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Gīgīpada singers Yerappa Basavappa Sutagaji, Ramachandra Ramappa Dhavale and Basappa Gagappa Talwar, Bailhongal (India), 1984

Description:
Gīgīpada (Gigipada, Gīgī Pada) singers of the Holeya community (left to right): Yerappa Basavappa Sutagaji, of Kalma Galli (voice and taal or jhāñjh cymbals); 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.
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gīgīpada singers Yerappa Basavappa Sutagaji, Ramachandra Ramappa Dhavale and Basappa Gagappa Talwar, Bailhongal (India), 1984

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

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

Gondhal and Jāgran ceremony - Mānik Bāī with a musician, Pune (India), 1984

Description:
Jāgran (Vāghyā Muralī)--Inauguration of the Archives and Research Centre for Ethnomusicology. Behind the mandhab, Mānik Bāī gestures and holds a tuṇtuṇe, and a musician sings and plays jālra, during a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba. A flame and objects are on the left.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony - Mānik Bāī with a musician, Pune (India), 1984

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

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

Gondhal and Jāgran ceremony, Pune (India), 1984

Description:
Gondhal ceremony--Inauguration of the Archives and Research Centre for Ethnomusicology. Three musicians perform a Jāgran (Hindu ritual): Vāghyā Muralī Jāgran – Marathi devotional ritual music to Hindu deity Khaṇḍobā Goddess Amba. Standing behind a mandhab, musicians (left to right): R. H. Garuda, singing (sambal), Bhagvan Renake, (jālra), and Jagannath Tite, singing (tuṇtuṇe). A flame, incense and objects are on the right.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony, Pune (India), 1984

Gīgīpada singers Ramachandra Ramappa Dhavale, Yerappa Basavappa Sutagaji and Basappa Gagappa Talwar, Bailhongal (India), 1984

Description:
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.
Date:
February 21, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gīgīpada singers Ramachandra Ramappa Dhavale, Yerappa Basavappa Sutagaji and Basappa Gagappa Talwar, Bailhongal (India), 1984

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

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

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

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

Gondhal and Jāgran ceremony - 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. A flame and objects are on the left.
Date:
February 8, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Gondhal and Jāgran ceremony - Mānik Bāī, dancer, with Bhagvan Renake, Pune (India), 1984

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

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

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

Description:
Jāgran (Vāghyā Muralī)--Inauguration of the Archives and Research Centre for Ethnomusicology. 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. The mandhab is visible in the right foreground.
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 with Bhagvan Renake, Pune (India), 1984

Instrument maker scraping painting on a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Description:
Abdul Karim Ismail Saheb cutting indentations into decorative celluloid strips in the making of a sitar or taṃbūrā. This is the first stage of the scrimshaw process in which scratches are made in the decorative strips, to be filled with pigment in the next stage. The location is the verandah of the workshop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Instrument maker scraping painting on a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Instrument maker applying paint on a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Description:
Abdul Karim Ismail Sahib applying paint on the indented celluloid strip in the making of a sitar or taṃbūrā. This is the second stage of the scrimshaw process in which scratches are filled with pigment. Black coal dust is used for black color. The location is the verandah of the workshop of Abdul Karim Ismail Saheb.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Instrument maker applying paint on a taṃbūrā at the shop of Abdul Karim Ismail saheb and Sons, Miraj (India), 1963

Instrument maker decorating an instrument at Abdul Karim Ismail Saheb and Sons, Miraj (India), 1963

Description:
Indenting decorative celluloid strips in the making of a sitar or taṃbūrā. This is the first stage of the scrimshaw process in which scratches are made, to be filled with pigment in the next stage. Framed photos of ancestors, relatives, and ustāds hang from the top of the verandah wall at the workshop of Abdul Karim Ismail Saheb and Sons.
Date:
December 19, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Instrument maker decorating an instrument at Abdul Karim Ismail Saheb and Sons, Miraj (India), 1963

Ishvaramma Pocānā (sitārā and andil), and Satyammā, Jangmolu (dimkī), Hyderabad (India), 1963

