Serial CD4. Serial. Narrative Traditions Oral Epics and Ballads CD4 Vol. I: The Tulu Paddana CD4

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Francis Walters
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analogue sounds on Indian intangible cultural heritage collected since 1982 by the Archives and Research Centre

1 Serial CD4 Audiovisual Collection V Music, Songs and Stories: Music, Songs and Stories: Archival Selections from India Archival Selections from India Audiovisual Collection V CD4 1 Abbaga Daraga Paddana Restored analogue sounds on Indian intangible cultural heritage collected since 1982 by the Archives and Research Centre for Ethnomusicology (ARCE). ICHCAP Collection V Produced in the ARCE-ICHCAP Cooperation Project in Serial CD4

2 Music, Songs and Stories: Archival Selections from India

3 All rights reserved Co-published by Archives and Research Centre for Ethnomusicology (ARCE) and The International Information and Networking Centre for Intangible Cultural Heritage in the Asia-Pacific Region under the auspices of UNESCO (ICHCAP) Design by Graphic Korea Copyright c 2017 by ARCE and ICHCAP Oral epics, ballads, and narratives form a major part of the background of rituals, storytelling, and local mythologies all an important part of the intangible cultural heritage of India. The vast range of oral epics in India, most often sung, also contain recitation and prose that explain the text. The meters vary greatly, and they all have different definitions and terms. For instance, the meter and singing of the Alha is called Alha Chhand. A wide variety of types of performances and expression of this genre exist. Some stories are narrated with scrolls that illustrate episodes. Sometimes, they are acted out, and sometimes sung, as in the case of the paddanas, which are performed while transplanting rice. Stuart Blackburn and Joyce Flueckiger distinguish three kinds of oral epics in India: martial, sacrificial, and romantic. Some epics tell a story with multiple episodes and characters, and some are multi-story oral epics. Oral epics in India are very closely tied to communities, with performers, audience, and participants all belonging to the same community. Most oral epics are associated to rituals, the performance of some being the ritual itself. Caste also plays an important role in the performance or patronage of the oral epic traditions in India. The great epics of Ramayana and Mahabharata in some cases, enter the world of these local oral epics, where the performers are considered to be reincarnations of heroes and gods from these epics. According to Komal Kothari, an eminent folklorist of India, this phenomenon happens when the impact of the oral epic spreads beyond its initial local boundaries. Though we are not able to present full performances of all the oral epics, we believe that these recordings provide a good glimpse into the variety of meters, singing styles, and contexts that exist within these traditions. Three oral epics are presented in this volume. They are all part of larger collections, and each one is contributed by an expert on the genre who has done extensive research. The paddanas were contributed by Peter Claus, the Nanda Devi jagar by William Sax, and Alha by Karine Schomer.

4 Tulu Paddana Abbaga Daraga Tulu is an important language of the Dravidian linguistic family, and is primarily spoken by the people of the coastal region of Karnataka and the northern part of Kerala. The region has been known as Tulu Nadu since ancient times. Tulu culture is a living tradition, structured around the agrarian cycle of the region. Hence, Tulu oral literature revolves around paddy cultivation, the major form of agriculture, and other types of cultivation, such as arecanut, coconut, plantain, and green vegetables. The various folk genres are based on agriculture, kinship, family systems, the caste system, different professions, and the flora and fauna of the region. Thus, the Tulu paddana combines agricultural activities such as transplanting rice, with the local lore of bhutas (spirit deities) and other local deities. Tulu paddanas are oral epics or heroic ballads. Paddanas, most often sung by women, tell stories that often have women at the center or describe issues faced by women. Some paddanas may only be sung in specific kinds of fields; others only while performing a specific task, such as pulling out or planting rice seedlings. Some paddanas are related to deities or to possession by the singers. Thus, some are sung only as a form of worship. Many talk about bhutas, which are worshipped in Karnataka, especially in the coastal areas, and are important in Tulu culture. However, while the professional classes of singers are traditionally meant to preserve the stories through these song-narratives, folklorists have shown that these singers insert their own creativity into the narratives. The paddana singer, who sings the story of a daiva deity while it is being ritually impersonated and propitiated, is not just a passive repository of the epic, mechanically unspooling it on demand; rather, the performer is active in the process, sometimes fleshing the story out, sometimes slimming it down, though always within the framework of the story. This is done by using various mnemonic devices such as stock phrases, context descriptions, and details as narrative strategies. Though usually sung by women, paddanas are sometimes sung by men, all from the lower castes. Today however, paddanas seem to be gaining in stature in the folklore of Tulundu and thus of Karnataka. The paddana presented in this album is from a collection made by Peter Claus, who is the most well-known paddana scholar. The Abbaga Daraga paddana presented here has been chosen for a few reasons. Though there is no predetermined length for paddanas, this recording is just about an hour long and contains the entire story. Thus, it is appropriate to present this paddana in its entirety rather than just an extract. The Abbaga Daraga paddana is one of the better-known ones. It is connected to the shrines, as well as the famous cult of Siri, and the Siri Paddana epic. Abbaga Daraga shrines are found all over the countryside of the Tulu area of South Karnataka.

