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Kedare Megho Birje sings “Ha Dattatai Munde," Kanbargi (India), 1984

Description:
Kedare Megho Birje, Maratha, sings a Kannada lavani song, “Ha Dattatai Munde,” after hearing a recording of a song recorded by A. A. Bake in India in 1938 (Bake_70.3). He gestures dramatically to male listeners, while a female audience member listens with averted eyes. The song “Ha Dattatai Munde,” composed by Hulkand Bhima, is similar to the Bake recording (Bake_70.3), in sawal-jawab form, on the meaning of life, the superiority of men or women, and protest for or against women’s reform movement. The song was sung at Caitra fair. Hindi translation is on the A. A. Bake tape.
Date:
February 18, 0984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Kedare Megho Birje sings “Ha Dattatai Munde," Kanbargi (India), 1984

Krishna Pārijāt - a man prepares makeup for a performance of the story of Krishna Pārijāt, Bailhongal (India), 1984

Description:
A man prepares makeup backstage for a Kannada drama performance of the folk tale about Lord Krishna, his two wives, and the magical pārijāt tree. Beside him are trunks for costumes and props, a tablā musical instrument, and a lithograph image of Ganesha to bless the performance.
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 - a man prepares makeup for a performance of the story of Krishna Pārijāt, Bailhongal (India), 1984

Krishna Pārijāt - two men prepare makeup for a performance of the story of Krishna Pārijāt, Bailhongal (India), 1984

Description:
Two men prepare makeup backstage for a Kannada drama performance of the folk tale about Lord Krishna, his two wives, and the magical pārijāt tree. Beside them are trunks for costumes and props and an imitation taṃbūrā, possibly for Narada to carry.
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 - two men prepare makeup for a performance of the story of Krishna Pārijāt, Bailhongal (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 “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

Holy Name Cathedral choir members in the cathedral office, Hubli (India), 1984

Description:
Holy Name Cathedral choir members in the Cathedral office (left to right): Mrs. Hinnamma Ajagrni, age 78; Mrs. Makalamma Havalad, singing from a hymnal; and Smt. Jeevubai Goni. Session at Holy Name Cathedral to playback music recorded by the musicologist A. A. Bake in 1938, and to re-record music performed by the session participants. The participants were brought to the session by the minister, Reverend Adina. The playback-and-recording equipment of ethnomusicologists Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy is on table. Bake 1938 Re-recordings: “Devaratanaya” (Tefi 65.6), “Yesure” in Anandabhairavi (Tefi 65.4), “Paramapujya” in Pahari ghazal style (Tefi 65.3), “Mother’s Union” (Tefi 65.8), and “Suri Saya Nina Utmava” in Bilahari (Tefi 65.6).
Date:
February 25, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Holy Name Cathedral choir members in the cathedral office, Hubli (India), 1984

Holy Name Cathedral choir members in the cathedral office, Hubli (India), 1984

Description:
Holy Name Cathedral choir members in the Cathedral office (left to right): Mr. Divakar Abnes, singing from a hymnal; Mr. Tejappa Peter (violinist, age 74) accompanies the singers. Session at Holy Name Cathedral to playback music recorded by the musicologist A. A. Bake in 1938, and to re-record music performed by the session participants. The participants were brought to the session by the minister, Reverend Adina. The playback-and-recording equipment of ethnomusicologists Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy is on table. Bake 1938 Re-recordings: “Devaratanaya” (Tefi 65.6), “Yesure” in Anandabhairavi (Tefi 65.4), “Paramapujya” in Pahari ghazal style (Tefi 65.3), “Mother’s Union” (Tefi 65.8), and “Suri Saya Nina Utmava” in Bilahari (Tefi 65.6).
Date:
February 25, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Holy Name Cathedral choir members in the cathedral office, Hubli (India), 1984

Saraswathi Swaminathan, archivist, interviews Doreswami, Usilampatty, India), 1984

Description:
Saraswathi Swaminathan, archivist of the Archives and Research Center for Ethnomusicology, interviews Doreswami, age 80, in Tamil. Doreswami is the grandfather of Mr. K. Bose, the principal of Usilampatty school. The interview was recorded at the Usilampatty Circuit House.
Date:
March 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Saraswathi Swaminathan, archivist, interviews Doreswami, Usilampatty, 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

