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- Carnatic Classical Instruments: Karathaala
  September 6, 2018Continuing our Series on Carnatic Classical Instruments is an ancient athodya that sets the beat at Hindustani jugalbandis. After preceding articles on the Veena, Venu, and Mrdangam, is today’s post on a vaadhya that has nearly been forgotten. The next Installment covers an instrument that is synonymous with devotional music and yet can be played as part of an ensemble: Karathaala. Introduction As stated previously, the Musical instrument (Aathodhya or Vaadhya) in our Classical Indic Music is of four kinds: Thatha vaadhyam, Sushira vaadhyam, Avanatta vaadhyam, and Ghana vaadhyam. “They are respectively called stringed instruments, thulai (hole) instruments, leather instruments and metal instruments.” However, there is a more recent and more precise characterisations of these divisions. They are as follows: Chordophones (string), Aerophones (wind), Membranophones (covered), and Idiophones (metal/wood). An Idiophone is a resonating instrument that is played by striking it against itself. This western musicological classification list corresponds with the traditional Indian one above. Karathaala, is therefore, an age-old Idiophone, and thus, a Ghana Vaadhyam. Though it can be made with metal, what makes the basic wooden version of it a ghana vaadhya is that it is not covered with a cloth or leather as the Avanatta vaadhya is. The Karathaala comes in a male and female pair. Not to characterise on the basis of gender roles, but the male version is slightly larger/thicker, and is thrust against the female version. History By some accounts, Karathaala is considered the most ancient percussion instrument. If naadha (through naadhabrahma) is the most ancient sound, then its most antique accompaniment is through the beat of a wooden block. Narada Muni is most associated with the use of this instrument. This son of Brahma sings the glories of Vishnu throughout the Cosmos. He can be seen here in this celebrated song from Bhookailas, using the instruments to lovely effect. Moving from Purana to Charitra, the historical basis for the karathaala can be found in its etymology. It comes from the sanskrit word for hand (kara) and rhythm/beat (thaala). This is seen in modern shuddh hindi, which retains the same meaning. In fact, it is in Rajasthani Janapada Sangeeta (Folk Music) that it is used to maximum effect even today. Interestingly enough, one theory asserts that the Gypsy people originally hail from Northwestern India, and likely even, Rajasthan. This has additional historical implications to not only a janya vaadhya of the karathaala, but even a new form of music. Castanets https://twitter.com/AndhraPortal/status/885704132157292544 The Karathaala’s journey is a veritable allegory for the overarching and widespread influence of Classical Indian Music. Nothing embodies this more than the central place of castanets in Spanish Flamenco Music. The Bittersweet travails of the Gypsies (more correctly known as Roma/Dom) provides the scintillating undercurrent behind some of the most beautiful instrumentals in the world. It is unsurprising, therefore, that this oft-oppressed and Nazi genocided people trace their heritage back to India. Said to have migrated to Europe, this community of Musicians and Soothsayers soon suffered under the tumult of Medieval Invasions, and marched Westward, from Northwest India to Persia to Egypt, and ultimately Europe. They made their way to Spain where Flamenco music is celebrated to this day, and epitomised by the Gipsy Kings (castanets are clearly audible in the background). https://www.youtube.com/watch?v=s_83tDfVuHY