (“pot”) variable tension chordophone player during a Sarpa Thullal serpent ritual. He is seated on the pounded earthen floor with both legs bent to his right side. The large clay pot rests on his left thigh. A twisted plastic cord stretches between the leather lacing around the pot and the end of a two foot long wooden board (mumbilapatti) and bamboo tube (kutattin kuzhal) held tightly under his left shin. His right hand and his left arm support the pot, varying the tension on the string to create semi-melodic indefinite pitches. The Sarpam Thullal Pulluvan Serpent Ritual was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.<br>Sarpam Thullal (Dance of Snakes), is a mystical ritual of Kerala performed by a community called “Pullava,” and is performed to appease snake gods and bring prosperity to a family. The songs are called “Pulluvan Pāṭṭu.”<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 55, Jairazbhoy Diary, p. 98, Data Sheets, p. 205
Madurai Om Periyaswamy in costume for the a poikkal kuthirai aattam dance, wearing a “false leg horse dance” or "dummy horse dance” in a costume made of paper maché type material, elegantly caparisoned, and draped with a South Indian block print textile skirt swinging with the dancer’s movements and hiding the dancer’s bare feet. One of two wooden feet is visible, tied to the dancer’s feet to create clacking sounds that resemble the sound of a horse’s hooves. The dancer wears a decorated red turban, a blue silk kurta and golden jacket, flower garlands, and holds a wooden spear in his right hand. At the TamilNadu Hotel.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 119-131
Madurai Om Periyaswamy in costume for the a poikkal kuthirai aattam dance, wearing a “false leg horse” or "dummy-horse” costume, made of paper maché type material, elegantly caparisoned, and draped with a South Indian block print textile skirt hiding the dancer’s bare feet. He wears a decorated red turban, a blue silk kurta and golden jacket, flower garlands, and brandishes a wooden spear in his right hand toward the camera. A second poikkal kuthirai dancer wears a blue and white decorated turban and rides a white horse, which rears up in pursuit of Madurai Om Periyaswamy. At the TamilNadu Hotel.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 119-131
View of the smooth wooden vayanam (plectrum) for the Pulluvan kudam instrument, held by scholar L. S. Rajagopalan, who is shining his flashlight on the plectrum. At a Sarpam Thullal Pulluvan Serpent Ritual which was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.<br>Sarpam Thullal (Dance of Snakes), is a mystical ritual of Kerala performed by a community called “Pullava,” and is performed to appease snake gods and bring prosperity to a family. The songs are called “Pulluvan Pāṭṭu.”<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 55, Jairazbhoy Diary, p. 98, Data Sheets, p. 205
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.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 105-108
Mannān Velayudhan with his naṇduni, a two-string chordophone made of jackfruit wood. The location is the verandah of the home of the folklorist Chummar Choondal. Velayudhan shows that the naṇduni chordophone is made from two pieces fitted together. The instrument is conceived as the body of the Goddess. The upper notched bridge arayanam (“that which stops the sound”) and five raised frets are integral to the same thick piece of wood as the rest of the instrument. The scroll is called muti (head), two pegs are called cevi (ears), muti (face), karuttu (head), vayaru (stomach), the sides are called ara (buttocks) and the adjustable lower bridge pitham (throne). The Mannan people are an Ādivāsī indigenous community scheduled tribe (ST) living in the Idukki District in Kerala.<br>Ref: Choondal, Chummar, Mannan (Malayalam) Kozhikode: Poorna Publications, 1979.<br>Ref: Guillebaud, Christine. Le Chant des Serpents: Musiciens Itinerants du Kerala. Paris: CNRS. 2008. p. 182-185.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 58, Jairazbhoy Diary, p. 104, Data Sheets, p. 210-214
B. C. Balachandar, Ottan Thullal dancer, continues applying green (heroic character) face makeup for his performance of an episode from the Kalyana Sougandhikam (“Auspicious Fragrant Lily”) a solo dance drama by Kunjan Nambiar (1705-1770), adapted from the Mahabharata epic. He performed this instead of the Rukmini Swayamvaram dance drama “Rukmini’s Choice,” recorded by A.A. Bake (Tefi 27.5) in Kottayam on 22 March 1938.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
At the home of Suresh Kumar (Pillai): “Lakshmi Nivas. Neelakantan.” From left: L. Velammal (age 80+, Suresh Kumar’s grandmother - father’s mother), who sang the oppāri death lament #2; a daughter of Suresh Kumar, and Rajeswari (sister of Suresh Kumar), who sang the oppāri death lament #4, or Esakki Ammal, Vellavar (Pillai) community, who sang the oppāri death laments #1 & 3. Event 27 is the oppāri re-recording of the A. A. Bake 1938 recording #21.7: “Death wail," sung by Perari Ma and Uccimali, Kovalam (Cape Comorin) 6 March 1938.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 31, Jairazbhoy Diary, p. 66, Data Sheets, p. 143
