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Serial CD6 Audiovisual Collection V Music, Songs and Stories: Music, Songs and Stories: Archival Selections from India Archival Selections from India Audiovisual Collection V CD6 1 Saguna

Phula burasa 02 02 10 Barsāti 05 54 11 Jhumelo 02 53 12 Unchi unchi ridiya 02 04 13 Rali songs and explanation 08 12 14 Meri Albela 06 28 Serial CD6 Restored analogue sounds on Indian

1 Serial CD6 Audiovisual Collection V Music, Songs and Stories: Music, Songs and Stories: Archival Selections from India Archival Selections from India Audiovisual Collection V CD6 1 Saguna bola Chal Rupa burasa Pandav puja Bārahmāh Ambe dia daliya koyel bole Nanda Trishuli Asu Ghasyari Suhāg song-ek sone salai Phula burasa Barsāti Jhumelo Unchi unchi ridiya Rali songs and explanation Meri Albela Serial CD6 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 2017.

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 The women performing here are not professional musicians. These songs are part of the everyday life of women. Women s songs are often work songs sung while grinding, threshing, and pounding, as a way to while away the tedium of long laborious tasks and provide a rhythm as well as companionship. Women play a key role in rituals, singing narratives and ballads as well as life cycle songs for events such as birth, marriage, and death. Wedding songs form a large part of the repertoire of women in India. This important part of the intangible cultural heritage of India is disappearing with urbanization and migration to cities, and with mechanization that takes away the need for grinding and pounding. Moreover, recorded music and television are taking the place of song. Thus, the recording and documentation of these traditions becomes more important. Namely, recordings of the voices of the woman in the home and in the fields, who carry out the rituals for their families and the gods who protect them, hold immense value. This is a compilation of women s songs from the foothills of the Himalayas, Kangra in Himachal Pradesh (the land of the snows ), and from high up in the Garhwal Himalayas in Uttarakhand (the northern land ). Though not connected, there are similarities in the themes between the ghasyari songs and khuder of Garhwal and the pakaharu of Kangra. Women sing about their hardships, such as their daily struggles with marriage, absent husbands, and about the friendship among women. These songs do not have any instrumental accompaniment. The songs are from the research conducted by two wo men researchers: Kirin Narayan and Ragini Deshpande. The songs from Kangra are those recorded and collected by Kirin Narayan, who has worked in Kangra, studying women s songs and stories for many years. The selection presented here is from 1990 to Ragini Deshpande recorded and collected women s songs in Chamoli, Garhwal, from 1981 to As Sangita Devi says quoted by Kiri Narayan, Everyone can sing, but only when you know pain can you understand the song.

