Sangita Kalanidhi R.Vedavalli - Lec -Dem at Raga Sudha Hall

sivapriya · Post by **sivapriya** » 01 Nov 2009, 15:48

The lecture demonstration was held at Raga Sudha Hall, in memory of Late Sri.Dilip Veeraraghavan ( IITM). It was the birth day of the late professor, who was an ardent rasika of carnatic Music and who always believed in educating the audience along with simple listening. In that sense the lecture by the erudite musician was a wonderful tribute !!

The Topic of lec-dem : Nava Vidha Bhakti - As seen in Tyagaraja's and Purandaradasa's compositions

Nava vidha bhakti is a vast subject and one can talk extensively and intensively from various treatises, books, commentaries etc. Yesterday's lecture however , by Smt. RV, was on how this concept has been handled in music and in music how Tyagaraja and Purandaradasa have enumerated it through their compositions.

Smt.RV , started the lecture with a brief introduction on Bhakti as a concept, how it is spread across the various regions in India through a variety of saints, the numerous works that are available on this concept of Nava Vidha Bhakti.

She said that Bhakti - is a state of emotion that comes from ultimate surrender , love and devotion .
She quoted Aurobindo : " Surrender the mind in devotion to the Lord, He will purify it and return it to you " highlighting on the words surrender, purify and return. She mentioned about Sridhareeyam, a text, that gives examples of divine characters, pertaining to each of the Nava Vidha Bhakti. Carnatic Music , she said has its roots in this traditon and concept of Bhakti and it is very dificult to separate the two.

The nine steps as listed down by Prahlada are : Sravanam, Keertanam, Smaranam,Paada Sevanam,Archanam, Vandanam, Daasyam, Sakhyam, Aatma Nivedhanam . For the purpose of the lecture she used these concepts and then linked these to the various kritis by both Tyagaraja and Purandaradasa.

She talked about many songs in each category and demonstrated by singing the specific ones, given below, as being the most apt for enumeration of the concept.

1) Sravanam : hearing

Tyagaraja : Rama Katha Sudha Rasa Paanam (Madhyamavati) : Tyagaraja has explained as to how sravanam or hearing of Rama katha is iteself a cure to all the Karma Bandha and related ills.

Purandaradasa : Katha Sravana Maado (Yamuna Kalyani)

2) Keerthanam : singing

Tyagaraja : Raga Ratna Malikache (Reetigowla) . In this song the saint talks about making a maalika or necklace with shatha ragas as ratnas. She also beautifullly pointed out , as to how Tyagaraja has given importance to congregational singing as being most effective in creating the fervour, through the line " Bhaagavatothamulu koodi" . She brought a cross reference to Andal's tiruppavai, wherein she always calls all her friends and relatives to sing the Praise of the Lord together.

She gave the audience a peep into tradition here.

During the bhajanai goshti, the bhagavathas would assemble and then proceed singing together for unchavritti and receive foodgrains from the various households on the streets. The people who gave the grains would circambulate the bhagavathas and then receive the vessel back from them with a little grain in it which would be used in their regular household cooking. The concept here is "Bhagavatha Sesham", wherein the Bhagavatha was considered equal to God and his prasadam was equal to prasadam from God.

Purandaradasa : Purandaradasa , she said has explained that "Naraka bhayam" will vanish with Hari Keerthanam. Naraka and not MaraNa , she said. She sang the song " Naama keerthana Anudina Maadake Naraka Bhayakalunte" in Dhanyasi ( tuned by herself).

3.Smaranam : always deep in thought (anavartam smaranam)

Tyagaraja: She demonstrated this through Smarane Sukhamu O rama naama in Janaranjani. She highlighted on the words "nishkaama Tyagaraja" and said that sacrifice without any return favour of even some punya from it is what Tyagaraja hopes with Rama naama.

