Kannada was spoken in parts of Maharastra, Andhra and Tamil

I was able to find somewhere the Linguistic Survey of India 1927 by G. A. GRIERSON CLE., Ph.D., DXitt., I.CLS. (retd.) - 1927.  (If some one sent it to me thanks I dont remember how i got it or fund it.)


So do not tell me I am chauvinistic or a fanatic! I directly quote the whole thing. The point is Kannada was spoken in Sholapur, Akalkot, Satara, Belgaum, Kolhapur, Karnool, Ananthapur, Salem, North Aroot, Coimbatore, Nilgiris 


Here is a census data from 1901 and detail accompanying it. 

"The bulk of the people whose home-tongue is Kanarese live outside the territory
included in the Linguistic Survey. The Census reports of Number of speakers- and 1901 have, therefore, been consulted in order to ascertain the number of speakers. From the various districts of the Bombay Presidency
estimates have been forwarded for the use of this Survey, as follows :—
Estimated number. Census of 1901
Kanara . 240,000 259,244
Sholapur 56,000 51,399
Akalkot 38,000 45,427
Satara 19,000 14,050
Satara Agency 6,500 4,246
Belgaum .....615,000 648,470
Kolhapur 159,000 153,058
Southern Maratha Jaghirs . . , . . . 361,500 374,520
Dharwar 861,000 916,039
Sawannr......10,800 11,793
Bijapur .......... 652,939 614,458Total . . . 3,019,739 3,092,704"


More details here:


The Linguistic Survey of India 1927: https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxyYWd1a3N8Z3g6N2QyZjAzZGE5OTZmY2Y0NQ


--Ragu Kattinakere

ಸೋಮೇಶ್ವರ ಶತಕ

ಮುಕುರಂ ಕೈಯೊಳಿರಲ್ಕೆ ನೀರ ನೆಳಲೇಕೈ ಕಾಮಧೇನಿರ್ದುಮೂ |
ಟಕೆ ಗೊಡ್ಡಾಕಳನಾಳ್ವರೇ ಗುಣಯುತರ್ ಪಾಲುಂಡು ಮೇಲುಂಬರೇ ||
ಶುಕನೋದಿಂಗುರೆ ಚೆಲ್ವೆ ಕಾಕರವ ರಂಭಾನೃತ್ಯಕಂ ಡೊಂಬರೇ|| ||

ಮುಕುರಂ ಕೈಯೊಳಿರಲ್ಕೆ ನೀರ ನೆಳಲೇಕೈ
ಕನ್ನಡಿ ಕೈಯಲ್ಲಿರುವಾಗ ಮುಖನೋಡಲು ನೀರೇಕೆ ಬೇಕು? ನೆಳಲು=ನೆರಳು, ನೀರ ನೆರಳೂ ಬೇಡ ಎನ್ನುವ ಅರ್ಥದಲ್ಲಿರಬಹುದು.

ಕಾಮಧೇನಿರ್ದುಮೂಟಕೆ ಗೊಡ್ಡಾಕಳನಾಳ್ವರೇ
ಕಾಮಧೇನು ಇರ್ದುಂ ಊಟಕೆ ಗೊಡ್ಡಾಕಳ ಆಳ್ವರೇ ? ಕಾಮಧೇನುವೇ ಇದ್ದರೆ ಯಾರಾದರು ಕರಾವಿಗೆ(ಡೈರಿ) ಬರಡು ಆಕಳನ್ನು ಇಟ್ಟು ಕೊಳ್ಳುತ್ತಾರೆಯೇ ?

ಗುಣಯುತರ್ ಪಾಲುಂಡು ಮೇಲುಂಬರೇ?
ಒಳ್ಳೆಯವರು ತಮ್ಮಪಾಲಿಗೆ ಬಂದಿದ್ದನು ಅಲ್ಲದೇ ಇನ್ನೂ ಹೆಚ್ಚು ಅಪೇಕ್ಷಿಸುವರೇ ? ಇದು ಹಾಲನ್ನು ಉಂಡಮೇಲೆ ಮತ್ತೇನು ಉಣ್ಣಬಾರದು ಎಂದು ಆಗುತ್ತದೆಯೇ? ಹೌದು ಎಂದು ಬಲ್ಲವರೊಬ್ಬರು ಹೇಳಿದ್ದಾರೆ.

ಶುಕನೋದಿಂಗುರೆ ಚೆಲ್ವೆ ಕಾಕರವ
ಶುಕನ ಊದಿಂಗೆ (ಗುಣ ಸಂಧಿ) ಉರೆ ಚೆಲುವೆ ಕಾಕರವ ? ಕಾಗೆಯ ಕೂಗು ಶುಕನ ಉಲಿತಕ್ಕಿಂತ ಚೆಲುವೆ?

