Sangita Kala Acharya Suguna Varadachari presented the first lecture of the day on “Scope for Manodharma in Muthuswami Dikshitar Kritis”. She was accompanied by Dr. Aishwarya Shankar, with Vidwan K. Arun Prakash on the mridangam.
The phraseology embedded in compositions, once imbibed and internalized, forms the foundation of the manodharma aspect of music. The very definition of a ragam can be understood only through learning multiple compositions in that ragam and repeatedly singing them. Mere notation cannot convey the subtleties and intricacies of a raga. How Dikshitar’s compositions help a performer deepen and expand their manodharma was the core theme of Suguna Mami’s lecture.
Shankarabharanam shone in all its grandeur from the very first phrases she sang. Sadasivam Upasmahe was chosen to illustrate the unique phrases employed by Dikshitar and how these phrases can be used in raga alapana to lend Shankarabharanam a distinct colour. This made the session not merely a lecture, but a true lecture demonstration.
At one point, Mami used the phrase “ஊறி வரணும்”, meaning that the phrase must seep out naturally from within, rather than being consciously planned and produced. The imagery that phrase evoked, at least for me, captured the very soul of manodharma music.
A phrase classically associated with one ragam can sometimes be seamlessly absorbed into another. A phrase from Begada, when sung independently, exuded unmistakable Begada bhava, yet the same phrase, when placed within the context of Shankarabharanam, shed its Begada identity completely. It felt like witnessing a magician deftly altering perception in plain sight. Other aspects of manodharma such as neraval and swara singing were also explored, with different approaches explained through apt examples.
Thodi was the next ragam taken up for exploration. From the very first phrase, Thodi announced itself unmistakably. It was fascinating to hear how the same note, sung with and without gamakam, still retained the unmistakable identity of Thodi. Dikshitar’s fondness for wordplay is well known. His use of increasing and decreasing syllabic patterns, known as srotovaha and gopucha yati, appears in several compositions and can serve as inspiration for neraval singing as well. The example Mami rendered was truly delightful.
She concluded by speaking about the use of Dikshitar compositions in pallavi singing. Hearing his first composition, Sri Nathadi Guruguho, rendered in different talams was particularly interesting. That his compositions can also inspire thanam singing only reinforces the depth and brilliance of his musical vision.
Even in concerts, Arun Prakash plays with a clear intent to embellish and highlight unique and beautiful phrases sung by the vocalist, something he had spoken about in his own lecture earlier. This lecture demonstration was therefore a feast for him. His playing visibly responded to and enhanced the phrases sung by Suguna Mami and Aishwarya, and it was evident that he enjoyed the experience as much as the audience did.
Like a traditional breakfast spread with soft pongal, crisp vadai, dosai paired with tangy sambar, and sweet pongal to finish, this lecture offered a taste of everything that Carnatic music represents. It was deeply satisfying. I was glad to hear Shriram echo this sentiment in his summary, albeit without my culinary analogy.
In addition to the main lecture, Day 11 featured two shorter presentations. The first was by Vidushi Sumathi Mathiyazhagan on “The Sarva Vadyam tradition at the Tiruvarur temple”, followed by a lecture by Dr. K. Dhinesh Kumar on “The Tiruvarur Nagaswaram tradition as defined by Ramaswami Dikshitar”. The two lectures complemented each other beautifully.
Vidushi Sumathi Mathiyazhagan is a school headmistress in Tiruvarur and is preserving a temple tradition that has historically been carried forward largely by men. She comes from a family believed to have descended from Devalokam along with Thyagesar when he manifested on earth. Her ancestor Thambiappan was a disciple of Dikshitar, and it was to cure Thambiappan’s stomach ailment that Dikshitar composed Brihaspathe, an episode that eventually led to the creation of the Vara Kritis.
The first instrument she spoke about was the Kudamuzha, a five-faced drum also known as the Pancha Mukha Vadyam. The five faces are said to represent the five faces of Lord Shiva. Shaped like a vessel, the lower portion is made of bronze and the top is covered with deer skin. This instrument is typically played during the evening pooja, which Dr. Madhusudhanan had earlier described as the most important ritual of the day.
The second instrument she demonstrated was the Suddha Maddalam, which accompanies the famed Ajapa Natanam. She explained in detail the significance of the instrument, the specific occasions when it is played, and the stories associated with it. Her account of personal dedication, lived experience, and emotional attachment to the temple and its traditions deeply moved the audience.
Dr. K. Dhinesh Kumar began his lecture by citing references from the Sangita Sampradaya Pradarshini that describe how Ramaswami Dikshitar prescribed what should be played by Nagaswaram vidwans at the Tiruvarur temple and on which occasions. The repertoire includes over two hundred compositions, among them more than fifty padams. It is believed that some of these were tuned by Balaswami Dikshitar.
He listed the various musical forms that form part of this tradition and the composers whose works are included. He asserted that the form known as Mallari was originally created for the Tiruvarur temple before spreading elsewhere. He also described in detail the ragams prescribed for different days of the twenty two day Tiruvizha celebrations.
Dr. Dhinesh Kumar illustrated Rakthi, a form developed specifically for Nagaswaram performance, and sang the composition associated with Ajapa Natanam. He spoke about three types of Nagaswarams used in the temple, including one made of granite, another of ivory, and the Bari Nagaswaram. He is currently involved in recreating the granite Nagaswaram for temple use and played a prototype as part of his demonstration.
The contribution of Lalitha Ram in commissioning the statue of Dikshitar that adorned the stage throughout the lecture demonstrations was acknowledged, as was his role in introducing Dr. Dhinesh Kumar to the Academy. He also spoke about the importance of providing public platforms to such knowledgeable practitioners.
In his concluding remarks, Shriram referred to Dikshitar’s own mention of the Nagaswaram in his compositions and thanked Dr. Dhinesh Kumar for his research, lecture, and performance.
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