Nazir Ali Jairazbhoy smiles with villagers while departing after the trance ritual called manjal nirattam (bath+water+dance).<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84):: Bake Restudy Notes, p. 29, Jairazbhoy Diary, p. 64, Data Sheets, p. 142
Distant view of Lady of Ransom Church and Indian Ocean.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 29, Jairazbhoy Diary, p. 64, Data Sheets, p. 142
The pancu, hereditary trance medium, enters the stage of the trance ritual called manjal nirattam (bath+water+dance), when he will dip margoosa leaves into the boiling turmeric water and hold the soaked leaves on his head. With the scalding water dripping down his body, he will dance and pronounce the oracle.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 29, Jairazbhoy Diary, p. 64, Data Sheets, p. 142
A Mannan man enjoys watching a festival dancers and musicians. 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.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 38, Jairazbhoy Diary, p. 77, Data Sheets, p. 161-166
Gīgīpada (Gigipada, Gīgī Pada) singers of the Holeya community (left to right): Yerappa Basavappa Sutagaji, of Kalma Galli (voice and taal or jhāñjh); Ramachandra Ramappa Dhavale, of Tigadi Galli (voice and daf); and Basappa Gagappa Talwar, of Talwar Galli (voice and tuṇtuṇe). Gigipada singers performed Kannada songs, created by Hulkund Basappa, Purandara Dasa, and Hosur Somappa, at festivals. They sang mystical songs, auspicious songs, and modern songs on sanitation and cleanliness of body and mind.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 6, Jairazbhoy Diary, p. 25, Data Sheets, p. 43-45
Eight visible girls (of 18) in bright long skirts and blouses hold hands as they sing and dance in a circle around the image of an elephant (lower right corner of image), representing the vahana of Goddess Lakshmi, thus worshiping Shakti, the feminine principle.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 5, Jairazbhoy Diary, p. 23, Data Sheets, p. 37
Twelve visible girls (of 18) in bright long skirts and blouses hold hands as they sing and dance in a circle around the image of an elephant (not visible in this image), representing the vahana of Goddess Lakshmi, thus worshiping Shakti, the feminine principle.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 5, Jairazbhoy Diary, p. 23, Data Sheets, p. 37
School girls at Mahila Vidyalaya (girls' high school), ages 10-11, surround their teacher who is preparing them for a Haḏgā dance demonstration while singing twelve songs, using handwritten and published song lyrics.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 5, Jairazbhoy Diary, p. 23, Data Sheets, p. 37
Two clarinets duet in the center of the Basavanneppa Band playing in formation during a baraat wedding procession. The researchers’ camera and video recorder and tripod are held by research assistants. The Basavanneppa Band includes bass drums (2), side drums (2), snare drums (2), clarinets (3), baritone horns (3), trumpets (4), and tubas (2). The location is 35/1 Vardhappa Rd., Belgaum 590004.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Jairazbhoy Diary, p. 17, Data Sheets, p. 3
Padayāni are a “row of soldiers” sent by Lord Siva at Lord Subrahmanya’s request to cool Goddess Kali’s anger, aroused the previous night during the Mudiyeṭṭu Theyyam when she fought and killed the demon Darika. The “soldiers” imitate the Goddess’ wrath, which causes her to laugh and forget her anger. In this image is Kālāri, Enemy of Death (Kala: god of death; ari: enemy), epithet of Lord Shiva, with five faces (panchamukha) including the ritualist’s painted green face, and long hair. He brandishes a Siva trident in his right hand. He has leaves on his waist and on the staff in his left hand. Performed by Guru P. K. Madhavan (Pillai) and party.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 67, Jairazbhoy Diary, p. 110, Data Sheets, p. 252-259
Padayāni are a “row of soldiers” sent by Lord Siva at Lord Subrahmanya’s request to cool Goddess Kali’s anger, aroused the previous night during the Mudiyeṭṭu Theyyam when she fought and killed the demon Darika. The “soldiers” imitate the Goddess’ wrath, which causes her to laugh and forget her anger. In this image is Kālāri, Enemy of Death (Kala: god of death; ari: enemy), epithet of Lord Shiva, with five faces (panchamukha) including the ritualist’s painted green face, and long hair. He holds two staves. Performed by Guru P. K. Madhavan (Pillai) and party.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 67, Jairazbhoy Diary, p. 110, Data Sheets, p. 252-259