ರಂಭಾನೃತ್ಯಕಂ ಡೊಂಬರೇ
ರಂಭಾನೃತ್ಯಕ್ಕೆ ಡೊಂಬರ ನೃತ್ಯ ಸರಿಸಮವೇ ? ಹಿಂದಿನ ಪ್ರಶ್ನೆ ಇಲ್ಲಿಗೂ ಅನ್ವಯವಾಗುತ್ತದೆ.
(ಡೊಂಬರಾಟ ಎನ್ನುವುದು ಜಾನಪದ ನೃತ್ಯಗಾಯನ ಪದ್ದತಿ ಎಂದು ಕೇಳಿಬಲ್ಲೆ.)

ರಾಗು ಕಟ್ಟಿನಕೆರೆ

Ignorance please!

Ignorance or pretense of being ignorant can save the day for the supposedly helpless! The literary conference in memory of great Kannada writer Seduyapu Krishna Bhatta was over. I boarded a bus from the town of Bantwala to go back to Karkala where I studied. These places are beautiful by the way and the people, very friendly but also very self respecting. There are exceptions and even heavens have drunkards! The day was well into the afternoon when a strangely clad lad got into the bus to find a place next to me. I was reading the newly bought Neeti Shataka - an ancient book on moral anecdotes but also glancing this lad next to me now and then in anticipation of something weird that I was sure would come. I could smell it, literally. He finally mumbled his way into asking me in Hindi language, 

"What is your name?".  ("Tumhara naam kya hai")

I looked at him trying to find a way out. He kept going, "Don't you know Hindi?". Suddenly I had a way out: ignorance. I immediately said "No"  in Hindi (Nahi).

You do not know Hindi?   

No.

You speak Tulu then? 

No

Ah, do you know Kannada? 

No

You mean you do not even know Kannada language? He was getting confused already. I said in Kannada, "No I do not know Kannada", of course gleefully. I do not know how one feels when this happens when drunk. He did not speak a word until he got down in a place I have hard time remembering. 

You may now be thinking this works only in India. Try this in other places you will be in trouble. Ignorance is shocking. It can shock people out of rhythm. That was case when I was walking back to my apartment from 8th Street. 8th Street is where they honk when Saskatchewan Rough Riders win Grey Cup, for instance (American Football)! It also has lot of grocery stores. Roughly about 2 km away from student apartments, this street is convenient to go to buy groceries. Summer days in Saskatoon are very pretty and calm. If the purchases are not heavy, walk is the best thing next to bicycling. What can it be when you do not have a car and when your bicycle tires are punctured: "walk is the best thing" on a "very pretty and calm day". The point is, I was not sure if the grocery bag was carrying me or I was carrying it. But only until a bunch of teen age kids seemed to be ganged up what I can now call, bit intimidatingly, by the side of the road on a public park lawn. Suddenly them seemed to have found a "pick-up line" I would say. There was some noise. I was not sure if that was some one singing (very nice!) or some siren or something else. So hazy but that was important enough for these kids. I am not a small man by even Canadian standards yet these kids to rose to the occasion to ask me "Hey, were you singing"? My eye balls were rolling allover. 

"I did not get myself into this", I said to myself. 

Were you whistling or something? 

I pulled the only arm I had besides cucumbers and lentils, and threw it at them. "I do not know".

 

What was that sound ?

I do not know

Did you say something?

I do not know

All the while I kept walking and they were still figuring out what to do. They will never figure out what to do. Trust me.

Saskatoon is not a big city but Toronto is. People, not so different.   

Havyaka Haadu - Tulasikatte Pooje - Jaanapada

This is traditional dhaati. However, this is slightly newer than what my grand mother sings.  

Why Yakshagana Bayalata Shruti is Different?

[This is a Screen Shot -Visit  http://shruti.hejje.com for Yakshashruti]

I have created a small application that allows us to use the real/authentic Yakshagana Bayalata Shruti (Visit http://shruti.hejje.com for cell phone and PC versions). There are plethora of Shruti applications over the Internet, yet there was none for Yakshagana style of music. In this post I will explain why Yakshagana Shruti application is needed and why it is different from Tanpura based Shruti used in other schools of Indian music.

A fine tuner in software can make Harmonium tunable.

In summary the reasons why Yakshagana Bayalata singers should not use Tanpura and should use Harmonium are:

• Tanpura is not a reed device - human vocal cords are reed like. Harmonium is a reed device.
• Tanpura produces notes in completely different timbre.
• Tanpura produces pure and harmonic notes. Thus, voice modulation becomes unnatural to Bayalata style. 
• Tanpura does not suit Chande sound quality well. This is because Tanpura has pure notes while Chande produces slightly off overtones (inharmonic).
• Tanpura and electronics versions use Pa, Ma and Ni notes by default forcing uninformed singers to use them.
• Tanpura note volumes do not suit Bayalata singing. The higher Sa should have higher volume as in Harmonium and Pungi.

