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Academic literature on the topic 'Malayalam Songs'
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Journal articles on the topic "Malayalam Songs"
1
S, Kamaraj. "Types and Forms of Folk Songs Tradition in Malayalam Literature." International Research Journal of Tamil 4, no. 1 (December 9, 2021): 32–43. http://dx.doi.org/10.34256/irjt2215.
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The folk songs have been well flourished in Malayalam Literature. The Malayalam folk songs entirely different from the Tamil folk songs. But it is fact that the structure of Malayalam Pattu has been adopted from the Tamil Literature and we could understand that the Tamil structure has been following even today. Folk songs have a special place in Malayalam Literature. Folk songs in Malayalam are categorized into community songs, Worship songs, Professional songs and celebration songs etc. This study has been analysis the Types and forms of folk songs which related to worshiped.
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Kalarivayil, Rajesh. "Dubai Letter Songs: Emotions and Migration in Kerala, India (1970s–1990s)." Contributions to Indian Sociology 57, no. 1-2 (February 2023): 98–121. http://dx.doi.org/10.1177/00699659231206688.
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In the wake of the oil boom of the 1970s, there was a large flow of migrant labour to countries in West Asia, particularly around the Persian Gulf. ‘Gulf migration’ from the 1970s to the 1990s has had a huge impact on social, economic, cultural and political life, particularly in Kerala, a state in southern India. This article investigates the shaping of emotions over migration and how the representation of migrant subjectivities is anchored in the region’s social and cultural history. By analysing the popular Malayalam musical composition Dubai Kathupattu (Dubai Letter Songs, or the Songs) and the composer’s writings and media interviews, this article locates the Songs in Kerala’s sociocultural history and its resonance in the author’s social self. Malayali aesthetics, values and norms are dictated by the hegemonic Nair caste knowledge and practices. I argue that the Songs mirror the anxieties of Malayali society over migration and expose the emotionalisation process at work in Kerala in the late 20th century.
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A, Precilla. "Development of Pattu Literature in Malayalam." International Research Journal of Tamil 4, S-8 (August 20, 2022): 414–20. http://dx.doi.org/10.34256/irjt22s857.
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After the ruling of three kings Chera, Chola and Pandiya of the Chera dynasty, the people, small land kings, land lords and many other Political changes are happening. Due to various political interventions Kerala has been identified by various cultural, literature changes. When we search the literature works of ancient times in Kerala, it is noticeable that, they are flourished through the Sangham literature. When we explore the literary development of Kerala from north to south in every time period, various literature and literacy walks has been located. Among that, the effect of Tamil language had been seen directly or indirectly. When we try to investigate the history of Malayalam literature, the growth of poetic approach of literature has been identified into three major segments. They are: 1) Pattu (2) Manipravalam (3) Folk songs. The “Pattu” literature is the account of Tamil poem which are found in respective regional linquistics. Later on, in the 8th century A.D., “Manipravalam songs” that are assorted as a distinct language from the influence of absolutely different forms from both of them, “Folk songs” took place called Vadakkan Pattu and Thekkan Pattu. We can find Proto-Dravidian features in Sangam literature. After that this aspect focuses in folk literature now. The heroic poetry of Tamil folk literature is available in both Tamil Malayalam languages. They are detected in a way that reveal the specialties of the Malayalam and Tamil languages. Thus, the purpose of this article is to analyze the history of Pattu literature categorization in the Malayalam literature.
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Cheerangote, Sayed Saidalavi. "An Analysis of the Outcomes of Language Contacts: with Specials Reference to Arabi-Malayalam." JL3T (Journal of Linguistics, Literature and Language Teaching) 8, no. 2 (December 31, 2022): 56–68. http://dx.doi.org/10.32505/jl3t.v8i2.5004.