Nine brass players of the Basavanneppa Band in front of an Indian Airlines bus at a wedding procession. “Basawaneppa Band Belgaum” is written on large a megaphone. The Basavanneppa Band included bass drums (2), side drums (2), snare drums (2), clarinets (3), baritone horns (3), trumpets (4), and tubas (2). The location is 35/1 Vardhappa Rd., Belgaum 590004.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Jairazbhoy Diary, p. 17, Data Sheets, p. 3
Performed by Panai Kumaran group of the Pulayar community. This ceremony is a puja to introduce the velikkala, a ritual to help a woman conceive. The image shows a moment during a Velikkala exorcism; a kolam figure is doing a theyyam dance, as Bhairavan. The kolam figure wears a double-tiered white hat, beard, and red/black painted face.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 244-245
Pillai Theeni Theyyam: The demon has transformed into pustule infested skin, wearing a split palm leaf skirt, with flames in his split palm leaf headdress. He is being restrained by ritualists from attacking the "pregnant" woman, as he reaches toward flames in diya oil lamp, while holding white chicken in his mouth which he thinks is the unborn child’s spirit. The woman is hiding behind a bunch of areca blossoms and being held up by a woman near singers, ceṇḍa and smaller viku ceṇḍa (chenda) 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).<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Kummāṭṭī (Kummattikali) is a mask dance of Kerala. Image of a Kummāṭṭī Thumbi pāṭṭu “Dragonfly Song” performance of a “play song” usually performed in door-to-door processions during Onam. Nayar male teens play on villu kottu striking their bows. Three singing, masked dancers are covered in kummatti leaves. Two of them beat a masked old woman walking with a stick, the mother Thamma, because she is “licentious” and is too friendly with the audience. The actor on the left wears a black mask and crown-like headdress; the mother Thamma character wears an old woman mask and a white cloth headdress; the actor on the right wears a painted headdress of 2 orbs stacked stop a base. Performed by V. P. Paul and party.<br>Ref: Nazir Ali Jairazbhoy, Amy Catlin-Jairazbhoy, Bake Restudy 1984 (2008), “Onavillu in simulated context” @ 52:43- 55:20. Original raw footage.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 63, Jairazbhoy Diary, p. 107, Data Sheets, p. 229-230
Karakāṭṭam dance, an acrobatic dance performed with pots balanced on the head, in praise of the rain goddess Mariamman. A young dancing woman balances a bowl of pink roses, topped by a flying parrot, on her head, while standing on her bent right leg, and holding the toes of her bent left leg raised level with her head. She is wearing a silk classical dance costume with a pleated front skirt, her legs wrapped, a choli blouse, and ghunghru ankle bells. This type of acrobatic dance pose (karana) was done by devadāsī temple dancers in the past. At the TamilNadu Hotel.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 119-131
Kummāṭṭī (Kummattikali) is a mask dance of Kerala. Image of a Kummāṭṭī Thumbi pāṭṭu “Dragonfly Song” performance of a “play song” usually performed in door-to-door processions during Onam. Nayar male teens play on a villu kottu striking their bows. Three singing, masked dancers are covered in kummatti leaves. Two of them beat a masked old woman walking with a stick, the mother Thamma, because she is “licentious” and is too friendly with the audience. The actor on the left wears a black mask and crown-like headdress; the mother Thamma character wears an old woman mask and a white cloth headdress. Performed by V. P. Paul and party.<br>Ref: Nazir Ali Jairazbhoy, Amy Catlin-Jairazbhoy, Bake Restudy 1984 (2008), “Onavillu in simulated context” @ 52:43- 55:20. Original raw footage.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 63, Jairazbhoy Diary, p. 107, Data Sheets, p. 229-230
Pillai Theeni Theyyam: The demon has transformed into pustule infested skin, wearing a split palm leaf skirt, with flames in his split palm leaf headdress. He is being restrained by the ritualists from attacking the "pregnant" woman, who is hiding behind a bunch of areca blossoms and sitting 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).<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Karakāṭṭam dance, an acrobatic dance performed with pots balanced on the head, and hoops, in praise of the rain goddess Mariamman. Om Periyaswamy's son (?) holding 12 or more hoops in his outstretched arms, while exclaiming and balancing a silver pot, a tray of roses, and a parrot on his head. A younger dancer carrying four hoops horizontally passes in front of him. At the TamilNadu Hotel.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 119-131
Minatchi Sundaram Tevar identified some Bake items, including a singer who was his teacher. He was a non-professional musician associated with Vinayakar Temple (Maravar), Terku Madi Viti (Madurai).<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 24, Jairazbhoy Diary, p. 56, Data Sheets, p. 83-84
