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Language The origin of Kannada language, also known as kannarese, can be traced to the early Christian era. Kannada is one of the most well known Dravidian languages of India. It is as old as Tamil, the truest language of the Dravidian family. It is spoken predominantly in the state of Karnataka in India (one of the four southern states in India), though a significant number of Kannada speaking people can also be found in the other states. A good number of people speaking this language who have migrated from India live in other parts of the world such as USA, UAE, Singapore, Australia, UK, etc. It stands in the 27th place of the most spoken language in the world and there are about 35 million Kannadigas (Kanadda speaking people) in the world. It is one of the official languages of the Republic of India and the official and administrative language of the Indian state, Karnataka.
The earliest inscriptional records in Kannada are from the 6th century. Kannada script which is closely similar to Telugu script in origin. Kannada has a number of regional and social dialects and has marked distinctions between formal and informal usage. Kannada script originated from southern Bramhi lipi of Ashoka period. With time, it underwent so many changes in the reign of Sathavahanas, Kadambas, Gangas, Rastrakutas, and Hoysalas. A mixture of Telugu-Kannada scripts has been used in Kadambas of Banavasi and the early Chalukya of Badami inscriptions in the west even before the Seventh Century. In the middle of the seventh century a new variety of the Telugu-Kannada scripts was developed.
Only in the 13th century, the modern Kannada and Telugu scripts were developed. Other languages like Konkani, Kodava and Tulu use only Kannada script. The early development of the Kannada language was independent of the Sanskrit influence. However during later centuries, Kannada, like the other Dravidian languages was greatly influenced by Sanskrit in terms of vocabulary, grammar and literary style.
As such, Kannada shares a large number of structural features with other Indian language scripts. The writing system of Kannada script includes the principles that governs the phonetics and is a system of syllabic and phonemic writing. Literature The earliest inscriptional records in Kannada are from the 6th century.
We can not determine the origin of Kannada literature from early (pre 800 AD) pieces of work available now. The oldest extant book is king Nripatunga's literary critique Kavi Raja Marga (around 840AD). Jainism was a popular religion at that time and there were some Jaina poets like Srivijaya and Guna Varman. During the 10th century, a new tradition by mixing prose and verse with the campu (an Indian verse form) style was introduced.
The poets Pampa, Ponna and Ranna, known as the Three Gems of Kannada literature, extensively wrote on episodes from the Ramayana and Mahabharata and Jain legends and biographies. Then Chavunda Raya wrote the history of all the 24 Jaina tirthankaras (saintly teachers). Around the 11th century, Kannada literature experienced a setback due to invasion from Tamil kings and only a few literary works could be seen done in this period. The inscriptions of this period illustrate many variations of meters and structural variety.
These inscriptions are a wealth of information for historical data, cultural life and study of Kannada language and literature of early times. In the second half of the 12th century, Jainism was on decline and puranic Veerashaivism was gaining grounds. In the wake of veerashaiva theosophy, a very distinct phase of writing began to gain importance. A spate of literary works in praise of Lord Shiva from famous writers like Harihara, Raghavanka and Kereya Padmarasa, emerged during the 12th and 13th centuries.
The Poetess Akkamahadevi is known for her bhakti poetries. However she has advocated strongly against the religious rituals. In the meantime the Jains, too came out with legendary histories of various tirthankaras (propagators). A comparative study of contemporary religions has been done by Samayaparikshe of Brahmasiva ( c. 1150 A.D.) with his emphasis on the superiority of Jainism, the religion he followed. He is a bitter critic of all the other sects and their beliefs.
The development of poems, literary criticism, grammar, natural science and translations from Sanskrit literary works is the highlight of the 13th century. Eminent poets like Bhima Kavi, Padmanaka, Mallanarya, Singiraja and Chamarasa lived in the realm of Vijayanagara kings and have made invaluable contribution to the Kannada literature with their bhakti poetries. The Bhakti movement lasted till the 16th century.
The Ramayana, Mahabharata and Puranas were translated afresh using the folk meters, satpadi and regale. Dasa Sahithya, devotional songs of dasas (slaves of the Lord) sung in praise of God, were compiled, which formed an important part of popular literature. The renowned saints Sripadaraya (c.
1500 A.D.), Purandaradasa ( c 1540 A.D. ) and Kanakadasa form the great trinity of Vaishnava composers from Karnataka.
Ramadhanya charite written by Kanakadasa (1509-1600 A.D.) is the story of a quarrel between two cereals, paddy and ragi to establish their superiority. The verbal duel is fought before Lord Rama. Lord Rama orders for their imprisonment. After some time paddy degenerates while ragi emerges strong and sound, thus proving his superiority. The theme is unique and this concept is different. The next two centuries witnessed much literary activities.
