"Words on a page can hypnotize you if the rhythm is right": “Kalinga narthana” literally means “Kalinga dance” in Sanskrit, referring to a legend in which Shri Krishna, as a young boy, danced on the serpent Kaliya to stop him from poisoning Yamuna river
Oothukadu Venkata Kavi had even set the singing style so that, in one place, a particular word is enunciated to resemble the hissing sound made by the great serpent
“Kalinga narthana” literally means “Kalinga dance” in Sanskrit, and it refers to a popular mythological story in which the god Krishna, as a young boy, danced on the serpent Kaliya (aka Kalinga) to stop him from poisoning the Yamuna river.
A thillana contains many rhythmic sounds, words, and intricate sequences fused with repetitive musical notes.
In Kalinga Nartana Tillana various rhythmic sounds are beautifully interwoven and harmoniously interlaced with Sanskrit lyrics by the poet.
Oothukadu Venkata Kavi had even set the singing style so that, in one place, a particular word is enunciated to resemble the hissing sound made by the great serpent. He has liberally used gati-bhedam, a change of rhythm that very few major Carnatic composers have done before or since. Jatis [rhythmic syllables] and lyrics intermingle, thereby giving a dramatic and striking effect of the rapid and cadenced foot movements and adroit swings of the dancing Lord.
This song was first brought to life during the last century by the famous Harikatha exponent, the late Brahmasri Needamangalam Krishnamurthy Bhagavathar. Though essentially suitable for classical dance performances and Harikatha, of late many singers of Carnatic music have started singing this composition in their concerts, captivated by the charm of the rhythm and style of this thillana.”
Oothukkadu Venkata Kavi or Oottukadu Venkata Subbaiah Iyer was one of the pioneering composers in Indian classical Carnatic music. He lived in South India in the present-day state of Tamil Nadu. Also known by the name Oothukkadu Venkatasubba Iyer, he composed hundreds of compositions in Sanskrit, Tamil, and Marathi of which over 500 are available. These were handed down from generation to generation by the descendants of the composer's brother's family. As per available information (from the Family Tree), Oottukkadu Venkat Kavi was born to Subbu Kutti Iyer and Venkamma in Mannargudi, a temple town near Tanjavur in South India, sometime in the early 1700s. Later on, they are said to have migrated to Oottukkadu, which was a small neighboring village. Currently, around 500 compositions of this great composer have been discovered through various sources. Over 300 of these have been published by noted harikatha exponent, Needamangalam Krishnamurthy Bhagavatar (who was a descendant of the poet's brother's family), who was instrumental in popularizing Venkata Kavi's works. Venkata Kavi's compositions reveal that he was a complete master of the science and art of music in all senses of the term – melody, rhythm, or lyrics and was eloquent in Sanskrit and Tamil. Renowned for his rare depth, scholarship, and sublime appeal, he was proficient in a variety of musical forms such as the kriti, tillana, and kavadichindu. He used talas and themes that not many other Carnatic composers have preferred to handle. His compositions are a blend of a high degree of scholarship on a variety of subjects and inspired expression. During a lecture demonstration on the composer by Needamangalam Krishnamurthy Bhagavatar in December 1955, The Music Academy Madras Experts' Committee noted that "Venkata Kavi's compositions filled a gap between Purandara Dasa (1484-1564) and the Carnatic Music Trinity of Tyagaraja, Muthuswami Dikshitar and Shyama Shastri, who lived around 1760s-1840s. While he has rightfully been acknowledged as one of the greatest composers of Krishna, Venkata Kavi composed hundreds of pieces on other deities too. Several pieces also reveal his humility, reverence for the great personalities before his times, and the high state of bliss that he probably experienced almost ceaselessly. His works scarcely contain autobiographical notes and show that he had reached great spiritual and philosophical heights. Deeper studies have dispelled myths about some of his compositions like "Alaippayude kanna" (Kanada) being autobiographical, and shown that this and numerous other pieces on Krishna in lilting Tamil were parts of his opera based on Bhagavatam. His works also reveal the proximity he felt toward God and show his deep devotion. The greatest evidence of his musical pedigree is his compositions. There are several references to good musical approaches, practices, and even technical terms of ornamentation like saahatam and pratyaahatam.[13] Venkata Kavi believed that music had to be blended with spirituality (bhakti) in order to shine. His philosophy, bhakti yoga sangeeta margame paramapavanam aagume ("Devotion though music is the sole path to salvation") is also resonated by Tyagaraja (1767-1847) sangeeta gnanamu bhakti vinaa sanmaargamu galade.