4 1. Saguna bola 3. Pandav puja 5. Ambe dia daliya koyel bole 6. Nanda Trishuli Performer: Umati Devi and her daughter Date of Recording: January 1983 Place of recording: Tilphara, Chamoli, Garhwal, Uttarakhand Performer: Phindi Devi Date of Recording: 1 st May 1982 Place of recording: Pauri village, Pauri Garhwal, Uttarakhand Performer: Veena Dhar Date of Recording: 18 th February 1991 Place of recording: Saliana, Kangra, Himachal Pradesh Performer: Rekha Negi Date of Recording: January 1983 Place of Recording: Negwar, Chamoli, Garhwal, Uttarakhand This is a mangal song. Mangals are sung at weddings and other auspicious life-cycle events by mangalyani, women who specialize in mangals. They are called to sing whenever there is such an occasion. 2. Chal Rupa burasa Performer: Rekha Unyal Date of Recording: January 1983 Place of recording: Negwar, Chamoli, Garhwal, Uttarakhand This song is a Ghasyari geet, which women sing while they cut grass. The lyrics here describe the burasa, which is the rhododendron. A girl calls out to her friend Rupa, who wants to become a rhododendron, fly away like a bird, or hide in the sky. It describes the Himalayas clad in silver snows, casting dappled shadows. It talks of the sorrows of the Ghasyaris whose hearts are sad and whose eyes are always thirsty. Ghasyari songs are often sad and yearn for an absent husband or lover. This is a jagar sung as part of the Pandav puja, in which the Pandavas of the Mahabharata are worshipped. A jagar is a ritualistic religious song sung to awaken the gods. Titles of specific jagars are based on the names of gods and goddesses to whom they are addressed. In Garhwal, jagars are generally sung by the Ojhis, who are tailors by caste. 4. Bārahmāh Performer: Nirmada Upadhyay and others Date of Recording: 18 th February 1991 Place of Recording: Saliana, Kangra, Himachal Pradesh This Bārahmāh or twelve months song depicts the singer as a gopi, or girlfriend of Krishna, who is yearning for Krishna, throughout the changing seasons. The song starts with Chaitra, the spring month of March/April. As the Brindavan landscape changes throughout the different months, the gopi tenderly remembers Krishna, who is now away in Mathura. Sung by a group led by Nirmada Upadhyay at a wedding of her relative in 1991, the song is inflected with Punjabi, a reminder that the Punjabi had a strong cultural influence in Kangra, which was an administrative district of Punjab until This pakhaṛu or song of suffering in married life is sometimes called soyān dā sāg or fennel greens. The song begins with a black cuckoo (Koyal) singing sweetly from the branch of a mango tree. It is announcing the imminent return of the protagonist s husband, who has been away for twelve years and is now a foreigner husband. When he arrives, he asks his wife to prepare fennel greens. As she goes to gather the fennel, she is insulted by the gardener. She prepares the greens, yet the husband kicks over his plate, spilling the greens and becoming a treacherous husband. She drinks a bowl of poison and sings the last verse, addressing the husband: There is no happiness in the in-laws home, no happiness in her parents home, no happiness in this beautiful woman s fate. This is a song celebrating Garhwal and the beauty of the Nanda Trishuli peaks and of the holy river Ganges that flows through it. The song asks not to forget this beautiful land nor the brave Garhwali soldiers who have fought wars, spilling their blood. It asks Nanda Devi to wake up and protect. 7. Asu Ghasyari Performer: Rekha Unyal Date of Recording: 12 th September 1982 This is another Ghasyari song, with the singer identifying herself as a Ghasyari whose heart is always thirsty. It is a sad song of longing despite the cheerful melody.