Statues in a niche on an exterior temple wall, Madurai (India : District), 1984

Description:
View towards the corner of the temple rooftop terrace wall from outside, showing the central niche with three smiling polychrome figures: a male deity in the center with two consorts. At the corner of the terrace wall, a bearded male figure reclines with his arm resting over a reposing white bull.
Date:
March 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Statues in a niche on an exterior temple wall, Madurai (India : District), 1984

Toda man from Kotanad, Kotatu, plays a bhugri, Udagamandalam (India), 1984

Description:
Kotatu, a Toda man from Kotanad, plays a bhugri (a bamboo end blown trumpet with five or six holes). He is wearing a traditional ceremonial Toda shawl. He sits under a large tree in front of a stone and concrete Toda dogle (hut), a modern version of the traditional Toda thatch roof dogle. The bhugri was cracked and Kotatu had to repair it with gaffer’s tape and ash. He was not too happy with the sound. 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. A. Bake made a recording titled “Three songs with bhugri” Ootacamund (Tefi# 49.6, Tefi# 49.7, and Tefi# 49.8), dated 5/20/1938. In A. A. Bake letter #343, from Adyar, July 1, 1938, about recording Toda people, he wrote: “…it started raining and therefore [we] could not take close-ups of the bugīr which [we] thought was a sort of trumpet, but the principle was that of the flute and the sound of a trumpet" (translated by Felix van Lamsweerde). A. A. Bake was also surprised by the technique of breathing in and out at the same time, which he thought was not possible. He had seen it once before in Putturā, a man who blew a shell trumpet for long minutes, and here he saw it again with the Toda people.
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Toda man from Kotanad, Kotatu, plays a bhugri, Udagamandalam (India), 1984

Toda man from Kotanad, Kotatu, plays a bhugri, Udagamandalam (India), 1984

Description:
Kotatu, a Toda man from Kotanad, plays a bhugri (a bamboo end blown trumpet with five or six holes). He is wearing traditional ceremonial Toda shawl. He sits under a large tree in front of a stone and concrete Toda dogle (hut), a modern version of the traditional Toda thatch roof dogle. The bhugri was cracked and Kotatu had to repair it with gaffer’s tape and ash. He was not too happy with the sound. 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. A. Bake made a recording titled “Three songs with bhugri” Ootacamund, Tefi# 49.6, Tefi# 49.7, Tefi# 49.8, dated 5/20/1938. In Bake letter #343, from Adyar, July 1, 1938, about recording Toda people: “…it started raining and therefore (we) could not take close-ups of the bugīr which [we] thought was a sort of trumpet, but the principle was that of the flute and the sound of a trumpet" (trans. Felix van Lamsweerde). Bake was also surprised by the technique of breathing in and out at the same time which he thought was not possible. He had seen it before once in Putturā (Puttur?), a man who blew a shell trumpet for long minutes, and here he saw it again with the Toda people.
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Toda man from Kotanad, Kotatu, plays a bhugri, Udagamandalam (India), 1984

Gondhal and Jāgran ceremony - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

Description:
Jāgran (Vāghyā Muralī)--Inauguration of the Archives and Research Centre for Ethnomusicology. Behind the mandhab, Mānik Bāī plays ghaṭī, with two musicians -- one with a jālra, and Bhagvan Renake with a dimdi (right) -- during a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba. All are singing. A flame is visible at the bottom-center of the frame.
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 - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

Gondhal and Jāgran ceremony - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

Description:
Jāgran (Vāghyā Muralī)--Inauguration of the Archives and Research Centre for Ethnomusicology. Behind the mandhab, Mānik Bāī plays ghaṭī, with three musicians -- one with a tuṇtuṇe, Bhagvan Renake with a dimdi, and one with a jālra -- during a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba.
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 - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

Toda men with children singing on a grassy bank with one man playing a bhugri, Udagamandalam (India), 1984

Description:
Five Toda men sit on a grassy bank while singing. One, named Kotatu (from Kotanad), plays bamboo bhugri (a bamboo end blown trumpet with five or six holes), with one cheek bulging, which suggests he is using circular breathing. A little girl and two little boys sit in their laps. 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).
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Toda men with children singing on a grassy bank with one man playing a bhugri, Udagamandalam (India), 1984

Toda men and children on a grassy bank with one man playing a bhugri, Udagamandalam (India), 1984

