Jayaram, Sivamani's drums performance!
Showing posts with label Instrumental - Drums. Show all posts
Showing posts with label Instrumental - Drums. Show all posts
Saturday, November 6, 2010
Wednesday, September 23, 2009
To master, with love - Sadanam Divakara Marar
To master, with love
Mr. Sivadasvarma for ExpressBuzz
Sadanam Divakara Marar presenting sopana sangeetham at Thamaramkulangara Sree Dharma Sastha TempleSivadas VarmaFirst Published : 23 Sep 2009 11:45:00 PM ISTLast Updated : 23 Sep 2009 10:44:21 AM IST
KOCHI: Sadanam Divakara Marar is a living encyclopedia of temple art forms, both ritualistic and artistic. Hundreds of his disciples, who attained expertise over myriad temple art forms under Marar's strict and systematic teaching, are planning to honour their guru. In a colourful function, proposed to be held on October 4, at Ernakulathappan Hall, Marar will be honoured with a veera srunkhala. Divakara Marar started his formal training under his uncles Narayana Marar and Kunjikrishna Marar. After learning the basics of the ritualistic percussion ensemble Marar learned more from Thazhathedathu Govinda Marar. Then he turned towards the Unnayiwarrier Smaraka Kalanilayam, Irinjalakuda, and learned the unique kathakali chenda from Alankarathu Appu Marar. Then he shifted to thayambaka and learned under the strict guidance of the chenda maestro, Chandra Mannadiar. Marar mastered the intricacies of thayambaka from Peroor Gandhi Seva Sadanam and came to be known as Sadanam Divakara Marar.
The clarity of nerkol (straight beat by holding the stick perpendicular to the face of the drum) is the specialty of Divakara Marar. “Holding the stick vertically above the face of chenda in a symmetrical position, is most important,” Marar says elaborating on the strenuous training he underwent under the strict vigil of masters like Chandra Mannadiar and Appu Marar.
“That is the secret of clarity of the beats which play a crucial role in making a melam or thayambaka more attractive,” Marar observes.
Even while Marar was busy with the staging of thayambaka, kathakali chenda and other forms of traditional percussion ensemble, he was very keen to train the younger generation. He started his teaching career at RLV College of Music and Fine Arts as a kathakali chenda teacher. Later he became the Principal of Vaikkom Kshethra Kalapeetom, an art school run by Travancore Devaswom Board. After his retirement the Devaswom Board made use of his matchless skill by appointing him visiting professor.
Even in his late seventies Divakara Marar is very active as a teacher at Ernakulam Siva Kshethra Vadhya Kalalayam and Kanayannoor Vadhya Kalalayam.
Marar has a special skill to hand over the rich tradition rooted in typical Kerala rhythm to the young generation.
After recognising his teaching skill, institutions and individuals always depend on him to train the young generation in languishing temple art forms.
Marar’s deep knowledge in temple art forms like sopana sangeetham, marappani, parisha vadhyam and thimimila paani was systematically documented with the financial aid of Ministry of Cultural Affairs. “Most of the traditional percussion ensembles like parisha vadhyam and kotti paadi seva (ancient form of sopana sangeetham) have been handed over from generation to generation as an inherited art form,” Marar says. However the theoretical part of these languishing art forms is quite intricate. With an aim to document these art forms for posterity Marar started a two-year research and the Central Government has awarded a fellowship for this vast and deep study of the traditional Kerala percussion ensemble.
“Sopana sampradaayam of singing is quite different from Carnatic vocal or even kathakali sangeetham,” Marar says. It was only at a later stage ashtapadhi was added to the singing style of sopanam, Marar observes. Kottipadi seva, the earlier form of pure sopana sangeetham was designed by our great ancestors to praise the presiding deities of different temples. These compositions were popularly known as thyaanis and were in conventional keraleeya ragas like poraneera, paadi, indalam and kanakurinji.
Legendary sopanam singer the late Njaralathu Rama Poduval used to sing a song praising Thirumandhamkunnu Bhagavathy in poraneera raga which is very popular as ghanasangham. “Different baanis (schools) are there for sopana sangeetham like that of Ramamangalam baani developed by the legendary singer Shadkaala Govinda Marar, Poduvaal baani popularised by the saintly singer, the late Njaralathu Rama Pothuval, and also the Guruvayoor baani of Janardhanan Nedungadi,” Marar says.
Marar has also documented the customs to be followed by a temple artist for performing marappani and thimilapaani, which are inevitable percussion ensembles in connection with holy temple rituals ulsava bali, sree bhoota bali and various kalashams.
