The year 1498
is very significant as far as India
is concerned. Vasco de Gama, the
explorer from Portugal set his foot
in India that year and that was the
beginning of imperialism- which lasted another 4 and half centuries.
Well, this post is not about the freedom fight, nor is it about ‘patriotism’ (what a beautiful word
which is much abused and maligned now!). It is more about the place where the
sailor from Portugal, landed along
with a group of criminals and convicts.
As many of you know, he landed in Kozhikode in Kerala. What should be of great significance is that as early as AD 70(that is 1400 years before the sea
route to India was discovered), Jews
migrated from Jerusalem to escape
persecution after the destruction of the second temple. And 18 years before this, St.Thomas, the Apostle(considered to be one of the disciples of Jesus Christ) landed in Cranganore near Kozhikode. Christianity
was established in Kerala long
before it spread to the European
countries. In fact, St.Thomas had
excellent rapport with the local Hindus
and later even the Jews (surprising
but true!).In the 7th Century,
during the time of Prophet Mohammed,
Arab traders arrived in India and Islam
was born here.
All this goes to show that a fascinating syncretism of culture developed in Kerala long back and it continues till
date. This is evident in the music of Kerala. I say ‘music of kerala’ because
music is part of its culture. I am sure Biblical
Music and Arabic Music came to
India from here. Ah, yes..Carnatic Music is very popular here and is not
confined to just one religion .Isn’t it true that Music evolved from different religions but we mortals tend to focus
more on the religious aspects than
on the music itself! Anyway, this is
a different topic best dealt with in some other post.
As for now, let me focus on a song which has the Arabic
contours -which obviously means that the forthcoming posts are
likely to feature Biblical Music and
Carnatic Music. Here I must say one
more thing.
Though it is difficult to digest, Carnatic Music also has been influenced
by Persian and Arabic music. Recently, a senior and well reputed
musician/musicologist revealed that ragas
like Kaanada, Sahana, Surutti and
even VaraLi have been adapted from
the Hindustani System of music. Of
course, these have been brilliantly and beautifully modified with suitable ‘gamakams’ by our ancestors and this
speaks volumes of their scholarliness. Though he left out VakulabharaNam, I have a strong feeling that the raga traces its origins to Arabia (not just this raga but all the
6 ragas in the agni chakra-including Mayamalavagowla- have that Arabic
tinge).
‘Kadappuraththoru..’ from ‘SMS’(2008) has the
strains of VakulabharaNam and I am
sure ILaiyaraaja tuned it as a
tribute to Maapila music of Kerala.
With the luxuriance of softness and sweetness, the
two shehnais play a melody in the
beginning with the synth
percussion-which almost sounds like traditional Kerala percussion- backing them
with the 8-beat pattern 1 2 3/ 1 2 3/ 1 2, playing only the first beat in each segment(or the
first, the fourth and the seventh). The synth
bass guitar too sounds with resonance now and then. In fact, there are two
different sounds (bass) and these give impetus to the main melody. What follows
(in keys) is an unmistakable Arabic
melody. Towards the end, a sober but powerful stringed instrument (sounding a lot like guitar) and the shrill flute, are engaged in a brief romance
before guiding us to the Pallavi.
The Pallavi
in the voice of Manjari- to the
brilliant backing of different synth instruments and chorus) takes us to the ‘maaplas’ by the seaside in North Kerala. Madhu Balakrishnan
joins in the end and continues the flavour.
The first
interlude is dominated by the synth
instruments, but by no stretch of imagination does this affect the melody. The first segment gives a western shade while the second segment with the shrill flute and bass guitar is luminous and does not fail to give the raga touch. In a way, it even sounds
like a sea bird. In the third segment,
the flute joins with the synth to produce an amalgam of melodic
sound.
The beginning of the CharaNam sees a sharp sound from the percussion which prepares us for a special treat. And we are not
disappointed. The dulcet flute
appears after the first two lines
and beautifully repeats the second part
of the second line and even expands
it. This goes on for two cycles. In fact, the instruments keep backing the vocals now and then heightening the
experience.
The shehnai
sound in the second interlude is
sublime and the fact that it is blended with the sounds which give the western
tinge, makes it doubly special. The shrill flute is as amazing as ever but the master class in my opinion is
the sound from the keys towards the end. The way it is
‘bent’ and is made to literally give the Arabic
flavour and aura, speaks volumes of the genius composer.
Syncretic and
Symbiotic- Culturally and Musically!
