KARADE MAJALU
Karade
majalu (karaDe majalu) (ಕರಡೆ
ಮಜಲು) is a popular musical ensemble practiced in almost
all regions of Karnataka. It is also referred to as karaDi majalu and karaDe
mELa in different parts of Karnataka. Musical instruments are more important in
this folk art rather than the songs that accompany them. Usually ballads with
devotional or amorous themes are sung by a solitary singer who provides ample
space for the instruments. Vachanas, the poems composed by the Shiva
Sharanas in the twelfth century are also presented during karade majalu
performances. A sculpture found in paTTadakallu depicts an artist playing
karaDe. Karade majalu performances take
place even with out this singing.
Karade majalu is one of the most
ancient folk arts in Karnataka. It is mentioned as early as the tenth century
A.D. by Ranna in his ‘Gadaayuddha’. Other poets and scholars such as Keshiraja,
Harihara, Raghavanka, Virupaksha pandita and Nayasena have described the sound
produced by Karade quite graphically. Cognate languages of Kannada such as
Tamil and Tulu have words pertaining to this art.
Karade is the main instrument used
in this performance. This instrument is manufactured with ToNapi, sIhonne or
buguri wood. It is essentially a hollow cylinder a little more than fifteen
inches in length and about eight inches in diameter. Both the sides are covered
by the goatskin. Holes are made every three inches on the circumference on both
the sides. The skin is fixed to the bole with iron rings and twine. (shivadAra) The twines are pulled tautly so that the right
sound is produced. The sticks to beat the instrument are about eight inches
long. Karade hangs sideways from the neck of the performers.
Other instruments used along with
Karade are dimmu, tALa, caugaDe, sanAdi (shehnai) and shruti box. Usually a
karade majalu troupe consists of nine persons. Six of them are
instrumentalists. Two persons play on the shehnai. Ninth person holds the
shruthi instruments. Vocal support is optional.
The members of the troupe are
dressed in a simple manner. A dhothi with green border, a light blue-green
shirt, a red waist band and a colored turban completes the attire. The artists
are supposed to maintain decorum. They are not even allowed to wear foot wear.
They have to be scrupulously clean.
This art lays a lot of importance on
the stepping. (hejjegaarike) The performers stand in particular formations and
then start playing on the instruments. There is a coordination
between the beats and the steps. The formations could be circular, half moon or
facing one another.
Karade majalu is perhaps a link
between the classical and the folk. One can discern the influence of Karnataka
style of music. Of late even Hindusthani music has made in roads in to this
art. Adi, rUpaka and tripuDe are some of the beats (tALas) used during the
performance.
This art is not associated with any
caste or region. There is nothing ritualistic about it. It is performed on
auspicious occasions and annual fairs.