Some of the famous works during this period are:. Bhattakalanka Deva's Karnataka Shabdaushasana (1604AD) on grammar. Sakdakshara Deva's the Rajshekhara Vilasa (1657AD), romantic campu, the historical compositions of the Wodeyar period (1650-1713AD). Nijaguna Yogi's Viveka Chintamani of Shaiva lore (mid 17th century).
Nanja Raja's Puranic works the Shiva Bhakti Mahatmya and Hari Vamsa (around 1760AD) Dramatization of Puranic tales named Yakshagana in musical form, was a novel tradition of late 18th century and this tradition paved way for a number of celebrated creations of folk poetry. Till late 19th century there was a lull in Kannada literature. Works based on Sanskrit models, like Shakuntala of Basavappa Shastri continued till the late 19th century. The Christian missionaries put in some efforts with which the Academy of Kannada Literature was set up in Bangalore in 1914.
Gradually, so many translations were made from English, Bengali and Marathi literature. Apart from the pioneers of novel writing, Kerur and Galaganatha, Shivarama Karanta, K.
Puttapa, G P Rajaratnam, Basavaraja Kattimani and Nanjanagudu Tirumalamba (the first major woman writer in modern Kannada) are some more eminent novelists worth mentioning. Nanjanagudu Tirumalamba is the first major woman writer in modern Kannada. Short story writers such as Panje Mangesha Rao and Masti Venkatesha Ayyangar made entry in this period. Kannada poetry soared to a new height with innovative poets like B. Institutions like University of Mysore, Kannada Sahitya Parishad, etc. Are doing a commendable job in pushing the Kannada literature further.
Today is Basava Jayanti – The birthday of. Basavanna is one of Karnataka’s earliest social reformers – and his writings are known as vachanas (sayings). There is a very strong likelyhood that the later day haridAsas of Karnataka were influenced by the vachanas of Basavanna and others of the 12th century. Here are some of my favorite vachanas written by Basavanna, with some of my own very rudimentary translation ? The first one tells about the desperation and longing Basavanna had for Shiva, the lord of kUDala sangama ( A place in Karnataka, where river malaprabha joins river krishna). ಚಕೋರಂಗೆ ಚಂದ್ರಮನ ಬೆಳಕಿನ ಚಿಂತೆ ಅಂಬುಜಕೆ ಭಾನುವಿನ ಉದಯದ ಚಿಂತೆ ಭ್ರಮರಂಗೆ ಪರಿಮಳದ ಬಂಡುಂಬ ಚಿಂತೆ ಎನಗೆ ಎನ್ನ ಕೂಡಲಸಂಗಮದೇವನ ನೆನೆವುದೆ ಚಿಂತೆ! The partridge bird worries about moonlight The lotus flower worries about the sunrise The bee only worries about drinking fragrant nector My only worry is to be reminiscing about you Oh my lord of kUDala sangama!
Watch Dr Vasundhara Doreswamy dance to this vachana (Pandanallur stlyle of Bharatanatya). The haunting chakravAka / Ahir Bhairav raaga greatly accents the mood of this vachana. The second vachana talks about the likes and dislikes of his lord Shiva: ನಾದಪ್ರಿಯ ಶಿವನೆಂಬರು ನಾದಪ್ರಿಯ ಶಿವನಲ್ಲ ವೇದಪ್ರಿಯ ಶಿವನೆಂಬರು ವೇದಪ್ರಿಯ ಶಿವನಲ್ಲ ನಾದವ ಮಾಡಿದ ರಾವಣಂಗೆ ಅರೆಯಾಯುಷವಾಯ್ತು ವೇದವನೋದಿದ ಬ್ರಹ್ಮನ ಶಿರಹೋಯ್ತು ನಾದಪ್ರಿಯನೂ ಅಲ್ಲ ವೇದಪ್ರಿಯನೂ ಅಲ್ಲ ಭಕ್ತಿಪ್ರಿಯ ನಮ್ಮ ಕೂಡಲಸಂಗಮದೇವ! They say Shiva loves music; No, he doesn’t. They say Shiva loves the learned; No, He doesn’t. Ravana, who made wonderful music did not lead a full life. Brahma, who learnt all the Vedas, had to lose his head.
Neither is he fond of music Nor is he fond of the Vedas Our good lord of kUDala sangama, is fond of devotion! Those who know the composition of Purandara dAsa: kELanO hari tALano, can’t but fail to notice the similarity between the two. Listen to this vachana here: The third one goes even further.
