Hailing from a family of musicians in Mundaya, a sleepy village near Shoranur in Palakkad district, Venkitakrishna initially trained in Kathakali under Moothedath Vasudevan Namboodiri. After performing a few female roles, he quit to pursue vocal music under the same guru. Along with his brothers, Raman and Shankaran, he trained in Carnatic music too and by age 20 Venkitakrishna became prominent as the principal vocalist on the Kathakali stage. He came to be known as Venkitakrishna Bhagavathar in the cultural circles of central Kerala. According to art historian K.P.S. Menon, his training in acting was instrumental in shaping his career as a successful vocalist.,soccerway umeawin bet win
The former demands adherence to the rhythm and tempo of every padam while in the latter the vocalists have to keep in mind the characters as well. Venkitakrishna blended both these qualities in his singing.,blackjack 3 to 2
He introduced a host of Carnatic ragas which were new to the vocal music tradition of Kathakali. The conservatives raised their eyebrows when they first heard ragas such as Khamas, Darbar, Kapi, Sindhubhairavi, Chenchurutti and Nattakurunji. He converted lengthy padams into ragamalika in order to salvage the listeners from incredible boredom. Venkitakrishna also systematised the rendering of the shlokas and the dandakams (a prose-verse combination used in Kathakali to truncate several incidents in a play) even while retaining the deshi (indigenous) ragas such as Paadi, Khandaram, Puraneeru, Kanakkurinji, Gaulipandu and Navarasam. Though the phrases of these ragas are repetitive, each one carries a distinctive fragrance appropriate to the character and context. Special care was taken to ensure that the gamakas and brigas employed in the padams did not interfere with the sahitya.,cricfon
It is well-known that Venkitakrishna introduced the sruti box in Kathakali music and insisted that his co-singers too stick to sruti. Vocalists prior to him were not so keen on following a particular sruti while singing over many nights for many different characters.,casino game app
chelsea fa cup,Venkitakrishna was not happy when microphones began to invade the Kathakali stage. “He empowered the actors not only through evocative singing but by constantly moving to observe their actions and expressions. In stark contrast, the vocalists today simply stand in front of the pedestal mikes and sing and do nothing to galvanise the actors,” says percussionist and critic Kalamandalam Krishnankutty Poduwal.mobi sports
Among the vocalists who accompanied Venkitakrishna on stage, Kalamandalam Neelakantan Nambeesan, in course of time, established a style of his own and ensured its outreach through his distinguished disciples. Yet, Nambeesan admitted that he learnt all the aesthetic nuances of Kathakali music from his guru Venkitakrishna.,888 roulette
baseball glove,Over the years, the vocal music for Kathakali has gone through tremendous transformation, some of which unfortunately runs contrary to the time-tested syntax that reaffirms the identity of the art-form. Which is why it is important to revisit Venkitakrishna’s work to understand how he innovated within the frameworks of tradition.
The author is a critic and connoisseur of traditional art forms of Kerala.