The Tamil Padam: A Dance Music Genre of South India

Cover
Half Title
Title Page
Copyright Page
Table of Contents
List of Figures
List of Plates
Maps
Preface
Chapter 1: Introduction
	1.1: Hinduism
		1.1.1: Devi–The Goddess
		1.1.2: Saivism
		1.1.3: Murugan
		1.1.4: Vaishnavism
	1.2: The Two “Love Rajas” and Two Languages
	1.3: Padams and Dance
	1.4: Padams and Gender
	1.5: Padams and Family
	1.6: Previous Scholarship
	1.7: Goals, Methods, Limitations
		1.7.1: A Living Repertoire
	1.8: Selection of Core Group
	1.9: Synopsis
Chapter 2: Kings, Devotion, Patronage, and Padams
	2.1: Emergence of Tanjavur as a Center for the Arts
	2.2: The Colas
		2.2.1: King Raja Raja Cola, Nambi Andar Nambi, et al.
	2.3: The Nayak Period in Tanjavur
	2.4: Shift to Vaishnavite Patronage
	2.5: Nayaks of Tanjavur
		2.5.1: Sevappa
		2.5.2: Achyutappa
		2.5.3: Raghunatha
		2.5.4: Sringara Padams: Early References
		2.5.5: Vijayaraghava
		2.5.6: Padams at Court
		2.5.7: Denouement of the Telugu Nayak Line
	2.6: The Maratha Rajas of Tanjavur
		2.6.1: Venkoji/Ekoji I
		2.6.2: Sahaji I
		2.6.3: The 18th Century: A Word about Padams
		2.6.4: Serfoji I
		2.6.5: Tulaja I
	2.7: The Period of Anarchy
		2.7.1: Pratap Singh
		2.7.2: Tulaja II
		2.7.3: Reverend Schwartz
		2.7.4: Amar Singh at Tiruvidaimarudur
		2.7.5: Serfoji II
		2.7.6: Sivaji II
Chapter 3: Composers of Tamil Padams
	3.1: To Compose
		3.1.1: Changes Over Time in Melody and Text
	3.2: Biographies of Composers
	3.3: Composer: Muttuttandavar
		3.3.1: Dating His Life
		3.3.2: His Life Story
		3.3.3: Transmission of Muttuttandavar’s Songs
		3.3.4: Publication of Muttuttandavar’s Songs
		3.3.5: Early Tamil Kritis and Padams
		3.3.6: Rhythmic Aspects of His Kirttanams
		3.3.7: Without Understanding
		3.3.8: God Coming in Procession
	3.4: Composer: Papavinasa Mudaliar
		3.4.1: His Life
		3.4.2: Transmission of His Compositions
		3.4.3: Papavinasa Mudaliar and Tiruvarur
		3.4.4: His Oeuvre
		3.4.5: Flowering of Ninda Stuti
	3.5: Composer: Marimutta Pillai
		3.5.1: The Central Narrative
		3.5.2: His Work
		3.5.3: Ninda Stuti
	3.6: Composer: Uttukkadu Venkatasubba Ayyar
		3.6.1: The Village of Uttukkadu
		3.6.2: Transmission of His Songs
		3.6.3: Revival of His Compositions
		3.6.4: The Dancing Krishna
	3.7: Composer: Arunacala Kavirayar, Sirgari
		3.7.1: Story of His Life
		3.7.2: The Poet and the Musicians
		3.7.3: Arankerram (Premiere)
		3.7.4: Caveat
		3.7.5: His Work and Its Popularity
		3.7.6: The Musical Settings of His Songs
		3.7.7: Discovery of Five Additional Songs
		3.7.8: Padams and the 19th Century
	3.8: Composer: Ghanam Krishna Ayyar
		3.8.1: Kumbakonam and its Surroundings
		3.8.2: A Mid-Point Between Worlds
		3.8.3: His Youth
		3.8.4: The Ghanam Style
		3.8.5: Three Patrons and Three Songs
			3.8.5.1: Patron 1: The Moopanars at Kapistalam
			3.8.5.2: Patron 2: Raja Amara Simha at Tiruvidaimarudur
			3.8.5.3: Patron 3: Kaccirangan of Udaiyarpalaiyam
		3.8.6: Kacciranka’s Nod of Assent
		3.8.7: Padams on Vishnu and Murugan
		3.8.8: On Ranganatha of Srirangam
