Thematic Multimedia Concert on Arupadai Veedu---Gayathri Girish

[satyabalu]

Thirumurugartuppadai-Nakkirar.covering all the Arupadai Veedus was taken up. .Then each padaiveedu was taken in order of no.assigned by Arunachala Kavi.
Thiruparamkunram
Amarnda Thirukolam
Puja offered for VEL.
Married Devayani
Gaja deesa Danyam-Nattaikurinji -Misra Chapu.
Mention of Ajaba natanam which is normally a speciality in Tiruvarur where -MD could have got inspired
by the engraving of Somaskandar behind Moolavar and also due to the fact the king was a muruga Bhaktha the latter having guided him to identify the original Thiagaraja from the substituted ones,Musukuntha attended the marriage in Tiruparamkunram.
Yet another from MD on the Khetra
Ganjamba Nama -Chenjuti
Santatam pandat thodaramal-Thirupugazh set in Hindolam.
Thiruparam kunra vela, Bala-P S -Hindolam

Thiruchendur Thirusir Alaivai also called earlier Jayanthipuram
Sura was vanquished by Lord Subramanya.Sura symbolized Ego ,when Sura took a shape of a Mango tree ,Lord applied VEL (Symbolising wiil power and knowledge to win over EGO) it was broken into two pieces viz., Cock and Peacock).
Sivalinga was installed and workshiped by Lord Muruga,
Adi Sankara visited the temple and had Dharshan of Subramanya in the form of Snake .He composed Subramanya Bhujangam.
Kumaraguruparar got speech in this temple.
Viswarupa Dharshan scene is depicted in Rajagopuram.
When a Dutch national had taken the Moolavar which could not be taken and got dumped into the sea the Lord had come in the dream of some Bhaktha and ordained him to take Him out of sea .
Dikshidar kriti was rendered "(Sri )Subramanyo mam Rakshathu " after Initial verses of Subramania Bhujangam"Mayuradi roodam."
The sacred ash (Vibhuthi) is given not by hand but in "Pathra or leaf" in this place the custom mentioned in MD kriti,
In this unique kriti MD has not used "Panchamam" except sparingly appearing .
Mundu Tamil Malai Thirupugazh set in Todi and Mand was rendered.
Followed by Sitham irangada deynia"of Papanasam Sivan.
(To be edited)
(to be continued)

[HarishankarK]

Thiruparam ninra Vela-PS.

Thiruparam kundra vela, bala, = Hindolam krithi of PS. GG sings this very well and has recorded this song in one of her albums as well.

[satyabalu]

Corrected .THQ Harishankar!

[CRama]

The above thematic programme was held in the Tatwaloka Auditorium at 9.30 A.M on26 Jan 2016. B.V.Raghavender Rao accompanied on the Violin and Poongulam Subramaniam on the Mridangam.

Gayathri Girish has already proved her expertise and commitment in musical and communication skills many times during the last few years in the Myriad Forms of Siva series as well as in many other thematic programmes. This programme is also the result of her deep research into the subject for minute details, scouting for relevant kritis on each padaiveedu by various composers, and presenting the entire programme of two and half hours plus without a second of sag. She had used the PP media very effectively for displaying the lyrics of the songs, meaning of the songs, visuals on the temples, festivals, and providing detailed information about the temple. Gayathri Girish needs to be complimented for her virtuosity in music, handling of laptop, lucid communication and singing- simultaneously managing all the areas single handedly. I have seen very few artistes in this league. Music lovers gathered in large numbers in the Tatwaloka Hall on a Holiday morning coming out of their holiday morning lag and many went to Gayathri Girish at the end of the programme and whole heartedly applauded her efforts.

