Tiruvallikeni Temple

Kshetra – Tiruvallikeni

 

Tiruvallikeni or Triplicane, as the English called it, happens to be one of the oldest parts of Madras City. The existence of a village of that name is seen in records dating back to the Pallava period and earlier. While Triplicane as an area merits separate study as for its contributions to the arts, this account restricts itself to the temple that forms the core and which in its own way shaped our musical heritage.

 

The origins of the temple are steeped in myth. It is believed that the area got its name from a sacred tank  (keni) of lilies (alli) that once existed here, in the midst of a forest of tulasi bushes. Whether this meant the Mylapore Long Tank which in modern times was filled in to form the T Nagar and Valluvar Kottam areas is not known. Due to the tulasi plants, the place was also referred to as Brindaranya Kshetram. Today, the sacred temple tank which dominates the square in front of the temple goes by the same name. The temple is said to have existed on the bank of a river that once flowed in these parts, called the Kairaveni. The tank that presently stands in front of the temple is also referred to as Kairaveni.

 

The Temple Layout

 

The temple itself  is a dual shrine, with two principal deities, who are enshrined back to back. The older shrine is that of Azhagia Singar or Narasimha who is seen in the yogic pose. He is also called Tellia Singar and is now referred to as Tulasingar and the street that leads off from His shrine is called Tulasinga Perumal Koil Street. The later and more famous shrine is that of Sri Venkatakrishnan (moolavar) and Sri Parthasarathy (utsavar). Entering the temple from the main entrance off the tank, you cross the Garuda Mandapam and enter the enclosure that has the dhwaja stambham. You can get a clear view of the moolavar Venkatakrishnan from here, for He is of imposing height and appearance. For a closer look, you have to enter the main shrine. The mandapam that precedes the sanctum has several smaller shrines all of which are of interest. There is a shrine for Tirumalisai Alwar, followed by shrines for Vaishnavite seers Alavandar, Ramanuja, Manavala Mamuni, Vedanta Desika and Tirukacchi Nambi. The corridor leading to the sanctum sanctorum has shrines for Sri Rama (seen here with Seeta, his three brothers and Hanuman) and Lord Ranganatha who reclining on Adisesha, is in the company of Sri and Bhu Devis and has Brahma emerging from his navel.

 

The garbhagriha houses the magnificent deity of Venkata­krishna which is almost eight feet in height. The Lord here is two armed and appears as He did when He was charioteer to Arjuna during the Kurukshetra War. His right hand which is in chinmudra bears His conch, the Panchajanya. The left hand is in vara mudra and points at His feet. The Lord has a long sword buckled to His waist and has a dagger tucked into His waistband. Adisesha is at His feet. Huge shalagrama and sahasranama garlands adorn the deity. The Lord’s ears have large makara-shaped adornments and together with His tall crown and rich floral decorations He is truly majestic. Perhaps the most impressive and certainly unique feature of the deity is His handle-bar moustache in keeping with His readiness for battle.

 

If you can tear you eyes away from this spectacular manifesta­tion you can see Rukmini standing tall and elegant beside Her consort. There are certain days when She is draped in a saree tied in the traditional Vaishnavite style and that is when She looks her motherly best. Beside Rukmini stands Balarama, Krishna’s elder brother. Others in the sanctum include Satyaki, Krishna’s other brother, Pradyumna, Krishna’s son and Aniruddha, Krishna’s grandson. Thus the entire family stands together in one shrine, once again a unique depiction. The utsava icon, Sri Partha­sarathy is unique in its own way. The idol has a face that is full of scars, so much so that one can barely make out the features. The scars are believed to be from Bhishma’s, arrows. It is said that the Lord appeared in the dream of the craftsman who made the idol and bade him fashion it as He appeared in the Kurukshetra War after being attacked by Bhishma. The face of the idol which is deep brown in colour, changes to a golden hue when the Tirumanjanam or anointing is done.

