Folk Dances

Tamilnadu had developed the art of entertainment to its pristine heights at early age. The three modes of entertainment classified as Iyal (Literature), Isai (Music) and Nadagam (Drama) had their roots in the rural folk theatre like Therukoothu. Many forms of group and individual dances with the classical forms for popularity and sheer entertainment value. Majority of these dances are still thriving in Tamil Nadu today.

The more celebrated forms of village folk dances are :

Karagaattam, Kummi, Mayil Attam, Kolaattam, Oyil Kummi,  Kavadi Aattam, Poikkal Kudirai Aattam, Kai Silambu Attam, Silambattam, Chakkai Attam, Kazhai Kothu, Thappaattam, Bommalattam or Puppet Show, Bagavatha Nadanam, Theru Koothu, Devaraattam, Oyilattam, Snake Dance, Urummi Attam, Ottan Koothu, Kamandi or Kaman Pandigai, Puli Attam, Kali Attam,  Sevai Attam, Villu Pattu

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Carnatic Music

Carnatic music originated in the fertile plains of the Cauvery delta and flourished through the ages.Vaggeyakaras are the persons who composed many songs which are rendered in its original form to date. The Trinities of Carnatic Music, Saint Thyagaraja, Muthuswamy Dikshithar and Shyama Shastri were all born in Thiruvarur near Thanjavur and the songs composed by them have explored & exhibited the depth and the rich feeling in this form. The other notable composers are Patnam Subramaniya Iyer, Papanasam Sivam, Raja Swathi Thirunal, Annamacharyar, Purandaradasar,.......

The subject matter of the songs mainly dealt with the various Gods and Goddesses, extolling their lives, their virtues, reflecting the varied moods of humans like happiness, gratitude, fear, sorrow.Though Composers have also dealt with subjects like patriotism, natures bounty etc., their soul and heart were to a very great extent limited to the deities they considered prime. Music is looked upon as a means of attaining Moksha ( Salvation ).

Unnai thudhikka arul tha innisayudan
Bless me, O Lord! to praise thee through Music

Folk Music

South Indian folk music has rich aesthetic ingredients and a wide  variety. Research has revealed that it has rich aesthetic structures. Private albums and performances of folk music are drawing a wide audience. Many of the ragas of South Indian Music resembles folk music. Its interesting to note the different kinds of folk music resemble different kinds of ragas.

General classification of Folk music is listed below. 

Thaalattu (Lullaby) 
Kummy (Hand beat)  
Nadavu (Sowing in agriculture)  
Oppaari (Death rites music)  
Themmaangu (Agricultural music)  
Lavani ( Music duel)  
Fisherman's music

Unlike classical music, which is bound by certain laws and restrictions, having a definite standard and scale with 22 intervals, folk music has flexibility in its expression and has different forms depending on the region it belongs to. It is not bound by laws or any set pattern. It is characterized by peculiar expressions and emotions and has established a tradition of its own. In terms of identifying with fellow humans, their feelings and expressions, folk music is more effective than classical music.

In folk music, contrary to classical music, musical notes have less value. Poetic content and rhythm play a very important role. Folk music also has rich variety. Rhythmic aspects observed in occupations like agriculture, fishing etc., are incorporated into it.

Folk music instruments can be broadly classified into Percussion instruments, Wind instruments and String instruments. Of these three, Percussion instruments dominate over Wind instruments. String instruments are rarely used. 

Songs and lyrics of folk music portray the common life of the villagers. Except in the tribal areas, men and women are usually segregated in song, having independent repertoires and occasions for music. Women's songs, often unaccompanied, are sung at weddings, childbirth, festivals and also during agricultural and household activities. Men's songs, often accompanied at least by percussion instruments, are connected with devotional practices, particular festivals, and work .

In  most regions specialist musicians perform for  ritual, devotional, didactic, and entertainment purposes, sometimes as hereditary responsibility but often for payment in kind or money. These specialists include priests, religious mendicants, entertainers, storytellers, and theatrical troupes.

