SRI KRISHNA RAMANUJA KOODAM, THIRUINDALUR,MAYILADUTHURAI.

Friday, May 21, 2010

YouTube - Ranjani-Gayatri - 6 - bolAvA viTThala (abhang) - bhaTiyAr - mArgazhi mahA utsavam 2008

YouTube - O.S.Arun - 7 - ritu vasantila kOkilA (abhang) - rAgam? - mArgazhi mahA utsavam 2008

Thursday, May 13, 2010

The Hindu : Friday Review Delhi / Music : In His service

Erode Rajamani Bhagavathar uses bhajan as a tool for national integration.

Photo: Anu Pushkarna

Erode Rajamani Bhagavathar

It is said that namasankirtan (repetition of the divine name of God in devotion and in group) is a powerful spiritual tool where the seekers can relish divine bliss and can also share it with others. K.V. Narasimhan, popularly known as Erode Rajamani Bhagavathar, a renowned exponent of sampradaya bhajan, has this rare ability and has been taking the participants of his bhajan programmes to a level of divine ecstasy through this tool.

Says Rajamani, "Namasankirtan is the easiest way to reach God in this kalyug, when compared to other forms like yaga and tapas." He also recites a Sanskrit verse, which roughly translates to "Lord Krishna telling Narada that He (Lord Krishna) does not reside in Vaikunth; nor does He reside in the hearts of yogis; but resides at the place where namasankirtan is being done."

Hailing from a place called Kooniyur in Tirunelveli District in Tamil Nadu, Rajamani has a rare distinction of being a disciple of the doyen of Sampradaya Bhajan, Pudukottai Brahmashri Sanjeevi Bhagavathar.

Inherited interest

Having inherited the art of Carnatic vocal music from his mother, through his vivid interest, Rajamani also learnt and started playing the harmonium and the mridangam when he was young. While in his teens, he got the opportunities to accompany his revered guru, Shri Sanjeevi Bhagavathar and other Bhagavathars on the harmonium. After completion of his commerce graduation, a job in a private sector company moved Rajamani in the late 1980s to Erode, a small town in Tamil Nadu.

Recalls Rajamani, "Gopalakrishnan, a family friend who was then in Erode, encouraged me to lead a bhajan group telling me I had the capacity to do so. A bhajan group called Sri Guru Krupa Bhajan Mandali was formed in 1991, which was a turning point in my life." Rajamani gave up his job in the company in 1999 to become a full-time artiste. By his sheer interest, devotion and dedication, he soon learnt in-depth the Puja Paddhati, Divyanamam, Dolotsavam and Pavvalimbu. With the blessings of Brahamashri Gopalakrishna Bhagavathar, he rose to the height of excellence in rendering Pudukottai Paddhati of Samprayada Bhajan in great detail.

A repository of bhajan songs and one of the very few credited with an in-depth knowledge of rendering a complete form of Sampradaya Bhajan, Rajamani is happy that he is involved, in a way, in `national integration' as he sings compositions in various Indian languages like Hindi, Sanskrit, Marathi, Tamil, Telugu and Kannada, etc. Proudly he adds, "I even have some ardent Muslim fans, who know the entire bhajan Paddhati and sit throughout my bhajan programme."

Rajamani is happy that music sabhas increasingly give slots for samprayada bhajans during music seasons and auditoriums are packed to capacity. He draws attention to the fact that in Carnatic music concerts too, one-third of the concert time is being dedicated for bhajans. Rajamani advises the modern youth of the country, particularly those in the IT sector and experiencing a stressful work atmosphere, "To participate in bhajans and namasankirtans, get diverted and release stress. It's divine music, after all".

To wean away children from television and the Internet, Rajamani advises parents to expose them to bhajans and namaskirtans even if they don't like it. "After some time, they would automatically start liking them. This would help them to grow as good citizens of the country," he says.

Father of two children, Rajamani admits that it is very difficult to balance family life and his profession, which keeps him away from home for days in a month.

But very quickly he gives the entire credit to his wife Vasantha, who manages the family well and also sings with him during his performance, whenever possible. He also acknowledges that she is the main person behind his progress.

Rajamani creates a positive vibration amongst the participants of his bhajans and namaskirtans as sahitya, melody, bhava and laya fuse smoothly when he performs. Says Rajamani, "Sincerity and devotion have been the key factors in my success. Be sincere and devoted in whatever you do. These would take you to greater heights."

Rajamani has always enjoyed performing in Delhi and has a word of praise for Delhi devotees and rasikas. "They are devoted to the core and are knowledgeable."