5 8. Suhāg song-ek sone salai 10. Barsāti 11. Jhumelo 13. Rali songs and explanation Performer: Srimati Devi Singhora Date of Recording: 20 th September 1990 Place of Recording: Dattal, Kangra, Himachal Pradesh Performer: Judhya Devi Date of Recording: 14 th August 1991 Place of recording: Andretta, Kangra, Himachal Pradesh Performer: Group of Tolchha women Date of Recording: 13 th September 1982 Place of recording: Lata, Chamoli, Garhwal, Uttarakhand Performer: Jnanu Bhandari and Urmil Sud Date of Recording: 19 th March 1991 Place of recording: Dattal, Kangra, Himachal Pradesh and Hindi This wedding song, Father, don t give me far away, celebrates the friendship among a cohort of girls who will all be married to different villages. The young bride asks her father not to give her far away or to a different country in marriage for then she would no longer be able to meet with her group of girlfriends. In the future, she might be able to meet with her father and mother on return visits, but not with her group of girlfriends. The song then goes on to make the same request to the maternal uncle. Such songs, sung around a bride, can be repeated addressing a widening range of relatives, including other paternal uncles and brothers. 9. Phula burasa Performer: Vajanti Unyal Date of Recording: 12 th September 1982 This is a song of longing for an absent husband throughout the various seasons. The rhododendrons are blooming, peaches are ripening in the fields, but my eyes watch the road. Mangoes are ripening, and we sit under the shade, but my husband doesn t come. It is now winter, and the chilly wind blows, but there is no end to the sorrow of my separation. Barsāti means rain song. This genre is associated with the monsoon and often expresses longing for an absent husband. It was sung to ease the labor of transplanting rice. Bent over in cold muddy water, women passed the time chorusing such songs. Here, the woman confides in her husband s sister of a pain in her side, and a Vaid healer is brought from Mandi. However, her yearning is so intense that she feels she will die without her Ranjha ( true love ), referring to the tragic Punjabi folk epic of Heer Ranjha. The lead singer here is Urmila Rana. This song was recorded in the field. The sound of splashing water and other sounds from the field provide an authentic context. A jhumelo is a song that is danced to in group community dances for a variety of occasions. This jhumelo is sung by Tolchha tribal women during fairs and festivals. Recorded and collected by Ragini S. Deshpande 12. Unchi unchi ridiya Performer: Anita and Nisha Sharma Date of Recording: 18 th September 1990 Place of recording: Banuri, Kangra, Himachal Pradesh This nāch gīt, or dance song, celebrates the beauty of the valley, with rocks glinting on mountain slopes and water sparkling in the ravines, while also alluding to the innuendos of a joking relationship between a woman and her husband s younger brother, Bhabhi Dewar. This