Tamil Literature

The earliest Tamil literature goes back to the Sangam period.  In ancient times, the assembly or academy of most learned men of Tamil land was called 'Sangam' and the literature produced in these assemblies is known as the Sangam literature. The compilation of the corpus of literature was accomplished over a period of three to four centuries but there is a controversy amongst scholars regarding the exact period of the Sangams. Perhaps, the Sangam period stretched from 600 BC- 200 AD. Many Tamil scholars mention about the existence of three Sangams at Madura, Kapatapuram and Northern Madura respectively. It is believed that most of the works relating to the first two Sangams dealt with music and dance. Unfortunately all the works of these two Sangams are lost, except for Tolkappiyam, which is the oldest extant grammar dating back to 500 BC. The literature of the third Sangam period mainly comprises of poems which are arranged in eight anthologies called Ettuttokoi and ten idylls called Pattuppattu. Ettuttokoi consists of Narrinai, Kuruntogai, Ainkurunuru, Padirruppattu, Paripadal, Kalittogai, Ahanuru and Purananuru. Pattuppattu consists of the following ten idylls by eight different authors: Tirumurugarruppadai, Porunararruppadai, Cirupanarruppadai, Pattinappalai, Kurincippattu, Nedunalvadai, Maduraikkanci, Malaipadukadam, Mullaippattu and Perumpanarruppadai. The third Sangam period also saw a collection of minor works called Padinen-kizhkkanakku which deals mainly with moral virtues. Among them, the most notable is Tiruvalluvar's Tirukkural or Kural, which deals with philosophy and wise maxims.  The Sangam literature, unlike the Rig Vedic texts, was secular in nature and revolved around the themes of various heroes and heroines. The Sangam literature provides very valuable information on the social, economic and political life of the people living in deltaic Tamil Nadu in the early Christian centuries.

The post-Sangam period (200-600 AD) is notable for the composition of five great Tamil epics -- Silappadikaram, Manimekalai, Jivaka-cintamani, Valaiyapati and Kundalakesi. Silappadikaram is considered to be the brightest gem of early Tamil literature.  It is an invaluable source book of ancient Tamil dance and classical music.  The other major epics produced in Tamil include Jivakachintamani or Mudiporultodarnilaiseyyul, Valaiyapati and Kundalakesi.  Besides these, the Jain authors have produced five minor works -- Yasodhara-kaviyam, Chulamani, Perunkathai, Nagakumara-kaviyam and Nilakesi.

Between 600-900 AD, the Tamil literature came under the influence of Saiva and Vaisnava saints called Nayanmars and Alvars respectively. The Saiva saints first compiled their hymns into the Devaram. The hymns of the Saiva saints were later collected into twelve anthologies called Tirumurais.  The Periya Puranam or Tiruttondar Puranam, considered as the twelfth Tirumurai, was composed by Sekkizhar (12^th century AD).  The Vaishnavaite saint Nathamuni (824-924 AD) compiled the Vaishnava hymns into four books called Divya Prabandham or Nalayira Divya Prabandham. The other Alvar saints who contributed to the Tamil religious literature include Periyalivar, Poigaialvar, Bhutattalvar, Andal (the only woman saint among Alvars) and Nammalvar.  Nammalvar's Tiruvaymozhi, the third book of Divya Prabandham, is said to be a quintessence of the Upanishads.

The Cholas were the great patrons of Tamil literature.  One of the great figures of Tamil literature, Kamban, belonged to this period.  He was the greatest of the court poets of Kulottunga Chola III (1178-1218 AD).  He adapted Valmiki's Ramayana in Tamil in his Ramakatai or Kamba Ramayanam, which is very unique in its style and technique.  He also composed other works like Erelupadu and Sathakoparandali. The other great works of this period include Ottakkuttan's Uttarakandam, Takkayagapparani and Muvarula; Pugazhendi's Nalavenba; Auvaiyar's Atticcudi, Konraivendam, Mudurai and Nalvazhi; Jayankondan's Kalingattupparani; Iraiyanar's Kalaviyal; Kalladanar's Kalladam, Aiyanar Itanar's Purapporulvenbamalai, Puttamittiranar's Viracozhiyam, Divakarar's Divakaram, Pingalar's Pingalandai and Pavananti's Nannul. Another important poet who flourished during the Chola period was Kuttan, who authored great works like Nalayirakkovai, Parani, Tukkayagapparani, Sarasvatiyandadi and Arumbaittollayiram.  Other noted scholars of the Chola period include Tirutakadevara the author of Jiwana Chintamani and Talamokti, the author of Sulamani and Venkatamadhava who wrote a commentary on Rigveda during the reign of Parantaka I.