Description:
Five Toda men sit on a grassy bank. One, named Kotatu (from Kotanad), plays a bamboo bhugri (a bamboo end blown trumpet with five or six holes), with one cheek bulging, which suggests he is using circular breathing. A little girl and two little boys sit in their laps. 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).
Date:
April 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Toda men and children on a grassy bank with one man playing a bhugri, Udagamandalam (India), 1984

Kota women and girls dance in a circle, Trichagadi (India), 1984

Description:
Three Kota women and three Kota girls dance with hands above their heads, as part of a circle while revolving around musicians (not seen). Two Kota men play kombu curving trumpets outside the circle. A bearded Kota man stands watching. 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 and girls dance in a circle, Trichagadi (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

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

Haḏgā dance demonstration - elephant image at the dance demonstration at Mahila Vidyalaya (girls' high school), Belgaum (India), 1984.

Description:
Image of a caparisoned elephant, representing the vahana of Goddess Lakshmi, used as the centerpiece of a Haḏgā dance demonstration at Mahila Vidyalaya (girls' high school), drawn in white powder on a wooden plaque, and decorated with yellow jenda (marigold) flowers. A straight line of sixteen dots of white powder is drawn beneath the elephant. The white dots beneath the elephant represent the full 16 nights of the Navaratri festival when the Haḏgā dance is done. One dot is erased after each song is sung, representing one night of Navaratri. Several songs speak of daughters-in-law who leave their marital home, refusing pearls or other gifts. One refuses to return unless she is given a whip by her husband and mother-in-law.
Date:
February 20, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Haḏgā dance demonstration - elephant image at the dance demonstration at Mahila Vidyalaya (girls' high school), Belgaum (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

Playback and recording session, Shāhapur village (Belgaum, India), 1984

Description:
Playback and recording session of bhajana - group devotional music - at the home of Pandit Nandan Herlekar (leader of Sraddha Bhajani Mandal). Music recorded by A. A. Bake in 1938 was played back and music was recorded. A group of women (music students) seated at the session include Sarala Adhyapak (sister of Nandan Herlekar (?), on the right), Ashwini Adhyapak (?) (a young girl, on the left), and Sarala Karlekar (2nd from right). The home is in the village of Shāhapur, a suburb of Belgaum, in the district of Karnataka.
Date:
February 19, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Playback and recording session, Shāhapur village (Belgaum, India), 1984

Holeya community women sing back a song after hearing a 1938 A. A. Bake recording, Bailhongal (India), 1984

Description:
Three Holeya (Dalit, Pulaya) agricultural women in traditional saris sing back a song, after hearing the song recorded by musicologist A. A. Bake in 1938. Men wearing white dhotis or navy pants stand behind. The names of four women singing are: Basava Bhimshappa Bharamannavar, Gangavva Shivappa Bharamannavar, Dayamavva Phakirappa Bharamannavar, and Bhimavva Yalapappa.
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Holeya community women sing back a song after hearing a 1938 A. A. Bake recording, Bailhongal (India), 1984

Haḏgā dance demonstration - teacher at Mahila Vidyalaya (girls' high school) prepares schoolgirls for the dance demonstration, Belgaum (India), 1984

Description:
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.
Date:
February 20, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Haḏgā dance demonstration - teacher at Mahila Vidyalaya (girls' high school) prepares schoolgirls for the dance demonstration, Belgaum (India), 1984

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

Nāiyāndī Mēḷam ensemble - Karutta Kannan, an unidentified musician and I. P. Kurusāmi, Usilampatty (India), 1984

Description:
Three ensemble members in an open area in the village with school boys, school girls and teachers watching in the background. The musicians are, from left: Karutta Kannan (pambai, single drum), an unidentified musician (tāḷam cymbals) and I. P. Kurusāmi (urumi hourglass-shaped double-headed variable tension membranophone saamiyattam genre). 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, an unidentified musician and I. P. Kurusāmi, Usilampatty (India), 1984

