• Annanmar Katai at the World Tamil...

    This excerpt is from Brenda Beck's archival recording of the Annanmar Katai performed at the 2010 World Classical Tamil Conference held in Coimbatore, Tamil Nadu. As opposed to the traditional performance setting where there are two bards, in a village, and the audience is seen seated in proximity, this performance is different given the context of it taking place at a World Tamil Conference.

    Contexts of Performance

    The semantics of when, where, and how the performance of the epic occurs is crucial in understanding the context of this performance tradition. The Annanmar Katai typically takes place in the village, close to the temple, and a local lord invites the bards to perform the story of the two brothers. Incidentally, the context of the performance and the rituals of invitation of the bard is mentioned in a Tamil text dating back to 1925. The audience is largely local village folks seated near the bards, the small area illuminated by fire torches, and the audience sits segregated by gender, as seen in the picture.

    Udukkai and Jalra - Instruments

    The Annanmar Katai is performed in the style of Udukkai (Hourglass Drum) Pattu (Song) in which the singers use the Udukkai and a pair of finger cymbals as musical aids to their narration. The lead bard narrates while keeping time with the finger cymbals, and the assistant bard repeats end-phrases or song lines after the lead bard while playing the Udukkai. The songs are accentuated by complex rhythmic patterns played on the Udukkai in addition to introducing dramatic episodes or cinematic pauses as part of the performance. When played together during the performance, the Udukkai and the Jalra create a syncopated effect. This section describes the body of the instruments with audio examples.

    Track Information : This is a lament on losing the marks for an auspicious woman on account of being widowed.
    Performer(s) : Erucanampalayam Ramasami and Olappalayam Palanisami
    Collection : Brenda Beck Collection

    Styles of Songs

    This song is in praise of the Tamil God of war, the spear-holding Vadivela. Unlike most songs of the epic, this rendition is adjacent to classical traditions of South Indian Classical (Karnatik) music. The song to Vadivela is preceded by a typical rendition to elicit the difference between the two styles. Vinayaka and Saraswati Invocations with which the epic begins are also unlike the other compositions in the epic and are adjacent to 'Karnatik' styles of rendition.

    Track Information : A song to the Tamil God Muruga, (also called Kartikeya) son of Lord Shiva and Goddess Parvati in a style quite different from most other songs as part of this performance style.
    Performer(s) : Erucanampalayam Ramasami and Olappalayam Palanisami
    Collection : Brenda Beck Collection

  • Rhythmic Patterns

    The rhythmic aspects of the songs that are performed as part of the Annanmar Katai, offer great entry points into the world of Udukkai Playing and the myriad possibilities. The lead bard narrates while keeping time with the finger cymbals, and the assistant bard repeats end phrases or song lines after the lead bard while playing the Udukkai. The songs are accentuated by complex rhythmic patterns played on the Udukkai in addition to introducing dramatic episodes or cinematic pauses as part of the performance. When played together during the performance, the Udukkai and the Jalra create a syncopated effect.

    Track Information :
    Performer(s) : Erucanampalayam Ramasami and Olappalayam Palanisami
    Collection : Brenda Beck Collection