The modern period witnessed the impact of Islam and Christianity on Tamil literature. Umaruppulavar (1605-1703 AD) was the earliest among the Muslim Tamil poets.  He composed the Sirappuranam, which is a verse narrative on the life of Prophet Muhammad.  Another work dealing with the Islamic faith was Muhaidin Puranam (1845 AD) by Mohammad Ibrahim.  Constanzio Beschi (1680-1747 AD), who adopted the pseudonym of 'Viramamunivar', wrote a classic Tembavani, on the life of Jesus Christ.

Subramanya Bharati (1882-1921 AD) was one of the greatest of Tamil litterateurs of the modern times. He is renowned for his patriotic and devotional songs and intense prose writings on contemporary social affairs.  His Panchali Sabadam is an epic poem based on a single episode of the Mahabharata.  His other great works include Kalippattu, Kannanpattu and Kuyilpattu.  The other renowned Tamil poetic works of the modern times include Meyyarivu and Padal Tirattu of V.O.Chidambaram; Malarum-malaiyum and Umarkkayyam-padalkal of Desikavinayagam; Podumai Vettal, Tamiizhan Idayam and Sankoli of Kalyanasundaram; Avalum Avanum of N.K.Ramalingam; Azhakin Sirippu, Pandiyan Parisu, Tamizhiyakkam, Kudumbavilakku, etc of Bharatidasan. Durai Manickam was another important modern Tamil poet who is credited with prolific works like Aiyai, Nurasiriyam, Koyyakkani, Ensuvai Enbatu and Paviyakkottu.  The other renowned poets of this period include M.L.Thangappa, Mudiyarasan, Ezhilmutalvan, N.Kanakaraja Iyer, A.Srinivasaraghavan, Kannadasan and Tamizhazhagan.

Paramartta Gurukathai written by Viramamunivar in the 18th century affords the earliest specimen in novel writing in Tamil.  However, Vedanayagam Pillai (1824-1889) is credited with the writing of the first novel in Tamil, Pirataba Mudaliyarcharittiram in 1875. H.A.Krishna Pillai (1827-1900) adapted John Bunyan's The Pilgrim's Progress in Tamil in his Iratcanyayattirigam. The other important works of this period include Bharatam of Perundevanar, Nandarcharittirak-kirttanaikal of Gopalakrishna Bharati, Kamalambalcharittiram of Rajam Ayyar (1896), Padmavatichaittiram of Madhaviah, Menaka and Balamani of Vaduvur Duraiswamy, Ratnapurirahasyam of A.Kuppuswamy, Mannasai and Kariyadarisi of Shankara Ram. M.Varadarajan (1912-1974) experimented with several new techniques in Tamil novels.  His famous works include Perra Manam (1953), Karittundu (1953), Ahalvilakku, Sentamarai and Mankudisai. C.N.Annadurai has two important works to his credit - Nallatambi and Rangoon Radha (1952).  Akilan won the Jnanpith Award in 1976 for his novel Chittirappavai (1968).  The other important novelist of modern times include Anuttama, Jayalakshmi Srinivasan, Kodainayaki Ammal, N.Parthsarthy, C.Subramanyam, Jayakantan and Sundaram Ramaswamy. V.V.S.Aiyar, Kalki, Pudumaippittan, B.S.Ramayya and ASP Ayyar are renowned short story writers in Tamil.

Arts and Crafts of Tamilians

Weaving

Over the ages, India has conjured up different images at different times, but one constant through the centuries has been its textiles. And one region which has always been in the picture in this regard has been Tamil Nadu. Early records speak of fine muslin and silks and hand painted calicos that the Greeks came to buy from Tamizhagam, the home of Tamil.

It was during the Sangam Age - approximately straddling a century before and after the start of the Christian era -- that silk and cotton weaving reached its zenith. Uraiyur/Karur and Madurai, situated close to the cotton fields, were major centres of weaving. They still are. Weaving was a highly regarded profession. It is said the Chola princes wore only cotton. The king's robe was of quilted cotton, with a garment worked with gold.

This is an age of Kancheepuram silks. But in earlier days, Kumbakonam and surrounding villages were the traditional silk weaving centers.

Over the centuries, many weaving traditions were lost. But with the founding of the Weavers Center in Chennai and the Kalakshetra Center, where only authentic methods and materials are used, these traditions, with careful study and research, are slowly being revived. 

The Art of Making Jewels

Jewels - these have been capturing man's heart for centuries. More than silver, the yellow metal has held man in its grip since time immemorial.