Holy Name Cathedral choir members in the cathedral office, Hubli (India), 1984

Description:
Holy Name Cathedral choir members in the Cathedral office (left to right): Mr. Divakar Abnes, singing from a hymnal; Mr. Tejappa Peter (violinist, age 74) accompanies the singers. Session at Holy Name Cathedral to playback music recorded by the musicologist A. A. Bake in 1938, and to re-record music performed by the session participants. The participants were brought to the session by the minister, Reverend Adina. The playback-and-recording equipment of ethnomusicologists Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy is on table. Bake 1938 Re-recordings: “Devaratanaya” (Tefi 65.6), “Yesure” in Anandabhairavi (Tefi 65.4), “Paramapujya” in Pahari ghazal style (Tefi 65.3), “Mother’s Union” (Tefi 65.8), and “Suri Saya Nina Utmava” in Bilahari (Tefi 65.6).
Date:
February 25, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Holy Name Cathedral choir members in the cathedral office, Hubli (India), 1984

Om Periyaswamy dance troupe - Karakāṭṭam dance with sari, Madurai (India), 1984

Description:
Performance of a karakāṭṭam dance by the Om Periyaswamy dance troupe at the Tamil Nadu Hotel. Dancer Om Periyaswamy rolls himself into a sari-like cloth on a grassy lawn, while balancing a karagam water pot and a parrot figurine on his head. A male dancer, Carangapani, and female dancer, Ayyamal, also balance a karagam and parrot on their heads while dancing.
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 dance troupe - Karakāṭṭam dance with sari, Madurai (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 the tiruganāṭ dāk “turning dance” at an A. A. Bake playback session, Trichagadi (India), 1984

Description:
Ten Kota men demonstrate the tiruganāṭ dāk / tirukanat (turning dance) counter-clockwise in a half circle in the foreground, with bodies lowered. 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 lowered kombu valveless curving trumpets, two men 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

Holeya community women sing back a song after hearing a 1938 A. A. Bake recording, Bailhongal (India), 1984

Description:
Three Holeya (Dalit, Pulaya) agricultural women in traditional saris sing back a song, after hearing the song recorded by musicologist A. A. Bake in 1938. The woman in the center wears sacred red and white muttu beads worn only by jogtīs (devadāsīs) (women dedicated to Goddess Renuka/Yellamma). Men wearing white dhotis or navy pants stand behind. The names of four women singing are: Basava Bhimshappa Bharamannavar, Gangavva Shivappa Bharamannavar, Dayamavva Phakirappa Bharamannavar, and Bhimavva Yalapappa.
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Holeya community women sing back a song after hearing a 1938 A. A. Bake recording, Bailhongal (India), 1984

Haḏgā dance demonstration - offering for a dance demonstration at Vidyalaya (girls' high school), Belgaum (India), 1984

Description:
Offering prepared for a Haḏgā dance demonstration in a courtyard at Mahila Vidyalaya (girls' high school). A lithograph is placed on a ledge, showing two elephants saluting each other with flower bouquets, each carrying a howda of a royal couple. The image is garlanded with jasmine flowers, nuts (?) and corn (?), and surrounded by chili peppers, banana, bhindi, carrot and squash.
Date:
February 20, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Haḏgā dance demonstration - offering for a dance demonstration at Vidyalaya (girls' high school), Belgaum (India), 1984

Haḏgā dance demonstration - school girls demonstrate a Haḏgā dance at Mahila Vidyalaya (girls' high school), Belgaum (India), 1984

Description:
Nine 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 image), representing the vahana of Goddess Lakshmi, thus worshiping Shakti, the feminine principle.
Date:
February 20, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Haḏgā dance demonstration - school girls demonstrate a Haḏgā dance at Mahila Vidyalaya (girls' high school), Belgaum (India), 1984

Baraat wedding procession - crowd around the Basavanneppa Band, Belgaum (India), 1984

Description:
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.
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 - crowd around the Basavanneppa Band, Belgaum (India), 1984

Baraat wedding procession with the Basavanneppa Band, Belgaum (India), 1984

Description:
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.
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 with the Basavanneppa Band, Belgaum (India), 1984

Baraat wedding procession with the Basavanneppa Band, Belgaum (India), 1984

Description:
Overhead view of the Basavanneppa Band at an intersection during a baraat wedding procession. The Basavanneppa Band included bass drums (2), side drums (2), snare drums (2), clarinets (3), baritone horns (3), trumpets (4), and tubas (2)04.
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 with the Basavanneppa Band, Belgaum (India), 1984

Gangadhar Nagar - Haranśikārī / Haran Shikari community gathered as Gopibai Sivlal, a Kanjar Bhāṭ woman, dances, Hubli (India), 1984

