Pakka vadyam

[kvchellappa]

I have some silly doubts and am raising them audaciously.
Is the expression (Pakka vadyam) right or prejudiced?
Are all the artists on stage equal in the way the music is conceived and presented? Is it a medley where each presents his manodharma?
I heard in grapevine that a front-ranking violinist played differently from MMI and MMI pointed out that it was supposed to be pakka vadyam. TMK in his music appreciation CD points out how the violinist playing a phrase different from what he essayed as an aberration.
Is it not more challenging for the violinist to follow the manodharma of the vocalist extemporaneously than for him to launch into his own manodharma?
Is not some unity expected in a performance? Who decides that unity?
If seating sorts out equality issue, will it not be required that they sit in the centre by turns?
Do the accompanists (or co-artists) feel more at ease because they face the audience? Does it boost their performance? Have they been feeling deprived by the traditional seating?
Should the percussionist decide what tala the singer should choose?

[rshankar]

Sathya's dad uses the term, enhancing artists for these artists.

[Lakshman]

I have listened to violinists who faithfully repeat the kalpanasvaras by the singer. Others violinists use their own manodharma in accompaniment. I am sure the singer also consults with the mrdangist prior to the concert to ensure that the accompanist is comfortable in playing the tani in a particular tALa.

[VK RAMAN]

saha vidwans

[arasi]

In western classical orchestral music, the conductor on stage is the most recognized one. A vocalist in CM in a way is a conductor too, isn't he/she?

[munirao2001]

KVC Sir,
Q.1. Is the expression (Pakka vadyam) right or prejudiced?
A. Telugu word ‘prakkala vadyamu’ became at later times pakka vadhyam. The role of ‘prakkala vadhya garudu’-‘thodu’ i.e. accompanying and it is also to protect. It is both a supporting role and also conforming to sangeeta dharma-lakshya and lakshana and manodharma. It is right. It is not prejudiced.

Q.2. Are all the artists on stage equal in the way the music is conceived and presented? Is it a medley where each presents his manodharma?
A. 2.1. In solo concert or performance, Main artist and accompaniments, unequal. Primary role is of the main artist.
2.2. In concert or performance which is ‘vrinda ganam’, artist’s role is equal in importance in intent, content and delivery aspects of a performance, including manodharma.
I heard in grapevine that a front-ranking violinist played differently from MMI and MMI pointed out that it was supposed to be pakka vadyam. TMK in his music appreciation CD points out how the violinist playing a phrase different from what he essayed as an aberration.
Accompanying artist has to follow the sampradaya-bani-style of the main artist except in solo interlude. In solo interlude also –half the time in continuity of the main artist’s flow of aesthetic and rest of the half time show casing one’s own Vidwath/knowledge-skills-technique and aesthetic.
Q.3. Is it not more challenging for the violinist to follow the manodharma of the vocalist extemporaneously than for him to launch into his own manodharma?
A. Yes and No. Violin who has no knowledge of the Vocalist Vidwath and performing qualities, it is more challenging. Violinist who has knowledge, it is less challenging. It is more challenging for the violinist in imagination and creativity within the boundaries of musical skills, techniques, flow and aesthetic of the vocalist.

Q.4. Is not some unity expected in a performance? Who decides that unity?
If seating sorts out equality issue, will it not be required that they sit in the centre by turns?
Do the accompanists (or co-artists) feel more at ease because they face the audience? Does it boost their performance? Have they been feeling deprived by the traditional seating?
A. 4.1. Self in unity of accompanying artist’s selves is the ideal, but it is uncommon. Decision on unity-all the artists in a performance with primary responsibility for the main artist or the conductor-lead artist in a group performance.
4.2. Seating is only a physical expression of intent. Equality is established only with equal opportunities in performing and the talents of the artists.
4.3. Ideal positioning is with unobstructed view of both the artists and the audience for body language observation and feedback. Observation of the audience/or a specific rasika can result in motivation. If the space management and seating meets the ideal, accompanying artists do not feel the depravity.
Q.5. Should the percussionist decides on what tala the singer should choose?
A. In solo performance no but with exception. Exception is for intervention of a good suggestion to enhance the performance or meeting the audience expectation. In practice, it happens on laya gathi or kalapramanam aspects.
Sir, I hope I have answered to all of your questions. If you have questions, you are welcome to raise the questions or seek explanations for the answers given, if they are not satisfactory.

munirao2001

[kvchellappa]

Thank you, sir.

[hnbhagavan]

Hello Challappa,

Here is a very educative talk by M Chandrasekharan and relevant to your topic.Some of the ideas mentioned by Sri Munirao can be clearly heard.
https://www.youtube.com/watch?v=7szJ5dOF7X8

[munirao2001]

HNB Sir,

My posting is not of 'ideas' but established convention and also sampradaya with great contributions of accompanying Vidwans and Vidushees.

munirao2001

[hnbhagavan]

The established convention is correct.In case the vocalist does Alapana for 10 minutes,then the violin return should be of the order of 5/6 minutes.Similarly if Mridangam plays for 6 minutes in Thani,then the reply by Ghatam/Khanjira should be about 3/4 minutes.These aspects with illustrations are covered by Sri M Chandrasekharan in the lecture.

[VK RAMAN]

I hope we do not expect the singer Artist to give equal time to Pakka vaadyam means if Artist sings 30 minutes and then pakka vaadyam should get 30 minutes and so on.

[hnbhagavan]

This point is discussed by Sri M Chandrasekharan and has given demonstration by taking a few songs.Demonstration is with accompaniments with Sri Chandrasekharan as vocalists.I urge interested rasikas to view the same.