As a teacher Marar can boast of hundreds of disciples spread all over Kerala who can perform sopana sangeetham, parisha vadhyam and other traditional temple art forms. And now it is the turn of these disciples to honour their master with nothing less than a veera srunkhala.
sivadasvarma@gmail.com
to read the original article, please click here
Mr. Sivadasvarma for ExpressBuzz
Sadanam Divakara Marar presenting sopana sangeetham at Thamaramkulangara Sree Dharma Sastha TempleSivadas VarmaFirst Published : 23 Sep 2009 11:45:00 PM ISTLast Updated : 23 Sep 2009 10:44:21 AM IST
KOCHI: Sadanam Divakara Marar is a living encyclopedia of temple art forms, both ritualistic and artistic. Hundreds of his disciples, who attained expertise over myriad temple art forms under Marar's strict and systematic teaching, are planning to honour their guru. In a colourful function, proposed to be held on October 4, at Ernakulathappan Hall, Marar will be honoured with a veera srunkhala. Divakara Marar started his formal training under his uncles Narayana Marar and Kunjikrishna Marar. After learning the basics of the ritualistic percussion ensemble Marar learned more from Thazhathedathu Govinda Marar. Then he turned towards the Unnayiwarrier Smaraka Kalanilayam, Irinjalakuda, and learned the unique kathakali chenda from Alankarathu Appu Marar. Then he shifted to thayambaka and learned under the strict guidance of the chenda maestro, Chandra Mannadiar. Marar mastered the intricacies of thayambaka from Peroor Gandhi Seva Sadanam and came to be known as Sadanam Divakara Marar.
The clarity of nerkol (straight beat by holding the stick perpendicular to the face of the drum) is the specialty of Divakara Marar. “Holding the stick vertically above the face of chenda in a symmetrical position, is most important,” Marar says elaborating on the strenuous training he underwent under the strict vigil of masters like Chandra Mannadiar and Appu Marar.
“That is the secret of clarity of the beats which play a crucial role in making a melam or thayambaka more attractive,” Marar observes.
Even while Marar was busy with the staging of thayambaka, kathakali chenda and other forms of traditional percussion ensemble, he was very keen to train the younger generation. He started his teaching career at RLV College of Music and Fine Arts as a kathakali chenda teacher. Later he became the Principal of Vaikkom Kshethra Kalapeetom, an art school run by Travancore Devaswom Board. After his retirement the Devaswom Board made use of his matchless skill by appointing him visiting professor.
Even in his late seventies Divakara Marar is very active as a teacher at Ernakulam Siva Kshethra Vadhya Kalalayam and Kanayannoor Vadhya Kalalayam.
Marar has a special skill to hand over the rich tradition rooted in typical Kerala rhythm to the young generation.
After recognising his teaching skill, institutions and individuals always depend on him to train the young generation in languishing temple art forms.
Marar’s deep knowledge in temple art forms like sopana sangeetham, marappani, parisha vadhyam and thimimila paani was systematically documented with the financial aid of Ministry of Cultural Affairs. “Most of the traditional percussion ensembles like parisha vadhyam and kotti paadi seva (ancient form of sopana sangeetham) have been handed over from generation to generation as an inherited art form,” Marar says. However the theoretical part of these languishing art forms is quite intricate. With an aim to document these art forms for posterity Marar started a two-year research and the Central Government has awarded a fellowship for this vast and deep study of the traditional Kerala percussion ensemble.
“Sopana sampradaayam of singing is quite different from Carnatic vocal or even kathakali sangeetham,” Marar says. It was only at a later stage ashtapadhi was added to the singing style of sopanam, Marar observes. Kottipadi seva, the earlier form of pure sopana sangeetham was designed by our great ancestors to praise the presiding deities of different temples. These compositions were popularly known as thyaanis and were in conventional keraleeya ragas like poraneera, paadi, indalam and kanakurinji.
Legendary sopanam singer the late Njaralathu Rama Poduval used to sing a song praising Thirumandhamkunnu Bhagavathy in poraneera raga which is very popular as ghanasangham. “Different baanis (schools) are there for sopana sangeetham like that of Ramamangalam baani developed by the legendary singer Shadkaala Govinda Marar, Poduvaal baani popularised by the saintly singer, the late Njaralathu Rama Pothuval, and also the Guruvayoor baani of Janardhanan Nedungadi,” Marar says.
Marar has also documented the customs to be followed by a temple artist for performing marappani and thimilapaani, which are inevitable percussion ensembles in connection with holy temple rituals ulsava bali, sree bhoota bali and various kalashams.