In South India, wearing of silver jewellery is mostly associated with the tribals and the rest resort to gold items only. The Chettinad (in Tamilnadu) jewellery made of uncut rubies is one of the finest. The Addigai is an important neck item also made of uncut rubies set in gold. Mangai Malai, a long necklace made of mango shaped pieces studded with uncut rubies and diamonds is another specialty of this area. Nowadays diamond jewellery has caught the fancy of the South Indian women. The Thalli, a necklace, which is worn during marriage, also has various patterns according to the community of the couple.

The women in South India are easily distinguished by their long hair, usually tied into plaits and always adorned with fresh flowers. They are also bedecked with heavy jewelry, made mostly of gold.

Stone Sculptures

The beautiful temples that dot the South Indian state of Tamil Nadu have lent the state the sobriquet of "land of temples". The glory of Tamil temple architecture reaches its pinnacle in the Meenakshi temple at Madurai. The temple with its profusion of sculpture and magnificent proportions, the thousand-pillared mandapas and the pillars of stone, towering gopurams (gateway) and larger-than-life-sized reliefs speak highly of the architectural skills of the Tamil sculptors.

South Indian sculpture is primarily realistic. The sculptor strove to create from stone an image as close to human likeness as possible - although both the feminine and masculine forms became frequently idealized.   Indian sculptors often endowed their life-like creations with  slim waists, lithe limbs and a youthful or sensuous poise.

Often, ancient and medieval Indian sculptors were also  nature-worshippers. Trees, creepers and flowers along with birds and deer are depicted with a loving grace. Abstract figurations are also to be found in the sculptors palette.

Bronze Sculpture

Tamilnadu's bronzes place them among the greatest achievements among Indian Art. A rare combination of beauty and power has culminated in a sophisticated and unique sensitivity, further emphasized by variety and range.

The art of bronze casting in Tamilnadu is strictly governed by the canons of iconography and iconometry. The measure of the bronze figure is the THALA, the distance from the forehead to the chin. The figure is prepared according to the cire perdue or lost wax method, known as the madhuchchistavidhna. The sculptors, like all other artisans of India, have inherited their knowledge and skills from their ancestors.

The image is first molded in wax, then coated in clay strengthened in ground cotton, salt and charred husk. This coating is applied three times. Then the chosen metal is heated and poured into the mould, from which the wax had been heated and removed earlier. This mould is allowed to cool, carefully broken and the image is brought out. The final touches are given by hand-the burnishing, the finishing and the perfecting of the minutest detail. The figures are generally solid although less important ones like Nandi may be hollow.

Tanjore Paintings

Tanjore paintings which depict mainly the scenes from the ancient scriptures of Hindu religion are one of the most famous style of paintings from south India. These paintings are unique due to the harmony of colours, the design and the traditional techniques used with meticulous attention to details.

Tanjore derives its name from the capital of Chola empire, Thanjavoor.This art form was developed with the patronage of the Maratha rulers in the 18th century. This type of art which is famous for its ornamental relief work flourished with the patronage of the kings. The process of making a Tanjore painting requires dedicated skilled labour.

The paintings are notable for their adornment in the form of semi-precious stones, pearls, glass pieces and gold. The rich vibrant colors, dashes of gold, semi-precious stones and fine artistic work are characteristics of these paintings. They add beauty and culture to a variety of surroundings and décor. The paintings are mostly of Gods and Goddesses because this art of painting flourished at a time when fine-looking and striking temples were being constructed by rulers of several dynasties. The figures in these paintings are large and the faces are round and divine. However, with the rebirth of this art in the twentieth century, artists in addition to recreating the original Tanjore figures are also experimenting with more proportioned figures, birds, flowers, animals, etc.

Jalli Kattu

This art of overcoming a ferocious bull is popular even today in the villages.  A bull is specifically reared for this purpose; it horns sharply honed and dreadfully dangerous.  When it is let out of the enclosure, many youth or a single youth run with it trying to overcome it by holding down its horns or climbing on its back.  This is a very dangerous activity as one hit from the sharp, pointed horns means sure death. Normally, money or gold is tied to the horns and the successful youth removes it.  At times, it is used as a method of selecting a bridegroom for a well-sought-after and beautiful bride.

In Tamilnadu, nowadays, this activity is involved in on the day after Pongal, which is known as Maatupongal or Bullocks Pongal. This is organized very efficiently at Alanganallur near Madurai.  Many tourists from all over the country and also from other countries visit the place to enjoy the fight.