Mappila songs
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Mappila songs (or Mappila Paattu) are a
Mappila songs have a distinct cultural identity, while at the same time remain closely linked to the cultural practices of Kerala.The songs often use words from
History
Mappila songs have been in circulation for over seven centuries, with the first dated work Muhyidheen Mala attributed to Qadi Muhammad in 1607 AD. Thereafter a large number of literary materials were produced in this medium; one authority has calculated that of these more than 1600 items, complete or fragmentary, were known by 1976.[2] Over the centuries, various types of Mappila Pattu were composed, in accordance with the religious and political surroundings in the lives of the Mappilas of Malabar. The early centuries were primarily based on devotional works, while the colonial era was marked by the battle song genre called Padappattu. Various other categories also grew during the centuries with subjects ranging from romantic ballads and marriage songs to philosophical ideas, sea journeys and even flood ordeals.
Early works
The earliest known dated works in Mappilappattu belong to the 17th century and primarily belonged to the Mala genre.
Malappattu
The mala genre of Mappila songs, generally written in
The 17th century also witnessed the composition of other popular works in the Malappattu genre, namely the Rifai Mala (1623) by Ahammadul Kabeer, Uswath Mala (1628) and Valiya Naseehath Mala (1674) by Manantakath Kunhikoya Thangal.[4]
18th century
Songs of the 18th century were primarily of the Kissa genre, narrating stories of the prophets of Islam or Sufi saints. Examples of such songs include the
- Kunhayan Musaliyar
Kunhayan Musaliyar lived in the early 18th century.
- Umar Qadi
Veliyankode Umar Qadi, (1757-1852) was a scholar, poet and freedom fighter from
19th century and early 20th century
The dawn of the 19th century saw the
Padappattu
The first dated work in this genre was the Zaqqoom Padappattu dated 1836. This song was actually an
The songs of the Padapattu genre can be classified into four different types:[16]
- Islamic folk tales : These songs have no relation to actual historic events but either from a folk tale, a legend or simply an imaginary story related to Islamic traditions. Songs of this category include the Zaqqum Padappattu and the Jinn Padappattu. The former is a story about an imaginary confrontation of King Zaqqum of Iraq and Prophet Muhammed of Arabia while the latter is story about the Qur'an.
- Islamic history : These songs narrated events from the early years of Islam, and in particular the early battles of Islam. The Badar padappattu, the Hunayn Padappattu and the Karbala padappattu are characteristic of this category.
- Mappila history : Songs of this type typically narrated the heroic deeds of the Muslims of Kerala and eulogize the martyrs among them, especially in their battles against the Portuguese and British colonial powers and local Mappila rebels and the army of the East India Company. The rebels had assassinated Kaprat Krishna Panikkar, the adhikari of Tirurangadi and sought refuge in a deserted house. The soldiers later surround them and in the ensuing battle, seven Mappilas and 20 of the Company army lost their lives. The Cherur Padappattu narrates this story praising the "martyrs" amongst the Mappillas in this battle.[19]
- Fictional songs: These songs were about purely imaginary subjects. The elippada which narrates a 3-day imaginary battle between rats and cats based on a Panchatantra story falls under this category.
The common feature of all these songs were their pattern of narration of the bravery of the heroes depicted.
While the battle songs roused the feelings of the community against the authorities, this era also witnessed the popularization of romantic ballads like Moyinkutty Vaidyar's Badarul Muneer Husnul Jamal and Chettuvayi Pareekkutty's Soubhagya Sundari. One of the notable aspects of both these works were the age of the authors at the time of the composition; Vaidyar was said to have been 17 or (by some reports) 20 at the time and so was Pareekkutty.[4][20]
Moyinkutty Vaidyar
His later works were on totally different themes that were essentially war songs in nature. The Badar Padappattu and Malappuram Padappatt are the most popular songs of this genre. Shabvathul Badarul Kubra(1875), more popularly known as the Badar Padappattu is considered one of the finest compositions of Mappilappattu .[19] It narrates the tale of the Battle of Badr by Prophet Muhammed and his companions. The Malappuram Padappattu (1883), also known as the Madhinidhi Mala describes the undercurrents of peasant life and struggles in Malappuram in the 18th and 19th centuries.[23][24][25]
The songs of Moyinkutty Vaidyar are distinguished by their depth of imagination, the beauty of the metaphors used, the creativity comparisons involved and the variety of their ishals (tunes/modes).[19]
Pulikkottil Hyder
Pulikkottil Hyder, born in 1879 at
The Pulikkotil Hyder Smaraka Puraskaram, instituted by the Mahakavi Moyinkutty Vaidyar Smaraka Committee and given to personalities who have contributed to the art of Mappilappattu is named after him.
Other poets
- Chakeeri Moyidin Kutty
Chakeeri Moyidin Kutty of Cherur, near
- Chettuvayi Pareekkutty
(b. 1853) author of Futhuhussaman, Minhathul Bari, Soubhagya Sundari and Adi Ahaduna was another well-known poet of the era. He was well versed in Tamil, Sanskrit and classical music.[12][22][32]
Futhuhussaman is not an original work of Chettuvayi Pareekukutty. It was a translation of a Tamil work by same name.