Raagas vision
Venkata Kavi had a vast knowledge of music and musical nuances. He used a wide variety of raagas ranging from the well known such as Todi, Kalyani, Kharaharapriya, Sahana, through minor ones like Kannadagowla, Jayantashri, Maalavi, Umaabharanam and a few that are seldom used today such as Balahamsa and Rasamanjari. In some instances, his works are the first or only ones to be available in a given raaga such as Sri Shivanayike in Lalitagandharvam and Paadasevanam in Deeparam. His approach to even common raagas like Sahaana, Pharas, Naadanaamakriya, and Aarabhi is distinctive and refreshing.
His vision of the raaga and melody as a whole is considerable and can be seen in the number of different styles in which he composed various krtis in the same raaga. For instance, his krtis in Madhyamavathi – Shankari Sri Raajaraajeshwari, Sundara nandakumaaraa and Aadaadu ashangaadu vaa Kannaa - bring out different facets of this beautiful raga. He also employed attractive swaraaksharas – a technique where the lyrics match the solfa notes of the tunes. He has also incorporated raaga mudra (mentioning the names of raagas of the compositions) in several krtis. Examples: Shuddha Saveri, Navarasakannada.
Sophisticated rhythm
Venkata Kavi ventured into scarcely attempted talas like Khanda Dhruvam (17 units per cycle), Sankeerna Madhyamam (20 units per cycle), and Mishra Atam (18 units per cycle). He effortlessly employed complex eduppus (take-off or landing points of various sections of a composition) without affecting the flow of the music or the lyrics. He could change the gati (gait) with ease. He was probably the only composer to have not only handled chaturashra (4/4) time-signatures but also tishram (3/4 or 6/4) as well as khandam (5/4 or 5/8) etc. in his compositions; for example: Neerada-sama (Jayantashree), Natavara-taruni (Kannadagowla), Vitasama-vara (Vasantaa), and Urugaada manam (Todi).
Lyrical variations
Sangatis are pre-composed variations in composition and rendered in a disciplined manner (as opposed to variations born from free improvisation). Usually, variations are melodic in nature while the lyrics remain constant. Several of Venkata Kavi’s pieces have such sangatis but he also demonstrated a rarely seen concept of lyrical variations. For instance, in the pallavi of his Aabhogi kriti, Mahashaya hrdaya, he has composed three variations in the madhyamakaala passage as given below:[16]
madhukara champaka vana vihaara manamohana Madhusoodana navabhooshana
madhukara champaka vana vihaara nava pallava padakara madana gambheera
madhukara champaka vana vihaara govardhana dhara bhujaga nartana charana
Similar examples can be seen in pieces like Aganita mahima (Gowla). In this composition, he has also used innovative structuring by inserting medium-fast passages between two slower cycles, investing the section with.
Emphatic finales
Venkata Kavi was a master of finishes. In several songs, his endings are in interesting rhythmic patterns. For example, Bhuvanamoha in Dhanyasi, where he has capped off the charanam with a pattern of 6 repeated 11 times, which is a wonderful way to get to half a beat landing (which is the commencing point of the pallavi) from the beat after 2 cycles of Adi tala. The words are superbly woven in lilting Sanskrit:
There are many other instances of similar endings in krtis such as Alavadennalo in Pharas (5th charanam) and Mummada vezhamugattu Vinayakan in Nattai.
Kāliṅga Nartana Tillānā | Vande Guru Paramparaam | Sooryagayathri, Rahul Vellal, Kuldeep M Pai
Multi-lingual felicity
Venkata Kavi had deep scholarships in Sanskrit and Tamil. His fluency in Sanskrit rivaled that of his command of Tamil, a commentary not only on his erudition but also a pointer to his immense vocabulary- words such as kalamba (arrow), charatha (wandering), shileemukha (bee) are just a few examples out of hundreds seen in his works, which are especially unique in Carnatic literature.[18] He had the ability to use common words in uncommon contexts.
Imagination
His poetic ability to create unique scenarios or give singular twists to even common stories is seen in hundreds of songs such as Taye yashoda in raga Todi, where the gopikas are complaining to Yashoda about her son Lord Krishna. This song has eight charanams (stanzas) and each one describes the pranks of Krishna very humorously. Not so well known is the reply by Krishna to every one of these charges in another piece, Illai illai in Mohanam, also with eight charanams. This quality sets him apart even in his general compositions such as Chindittavar nenjil iruppadu (Nattai).
Operas
As of 2007, no other composer in India has created as many musical operas as Venkata Kavi has.
