Everything on earth is governed and controlled by rhythm. Man walks in a particular speed and runs in another The planets move in a particular speed The earth rotates round the sun and the moon around the earth creating day and night. To make one rotation the earth takes one day and to make one revolution around the sun, the earth takes one year. They move without any flaw with such wonderful precision. It is amazing to watch their uniform tempo or kalapramanam. The pulse rate of humans and their heartbeat follow their own speed. If there is any change in the speed, then we say that the person is unwell. Nature binds everything with a sense of rhythm called layam. Layam forms an indispensable aspect of dance. The sense of rhythm is in-born it cannot be created but of course it can be developed.
Sorkattu or sollukattu is an important aspect of layam. These are rhythmic syllables uttered while the Nritta or the pure dance sequences are performed. Sol means words and kattu means bound together. The earliest inscription on sorkattu is the one found at Arachalur. It belongs to A.D. 200 -250. It has a series of rhythmic syllables. The sorkattus fit into the kandachapu variety of talas. This inscription goes on to prove the antiquity of dance.
The syllable ta is the fulcrum of sorkattu hence we say tattakaram. There are two ways of uttering the sorkattu.
1. The tattakaram
which is used while learning the adavus. Example: theiyum thatha theiyum
A combination of adavus
or adavu korvais set to a sorkattu pattern is called a jati. There were
infinite variety of talas during the time of Ottakoothar. His book
Thakayakaparani has excerpts about jati .
An example from his compositions is as follows ---
In this way Arunagirinather has used sorkattus in his compositions. It is evident that in his time, geetha prabhandhams were popular. Arunagirinather was well versed in geetham, vadyam and prabhandham. Arunagirinather lived about 800 years after Sambandar, but he accepted Sambhandar as his guru. And he prayed to Lord Muruga to enable him to compose songs like his guru. Being a great devotee of the Lord, he could hear the sound of the anklets of the lord and would compose the sorkattus in his songs accordingly ----
He has composed innumerable songs in not only the 108 talas but also in santha talas.
Following Arunagirinather, we have Muthuthandavar [1560 -- 1640] He has used a lot of sorkattus in his songs. In his charukesi raga keerthanai adiya vedikkai pareer, the charanam has only two lines of sahithyam and the rest of the lines have sorkattu.
In the above jati we see a combination of sorkattu in the first avarthanam [avarthanam one cycle of thalam]. The second avarthanam consists of the kuraippu or lessening of words of the first avarthanam and the jati ends with a theermanam in sama yati. This is how a jati should be composed. It should contain the same combination of words. That is the entire jati should be made up of the same sorkattu .pattern.
have developed to a great extent. Very lengthy jatis with karvais [gap]
are in vogue. The dancers strike sculpturesque poses as fill up of the
karvais. The prastharams or improvisations are amazing and sometimes beyond
|ADVERTISE WITH US|
|Ganesh - Kumaresh|
|Shanta Rati Misra|
|Sunil Kant Gupta|
www.artindia.net Launched in 1998 by GS RAJAN. Inaugurated by Ustad Amjad Ali Khan.
© Art India Net. ® 1998--2007. We welcome your suggestions and comments to improve this site. Please post an e-mail to add information.
Founder/ Content Editor/ Site Construction/ Maintenance: GS Rajan, Technical Advisor: Sudhir Gandotra Hosted by Communicators - Indserve Infotech P Ltd. © ®
|ADVERTISE WITH US|