Purandaradasa : There are many songs on Smaranam by this saint. Harismarane Maado, Smarana Ondhe chaaladhe, Ninna naama ondhe saakhu. For elucidation of this concept she took up Hari Smarane Maado Niranthara in Yamunakalyani. She talked about how Dasa has used the term "mutti bhajisi" - closeness (soulful) in bhajana. Purandaradasa has said that smaranam should not be ritualistic but should be with a feeling of closeness to the Lord.

4. Paada Sevanam : service at the Feet of the Lord

She referred to various texts which have given examples for Paada Sevanam ; Lakshmi, Lakshmana and Bharata being the main examples of this.

Tyagaraja : Tyagaraja has a number of songs like Sri Manini, Evara Badukutura , on this concept and has raised many questions in each and every one of his compositions. There are places where he debates as to the relative merits of the "paada" or the "paduka" and brings reference to Bharata.

She said that the song which befits this most was Sri Raama Paadama nee krupa chaalune in Amrutavaahini, wherein he pays obeisance to Rama Paada which redeemed Ahalya from being a stone.

Purandaradasa : She explained this concept through Maraya beda manave ninnu Hariya Charana vaa in Chenchurutti.

5. Archana : offering of flowers

Here, RV explained as to how Maanasika Puja is spoken of by saints as being the best form of archana. She also brought reference to a Vaishnavite scholar saint Vaatsya Varadachary who has written a text named "Prapanna Parijatam", wherein he talks about eight good conducts or dharma(s) like ahimsa, kindness and compassion, forgiveness and so on as being the best flowers of archana.

Tyagaraja : Tyagaraja has a number of songs to his credit on this subject. he has gone to the extent of naming eight different flowers ideal for worship of the Lord, in Tulasi Dala Mulache in Mayamalagowla. She also referred to Paripaalaya paripaalaya in Reetigowla, Tulasi Bilva Mallika (Kedaragowla), Naama kusuma (Sri) . She took up the Ahiri song "Sompaina Manasu ..... Challare" to demonstrate the concept of archana.

Purandaradasa : Na Ninodanya Beduva in Varali was explained for the concept archana. Here Purandaradasa asks the Lord to give him a "Buddhi which will constantly be with Him" through the line " Buddhi ninnoda iru beku"

6. Vandanam : namaskaram

Here RV enumerated the concept of "saashtaanga namaskaram" according to Hindu Dharma.The devotee has to just fall at the feet of the Lord with his body completely touching the ground.

Tyagaraja : Vandanamu Raghunandana in Sahana she said has explained this concept wonderfully.

Purandaradasa : She explained this through Vandisuva Dhanyamu in Revagupti.

7. Daasyam : servant / slave

Daasayam , she said is a state when the devotee is prepared to do anything for his Lord. Garuda , she said , according to various texts is reffered to as the best example of a Daasa. She also brought out the fact that a Daasa's Daasa ( Adiyaarku Adiyaar) is another key concept in Bhakti tradition.

Tyagaraja : Thavadasoham in Punnagavarali explains this well , she said. However she said that she would take up Bantureeti Kolu Veeya Vayya raama in Hamsanaadam as an example.

Here, RV explained as to how Tyagaraja has compared himself to a dawaali or the guard outside the door of the senior officer. He is a servant in service of his master. Similar to him Tyagaraja, is the servant to Rama , with the haripulated hair as his armour (kanchukamu), his title as a Rama Bhakta, the shiny mudra or the isignia on his shoulder ( mudra billaiyu), Rama Naama is the sword in his hand (varakhatgham). He says when I have all these why should I worry about anything at all?

True to her pracheena singing tradition she rendered the Hamsanaadham song with the Shatsruti Dhaivatha prayoga.

Purandaradasa : Purandaradasa seeks "sujanma sukrutam", as in a good life wherein he will be the Dasa again and again to Hari.After singing a Ugabhoga -"Daasanavadhrake" in a virutham format , she followed it up with Dasana maadiko enna in Nadanamakriya.