 

Coming out of the sanctum, you reach the Vedavalli shrine This Goddess is consort to Lord Ranganatha and Her sanctum was built at a much later date as compared to the main shrine. Behind the Vedavalli shrine is the sanctum for Gajendra Varada. Here the Lord is mounted on Garuda and appears as He did when He set out to rescue the elephant Gajendra from the clutches of the crocodile. As you circumnavigate this shrine you reach the Narasimha shrine which has its own dhwaja stambha indicating its equal status to that of Venkatakrishna. After the Narasimha shrine is the temple to Andal. This completes the tally of the principal shrines in the temple. There is besides an exquisite Hanuman in a chamber located inside a pillar near the entrance.

 

The Temple’s History

 

Though the temple finds a mention in the Brahmanda Purana, it traces its history to a Tondaiman Chakravarty, probably a Pallava king of the 7^th century AD. An inscription near the sanctum speaks of the 12^th year in the reign of Dantivarman, a Pallava ruler whose reign was from 795 to 845 AD. Renovations were done by the Cholas, the Pandyas, the Vijayanagar rulers and the Nayaks of Madurai. Through the Golconda kingdom, the area and the temple came under Mughal administration from whom it passed into the hands of the Nawabs of Arcot. Tiruvallikeni became the first village to be leased out to the British by the Nawabs. The temple came under the administration of the East India Company which in 1843 formed a committee of three prominent men belonging to three different communities all owing allegiance to Vaishnavism and handed over the temple to them. Today it is administered by the HR&CE Board, Government of Tamil Nadu.

 

Saints and Savants and influence on Music

 

The temple is one of the 108 Vaishnavite Divya Desams, being sung on by three Alwars – Peyalwar, Tirumangai Alwar and Tirumalisai Alwar. In his verse beginning with the words “Vandudaitta Ventiraigal”, Peyalwar (5/6^th century) states that the pearls and corals deposited on the sea shore of Tiruvallikeni illumine the entire town in the evenings. Tirumangai Alwar (8^th century) has composed ten verses on the temple, nine of which end with the lines “Tiruvallikeni Kandene” (I have seen Tiruvallikeni). In these he describes all the shrines that we see today and it is therefore certain that the temple acquired its present structure by his time. He ascribes the construction to a “Tondaiyar” king. Sri Ramanuja’s (11^th century) parents, according to legend, prayed at Tiruvallikeni and were blessed by begetting him as their son.

 

The 17^th century Sanskrit work “Viswagunadarsa” by Venkatadhvari which describes Madras city, speaks of Tiruvallikeni. So does the later “Sarva Deva Vilasa”. The latter work, of which only an incomplete manuscript survives, ends with a procession going down Tiruvallikeni. It mentions a music loving Dharmakarta of the temple – Annasami and also speaks of dancers associated with the shrine.

 

Of the Carnatic Trinity, Tyagaraja (1767-1847) and Muttuswami Dikshitar (1775-1835) are both said to have visited the shrine. There is no song of Tyagaraja’s on this temple that survives, but in a talk over the radio, Maharajapuram Viswanatha Iyer (1896-1970) mentioned a song in the raga Saveri of which he said only the pallavi and anupallavi were available. Regretfully, even that is now lost. “Sri Parthasarathina” of Muttuswami Dikshitar in the raga Shuddha Dhanyasi is on this temple, though it must be mentioned here that the song is not mentioned in Subbarama Dikshitar’s “Sangita Sampradaya Pradarsini”, considered the most authoritative work on Muttuswami Dikshitar songs. The kriti is a small one and contrary to Dikshitar kritis does not describe any aspect of the temple.