If Flamenco Music represents a blend of different cultural strands, the castanets are a clear descendant of the ancient Karathaala. But, they have become their own brand, and are now an inextricable part of Spanish/Roma heritage. What of the traditional Indian Karathaala, and its various varieties? Types The standard karathaala is a simple percussion device made from sanded wooden planks. However, there are three basic variations of it: “1. Kartals (blocks). It consists of a pair of wooden blocks with jingles or crotales (kartals mean crotales). One pair is used in one hand of the musician. These pieces can be clapped together at high speeds to make fast complex beats. 2. Kartals (small sheets). It consists of a pair of thin, hard wooden pieces similar to the percussion bones (instrument). These are used in Rajasthan. 3. Kartals (cymbals). The karatalas are small cymbals, also known as manjeera. These are used in devotional chants. In Maharashtra Kartals are better known as Chipdya. It is commonly used in religious song like Kirtans an Bhajans. In Telugu language, the word Karatāḷa Dhvani is most commonly used for sound produced from clapping hands.” Process The Karathaala can be made from any wood, though it is typically made from teak. It is often perforated with metal, or made from metal itself. Some versions are even made from ivory. Some artisans even specialise in making it from scratch, and you can support them today. Legacy From Narada Muni to Rajasthani Folk Musicians to the Gipsy Kings, the Karathaala is a magnificent instrument only surpassed by its magnificent simplicity. From devotional bhakti music to recreational vinodham music, it sets the beat for serious sangeeta (whether classical or folk or north or south). In fact, what our Tollywood obsessed masses may forget, is that the Karathaala is still actively used today, by our own traditional Haridasu. Most commonly seen during Sankranthi, these wonderful bhakti artists retain our timeless mass culture and native instrumentation, even in these difficult post-modern times. Here is a performance by one below, clearly using a very large and prominent type of karathaala. This Makar Sankranthi, please give you patronage or simple support to these bearers of a declining artform. Narada muni may be the most famous of archetypal Haridasus, but Haridasus aren’t the only ones maintaining this heritage. Unsurprisingly, Gaudiya Vaishnavites (i.e. ‘Hare Krishnas’ tracing their lineage to Swami Prabhupada and Chaitanya Mahaprabhu) also use it to this day, during keerthana. In any event, here is a concise (but by no means complete) list of well-known players of the Karathaala, or Khartal. The most famous ‘historical’ figure, was a Rajasthani Princess known to all today. Famous Players Meerabai Langa Tribe Manganiar Tribe Hansraj Bhugda Khan Kabir Das Sant Future Easily adapted into any musical genre, the Karathaala is ideal for fusion efforts. nevertheless, it is best suited to traditional formats, and should be given patronage by modern vaadhyakaaras, rasikas, and sahrdayas alike. Whether it can play a more prominent role in the Carnatic kutapa remains to be seen. In any event, if you are looking for an easy place to start learning Classical Indian Instruments, look no further than the Karathaala. References: Iyer, A.S. Panchapakesa.Karnataka Sangeeta Sastra: Theory of Carnatic Music. Appa Rao, P.S.R & P. Sri Rama Sastry. A Monography on Bharata’s Natya Sastra. Hyderabad: Natyakala Press. 1967.P.110-112 Pappu, Venugopala Rao. Nrtta Ratnavali of Jaya Senapati. Kakatiya Heritage Trust. 2013. Indian Music School. http://indianmusicschool.com/khartal/...