Saturday, April 24, 2010

YouTube - Sampradaya Bhajan Bharatanatyam

Wednesday, April 14, 2010

Her Eternal Lover... (The Ancient Love Story From Carnatic Region) : kalpita raj blogs on sulekha, Short Story blogs, kalpita raj blog from india

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Her Eternal Lover... (The Ancient Love Story From Carnatic Region)

Her Eternal Lover (True Love-Story of Kanhopatra)

Once upon a time in the fourteen century, at Mangalwedhe near Pandharpur, there lived a dancer named Shyama, who was a feudal lord’s concubine. She had a very beautiful daughter “Kanhopatra”, who was adoringly nicknamed as a “Kanha” (a belle) because of her well-featured, dimple-cheeked pleasing face. This Kanhopatra excelled in playing the musical instrument “Veena” and her sweet voice soon got her entitled as “Kokil-Kanthi” (the cuckoo) by the Bijapur king.
When Kanhopatra was a small girl, then on one day when she was playing with dolls, along with her friends, her friends teased her very mercilessly. They ragged her as she wasn’t engaged with anyone. She was a daughter of a courtesan; nobody would’ve agreed or dared to marry her.
Kanhopatra came home sobbing and questioned her mother. Shyama calmed her daughter. She then pointed at the statue of Lord Pandurangam and explained, “This Vithal, the owner of both the worlds is your groom. He’s your “Soul-mate” in a true sense. He’ll not only support you but also protect you from the evil and will love you till eternity. When you’ll come to marriageable age, grow up into a graceful lady; he’s sure to meet you. He’ll then certainly take you to Vaikuntha his celestial kingdom.”
Kanhopatra had always trusted her mother, so she believed her mother totally. She’d taken Lord Pandurangam as her gallant lover; owner of her body, mind and soul and got fixated with this idea.
Kanhopatra by then started giving live performance of classical music. Her fame reached everywhere. All the rich people started offering her mother Shyama, a handsome amount as they wanted to keep Kanhopatra. But Shyama used to turn down those offers.
One day the Sultan of Bidar had seen Kanhopatra performing. He was charmed by her beauty and her skills. Although he’d hundreds of mistresses-concubines, odalisques in his harem this greedy, tyrant couldn’t overcome his temptation. He sent a messenger to Shyama along with thousands of gold-coins and “Hukm-nama”or the “King’s-order” to send her daughter Kanhopatra, to Bidar. But as she had been intimated before-hand, Kanhoptra had already left for Pandharpur, along with the group of devotees of Lord Vithal-Pandurangam, secretly at dawn. The messenger was sent back. The agitated Sultan of Bidar had no way left but to take out his anger and frustration on his poor subjects.
Here at the temple of Lord Vithal Pandurangam, Kanhopatra was very happy and content. She was close to her lord. She believed strongly that she’ll be meeting him soon. She used to gladly perform, all the temple-duties. Her little world was spinning around her lord Vithal. As she was a blessed poetess, she used to write lovely lyrics, dedicated to her Lord Vithal. Everyday she used to please the devotees by her lyrics which were not only written but also composed and sung by her.
It’s the scorching summer of 1338. Kanhopatra was singing a lyric, in a voice filled with the truest emotions…

Oh my dear lord of Vaikuntha, my mighty owner Vithala,

Oh my gallant paramour, my divine supporter Panduranga,

You the great savior Madhusudana, the eternal charmer Manmohana,

You the perfect man Narayana, the unconditional lover Ramaramana,

You the reincarnation of Vishnu, who uplifted the devotees Pundarikaksha,

Please bestow your mercy and love this; down-trodden, humble Kanhopatra.

This song had made a passer-by stop. When he heard that song, he at once understood that the saintly-woman residing in the temple is nobody but Kanhopatra herself. Then he immediately rushed to the Sultan of Bidar and informed him. The Sultan was very pleased with him and rewarded him. Then Sultan’s armed soldiers besieged Pandharpur and hold all the priests at ransom. He’d proclaimed that if Kanhopatra refuses to stay with him, he’ll slaughter all the people of Pandharpur and raze down the temple. All the people were very afraid. They then started persuading, pressurizing and emotionally blackmailing Kanhopatra. They told her to surrender to the blatant and passionate Sultan. Kanhopatra was totally shattered as nobody dared to protect her.Anyhow she managed to send a message to Sultan, requesting him to allow her to sing the last prayer of that day. The Sultan very reluctantly agreed
Broken-hearted Kanhopatra went inside the temple. She started playing her Veena and singing her last prayer. She trusted her lord totally. She kept singing with full concentration; with the total involvement of her body, mind and soul… (Her sweet voice and the rhythmic sound of Veena were creating the very pleasing resonance)…

No my lord, don’t test my patience more; It breaks my heart involved till core

Hunted by a jaguar, the way fawn’s pained; very similar agony I cannot sustain

There’s no refuge, a shelter for me; so hurry the divine supporter, do bless me

Totally in despair, my hopes're lost; hold your Kanhopatra close to the heart…

Suddenly the chords of her Veena were broken off and the song was disrupted. Kanhopatra fainted. Everyone got stuck to the ground; silenced with unknown fear. Then suddenly the statue of Lord Vithal was split or opened up and through the innermost void emerged a dark but handsome man. He lifted unconscious Kanhopatra and moved away. He vanished inside the void of Lord’s statue carrying her, within a moment. Then at the very next moment the Lord’s statue was joined back and became unique as before. But meanwhile the corner of her ‘Davani’ or ‘Odhani’ (scarf) got trapped in a tiny gap. All the shocked viewers could clearly see, the tiny piece of cloth sticking out.
Kanhopatra got merged with her Lord. She was relieved from all the earthly pains and got united with her eternal lover.
A temple was built later, in her name. The lucky visitors, who strongly believe in Lord Vithal and his miracles, can see/assume the tiny piece of cloth, stuck(at the place near the heart)on the Lord’s statue.