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It is one of those die-hard traits that make vibrant and valiant Madurai different from rest of Tamil Nadu.

If an old woman dies in the middle of the night, those in the neighbourhood will know it in no time.

First, piercing the quiet of the dark hours will come the ill-omened announcement: “Hello, hello, mike testing.”

Tearjerkers from the T.M. Soundararajan-Chidambaram Jayaraman-P.B Srinivas era movies, like “Pathu madham sumandhu,” “Veedu varai uravu” and “Kagithathil kappal seidhu,” will start blaring next one after the other.

The mike-set man will meticulously line up all somber songs and soon P. Susheela takes charge of the situation for some time till the dirge singers are summoned.

By the time “Neeyilladha ulagathile nimmadhiyillai,” “Ninaikka therindha maname,” “Paartha Gnamagam illaiyo!?” and the Ranga Rao-Sowcar Janaki series are halfway through (never mind the lyrics; creating the mourning mood is felt more appropriate), word will be sent for the “Karagattam” and “maadu” troupes also to enliven the solemn proceedings in the morning.

Just when Sirkhazhi Govindarajan takes care of the grief in his high pitch, the situation will take a serious turn with the ‘oppari women’ taking their place, starting with the lament on a half-asleep flat note.

And mind you, these are no charming Dimple Kapadias of Rudaali.

They mean business and get to the thick of the things straightaway with a heart-rending eulogy of the highest order for the departed soul, always.

Only the near and dear ones know how inane it is.

When the sun rises, it will dawn upon the charge de affaires that the ‘Oppari’ is sounding limp and listless.

To add more anguish, orders will be passed to the mike-man who will do some soul-searching to fish out Jesudoss CDs for a change while the ‘oppari singers’ take a coffee-break.

By the time those from near and afar come trooping in using all modes of transport but bigger the cars and garlands, grander it makes the entry – all eyes (and ears) will be on the garishly dressed ‘Karagattam’ people.

An unsaid agreement among the mourners next turns the eulogies to lewd numbers as Jesudoss gives way to L.R. Eswari’s ‘Kudimagane’ and the sorts.

More raucous and leering the crowd, bawdier get the dance movements.

And to cater to popular taste, the verbal exchanges between the ‘karagattam’ dancers also change from tongue-in-the-cheek to double entendre.

Even as the ‘pallaakku paadai’ in the making rises higher and higher in the background, the scene would now be anything but sombre what with those with the most agonizing sobs giving the loudest orders, to be heard above the din.

As the sun rises, the ‘spirits’ will soar high among the menfolk, with heated discussions on ‘seimurai’ and other rituals even as the womenfolk get ready for ‘neer kudam.’

Before the wild discussions turn into fisticuffs, the mike-man will slip out of the way with his money, but not before playing, among others, the young crowd’s latest favourite “Maduraikku poghathadi,” thrice.

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