D. Balakrishna and his father, Mysore Doreswami Iyyengar (Vi. Doresvāmi Ayyaṅgār), play a vīṇā duet at home, located at 51, 4th Main Road.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84):Bake Restudy Notes, p. 17, Jairazbhoy Diary, p. 44, Data Sheets, p. 64-70
D. Balakrishna and his father, Mysore Doreswami Iyyengar (Vi. Doresvāmi Ayyaṅgār), play a vīṇā duet at home, located at 51, 4th Main Road.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 17, Jairazbhoy Diary, p. 44, Data Sheets, p. 64-70
Thankamma Brahmani Amma holds a kinnam bronze bowl and knife striker, used as a single-pitch musical instrument when she sings Brahmani pāṭṭu (songs sung by women, also called Brahmanipattu). She has sung Kaikottikali and Kathakaḷi songs for All India Radio. Her husband Nambisan Avaniseri Narayanam is the author of a book about Brahmani Pattu. The meeting was arranged by the folklorist Chummar Choondal. A re-recording was made of the A. A. Bake recording (Tefi 36.1): Brahmani Pattu sung by Brahmani Amma, in Thrissur on April 13, 1938. It was identified as Ganapati song, sung in the old style. The text of the song is not included in Nambisan’s Brahmani Pattu book. In the re-recording, Thankamma Brahmani Amma sang the same song in both old and new styles.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 55, Jairazbhoy Diary, p. 102, Data Sheets, p. 206-207
The goddess Kali, her head illuminated by a torch, with her green wooden mask face clearly shown in her crown above her painted face, during a part of the performance that took place among members of the audience. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
The goddess Kali stands behind the central nilavilakku lamp, while Koyimpata Nayar paces in front of her reciting and then singing. He was sent by Siva to assist Kali in her war against the demon Darika. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
A kolam (deity) character dances, facing a man holding two torches. Thirayāṭṭam, "colorful dance," is a divine ritual dance-drama of the South Malabar district in Kerala state that blends dance, drama, songs, instrumental music, masking, and facial and bodily makeup. Thirayāṭṭam, "colorful dance," is a divine ritual dance-drama of the South Malabar district in Kerala state that blends dance, drama, songs, instrumental music, masking, and facial and bodily makeup.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 62, Jairazbhoy Diary, p. 107, Data Sheets, p. 223
An aṅkakkāran (fighter) character dances, with two men holding torches behind him, recorded by a man in the left foreground (Nazir Ali Jairazbhoy?). Thirayāṭṭam, "colorful dance," is a divine ritual dance-drama of the South Malabar district in Kerala state that blends dance, drama, songs, instrumental music, masking, and facial and bodily makeup.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 62, Jairazbhoy Diary, p. 107, Data Sheets, p. 223
Mappila Muslim men and teenage boys perform the daf muṭṭikalī circle dance while playing daf circular frame drums. They wear white Western shirts and bell-bottom trousers. A singer sings Islamic lyrics in Arabi Malayalam, and a standing drummer plays a large daf hanging from his neck.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 231
Mappila Muslim men and teenage boys perform the daf muṭṭikalī circle dance while playing daf circular frame drums. They wear white Western shirts and bell-bottom trousers. A singer sings Islamic lyrics in Arabi Malayalam, and a standing drummer plays a large daf hanging from his neck.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 231
An aṅkakkāran (fighter) character dances on the right, with a man holding a torch dancing behind him, and another man dancing on the left. Thirayāṭṭam, "colorful dance," is a divine ritual dance-drama of the South Malabar district in Kerala state that blends dance, drama, songs, instrumental music, masking, and facial and bodily makeup.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 62, Jairazbhoy Diary, p. 107, Data Sheets, p. 223
Close-up of Tamil Kallar woman with traditional Kallar-style dilated earlobes, wearing a blue sari without blouse. She is holding a child. The location is the Usilampatty Circuit House.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 27, Jairazbhoy Diary, p. 60, Data Sheets, p. 96-101
B. C. Balachandar, Ottan Thullal dancer, begins applying green (heroic character) face makeup for his performance of an episode from the Kalyana Sougandhikam (“Auspicious Fragrant Lily”) a solo dance drama by Kunjan Nambiar (1705-1770), adapted from the Mahabharata epic. He performed this instead of the Rukmini Swayamvaram dance drama “Rukmini’s Choice,” recorded by A. A. Bake (Tefi 27.5) in Kottayam on 22 March 1938.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 45, Jairazbhoy Diary, p. 84, Data Sheets, p. 187-188
View towards the chime tower of the Holy Ghost Forane Church. Believed to have been established in the sixth century AD, this is one of the ancient churches in Kerala. The chime tower is 150 feet high and was built circa 1901.