Yakshagana Bayalata singers use Harmonium for drone or Shruti. It is obvious that Tanpura/Tamboori and Harmonium are different types of instruments: one is stringed other is reed based. However, increasingly many Yakshagana singers have started using Tanpura or Tanpura based electronic Shruti boxes instead of Harmonium. This, in my opinion, is a digression. Yakshagana Bayalata singers should not use Tanpura based Shruti boxes. This is because Yakshagana Bayalata music is different from other forms of Indian music and there is a scientific basis as to why Hormonium is used in Bayalata instead of stringed instruments.

Human voice is a result of vibrating vocal cords. You may watch a video here on how vocal cords vibrate. In other words human vocal cords are a type of reed or vibrating membranes producing sound**. Therefore a reed based instrument such as Harmonium is more likely to produce sound closer to human voice (timbre) than, for example, a stringed instrument. This may be the reason why ages ago, Bayalata singers used Pungi (Snake Charmer's pipe) for drone. Pungi is a Bamboo reed based instrument. Thus Harmonium appears to be a logical replacement for Bayalata Shruti. I have recorded and analysed Pungi, electronic Tanpura and Harmonium. I will present its analysis in another post. But for now, in summary, the spectral envelope of Tanpura is much different from that of Harmonium. Which is expected because any different sounding instrument has different envelope; spectral envelope is one of the main factors in determining timbre (nature of sound). Spectral envelope of Pungi and Harmonium are similar and bear similarity to human voice. This indicates that Harmonium may be a better drone device for Yakshagana.

This brings us to oft repeated argument that Tanpura is a better drone/Shruti device and is used in more "refined" classical music therefore Bayalata singers should also use it. There is no doubt Karnataki and Hindutani are more nuanced and much explored forms of music. Yakshagana Bayalata is also "classical" in the sense that development of Bayalata peaked in classical Kannada period. Also Bayalata is not a dedicated musical exercise but part of a theatre art. Let us leave that for now and move on to counter why Tanpura may not be best for Bayalata singing. It is obvious even to a casual viewer Tanpura sounds different and is a stringed instrument. But, Tanpura produces pure notes where its overtones are perfect harmonics (which is great for other forms of music). In layman's terms Tanpura produces only pitch closer or right on the desired musical note and notes beyond are suppressed (not produced). Whereas natural human voice, when producing a musical note, also produces other pitches consonant to note being sung. Tanpura producing only pure note is one of the reasons why it sounds different from natural human voice. This forces singers go nasal as in Karnatik music. The singers may disregard timbre to some extent as in Hindusthani music to get around this issue. In Bayalata, we do not want this to happen. One of the beauties of Bayalata singing is that singers voice resonates along with drone. In doing so singers focus on sounding deep and unnatural in a different way compared to Hindustani and Karnataki (Most singing are unnatural - remember operatic western songs).  Therefore to maintain this characteristic Yakshagana style of resonating with reed devices, singers should use a free-reed based Shruti and not a string based Shruti like Tanpura. That is not all, there is more!

Have you heard Chande drum? Chande drum is an amazing Bayalata drum. It's overtones are not harmonic (notes are not multiples - one stroke produces several different frequencies that are not very well related)! When you use Tanpura producing pure harmonic notes without any (less) in-harmonic frequency, Chande will sound less rich as well as slightly off. This is because in-harmonic drums always produce overtones slightly off of what they are tuned to unlike Tabla and Mrudanga. Tabla is almost perfect harmonic percussion instrument as demonstrated by C.V. Raman in his famous research paper on Tabla. There is a bit of intentional wrable in Mrudanga. Nevertheless,  Professor Rama Bhat of Concordia University has mentioned that he had experimented and found Mrudanga to be a perfect harmonic instrument. This shows using Tanpura is great for Karnataki but in Yakshagana we have in-harmonic drum Chande. Let us not mistake that Harmonium is in-harmonic. As the name suggests it is harmonic! However, in the note produced by Harmonium other pitches are not suppressed as much in Tanpura. I think the presence of other pitches makes Chande appear in harmony with other instruments even when it actually is slightly off. Therefore we should continue to use Harmonium in Yakshagana.

I have one last thing before I end. What about volumes of each note in a shruti or drone? Yakshagana Bayalata singing is high pitched. Heavy use of 3rd octave is a distinguishing feature of Bayalata singing. How can one do that when the 2nd octave notes in Shruti have higher volume than 3rd octave note? Harmonium's 3rd octave sounds a lot louder than 2nd octave by default which is perfect for Bayalata singing. On electronic Tanpura however, the lower Sa has equal or louder volume. Moreover, Yakshagana singers only use sa and Sa and no Pa, Ma or Ni in Shruti. Using Tanpura is not desirable because it will force more use of 2nd octave instead of 3rd octave required in Yakshagana style. 