 

Subbaraya Sastry (1803-1862), the son of Syama Sastry (1762-1827) and the common disciple of the Trinity, visited the temple and composed “Ninnu Sevinchina” (raga Yadukula Kamboji) here. Mysore Sadasiva Rao, who through the Wallajahpet school traced his lineage to Tyagaraja, composed “Sri Parthasarathe” in raga Bhairavi. This is a monumental composition with cascading sangatis and in the composer’s own style, full of flowing lyrics. His other song on this temple is “Vachamagochara” in raga Athana. Subbarama Dikshitar (1839-1906), grand nephew of Muttuswami Dikshitar composed “Parthasarathini” in raga Yadukula Kamboji on the deity here, when he stayed in Madras for the brief while in the 1890s. This song has his grand uncle’s mudra “Guruguha” in it and it also has sollu kattu swaras. Another prolific composer, Cheyyur Chengalvaraya Sastry (1810-1900) has composed a kriti in raga Yadukula Kamboji on the deity here. The Tachur Singaracharyulu Brothers were a duo of the late 19^th and early 20^th century Madras who played an important role in the development of music in the city. The elder brother was a composer and his piece in raga Vasantha, “Ninnu Kori” is a popular varnam to begin concerts with today.

 

Ramanathapuram ‘Poochi’ Srinivasa Iyengar (1867-1919) has composed “Sri Parthasarathi Nannu” in raga Madhyamavati at this shrine. Modern day composers who have been inspired by the deity here include MD Ramanathan (1923-1984), NS Ramachandran, Dr S Ramanathan (1917-1985) and Ambujam Krishna (1917-1989). TG Krishna Iyer was modern day composer who used the mudra of Lalita Dasa. He was greatly encouraged by Chembai Vaidyanatha Bhagavatar (1895-1974) who sang many of his compositions and made them popular. His song “Parthasarathi Maam” is on the deity here.

 

BM Sundaram, in his book “Mangala Isai Mannargal” (Meyyappan Tamizhaivagam, 2001) writes that nagaswaram maestro Kivalur ‘Saveri’ Kandasami Pillai (1836-1897) was honoured at this shrine and that the temple has records of this event.

 

The temple also appears to have served as a concert venue and there are records of Maha Vaidyanatha Sivan (1844-1893) singing here on three successive nights with record audience attendance. The Davana Utsavam in the month of Masi (Feb/Mar) would witness several Harikatha performances in the past. Notable among those who performed were Embar Vijayaraghavachariar (1909-1991), TS Balakrishna Sastrigal (1918-2003), Sengalipuram Anantharama Dikshitar (1903-1969) and C Saraswathi Bai (1892-1974).

 

Festivals

 

With so many shrines inside it, there are festivals and celebrations right through the year at this temple. All the manifestations of the Lord (Venkatakrishna, Varadaraja, Ranganatha, Sri Rama and Narasimha) have utsava icons and so there is a procession either within the temple or in the four principal streets almost every day. Rama Navami, Narasimha Jayanthi, Sri Jayanthi and the month of Margazhi (Dec/Jan) in particular, witness grand celebrations.

 

The temple sees a steady throng of devotees at all times of the day and almost every day of the year. This is testimony to the prowess of the deities in it, divinities who extracted some of the finest music possible from our composers.

 

 

 

 

Remembering NC Vasanthakokilam

An article that was published in The Hindu

 

http://www.hindu.com/fr/2008/11/28/stories/2008112850600300.htm

Music Academy’s awardees for 2008

Given below is a brief profile on each:

Sangita Kalanidhi – AKC Natarajan

 Born in Tiruchirapalli on 30^th May 1931 to AK Chinnikrishna Naidu and Rukmini Ammal, Vidwan AKC Natarajan comes from a family that has been devoted to wind instruments. His grandfather Kuppuswami Naidu was a nagaswaram artiste who took up the clarionet. Natarajan was taught the nuances of playing the clarionet by his father who was an accomplished performer on the instrument. From the age of ten he also learnt vocal music from Alathur Venkatesa Iyer and the nagaswaram from Iluppur Natesa Pillai.

 

Though proficient in vocal music, Natarajan preferred the clarionet in which he gave his first public performance in 1946 and was acclaimed by leading artistes of the day. He joined the All India Radio in 1949 and served at Calicut and New Delhi before resigning his job to become a full-fledged clarionet artiste in 1952. His performance that year in Madras was praised by Sangita Kalanidhi Ariyakudi Ramanuja Iyengar. He was also given encouragement by nagaswaram maestro TN Rajarathinam Pillai who conferred on him the title Clarionet Everest. Since then AKC Natarajan has performed widely in India and abroad.

