When bhakti and melody mingle
PADMINI DEVARAJAN
|
Namasankirtanam that has a wide following finds many avenues during the season.
|
It is mutual, bhajan singing draws crowds, and the crowds inspiring bahgavatars.
IN FULL FLOW: Thukaram Ganapathy and his group rendering namasankirtanam.
The emergence of Sampradaya Bhajan as an exclusive genre in the music charged atmosphere of Chennai is a reflection of the people's devotional and cultural taste. The hallowed lineage in this tradition hails from the Sankirtana Triumvirate — comprising Bhodendra Swamigal, Sridhara Aiyyaval and Sadguruswamy. The present format of the Sampradaya Bhajan has been handed down from Sri Sadguruswamy, who travelled the length and breadth of the country to collect the prized devotional lyrics and hymns from all over India.
If a keenness to delve in Bhakti Rasa ushered in the practice of singing devotion-soaked bhajans at the end of recitals, it also created a niche for Sampradaya Bhajan. One has to appreciate the combined efforts of the exponents of the tradition and the private trusts and organisers who have enabled this tradition to move from its modest beginnings in temples and join the mainstream. One is referring to the namasankirtana events that are being regularly held in the city and which have an eager audience.
For salvation
With all his experience in gauging the audience pulse, R. Krishnaswamy of Narada Gana Sabha takes pride in the morning recitals of Harinama Sankirtanam by Bhagavata Sammelana Sangam, led by Swami Namananda Giri, foremost disciple of Swami Haridos Giri, during the music season. "There is Vedic proof of the efficacy of chanting the name of the Lord; and the Vishnu Purana asserts that in Kali Yuga, Nama Sankirtanam is the best and sure route for salvation. Adi Sankara accorded the highest status to chanting of the names of the Lord, calling it Ahimsa Yagna. Here, the audience gets a chance to participate in the recital."
A practising exponent committed to the tradition of Prachina Sangitam, Udayalur Kalyanarama Bhagavathar is happy to be part of its growing popularity. He has founded the Bhagavata Seva Trust that takes care of the financial needs of many of the exponents. The fortnight long Nama Sankirtana festival at Krishna Gana Sabha features recitals of bhajan groups from all over India, and also honours a veteran artiste with the title "Sankirtana Kalanidhi." "We take care to accommodate seasoned artistes and the upcoming aspirants as well. It is a case of mutual influence, when bhajan singing draws crowds, and crowds inspire bhajan singing. The audience are moved by the bhakti-melody combination of the bahjans," he says.
Ardent votary
Thirupoonthuruthi Venkatesan, an ardent votary of Nama Sankirtana, is keen to train many in this tradition. He has been conducting Tharangam festivals in Chennai and Aradhana at Thirupoonthuruthi where Sri Narayana Thirtha attained samadhi. Speaking from his rich experience he says, "The exponents and the audience are treated to a unique blend of the devotional component (in the form of Bhava worship) and the inherent classical melody of the compositions of the inspired saint-poets. The extensive repertoire of songs invokes the gurus and various deities." People are drawn to the evocative `abhang" singing in Sri Thukaram Ganapathy's sessions.
Jayanthi Sampath, a regular at sankirtana sessions says, "Chanting of divine names, sacred phrases and specific mantras can awaken the spiritual energy within. The resonance of group singing is a powerful force, capable of creating a strong feeling of community and connectedness. Many have found relief from depression and trauma by attending these group-singing sessions." Suryaprakash, a student, claims that Namasankirtanam is a sure way to focus one's thoughts on the Almighty. Krishnamurthi, who spends his retired life listening to Carnatic music and attending discourses, is positive that namasankeertanam is equivalent to meditation and spreads positive vibrations. Connoisseurs of classical tradition acknowledge the power of the soulful and tuneful rendering of the lyrics by the Bhajan groups. The visible and audible audience response has to be seen to be believed.
Printer friendly
page
Send this article to Friends by
E-Mail
Music & Dance