LIST OF SONGS.
• Sada baala roopapi vighnathri handri – Slokam- Subramania Bhujangam - Hamsadhwani
• Tikata Chakkara chemmukham Aindulaan- Slokam-Vinayakar kappu in Kandapuranam of Kachiyappa Sivachariar - Nata
• Mooviru mukhangal potri - Slokam-Kandapuranam - Bhowli
• Hey Swaminatha Karunakara Dina bandho - Slokam-Subramania Karavalambam - Khamas
• Selected stanzas from Thirumurugattruppadai on each of the Arupadaiveedu as a ragamalika.
• Gajadheesadhanyam na jaane – Natakurinji-Deekshitar
• Gajambanayako - Chenjuriti-Deekshitar
• Santhatham bandha thodaraale - Thirupugazh - Hindolam
• Thiruparamkundravela- Hindolam -PS
• Mayuradiroodam Mahaavaakyagootam and Apasmara kushta kshaarsha prameha- Slokam-Subramania Bhujangam- Thodi
• Sree Subramanyo maam rakshatu -Thodi-Deekshitar
• Mundu tamizh malai kodi kodi - Tirupugazh - Thodi and Maund
• Chitham Irangathenayya – Sahana-PS
• Dandayuthapanim - Anandabhairavi -Deekshitar
• Naadavindu kaladi namo namo –Thirupugazh- Chenjurutti
• Padikkinrilai Pazhanithirunaamam - Slokam-Kandar Alankaram- Brindavanasaranga
• Kaliyugavaradan kann kanda deivamay - Brindavanasaranga-Thooran
• Azhagu deivamaga vandu - Kavadi chindu -Thooran
• Sree Balasubramania Agachagraganya - Bilahari -Deekshitar
• Charana kamalaalayathai – Thirupugazh - Dhanyasi and Bagesree
• Nanjamunda kandanaar nayandu thanda selvame- pann Kausikam (Bhairavi)-Pamban Swamigal
• Sree Nathaadi Guruguho Jayathi -Mayamalavagowla-Deekshitar
• Sinathavar mudikkum - Thirupugazh - Ahir Bhairav
• Thanigai malayai chareno - Sahana - Ramalinga Swamigal
• Agaramumagi Adipanumagi -Thirupugazh - Durga
• Anjathe Nenjame – Pavani- Koteeswara Iyer
• Aariru thadanthol vaazhga - Slokam-Kachiyappa Sivachariar

Worship of Subramania or Murugan is widely prevalent in Tamil Nadu and certain other states in North India as well as in all other countries like Malaysia, Singapore, Srilanka where Tamilians are settled. In fact we have slightly more affection towards Murugan as our own God and call him as Tamizh kadavul. Worship of Murugan is pretty old . Adi Sankara in his Shanmatha Tatwam, has included worship of Muruga as Kaumaram. Gayathri Girish commenced the programme with the slokam from Subramania Bhujangam of Adi Sankara. The sloka Sada baala roopapi vighnathri handri worshipping Ganesa, the remover of obstacles and elder brother of Subramania in Hamsadhwani provided an auspicious start which was followed by the verse Tikata Chakkara chemmukham Aindulaan in Nata from Vinayakar kappu in Kandapuranam. Then came Mooviru mukhangal potri from Kandapuranam in ragam Bhowli and Hey Swaminatha Karunakara Dina bandho in Khamas from Subramania Karavalambam.

Nakkeerar, in his Thirumugattruppadai has given the reference of Arupadai veedu (Six holy abodes) of Murugan. They are in the order of Thirupparamkundram, Thiruchendur (Thirucheeralaivai), Thiruvavinamkudi (Pazhani), Thiruveragam (Swamimalai), Tirutani and Pazhamudircholai. The name Arupadai Veedu ,it appears is derived from the word ‘Atruppadai’ meaning ‘Showing Direction’ ,the term used by Nakkeerar in Thirumurugatrupadai. There are other interpretations (with no evidence) that they represent six places where Murugan’s army camped (Padai veedu) during his war with Soorapadman. It is also interpreted as camp to destroy six internal enemies of human beings –Kama, Krodha, Lobha, Moha, Mada & Matsarya. Gayathri Girish rendered selected stanzas from Thirumurugattruppadai on each of the Arupadaiveedu as a ragamalika.

Many poets have composed songs on the Murugan in these Arupadaiveedu. Among them, Arunagirinathar, Nakkeerar, Pamban Swamigal, Muthuswami Deekshitar, Ramalinga Swamigal, Koteeswara Iyer, Papanasam Sivan and Periaswami Thooran are prominent composers. Deekshitar has composed 36 songs on Subramania of which, there are compositions on five padaiveedu except Pazhamudircholai. Gayathri Girish presented important features of each padaiveedu, sthalapuranam, iconic details, with visuals of the temples, their locations, festivals and presented some of the above compositions at appropriate junctures without any alapana or swaram elements.