5 1. Abbaga Daraga paddana Performer: Sesi Mundaldi Kankanadi Date of Recording: December 1988 Place of Recording: Hiriyadika, Karntataka Language: Tulu 구비서사시 ( 口碑敍事詩 ) 와발라드 1 집 : 툴루팟다나 (Tulu Paddana) Sonne, daughter of Siri, and her husband Ginde or Gurumarla pray to the deity Bermeru, asking the god to grant them children. Sonne then gives birth to twin girls, Abbaga and Daraga. Caught up in the joys of family life, the couple neglects their vow to Bermeru. Bermeru appears to Sonne and Gurumarla disguised as a fortune-teller to tell them that they will suffer greatly if they continued to neglect the god. All that the god had given them would be taken back. Gurumarla, angered by the fortune-teller, tells him to leave. When the parents are out one day, Abbaga and Daraga are playing chenne a traditional board game. They have a quarrel over the game, and Abbaga hits Daraga over the head, killing her. Overcome with sorrow at her deed, Daraga jumps into a well and dies. Another version says that after Abbaga dies, the two sisters become spirits in the other world. This story owes part of its popularity to its featuring of three generations of Siri. 서사시, 발라드, 설화등구비서사전통은의례, 스토리텔링, 지역신화등을구성하는중요한요소이면서인도무형문화유산의중요한부분이기도하다. 인도구비서사시는대부분가창의형식으로표현되지만그중에는암송이나산문의형태도있다. 운율도다양하고운율마다정의와사용하는용어가다르다. 예를들어, 알하 (Alha) 를노래부르는운율은 알하츠한드 (Alha Chhand) 라고한다. 구비서사시를연행하고표현하는방식은다양하다. 사건을묘사하는그림을보여주며서사하는이야기도있고, 연극으로표현하기도하며, 예를들어모내기할때연행하는팟다나 (paddana) 의경우에는가창으로표현한다. 스튜어트블랙번 (Stuart Blackburn) 과조이스플루키거 (Joyce Flueckiger) 는인도구비서사시를전쟁에관한것, 의례에관한것, 사랑에관한것등세가지로구분했다. 서사시중에는여러개의사건과인물을하나의이야기로풀어내는경우도있고, 여러개의이야기를하는경우도있다. 인도구비서사시는공동체와밀접한관계가있다. 공연자, 청중, 참여자모두가같은공동체소속이기때문이다. 의례와연관이 있는서사시도있고, 서사시의연행이의례자체인경우도있다. 인도서사시의연행과연행의지원에서계급제도도중요한역할을한다. 대서사시인 라마야나 와 마하바라타 가이러한지역서사시에흡수되어지역서사시의연행자가라마야나와마하바라타에나오는영웅이나신으로인식되는경우도있다. 인도의저명한민속학자코말코타리 (Komal Kothari) 에따르면, 이러한현상은지역서사시가애초의지역적인한계를벗어날때발생한다. 이앨범에서서사시공연의전체를다보여줄수는없지만수록된기록물을통해서인도구비서사전통의운율, 가창형태, 가사등의다양성을엿볼수있을것이다. 이앨범에는세편의구비서사시가수록되어있다. 수록된부분은전체공연의일부로, 각각해당분야에대한방대한연구성과가있는전문가가기여한것이다. 팟다나는피터클라우스 (Peter Claus), 난다데비자가르 (Nanda Devi jagar) 는윌리엄삭스 (William Sax), 알하는카린스초머 (Karine Schomer) 가기여했다.