8) Sakhyam : friendship

Friendship she said was a state when the Bhakta so much identifies with his Lord that , he looks upon him as friend and guide.
She referred to Rajaji's writing on St.Lawrence who looked upon Jesus Christ as his friend and said that friendship towards ones God transcends all communities, religions and sects.

Tyagaraja : Tyagaraja has innumerable songs on this concept, as he always thought of Rama as his friend. He has always questioned Rama as not doing anything for him though He is a friend. She talked of Narada Muni, Dayaranee, Varidhi Neeku (Prahlada Bhakti Vijayam). She sang the song Daya Raa nee in Mohanam to elucidate this concept.

Purandaradasa : According to RV, it is very difficult to find Sakhyam being referred to by Dasa. He always sees himself only as a Daasa. However in one song , Naaneke Badavannu" he has brought in this concept in the line " Thhai Thandhe Ishtu Mitranu Neene" and she sang this soulful song in Behag.

9) Atma Nivedhanam : submitting the Atma in total surrender

She explained the allied concepts of Saranagati, Prapatti while talking aboput this concept. She referred to Adaikala Patthu by Vedanta Desika and his concept of Atma Nivedhanam to Lord Varadaraja of Kanchi.

Here she also explained the two theories of Atma Nivedhanam :

viz : Maarjaaraka Nyaayam - The cat and the kitten . Kitten being fed by the cat, doing everything that the kitten needs, carrying it with its mouth from one place to another. The theory is that the Atma cannot function of its will and will have to be assisted by the Lord at all times, as He is the Superior benefactor and will take care.

Markata Nyaayam : The monkey and the little one. The little one has to cling on to the mother while going from tree to tree and do so with all its might and be good at it. The Atma has to show that it is capable of receiving the Lords help.

Tyagaraja : Tanayuni brova and Nannu Vidichi Kadhalakura she said explains this concept of Atma Nivedhanam the best. She demonstrated this through Nannu Vidichi ( Reetigowla).

Purandaradasa : She demonstrated the concept through the song Innudaya Bharate. She announced and sang it in Mukhari as against the oft heard Kalyana vasantam.

I have tried my best to capture the essence of this very brilliant two hour lecture demonstration. There were many more references from The Bhagavad Gita, Prabhandhams, Tevarams intermittently, to accentuate and enumerate the subject alongwith some learnings and morals for the younger generation.

The grand finale came when she concluded brilliantly , aligning these concepts to Carnatic Music singing - the piece de resistance.

Sravanam : liking and hearing the songs,
Keerthanam : actually singing the songs,
Smaranam : constantly thinking about the ragas, songs and various aspects of music
Dasyam : becoming a slave to Carnatic music
Sakhyam : getting into a feeling of this is the best music and my friend
Atma Nivedhanam : surrendering unto Carnatic Music completely.

shripathi_g · Post by **shripathi_g** » 01 Nov 2009, 16:15

"Paripaalayamam in Reetigowla," - I think this should be Paripalaya Paripalaya.

sivapriya · Post by **sivapriya** » 01 Nov 2009, 18:47

Thanks shripathi_g.

Inadvertent error. It is Paripaalaya Paripaalaya in Reetigowla. I have made the correction.

Sivapriya.

PUNARVASU · Post by **PUNARVASU** » 01 Nov 2009, 19:23

Sivapriya,
a good write up; you have conveyed the essence of what Vedavalli amma has spoken; those of us who could not attend, but, have listened to Vedavalli amma's some lec-dems earlier will defintely be able to visualise how she would have spoken and how she would have demonstrated by singing the relevant kritis.
I really like her concept of 'nava vida bhakti to MUSIC'.How appropriate! she has summed up in a nutshell the DIVINITY of music.
Thanks once again.

