Vaagmi
0
TB women are very creative.
The display of it starts in the early morning. The number of kolams in their repertoire is so huge that you are simply enchanted looking at the intricate designs they draw in the front courtyard of their homes. One day I was watching the kolam being drawn in front of my house. It was a dot kolam or புள்ளிக்கோலம் which was being drawn. First the dots and then the connecting lines. Finally when I thought it was finished and was appreciating the beautiful drawing on the floor, a final touch was given by putting a small circle inside the one dot left in the centre. It was as if that one stroke added to the beauty of the drawing immen sely. I was instantly reminded of the darshan I had at Dwarka Sri Krishnaji Temple. In the temple there we were all standing with the crowd of devotees waiting for the alankar to be completed and the priest was taking his time. When he removed the screen and allowed us the darshan, we were simply enchanted to see the idol beautifully decorated. When we thought that that is all, the priest finally placed a quill of peacock on the kireetam of the deity and that enhanced the beauty by several fold. The final touch is very important perhaps as that gives immense satisfaction to the creative artist.
Coming back to the creativity of our women, I have heard many songs sung soul fully by our women folk. It requires a lot of understanding of the musical notes and their potential in various contexts to sing and bring out the underlying spirit of the Sahitya. Our women excel in this. I have also heard old women singing songs about the Kaliyuga slowly taking over our culture. It was in a way laughing at ourselves at our follies and weaknesses. Thus a Komuppaatti singing " கலிகாலம் முத்திப்போச்சு. உலகமெல்லாம் தலைகீழா மாறிப்போச்சு, particularly when she sang "குடுமி முடிச்சும் போச்சு.........." making fun of her husband and the toothless oldie who was smiling and enjoying the song are scenes green in my memory.
If Beethoven had seen the musical notes in colors and had mixed them to paint a picture in his mind before writing down his sonata, our women do this every day so well that it has become common place in our culture. So when I hear மாணிக்குறளனே தாலேலோ, வையமளந்தானே தாலேலோ with the stress at the right places and the right intonation in a mellifluous voice I get transported to another world.
Our women are very creative. God has created them that way.
Now the question:
Setting music for a film is a very creative effort. Coordinating the sahitya given by the lyric writer, managing an entire orchestra to play their visualised/audiofied (LOL) individual roles properly and timely and giving the song not only the meaning which matches with the context in picturisation but also the life through appropriate mixing of ragas etc., call for really tremendous amount of creativity.
The question in my mind is why we have not got yet a woman music director. We have the KV Mahadevans, Viswanathans, Ramamurthis, Ilayarajas and Rehmans. We have our Johnsons, Dakshinamurthis and others in Malayalam, We have our Shankars, Jaikishans etc., in Hindi, but not a single woman music director so far. Why? Any thoughts?
The display of it starts in the early morning. The number of kolams in their repertoire is so huge that you are simply enchanted looking at the intricate designs they draw in the front courtyard of their homes. One day I was watching the kolam being drawn in front of my house. It was a dot kolam or புள்ளிக்கோலம் which was being drawn. First the dots and then the connecting lines. Finally when I thought it was finished and was appreciating the beautiful drawing on the floor, a final touch was given by putting a small circle inside the one dot left in the centre. It was as if that one stroke added to the beauty of the drawing immen sely. I was instantly reminded of the darshan I had at Dwarka Sri Krishnaji Temple. In the temple there we were all standing with the crowd of devotees waiting for the alankar to be completed and the priest was taking his time. When he removed the screen and allowed us the darshan, we were simply enchanted to see the idol beautifully decorated. When we thought that that is all, the priest finally placed a quill of peacock on the kireetam of the deity and that enhanced the beauty by several fold. The final touch is very important perhaps as that gives immense satisfaction to the creative artist.
Coming back to the creativity of our women, I have heard many songs sung soul fully by our women folk. It requires a lot of understanding of the musical notes and their potential in various contexts to sing and bring out the underlying spirit of the Sahitya. Our women excel in this. I have also heard old women singing songs about the Kaliyuga slowly taking over our culture. It was in a way laughing at ourselves at our follies and weaknesses. Thus a Komuppaatti singing " கலிகாலம் முத்திப்போச்சு. உலகமெல்லாம் தலைகீழா மாறிப்போச்சு, particularly when she sang "குடுமி முடிச்சும் போச்சு.........." making fun of her husband and the toothless oldie who was smiling and enjoying the song are scenes green in my memory.
If Beethoven had seen the musical notes in colors and had mixed them to paint a picture in his mind before writing down his sonata, our women do this every day so well that it has become common place in our culture. So when I hear மாணிக்குறளனே தாலேலோ, வையமளந்தானே தாலேலோ with the stress at the right places and the right intonation in a mellifluous voice I get transported to another world.
Our women are very creative. God has created them that way.
Now the question:
Setting music for a film is a very creative effort. Coordinating the sahitya given by the lyric writer, managing an entire orchestra to play their visualised/audiofied (LOL) individual roles properly and timely and giving the song not only the meaning which matches with the context in picturisation but also the life through appropriate mixing of ragas etc., call for really tremendous amount of creativity.
The question in my mind is why we have not got yet a woman music director. We have the KV Mahadevans, Viswanathans, Ramamurthis, Ilayarajas and Rehmans. We have our Johnsons, Dakshinamurthis and others in Malayalam, We have our Shankars, Jaikishans etc., in Hindi, but not a single woman music director so far. Why? Any thoughts?
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