The most well known is "Krishna Ganam" based on Bhagavatam, which narrates Krishna’s birth and colourful childhood, beginning from Devaki-Vasudeva’s wedding and Kamsa’s curse and ending with Krishna’s wedding with Rukmini. It is now well known that many popular songs on Krishna like Taye yashoda, Alaippayude kanna, Pal vadiyum mukham, Parvai onre podume and Pullai piravi tara venum are part of this opera.
Venkata Kavi also composed an entire group of pieces covering Krishna's wedding with Radha. His other operas include:
Ramayanam
Mahabharatam
Daksha Yagam
Prahlada Charitram
Dhruva Charitram
Pranavopadesham (which is a single folk-style piece with 83 stanzas narrating Lord Subramanya's famous story of teaching his father, Shiva)
Several songs from Ramayanam and Mahabharatam are missing but even the few songs which have been found showcase "his skills in giving original treatment of known episodes" as dancer Dr Vyjayantimala Bali states.[27]
The composer also penned abridged versions of Ramayana, Mahabharata, and Bhagavatam
ARUNA SAIRAM Sangeetha Kalanidhi Aruna Sairam (Born: 30 October 1952, Thiruvarur) is an Indian classical vocalist. She is a recipient of the Padma Shri award from the Government of India. She has been elected as Vice Chairman of the Sangeet Natak Akademi from the Government of India. Here’s Aruna Sairam’s rendition of the Kalinga Narthana thillana.
Rythm and language
I’ve written about thillanas before–they’re a type of Carnatic composition, usually performed as upbeat, fast-paced pieces near the end of a concert or dance performance. There’s something very playful and energetic about this thillana, and I’ve been listening to it many, many times in the past few days. It’s a great example of the rhythmic complexity of Carnatic music.
“Kalinga narthana” literally means “Kalinga dance” in Sanskrit, and it refers to a popular mythological story in which the god Krishna, as a young boy, danced on the serpent Kaliya (aka Kalinga) to stop him from poisoning the Yamuna river. You can read more about it here.
From a very informative introduction given by Dr. U. R. Giridharan:
“Oothukadu Venkata Subbaiyer (popularly known as Oothukadu Venkata Kavi) was born in the early 18th century in the village of Oothukadu, in the Thanjavur district of Tamil Nadu. He was a devotee of Lord Krishna, and is believed to have composed over 400 compositions on Him. His compositions are known for his unpretentious, candid devotion and humility, at the same time showcasing his great skill and erudition in handling the language of the lyrics (whether Sanskrit or Tamil) and his deft use of music to suit the mood and rhythm he had chosen.
The Kalinga Narthana thillana describes the dance of the young Krishna on the hoods of the serpent Kaliya (also called Kalinga). A thillana contains many rhythmic words and intricate sequences that are fused with repetitive musical notes. It is similar to the Hindustani tarana.
Oothukadu Venkata Kavi had even set the singing style so that, at one place, a particular word is enunciated to resemble the hissing sound made by the great serpent. He has liberally used gati-bhedam, a change of rhythm that very few major Carnatic composers have done before or since. Jatis [rhythmic syllables] and lyrics intermingle, thereby giving a dramatic and striking effect of the rapid and cadenced foot movements and adroit swings of the dancing Lord.
This song was first brought to life during the last century by the famous Harikatha exponent, the late Brahmasri Needamangalam Krishnamurthy Bhagavathar. Though essentially suitable for classical dance performances and Harikatha, of late many singers of Carnatic music have started singing this composition in their concerts, captivated by the charm of the rhythm and style of this thillana.”
Here’s Aruna Sairam’s rendition of the Kalinga Narthana thillana.
Raga: Gambheera Nattai Talam: Adi (eight beats) Language: Sanskrit
*I will bold the Sanskrit lyrics. The rest of the unbolded text is made up of rhythmic syllables that don’t hold any meaning.
Pallavi:
taam dhIm tarana taam dhIna takiTa
describing Krishna’s dance using rhythmic syllables
The beautiful blue-colored one, embellished by his enchantment, is dancing on the tumultuously moving serpent. With footsteps softer than lotus petals, on the turbulent waves, adorned by drops of water, he dances and dances.
taka tadimidhiyada taka taakiTa takajaga dhigirjaganandham takajaga takajaga dhigirjaganandham
In the waves of the Yamuna river, Krishna’s graceful limbs are soaked in moonlight. His compassionate glance is looking here and there. He is the honeybee to the lotus-like hearts of the great sages.
Victory to you, son of Nanda! You are the adorable child who holds the people of Vraj in rapture, the valiant one delighting in dancing on the Kalinga serpent, the one whose very form is the mood of compassion (karuna rasa).
You are the youthful son of the Vraj region, who is enriched by his own greatness. You are wearing a garland of forest flowers, and you always accomplish your goals.