6 툴루 팟다나 아바가다라가 (Abbaga Daraga) 툴루어는드라비다어족 (Dravidian family) 에게중요한언어로카르나타카주해안과케랄라주북부지역에서주로사용된다. 이지역은고대부터툴루나두 (Tulu Nadu) 로알려져있다. 툴루문화는여전히살아있는전통으로이지역의농업주기에따라연행된다. 툴루구비문학은논농사를비롯해빈랑 ( 檳榔 ), 코코넛, 플랜테인, 녹색채소등의경작을중심으로발전했다. 농업, 친족관계, 가족구성, 카스트제도, 다양한직업, 이지역의동식물등의배경에서다양한민속문화가나왔다. 따라서툴루팟다나는모내기와같은농업활동과부타 (bhuta) 신이나기타지역신에대한지역의설화가결합하여탄생했다. 툴루팟다나는구비서사시또는영웅에관한발라드다. 대부분여성들이가창으로연행하는팟다나는여성을중심으로한이야기또는여성이당면한문제를이야기한다. 팟다나중에는특정한논에서만연행할수있는것도있고, 볏모를뽑거나심는등특정한일을할때만연행할수있는것도있다. 또한신이나가창자의빙의와연관된것도있다. 그러므로팟다나중에는신앙의한형태로만연행하는것도있다. 부타신에대한이야기를하는팟다나도많다. 부타신은카르나타카주, 특히카르나타카주해안에서신앙의대상이며툴루문화에서중요한자리를차지한다. 팟다나를연행하는전문가수들은이러한설화를그대로보존해야하는의무가있지만, 민속학자들은이들이연행을하면서창의성을발휘한다고말한다. 다이바 (daiva) 신이의례적으로재현되는공연에서, 신에관한이야기를하는가수는필요에따라기계적으로이야기를풀어내는수동적인존재가아니다. 가수는주어진이야기틀내에서이야기에살을붙이기도하고쳐내기도하는적극적인주체다. 이때가수는관용구사용, 배경설명, 자세한내용구술등다양한서사전략을사용한다. 팟다나를부르는주체는대부분여성이지만계급이낮은남성이부르기도한다. 하지만오늘날팟다나는툴룬두 (Tulundu) 와카르나타카의민속문화에서그위상이커지고있다. 이앨범에소개된팟다나는대중적으로인지도가가장높은팟다나학자인피터클라우스 (Peter Claus) 가수집한내용에서발췌한것이다. 이앨범에수록곡으로아바가다라가팟다나가선정된이유가있다. 팟다나에정해진시간이있는것은아니지만, 이곡은전체이야기가한시간정도분량이기때문에이야기를발췌하지않고전체를수록하였다. 아바가다라가팟다나는가장잘알려진팟다나중의하나다. 이이야기는시리 (Siri) 사원, 시리신앙, 시리팟다나등과관련이있다. 아바가다라가사원은카르나카타주남쪽툴루지역시골전역에서볼수있다.

7 1. 아바가다라가팟다나 연행자 : 세시문달디칸카나디 (Sesi Mundaldi Kankanadi) 녹음일자 : 1988 년 12 월녹음장소 : 카르나타카주, 히리야디사용언어 : 툴루어 시리의딸손느 (Sonne) 와그의남편구루말라 (Gurumarla) 는자식을보게해달라고베르메루 (Bermeru) 신께기도를올린다. 그후손느는쌍둥이딸을출산했고, 이들이아바가와다라가다. 가족생활의행복에취해손느와구루말라부부는베르메루신에대한기도를게을리했다. 이에베르메루는점쟁이로변신해부부앞에나타나계속해서신을무시하면큰재앙을겪고신이그들에게준것을다시뺏을것이라고말했다. 이말에화가난남편구루말라는점쟁이에게당장떠나라고말했다. 어느날부부가외출한동안에쌍둥이는전통보드게임첸느 (chenne) 를하다가다툼이일어났는데, 아바가가다라가의머리를쳐서죽였다. 자신의행동에대해비탄에빠진아바가도우물에몸을던져숨을거둔다. 다른버전에서는아바가가죽고나서쌍둥이자매는다른세상에서신이되었다고말하기도있다. 이이야기는인도에서인기가있는데, 시리의 3 대가출연한다는점이이유중의하나다. Contributors Co-Production Directors: Shubha Chaudhuri, Kwon Huh Sound Editor: M. Umashankar Contents Editor: Shubha Chaudhuri These notes are prepared with the inputs of Peter Claus and Purushottam Bilimale.

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