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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 | |||||||||||||
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| 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 | ||||||||||||||
| 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 | en | |||||||||||||
| 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
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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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| 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 | |||||||||||||
| ISSN | ||||||||||||||
| 収録物識別子タイプ | ISSN | |||||||||||||
| 収録物識別子 | 0385-180X | |||||||||||||
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| 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 | |||||||||||||
