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Rajarattinam Pillai (1898-1956) was an undisputed\nmaster of the nagasvaram (a double-reed aerophone) in South\nIndian classical music. Because of his exceptional musicality and colorful\npersonal life, Rajarattinam Pillai has commanded attention from,\nand exerted tremendous influence over, other performers, connoisseurs,\nand patrons, both during and after his lifetime. In this article, I document\nthe heterogeneous interpretations of Rajarattinam Pillai by the\nthree prominent caste groups of musicians and patrons: Brahmans, Isai\nV lalars and Maruttuvars. By doing so, I aim to demonstrate that the\nidentity of their musical traditions is contested through the act of interpreting\nRajarattinam Pillai\u0027s music and life. The relationship between\nthese three groups is highly ambivalent and sensitive, and the existence of\ntheir rivalry and conflict is widely acknowledged but seldom discussed\npublicly or written about.\nClassical music in South India is divided into two traditions today:\nPeriya Melam music and Karnataka music. Periya Melam is a genre of\ninstrumental music which accompanies daily worship and calendrical\nfestivals at Hindu temples as well as lifecycle rituals such as weddings.\nThe ensemble features nagasvaram of which Rajarattinam Pillai was a\nmaster and the tavil (double-headed drum) . Karnataka music ensemble\nmost typically features a vocalist accompanied by a violinist and a\nmridangam (drum) player, and is performed most prominently in con-\ncert-hall recitals.\nI aim to inquire how the discourse on Rajarattinam Pillai is socially\nand politically significant in South Indian music culture, instead of\nyielding to the notion that the genius is a self-complete unit for analysis,\nand asking only what musical features make this particular individual a\ngenius. The changing positions of the three groups examined in this article\nin social and musical hierarchy can be identified as simultaneously\naffecting and reflecting the interpretation of Rajarattinam Pillai.\nFor Brahmans, the trenchant attack on Brahmanical culture in the\nnon-Brahman sociopolitical movements during this century generated\nthe need to establish a cultural arena in which to ascertain their threatened\nidentity and to maintain moral superiority. Constructed with anecdotes\nof Rajarattinam Pillai, their perception of Isai Vlalars as corrupt,\nuneducated and unrefined has provided Brahmans with an effective\npretext for refusing non-Brahmans due public recognition, and has\ntherefore enabled Brahmans to project Karnataka music as their own\ncultural arena.\nThe Isai Vlalars find in Rajarattinam Pillai a means of symbolic\ncultural resistance to Brahman hegemony. Although their counter interpretations\nare rarely advanced face to face with Brahmans to avoid\nretaliation, Isai Trlalars can maintain pride in their own musical heritage\nand even a sense of musical superiority by projecting the image of Rajarattinam\nPillai as a musician with unprecedented talent who fought\nagainst Brahman dominance. The discourse on Rajarattinam Pillai also\nserves to legitimize the drastic changes in Periya Melam music during his\nlifetime and its increasing alienation from the original ritual performance\ncontext.\nAnalysis of the differences in interpretation of Rajarattinam Pillai\nbetween Isai Vlalars and Maruttuvars reveals some aspects of the complex\ninterplay between dominant and subordinate discourses. The appropriation\nof the primacy of vocal music by Isai Velalars for maintaining\na superior position to the Maruttuvar musicians has the effect of reinforcing\nBrahman appropriation of the same aspect of music against Isai\nVlalars themselves. This unwitting endorsement and reinforcement of\ndominant discourse is not uncommon among subordinate groups.\nWhile the non-Brahman musicians criticize the tendency for preferential\ntreatment of Brahman musicians by Brahman-controlled organizations,\nonce they are individually given benefits, such as performance opportunities,\nawards and musical titles, from the same organizations, the\nprestige associated with organizations is often utilized to establish their\nsuperior position against other members.\nAs Hobsbawm and Ranger\u0027s important study, Invention of Culture\n(1983) , and many others inspired by it inform us, the past is used for the\nmanipulation of the present. In order to account for, justify, understand,\nand criticize the present, the past is selectively appropriated,\nremembered, forgotten or invented. Multiple interpretations of Rajarattinam\nPillai reflect and embody the distribution and exercise of power in\nSouth Indian music culture, as the polysemy of his charisma derives\nfrom, and corresponds to, the conflicting yet interdependent relationships\nbetween Brahmans and non-Brahmans and between non-Brahman\ngroups. Rajarattinam Pillai serves as a site of contestation where a\nmultitude of interpretations are accorded to his attributes for the\nlegitimization of