THIRUPARAMKUNDRAM
The temple is a portion of a cave. Hence no pradakshinam is possible in this temple. Only Girivalam can be done. This is the only temple where Murugan can be seen in sitting posture. Here, Abhishekam is done only to Murugan’s Vel. After Murugan defeated Soorapadman, Indra offered his daughter Deivayanai in marriage in admiration of Murugan’s valour. This is the place where Murugan married Deivayanai as per Vedic Rites. Many composers have sung in praise of this lord. It is said that Nakkeerar was saved from demons by Murugan here. In praise of Murugan, he wrote Tirumurugattruppadai in this temple.

Two compositions of Deekshitar viz, Gajadheesadhanyam na jaane in Natakurinji and Gajambanayako in a lilting Chenjuruti were sung with repose. Thirupugazh is the most significant composition in Murugan Vazhipaadu. The thirupugazh Santhatham bandha thodaraale in Hindolam which was on the Lord of Thiruparamkundram was sung followed by Thiruparamkundravela- a composition of Papanasam Sivan on this deity.

THIRUCHEERALAIVAY (TIRUCHENDUR)
This is the only padaiveedu on the shores of sea. This temple has many specialities. This is the place where Murugan killed Soorapadman with the help of Gnanavel. Gnanavel denotes knowledge. Soorpadman denotes Ego (Ahankaram and Mamakaram). It is a subtle way of showing that with the help of knowledge and willpower, you will be able to defeat Ego. Murugan split the body of Soorapadman into two and he converted one into cock which he kept on his flag and the other half as peacock which became his vahanam. Later Murugan showed Viswaroopa darisanam to Soorapadman. So Soorasamharam is an important event in this temple during Skanda Shashti festival. Another significance for this place is it was here that Kumaraguruparar (who was dumb by birth) started singing after getting the blessings of Murugan.

The temple is famous for curing many terminal diseases. Adi Sankara worshipped in this temple and got cured of his serious ailment which is mentioned in his Subramania Bhujangam. The Panneer Vibhooti given in this temple is very auspicious and has got medicinal properties that will cure many diseases. It will not be given in hand and it will be given only on panneer leaf. It is called patra vibhooti and finds a mention in Subramania Bhujangam and the song Sree Subramanyo maam Rakshatu, a composition of Deekshitar in Thodi. Gayathri sang two stanzas from Subramania bhujangam starting with Mayuradiroodam Mahaavaakyagootam and Apasmara kushta kshaarsha prameha, followed with the magnam opus of Deekshitar- Sree Subramanyo maam rakshatu in the same ragam. In this kriti, many interesting panchama varja phrases can be seen. Arunagirinadhar’s Tirupugazh Mundu tamizh malai kodi kodi followed in Thodi and Maund and then Papanasam Sivan composition in a moving Sahana- Chitham Irangathenayya was presented. (To be continued)

[CRama]

(continued)
THIRUVAVINANKUDI (PAZHANI)
The earlier name of this place was Thiruvavinamkudi. Thiru means Lakshmi. Avu means cow. Inan means Suryan, Ku is Agni and Di is Prithvi. There are five separate sannidhis for all the above in Tiruvavinankudi. Pazhani refers to the story of the competition between Vinayaka and Muruga for the Mango fruit where Vinayaka wins. Parvathi says to Murugan- Pazham nee and hence this place got the name Pazhani. The temple at the foot of the hill is called Thiruvavinankudi. Moolavar idol was made by Siddhar Bhogar using Navapashanam ( Special Medicinal herbs). The deity is Dandayuthapani. The teertham nearby is Saravanapoigai. There is a temple for Sidhar bogar in the bottom of the hill. Deekshitar has composed the song Dandayuthapanim in Anandabhairavi on the presiding deity of this temple. Gayathri Girish rendered the song with reverence followed by the Tirupugazh Naadavindu kaladi namo namo in Chenjuruti. A slokam from Kandar Alankaram Padikkinrilai Pazhanithirunaamam was also rendered followed by the popular composition of Periaswami Thooran- Kaliyugavaradan kann kanda deivamay in Brindavanasaranga. Kavadi is very special in Pazhani. A Kavadi chindu of Sri.Thooran - Azhagu deivamaga vandu was rendered beautifully by Gayathri Girish.