One more appalling thing is that some electronic Shrutibox makers have started selling things that sound like old electric transformers, as Vinayak Hegde - one of my friends and my swara guru likes to put it! They are an insult to music not just to Yakshagana. Please do not use them. The application I have created helps to make the authentic Yakshagana style Shruti easily accessible to all those who have the Internet access. I hope you will like it and use it while you practice singing. Thank you: http://shruti.hejje.com/ 

PS: PC/Mobile downloadable versions are ready. Visit http://shruti.hejje.com/

http://shruti.hejje.com/

Ragu Kattinakere

Yakshamitra Toronto

** Strictly speaking vocal cords are neither strings nor reeds. However, vocal sound is closer to reed sound than sound generated by strings and physical appearance of vocal cords is closer to that of reeds as well.

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ಯಕ್ಷಗಾನ ಪದ್ಯಗಳ ಸಾಹಿತ್ಯ ಎಷ್ಟರಮಟ್ಟಿಗೆ ಶುದ್ಧವಾಗಿರಬೇಕು?

ಪೇಸ್ಬುಕ್ ನಲ್ಲಿ ನೆಡೆದ ಸಂಭಾಷಣೆಯನ್ನು ಇಲ್ಲಿ ಹಾಕಿದ್ದೇನೆ (Open Group):

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Harish Kote Subbarao ಬಹುತೇಕ ಎಲ್ಲಾ ಭಾಗವತರು "ಮಾನೀನಿ ಮಾಣಿಯೇ" ಎಂದು ಹಾಡುವುದೇಕೆ? ಹೇಳಿಕೊಡುವುದೇ ಹಾಗೋ? ಸ್ವತಂತ್ರ ಚಿಂತನೆಯ ಕೊರತೆಯೋ ಅಥವಾ ಎರಡೂ ಕಾರಣಗಳೋ?

ಪದ್ಯ ಇರುವುದು "ಮಾನಿನೀ ಮಣಿಯೆ ಬಾರೆ ಮಂಜುಳ ನಾಗವೇಣಿ" ಎಂದು. ಅದನ್ನು "ಮಾನೀನಿ ಮಾಣಿಯೇ ಬಾರೆ ಮಂಜೂಳ ನಾಗ | ವೇಣಿ.." ಎಂದು ಹಾಡುವವರೇ ಜಾಸ್ತಿ.

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Murthy Hosabale EE PADYA BAHUTeKA BHAAGAVATARU HAAdUVAAGA VIlAmBITA LAYADALLI HAAdUTTARE. TAAlAKKE HOmDISIKIllALUBeKAAGI MAANEENU MAnI ENNABAHUDU ENNUVUDU NANNA BHAAVANE.