1920s and later
The early 20th century witnessed the growing influence of Malayalam in the Mappilappattu genre. This period was characterized by the rise of theological reform movements and nationalist mobilization in the Malabar. Songs of the era also involved themes of Pan-Indian nationalism and the Independence movement against the British. The 1921
- T Ubaid
Born T Abdurahman (1908-1972) at Thalankara in
- S.A. Jameel
S.A. Jameel is a poet widely associated to the kathu pattu (Letter songs) genre of Mappila songs. His most popular works remain the 1976 letter and reply duet Ethrayum bahumanappetta ente priya bharthavu vayikkuvan (Oh my dear respected husband) and Abu Dhabeelullorezhuthupetti (A letterbox in Abu Dhabi). The former is a wife's letter to her husband abroad in Abu Dhabi requesting his return, while the latter is the husband's reply to his wife.[38] The poet, who had psychological counselling sessions with many of the womenfolk of Malabar living separated lives from their husbands in the Gulf, described the anguishes of separation as felt by the women in the first song. The lyrics of the song referred in particular to the sexual and emotional needs of the woman and generated both praise and controversy within the community. The second song, composed as the husband's reply was also based on his interactions with the diaspora Mappila community during his visits to the Middle East in the late 1970s. It described the hardships and emotional dilemma faced by the migrant workers separated from their families. The songs created a huge impact on the whole diaspora community across different religions at the time prompting many to leave their jobs and return to their homeland for good. Though the kathu pattu (songs in the form of letters) existed before the works of S.A. Jameel, it was his works that popularized the genre amongst the common people of the Malabar.[38][39]
Social context
- Religious teachings
In the early years of Mappilappaattu, the songs were written with a specific purpose of educating the masses about the religious teachings of Islam. In an era that preceded the printing press, oral traditions played an important role in the religious education of the Mappilas, especially those who could not read or write. Some of the early songs written entirely for this purpose included the
- Anti-colonial struggles
In the context of the
The struggle by the Mappilas against Portuguese invaders in the 16th century led by
These songs also provided an insight for historians into the thoughts and viewpoints of the rebels and have been used for authentic historic compilation. The songs on the Malappuram shahids provide the earliest description of an armed struggle between the
The 1921
Munthiya Banduvay Hinduvum Muslimum (Hindus and Muslims have deep relations)
Moulana showathum Doula Khilafathum (The nation of Khilafath that the
Entri Vannavidham Mahatma Gandhi than sahitham (He brought it to us along with the great Gandhi)
Ahmed Kutty composed the Malabar Lahala enna Khilafat Patt in 1925 describing the events of the rebellion. Even the prisoners of the rebellion like Tannirkode Ossankoya used to compose songs in their letters to their relatives.[44]
- Marriage
The Mailanchi Pattu, the Oppana Pattu and the Ammayi Pattu belong to the category of Mappila Pattukal dealing with love and marriage. They are sung in chorus in connection with marriage festivals, often accompanied by rhythmic clapping by women.[5]
- Migration
In the "Gulf boom" years of the 1970s and 80s, mass migration of workers from the Malabar to the oil-rich Gulf states of the Middle East resulted in households where the working men were often separated from their womenfolk and the only means of communication was the letter. This brought about a huge interest in the Kathu pattu (letter song) genre of Mappilappattu. The lyrics of these songs often connected closely to the lives of the migrant workers and their families and it popularized this genre of Mappilappattu.[47]
- Others
Mappila songs occasionally did also narrate stories outside the Muslim community. One such ballad was called the Mappila Ramayana deals with the story of the Hindu mythological figure Sri Rama.[48][49]
Female presence in Mappilappattu
Mappila womenfolk feature prominently in the culture and literature of Mappilappattu in various ways. The presence of female poets in Mappilappattu literature long predated the first female presence in Malayalam literature. A large number of Mappila songs also had female subjects as their main theme.[11][50]
Songs of the Oppana genre typically described the beauty of a bride in colourful terms. The famous Badarul Muneer Husnul Jamal by Moyinkutty Vaidyar devotes a section to describe the beauty of the heroine named Husnul Jamal.[50]
