PERIYAR 

Carnatic music is one of the two main classical music traditions of India, the other being Hindustani music. It is primarily associated with the southern part of India, particularly the states of Tamil Nadu, Kerala, Karnataka, and Andhra Pradesh, as well as parts of Sri Lanka.

The key features and aspects of Carnatic music

• Melodic System: Carnatic music is a melodic music tradition, focusing heavily on melody and intricate improvisations. Ragas (melodic frameworks) are central to Carnatic music, and each raga is characterized by a specific set of notes, ascending (Arohanam) and descending (Avarohanam) patterns, and emotional or aesthetic associations.
• Rhythmic System: Carnatic music also has a sophisticated rhythmic system known as tala. Talas are rhythmic cycles that provide the framework for rhythmic improvisation and compositions. Different talas have specific counts and patterns, and percussion instruments like the mridangam, ghatam, and kanjira play a crucial role in Carnatic music performances.
• Compositions: Carnatic music has a vast repertoire of compositions ranging from ancient Vedic chants to compositions composed by medieval composers and contemporary musicians. The compositions are typically in classical languages such as Sanskrit, Telugu, Tamil, and Kannada. Some common forms of compositions include kritis, varnams, padams, javalis, and tillanas.
• Performance Elements: Carnatic music performances often include vocalists, instrumentalists (like violin, flute, veena), and percussionists. The concert format usually includes a progression from slower, meditative pieces to faster-paced and more complex compositions. Improvisation, known as manodharma, plays a significant role, allowing musicians to showcase their creativity within the framework of ragas and talas.
• Guru-Shishya Parampara: Carnatic music is traditionally passed down through a guru-shishya (teacher-disciple) parampara. Students learn not only the technical aspects of music but also the nuances, aesthetics, and emotional depth associated with different ragas and compositions.
• Spiritual and Cultural Significance: Like Hindustani music, Carnatic music has deep spiritual and cultural roots. It is closely associated with temples, devotional music, and spiritual practices. Many compositions in Carnatic music are devotional in nature, expressing themes of bhakti (devotion) to various deities.

In Carnatic music, there are several types or categories of compositions and musical forms that contribute to its rich and diverse repertoire. 

• Kriti (or Kirtana): Kriti is one of the most important forms in Carnatic music. It is a structured composition with specific elements such as pallavi (main theme), anupallavi (second theme), and charanam (stanza). Kritis are composed in various ragas and talas and are often devotional or praise-oriented in content.
• Varnam: Varnam is a challenging and elaborate form in Carnatic music that serves as both a musical exercise and a performance piece. It combines rhythmic complexity with melodic elaboration and is used by musicians to showcase their technical prowess.
• Padam: Padam is a genre of Carnatic music that focuses on expressing deep emotions, especially love and devotion. Padams are typically slower in tempo and are known for their lyrical beauty and expressive rendition.
• Javali: Javali is a lighter form of Carnatic music that often features themes related to love, humor, or social satire. It is characterized by its lively and playful melodies and is commonly performed in dance recitals, especially in the Kuchipudi dance tradition.
• Tillana: Tillana is a rhythmic and lively composition in Carnatic music that is often performed towards the end of a concert. It showcases intricate rhythmic patterns and fast-paced melodies, providing a dynamic and energetic conclusion to the performance.
• Keertanam: Keertanam is a form of devotional music in Carnatic tradition, typically associated with Bhakti (devotion) and sung in praise of deities. Keertanams are often performed in congregational settings, where the audience participates in singing along with the lead vocalist.
• Raga Alapana: While not a separate composition type, Raga Alapana is an essential element in Carnatic music where the performer explores and elaborates on the melodic structure of a raga without rhythmic accompaniment. It is a form of improvisation that showcases the musician's understanding of the raga's nuances and emotional depth.

In the context of Hindustani classical music, the term "Gharana" refers to a lineage or school of musical thought and practice. A Gharana represents a particular style, repertoire, and approach to performing and teaching classical music that has been passed down through generations within a specific musical family or tradition.

