“What Swati Tirunal’s court introduced, as had Surfoji’s before and the Mysore and Vizianagaram courts later, was the idea of the court as a showpiece of culture, a collection of the best musicians from around the world.”

— Swathi Thirunal Rama Varma

In P.64
About Swathi Thirunal, Singing the Classical, Voicing the Modern: The Postcolonial Politics of ...

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Swathi Thirunal Rama Varma 18

Maharajah of Travencore 1813–1846

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“Swati Tirumal also imbibed the best from the many Hindustani musicians who flocked to his court and composed many songs in Hindustani ragas.”

Swathi Thirunal Rama Varma (1813–1846) Maharajah of Travencore

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“Under Swati Tirunal’s rule, the forms of music and dance peculiar to Travancore, including - the sapna sangitam (literally: step music) sung on the steps of temples and the dance form of Mohiniattam – were significantly altered, brought closer to the forms of music and dance practiced at Tanjavur. Swapna Sangitam known for its slow renditions and limited improvisation, was altered not only by the influx of new style of composing and singing represented by Vadivelu and other Tanjavur Musicians but also by the very structure of music that Swati Tirunal’s court suggested.”

Swathi Thirunal Rama Varma (1813–1846) Maharajah of Travencore

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About Swathi Thirunal, Singing the Classical, Voicing the Modern: The Postcolonial Politics of ...

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“What Swati Tirunal’s court introduced, as had Surfoji’s before and the Mysore and Vizianagaram courts later, was the idea of the court as a showpiece of culture, a collection of the best musicians from around the world.”

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Swathi Thirunal Rama Varma 18

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