THIRUVERAGAM (SWAMIMALAI)
As we all know, this is the place where Murugan gave Omkara mandra upadesam to his father Siva. Hence in this temple, Murugan sannidhi is on a higher tier than that of Siva. Swaminatha Swami in standing posture with Dandam in right hand, left hand in his hip, with sacred thread and Rudraksha mala as a Guru. The temple is built on artificial hillock. The vahanam of the lord in this temple is Airavadam elephant gifted by Devendran. There are 60 steps for going to the temple representing 60 tamil years. Deekshitar composition Sree Balasubramania Agachagraganya in Bilahari was rendered followed by the Tirupugazh Charana kamalaalayathai in Dhanyasi and Bagesree.
Pamban Swamigal was a great devotee of Murugan and he composed many songs and Stothrams on Murugan, Shanmuga Kavacham being a very significant one. One of his compositions in pann Kausikam (Bhairavi) Nanjamunda kandanaar nayandu thanda selvame was rendered by Gayathri.

THIRUTHANI (KUNDRUTHORADAL)
After destroying Surapadman, Murugan came here to calm himself down. Hence the name Tanigai. Subramanya holds Vajra Dandam in right hand and his left hand is on his hip. There are separate sannidhis for Valli and Deivayanai. It was in this place that Muruga married Valli. The vahanam for the lord here is Elephant. There are 365 steps to reach this temple (representing no of days of the year) and the Padivizha on 31 Dec every year is very famous. Main Teertham is ‘Saravana Poigai’ at the foot of the hill. Deekshitar composed his first kriti Sree Nathaadi Guruguho Jayati in the ragam Mayamalavagowla in this temple. In this kriti Deekshitar refers to Guhan as his Guru and he adopted his mudra Guruguha from this song. This song was rendered by Gayathri explaining all the relevant details embedded in the song followed by the Thirupugazh Sinathavar mudikkum in the ragam Ahir Bhairav. Ramalinga Swamigal is another devotee of Murugan who wrote many songs on the lord of Thiruthani which are known as Tiru Arutpa. One of his compositions- Thanigai malayai chareno in a very moving Sahana was rendered.

PAZHAMUDIRCHOLAI
The temple is situated on hill top in a dense and fertile forest with large number of trees bearing variety of fruits – offers great scenic beauty for the devotees. During early days Vel was worshipped as main deity. In the foot of the hill we can visit one of the 108 divya kshetrams of Vishnu –Azhagar Koil or Tirimaliruncholai. Lord Muruga can be seen in standing posture with Valli and Deivayanai. Stala Vriksham is Naval (Blackberry) which normally gets ripe in July August. However, it is strange that in this temple it ripens during Skanda Shashti. The Tirtham is Nupura Gangai. The episode of Murugan testing Avvayar asking sutta pazham or sudatha pazham was in this temple.
Deekshitar did not compose any song on this temple. The Thirupugazh Agaramumagi Adipanumagi in ragam Durga was rendered which was followed by Koteeswara Iyer composition Anjathe Nenjame in the ragam Pavani. We are well aware that Koteeswra Iyer has composed songs in 72 Mela Karta ragams titled Kandaganamudam.

Gayathri Girish signed off the programme with the slokam of Kachiyappa Sivachariar- Aariru Thadanthol vaazhga.

The accompanists provided excellent support. Raghavender Rao followed her most appropriately. Poongulam Subramaniam embellished the lec dem with his deft strokes. His playing for Thirupugazh songs was greatly appreciated by discerning rasikas. Gayathri’s disciples- Vishruthi (Daughter), Maithreyi and Swetambari, budding musicians provided vocal support for Thirupugazh songs.

Thanks to Gayathri Girish for introducing us to many rare compositions and slokams on Murugan. A devotional aura prevailed through out the programme. An excellent enlightening and entertaining programme on Murugan from Gayathri Girish just after Thaipoosam.