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ನನ್ನ ಅಭಿಪ್ರಾಯ

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ನೀವು ಹೇಳಿದಂತೆ ಸಾಹಿತ್ಯಹಾಳಾಗಬಾರದು ಎನ್ನುವುದು ಸರಿ. ಆದರೆ ಮೂರ್ತಿಯವರು ಹೇಳಿದ್ದೂ ಸರಿಯಿದೆ. ಆದಿತಾಳದಲ್ಲಿ - "ಕಡ್ತಗ ತಾ ಹಸ್ತ" ಕ್ಕೆ ಹೊಂದಿಕೊಂಡು "ಮಾ ನೀ ನಿ" ಬರುತ್ತದೆ. "ಮಾನಿನಿ ಮ"ಣಿಯೆ ಎಂದರೂ ಸರಿ ಆಗುತ್ತದೆ (ಆದರೆ ನಿ ಧೀರ್ಘ ಹೋಗುವುದನ್ನು ಗಮನಿಸಿ). ಮಾ(ನಿ) ಗೆ ಮೂರನೇ ಸಪ್ತಕದ ಸ ಮತ್ತು ರಿ ಸ್ವರ ಬರುವಂತೆ ತೋರುತ್ತದೆ (ಬಿಳಿ-೭ ಶ್ರುತಿಯಲ್ಲಿ ನೋಡಿದೆ). ರಿ (ನಿ)ಯನ್ನು ಎಳೆದರೇ ದಾಟಿಗೆ ಸೌಂದರ್ಯ. ತಾಳ ಪದ್ಯದ ಮೊದಲ ಅಕ್ಷರಕ್ಕಿಂತ ಒಂದು ಮಾತ್ರೆ ಮೊದಲೇ ಆರಂಭವಾಗುತ್ತದೆ ಎಂಬುದನ್ನು ಇಲ್ಲಿ ನೆನಪಿಸಿಕೊಳ್ಳೋಣ. ಹಾಗಾಗಿ ಯಕ್ಷಗಾನದಲ್ಲಿ ತಾಳಕ್ಕಾಗಿ ಸಾಹಿತ್ಯವನ್ನು ಸ್ವಲ್ಪಹಿಮ್ಮೆಟ್ಟಿಸುವ ರೂಢಿ ಸ್ವಲ್ಪಮಟ್ಟಿಗೆ ಅನಿವಾರ್ಯ. ಕವಿಗಳ ಸಾಹಿತ್ಯಕ್ಕೂ ಅವರು ಅಂದುಕೊಂಡು ಬರೆದ ತಾಳಕ್ಕೂ ಸ್ವಲ್ಪ ಹೊಂದಾಣಿಕೆ ಕಡಿಮೆ ಇದ್ದಾಗ ಹೀಗೆ ಮಾಡಬೇಕಾಗುತ್ತದೆ. ತ್ರಿವುಡೆಯಲ್ಲಿ ಹೇಳಿದರೂ ಹೀಗೇ ಆಗುವುದು. ಶುಧ್ಧ ಸಾಹಿತ್ಯ ಬೇಕಾದರೆ ಗಮಕ ವಾಚನ ಮಾಡಬೇಕಾಗುತ್ತದೆ. ಅಲ್ಲಿ ತಾಳದ ರಗಳೆ ಇಲ್ಲ. ಆದರೆ ಅಲ್ಲೂ ಛಂದಸ್ಸಿಗಾಗಿ ಶಬ್ಧಗಳನ್ನು ಬಲಿ ಕೊಡುವ ರೂಢಿ ಇದೆ ಎನ್ನುವುದನ್ನು ಮರೆಯಬಾರದು. ಕುಮಾರವ್ಯಾಸನ ಶ್ರೀವನಿತೆಯರಸನೇ ಪದ್ಯದಲ್ಲಿ ಕೊನೆಯ ಪದ ನೆನಪಿಸಿಕೊಳ್ಳಿ ಭಾಮಿನೀ ಷಟ್ಪದಿಗೆ ಹೊಂದಿಸಲು ನಾ(ರಾ)ಯಣ ಅಪಭ್ರಂಶವಾಗಿದೆ: ಗದುಗಿನ ವೀರನಾ(ರ)ಯಣ.

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Harish Kote Subbarao

ತಥಾಕಥಿತ ತಾಳಕ್ಕಾಗಿ (?) "ಗಜಮೂಖದಾವಗೆ" ಅನ್ನುವವರನ್ನೂ ಕೇಳಿದ್ದೇನೆ....ತಾಳಕ್ಕೆ ಸರಿಯಾಗಿ, ಸಾಹಿತ್ಯಕ್ಕೂ ಸರಿಯಾಗಿ ಹಾಡಬಹುದು....may be difficult but not impossible.ಅದೆಲ್ಲ ಭಾಗವತರ ಸಾಮರ್ಥ್ಯ. ಉಡುಪಿಯಲ್ಲಿ ಪ್ರಕಟವಾದ ಹೆಚ್ಚಿನ ಹಳೆ ಪ್ರಸಂಗ ಎಡಿಟ್ ಮಾಡಿದವರು ನನ್ನ ತಂದೆ..(he is no more now) ಅವರು ಪದ್ಯ ಹಾಡಿ ರಾಗ ತಾಳಗಳು ಸಾಹಿತ್ಯ/ಭಾವ/ಸಂಧರ್ಭಗಳಿಗೆ ಸರಿ ಇದೆಯೋ ನೋಡಿ, ಬೇಕಾದ ಕಡೆ ರಾಗ ತಾಳ ಸಾಹಿತ್ಯ ಬದಲು ಮಾಡಿ, ಅಗತ್ಯ ಬಿದ್ದರೆ ಸ್ವಂತ ಪದ್ಯವನ್ನೂ ಹಾಕಿದ್ದರೆ. ಭಾಗವತರೊಬ್ಬರು "ಮಾನಿನೀ ಮಣಿಯೆ ಬಾರೆ" ಎಂದೇ ಹಾಡಿದ ಆಡಿಯೋ ನನ್ನಲ್ಲಿರಬೇಕು...ಸಾಧ್ಯವಾದರೆ ಊರಿಗೆ ಹೋದಾಗ upload ಮಾಡುತ್ತೇನೆ.