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Until the 20th century, the AM script was extensively used to teach religious literature and for creative expressions among Mappilas (Muslims in Malabar) in Kerala. Most of the Mappila songs were written in AM script. The literary tradition of Mappila Muslims of Malabar is evident in the AM literature that includes Romantic Ballads, Folk Tales and Battle Songs. AM periodicals had an important role in the social reformation of the Mappilas. Several periodicals were published in AM language to preach the basic tenets of Islam to the commoners and to make them aware of the evil practices and superstitions existed in those days. This study treats AM as a contact language and it aims at isolating the contact induced elements in AM. The empiric foundation of the present study is the extensive data collected from AM literature representating different period and from different genres. The works used for data collection were Mohiyudheen Maala (1607 A D), Nool Maduhu (1737 AD), The Padappattu (War Songs) of Moyeen Kutty Vaidyar (1852AD to 1892 AD), and Chaar Dharwesh (1883 AD). The results of this study indicate that there are various borrowing patterns of grammar that occur in ARABI-MALAYALAM language contacts such as; Coordinating Conjunctions, Number Markers, Adjectives etc.
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Moncy, Anitta Anna. "The Myth of Resurrection: Reimagining Mahabali through the Semiotics of Select Folk Songs." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 28, 2021): 209–324. http://dx.doi.org/10.24113/ijellh.v9i5.11068.
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Written history, being the vehicle of dominant or hegemonic culture, often neglects sub cultural art forms whereas oral or folk culture acts as a reservoir of residual cultural practices. When written history is narrated, unwritten history is sung or performed. The importance of regional folk songs in delineating the subtleties of a particular culture can never be overlooked. Folk songs carry the emotions of the era as well as their associated sociocultural practices.
Mahabali is the central mythical hero of a very prominent traditional festival of Kerala- Onam. Conceptual pluralities in the history of onam festival stand in the way of explaining onam in a unidimensional fashion. Yet, the popular myth goes like this- Mahabali (affectionately called by people as 'Maveli'), the benevolent asura king rules his land in abundance, peace and prosperity, with no instances of theft or murder.
Jealous of King Mahabali's popularity and his power, the Gods conspired to end his reign. They sent Lord Vishnu to earth in the form of a dwarf Brahmin (Vamanan) who trampled Mahabali to the netherworld. But Lord Vishnu granted the king's sole wish i.e. to visit his land and people once every year. This visit is celebrated as onam festival in the Malayalam month of Chingam .
The just and noble Mahabali in the myth is not just a symbol of peace and prosperity, but a true image of resurrection from oppression, as the history of Kerala would like to tell. Myths and folklore depicts the hope of a generation. This paper tries to probe into the intricacies of the Mahabali myth through select Malayalam folk songs, to bring out the essence of that hope.
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Buckley, Thea. "V. Sambasivan’s populist Othello for Kerala’s kathaprasangam." Indian Theatre Journal 5, no. 1 (August 1, 2021): 9–27. http://dx.doi.org/10.1386/itj_00013_1.
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Through the verve and beauty of V. Sambasivan’s (1929‐97) recitals for Kerala’s kathaprasangam temple art form, performed solo onstage to harmonium accompaniment, Shakespeare’s Othello has become a lasting part of cultural memory. The veteran storyteller’s energetic Malayalam-language Othello lingers in a YouTube recording, an hour-long musical narrative that sticks faithfully to the bones of Shakespeare’s tragedy while fleshing it out with colourful colloquial songs, verse, dialogue and commentary. Sambasivan consciously indigenized Shakespeare, lending local appeal through familiar stock characters and poetic metaphor. Othello’s ‘moonless night’ or ‘amavasi’ is made bright by Desdemona’s ‘full moon’ or ‘purnima’; Cassio’s lover Bianca is renamed Vasavadatta, after poet Kumaran Asan’s lovelorn courtesan-heroine. Crucially, Sambasivan’s populist introduction of Othello through kathaprasangam marks a progressive phase where Marxism, rather than colonialism, facilitated India’s assimilation of Shakespeare. As part of Kerala’s communist anti-caste movement and mass literacy drive, Sambasivan used the devotional art form to adapt secular world classics into Malayalam, presenting these before thousands of people at venues both sacred and secular. In this article, I interview his son Professor Vasanthakumar Sambasivan, who carries on the family kathaprasangam tradition, as he recalls how his father’s adaptation represents both an artistic and sociopolitical intervention, via Shakespeare.