[rajeshnat]

Thank u CRama for your painstaking effort. I did not know that nakeerar wrote Thirumurugattruppadai and also picked few other things.

[sureshvv]

Bad miss. So many rare compositions / composers. Would have been a wonderful treat. Hoping to catch a recording.

[Sivaramakrishnan]

Thanks CRama for the excellent reporting of a valuable thematic presentation by Gayatri Girish. Never knew about the existence of so many compositions.

Incidentally we have numerous songs on Arupadai Murugan in Tamil bhakti paadalgal & movies-some of them really good.

[arasi]

Just like Gayathri Girish to take up something like this! The list says it all. Her ability, hard work and enthusiasm are impressive. The inspiration part of her personality, I am well aware of
Sanskrit and tamizh co-exist and blend well in their content...

CRama,
Not forgetting your fervor and hard work in writing in such detail and with care.

[rshankar]

CRama: thank you for a wonderful report!
We continue to enjoy your retirement!

Congratulations to Smt. Gayathri Girish for a concert that was entertaining, educational, and created such a buzz (rasAnubhava) all at once in seemingly equal measures! A very tough task indeed, pulled off with apparent elan!

[vidya raja]

Wonderful and new thematic concert. Congratulations! to Gayatri Girish

[CRama]

Arupadai Veedu was a familiar theme in films in the 60s-70s. Director-producer MMA Chinnappa Devar, being an ardent Muruga bhaktha has taken a few very good films on the theme of Muruga bhakthi and picturised the temples and festivals with utmost sensitivity and devotion in his films. I recollect Thunaivan and Deivam films immediately. Deivam is very famous for its music also. The only film which had songs by Madurai Somu, Pithukuli Murugadas and Bangalore Ramani Ammal. In this film, instead of Pazhamudircholai, Maruthamalai has been shown. Maruthamalai has been the kula deivam of Devar and he only has developed the temple and put it on the Murugan Temples map. Another film on Murugan is Kandan Karunai in which the last song Arupadai veedu konda by Seergazhi Govindarajan in Ragamalika starting with a stunning Kambodi shows the Aru padai veedu temples.

[vilomachapu]

The earlier name of this place was Thiruvavinamkudi. Thiru means Lakshmi. Avu means cow. Inan means Suryan, Ku is Agni and Di is Prithvi. There are five separate sannidhis for all the above in Tiruvavinankudi.

Tiruvavinankudi at the foothills is the actual 'paDaivIdu' and not the temple or deity on the hill.

[ganeshkant]

An excellent report CRama.It took me at least 30 mts,to go through your report.I very well understand how painstakingly this would have been for U to create this.Hats off.

[Sivaramakrishnan]

Thanks CRama for the information on Arupadai songs in Tamil films. Well, in the song by Sirkali Govindarajan in Kandan karunai, there is a unique Chakravakam not common in Ragamalikas- standing testimony to the music director's originality. (I think it was K V Mahadevan. I don't know who has penned the lyrics ). It's a remarkable composition.

[CRama]

n the song by Sirkali Govindarajan in Kandan karunai, there is a unique Chakravakam not common in Ragamalikas-

Yes. It is the stanza Oru perum thathuvathin chaareduthu on Swamimalai sung by Seergazhi in his ringing voice. That song is purely classical which was not uncommon in those days. Though Chakravakam is rare, its HM counterpart Ahir Bhairav is more popular in film songs. Immediate recollection is Ullathil nalla ullam by Seergazhi in the Sivaji classic Karnan. Music by MSV. There is another song in Ahir Bhairav- Deivathin ther eduthu in the Sivaji film Pattum BHarathamum which is equally classical and melodious sung by TMS. Music must be MSV.

[ganeshkant]

MSV is the MD for pAttum bharatamum.Another song that suddenly comes into my memory is "pichAndi thannai kandu pichai idungaL" fro the film ganga gowri.MD may be KVM.a bit lighter chakravAham is "nee paadhi naan paadhi kaNNE" from kELadi kanmaNi !A song that I often hum.

[Rsachi]

Chakravaka is actually a bird! English name Brahminy Duck or ruddy shelduck.


I feel as a raga this is an enigmatic one. Even the songs in this raga seem to fully leverage its enigma.