track about the Rali rituals and songs combines speech with singing. This is included as a particularly interesting way to present intangible cultural heritage. Subhadra Devi gives instructions, in Hindi, about why and how the goddess Rali is worshipped each spring. Rali is identified as a form of Parvati, with her husband Senkar a form of Shankar, in the annual spring ritual for unmarried girls to gain a good groom by celebrating the marriage of goddess Rali to Senkar, with her brother Bastu in attendance. Subhadra Devi describes the rituals and the appropriate songs in dialect. She begins with the song for gathering spring flowers and making garlands for Rali each morning. Then, she moves on to the song about assembling objects for rituals. She goes on to describe how observant girls fast over four Mondays and go from household to household singing in order to gather donations for their Rali ritual. She then offers an example of this sort of song, in which the theme of male migrant labor common in the hills spills into mythological domains here, with Rali s brother Bastu off to Delhi, while Senkar has gone to work in Chamba, each offering to send her gifts. Subhadra Devi ends by singing an example of the sort of devotional song or bhajan sung by grown women at the auspicious ending of the Rali ritual, when the goddess is carried to a pool to be submerged. This song addresses the mulberry tree from whose wood a flute for Krishna might be made. It describes the unfinished fates of those who haven t ever given alms, fasted on ritual days, constructed raised stands for wayfarers to rest under shady trees, or given daughters in marriage.

6 14. Meri Albela 산간지역여성들의목소리 Performer: Satya, Dineshwari Negi and others Date of Recording: 1 st May 1982 Place of recording: Pauri village, Pauri Garhwal, Uttarakhand This is a Baisakhi tharya. A tharya is a dance song, like a jhumelo. Baisakhi tharya are related to spring, and danced for enjoyment. Tharyas are also danced when a bride enters her new home for the first time. 이앨범에목소리가녹음된여성들은전문음악가가아니다. 이앨범은일상생활에서의여성들의노래를담고있다. 여성들의노래는노동요로볼수있으며, 탈곡을하거나곡식을빻거나찧을때길고힘든노동의지루함을잊고작업에리듬감을주면서도외로움을덜기위해부른다. 여성은의례연행, 서사시와발라드가창뿐만아니라출산, 결혼, 장례등일생의례를위한노래를부르는데도중요한역할을한다. 특히결혼노래는인도에서여성이부르는노래중에서큰비중을차지한다. 도시화와도시로의이주, 그리고기계의발달로인해여성의노래라는인도의중요한무형문화유산이사라지고있다. 또한녹음된노래와텔레비전이가창의자리를뺏고있다. 따라서이러한전통을음향과문자로기록하는것은매우중요하다. 즉, 가족과가족의수호신을위한의례를연행하는주체인여성의목소리를가정과밭에서기록하는것은매우가치있는일이다. 이앨범에는히마찰프라데시 (Himachal Pradesh) 주캉그라 (Kangra) 의낮은히말라야언덕 ( 눈의땅 이라고불림 ) 과우타라칸드 (Uttarakhand) 주가르왈 (Garhwal) 의히말라야고지대 ( 북쪽땅 이라고불림 ) 에서녹음한노래를담았다. 상호연관성이없음에도불구하고가스야리 (ghasyari) 노래, 가르왈의쿠데르 (khuder), 캉그라의파카하루 (pakaharu) 는주제가비슷하다. 여성들이결혼생활의고난, 남편의부재, 친구관계등자신이처한어려움에관해노래한다. 여성들의노래는악기반주가없다. 수록된노래는두명의여성연구자, 키린나라얀 (Kirin Narayan) 과라기니데쉬판데 (Ragini Deshpande) 의연구결과에서가져온것이다. 캉그라지역의노래는키린나라얀이기록한노래로, 키린나라얀은수년동안캉그라에있으면서여성의노래와이야기를연구했다. 여기수록된곡은그녀가 1990 년부터 1991 년까지기록한것이다. 라기니데쉬판데는 1981 년부터 1989 년까지 9 년동안가르왈의차몰리에서여성의노래를기록했다. 키린나라얀이인용한산기타데비 (Sangita Devi) 의말처럼 모두노래를할수있지만고통을아는사람만이노래를이해할수있을것이다.