one\u0027s desired position and for securing one\u0027s identity.", "subitem_description_type": "Abstract"}]}, "item_9_identifier_registration": {"attribute_name": "ID登録", "attribute_value_mlt": [{"subitem_identifier_reg_text": "10.15021/00004144", "subitem_identifier_reg_type": "JaLC"}]}, "item_9_publisher_33": {"attribute_name": "出版者", "attribute_value_mlt": [{"subitem_publisher": "国立民族学博物館"}]}, "item_9_publisher_34": {"attribute_name": "出版者(英)", "attribute_value_mlt": [{"subitem_publisher": "National Museum of Ethnology"}]}, "item_9_source_id_10": {"attribute_name": "書誌レコードID", "attribute_value_mlt": [{"subitem_source_identifier": "AN00091943", "subitem_source_identifier_type": "NCID"}]}, "item_9_source_id_8": {"attribute_name": "ISSN", "attribute_value_mlt": [{"subitem_source_identifier": "0385-180X", "subitem_source_identifier_type": "ISSN"}]}, "item_9_version_type_16": {"attribute_name": "著者版フラグ", "attribute_value_mlt": [{"subitem_version_resource": "http://purl.org/coar/version/c_970fb48d4fbd8a85", "subitem_version_type": "VoR"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "寺田, 吉孝"}, {"creatorName": "テラダ, ヨシタカ", "creatorNameLang": "ja-Kana"}, {"creatorName": "Terada, Yoshitaka", "creatorNameLang": "en"}], "nameIdentifiers": [{"nameIdentifier": "37", "nameIdentifierScheme": "WEKO"}, {"nameIdentifier": "1000000290924", "nameIdentifierScheme": "CiNii ID", "nameIdentifierURI": "http://ci.nii.ac.jp/nrid/1000000290924"}, {"nameIdentifier": "00290924", "nameIdentifierScheme": "NRID", "nameIdentifierURI": " "}, {"nameIdentifier": "00290924", "nameIdentifierScheme": "e-Rad", "nameIdentifierURI": "https://kaken.nii.ac.jp/ja/search/?qm=00290924"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2015-11-19"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "KH_022_2_002.pdf", "filesize": [{"value": "4.3 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_free", "mimetype": "application/pdf", "size": 4300000.0, "url": {"label": "KH_022_2_002.pdf", "url": "https://minpaku.repo.nii.ac.jp/record/4152/files/KH_022_2_002.pdf"}, "version_id": "44c54558-2c6f-4657-be07-ca97e292a20d"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "南インド|カースト競合|イサイ・ヴェーラーラル|音楽|カリスマ", "subitem_subject_scheme": "Other"}, {"subitem_subject": "South India|caste rivalry|Isai Velalar|music|charisma", "subitem_subject_language": "en", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "departmental bulletin paper", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "カースト競合の「場」としてのカリスマ的演奏家 : T. N. ラージャラッティナム・ピッライと南インド古典音楽文化", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "カースト競合の「場」としてのカリスマ的演奏家 : T. N. ラージャラッティナム・ピッライと南インド古典音楽文化"}, {"subitem_title": "A Charismatic Musician as a Site for Caste Rivalry : T. N. Rajarattinam Pillai and Music Culture in South India", "subitem_title_language": "en"}]}, "item_type_id": "9", "owner": "17", "path": ["417"], "permalink_uri": "https://doi.org/10.15021/00004144", "pubdate": {"attribute_name": "公開日", "attribute_value": "2010-02-16"}, "publish_date": "2010-02-16", "publish_status": "0", "recid": "4152", "relation": {}, "relation_version_is_last": true, "title": ["カースト競合の「場」としてのカリスマ的演奏家 : T. N. ラージャラッティナム・ピッライと南インド古典音楽文化"], "weko_shared_id": -1}
カースト競合の「場」としてのカリスマ的演奏家 : T. N. ラージャラッティナム・ピッライと南インド古典音楽文化
https://doi.org/10.15021/00004144
https://doi.org/10.15021/00004144682fcd70-3a97-40fa-9060-9b8b035e38aa
名前 / ファイル | ライセンス | アクション |
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KH_022_2_002.pdf (4.3 MB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||||
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公開日 | 2010-02-16 | |||||||||||
タイトル | ||||||||||||
タイトル | カースト競合の「場」としてのカリスマ的演奏家 : T. N. ラージャラッティナム・ピッライと南インド古典音楽文化 | |||||||||||
タイトル | ||||||||||||
言語 | en | |||||||||||
タイトル | A Charismatic Musician as a Site for Caste Rivalry : T. N. Rajarattinam Pillai and Music Culture in South India | |||||||||||
言語 | ||||||||||||
言語 | jpn | |||||||||||
キーワード | ||||||||||||
主題Scheme | Other | |||||||||||
主題 | 南インド|カースト競合|イサイ・ヴェーラーラル|音楽|カリスマ | |||||||||||
キーワード | ||||||||||||
言語 | en | |||||||||||
主題Scheme | Other | |||||||||||
主題 | South India|caste rivalry|Isai Velalar|music|charisma | |||||||||||
資源タイプ | ||||||||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||||||
資源タイプ | departmental bulletin paper | |||||||||||
ID登録 | ||||||||||||
ID登録 | 10.15021/00004144 | |||||||||||
ID登録タイプ | JaLC | |||||||||||
著者 |
寺田, 吉孝
× 寺田, 吉孝
WEKO
37
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抄録 | ||||||||||||
内容記述タイプ | Abstract | |||||||||||