 

 Natarajan worked hard for the clarionet to be accepted as a Carnatic instrument by the layman and the connoisseur. He brought his profound vidwat and musical abilities to play and succeeded in bringing the vocal and nagaswaram banis to the instrument. His raga alapanas, his swara renditions and above all his special way of presenting kritis are unique and have ensured a wide fan-following.

Sangita Kala Acharya - Mavelikkara K Velukutty Nair

 Born in Mavelikkara on 2^nd October 1926 to Mridanga Vidwan Muthukulam S Kumara Pillai and Kathyayani Amma, Velukutty Nair had his initial training on the mridangam under his father. He later apprenticed with Sangita Kalanidhi Palghat TS Mani Iyer for eight years. Taking to the mridangam as a profession, he has accompanied most of the leading artistes of Carnatic Music. Velukutty Nair joined the Sri Swati Tirunal College of Music, Tiruvananthapuram in 1959 as a teacher and retired from there as Principal in 1982. While continuing as a concert artiste, he also trained numerous students on the instrument, many of whom are performing artistes today. He is an A-Top grade artiste at the All India Radio, Tiruvananthapuram. His teaching skills have ensured that he is the examiner of choice for various Universities and colleges teaching music, both in his home state and in the rest of the country. 

 

Sangita Kala Acharya – Sarada Hoffman

 Sarada Hoffman was trained in dance at Kalakshetra by Chokkalingam Pillai and gave her first performance in 1943 with Rukmini Devi herself doing the nattuvangam. Her dancing was known for its grace, showcasing nritta at its best along with refined abhinayam. To enhance her repertoire, Sarada took additional guidance in abhinayam from Gowri Ammal. In addition to Bharata Natyam, she also trained in Kathakali with Ambu Panikkar and Chandu Panikkar. Sarada played a key role in the creation of the original Kalakshetra style. She was Rukmini Devi’s primary assistant in creating dance dramas, learning all the roles and training other dancers. And for more than fifty years, Sarada has trained countless students, many now well known in the dance field, with individual care and constant dedication to the standards of the art form. Throughout her career she has remained steadfast in her devotion to her guru and her dedication to dance.

 

 

 

 

 

TTK Award - Annavarapu Ramaswamy

 

Born in 1926 at Somavarappadu in present day Andhra Pradesh to Peddaiah and Lakshmi Devi, Ramaswamy comes from a musical family, his father being a musician, his mother a talented singer and his brother Gopalam a well known percussion artiste. He had his initial training on the violin under Maganti Jagannatha Chowdari of his own native village. Later, he apprenticed under Parupallai Ramakrishnaiah Pantulu of the Tyagaraja sishya parampara and underwent rigorous training on the violin. He joined the All India Radio, Vijayawada in 1948 and retired from there in 1986. He has been an accompanist in which capacity he has performed with most stalwarts of yesteryears. He has also given numerous solo performances. Equally proficient on the viola as on the violin, he has also composed varnams and kritis. He has trained a number of students in the art and has been widely honoured and feted.  

TTK Award – Palai CK Ramachandran

 

Born on 7^th October 1943 to G Krishna Pillai and Kathyayani Amma, Palai CK Ramachandran began learning music at the age of eight from Kumarakom Bhaskara Menon. Later he completed his diploma in music at the Sri Swati Tirunal Music College, Tiruvananthapuram where he was taught by Sangita Kalanidhi Semmangudi Srinivasa Iyer. From 1963, he underwent further training under Semmangudi in the traditional gurukulavasam style for ten more years. He had the privilege of providing vocal support to Semmangudi in several concerts. He also served as a vocalist for 28 years at the All India Radio (AIR) Calicut, where he conducted the popular programme “Learn to Sing”. Apart from performing frequently, Ramachandran has trained a number of students in the Semmangudi bani. He has also authored a book in Malayalam on Semmangudi Srinivasa Iyer. He is now an A-Top grade artiste at the All India Radio.  