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Ragu Kattinakere ವಿಲಂಬ ಲಯದಲ್ಲಿ ಹಾಡುವಾಗ ಎದುರಾಗುವ ಸಮಸ್ಯೆಯನ್ನು ಸೋದಾಹಾರಣವಾಗಿ ಈ ಮೊದಲೇ ಹೇಳಿದ್ದೇನೆ. ಅಜ್ಞಾನ ಬೇರೆ. ಅನಿವಾರ್ಯವಾಗಿ ಸೊಗಸಿಗಾಗಿ ಶುದ್ಧತೆಯನ್ನು ಉದ್ಧೇಶಪೂರ್ವಕವಾಗಿ ಹಿಮ್ಮೆಟ್ಟಿಸುವುದು ಬೇರೆ. ಅದರಲ್ಲೂ ಸಾಹಿತ್ಯದ ಲಯಕ್ಕೂ, ತಾಳಕ್ಕೂ ಸ್ವಲ್ಪ ವ್ಯತ್ಯಾಸವಿದ್ದರೆ ಈ ರೀತಿ ಬದಲಾವಣೆ ಅನಿವಾರ್ಯವಾಗುತ್ತದೆ. ಸಮರ್ಥರೇ ಇದನ್ನು ಮಾಡಿದ್ದಾರೆ ಹಲವೊಮ್ಮೆ. ನಿಮ್ಮ ತಂದೆಯವರ ಸೇವೆ ಶ್ಲಾಘನೀಯ. ಅಂತವರಿದ್ದುದರಿಂದಲೋ ಏನೋ ಮುಖ್ಯವಾಹಿನಯ ಸಾಹಿತ್ಯಕ್ಕಿಂತ ಬಯಲಾಟದ ಪ್ರಸಂಗಗಳು ಶುದ್ಧವಾಗಿವೆ. ಅವರ ಕಳಕಳಿಯೂ ಒಳ್ಳೆಯದೇ. ಹಾಡಿಗಾಗಿ ಸಾಹಿತ್ಯ ಅಶುದ್ಧವಾಗಬೇಕು ಎನ್ನುವುದು ನನ್ನ ಅಭಿಪ್ರಾಯವಲ್ಲ.

Harish Kote Subbarao

Thanks...!! ಉದ್ದೇಶಪೂರ್ವಕ ತಪ್ಪಾಗಿ ಹಾಡುವವರನ್ನು ತಿದ್ದಲು ಸಾಧ್ಯವಿಲ್ಲ ಬಿಡಿ, ತಿದ್ದಿಕೊಳ್ಳಿ ಎಂದು ಹೇಳಿದರೂ "ನಮಗೆ ಹೇಳಲಿಕ್ಕೆ ನೀವು ಯಾರು?" ಅಂದರೆ ನಮ್ಮಲ್ಲಿ ಉತ್ತರವಿಲ್ಲ ನೋಡಿ...(ಇಂಥವರ ಮಗ ಅಂದರೂ ಅವರಿಗೆ ಸಾಲುವುದಿಲ್ಲ). ಅಜ್ಞಾನದಿಂದ ಹಾಡುವವರು ಸರಿಪಡಿಸಿಕೊಳ್ಳಬಹುದು ಎಂಬುದೇ ನನ್ನ ಆಶಯ. AP ಪಾಠಕ್ ಅವರ ವೀಡಿಯೊ ಲೋಡ್ ಮಾಡಿದವರು ಬರೆದ ಸಾಹಿತ್ಯ ನೋಡಿ.."ಮಾನೀನಿ" ಎಂದೇ ಇದೆ :). ಇಂಥದ್ದೇ ಇನ್ನೊಂದು ಉದಾಹರಣೆ "ನೋಡಿ ನಿರ್ಮಲ ಜಲ ಸಮೀಪದಿ" ಅದನ್ನು ಹೀಗೆಯೇ ತಥಾಕಥಿತ "ತಾಳಕ್ಕಾಗಿ" "ನೋಡಿ ನೀರ್ಮಲ ಜಲಸಮೀಪದಿ" ಎಂದು ಹಾಡುತ್ತಾರೆ. ತಾಳಕ್ಕಾಗಿ ಸಾಹಿತ್ಯದ ಬದಲಾವಣೆ ಅನಿವಾರ್ಯವಲ್ಲ; ಸ್ವಲ್ಪ ಗಮನ ಹಾಗು ಅಭ್ಯಾಸ ಮಾಡಿದರೆ ತಾಳ, ಸಾಹಿತ್ಯ ಹೊಂದಿಸ ಬಹುದು; ಸಾಹಿತ್ಯದಲಿರುವ ದೀರ್ಘ ಎಳೆದು ಅಥವಾ appropriate pause ಕೊಟ್ಟು.

