Yoga

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 7^th 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!

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