Close-up frontal view of Kunyāttu Kārnavar and the top of his kuzhal, showing the reeds in the mouthpiece.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 60, Data Sheets, p. 217-221
Kunyāttu Kārnavar, seated, plays a kuzhal. A boy in the background, on the left, looks at the camera.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 60, Data Sheets, p. 217-221
Close-up profile view of Kunyāttu Kārnavar playing a kuzhal.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 60, Data Sheets, p. 217-221
An audience of villagers gathered, with a torch bearer, during the first entrance of Kuli (Kooli), a comic or clown character whose split green-and-black face appears between audience groups. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
Pulluvan sarpam thullal enactment at the Kalliasseri Theyyam Festival. A Pulluvan priest anoints the trance medium with coconut water, as they stand beside a five-headed serpent’s image, depicted in a kalam ritual drawing made of colored powders. Two Pulluvan musicians play Pulluvan vīṇā bowed fiddle chordophones with udumbu (uṭumpu) monitor lizard skin belly.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 65, Jairazbhoy Diary, p. 110, Data Sheets, p. 239
The goddess Kali surrounded by ceṇḍa (chenda) player during a part of the performance that took place among members of the audience. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
The goddess Kali with a sword in her right hand during a part of the performance that took place among members of the audience. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
The goddess Kali with a sword in her right hand during a part of the performance that took place among members of the audience. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
The goddess Kali with a sword in her right hand during a part of the performance that took place among members of the audience. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
Pulluvan sarpam thullal enactment at the Kalliasseri Theyyam Festival. A Pulluvan husband, Pulluvati wife, and two Pulluvan children perform a trance medium’s dance (thullal: vibration, dance), scattering the colored powders with their feet. Pulluvan man enacts trance possession as his body writhes over the colored powders, mixing them and merging himself with the serpent deity<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 65, Jairazbhoy Diary, p. 110, Data Sheets, p. 239
Entrance of the demon Darika, enemy of the goddess Kali, as he is being handed his sword. Pazhur Damodara Marar and party.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
Pulluvan sarpam thullal enactment at the Kalliasseri Theyyam Festival. A Pulluvan performs a trance medium’s dance (thullal: vibration, dance), flailing his arms while dancing on a kalam ritual drawing made of colored powders, scattering the colored powders with his feet. Pulluvati and two Pulluvan children engage in the trance enactment.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 65, Jairazbhoy Diary, p. 110, Data Sheets, p. 239
O. K. Raman, a musician holding a Pulluvan kudam (clay “pot”) variable tension chordophone player during a pause in a Sarpa Thullal serpent ritual. To expose the open mouth (vaya) of his kudam, Raman holds a pink-and-white twisted plastic twine handle (kaluttuvalli) attached to the plastic twine tightening the cow skin head of the kudam. Scholar L. S. Rajagopalan holds a flashlight shining into the kudam’s open mouth. The Pulluvān kudam has a thicker wall than comparable household vessels. Scrimshaw designs encircle the kudam mouth. O. K. Raman sits in a playing position on the pounded earth floor of the ritual area, with both legs bent to the right, holding the kudam’s twisted plastic twine playing string (illampu) taut, with his left calf pressing the wooden board (mumbilapatti) to which the string is attached, via a bamboo tube (kutattin kuzhal) that slides over the end of the wooden board, which his right knee presses. The Sarpam Thullal Pulluvan Serpent Ritual was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.<br>Sarpam Thullal (Dance of Snakes), is a mystical ritual of Kerala performed by a community called “Pullava,” and is performed to appease snake gods and bring prosperity to a family. The songs are called “Pulluvan Pāṭṭu.”<br>Ref: Guillebaud, Christine. Le Chant des Serpents: Musiciens Itinerants du Kerala. Paris: CNRS (2008), p. 68-69.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 55, Jairazbhoy Diary, p. 98, Data Sheets, p. 205
