{"created":"2023-06-20T15:59:07.220794+00:00","id":4152,"links":{},"metadata":{"_buckets":{"deposit":"2b6f72ce-5f36-41bc-b083-09d0f67613f8"},"_deposit":{"created_by":17,"id":"4152","owners":[17],"pid":{"revision_id":0,"type":"depid","value":"4152"},"status":"published"},"_oai":{"id":"oai:minpaku.repo.nii.ac.jp:00004152","sets":["345:417"]},"author_link":["37"],"item_9_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1997-12-08","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"2","bibliographicPageEnd":"325","bibliographicPageStart":"283","bibliographicVolumeNumber":"22","bibliographic_titles":[{"bibliographic_title":"国立民族学博物館研究報告"},{"bibliographic_title":"Bulletin of the National Museum of Ethnology","bibliographic_titleLang":"en"}]}]},"item_9_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"Tiruvavadudurai N. 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's 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's 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's desired position and for securing one's 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":[{},{},{},{}]}]},"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","filename":"KH_022_2_002.pdf","filesize":[{"value":"4.3 MB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","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"],"pubdate":{"attribute_name":"公開日","attribute_value":"2010-02-16"},"publish_date":"2010-02-16","publish_status":"0","recid":"4152","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_creator_id":"17","weko_shared_id":-1},"updated":"2023-06-20T17:18:53.708010+00:00"}