Another popular subject of composition was the lives of the prominent women of the early years of Islam in Arabia. The popular ChandiraSundariMala by female poet PK Haleema narrated the marriage of the Aisha with Prophet Muhammed. Other songs by female poets like CH Kunhayisha, V Ayishakkutti etc. depicted sorrowfully the final moments of Khadija, wife of Prophet Muhammed and Fatima, his daughter. The famous Nafeesath Mala by Nalakath KunhiMoideen Kutty praises a woman named Nafeesa, who belonged to the lineage of the Prophet. It ends with a prayer for her well-being in the Hereafter. Other major female poets include Puthur Amina, Kundil Kunhamina, B Ayishakkutty and K Aminakkutty.[11][50]
Songs by male poets like the Mariyakkuttiyude Kath by Pulikkottil Hyder and the Dubai kathu pattu by S.A. Jameel also focussed on the emotional aspects of the life of the womenfolk in the Mappila community.[50]
Influence
- Mala songs and ordinary life
The Mala songs were believed to inculcate a religious belief in those who recited and listened to them and were hence given a spiritual status corresponding to the works of
Songs of Moyinkutty Vaidyar used to be sung and explained to public audiences in what was known as Seera Parayana Sadassu (history recital sessions). These often lasted for many nights together and were a popular scene throughout the Malabar.[40]
The early 20th century witnessed the rise of reform movements within the
- Cinema and poetry
The spirit of their themes and beauty of representation in the Mappila Paattukal have left a lasting impression on
- Television
"Mylanchi" is the most popular reality show by Asianet. The show is on the way to the fifth season named "Mylanchi Little Champions". "Pathinalam Ravu" by MediaOne has established as the most popular reality show in a short span of time. A show which upholds the traditional values of Mappila Pattu,"Pathinalam Ravu" is now going through its third edition. Patturumal is a popular
Jai Hind TV channel has telecast a reality showy by name "Mappilapattukal".Personalities
S. M. Koya noted for his genre of Malabar Mappila Pattukal has won the appreciation of and respected by of film music directors like
Balakrishan Vallikkunnu is a researcher in Mappila literature and has researched various aspects of the messages conveyed in Mappila songs, including the anti-colonial sentiments in them.[62] The other prominent personalities associated with this genre of music include:[58][63][64]
- Singers
- M Kunhi Moosa
- K.G Sathar
- V.M Kutty
- S. M. Koya
- Eranjoli Moosa
- M.S. Baburaj
- Vilayil Faseela
- Peer Muhammed
- V. T. Murali
- Ramla Beegum
- N.P. Fousiya
- Aysha Beegum
- Vadakara Krishnadas
- M. Shailaja
- Mukkam Sajitha
- Farisha Khan
- Laila Razak
- Azeez Thayineri
- H. Mehaboob
- A.V.Mohamed
- E.P.Shihab
- M. P. Ummerkutty
- Kannur Saleem
- Kannur Shareef
- Shameer Chavakkad
- Sindhu Premkumar
- Nasnin (Baby Nasnin)
- Randathani Hamsa
- IP Sidique
- Poets
- Nalakath Kassim
- Bappu Vellipparamba[65]
- K. T. Moideen
- P.T. Abdul Rahiman
- Pakkar Pannoor
- Badarudheen parannur{saharbari}
- Nasarudheen Mannarkkad [66]
- Faisal Kanmanam
- OM Karuvaramkund
- Shamsu Ayippuzha
- Fasal Koduvally
- Shaheer Chennara
- Hamsa Narokav
- Composers
- M.S.Baburaj
- K.Raghavan
- Chand Pasha
- K. V. Abootty
- Shihab Areekode
- Mohsin Kurikkal
- M A Azeez Bhai
Institutions
Vaidyar Smarakam
In 1999, then
Other institutions
The Kerala Mappila Kala Akademi, set up in 2001, is dedicated to this genre of music in Kerala. The Akademi awards distinguished personalities from the Mappilappattu field each year, and also provides fellowships for researchers in the field. The awards are named after popular figures in the field of Mappilappattu, like Gul Mohammed, K.K. Muhammed Abdul Kareem and Qadi Mohammed.[71][72][73][74]
The All Kerala Mappila Sangeetha Academy was established in 1992 and instituted the Mahakavi Moyinkutty Vaidyar Award and the M.S. Baburaj Award. It also holds annual arts festivals with emphasis on Mappila arts.[75][76][77]
Conclusion
The literature of Mappila Songs represent the aspirations of the
Books and references
- Mappilappattu - Padhavum Padhanavum ( Mappila songs - Study and Lessons) - Balakrishnan Vallikkunnu and Dr. Umar Tharamel, D.C. Books, 2006[79]
- Maappilappaattinte Lokam - (The world of Mappila Songs) - V.M. Kutty D.C. Books [3]
- Muslingalum Kerala Samskaravum - (Muslims and Kerala Culture) - P.K. Muhammad Kunhi Thrissur, 1982
- Mahathaya Mappila Sahitya Parambaryam - (The Great Mappila literary heritage) - C.N. Ahmad Moulavi & K.K. Mohammed Abdul Kareem - 1978[79]
- Mappilappattu - by Dr. M.N. Karasseri in Malabar ed. M.G.S. Narayanan, 1994
- Mappilappaattinte Maadhuryam - T. K. Hamza - Olive Publications, Kozhikode[80][81]
- Mahakavi Moyinkutty Vaidyar Padanangal - Mahakavi Moyinkutty Vaidyar Smaraka Committee, Kondotty
- Biggest Collection Of Mappila Songs over Web http://mappilapattukal.com/
See also
References
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