23 November at 17:57 ·

Amruthdev Kattinakere ಚಂದ್ರಹಾಸ ಪುರಾಣಿಕರು ಸಾಹಿತ್ಯ ಶುದ್ಧವಾಗಿ ’ಮಂಜುಳ’ ನಾಗವೇಣಿ ಎಂದೇ ಹೇಳಿದ್ದಾರೆ. ಆದರೆ ಫಕ್ಕನೆ ಬರುವ ಆ ಶಬ್ದಕ್ಕೆ ಅಷ್ಟು ವೇಗವಾಗಿ ಅಭಿನಯ ಮಾಡುವುದು ಹೇಗೆಂಬುದು ಪ್ರಶ್ನೆ.

23 November at 22:46

Ragu Kattinakere

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ಇಲ್ಲಿ ತಾಳಕ್ಕೆ ಹೊಂದಿಸುವ ಅನಿವಾರ್ಯ ಎನ್ನುವುದು ಕೇವಲ ಉಧ್ಧಟತನ ಎಂದು ಭಾವಿಸಬಾರದು. ಅದು ಕೆಲವೊಂದೆಡೆ ಛಂದಸ್ಸಿನ ಅವಶ್ಯಕತೆ. ತಾಳದ ಘಾತಬರುವಲ್ಲಿ ಲಘು ಬರಬಾರದು ಬಂದರೆ ಅದು ಕೊನೆಯ ಅಥವಾ ಮೊದಲ ಮಾತ್ರೆಯಾಗಿರಬೇಕು, ಎರಡು ಲಘುಗಳು ಘಾತಬರುವಲ್ಲಿದ್ದರೂ ಇದೇ ಸಮಸ್ಯೆ. ಧಾಟಿಗೆ ಆಲಾಪನೆ ಘಾತಬರುವಲ್ಲಿ ಚಂದವಾಗುವುದಾದರೆ ಅಲ್ಲಿ ಹೃಸ್ವ, ಒತ್ತಿಲ್ಲದ ಅಕ್ಷರ ಆಥವಾ ಹೃಸ್ವಸ್ವರೀಯವ್ಯಂಜನ ಬಂದರೆ (ಲಘು) ಭಾಗವತರು ಅನಿವಾರ್ಯವಾಗಿ ಆ ಅಕ್ಷರವನ್ನು ಒತ್ತಿ/ಎಳೆದು ಹೇಳಬೇಕಾಗುತ್ತದೆ. ಹಾಗೆ ಹೇಳದೇ ಇರಬಹುದು ಆದರೆ ಅಮೃತರು ಹೇಳಿದಂತೆ ಅಭಿನಯಕ್ಕೋ, ಸೌಂದರ್ಯಕ್ಕೋ ಧಕ್ಕೆಯುಂಟಾಗಬಹುದು. ಕಲಾವಿದರಿಗೆ ಎಲ್ಲವನ್ನೂ ಗಮನದಲ್ಲಿಟ್ಟು ವ್ಯವಹರಿಸುವ ಹೊಣೆ ಇರುತ್ತದೆ. ನಾವು ಒಂದೇ ದೃಷ್ಟಿಕೋನದಲ್ಲಿ ನೋಡುವುದು ಬಹಳ ಸೀಮಿತ ಚರ್ಚೆಯಾಗಿಬಿಡಬಹುದು.

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ಬೆಳಗಾಗಬೇಕು

ಬೆಳಗಾಗಬೇಕು
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ಜಗ ಸಣ್ಣ ಮನದೊಡ್ಡ ಮರೆತವರು ಮತ್ತೆದುರು ಮೂಡಲೇಬೇಕು
ತಪ್ಪ ತಾಳೀತು ಮನ, ಒಪ್ಪಲು ಕಾಲ ಬೇಕು
ಕಪ್ಪಳಿಸಲಾರವಿಗೆ ಮೂಡಲೇ ಬೇಕು

ತಪ್ಪಲ್ಲ ಒಪ್ಪಿದರೆ ಮಾಡಿದರೊಮ್ಮೆ ಮಾತ್ರ.
ಅಪರೂಪಕೆಡವುವುದು ಸಹಜ, ಸಹಿಸಬೇಕು.
ಬೀಳದೇ ಇರುವವರು ಯಾರಿಲ್ಲ, ಬಿದ್ದವರು ಏಳಲೇಬೇಕು.

ಈ ವೇಷ ಆವೇಶ, ಅಳಿದು ತಮವಿಳಿದು ಬೆಳಗಾಗಬೇಕು.
ಮರೆತವರ ನೆನಪಾಗಿ ಮನದಗುಳಿ ಸರಿದು ಕದತೆರೆದು ಮನ ಮುದಗೊಳ್ಳಬೇಕು.
ಜಗ ಸಣ್ಣ, ಮನಸು ಮೃದುವಾಗಬೇಕು.