		3.8.9: Third Caranam of Engumayamana
		3.8.10: Murugan at Palani
		3.8.11: Murugan as the Holder of the Spear
	3.9: Composer: Kavikunjara Bharati
		3.9.1: Family and Early Life
		3.9.2: Madura Kavi Bharati
		3.9.3: The Composer at Court
		3.9.4: An Elephant Among Poets
		3.9.5: The Aragar Kuravanji
		3.9.6: His Padams: Tone, Tune And Tamil
		3.9.7: Geography and Repertoire
		3.9.8: Two Padams and Two Legends at Kunrakkudi
			3.9.8.1: Cur, the “Mango Demon”
			3.9.8.2: Valli and Devayanai, Murugan’s southern and northern wives
		3.9.9: The Kuravanji Dance Drama
	3.10: Composer: Vaidisvarankoil Subbarama Ayyar
		3.10.1: Sources
		3.10.2: “The Book”
		3.10.3: Subbarama Ayyar’s Possible Guru
		3.10.4: Subbarama Ayyar’s Possible Patrons
		3.10.5: Velur: The Place of Subbarama Ayyar’s Padams
		3.10.6: Authorship
		3.10.7: On Murugan as Muttukkumaraswami of Velur
		3.10.8: On Murugan as Kumaresar of Parani
	3.11: Composer: Gopalakrishna Bhara
	3.12: Other Songs in the Study
Chapter 4: Texts, a Quiet, Private Corner
	4.1: A System of Texts
	4.2: The Ashta Nayakis (Eight Heroines)
	4.3: Classical Tamil Poetry: Akam and Puram
	4.4: Bhakti Poetry
	4.5: An “Export and Reimport” of Erotic Bhakti?
	4.6: A Triad of Characters
	4.7: Directions of Address
	4.8: Evolution of Three-Part Structure from Two-Part Structure
	4.9: The Number of Caranams
	4.10: Progression Through the Form in Performance
	4.11: Pallavi, the Sprout: Throwing the Idea
	4.12: Anupallavi, “The Lord Whose Fame Ever Grows”
	4.13: Murugan Atop His Mountains
	4.14: Caranam: “In My Tender Youth”
	4.15: Presentation of Compositions by Group
	4.16: Discussion: A Corpus with Fuzzy Edges
	4.17: Organization of the Repertoire: The Indirect Stance
	4.18: Weaving of Akam and Puram Elements
	4.19: Conclusion
Chapter 5: The Musical Organization of Tamil Padams
	5.1: Principle of Selection of Material
	5.2: Qualities of Raga
		5.2.1: “Major” Ragas
		5.2.2: Rakti Ragas
		5.2.3: Ghana Ragas
	5.3: Varnamettu: Setting a Tune
	5.4: Autobiographical
	5.5: Astonishment at Recognizing a Phrase
	5.6: The “Border Lines”
	5.7: Product and Process in Genre
		5.7.1: Opening up the Notion of Genre
	5.8: Three Ragas
		5.8.1: Bhairavi
			5.8.1.1: The music academy of Madras
			5.8.1.2: Raga classification as a living process
		5.8.2: Kambhoji
			5.8.2.1: Yadukula Kambhoji: A fellow janya
		5.8.3: Todi
			5.8.3.1: Conservative usage
			5.8.3.2: Expanded usage
	5.9: Varnamettu in the Literature and Musicians’ Conversation
		5.9.1: Composer or Artisan
		5.9.2: Varnamettu Vis à Vis Phrase and Alapana
		5.9.3: Varnamettu and Hindustani Chalan
		5.9.4: Varnamettu and the Folk
		5.9.5: Varnamettu: A Snap Shot of Raga
		5.9.6: Varnamettu in Terukkuttu
		5.9.7: Melody and Meter in Mettu
		5.9.8: Tala in the Padams
		5.9.9: Padams Set to Multiple Talas
		5.9.10: Varnamettu Across Four Tala Cycles
		5.9.11: Music
Chapter 6: Conclusion
	6.1: Epilogue
	6.2: The Hindu of Madras
	6.3: Dance Programs
	6.4: Old and New Worlds
Bibliography
Appendices
Index