Knowing God through music
LASYA VEMPARALA
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Kousalya Sivakumar won the heart of the audience with her earnest singing.
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SPIRITUALLY INCLINED Kousalya Sivakumar presented a musical feast on `Anjaneya prabhavam'.
To most of us, Hanuman is just a skilled emissary who accomplishes assigned tasks. But when Kousalya Sivakumar presented a musical feast on Anjaneya prabhavam on the eve of Sri Rama Navami cultural festival, we are given a compelling understanding of the devotion incarnate, bhaktagresara Hanuman.
An acclaimed classical artiste, Kousalya breaks new ground in delivering spiritual discourses through classical Carnatic renditions.
Kousalya meticulously researched thematic presentations that are neatly and flawlessly built on the solid devotional platform - Isai Perurai. Kousalya Sivakumar takes us on a subliminal spiritual journey that Hanuman has embarked on from dharma to bhakti, a profound journey across ages starting with Valmiki Ramayanam, Adhyatma Ramayanam, Ananda Ramayanam, Shiva Puranam, Tulsi Das's Rama Charita Manas and Kamba Ramayanam.
Sundarakanda begins with the sloka Tat o raa-va-na neetaayaa. It is here that we see the syllable `va' as the 12th syllable in the Gayatri mantra, which denotes surrender and devotion. And Kousalya Sivakumar richly enunciates in Tamil and punctuating it with apt slokas in Sanskrit to depict the cosmic role, scope, depth and significance of Hanuman's transcendental and uplifting devotion. She shows how Rama with the help of his guru, Hanuman kills the demons of desires.
The most auspicious Sundara Kandam is richly replete with references to the heroic exploits of this Rama dhootha. How can a mere monkey effortlessly kill mighty demons? Well, Kousalya successfully accomplishes the mission of prolific and scholarly interpretations by covering the spectrum of saint composers from Muthuswamy Dikshitar and Purandara Das to Tulsi Das, from Arunacala Kavi to Samardha Ramdas in Carnatic bhakti tradition in a coherent, simple yet elegant and witty interactive style.
She unfolds some ingenious Dikshitar's krithis, one of which was in Kaanada ragam (rupaka talam) - Veera hanumate namo namaha. Maaru tatanayaa namo namaha was followed by an insightful interpretation of Panchamukha Anjaneya, which according to Hanumath Prakaranam describes him as having five faces and ten weapons.
Kousalya goes on to present a rare and priceless gem Pahi Rama Duta in Vasanta Varali, a Thyagaraja creation. Her dissertations glow with divine joy and pride as she sings a Swati Tirunal in Saaveri - Anjanaye Raghu Rama Duta in full Vaishnavite bhava. She then presents a creation of Purandara Dasa who belongs to the Udippi Matam tradition where Hanuman is a presiding deity as `mukhya pranan'. This follows a superb discourse on the most beautiful and indescribable relationship between Rama and Hanuman as the spontaneous beating of two hearts.
This Rama dhoota was recognised as a Bhagvathottama by Saint Thyagaraja. She renders a soul-stirring Arunachala Kavi's kirtana
Kandenden kanden sitaiyai kanden raghava in Vasantaa. She eloquently and spiritually convinced both the Vaishnavites and Shaivites as did Hanumantha, and the sum and substance of Dvaita and Advaita.
She describes the terribly fierce wind god, Pavana putra in extensive preparation for Rama to kill Ravana. Kousalya interprets Hanuman as the guru of Rama in showing him the way. She brilliantly portrays how Anjaneya inherits the shrewdness of perception, intelligence, psychological insight, caution, sthitha pragna, self-discipline, loyalty and sense of responsibility as he embarks on each designated role.
When he encounters Sita as a true master of psychology he first cautiously draws her attention first and then wins her trust. As a mahasatva in a monkey form, he uses his uncanny strategic wisdom to determine the strength of his enemy to psychologically demoralise them in their very territory.
In an enthralling rendition Vitte vidudae seetayayi, ade ravana, she enacts the swaroopa.
One would be left wondering if it was an evening of sublime devotional concert as she renders Annamacharya's gripping O Mahima O Pavanatmaja, O Ghanuda. As a fitting finale, Kousalya serves up a thillana fervent with bhakti in a typical Arayikudi tradition. Kousalya won not only the heart of Rama by eulogising Hanuman but also of the rasikas who had gathered that evening with her earnest singing. Her accompanying troupe was equally devoted to the uplifting exercise.
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