 

Musicologist Award

 

Dr SAK Durga

 

Born in 1940 at Kumbhakonam to noted music patron SA Venkatarama Iyer and Lalitha Bai, a Harikatha artiste and singer, Durga was taught music from the age of eight by her mother. She also learnt music from stalwarts such as Sangita Kalanidhis Maharajapuram Viswanatha Iyer, Madurai Mani Iyer, T Viswanathan and M Balamuralikrishna and also the well known vocalist Ramnad Krishnan. She also underwent training in Hindustani Music under Mohammed Munavar Ali. Developing as an ethnomusicologist, Durga holds two masters degrees and two PhDs in Indian Music and Ethnomusicology from the Madras and the Wesleyan Universities. She studied ethnomusicology under the guidance of Lord Yehudi Menuhin and is now the founder director of the Centre for Ethnomusicology and Centre for Voxology, Chennai. A Professor Emeritus of Madras University, she has been teaching World Music at several Universities around the world. She has a number of publications and papers to her credit. She is also a member of the Experts Committee, Music Academy, Chennai.

Kalyani

The name signifies that which is auspicious. It is also a name of the Supreme Goddess and is the second synonym for her in the Lalitha Trishati. Possessing such a name, it is not surprising that kalyANi is an evergreen, ever popular raga.

 

This is the 65^th meLAkarta (the mother ragas which have all seven notes in ascent and descent) and the technical name is mEcakalyANi. In Venkatamaki’s scheme this raga is known as shAnta kalyANi. kalyANi is the earliest pratimadhyama raga known in music history. Among the prati madhyama rAgAs, it is kalyANi alone that is able to stand equal to the mighty shuddha madhyama rAgas such as tODi, kAmbOji, bhairavi and shankarabharaNam in stature. The variety, the depth and the myriad feelings it is capable of portraying have made the raga a perennial favourite of musicians for centuries.

 

This is a mUrcanakAraka mELa. Its R, G, P, D, N taken as ShaDja result in the ragas harikAmbOji, naTabhairavi, shankarAbharaNam, karaharapriya and tODi respectively. The beauty of kalyANi is that it retains its individual colour even if just three or four svaras are intoned. Phrases devoid of madhyama have a special charm of their own. Similarly phrases that avoid the ShaDja and pancama also possess a special ethereal beauty.

 

With shankarAbharaNam, the rAga shares a unique relationship, for they differ only in terms of the madhyama, kalyANi being pratimadhyama counterpart of shankarAbharaNam. Yet such is the powerful personality of this rAga that even when the madhyama is avoided in rAga AlApana, it is possible to steer clear of any transgression into shankarAbharaNam. There is a lecture demonstration by Musiri Subramania Iyer, where he has dwelt at length on this aspect of kalyANi.

 

There are compositions aplenty in this raga which lends itself to whatever emotion a composer chooses to portray. The Trinity has revelled in kalyANi. Tyagaraja’s nidhi cAla sukhamA written in denouncement of riches and royal patronage evokes in our hearts the longing to live a life of utter simplicity and sacrifice. The bard of Tiruvaiyyaru has composed delightful songs such as vAsudEvayani (a big hit when rendered by GN Balasubramaniam) and shivE pAhimAm in kalyANi. Amma rAvamma is another popular kriti of Tyagaraja in this rAga. In total there are nine kritis of Tyagaraja in this rAga. When Patnam Subramania Iyer was requested to compose in this rAga, it is said that he hesitated for long, feeling that Tyagaraja had exhausted all possibilities for creative composition in it. He therefore took more than a year to come up with nija dAsa varada.