Description:
Gopibai Sivlal, a Kanjar Bhāṭ woman, dances in the Rajasthani ghumar style while women sing and clap. She dances to the same songs as were recorded by musicologist A. A. Bake in 1938 (Tefi# 63.12) “Bhat dance with women’s song” and “Kamlivalo” (“Blanket Man”), about Prophet Mohammed. At Gangadhar Nagar. This scene was used in the Bake Restudy video. Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy returned in 1991 and they performed the same song with additional historical verses.
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 / Haran Shikari community gathered as Gopibai Sivlal, a Kanjar Bhāṭ woman, dances, Hubli (India), 1984

Gangadhar Nagar - Chandappa Jampana Kattimani, Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy, Hubli (India), 1984

Description:
Nazir Ali Jairazbhoy, Amy Catlin-Jairazbhoy, Chandappa Jampana Kattimani (Haranśikārī, Haran Shikari, Haranshikari leader), and his brother the Corporator of Gangadhar Nagar, sitting on a verandah. 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 - Chandappa Jampana Kattimani, Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy, Hubli (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

Tiruppati, leader of the Madurai Meenakshi Temple bhajan mandali, Madurai (India), 1984

Description:
Tiruppati, age 62, leading the bhajana group devotional singers, playing bronze kai mani cymbals. They are at the Madurai Minakshi Temple Bhajan Hall. To Tiruppati’s left a man accompanies the sung melody on harmonium, a free-reed keyboard aerophone, pumped by player’s left hand. Nazir Ali Jairazbhoy and Amy Catlin-Jairazbhoy went to Madurai especially to meet Tiruppati, whom A. A. Bake recorded in 1938.
Date:
March 14, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Tiruppati, leader of the Madurai Meenakshi Temple bhajan mandali, Madurai (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

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

Aiyanar village (?) guardian statue group, Madurai (India : District), 1984

Description:
Village Guardian (?): View of a cement statue of god Aiyanar (blue face, moustache) astride a rearing white horse (Kalki?). His two consorts or servants, Puranai (white body, naked except for thighs), and Putkalai (yellow body), stand beneath the horse. The horse’s front hooves rest on the shoulders of the god Shiva, Aiyanar’s father, who is mounted sideways on his bull, Nandi. The group includes statues of a lion and another bull. There is a large tree above.
Date:
March 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Aiyanar village (?) guardian statue group, Madurai (India : District), 1984

Landscape view with a large tree, cows, and the researchers' jeep, Madurai (India : District), 1984

Description:
Three bicyclists on the horizon look toward the photographer and temple behind. Two cows in foreground rest and eat hay. The researchers’ jeep is on the horizon, behind a gigantic bodhi tree with hanging aerial roots.
Date:
March 13, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Landscape view with a large tree, cows, and the researchers' jeep, Madurai (India : District), 1984

Durgā-pūjā Mahotsav festival - Qawwālī party, Yacoob Rajabally (also known as Yacoob Qawwal), Dhobi Talao (Mumbai, India), 1963

Description:
Guest artist Yacoob Rajabally (also known as Yacoob Qawwal and Yacoob Premragi), Nazir Ali Jairazbhoy's maternal uncle, sings qawwālī and plays harmonium, with clarinet and tablā musicians, and two singers, after a Durgā-pūjā festival ceremony as entertainment. He sang romantic Urdu verses "Rukh se parda hata de" and "Ab meri bat bhi koi mama ke hosh ki nahin." Recording session with 4 microphones. A sign on one microphone reads "Kalpana Sound." 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 - Qawwālī party, Yacoob Rajabally (also known as Yacoob Qawwal), Dhobi Talao (Mumbai, India), 1963

Durgā-pūjā Mahotsav festival - Background tableau, Dhobi Talao (Mumbai, India), 1963

Description:
Background tableau for the Durgā-pūjā Mahotsav festival. The goddess Durgā riding a roaring lion is used as the backdrop for the Durgā-pūjā. Her eight arms hold weapons and shields. God Ganesh with elephant-head and human body stands at left. Goddess Lakshmi stands between them. An Ādivāsī indigenous man stands at the right, with Goddess Durgā’s arrow touching his chest, close to the lion’s roaring mouth and upraised claw. Goddess Saraswati stands at right holding a veena, long-necked stick zither chordophone string musical instrument. 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 - Background tableau, Dhobi Talao (Mumbai, India), 1963