As a teacher Marar can boast of hundreds of disciples spread all over Kerala who can perform sopana sangeetham, parisha vadhyam and other traditional temple art forms. And now it is the turn of these disciples to honour their master with nothing less than a veera srunkhala.
sivadasvarma@gmail.com
to read the original article, please click here
Thursday, February 5, 2009
Sunday, December 14, 2008
Peruvanam Kuttan Marar & Group
Peruvanam Kuttan Marar & Group playing at a Mum...
Peruvanam Kuttan Marar & Group playing at a Mumbai festival.
Kodunthirapully panchari melam by satheesan
panchari melam performed by satheesan in kodunt...
panchari melam performed by satheesan in kodunthirapully on auspicious day of mahanavami which was on october 20th 2007.
Saturday, June 28, 2008
tani Avartanam - Umayalpuram K Sivaraman & G Harishankar
Tani Avartanam - Umayalpuram K Sivaraman & G Harishankar
Tani Avartanam - Umayalpuram K Sivaraman & G Harishankar (I)
Accompanied by M. Balamuralikrishna, TN Krishnan & Vikku Vinayakaram
Tani Avartanam - Umayalpuram K Sivaraman & G Harishankar (I)
Accompanied by M. Balamuralikrishna, TN Krishnan & Vikku Vinayakaram
Thursday, June 26, 2008
Mridangam - Thaniyavartanam - Sanjay Vanen
Mridangam - Thaniyavartanam - Sanjay Vanen
14 yr old Sanjay breaks into a Tani Avarthanam with EM Subramaniam on ghatam and Sriram Gangadharan on carnatic vocal.
14 yr old Sanjay breaks into a Tani Avarthanam with EM Subramaniam on ghatam and Sriram Gangadharan on carnatic vocal.
Monday, June 23, 2008
Tani Avartanam - Srimushnam V Raja Rao & BS Purushothaman
Tani Avartanam - Srimushnam V Raja Rao & BS Purushothaman
Trio - Thani Avarthanam
Trio - Thani Avarthanam
A very young group of gr8 legends cracking a gr8 thani avarthanam......for Vocal - M L Vasanthakumari
Vocal Support - Meena Subramaniam
Violin - Kanyakumari
The three percussionists are
Mridangam - Thiruvarur Bhaktavatsalam
Khanjira - G Harishankar
Ghatam - E M Subramaniam
A very young group of gr8 legends cracking a gr8 thani avarthanam......for Vocal - M L Vasanthakumari
Vocal Support - Meena Subramaniam
Violin - Kanyakumari
The three percussionists are
Mridangam - Thiruvarur Bhaktavatsalam
Khanjira - G Harishankar
Ghatam - E M Subramaniam
Laya Ruckus - Trichy Sankaran, Zakir Hussain & G Harishankar
Laya Ruckus - Trichy Sankaran, Zakir Hussain & G Harishankar
Trichy Sankaran, Zakir Hussain & G Harishankar
* Courtesy of www.myspace.com/trichysankaran
Trichy Sankaran, Zakir Hussain & G Harishankar
* Courtesy of www.myspace.com/trichysankaran
Mridangam/Tabla Jugalbandhi
Mridangam/Tabla Jugalbandhi
Mridangam played by the late Palghat Mani Iyer.
Tabla played by Ustad Zakir Hussain.
Original video probably does not exist for this track.
Anyway it is top notch stuff.
Mridangam played by the late Palghat Mani Iyer.
Tabla played by Ustad Zakir Hussain.
Original video probably does not exist for this track.
Anyway it is top notch stuff.
Friday, June 13, 2008
Ghata Tharang- Rhythmic Rapsody - Sukanya Ramgopal
Ghata Tharang- Rhythmic Rapsody - Sukanya Ramgopal
http://www.ghatamsukanyaramgopal.com/index2.php
http://www.ghatamsukanyaramgopal.com/index2.php
Ghata Tharang- Jingling Jubiliations - Sukanya Ramgopal
Ghata Tharang- Jingling Jubiliations - Sukanya Ramgopal
Ghata Tharang- Varnam - Sukaanya Ramgopal
Ghata Tharang- Varnam - Sukaanya Ramgopal
A carnatic ghata tharang in mohanam accompanied by violin, veena, flute, miridangam and morching
A carnatic ghata tharang in mohanam accompanied by violin, veena, flute, miridangam and morching
Sunday, June 8, 2008
India's Youngest Drummer - Drum Feast
India's Youngest Drummer - Drum Feast
Drums Siddharth India's Youngest Drummer.This clipping from Drum Feast - 2006. Now he is 9 years old. for more details please visit his official website www.drumsiddharth.com
Drums Siddharth India's Youngest Drummer.This clipping from Drum Feast - 2006. Now he is 9 years old. for more details please visit his official website www.drumsiddharth.com
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