内容記述 | Tiruvavadudurai N. Rajarattinam Pillai (1898-1956) was an undisputed master of the nagasvaram (a double-reed aerophone) in South Indian classical music. Because of his exceptional musicality and colorful personal life, Rajarattinam Pillai has commanded attention from, and exerted tremendous influence over, other performers, connoisseurs, and patrons, both during and after his lifetime. In this article, I document the heterogeneous interpretations of Rajarattinam Pillai by the three prominent caste groups of musicians and patrons: Brahmans, Isai V lalars and Maruttuvars. By doing so, I aim to demonstrate that the identity of their musical traditions is contested through the act of interpreting Rajarattinam Pillai's music and life. The relationship between these three groups is highly ambivalent and sensitive, and the existence of their rivalry and conflict is widely acknowledged but seldom discussed publicly or written about. Classical music in South India is divided into two traditions today: Periya Melam music and Karnataka music. Periya Melam is a genre of instrumental music which accompanies daily worship and calendrical festivals at Hindu temples as well as lifecycle rituals such as weddings. The ensemble features nagasvaram of which Rajarattinam Pillai was a master and the tavil (double-headed drum) . Karnataka music ensemble most typically features a vocalist accompanied by a violinist and a mridangam (drum) player, and is performed most prominently in con- cert-hall recitals. I aim to inquire how the discourse on Rajarattinam Pillai is socially and politically significant in South Indian music culture, instead of yielding to the notion that the genius is a self-complete unit for analysis, and asking only what musical features make this particular individual a genius. The changing positions of the three groups examined in this article in social and musical hierarchy can be identified as simultaneously affecting and reflecting the interpretation of Rajarattinam Pillai. For Brahmans, the trenchant attack on Brahmanical culture in the non-Brahman sociopolitical movements during this century generated the need to establish a cultural arena in which to ascertain their threatened identity and to maintain moral superiority. Constructed with anecdotes of Rajarattinam Pillai, their perception of Isai Vlalars as corrupt, uneducated and unrefined has provided Brahmans with an effective pretext for refusing non-Brahmans due public recognition, and has therefore enabled Brahmans to project Karnataka music as their own cultural arena. The Isai Vlalars find in Rajarattinam Pillai a means of symbolic cultural resistance to Brahman hegemony. Although their counter interpretations are rarely advanced face to face with Brahmans to avoid retaliation, Isai Trlalars can maintain pride in their own musical heritage and even a sense of musical superiority by projecting the image of Rajarattinam Pillai as a musician with unprecedented talent who fought against Brahman dominance. The discourse on Rajarattinam Pillai also serves to legitimize the drastic changes in Periya Melam music during his lifetime and its increasing alienation from the original ritual performance context. Analysis of the differences in interpretation of Rajarattinam Pillai between Isai Vlalars and Maruttuvars reveals some aspects of the complex interplay between dominant and subordinate discourses. The appropriation of the primacy of vocal music by Isai Velalars for maintaining a superior position to the Maruttuvar musicians has the effect of reinforcing Brahman appropriation of the same aspect of music against Isai Vlalars themselves. This unwitting endorsement and reinforcement of dominant discourse is not uncommon among subordinate groups. While the non-Brahman musicians criticize the tendency for preferential treatment of Brahman musicians by Brahman-controlled organizations, once they are individually given benefits, such as performance opportunities, awards and musical titles, from the same organizations, the prestige associated with organizations is often utilized to establish their superior position against other members. As Hobsbawm and Ranger's important study, Invention of Culture (1983) , and many others inspired by it inform us, the past is used for the manipulation of the present. In order to account for, justify, understand, and criticize the present, the past is selectively appropriated, remembered, forgotten or invented. Multiple interpretations of Rajarattinam Pillai reflect and embody the distribution and exercise of power in South Indian music culture, as the polysemy of his charisma derives from, and corresponds to, the conflicting yet interdependent relationships between Brahmans and non-Brahmans and between non-Brahman groups. Rajarattinam Pillai serves as a site of contestation where a multitude of interpretations are accorded to his attributes for the legitimization of one's desired position and for securing one's identity. |
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書誌情報 |
国立民族学博物館研究報告 en : Bulletin of the National Museum of Ethnology 巻 22, 号 2, p. 283-325, 発行日 1997-12-08 |
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収録物識別子タイプ | ISSN | |||||||||||
収録物識別子 | 0385-180X | |||||||||||
書誌レコードID | ||||||||||||
収録物識別子タイプ | NCID | |||||||||||
収録物識別子 | AN00091943 | |||||||||||
著者版フラグ | ||||||||||||
出版タイプ | VoR | |||||||||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||||||
出版者 | ||||||||||||
出版者 | 国立民族学博物館 | |||||||||||
出版者(英) | ||||||||||||
出版者 | National Museum of Ethnology |