Basavanna calls his body as the temple where Shiva dwells. ಉಳ್ಳವರು ಶಿವಾಲಯವ ಮಾಡುವರು ನಾನೇನು ಮಾಡಲಿ ಬಡವನಯ್ಯ? ಎನ್ನ ಕಾಲೇ ಕಂಬ ದೇಹವೆ ದೇಗುಲ ಶಿರವೇ ಹೊನ್ನ ಕಳಸವಯ್ಯ! ಕೂಡಲಸಂಗಮ ದೇವ ಕೇಳಯ್ಯ ಸ್ಥಾವರಕ್ಕಳಿವುಂಟು ಜಂಗಮಕ್ಕಳಿವಿಲ್ಲ! Rich build temples for Shiva What can I, a poor man, do? My legs are pillars My body is the temple My head makes the golden cupola Oh, Lord of kUDala sangama The standing will perish The moving will stay on.
Watch Nachiketa Sharma sing uLLavaru shivAlayava mADuvaru, in rAga madhuvanti: I will end with another of Basavanna’s vachana that deals with music. ಎನ್ನ ಕಾಯವ ದಂಡಿಗೆಯ ಮಾಡಯ್ಯ ಎನ್ನ ಶಿರವ ಸೋರೆಯ ಮಾಡಯ್ಯ ಎನ್ನ ನರಗಳ ತಂತಿಯ ಮಾಡಯ್ಯ ಬತ್ತೀಸ ರಾಗವ ಹಾಡಯ್ಯ ಉರದಲೊತ್ತಿ ಬಾರಿಸು ಕೂಡಲಸಂಗಮದೇವ! And here is the tranlation: Make my body the fretboard, Make my head resonator Make my nerves into the strings Play intensely Oh the lord of kUDala sangama! I could not find a link for the audio or video. If you happen to know a link, please pass it on! And, if you are keen on reading more vachanas, but do not know kannaDa, here is your best bet – A collection of vachanas tranlated in English by Prof A K Ramanujam: -neelanjana.
Whenever I listen to certain Indian flautists (like Hariprasad Chaurasia or ), I hear a thur-thur-thur sound in the way they blow. This normally happens at the drut – or fast phrases. I have no better way of describing it!. You can distinctly hear the sound I am indicating by the phrase thur-thur-thur at several places. As just couple of examples, I would mark around the the 2 min 25 second, and 5 min 6 second mark, just to tell you what I am talking about. I was thinking this was a novelty of some flautists (because I don’t think every flautist uses such a technique). That was only till I came across a song that was written more than five centuries ago!
Oh boy, How wrong our inferences could be! This is a song written by, acknowledged as a pioneer in Karnataka Sangeetha.
The title of this blog happens to be the opening line (pallavi) of one of his songs. It goes like tutturu toorendu battisa raagagaLannu chittaja janaka tanna koLalallUdidanu “Krishna, the father of Manmatha, played 32 raagas on his flute with a sound of ‘thur-thur-thur’ ” Now do you see why I said this technique could not be all that new? Krishna is described by Purandara as playing his flue this way. Nobody has seen Krishna playing his flute. But Purandara must have see other flautists around his time ( 1480 AD – 1564 AD) producing such sounds on their flutes, and this of course, he has attributed to Krishna. So far so good.
But this song is also significant in other ways. Purandara dasa is said to have composed hundreds of thousands of compositions. Now, we have just over a thousand of his compositions available. Although Purandara Dasa is called as the “pitAmaha of Karnataka sangIta”, most of his original tunes are lost. There is pretty little information available on how many of his compositions were sung. However, being the musician he was, some of his compositions talk about various musical aspects, although indirectly. And this song, tutturu toorendu, is one of them.
For a long time, Indian music was supposed to have 32 major rAgas. This has showed up even prior to Purandara dAsa. (1134-1196 AD) has this in one of his vachanas (saying): ಎನ್ನ ಕಾಯವ ದಂಡಿಗೆಯ ಮಾಡಯ್ಯ ಎನ್ನ ಶಿರವ ಸೋರೆಯ ಮಾಡಯ್ಯ ಎನ್ನ ನರಗಳ ತಂತಿಯ ಮಾಡಯ್ಯ ಬತ್ತೀಸ ರಾಗವ ಹಾಡಯ್ಯ ಉರದಲೊತ್ತಿ ಬಾರಿಸು ಕೂಡಲಸಂಗಮದೇವ! Here is the text transliterated: enna kAyava daMDigeya mADayya enna shirava sOreya mADayya enna naragaLa tantiya mADayya battIsa rAgava hADayya uradalotti bArisu kUDalasangama dEva And here it is translated: Make my body the fretboard, Make my head resonator Make my nerves into the strings Sing thirtytwo rAgas Play intensely, Oh dEva.!.: Koodala sangama – A place at the confluence of Krishna and Malaprabha rivers in Karnataka. It is the same 32 raagas which Purandara dasa refers to in this song “tutturu toorendu’ too.
– “Krishna played 32 rAgas”. (battIs = 32). However, he does not list out all the 32 raagas in this song. How unfortunate for us?