The key points to understand about Gharanas in Hindustani music

• Lineage and Tradition: A Gharana typically traces its origins back to a founding musician or a group of musicians who established a unique musical style and technique. The teachings and musical knowledge are passed down orally from guru (teacher) to shishya (student) within the Gharana lineage.
• Distinctive Characteristics: Each Gharana is characterized by its own set of stylistic features, including nuances in melody (raga), rhythm (tala), ornamentation (gamak), improvisation (manodharma), and overall presentation. These characteristics differentiate one Gharana from another and contribute to the diversity and richness of Hindustani classical music.
• Regional and Cultural Influences: Gharanas often have regional and cultural influences that shape their musical expressions. For example, Gwalior Gharana, with its roots in the city of Gwalior, may have distinct features compared to other Gharanas like Kirana Gharana or Patiala Gharana, each associated with different geographical areas and historical contexts.
• Evolution and Adaptation: Over time, Gharanas evolve and adapt as new generations of musicians contribute to their development. While Gharanas maintain core principles and repertoire, they also incorporate innovations and creative expressions from successive generations, ensuring the continuity and relevance of the tradition.
• Significance in Training: For aspiring musicians, learning within a Gharana provides a structured framework and mentorship under experienced gurus. Students not only learn the technical aspects of music but also absorb the aesthetics, emotional depth, and interpretative nuances specific to their chosen Gharana.
• Prominent Gharanas: Some of the well-known Gharanas in Hindustani classical music include the Gwalior Gharana, Kirana Gharana, Agra Gharana, Patiala Gharana, Jaipur-Atrauli Gharana, Rampur-Sahaswan Gharana, and Banaras Gharana, among others. Each Gharana has contributed significantly to the development and preservation of Hindustani musical heritage.

• Erode Venkatappa Ramasamy  (17 September 1879 – 24 December 1973), commonly known as Periyar, also referred to as Thanthai Periyar, was an Indian social activist, and politician who started the Self-Respect Movement and Dravidar Kazhagam. 
• He is known as the ‘Father of the Dravidian Movement. He has done exemplary works against Brahminical dominance, caste prevalence and women oppression in Tamilnadu.
• E.V. Ramasamy joined the Indian National Congress in 1919 but resigned in 1925 when he felt that the party was only serving the interests of Brahmins. 
• He questioned the subjugation of non-Brahmin Dravidians as Brahmins enjoyed gifts and donations from non-Brahmins but opposed and discriminated against non-Brahmins in cultural and religious matters. In 1924, E.V. Ramasamy participated in a non-violent agitation (satyagraha) in Vaikom, Kerala.
• From 1929 to 1932 Ramasamy made a tour of British Malaya, Europe, and Russia which influenced him. In 1939, E.V. Ramasamy became the head of the Justice Party, and in 1944, he changed its name to Dravidar Kazhagam. The party later split with one group led by C. N. Annadurai formed the Dravida Munnetra Kazhagam (DMK) in 1949. While continuing the Self-Respect Movement, he advocated for an independent Dravida Nadu (land of the Dravidians).
• E.V. Ramasamy promoted the principles of rationalism, self-respect, women’s rights and eradication of caste. He opposed the exploitation and marginalization of the non-Brahmin Dravidian people of South India and the imposition of what he considered Indo-Aryan India.

The Self-Respect Movement refers to a socio-political and cultural movement that emerged in the southern Indian state of Tamil Nadu during the early 20th century. Led by prominent social reformers and thinkers like E.V. Ramasamy (popularly known as Periyar), the movement aimed to uplift and empower the marginalized sections of society, especially the Dravidian communities, and promote social justice, equality, and rationalism.

The key features and objectives of the Self-Respect Movement

• Social Reform: The movement sought to challenge and reform traditional societal norms, practices, and inequalities prevalent in Tamil society at that time. It focused on issues such as caste discrimination, gender inequality, superstitions, and religious orthodoxy.
• Anti-Caste Stand: One of the central themes of the Self-Respect Movement was its staunch opposition to the caste system and the discrimination and injustices associated with it. The movement advocated for the annihilation of caste barriers and promoted the idea of social equality and dignity for all individuals irrespective of their caste background.
• Empowerment of Dravidian Identity: The movement played a significant role in fostering a sense of Dravidian identity and pride among the Tamil-speaking people of South India. It emphasized the distinct cultural, linguistic, and historical heritage of the Dravidian civilization, countering perceived North Indian cultural dominance.
• Promotion of Rationalism: The Self-Respect Movement emphasized rational thinking, scientific temper, and skepticism towards religious dogmas, rituals, and superstitions. It encouraged people to question traditional beliefs and practices based on reason and logic.
• Women's Rights: The movement also focused on women's rights and empowerment. It advocated for gender equality, women's education, and the abolition of oppressive practices like child marriage and dowry.
• Political Impact: The Self-Respect Movement had a lasting impact on Tamil Nadu's political landscape. It laid the foundation for the Dravidian political ideology, which later gave rise to political parties such as Dravida Munnetra Kazhagam (DMK) and All India Anna Dravida Munnetra Kazhagam (AIADMK). These parties championed social justice, linguistic pride, and progressive policies in the state.
• Legacy and Influence: The ideas and principles of the Self-Respect Movement continue to influence Tamil Nadu's social, cultural, and political spheres. The movement's emphasis on social justice, rationalism, and self-respect resonates with various social reform movements across India.