Meet Bharathwajan, a pilot, who performs the traditional Araiyar sevai in Srirangam

The enduring legacy of Araiyar Sevai

At a recent lecture organised by the Department of Vaishnavism, University of Madras, Bharathwajan Araiyar spoke about the rich heritage of Araiyar sevai, performed in temples, which seamlessly blends all three aspects of Muthamizh — iyal (literature), isai (music) and natakam (theatre). drama).

The practice of reciting pasurams in front of Lord Ranganatha of Srirangam was begun by Thirumangai Azhwar. However, over time, the Divya Prabandham verses were lost. It was the Vaishnava acharya Nathamuni (mid ninth to mid 10th century CE) who retrieved them and arranged for them to be presented with music, abhinaya and theatrical elements. Bharathwajan said the music that Nathamunigal created for the pasurams is reverentially referred to as deva gaanam (divine music).

Bharathwajan araiyar (in red headgear) performing the traditional ritual. | Photo Credit: Special Arrangement

To illustrate the musical acumen of Nathamunigal, Bharathwajan highlighted an episode. Once, when Nathamuni was asked to establish the superiority of this deva gaanam over ordinary forms of music, he requested the king to arrange for the playing of 4,000 cymbals all at once. Just by listening to their tonal quality, Nathamuni was able to identify the metals used to make the cymbals, the proportion and the exact weight of each cymbal. The king acknowledged Nathamuni’s knowledge of music and the superiority of his deva gaanam.

According to Bharathwajan, Nathamuni drew from many ragas of Sama Veda to come up with the music for the Divya Prabandham. Demonstrating the min uruvai verse of Thirunedunthandagam, Bharathwajan highlighted the similarity between Nathamuni’s music composition and the melodic structure of the Sama Veda. “Nathamuni’s music captures the emotions and the philosophy underlying each verse in the Divya Prabandham,” he said.

While talking about the Tiruppavai renditions, he explained how the verses are presented in different ways by the araiyars. When Ranganatha is visualised as a king presiding over his court, the verses are sung only in arohanam. When he is imagined as a child, it is rendered in a coaxing tone.