Description:
Wandering musicians, Ishvaramma Pocānā playing a sitārā and andil (like tāla), and Satyammā (Jangmolu caste) playing dimkī, are seated on a curb with a baby and a young girl. They are singing a katha (story) of Harishchandra Maharaj in Telugu. The sitārā is a 3- stringed lute, the andil is a donut-shaped, hollow metal ring with pellets inside, held on the thumb and struck against the body of the sitārā, and the dimkī is a skin-covered pot drum with a rear opening. Male pedestrians stop to watch.
Date:
December 22, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ishvaramma Pocānā (sitārā and andil), and Satyammā, Jangmolu (dimkī), Hyderabad (India), 1963

Ishvaramma Pocānā (sitārā and andil), and Satyammā, Jangmolu (dimkī), Hyderabad (India), 1963

Description:
Wandering musicians, Ishvaramma Pocānā playing sitārā, and Satyammā (Jangmolu caste) playing a dimkī, seated on a curb with a young girl standing between them. The sitārā is a 3- stringed lute, the andil is a donut-shaped, hollow metal ring with pellets inside, held on the thumb and struck against the body of the sitārā, and the dimkī is a skin-covered pot drum with a rear opening. Male pedestrians stop to watch.
Date:
December 22, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ishvaramma Pocānā (sitārā and andil), and Satyammā, Jangmolu (dimkī), Hyderabad (India), 1963

Congregational singers at a Christmas Eve hymn singing, Kottagūdem (India), 1963

Description:
Congregational singers at Christmas Eve hymn singing Telugu Christmas songs: to Mariamma (Mary), and Jesus; a lullaby; a rama; and a “village" song. Musicians play rectangular clappers (left), a ḍholak or mṛdaṅgam (center), and harmonium (right). A large kalam decorates the floor.
Date:
December 24, 1963
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Congregational singers at a Christmas Eve hymn singing, Kottagūdem (India), 1963

Villupāttu (bow song) ensemble, Achankulam (India : Village), 1984

Description:
Villupāttu (bow song) ensemble Sivalingam Nadar ("Lord Shiva's Power Nadars) of the Nadar community, from Sedupati (7 members) -- during the performance of the story of Kalasami. Front row, from left: Pichai Thangam (lead singer and striker of bowstring “vil” holding beaters “visukkol” using twirling and dance-like arm gestures); Meenakshi (second singer and player of wooden clappers); Lingaswami (male singer, strikes side of clay pot with finger ring and opening of clay pot with flat areca nut sheath). Back row, from left: Selappan Kumaraswami (guru of the group); Kaimani (cymbal player); Tangam Nadar uḍukku player); Ayyappan Chettiar (strikes steady pulse on wooden blocks “kattai”). The ensemble had just completed performing the Shasta story, as it was Shasta's (Ayappa's) birthday. Two microphones are in the foreground. Performed at the Ayyappan (Shasta) Temple.
Date:
March 14, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Villupāttu (bow song) ensemble, Achankulam (India : Village), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan kudam *clay "pot"), Peramangalam (India), 1984

Description:
O. K. Raman, a musician with a Pulluvan kudam (clay “pot”) variable tension chordophone, demonstrates his instrument for the researchers during a pause in a Sarpa Thullal serpent ritual. 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 playing string taut with his right knee and left calf. The string is made of twisted nylon or plastic twine. His right hand holds the smooth wooden plectrum vayanam with which he will pluck the string near its midpoint. His left index finger presses the playing string near its end, perhaps in preparation for plucking the string to modify and ornament its sound, which creates a distinctive “brum brum” sound. He will lean against his left upper arm rhythmically, thereby pushing against the pot, which stretches the string, thus raising its pitch about a third, creating a rising and falling ostinato-like repeated rhythmic pattern. The Sarpam Thullal Pulluvan Serpent Ritual was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village. For playing in natural ritual context, with singers and a second Pulluvān kudam player, see the video referenced below, which records O. K. Raman and the second Pulluvan kudam player performing heterophonic melodies in seven-beat cycles emphasized by large hand cymbals played by Pulluvati women. These Pulluvati women also sing a separate heterophonic melody with lyrics, called sarpam pattu (serpent song), or sarpam stuti (serpent praise song). The patterns modulating to six-beat cycles at 2:46, until 7:32, when seven beat cycles resume briefly, followed by duple meter patterns, and silence at 8:00, when the Pulluvan vīṇā player bows and chants to the two trancing women, asking them to pronounce the oracle, to which they reply in the affirmative. They stand quickly at 8:27 and run off to the snake kaavu (grove) followed by men, children, and women, while the Pulluvan kudam players resume duple meter patterns. Silence resumes at 9:16, and the post-trance women are carried back in the arms of men at 9:20. 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.”
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan kudam *clay "pot"), Peramangalam (India), 1984

Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan vīṇā kunju, Peramangalam (India), 1984

Description:
During a break in the annual household Sarpam Thullal Pulluvan Serpent Ritual held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village, O. K. Raman, the Sarpa Thullal serpent ritual musician, demonstrates a Pulluva vīṇā kunju bowed chordophone. An udumbu (uṭumpu ) monitor lizard skin covers the vīṇā kunju wooden body. >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.”
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Sarpam Thullal Pulluvan Serpent Ritual - O. K. Raman demonstrates a Pulluvan vīṇā kunju, Peramangalam (India), 1984

Ona Villu Kottu - demonstration performance of Ona Villu Kottu at the Casino Hotel, Thrissur (India), 1984

Description:
Demonstration performance of Ona Villu Kottu (Onam Bow Play) at the Casino Hotel. the Ona Villu Kottu is performed annually the Onam festival for Kummāṭṭī (Kummatti) Kali, the “Grass Dance” in which masked actors wear leaves of the kummāṭṭī gourd plant. Villu played by six Nair boys for four masked dancers, without the kummāṭṭī leaves. Group manager: Mr. V. P. Paul, Sahitya Akademi.
Date:
April 2, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Ona Villu Kottu - demonstration performance of Ona Villu Kottu at the Casino Hotel, Thrissur (India), 1984

Mannān Velayudhan shows the two pieces that compose his naṇduni, at the home of Chummar Choondal, Chettupuzha (India), 1984

Description:
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.
Date:
April 3, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mannān Velayudhan shows the two pieces that compose his naṇduni, at the home of Chummar Choondal, Chettupuzha (India), 1984

Mannān Velayudhan shows the two pieces that compose his naṇduni, at the home of Chummar Choondal, Chettupuzha (India), 1984

Description:
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.
Date:
April 3, 1984
Resource Type:
still image
Photographer:
Catlin-Jairazbhoy, Amy
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Mannān Velayudhan shows the two pieces that compose his naṇduni, at the home of Chummar Choondal, Chettupuzha (India), 1984

Theyyam festival - Kummāṭṭī Thumbi pāṭṭu “Dragonfly Song” performance, Kalliasseri (India), 1984

Description:
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.
Date:
April 6, 1984
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Theyyam festival - Kummāṭṭī Thumbi pāṭṭu “Dragonfly Song” performance, Kalliasseri (India), 1984

Theyyam festival - Kummāṭṭī Thumbi pāṭṭu “Dragonfly Song” performance, Kalliasseri (India), 1984

Description:
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.
Date:
April 6, 1984
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Theyyam festival - Kummāṭṭī Thumbi pāṭṭu “Dragonfly Song” performance, Kalliasseri (India), 1984

Theyyam festival - Kummāṭṭī Thumbi pāṭṭu “Dragonfly Song” performance, Kalliasseri (India), 1984

Description:
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 mother Thamma character wears an old woman mask and a white cloth headdress. Performed by V. P. Paul and party.
Date:
April 6, 1984
Resource Type:
still image
Collection:
Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts
Theyyam festival - Kummāṭṭī Thumbi pāṭṭu “Dragonfly Song” performance, Kalliasseri (India), 1984