ಮುನಿಸಿಕೊಂಡವರ ನೆನಪು ಆಗಿಯೇ ಆಗುತ್ತದೆ. ಆದಾಗ ಎಲ್ಲ ಮರೆತು ಮತ್ತೆ ಸ್ನೇಹಿತರಾಗಬೇಕು ಎನ್ನುವುದು ತಾತ್ಪರ್ಯ.

ಮೂಡಲೇಬೇಕು = ನೆನಪಾಗೇ ಅಗುತ್ತದೆ ಎನ್ನುವ ಅರ್ಥ

ಮೂಡಲೇ ಬೇಕು = ಸೂರ್ಯ ಹುಟ್ಟುವುದು ಮೂಡಲಲ್ಲಿ ಮಾತ್ರ

*"ಈ ವೇಷ ಆವೇಶ" ಮಹಾಬಲಹೆಗಡೆ ಕೆರೆಮನೆ ಇವರ ಯಕ್ಷಗಾನದ ಮಾತುಗಾರಿಕೆಯಿಂದ ಆಯ್ದ ಪದಗುಛ್ಛ

A picture on wall

When light shines brightly on a picture hanging on wall, dust gives way to clarity. I move closer and closer as the swaying picture deflects light and slows down. I must see it. Have I not, all these years? Why see today?

Do you talk to people? Do you ask questions? Are you cool? Do you get lost? Or you can not find anything to talk when you meet people? Why? You are creative but slow! You are intelligent but only sometimes! Why?

Are you comfortable? You see things can be done. Yet, yet when you try you can only partial. Still your idea is  right. Only that it takes someone else to do it! Ah! What a torture. But you enjoy! You are so fierceful and stand for what you think is right, sometimes. You have passion that changes every hour.

All self introspecting souls one day find reality. To be at peace with it takes some churning. When all the pieces of the puzzle almost fit in, we are ready to leave. There will be a day when, what honest folks had said will sound correct and feel right. Our reflections will form a real picture of us, free from our own ego's distortion.

The light is dim now. But the ego is tired. Mind can see through little bit of dust; can really see better than eyes! I hold it firmly in my hand and bring it closer.

It is a picture of me. Oh no it is not on the wall. It is in opinions of people who know me, incomplete but closer to who actually I am. 

Kannada poet, writer B A Sanadi's Interview

ಕನ್ನಡಕ್ಕೆ ೮ನೇ ಜ್ಞಾನಪೀಠ ಬಂದಾಗ ಹಿರಿಯ ಕವಿ ಸನದಿ ಅವರು ಕಂಬಾರ ಸಾಹಿತ್ಯದ ಬಗ್ಗೆ ತಮ್ಮ ಅಭಿಪ್ರಾಯ ಹಂಚಿಕೊಂಡಿದ್ದು ಹೀಗೆ.

ಕನ್ನಡ ರಾಜ್ಯೋತ್ಸವದ ಸಂದರ್ಭದಲ್ಲಿ, ಹಿರಿಯ ಕವಿ ಸನದಿಯವರು ಯುವ ಬರಹಗಾರರಿಗೆ ನೀಡಿದ ಸಲಹೆ ಮತ್ತು ಆಡಿದ ಪ್ರೋತ್ಸಾಹದ ಮಾತುಗಳು ಇಲ್ಲಿವೆ. ಯುವಕವಿಗಳು ಸಾಹಿತಿಗಳು ನೋಡಬೇಕು: 

 

Demise of an honourable man

Is a man worth mentioning just because he is honest? In the increasingly self serving society of which I am  shamefully a part, being really honest and forthright deserves not just a mention but heart felt admiration. On the other side of the phone, my father informed me that my ailing uncle in law is no more; something I already knew. He knew it as well but he said it merely to mean some one very dear is no more.

Why does an uncle in law become so dear even when he spoke very harsh and unforgiving words? Because he would not say anything to please anyone. He would just say what is not false what must be said under ideal conditions. In short, he spoke plain truth out of concern for whom he spoke, even if it was at his own expense. He said to a man one day, my father said, "What is that you have done that you have come to ask for all things you want? Are you up to ruin the family? Get hold of yourself and leave at once to build your own life". The man heard uncle in law out and would hate him for rest of his life. But he spoke truth; no one dared to disagree. Oh yes, sometimes truth can be terribly powerful.

He did not live for himself. He worked and made life better for many families. "Everyone works for themselves, what man is a man who does not ensure better life for at least few other families? His children looked after him very well", my father said before keeping the phone down. Ele Thimmappa Kanugodu is no more.
 

ಎಲೆ ಮುರಾಂತಕ ಲಾಲಿಸೈ ಬೆಂಬಲಕೆ ಭೂಪರನೆರಹಿ ... ಶ್ರೀಕೃಷ್ಣ ಸಂಧಾನ

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