7 1. 사구나볼라 (Saguna bola) 연행자 : 우마티데비모녀 (Umati Devi and her daughter) 녹음일자 : 1983 년 1 월녹음장소 : 우타르칸드주, 가르왈, 차몰리, 틸파라사용언어 : 가왈리어 이곡은만갈 (mangal) 이다. 만갈은결혼식이나다른상서로운일생의례때만갈을전문으로부르는여성인만갈야니 (mangalyani) 가부른다. 이러한행사가있으면만갈야니를불러노래를부르도록한다. 2. 찰루파부라사 (Chal Rupa burasa) 연행자 : 레카우냘 (Rekha Unyal) 녹음일자 : 1983 년 1 월녹음장소 : 우타르칸드주, 가르왈, 차몰리, 네그와르사용언어 : 가왈리어 이곡은가스야리기트 (geet) 로여성들이풀을자를때부르는노래다. 가사는진달래의한종류인부라사 (burasa) 를묘사하는내용이다. 한소녀가친구루파를부르는데, 루파는진달래가되어날아가하늘에숨기를바라는소녀다. 노래는얼룩덜룩한그림자를만드는눈덮인히말라야를묘사한다. 마음에슬픔이가득하고눈은항상말라있는가스야리의슬픔에관해이야기한다. 가스야리노래가사는슬픈상황이나떠나간남편또는애인을그리워하는내용이있다. 3. 판다브푸자 (Pandav puja) 연행자 : 핀디데비녹음일자 : 1982 년 5 월 1 일녹음장소 : 우타르칸드주, 파우리가뤌, 파우리마을사용언어 : 가왈리어 이곡은대서사시마하바라타에나오는판두족을신앙하는내용인판다브푸자의일부분으로부르는자가르다. 자가르는의식요로신을깨울때부르며, 제목은해당신의이름을따서만든다. 가르왈에서자가르는일반적으로카스트제도에서재단사로일하는사람들이부른다. 4. 바라흐마 (Bārahmāh) 연행자 : 니르마다우파드예외 (Nirmada Upadhyay and others) 녹음일자 : 1991 년 2 월 18 일녹음장소 : 히마찰프데시주, 캉그라, 살리아나사용언어 : 파하리어 이바라흐마 ( 12 달의노래 라는뜻 ) 는가창자를, 계절이여러번바뀌는동안크리슈나신을그리워하는크리슈나의여자친구고피 (gopi) 로묘사한다. 노래는차이트라 (Chaitra), 즉봄에해당하는 3~4 월부터시작한다. 달이지나면서브린다반 (Brindavan) 지역의풍경이변해가는동안, 고피는마투라 (Mathura) 로떠나있는크리슈나를그리워한다 년친척의결혼식에서니르마다우파드야이 (Nirmada Upadhyay) 와그녀가이끄는그룹의사람들이부른노래로펀자브어 (Punjabi) 의영향이드러나는곡이다 년까지펀자브주에속해있던캉크라지역에서그이후에도펀자브어가얼마나강력한문화적영향을미쳤는지를보여주는부분이다. 5. 암베디아달리야코옐볼레 (Ambe dia daliya koyel bole) 연행자 : 비나다르 (Veena Dhar) 녹음일자 : 1991 년 2 월 18 일녹음장소 : 히마찰프라데시주, 캉그라, 살리아나사용언어 : 파하리어 이파카루 ( 결혼생활의어려움에관한노래 ) 는 소얀다사그 (soyān dā sāg), 즉 펜넬요리 라고도불린다. 이노래는검은뻐꾸기가망고나무가지에서부드럽게노래하는것으로시작한다. 이는 12 년동안멀리떨어져있어서이제는 낯선남편 이된주인공의남편이곧돌아오는것에대한복선이다. 집에돌아온남편은부인에게펜넬요리를해달라고말한다. 하지만부인은펜넬을구하러나가서채소를재배하는사람에게능욕을당한다. 부인이요리를준비하지만남편은접시를걷어차버리고 위험한남편 이된다. 부인은독약을마시고남편을향해다음과같이마지막구절을노래한다. 시댁에서행복을찾을수없고친정에서도행복을찾을수없다. 이아름다운여성의운명에는행복이없다. 6. 난다트리슐리 (Nanda Trishuli) 연행자 : 레카네기 (Rekha Negi) 녹음일자 : 1983 년 1 월녹음장소 : 우타르칸드주, 가르왈, 차몰리, 네그와르사용언어 : 가왈리어 이노래는가르왈을찬양하고, 난다트리슐리봉우리와그사이를흐르는신성한갠지스 (Ganges) 강의아름다움을축복하는내용을담고있으며, 이러한아름다움과더불어피흘리며전쟁을치른가왈리군인의용맹을잊지말것을당부한다. 난다데비신에게일어나서이지역을보호해달라고요청한다. 7. 아수가스야리 (Asu Ghasyari) 연행자 : 레카우냘 (Rekha Unyal) 녹음일자 : 1982 년 9 월 12 일녹음장소 : 가왈리어 이곡은가스야리노래중의하나로, 가창자는자신을목마른마음을가진가스야리로묘사한다. 신나는선율에도불구하고그리움을표현하는슬픈노래다. 8. 수하그송에크손살라이 (Suhāg song-ek sone salai) 연행자 : 스리마티데비싱고라 (Srimati Devi Singhora) 녹음일자 : 1990 년 9 월 20 일녹음장소 : 히마찰프라데시주, 캉그라, 다탈사용언어 : 파하리어 아버지, 저를멀리보내지마세요 라는제목의이결혼노래는서로다른마을로시집가는소녀들의우정에관한노래다. 어린신부는자신의친구들을못볼수도있으니먼곳또는 다른나라 로시집보내지말라고아버지에게애원한다. 앞으로고향에오면부모님은만날수있겠지만친구들은볼수없을것이기때문이다. 노래는외삼촌에게도같은요청을하는장면으로전개된다. 신부를중심으로부르는이러한노래는친삼촌, 오빠등다양한친인척에게같은요청을반복하는형식으로전개될수있다.