First lets see what he says in one of the stanzas of tutturu toorendu: ಗೌಳ ನಾಟಿ ಆಹೇರಿ ಗುರ್ಜರಿ ಮಾಳವಿ ಸಾರಂಗ ರಾಗ ಕೇಳಿ ರಮಣಿಯರತಿ ದೂರದಿಂದ ಫಲಮಂಜರಿ ಗೌಳಿ ದೇಶಾಕ್ಷಿ ರಾಗಗಳನು ನಳಿನನಾಭನು ತನ್ನ ಕೊಳಲಲೂದಿದನು gouLa nATi AhEri gurjari mALavi sAranga rAga kELi ramaNiyarati dUradinda phalamanjari gauLi dEshAkSi rAgangaLanu naLinanAbhanu tanna koLalalUdidanu “When the maidens from listening from afar, the one with a lotus in his navel, played raagas like gouLa, nATi, AhEri, gurjari, mALavi, sAranga, phalamanjari, gouLi and dEshAkShi” So, we have the following 9 distinct rAgas listed in this song. However, it falls short of the required 32!
Phalamanjari 8. DEshakshi Luckily for us, there are at least two other songs (that I know of) in which he lists out some of the raagas (melodies) that were vouge in his time. Here is a stanza from another song that starts as ನಳಿನಜಾಂಡ ತಲೆಯ ತೂಗಿ – “naLinajANDa taleya toogi”: ಮಾರವಿ ದೇಶಿ ಗುರ್ಜರಿ ಭೈರವಿ ಗೌಳಿ ನಾಟಿ ಸಾವೇರಿ ಆಹೇರಿ ಪೂರ್ವಿ ಕಾಂಭೋಜಿ ಪಾಡಿ ದೇಶಾಕ್ಷೀ ಶಂಕರಾಭರಣ ಮಾಳವ ವರಾಳಿ ಕಲ್ಯಾಣಿ ತೋಡಿ ಮುಖಾರಿಯರಳಿ ವಸಂತ ಬೌಳಿ ಧನ್ಯಾಸಿ ಸೌರಾಷ್ಟ್ರ ಗುಂಡಕ್ರಿಯ ರಾಮಕ್ರಿಯ ಮೇಘ ಕುರಂಜಿಯು ಪಾಡಲು ನೋಡಿ! MAravi dEshi gurjari bhairavi gauLi nATi sAvEri AhEri pUrvi kAmbhOji pADi dEshAkSi shankarAbharaNa mALava varALi kalyANi tODi mukhAriyaraLi vasanta bauLi dhanyAsi saurASTra guMDakriya rAmakriya mEgha kuranjiyu pADalu nODi Now, let me list out the rAgas from here, discounting the ones that have been listed before: 10.
DEshi gurjari 12. Bhairavi gouLi nATi 13. SAvEri AhEri 14. PADi dEshAkshi 17. ShankarAbharaNa 18. SourAShTra 27. GuMDakriya 28.
RAmakriya 29. Kuranji Whew! We are so close to the magical number 32! Now, to conclude, here is a stanza from the last song – which starts as ಅಂಗನೆಯರೆಲ್ಲರು ನೆರೆದು – ’anganeyarellaru neredu’ ಪಾಡಿ ಮಲಹರಿ ಭೈರವಿ ಸಾರಂಗ ದೇಶಿ ಗುಂಡಕ್ರಿಯ ಗುರ್ಜರಿ ಕಲ್ಯಾಣಿ ರಾಗದಿ ತಂಡ ತಂಡದಲಿ ನೆರೆದು ರಂಗನ ಉಡಿಯ ಘಂಟೆ ಘಣ್ ಘಣ್ ಘಣ್ ಘಣಿರೆಂದು ಹಿಡಿದು ಕುಣಿಸುವರು pADi malhAri bhairavi sAranga dEsi guMDakriya gurjari kalyANi rAgadi taMDa taMadali neredu rangana uDiya ghaNTe ghaN ghaN ghaN ghNirendu hiDidu kuNisuvaru If you look carefully, you’ll notice there is only one name that has not appeared before. Malahari So, the internal evidence from these compositions is giving a list of 31 rAgas (probably out of the legendary 32 – this is but my speculation) that were in vogue in the 15th-16th centuries. The set of 32 rAgas was not a static list, and over the centuries, new rAgas gained popularity, and some went outdated.
The evidence from these three compositions also shows that the rAga kalyANi, was adopted by composers like Purandara Dasa, although thecontinued to shoo it away because of its foreign origins, and kept saying that the rAga is not fit for compositions for another two centuries! But the golden rule in Music is “ If it is melodious, it stays“. Kalyani has passed the test of time. Composers who came in the 18th-19th centuries explored all facets of this rAga, and today it has became one of the major rAgas of Karnataka Sangeetha.