- Personalities: Dharmasuri
  August 9, 2018Andhra literature is an ancient tradition that encompasses not only Telugu, but also Sanskrit and Prakrit. Continuing our Series on Andhra Personalities is a master of Poetics who explained the precepts of poesy despite being an exemplar of philosophy. Background While studying Telugu poetry is very important for all Telugus, it is also critical to understand not only the connection to Sanskrit literature, but also the Classical Indic Poetics that inform and guide our kavitvamu. Dharmasuri Varanasi is a little known but highly important litterateur from Andhra. He was born in Pedapulivarru, Repalle taluk, Guntur District, during the height of the Reddi Rajyam. He authored the Saahithyaratnaakara, a very significant treatise on Poetics. In fact, it is considered “the last major work on Alankaara saastra barring the Rasagangaadhara“, incidentally also by an Andhra. Due to caste obsession in Andhra ( and other parts of India…) we normally don’t dwell too much on lineage; however, where relevant (or necessary to establish Telugu credentials, as in the case of Apastamba) we do record it, particularly for posterity. Moreover, in the case of Dharmasuri, he himself delves into his ancestry in the introduction of his literary work. “He describes about his ancestors and traces the origin of his vamsa to a sage Angiras and to Brahma himself. From Angiras sage Harita was born. In the family of Haritasa gotra Tripurari Bhatta and others were born. All of them performed sacrifices and were known for their virtues, knowledge, and penance.” It is to this Tripurari Bhatta that Dharma, who was Dharmasuri’s father’s father, was born. There has been some controversy regarding the Telugu’ness of this family, but, Varanasi is a very common name among Telugu brahmins (including yours truly’s own music teacher). “As they were educated at Varanasi, where they also stayed for some time – the family name ‘varanasi’ was appended to their first names.” Narasimhacharyulu garu poetically describes the family of Tripurari Bhatta: He states that Dharma “was born to Tripurari, like Kumara to Tripurari, Lord Siva. He married Nagambika and propitiated Lord Siva by Praasaadamantra supurscharana. Consequently he got a boon that till the seventh generation incessantly, the members of his family would be erudite in all the sastras. He had three sons: Narayana, Parvatesa and Rama. Narayana was a great scholar in the Vedas and did Astavadana in Veda itself. He defeated Ramavadhani in Vedic recitation and debate.” Along with ethnicity, another matter of minor misunderstanding is the particular patron of Dharmasuri. Specifically, it is only a king by the name of Dharmabhupala who is mentioned, but the dynasty (vamsa) is not stated directly. The author of the main reference to this article investigates this methodically. He writes that “There are many kings bearing this name in Indian history. The work Alankarasekhara written by Kesavamisra mentions one Dharmacandra, who is identified as the son of Ramacandra, a scion of the family of Susarma” However, this is ruled out as that dynasty ruled at Kangra in 1563 CE. Another ‘Dharmaraja’ is attached to Andhra, and is noted through the inscription on a grant of the village of Kindedda to Battagosvamin. However, this is too early, ostensibly dating back to 900 CE. Then there is the Bahulasvacaritam of Damarla Vengabhupala, who lived around 1550-1660 CE. “Dharma I was described as devoted to duty, saviour of dutiful, who routed enemies with his cavalry, generous at heart, righteous, friend to good people, learned in dharmas.” This Kalahasti aristocratic lineage of Vengabhupala are considered to be vassals of the Vijayanagara Emperors Araveedu Rama Raya and Sriranga Raya III. But Narasimhacharyulu garu writes that there are not many grants that attest to this family’s generosity and accomplishment in Dharma (nomenclature aside). He also rules out Saluva Narasimha‘s lineage. This led him to conclude that Dharmasuri must have been born during the time of the Reddi Rajyam, and lived in nearby Repalle. “In he history of Andhradesa Reddis of Kondaveedu occupy a prominent place by their political sway, patronage of literature, uplift of ‘Dharma’ endowments to temples and generous grants of land and villages to learned brahmins, especially belonging to Velanadu. To this dynasty belonged Anavema also known as ‘Dharma’ vemana’.” Long time ACP readers would remember King Anavema