On behalf of the People for Ethical Treatment of Dikshitar Krtis (PETD), we hereby urge law-makers to make CDK a punishable offence under Article 476. CDK or Cruelty to Dikshitar KRtis is anything including but not limited to the following:
1.Deshadi meets Dikshitar
This and the tatti eduppu kinds begin songs with 'Kari' , a pause and a forceful tap on the thigh and then 'KaLabha mukham' almost like the hungy man in the pandi yelling for potato curry.
2.The Anandanatanaprakasha jati mutilators
This is the kind that is of the opinion that Dikshitar crossed the boundaries of music by venturing into jatis in AnandanatanaprakAsam(Kedaram) and unilaterally decide to cut off the jatis. Specimens of this kind are typically found in instrumental schools.
3.The Not-so-asampurna schools
It is for them that Shakespeare said "A rose is a rose is a rose" and Godel wrote the completeness theorem for them. After all, "a raga is a raga is a raga and everything asampurna is inherently sampurna". Of course we need all 7 notes and we need them both the ascent and descent. For this the kind, Mudduvenkatamakhi is indistinguishable from Govinda. Their Ramamanohari morphs into Ramapriya and Chakravaham is nothing but Vegavahini.
4.Straight? Vakra? Who cares? .
This may seem like a minor offence but the widespread prevalence of it makes us wonder otherwise. Some people consider all Samas and Sarangas to be the same and ignore the vakra prayogas.
5.All talas are created equally & can be used interchangeably
This school believes that a gauri or a hastivadanaya is way too soporific for their average kutcheri audience. So they invoke the name of their favorite composer namely Patnam Subrahmanya Iyer and imagine how Dikshitar KRtis would sound if it were composed by him. As a result, we have shrI rajagopala closely resembling etu NamminA.
8.Specialization in the spurious
This may be treated as a 'minor' offence due to the vagueness of the classificatory law. However we still classify this as an offence. The main distinguishing characteristic of this school is that when there is a grander, authentic composition and another composition which is smaller, of doubtful authenticity, they will always have a repertoire which prefers the latter. It runs somewhat along these lines:
1.Sing shrI krishnam bhaja but not shrI subrahmanyo mAm
2.Sing govardhana girIsham but not nIrajAkshi kAmAkshi
3.Sing Shri rangapura vihara but not saundararAjam
4.Sing MarakatavallIm but not KAshi vishvEshvara..
5.Sing sEnApate but not sundararAjam
FootNote:
Once again a mostly-truthful yet tongue-in-cheek post. If at all someone is offended by this post, they really should'nt be reading this blog.
1.Deshadi meets Dikshitar
This and the tatti eduppu kinds begin songs with 'Kari' , a pause and a forceful tap on the thigh and then 'KaLabha mukham' almost like the hungy man in the pandi yelling for potato curry.
2.The Anandanatanaprakasha jati mutilators
This is the kind that is of the opinion that Dikshitar crossed the boundaries of music by venturing into jatis in AnandanatanaprakAsam(Kedaram) and unilaterally decide to cut off the jatis. Specimens of this kind are typically found in instrumental schools.
3.The Not-so-asampurna schools
It is for them that Shakespeare said "A rose is a rose is a rose" and Godel wrote the completeness theorem for them. After all, "a raga is a raga is a raga and everything asampurna is inherently sampurna". Of course we need all 7 notes and we need them both the ascent and descent. For this the kind, Mudduvenkatamakhi is indistinguishable from Govinda. Their Ramamanohari morphs into Ramapriya and Chakravaham is nothing but Vegavahini.
4.Straight? Vakra? Who cares? .
This may seem like a minor offence but the widespread prevalence of it makes us wonder otherwise. Some people consider all Samas and Sarangas to be the same and ignore the vakra prayogas.
5.All talas are created equally & can be used interchangeably
And then there are those consider tala to be a convenience. It is typically the chApu chaps who indulge in this. Why even bother with the eka tAlas when there's mishra cApu and KhaNda cApu?
And those that sing their antara gAndharas and kAkali nishAdas in profusion in their Anandabhairavi. They are generally marked by vague notions of license, open-mindedness and arguments of "says who" and lakshana is nothing but lakshya of the next generation
This school believes that a gauri or a hastivadanaya is way too soporific for their average kutcheri audience. So they invoke the name of their favorite composer namely Patnam Subrahmanya Iyer and imagine how Dikshitar KRtis would sound if it were composed by him. As a result, we have shrI rajagopala closely resembling etu NamminA.
8.Specialization in the spurious
This may be treated as a 'minor' offence due to the vagueness of the classificatory law. However we still classify this as an offence. The main distinguishing characteristic of this school is that when there is a grander, authentic composition and another composition which is smaller, of doubtful authenticity, they will always have a repertoire which prefers the latter. It runs somewhat along these lines:
1.Sing shrI krishnam bhaja but not shrI subrahmanyo mAm
2.Sing govardhana girIsham but not nIrajAkshi kAmAkshi
3.Sing Shri rangapura vihara but not saundararAjam
4.Sing MarakatavallIm but not KAshi vishvEshvara..
5.Sing sEnApate but not sundararAjam
FootNote:
Once again a mostly-truthful yet tongue-in-cheek post. If at all someone is offended by this post, they really should'nt be reading this blog.