Notable Bhavageethe performers include P.
Nissar Ahmed, and N S Lakshminarayana Bhatta. Kannada Bhavageethe draws from the poetry of modern, including Kuvempu, D.R. Bhavageethe may be called by different names in other languages. This genre is quite popular in many parts of India, notably in Karnataka and Maharashtra. Most of the poetry sung in this genre pertain to subjects like love, nature, and philosophy, and the genre itself is not much different from Ghazals, though Ghazals are bound to a peculiar metre. When an emotional poem having excellent poetic components becomes a song, it is known as a "Bhaavageeth". Bhavageethe īhavageethe (literally 'emotion poetry') is a form of expressionist poetry and light music. After Waiba's death in 2011, her son Satya Aditya Waiba (producer) and Navneet Aditya Waiba (singer) collaborated and re-recorded her most iconic songs and released an album titled Ama Lai Shraddhanjali (आमालाई श्रद्धाञ्जली-Tribute to Mother). Waiba has sung nearly 300 songs in a career spanning 40 years. Her song ' Chura ta Hoina Astura' (चुरा त होइन अस्तुरा) is said to be the first Tamang Selo ever recorded. Hira Devi Waiba is hailed as the pioneer of Nepali Folk songs and Tamang Selo. although modern instruments have found their way into the compositions these days A Selo could be very catchy, attractive and lively or slow and melodious and is usually sung to express love, sorrow and stories of day to day life. It is usually accompanied by Tamang instruments, the Damphu, Madal and Tungna. Tamang Selo is a musical genre of the Tamang people and widely popular amongst the Nepali speaking community in India and around the world. It certainly isn’t an easy life, and it’s a community that deserves our respect and thanks.A woman playing the Tanpura, c.
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And this idea of a rhythmic chant making hard manual labour easier is something both forms of folk music have in common. These are the same themes in the sea shanties that have become viral over the past few days. For instance, the third song, composed entirely of rhythmic chanting, is intended mostly to make the hard work of dragging boats out to sea from the beach feel less intensive. Most of the other songs sing not only of sailing and fishing, but also of the work that needs to be done before and after a sail. Others, like this one, which appears later in the programme, have a less tragic perspective, but still speak of storms and rough sailing conditions.
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Some, like the second song, which is sung to the tune of this old Tamil movie song, speak of the tragedy of lives lost at sea. Many of the other songs speak of the sacrifices boatmen make when they go out to sea.
The words Yelelo Ailasa are rhythmic words intended to mimic the swing of a boat’s oars. For instance, the first is a song for kids that speaks about how a fisherman makes his boats from banana trees, honey, and other raw materials.
With my mother’s help I was able to gather the themes of the songs in the show. Halfway down the Kadal Osai FM rabbithole, I found the music I was looking for when I started my search: a programme that sampled the folk songs of the Tamil fishing community. You can find episodes on old fishing practices, mental health, spoken English, press freedom, et al on Spotify.
There are hourly weather updates, radio shows on conservation, going rates for fish and materials, and programmes with folk songs. The story of Kadal Osai is wonderful: a radio station started by a member of the community, Armstrong Fernando, with the central principle of helping the community and the sea on which their livelihoods depend. But in my search for such an online repository, I did come across Kadal Osai FM (kadal osai is Tamil for sound of the sea), a radio station started by members of the fishing community of Pamban, a town in Tamil Nadu’s Ramanathapuram district, in August 2016. (There is, however, the Archives and Research Center for Ethnomusicology in Gurugram). As with so much folk music in India, there hasn’t been an Alan Lomax (who did record two Tamil fisherfolk songs) to create an easily accessible store of these songs online. With the advent of motorboats, the rhythms of the oars may have disappeared, but the sea songs remain. For millennia, Tamil Nadu’s fishing communities have sung work songs set to the rhythm of oars beating the sea. This trend has got me thinking of the sailors from my own neck of the woods.