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Weidman, Amanda. "Stigmas of the reality stage." Indian Theatre Journal 6, no. 1 (August 1, 2022): 11–23. http://dx.doi.org/10.1386/itj_00024_1.
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This article focuses on the symbolic work around gender accomplished by singing reality shows in South India. Examining moments from Tamil-, Malayalam- and Telugu-language reality shows aired in the 2010s, and using ethnographic research conducted during the shooting of episodes of one of these popular reality shows, Airtel Super Singer Junior, in Chennai from the early 2010s, it shows how, through the reality shows’ staging and contest format, contestants are subjected to different and often conflicting regimes of evaluation. While the shows’ emphasis on performance and visual presentation and consumption is certainly a factor in the way the shows manage these conflicting pressures, equally as important are the different ways that talk about and around the performance functions, both to increase the cultural capital of singing film songs and to create entertainment value, producing unscripted, seemingly ‘spontaneous’ moments that catch the contestants and judges off guard. Talk functions to reduce stigma in some places while amplifying it in others. While elevating the cultural capital of a formerly ‘lowbrow’ domain, these shows simultaneously place the singer in an increasingly precarious position, producing distinctly gendered stigmatizing effects for both the female contestants and the playback singers who serve as judges.
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Sobers-Khan, Nur, Layli Uddin, and Priyanka Basu. "Beyond Colonial Rupture: Print Culture and the Emergence of Muslim Modernity in Nineteenth-Century South Asia." International Journal of Islam in Asia 3, no. 1-2 (September 14, 2023): 1–20. http://dx.doi.org/10.1163/25899996-20230010.
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Abstract Scholarly discussions on Islam in print have focused predominantly on the role of Urdu in the development of North Indian Muslim publics (Dubrow, 2018; Robb, 2020), ʿulama and Islamic jurisprudence (Tareen, 2020) and relations between Islam and colonial modernity (Robinson, 2008; Osella & Osella, 2008) This special issue instead offers fine-grained investigations on technology and labour; print landscapes, networks and actors; subaltern languages; and popular Islam. We critique the idea of an “epistemic rupture” brought about by colonial modernity, providing a more systematic analysis of continuities and changes in Islamic knowledge economy. Examining two centuries of print authored by South Asian Muslims, the articles in the issue provide new ways of thinking about questions of knowledge production, distribution, circulation and reception. The issue broadens the scope of earlier scholarship, examining genres such as cosmology, divination, devotional poems, salacious songs, romances and tales of war in Urdu, Persian, Arabic, dobhāṣī do Bangla, Arabic Malayalam, Sindhi, Balochi and Brahui. The articles show the different ways that pre-colonial practices and cultures of writing and reading persisted in the print landscape, in terms of copying, adaptation, translation and circulation of texts. They inquire into new technologies, labour and networks that evolved, and how it provided fertile ground for both new and traditional forms of religious activities and authorities. The articles present new Muslim publics, geographies, and imaginaries forged through the vernacularisation of Islam, and their relationship to the transnational or global community.
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Chatterjee, Sebanti. "Performing Bollywood Broadway: Shillong Chamber Choir as Bollywood’s Other." Society and Culture in South Asia 6, no. 2 (July 2020): 304–27. http://dx.doi.org/10.1177/2393861720923812.
