There are numerous rhythmic languages in the world that
are used to recite rhythms before being played on the drums
including the most modern beat boxing that replicates
the sounds of drums and various ambiences as a way of
recitation. Although this system of vocalizing rhythms
isn’t a concept that is exclusive to the Indian rhythmic
system, what sets apart the system, more particularly
that of the konnakol is how thorough and thought out the
entire system is. Unlike other systems that create syllables
replicated from the different sounds an instrument can
produce, konnakol is an entire language on its own without
the dependency of any instrument – more commonly
known as Solkattu (Sol – syllable; Kattu – bunch/group).
My two subjects, BC Manjunath and Somashekhar Jois
are probably two of the most famous faces of konnakol
who are not only deep rooted in their tradition but
are also futuristically propagating the art form in
contemporary ways so as to maintain its relevancy.
Virtuosos in their own right, both are extremely acclaimed
South Indian percussionists and konnakol artists who
have performed and given lecture demonstrations on
advanced concepts at various music conservatories.
Their extremely famous Facebook, YouTube, and
Instagram videos of short compositions have become a
favorite amongst musicians across the world and have
eventually resulted in global virtual collaborations that
truly uphold the spirit of musicianship in a digital age.
Diving straight into it, Jois opened saying, “The origin
of Konnakkol dates back to Vedic ages, which may
be around 5000-7000 years ago, according to modern
historians. ‘Konnakkol’ as an art form has references
even in the most ancient of Indian literature such as
Sangeetha - Natya Shastra, Ayurveda Shastra, Yoga
Shastra, Ramayana, Mahabharatha etc. At different time
periods, various names have been used for Konnakkol.
However, the word ‘Konnakkol’ doesn’t seem to appear
anywhere. Vernacular words such as Koni, Kol, Konnai,
Konipittu, Konnaikkiradu, Konuppittal, Chonnacchol
etc. do not have any authenticity and can at best be
attributed to fertile imagination of few music enthusiasts.
So, the word Konnakkol is in fact a colloquial term!”
Just like any Indian lineage, konnakols were passed on from
one to another orally or better known as ‘karnaparampara’.
This practice is exactly what keeps the entire art form fresh
and relevant irrespective of the generation it is prevailing
in because each student of the art form, propagates it to
the next student with his/her own interpretation that
makes every documentation unique! In daily practice,
Konnakol is used as a vocal reference for all Carnatic
percussive instruments. More appropriately, in relation
to the principle instrument, Mridanga. Many commoners
assume the syllables as a derivative of the sounds that
are produced by the Mridanga, but fail to understand
that konnakol is an entire, fully developed language by
itself. Training in konnakol, “Just like learning any other
language, Konnakkol aspirants need to start their practice
right from learning Bala Paata (Basic lessons) such as
Sol (syllables) & their precise articulation, to Solkattu
(words), to Jathi (percussive formations), to Nade, Pharans,
Muktaya, Abhipraya, Mohara, Korvai & so on. All these
can be learnt only under a proper Guru, in an authentic
pedagogical methodology and not through any other aids,”
emphasized Manjunath. As exhilarating and tempting as
it is to attempt the fast trailblazer speed compositions,
consistency around the fundamentals and regular practice
are the only ways any aspirant can recite such high speeds.
As one digs deeper into observing the intricacies of the art
form and how ancient mathematics has been preserved
within such an aesthetic context, “Konnakkol is perhaps
the most complex, intricate & aesthetically designed yet
simple to learn vocal rhythmic system in the world. At
various time periods there have been prophetic people like
Bharatha Muni, Arunagirinathar, Pallava King Mahendra
Varman I & great legends such as Tanjavur Vaidyanatha
Iyer, Pudukottai Dakshinamurthy Pillai, Mannargudi
Pakkriya Pillai, Yazhpanam Dakshinamurthy, Palakkad
Mani Iyer, Pazhani Subramania Pillai, Ramanathapuram
Murugabhoopathy etc. who have contributed immensely
to the field of Carnatic Percussion with their mathematical
genius. With Mathematics being an integral part of Carnatic
Music, the permutation-combination possibilities are
endless,” Jois elaborated. “To understand a music system
through numbers simply shows how evolved the system
is beyond one’s expectations and individuality. Such
depth of knowledge is timeless and infinite! The more
you are willing to learn and experiment, the deeper you
internalize the science of this system,” added Manjunath.
Speaking on the relevance of Konnakol in today’s times ,
“More than musical relevance, Konnakkol has a positive
impact on us in physical, psychological and spiritual planes.
It helps us improve speech – clarity – modulation - tonal
control, gain control of thoughts & emotions, improves
logical reasoning, sharpens our intellect, provides peace of
mind, and enlivens the soul. Today, Konnakkol is effectively
used in the treatment of various medical conditions related
to speech & cognition, not only in Ayurveda, but also in
modern medicine,” both of them replied intervening
each other.
“Konnakol as an art form today plays the role of the pied
piper to international musicians across the world. With its
deep roots in India, Konnakol has journeyed east & west,
deeply influencing musicians, music lovers, students &
children too. The inherent experimental nature of Konnakol
makes it a captivating ingredient in fusion music of diverse
cultures. The rise of this genre in the past century has
created an extended fan following for this art form. Today
musicians of varied backgrounds across the world, come
forward to learn Konnakol primarily to gain mastery over
their own music and additionally incorporate a distinct
flavor to their performances,” Jois said. “It is an essential
tool for musicians these days! In fact, Indian music system
itself is becoming one of the best tools to possess for any
musician today so as to understand their own cultural music
better! The world is catching up,” exclaimed Manjunath. Jois
further concluded by saying, “In the near future, Konnakol
is bound to become a household name in every corner of
the world. Any percussion technique, from any part of the
world, can undeniably be comprehended and reproduced
perfectly with the help of Konnakol. Thereby it is logical to
expect that Konnakol will be the basic percussion course,
in order to facilitate learning rhythmic structures of
any musical culture. The present exponential growth of
awareness regarding the possibilities & benefits gained,
is by itself proof to the promising future of Konnakol.”
The
Score Magazine
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