 

Muttuswami Dikshitar’s navAvaraNa masterpiece, kamalAmbAm bhaja rE is a lesson in this raga. His abhayAmbA jagadambA explores new vistas of kalyANi. Shyama Sastri’s works in kalyANi include himAdrisutE pahimAm in Sanskrit and its melodic twin birAna varAlici brOvumu in Telugu. His talli ninnu is also often rendered. ninuvinA gatigAna of Subbaraya Sastri with its delightful chiTTasvara-sAhitya is an evergreen classic. There are several composers who have earned a permanent place in Carnatic Music firmament with just one kalyANi based kriti. An example is Tarangampadi Panchanada Iyer, whose birANa brOva itE, in kalyANi, was made popular by Semmangudi R Srinivasa Iyer. Similarly Semmangudi also presented Swati Tirunal’s pankaja lOcana often. The two varNams, both beginning with vanajAkShi, but one in Adi tALa (Ramanathapuram Poochi Srinivasa Iyengar) and the other in aTa tALa (Pallavi Gopala Iyer) are complete portraits of kalyANi. It is said that Papa KS Venkataramaiah would practice the ATa tALa version on his violin everyday. In his view it offered the best exercise to keep him in prime concert condition.

 

Ghanam Krishna Iyer’s pArengum pArtAlum has an interesting story behind it. It is said that he had a misunderstanding with his patron Kacchi Kalyanaranga Bhoopathy of Udayarpalayam Zamin. He then moved away and stayed in Kumbhakonam for a while. Unable to bear the separation from his patron, he composed this song, which ostensibly on Lord Sarangapani, the presiding deity at Kumbhakonam, was actually addressed to his own patron. There is a line in the kriti about deities such as Shiva and Vishnu living without any differences of opinion at Kumbhakonam! The creation had the desired effect. There was an affecting reconciliation and Krishna Iyer returned to Udyarpalayam with due honours.

 

Among the Vanamamalai compositions (popularly attributed to a jeer, but in reality composed by two musicians of Vanamamalai) matimdEhi is a perfect example of a very traditional handling of kalyANi. Subbarama Dikshitar’s kAntimati is a difficult song because of the depth and range of the gamakAs employed. T Brinda and her sister T Mukta used to revel in this song. Their tandem singing in the upper octave would take one’s breath away. Among their family treasures of jAvaLis, intaTi kulukE is a fine piece. The padam iddari sandula, of Kshetragna, is considered to be one among the crown jewels of this parampara. kalyANi was M. Balamuralikrishna’s favourite raga. Each and every AlApana of his in this raga would be different and kalyANi’s myriad facets would be laid bare for rasikas to savour. DKJayaraman’s soulful rendition of Papanasam Sivan’s unnai allAL would bring tears to the eyes of listeners. Certain kritis such as svarnakAlabhairavam of Swarna Venkatesa Dikshitar and lambOdara sOdara of Harikesanallur Muthaiah Bhagavatar have become famous for their melody and also for choice of tALa. Both are in sankIrna jAti Adi tALam. KV Narayanaswamy made svarnakAlabhairavam very popular.

 

kalyANi is a popular choice among Nagaswaram performers and while he was really famous for his tODi renditions, TN Rajarathinam Pillai listed kalyANi among his five favourite rAgAs. Namagiripettai Krishnan, was synonymous with kalyANi and with vAsudEvayani in particular. In fact, it was through his winning a competition among Nagaswara artistes, in Madras, by his rendition of kalyANi, followed by vAsudEvayani that he began his climb to fame.

 

It is however in the area of rAgam tAnam pallavi, that the rAga really comes into its own. Almost all musicians have chosen this rAga for its infinite potential that challenges their manOdharma to the fullest. “Un darishanam kiDaikkumO naTarAja dayAnidhE” is an all time favourite, often rendered in the past by GNB and his disciple ML Vasanthakumari. MLV was also to find everlasting fame with her rendition of the film song pAviyinum paDupAvi, based on kalyANi, as a duet with VN Sundaram, for the film Manamagal. MK Tyagaraja Bhagavatar’s soppana vAzhvil and MS Subbulakshmi’s guha saravaNa were both early kalyANi based film hits. In his first film assignment, in Seetha Kalyanam, Papanasam Sivan used the tune of amma rAvamma to create the score for nal vinay tArum.

 

A compendium of songs, a variety of renditions, a multitude of composers, past and present. kalyAni exhibits the timeless appeal that is characteristic of Carnatic Music. Music it is said emanated from the Supreme and is hence boundless. kalyANi is an embodiment of this.