By your wonderful, indescribable dance, marked by the flash of lightning, you generate awe and amazement.
diti suta kAla vidhi nuta sheela atisaya neela drutapadalola (tAku)
You vanquished the offspring of Diti (the asuras, or demons), and you are venerated by Brahma, the creator. You have a unique blue color, and you are rapidly stepping on the serpent’s hoods.
ta dimitakita dimitAka dimitakita dimitAka ta taai ta tOm ta taai dimitakiTa tOm tarikiTa tarikiTa (tAku) ta dimi ti taiya tarikiTa taka tAka jam atisaya sukha nirupamakara pAda jam
The movement of your feet and hands gives great happiness to us.
sarasa moha muralirava nAtha sakala lOka sammOhana geeta
The melodies of your flute give ecstatic passion; you produce music that enchants all the worlds.
tAku tinnan taka tinnan taka taka tA taai taanga tA taai tA dhigirtaka taka tinnan tAnga tAtaai tAnga tA taai tA kadamba kisalaya milita noopura padam calita kruta pAda tAm
Dangling on your feet are anklets made from the slender stalks of kadamba flowers.
tillAna driga tillAna drigadriga tillAnAkitatOm ga tannan nangiTatom ta tOm ta taai ta tOm taka tAkita tarikita taam ta deem ta tOm ta taai ta thyajogabandha thaD bhujanga shirasee caranam calanam kruthanam druthanam vadanam jita chandramadam kara kankana kinkini nam na na nam pada taka taka dimi dimi junu junu taam ta tAKa tillAna kanaka bhooshana
After being released from the coils of the serpent, your feet are swiftly dancing on its head. Your face is shining with the moon’s beauty, your bangles and anklets are chiming, and you are adorned with golden jewelry.
takiTa tagadtagAya mukhabara mandasss- mita naravara poojita pada yugalA hari
You have a cheerful smile on your brilliantly gleaming face, and your feet are worshiped by great men.
Victory to you, son of Nanda! You are the adorable child who holds the people of Vraj in rapture, the valiant one delighting in dancing on the Kalinga serpent, the one whose very form is the mood of compassion (karuna rasa).
mada madhukara madhupa taraLa sama nayana kamaladaLa, calana muni hrudayam api chora chaatura dayaakaraa muraari sreekara
Like the stinger of a honey-intoxicated bee, with your ever-moving lotus-petal-like eyes, you are an expert in stealing the hearts of even pure sages. Oh compassionate one, you vanquished the demon Mura and you possess all the divine attributes of Sri: grace, auspiciousness, lustre, beauty, etc.
The text and English translation of the composition " Kalinga Nartan" is available in this video.
This is a continuation from Video No.1 where an introduction to the song has been given. The song with lyrics and the meaning of the words are given in this presentation. This song of Oothukadu Venkata Subbaiyar was first brought to light during the last century by the famous Harikatha exponent Late Brahmashri Needamangalam Krishnamurthi Bhagavathar. Though essentially suitable for classical dance performances and Harikatha, off late many singers of Karnatic Music have also started singing this Kaalinga Nartana Thillana in their concerts, captivated by the charm of the rhythm and style of this Thillana.
Since this song has not yet appeared in any printed material and since unfortunately many are singing without properly knowing and pronouncing the correct words of the lyrics, this is a humble attempt to sing this great composition of Oothukadu Venkata Kavi as per the original version of Late Brahmashri Needamangalam Krishnamurthi Bhagavathar (as far as lyric and Jathi are concerned -- and not the singing style). - Dr. URGiridharan
Satyagraha was born from the heart of our land, with an undying aim to unveil the true essence of Bharat. It seeks to illuminate the hidden tales of our valiant freedom fighters and the rich chronicles that haven't yet sung their complete melody in the mainstream.
While platforms like NDTV and 'The Wire' effortlessly garner funds under the banner of safeguarding democracy, we at Satyagraha walk a different path. Our strength and resonance come from you. In this journey to weave a stronger Bharat, every little contribution amplifies our voice. Let's come together, contribute as you can, and champion the true spirit of our nation.
ICICI Bank of Satyaagrah
Razorpay Bank of Satyaagrah
PayPal Bank of Satyaagrah - For International Payments
If all above doesn't work, then try the LINK below:
DISCLAIMER: The author is solely responsible for the views expressed in this article. The author carries the responsibility for citing and/or licensing of images utilized within the text. The website also frequently uses non-commercial images for representational purposes only in line with the article. We are not responsible for the authenticity of such images. If some images have a copyright issue, we request the person/entity to contact us at This email address is being protected from spambots. You need JavaScript enabled to view it. and we will take the necessary actions to resolve the issue.
