Jaltarang

While looking through my files I came across this photo, which immediately reminded me of an evening two years back at Dakshinchitra on ECR, Chennai. I was attending the Founding Day celebrations of ABL Biotechnologies Ltd., a fast developing bio-tech company. The focal point of the function was the enthralling jaltarang performance by the lady in the photo.

Who is she? Unfortunately I don’t remember her name. Is she Seethalakshmi Doraiswamy, the octogenarian who is one of the great exponents of jaltarang? (You can read a splendid article on ‘Seetha mami’ by Hema Vijay titled ‘’And The Granny Goes To…" at http://www.boloji.com/wfs5/wfs852.htm) I plan to check with ABL Biotechnologies (must congratulate them for including such a program for their annual function) for her name, but don’t have the patience to wait till the answer comes, to post this.

Jaltarang means water waves or waves of the water. Perhaps ‘song of the waves’ would be a more appropriate translation. It is music produced by tapping China bowls (usually), filled with water to different levels, with wooden mallets to produce heavenly notes. The bowls are of different sizes. Lower octaves are produced by the larger cups and the higher octaves by the smaller ones. The tuning is done by adjusting the level of water in the bowls.

I wonder if the specific gravity of the water that is used makes a difference to the sound. Perhaps it does. For instance, a bowl filled with salt water could produce a note different from the one that has potable water. I suppose that it can be corrected by adjusting the level. Will those readers who know these things kindly share the information with others either through comments on this post or by email to me?

How many cups are used in jaltarang? It seems that the complete set is considered to be 22. But some artistes use lesser number, say 14, or 16. I suppose that each performer finds an ensemble that is best suited for him.

Jaltarang is ancient. It is mentioned in old Indian, Byzantine and Greek texts. According to Vatsyayan’s Kamasutra playing this instrument is one of the sixty-four skills a woman should acquire. It is also mentioned that Alexander the Great took jaltarang players from India to Macedonia in 4thc B.C.

The music of jaltarang is divine. Nevertheless, it has become rare these days. In fact, it was after a long time that I had a chance to listen to jaltarang at the ABL Technologies function.

Why is this instrument fading away? Historically, a language or a system dies when it becomes incapable of absorbing new developments. Is that happening to jaltarang? I am not competent to judge. Perhaps some of the readers can enlighten us.

Ends.

Photo acknowledgement: ABL Biotechnologies Ltd. Click on image for enlarged view.

Also see: Dances for the gods.

Dances for the gods.

Wherever a dancer stands ready, that spot is holy ground. - Martha Graham

Last Sunday (April 29) I was at the RK Swami auditorium near the Mylapore Temple, Chennai to watch the ‘Varshik Natyotsav’ presented by selected students of Raga Rasalaya. I attended because my granddaughter Susan Ann Isaac (12) was among the performers. It turned out to be a delightful evening.

Raga Rasalaya is a private school of dancing where a limited number of students is admitted and taught personally by the guru, Mrs. Radha Srinivasan who is a well-known exponent of the Pandanallur style of Bharathanatyam.

The program started on time with Pushpanjali and Mallari, saluting the God of dance, Guru and Mother Earth. This was followed by a prayer to Lord Ganesha and another invocation, Alarippu. Then there was a Muthuswamy Dikshithar song on Swaraswati, Goddess of Learning.

The main item of the evening was a Ragamalika, Bhavayami Raghuramam, the famous creation by Maharaja Swathi Thirunal of Travancore on Ramayana. Radha Srinivasan had choreographed it into a dance drama presenting the great epic in a nut-shell. I must say that Susan Ann performed creditably along with three senior artistes. Her role was Lakshman.

But the best part of the evening was an impromptu depiction of ‘Krishna nee begane baru’ just before the Tillana, by Radha Srinivasan. Her class was evident.

After the satiated audience left there was Drishti Puja to ward off any evil eye on the performers. This was something that I had not known about. I believe that it is a ritual carried out privately after the spectators have gone.

The image of the postal stamp and the Martha Graham quote given at the beginning of this post, are from India outside my window It is an interesting blog.

Ends.

Also see: M.S. Subbalakshni – The Queen of Song