Thursday, December 30, 2010
The song goes like this.
mama kulEshvaram shAstAram santatam cintayEham
Ananda tANDava puravihAram
shamita nata jana duritam nIlAmbara shObhitam
amita sukha shrIpradam atulita divya guNAnvitam
kamala rucira karadhrta kAshAyudha vibhUSitam
amara munIshvara bhUta vaTuka nAyaka sEvitam
kamanIya nava yauvana sundarAmbA sahitam
sumashara guhAgrajam shrI rAjam harihara sutam
rAkA shashinibha vadanam ravi sOmAnasa nayanam
rayagati turanga gamanam rakSita samasta bhuvanam
In this kriti, GNB declares that sri ayyanar of anandataandavapuram is his family deity.
mamakuleshwaram - mama (my) kula (family) eeswaram (deity)
I always think about my family deity, sAsthA, who resides at anandatandavapuram. The lord, drives away the sins of the bhaktas who pray to him and he looks great in blue coloured garment that he wears. He grants joy to them and he is an embodiment of sevaral virtues.
He holds a weapon made out of grass (kAshAyudha) in his lotus like hands. He is worshipped by the best of devas, rishis and vedic brahmins. He is accompanied by sundarAmbA who attracts all by her beauty and youthfulness. He is the elder brother of manmadha, muruga. He is the mighty king, son of vishnu and shiva. He has a face like full moon. His two eyes are the sun and the moon. He moves swiftly like that of a water current and protects the whole world.
Many thanks to rasikas.org which guided me with the exact lyrics and meaning of this great song.
In tamil, the goddess is called sokkAyi, which means, a lady who attracts every one by means of her beauty. The same word gets translated to sundarAmbA in sanskrit. Normally Ayyanaar is accompanied by poornA and pushkalA. In this place, he is with sundarAmbA, which is very unique.
Saturday, November 20, 2010
This doubt was raised before Sri Kanchi Maha Periyava Sri Chandrasekara saraswathi swamigal. This was the explanation given by him.
When aanjaneya was a small kid, he saw the sun in the evening time before sun-set. For him it appeared like a fruit. So Aanjaneya being pavana kumaran (son of pavan or vayu), went so fast near sun and was about to swallow it. Then Lord Surya appeared before him and told that he should not do that and its against nature. Agreeing to that, hanuman came back.
This act of shadowing the sun, was appreciated by Lord Rahu (one of the nava grahas) who use to cause solar eclipse. He granted a boon to aanjaneya that people will worship him with substances made out of urid dal (ulundhu in tamil). So we are worshipping him with vadai and jhangiri made out of urid.
Why do people in north india worship with sweet jhangiri and people in south india worship with salt vadai?
It is because of the availability of sugar and salt. If you see in north India, sugar cane is in abundance. So sweet jhangiri. And in south india, salt is in abundance because of the sea shores. So the salted vada with pepper (found in abundance in kerala) is offered.
Friday, October 29, 2010
siva lOkha nathanai kandu sEvithiduvOm vAreer
Disciple asks "I understood that surrendering totally to the Lord will grant us salvation. Could you please elaborate about the chidambaram sthalam that you mentioned in the previous song?"
sabhApatikku vERu deivam samAnamAgumA ?
- JagadAnandakArakA (1st pancha ratna kriti by TyAgarAjA)
- swAminAtha paripAlayAsumAm - Muthuswamy Dikshithar
- MahA gaNapatim - Muthuswamy Dikshithar
- ninnaE bhajana - TyAgarAjA
- and lot more
Muthuswamy Dikshitar kritis has no demarcation between nAttai and chala nAttai. According to him nAttai means, chala nAttai and he has defined chala nAttai to be a part of asampUrna (or incomplete) mElakarthA. These rAgAs have all swarAs, but not in proper order.
Cine songs like chennai senthamizh from M.Kumaran S/O Mahalakshmi, peygala nambadhe from Mahanadi, First para of the song vendriduvEn in the film Agathiyan are all set to nAtA rAgam.
Thursday, January 07, 2010
She started with Sarva Mangala Mangalye slokam in the raga hindolam, followed by sama gana lole in hindola ragam, rupaka talam. This is a composition of GNB himself. Kalpana swaras were flowing like the river ganges. Embar Kannan on the violin, J.Vaidhyanathan on the mridangam and S.Karthick on the ghatam provided a great support for the day.
The next song was in the raga anandabhairavi which was GNB's one of the favourite raga. Aruna started with another sloka on goddess kamalamba and rendered muthuswami dikshitar's kamalamba samrakshathumam in misra chapu tala. Then she sung harikesanallur muthiah bhagavatar's suddha dhanyasi raga kriti himagiri tanaye which was also popularised by GNB.
The fourth song was in the raga kalyani. I was expecting vasudevayani and aruna didnt falsify my expectation. After an alapana in the raga which was rendered in her own style contrary to the normal style of singing kalyani (beginning with long phrases of swaras instead of developing from smaller phrases) she sung yet another GNB trademark vasudevayani. The niraval was placed in the charanam lines "raga tala" and swaras were also sung in that line. It was like a water flowing down from a hill top, without any obstacles.
The fifth song was in the raga dakka (much similar to vasantha), a tyagaraja composition set to adi tala, raka sasivadana. The sixth song was kaaranam kettu vaadi in the raga poorvi kalyani which portrayed the devotee's anxiety regarding the lord nataraja not turning up to his/her home. This is more like, the devotee is a girl and the lord is her lover and this girl having waited for a long time didn't see her beloved. So she is asking her friend the reason for the lord not coming to see her.
The final item was a sloka vande matharam ambikam bhagavathi in raga malikai. Ragas were saveri, hamir kalyani, ranjani and madhyamavathi.
It was a short and sweet treat for the listeners.
She started the concert with bhairavi raga ata tala varnam. It was sung in two speeds. Then she proceeded with tyagaraja's atana raga yela nee daya raadhu after a short alapana. The next song was in the raga kedaragowla of muthuswami dikshitar. This had his mudra guruguha and the raga mudra in the charanam as "kedaragowla raga priyam", describing Lord Shiva.
Then she sung a tamil song in the praise of Lord Nataraja in the raga mukhari, endraikku siva kripai varumo. She started off the song from the anupallavi kandru..
The next song was a quick pasupatipriya raga kriti of harikesanallur muthiah bhagavathar - saravanabhava. It was indeed an interesting kriti well sung by the artiste.
The highlight of the day was todi raga ragam taanam pallavi. Aruna chose taamadam yen swami bala subramanya in 2 kalai adi talam. She told that this was a homage to the veteran musician GNB which was highlighted in the pallavi as "balasubramanya" and sung ragamalika swaras and few lines of kritis popularised by GNB in those ragas. The ragas were kalyani (vasudevayani), hindolam (samaganalole), behag (dikku theriyadha kaattil), misra yaman (radha samedha krishna).
An abhang was sung and following it was her fame vishama kaara kannan of oothukkadu venkata kavi.
It was a great concert for the saturday eve.