8 9. 풀라부라사 (Phula burasa) 11. 주멜로 (Jhumelo) 10. 바르사티 (Barsāti) 14. 메리알벨라 (Meri Albela) 연행자 : 바칸티우냘 (Vajanti Unyal) 녹음일자 : 1982 년 9 월 12 일사용언어 : 가왈리어 여러계절동안집에없는남편을그리워하는내용을담고있다. 10. 바르사티 (Barsāti) 연행자 : 주다야데비 (Judhya Devi) 녹음일자 : 1991 년 8 월 14 일녹음장소 : 히마찰프라데시주, 캉그라, 안드레타사용언어 : 파하리어 바르사티 는 비의노래 라는뜻이다. 이장르의노래는장마와연관이있으며부재한남편을그리워하는내용을담곤한다. 이노래는모내기노동의어려움을덜기위해부르는데, 여성들은차가운흙탕물속에서허리를굽히고일하면서이러한노래를부른다. 여기수록된곡에서여성은시누이에게자신의고통을토로하게되고, 만디 (Mandi) 지역에서치료사가온다. 하지만여성은펀자브어설화 히르란자 (Heer Ranjha) 를언급하면서, 그리움이너무깊어서자신의란자 (Ranjha, 진정한사랑 ) 없이는죽을것같다고말한다. 이노래는들에서녹음했는데첨벙거리는물소리와들에서나는다른소리가현장감을전해준다. 연행자 : 톨차여성들 (Group of Tolchha women) 녹음일자 : 1982 년 9 월 13 일녹음장소 : 우타라칸드주, 가르왈, 차몰리, 라타사용언어 : 가왈리어 주멜로는다양한공동체행사에서춤에맞춰서단체로부르는노래다. 여기에수록된주멜로는톨차 (Tolchha) 부족여성들이바자회와축제때부르는노래다. 12. 운치운치리디야 (Unchi unchi ridiya) 연행자 : 아니타, 니샤샤르마 (Anita and Nisha Sharma) 녹음일자 : 1990 년 9 월 18 일녹음장소 : 히마찰프라데시주, 캉가르, 바누리사용언어 : 파하리어 나치기트 (nāch gīt, 춤의노래 라는뜻 ) 는반짝이는산등성이의바위와협곡사이를흐르는물이있는골짜기를찬양하는노래다. 또한서로농담을주고받는여성과시동생과의관계를슬쩍빈정거리기도한다. 13. 랄리 (Rali) 연행자 : 바칸티우냘 (Vajanti Unyal) 녹음일자 : 1982 년 9 월 12 일사용언어 : 가왈리어 연행자 : 즈나누반다리, 우르밀수드 (Jnanu Bhandari and Urmil Sud) 녹음일자 : 1991 년 3 월 19 일녹음장소 : 히마찰프라데시주, 캉그라, 다탈사용언어 : 파하리어, 힌디어 이트랙에수록된랄리의례와노래에는가창과말이섞여있다. 인도무형문화유산에이렇게흥미로운표현방식도있다는것을보여주기위해이음원을수록하기로했다. 수바드라데비 (Subhadra Devi) 는힌두어로봄마다랄리여신에게제례를올려야하는이유와제례방식에대해설명한다. 랄리의오빠인바추 (Bastu) 가참석한랄리와센카르 (Senkar) 의결혼식에서미혼여성들은좋은신랑을구하기위해결혼을축하하는의례를매년봄마다연행한다. 이의례에서랄리는파르바티여신의다른모습으로, 센카르는산카르 (Shankar) 신의다른모습으로생각된다. 수바드라데비는의례와의례에적절한노래를지역방언으로설명한다. 수바드라데비는매일아침봄꽃을꺾고랄리를위한화관을만드는장면으로노래를시작한다. 그다음은어떻게미혼여성들이월요일이 4 번지나도록금식을하고집집마다방문하며랄리의례를위한기부금을모으는지를묘사한다. 그리고필요한노래를하나소개하는데이노래는남성의이주노동이라는흔한주제가신화로녹아들어간예라고할수있다. 이노래에서랄리의오빠인바추는델리 (Delhi) 로일하러가고남편센카르는참바 (Chamba) 로일하러가서각자랄리에게선물을보낸다는내용이다. 끝으로수바드라데비는의례곡 ( 바잔, bhajan) 을하나부르는데, 이노래는랄리를웅덩이로데려가물에잠기게하는행동을하는랄리의례마지막부분에성인여성들이부르는곡이다. 이노래는크리슈나신을위한피리를만드는재료로사용되는뽕나무를향해부른다. 이노래는아직시주를하지않았거나, 의례가있는날단식을하지않았거나, 여행자들이나무그늘에서쉴수있도록의자를만들지않았거나, 혹은딸을시집보내지않은사람들의끝나지않은운명에대해이야기한다. 연행자 : 사탸, 디네스와리네기외 (Satya, Dineshwari Negi and others) 녹음일자 : 1982 년 5 월 1 일녹음장소 : 우타라칸드주, 파우리가뤌, 파우리마을사용언어 : 가왈리어 이곡은바이사키 (Baisakhi) 축제를위한타르야 (tharya) 다. 타르야는주멜로처럼춤을추기위한노래다. 바이사키타르야는봄과연관이있고신나는춤을같이춘다. 타르야는신부가새집에처음들어왔을때도춤추며부른다. 여러계절동안집에없는남편을그리워하는내용을담고있다.

9 Contributors Co-Production Directors Shubha Chaudhuri, Kwon Huh Sound Editor: M. Umashankar Contents Editor: Shubha Chaudhuri Notes provided by Kirin Narayan for this album.

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

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