as the son of Prolaya Vema and brother of Anavota. They are notable for being part of the Musunuri Nayaks revolutionary war against the tyranny of Delhi Turks, and they later became independent kings after the Rachakonda Recherlas betrayed Kapaneedu. “The period of these Reddi kings was augustous age for Telugu and Sanskrit literatures.” So on what basis does the erudite Narsimhacharyulu garu (B.N) assert that the Reddi Rajyam was the period in which Dharmasuri wrote? Beyond Anavema’s numerous inscriptions, prasastis, and tamrapatras, the evidence B.N. places his reliance on is as follows: “It is also said that in the Haritasa gotra there was on Nrsimha who held the title ‘Paravaadi Kunjara ghataasimha. The descendants of Harita gotra are described in another inscription as Somayaajis and learned in the Vedas. There is an inscription of King Anavota which records the grant of Koduru to sixty brahmins of different Gotras and sakhas, renamed Annavotapuram on the banks of the Malapaha river. There are seven brahmins of Harita gotra of Yajus sakha. These are Vissayarya, Singayarya, Surayarya, Devayarya, Gangayarya, Madhava dvivedi, and Annayarya.” The author, therefore, asserts that Dharmasuri should be dated to 1480 CE, as “undoubtedly Anavemareddi was ‘Dharma Vemana‘. As such, he concludes that “Dharmasuri was a Velanati Vaidika brahmin hailing from the part of the country ruled by Reddi kings. Thus Narayanavadhani might have been honoured by Dharma Vemana or Anavema Reddi of 1366-81 A.D.” Moving on, Dharmasuri’s mother was Yellamamba and his own Pitr was Pandit Parvatanatha, who was learned in the orthodox Shad Darsanas (the Six Schools of Philosophy in Vedic Dharma). Parvatanatha defeated a scholar by the name of Janardhana in pitched polemics, and was victoriously given the title ‘Vaadikesari’ (lion among dialecticians). The poor Vaishnava vidvan Janardhana also had to surrender his own title of ‘Maayaavaadi Bhankara‘. As Dharmasuri does not mention any guru, it is assumed that his own uncles and accomplished father served as instructors. Dharmasuri was a staunch bhakta of Lord Rama. In his Ratnaprabha, the introduction itself begins with praise of Rama, and is dedicated to his ishtadevata. He was given deeksha into sanyaasa by Mukundagovinda Sarasvati with the name Raamakinkara Dharma. Elsewhere, Dharmasuri is thought to have gone by the name Ramananda Sarasvati. Of all his accomplishments, Saahithya-ratnakara has stood the test of time. He notes a following truism, which is even more relevant in the present time. “Dharmasuri claims to have written Saahityaratnaakara after a care-ful study and application of the old and new alamkara works. Following Bhartrhari he describes that an unenvious critic, who can appreciate this novel and bold venture, is hard to find. However, he never gets disheartened. He is happy as there is omniscient Raama who will be de-lighted by the work.” Achievements Dharmasuri is considered the greatest Telugu scholar after Mallinatha Accomplished in the 14 disciplines of learning, and was a great logician In total, 13 compositions are attributed to him. Wrote commentaries on texts in Purva & Uttara Mimamsa, Samkhya, and Agamas He became a yati (renunciate brahmana) and wrote on Advaita Wrote a commentary on the brahmasutras, known as Brahmaamrtavarsini or Vivaranopanyaasa Credited with a Commentary on the Yoga Sutras of Patanjali, called Yogamani Prabha Wrote the Krsna stuti, praising the River Krishna, in Andhra desa Authored the Hamsa Sandesa, a Prakrit Kaavya & Dattaratnaakara on Dharmasastra Composed Mahakavyas such as Baalabhagavata and Pancatantrakavya Penned two dramas, Kamsavadha & Narakaasura-vijaya-vyaayoga “Dharmasuri has written many works. He wrote stuti kaavyas, mahaakaavyas and drsya kaavyas; composed treatise on poetics and commented on different systems of Indian Philosophy.” Varanasi Dharmasuri was an highly accomplished scholar and later a tremendously spiritual sanyaasi. He contributed a plethora of works to the Indic Literary & Philosophical canon, and represented Andhra well in the galaxy of litterateurs. As a master of Alankara Sastra, he was a rhetorician par excellence, and ranks just after the echelons of greats such as Dandin and Mammata. Regarding notable characteristics of the Saahityaratnakara (SR), it is a Sanskrit work composed in 10 tarangas, literally meaning waves. He not only restates many of the traditional elements of Classical Indic Literature