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This article attempts to explore the performativity that surrounds choral music in contemporary India. 1 1 Choral music was discovered in Western civilization and Christianity. As a starting point, it had the Gregorian reforms of the 6th century. Choir primarily refers to a vocal ensemble practising sacred music inside church settings as opposed to chorus which indicates vocal ensembles performing in secular environments. Multiple singers rendered sacred polyphony 1430 onwards. By the end of the century a standardized four-part range of three octaves or more became a feature. The vocal parts were called superius (later, soprano), altus, tenor (from its function of ‘holding’ the cantus-firmus) and bassus (Unger 2010, 2–3). Moving beyond its religious functions, the Shillong Chamber Choir locates itself within various sounds. Hailing from Meghalaya in the north- eastern part of India, the Shillong Chamber Choir has many folksy and original compositions in languages such as Khasi, Nagamese, Assamese and Malayalam. However, what brought them national fame was the Bollywoodisation 2 2 Bollywood refers to the South Asian film industry situated in Mumbai. The term also includes its film music and scores. of the choir. With its win in the reality TV Show, India’s Got Talent 3 3 India’s Got Talent is a reality TV series on Colors television network founded by Sakib Zakir Ahmed, part of Global British Got Talent franchise. in 2010, the Shillong Chamber Choir introduced two things to the Indian sound-scape—reproducing and inhabiting the Bollywood sound within a choral structure, and introducing to the Indian audience a medley of songs that could be termed ‘popular’, but which ultimately acquired a more eclectic framework. Medley is explored as a genre. The purpose of this article is to understand how ‘Bollywood Broadway’ is the mode through which choral renditions and more mainstream forms of entertainment are coming together.
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K, Arumugam. "The Legends and History of the Javadi Hills People." International Research Journal of Tamil 4, S-10 (August 10, 2022): 1–6. http://dx.doi.org/10.34256/irjt22s101.
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Javadi Hills is the eastern chain of hills comprising Vellore district, Thiruvannamalai district, and Tirupattur district. The people living in these hills call themselves Malayalis. They have nothing to do with the Malayalis living in the state of Kerala. They live in the hills of Yelagiri Hill, Kolli Hills, Sitheri Hills, and Pachaimalai Hills in Tamil Nadu. But marriages happen between the people of these hill areas. They are the majority of the 37 tribes in Tamil Nadu. One hundred and four villages (184) in fourteen panchayats on this hill are the domains of this study. These Malayalis tell folktales as songs and stories. It can be seen that the custom of telling this as stories by men and songs by women can be seen. And they do not tell these stories all the time. It is noteworthy that they sing only during festivals or among researchers who conduct research on this community. Similarly, this review article explains that the songs narrating stories related to them are in circulation only among a few senior tribal people.
Books on the topic "Malayalam Songs"
1
Jōṇ, Mar̲iyāmma. Māṇikkaṃ peṇṇȧ. Caṅṅanāśśēri, [Kerala]: Mānuṣaṃ Pr̲asiddhīkaraṇaṃ, 1998.
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2
Menon, Kalpalli Pulapra Sankunni. Kathakaḷiyāṭṭapr̲akāraṃ. 2nd ed. Cer̲uturutti, Kerala: Kēraḷa Kalāmaṇdhalaṃ, 1989.
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3
Vi, Viṣṇunampūtiri Eṃ. Kōtāmmūri. Tiruvanantapuraṃ: Kēraḷa Bhāṣā Inst̲it̲t̲yūṭṭ, 1985.
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4
Vi, Viṣṇunampūtiri Eṃ. Poṭṭānāṭṭaṃ. [Kārantat̲t̲ȧ, Kēraḷa]: Eṃ. Vi. Viṣṇunampūtiri, 1996.
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Viṣṇunampūtiri, Eṃ Vi. Vaṭakkanpāṭṭukathakaḷ: Oru paṭhanaṃ. [Kōṭṭayaṃ]: The Author, 1995.
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6
Āra, Eleṭama Ena. Kerala kī saṃskr̥ti para Kerala ke lokagītoṃ kā prabhāva. Mathurā: Javāhara Pustakālaya, 1991.
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Eleṭama, Ena Āra. Kerala kī saṃskr̥ti para Kerala ke lokagītoṃ kā prabhāva. Mathurā: Javāhara Pustakālaya, 1991.
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8
Vi, Viṣṇunampūtiri Eṃ, ed. Vaṭakkanpāṭṭukathakaḷ. Kōl̲ikkōṭ: Pūrṇa Pabḷikkēṣansks, 2006.
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Pur̲akkāṭ, Candran. Akṣaravīṇa: 51 laḷitagānaṅnṅkaḷ. Kōt̲t̲ayaṃ: [Candran Pur̲akkāṭ], 2005.
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