How certain ragas in Kathakali evoke specific emotions and serve dramatic purposes

The 9th day of the academic session at the Music Academy began with a captivating lecture by Nedumbali Ram Mohan and Meera Ram Mohan on ‘Abhinaya Sangeetham of Kathakali: Blend of Raga and Bhava’. The session explored the unique musical tradition of Kathakali, focusing on the distinctive use of ragas, emotional expression (bhava) and structural framework. He emphasized that Kathakali music is quite different from Carnatic music in both its melodic and emotional approach.

He began by discussing how certain ragas in Kathakali evoke specific emotions and serve dramatic purposes. For example, in the wisdom of Maya Malavagula, Paadi is used to portray villainous characters in romantic positions like Duryodhana and Ravana. Ram Mohan performed the Char-Kalai Padam, which is commonly used in yuddha (war) sequences or to convey veer rasa (valour). The presentation also highlighted indigenous ragas like Indalam and Kanakurunji. The latter is often used to depict helplessness, for example in scenes such as Kunti asking Bakasura for help. The presenters explained that Kathakali compositions primarily consist of padams and shlokas, in which rhythm plays an important role in shaping emotional depth.

Mohan performed the raga Dvijavanti, often associated with Yachana, which acquires a different emotional tone when presented in Madhyama Shruti. Similarly, Punnagavarali expresses grief to Hanuman as Sita’s lament, but when sung in Madhyam Shruti it changes to a more devotional mood, as demonstrated by Ram Mohan while singing a speech from the story of Sudama and Krishna. Was. He elaborates on how changes in sthira (saptak) alter the mood – for example, Bhairavi creates romance in the madhyama sthira but creates helplessness in the higher octaves. Ragas like Sahana, Senchuruti and Begada were also analyzed for their emotional versatility.

The session emphasized that Kathakali music is practical music, deeply connected to the dramatic context rather than performed in isolation. Ram Mohan demonstrated how tonal tensions and variations should be in sync with the actors’ movements. He portrayed it with the killing of Duryodhana by Bhima using Sarang raga.

The interplay of Sthayi Bhava (dominant emotion) and Sanchari Bhava (momentary emotions) were also discussed, showing how Kathakali seamlessly integrates music and drama.

During the question-and-answer session, a comment was also made from a member of the Executive Committee regarding the perception that singing for dance is inferior to proscenium singing, stressing the need to change such attitudes. V. Sriram commented that KV Narayanaswami’s practice of singing phrases in both the lower and higher octaves may have been influenced by Kathakali music, as demonstrated by the presenters. Scholar TM Krishna concluded the session by highlighting the importance of emotion and tone in Kathakali music. He drew attention to the role of non-musical notes in drama, saying that the way non-musical notes are used also conveys emotion. He also noted the denseness of literature, for example, scenes expressing veer rasa (valor) would have dense lyrics, while shringara rasa (romance) would have sparse text, paralleling human speech patterns where anger is faster. , produces rapid speech. Krishna also argued that Kathakali ragas have their own lakshana (structure) and goals (expression) that are independent of the Carnatic classification. He urged listeners to stop associating Kathakali ragas with their prominent Carnatic counterparts and recognize their unique identity. Krishna also said that the syllables of the text do not match the rhythm of the taal, to which Ram Mohan pointed out that there are markers and there are beginning and end points, but in between, the syllables/text can be sung in a free-flowing manner. Because music is immediate. An audience member requested Krishna to present Kathakali Padam in one of his concerts, to which he responded thoughtfully and emphasized the importance of respecting the aesthetic framework of Kathakali rather than imposing external interpretations.

The session provided valuable insights into the distinctive musical and dramatic world of Kathakali, highlighting its unique grammar, emotional depth and cultural significance. It also gave rise to critical thinking on preserving tradition while appreciating the influences of different styles.

Amrita Murali on various composition forms

In the second session, a lecture on ‘Changing Nature of Raga in Creative Forms’ was presented by scholar Amrita Murali. He explored how the aesthetics of raga evolve and adapt when expressed through different compositional structures. Throwing light on major forms like Geetam, Varnam, Swarajatis, Kritis, Padam, Javalis and Tillanas, Amrita provides detailed information about the ragas, their unique characteristics and treatment.

Amrita begins by discussing the Geetam, which captures the entire essence of the raga within a compact framework. Using ‘Parvati Janani’ in ‘Bhairavi’ (Khanda Matya Taala) written by Shyama Shastri, he demonstrated how the composition begins in Tara Sthira Shadjam, leaving no space between the notes and within the first two lines Embeds the broom. This dense structure captures the essence of the raga in a concise manner. He then focused on varnams, emphasizing their ability to highlight rare phrases and complex patterns. Analyzing Pachymiriyam Adiappa Iyer’s magnum opus – Viribhoni Varnam in Bhairavi, he explains how unique phrases like ‘NDMGR’; And ‘ngrndm’ defines the raga. He also said that the fourth Chittaswaram and Anubandham, which are not sung today, provide additional dimensions to the composition. Amrita emphasizes the importance of preserving traditional nuances, explaining how abandoning the anusara can weaken the identity of the raga.

Moving on to Swarajatis, Amrita examined Shyama Shastri’s Bhairavi and Yadukula Kamboji compositions, explaining how the Aarohana sequence presents ideas for raga development. He highlights the absence of the phrase ‘rmg,s’ in Yadukula Kamboji Swarajathi, which still conveys the flavor of the raga effectively. The session then focused on kritis, where accompaniments drive the progression of the raga. Amrita observed that many of Muthuswami Dikshitar’s works reject linear progression. In ‘Balagopala’ in Bhairavi, he emphasizes how the lyrical content influences the phrase formation – heavy tones for words like Drona and Duryodhana and soft jharu transitions for Draupadi. He also highlighted the Begada in Tyagaraja’s ‘Nadopasana’, noting that phrases like ‘Vishwamella’ and ‘Vidhulu Velasiri o Manasa Nadopasana’ remain intact, keeping the essence of the raga intact.

Amrita then explored Padam, focusing on ‘Indendu Vacchithina’ in Surutti, where hints of simple Gandharam enrich the melodic texture. He observed how Padam avoids repetitive metal experiments, maintaining freshness in presentation. Discussing Javalis, he pointed out their adaptability to different talas, which can change the feel of the raga. Turning to tillanas, Amrita highlighted Chinnayya’s Begada Tillana, showcasing phrases like ‘dpd grg’ and ‘rgmpdp’, which are rarely sung today.

Amrita concluded with T. Viswanathan’s version of Janaro in Khamas, celebrating the use of Kakali Nishadam. Nominee Sangeetha Kalanidhi TM Krishna presented the gist of the session. He cited the Kalyani Geetam ‘Kamalajadala’ as an example where phrases like ‘DDDD GG’ are no longer considered Kalyani at all, they are still present in older compositions. He discussed the effect of speed (kalapramanam) on gamakas, and pointed out that some gamakas have speed limits. Krishna raised an important question – whether all ragas can be transformed into all types of compositions. Referring to Shaji’s writings, he states that Ghana ragas were traditionally chosen for Taana Varnam because their melodic nature is in sync with the aesthetic form of Taana Varnam. Nevertheless, Bhairavi, which is not classified as a Ghana raga, has produced the most famous Taana Varnam.