rajeshnat · Post by **rajeshnat** » 02 Nov 2009, 11:06

Sivapriya
Attending smt vedavalli's lecdem is always the best to do on any single day. Her flow is so natural and almost everything is quite a bit of extempore , I am sure she does the homework too well at home to present a great lecdem. Your review just took me there , keep them coming . Great job

prashant · Post by **prashant** » 02 Nov 2009, 11:41

A beautiful topic - thanks to sivapriya for covering what must have been a memorable lec-dem. Each day I am amazed at the breadth of my Guru Vedavalli Amma's repertoire and her vast store of knowledge about composers, compositions etc. She's a treasure!

gmohan · Post by **gmohan** » 02 Nov 2009, 12:26

Thanks Sivapriya, vivid description. I am making up for lack of audio by listening to the songs one by one from my collection. Listening to DKJ's sri raama padama now!

gmohan · Post by **gmohan** » 02 Nov 2009, 13:32

An assorted "Nava vida Bhakti" concert!

http://www.mediafire.com/folder/6c5860e ... 13f15c3e80

rbharath · Post by **rbharath** » 02 Nov 2009, 17:11

gosh..
that was one hell of a lec-dem/concert/musical presentation.. whatever u want to call it.

m still high on that programme and would remember it for years..

would post more details sometime sooner than later.

indeed, those present were blessed

Rajani · Post by **Rajani** » 02 Nov 2009, 18:42

I too was glad to have attended this lec-dem, though I had to leave with my children by 8pm. I heard till the fourth and am glad to have got to know the parts I missed. Thank you Sivapriya and others.

arasi · Post by **arasi** » 03 Nov 2009, 03:35

Sivapriya,
Thanks for taking notes and sharing them with us.
Wish I were there. RV would have kept her audience rapt in attention.
In our times, we have bhArati who gave us nava vidha bhakti in is kaNNan pAttugaL along with his other songs.

small corrections: PD's smaraNe ondE sAladE; innu daya bAradE; huTTisida tAi tande ishTa mitraru nIne; mareya bEDave nInu

sivapriya · Post by **sivapriya** » 03 Nov 2009, 09:03

Thanks Arasi for the appreciation.

I have not detailed the transcription and diacritical marks of the words in English, perfectly, as I am still a naive beginner at it !!

So Smarane and Innudaya need to be corrected.

As for the line in the song Naaneke Badavanu ( it is given as puTTIsida - (not huttisida ) tAi tande ishta mitranu nIne). I have only mentioned from "tai tande..." onwards. ishtu has to be corrected to ishta.

Also it is "mareya bEDa manave nInu", in the book.

The "book" i am referring to is titled " Sri Purandaradasa Sankeerthanagalu" published by Sri Rama Vittala Trust, Sri Raghavendra Mutt (Unit of Pejawara Mutt, Udupi). Incidentally this book was blessed to me by His Holiness Swamiji of the Pejawara Mutt, after I sang in front of him at the Mutt, in Chennai. ( All my Guru - Smt. R.Vedavalli's grace ).

This book lists 1037 padangal, 4 sooladis and 56 ugabhogas with specific number markings for correct pronunciation.

Thanks once again, Sivapriya.

shriranjani · Post by **shriranjani** » 03 Nov 2009, 12:46

smaller corrections dear Sivapriya-Vaa to be pronounced va;bhayakalunTe to be bhayagaLunTe;sAkhu to be read sAku;baDavannu to be read as baDavanu.;ninodanya should be ninnoLdanya. Have made these corrections to help you pronounce them correctly in your next kucheri

.Lovely detailed write-up.Very helpful for those interested in presenting Purandaradasa in lecdems.

sumram99 · Post by **sumram99** » 03 Nov 2009, 19:40

Thank you Sivapriya for the review. I heard from Jagan Mama that this lec-dem was awesome as always! Was the program recorded? If so can someone let us know where the DVD will be available for us to purchase?

ramakriya · Post by **ramakriya** » 03 Nov 2009, 20:37

arasi, sivapriya,

At the time of Purandara, the transformation from pa->ha was not complete IMO. In a large number of compositions, you will indeed find words like pOgu (pOgadirelo ranga), pAl, peNNu, pADu (Atana pADuve anavarata), puTTu etc. Even in innU daya bArade, 'puTTisida' looks correct.