such as vyanjana (suggestion) and rasa (sentiment), but also provides new insight. For example, the battle between vaidarbhi and gaudi styles of literary Sanskrit is well known. However, Dharmasuri asserts that there is a view that a third style exists, paanchaali, which is a mixture of the other two. . Furthermore, “Dharmasuri upholds Abhinavagupta school of interpretation called Abhivyakti-manifestaion”. Bhaava manifestation is seen as a requirement to enjoy rasa. Most significantly, however, is the restatement of Saatvika bhaava, which might be useful for the pusillanimous pedants of our time: “Sattva is that type of temperament of mind which iden-tifies with the pleasure and pain of others. Such attitude is called saattvika.” Although, SR is his most celebrated composition, it is not Dharmasuri’s only one. It is said “he must have written that work i.e. Ratnaprabha and passed on his guru’s name as humble token of his reverence for him, who guiding him from ‘aparaa vidyaa to paraa vidyaa’ helped in attaining the ultimate bliss….The tradition of ascribing one’s own works to one’s Guru is not uncommon.” Naarayana Theertha is known to have done the same. The Narakaasura-vijaya-vyaayoga is considered the only Dharmasuri drama available in full. Unfortunately, we know of most of Dharmasuri’s works only through his own quotation or via secondary scholar. Balabhagavata and Panchatantrakavya are two such. Nevertheless, his impact in Andhra and the wider literary tradition in Bharatavarsha cannot be gainsaid. “Dharmasuri is a poet of great calibre and has good command over the language. He is a philosopher also. His erudition in different branches of Indian Philosophy is testified by his valuable authorita-tive commentaries.” Legacy “The Andhradesa contributed its to Sanskrit since the Sutra period. In each discipline of Sanskrit, the three-fold system of origin, development and standardization, seems to have been followed. Every branch starts with sutras and is expanded in the form of bhasyas or commentaries and at the end abbreviated in the form of manuals or samgraha works. In poetics, Bharata’s Natyasastra is the starting points and many works and theories are later propounded and are ultimately harmonised in standard works such as Kavyaprakasa.” The ancient Andhra desa has produced many celebrated texts of Pan-Indian literature and literary criticism. The Sahityaratnakara of Varanasi Dharmasuri is one such work. It is a treatise on rhetoric and examines the various elements of classical literature. Contrary to videshi sponsored ‘scholars’, a continuum of literary contribution and criticism is seen, in India in general, and Andhra in particular. For example, Dharmasuri quotes Mallinatha profusely. “a most significant as well as inter-esting point that has missed the attention of the chroniclers of Sanskrit literature is that Dharmasuri not only quotes from Vidyaadhara to support his arguments but also reproduces passages verbatim from Mallinaatha’s commentary ‘Tarala’. He is therefore thought to be posterior to Vidyadhara, Vidyanatha, Singabhupala, and Mallinatha, displaying a vibrant literary climate in the united Andhra region, even in the medieval period. Gaurana and Appakavi both refer to the Saahityaratnaakara. From rhetoric to drama to poetry to philosophy, this Repalle rhetorician produced numerous compositions of notable significance. Moreover, unlike today’s rootless cosmopolitans and 1 dimensional unitary nationalists, Dharmasuri had tremendous love for his native region, and composed Krsna stuti in praise of the River Krishna, the banks of which his village of Pedapulivarru was located. However, it is in alamkaara sastra that this scholarly sanyaasi scion of Tripurari Bhatta shined the most. That the Sahityaratnakara is a text with lasting impact on Indian poetics is apparent from the two commentaries written on it (Naukaa and Mandara). Nevertheless, Dharmasuri’s legacy in literature and literary criticism is best encapsulated as follows: “Vidyadhara, Visvanatha, Vidyanatha and Dharmasuri and others are influenced and inspired by Mammata. Among them Dharmasuri occupies a pre-eminent place by his distinguished contribution to the two main branches of Sanskrit, namely philosophy and poetics.” Click here to Buy this Book! References: Narasimhacharyulu, B. Dharmasuri: His Life and Works—A Critical Study. Tirupati: Rashtriya Sanskrit Vidyapeetha. 2011...

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