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Kerala Tag

Chip off the old block – Bhashyam Ramacharya Bhashyam Venkatachaarya was the elder of the two grandsons of Bhashyam Tirumalachaarya. He worked as a sub-registrar. Bhashyam Ramacharya was the younger one. He was the person in charge of my peculiar ‘university.’ I became acquainted with Bhashyam Ramacharya sometime during 1909-10. During those

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The current series examines the literary and aesthetic value of the verses of Kṛṣṇakarṇāmṛtam and wherever possible, touches upon their application to music, dance and painting. The present part gives a brief introduction to the poet, his work and describes a few verses. Kṛṣṇakarṇāmṛtam is a wonderful lyrical composition of three

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यस्य षष्टी चतुर्थी च विहस्य च विहाय च | अहं चापि द्वितीया स्याद्द्वितीया स्यामहं कथम् || Manoramā Taṃpurāṭṭi was a great grammarian who lived in Kerala in the 18th century. She had earned the title ‘Manoramā’ because of her mastery over the ‘Prauḍamanoramā’ of Bhaṭṭoji-dīkṣita. Mādhavan Aṭitiri, who wrote the ‘Uttaranaiṣadhacaritam’ as

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Let us look at Yakshagana and its allied art-forms from the point of view of angikaabhinaya (communication through the body and gesture language). Kuchupudi and Bhagavatamela are rich in angikaabhinaya. However, in recent times, Kuchupudi has been relinquishing its theatrical format, i.e., the format of Yakshagana and Kalaapa, and is

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Yakshagana is a term, which although collectively applies to regional performing arts of Karnataka and Andhra, in the recent years, it has been used synonymously with ‘Paduvalapaaya’ which is practiced in the Karavali and Malenadu regions of coastal Karnataka. The current article uses the word ‘Yakshagana’ in this popular sense,

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