-Ramakriya

arasi · Post by **arasi** » 04 Nov 2009, 01:59

Indeed!

ramakriya · Post by **ramakriya** » 04 Nov 2009, 04:40

sivapriya wrote: 8) Sakhyam : friendship

Purandaradasa : According to RV, it is very difficult to find Sakhyam being referred to by Dasa. He always sees himself only as a Daasa. However in one song , Naaneke Badavannu" he has brought in this concept in the line " Thhai Thandhe Ishtu Mitranu Neene" and she sang this soulful song in Behag.

There are some more songs where Purandara Dasa takes the role of a woman in love with Purandara Vithala ( similar to Jayadeva/Akka Mahadevi's compositions). I guess this 'nAyakI bhAva' could be considered as a form of Sakhya too.

I had written about one such composition - "angaLadoLage beLadingaLu tumbitu" a while ago on my blog. However, this article is in Kannada: http://hamsanada.blogspot.com/2007/12/blog-post_13.html.

I'll try to translate this to English sometime later.

-Ramakriya

arasi · Post by **arasi** » 04 Nov 2009, 05:21

Ramakriya,
As the AzhvArs and later BArati did sing in this bhAvam in tamizh. Many of the kaNNammA songs (not all--for instance cinnanciRu kiLIyE is seeing krishna as a child).
That's a beautiful satrt to a song: angaLadoLage beLadingaLu tumbitu!

sangeethamquest · Post by **sangeethamquest** » 04 Nov 2009, 23:33

Recording companies need to record and make available lec dems. These are treasures from the great maestros like RV that is worth preserving for many generations.

karthikbala · Post by **karthikbala** » 05 Nov 2009, 09:06

These days commercial viability of even regular music albums is dicey. Probably why you see mainly "live" concert releases as they are cheaper to produce. Live recordings have their own appeal too, though some awful performances also end up in the market due to lack of judgement. I doubt if there would be many takers for lec-dem albums, at least if attendance at these events is any indicator. Academy raga lakshana sessions might sell, especially if taken in reality-show style and participants were egged on a bit, like in Jerry Springer

wordpecker007 · Post by **wordpecker007** » 06 Nov 2009, 22:50

Dear friends,

Since we are discussing Nava Vidha bhakthi compositions, allow me to share these video clippings of compositions on Nava Vidha Bhakthi that were composed by Maharaja Swathi Thirunal. These were sung by a team of musicians led by Vechoor Harihara Subramania Iyer, the beloved guru of Prince Rama Varma. Vechoor Sir was a classmate, colleague, friend and neighbor of doyenne Parasala Ponnammal. Like Ponnammal, he was a great teacher and singer in his own right who never bothered to run after the limelight. Varmaji never forgets to mention this great teacher in his interviews and concerts. For those of you who would like to know more about this teacher and singer, here is a tribute that was written by Varmaji to pay homage to his guru soon after Vechoor Sir passed away. It was published in The Hindu.

http://ramavarma.yolasite.com/tribute-t ... or-sir.php

Now here are five of the nine compositions that have been posted by Varmaji on youtube.
Nava Vidha Bhakthi (Thavaka Naamaani)
http://www.youtube.com/watch?v=n_0GP5OvzQ8&feature=sub
Nava Vidha Bhakthi (Bhavathi Vishwaso Me)
http://www.youtube.com/watch?v=bo23y1asNuk&feature=sub
Nava Vidha Bhakthi (Aradhayami)
http://www.youtube.com/watch?v=4pF1MNIZ3zs&feature=sub

Nava Vidha Bhakthi (Sathatham Samsmaraaniha)
http://www.youtube.com/watch?v=qy0zhXLM9kQ
Nava Vidha Bhakthi (Pankajaksha)
http://www.youtube.com/watch?v=6xYDFFnwAKk
Swathi Jayanthi 1988
http://www.youtube.com/watch?v=ygYIEWA08r0

thank you