 

 

 

Rajaji Hall threatened

Rajaji Hall threatened by foundations of new Assembly building

 

The latest reports on the ongoing construction activity for the new Assembly building at Government Estate indicate that Rajaji Hall may be threatened by the laying of foundations for the proposed structure. If work continues and the building weakens, it would mean a clean sweep of all heritage buildings inside Government Estate. The two hundred year old Rajaji Hall (formerly Banqueting Hall) is the sole remnant in that enclave which once boasted of several other buildings as well. But in the absence of a Heritage Act, there is very little that can be done to protect the building.

 

The construction agency that has been awarded the contract for building the new Assembly is now working on the foundations and using a technique known as driven piles foundation which sends shock waves that vibrate outward. This work is now ongoing at less than 20 feet from Rajaji Hall. Experts have opined that the alternate method of bored piles ought to have been used as the present technique is only meant for places which have a lot of space between successive buildings. The new Assembly is designed to have driven piles at a number of spots and this only increases the danger to Rajaji Hall.

 

The Madras High Court has clearly laid down directives and strictures regarding the use of driven piles within city limits. The new method for laying foundations may also be in contravention to this. The Government has responded by saying that it will build a seven foot trench separating Rajaji Hall from the site. But this according to experts is simply not enough.

 

The danger to Rajaji Hall comes at a time when the Government has already faced considerable flak for demolishing Government House, the erstwhile seat of the Governors of Madras for over 250 years, for building the new Assembly. It had also demolished Gandhi Illam, formerly a guest-house on Government Estate which later housed a museum commemorating the father of the nation. Responding to criticism the Government had declared that Kalaivanar Arangam and Rajaji Hall would not be demolished. A few months later, it was decided that Kalaivanar Arangam would have to go in view of modifications in the plans for the new Assembly. Now it is the turn of Rajaji Hall.

 

The Hall, which has been witness to many historic functions was restored at enormous expense a few months ago and had been a vibrant venue for several events involving the public at large. One of the criticisms against locating the new Assembly here was that the Hall would become inaccessible. But now with its very existence being in doubt, matters look very bleak indeed.

 

The continued inaction on the part of successive state governments in getting a Heritage Act in place has resulted in Chennai city losing out on most of its architectural landmarks. A list of such buildings together with a draft Heritage Act has been with the Government for long. A committee appointed by the Government to look into the listing of all heritage buildings possessed by the Government is yet to make its report. In the absence of any development, buildings like Rajaji Hall can only look to heritage lovers and enthusiasts for support.

 

 

 

 

Buckingham Canal- From Ruin to Restoration?

Buckingham Canal – from ruin to restoration?

 

The Government has said that it plans to nationalise the Buckingham Canal and make it a navigable waterway once more. This is an excellent idea and is to be welcomed. However, like many government plans, it may prove well nigh impossible to implement, for on the ground the canal has practically ceased to exist, particularly in the stretch through Chennai.

 

The Canal, one of the longest in the country, has a total length of 1079km and connects Pedda Ganjam in Andhra to Marakkanam in Pondicherry. The Government plans to allocate Rs 500 crores to de-silt the waterway, dredge it up to a depth of two metres and make it navigable once again by introducing barges for transportation of goods. This is not a new plan and time and again several such intentions have been aired only to be put back on the shelf. The same plan was announced in 2002 and there was no action after that.

 

Even in 2002, the same questions had been asked about the feasibility of the plan- all of them concerning the stretch within Chennai city limits. This eight kilometre stretch was also navigable at one time till a cyclone in the 1960s extensively damaged its banks. Continued settlement of slum dwellers and the connecting of all city drains to the waterway ensured that it soon became a gutter. Interestingly, the Canal, in its course outside the city, remains a vibrant water-body.

 

By the 1980s, with the city portion becoming completely dry, it was decided that the Mass Rapid Transport System (MRTS) would run along the river bed. It was in vain that those who were concerned with storm-water drains in the city pointed out that the Canal played an important role during the monsoons. All this was overlooked and pillars were erected on the Canal bed and the MRTS has since become a reality. The areas on both sides of the Canal have been prone to flooding ever since.

 

The erection of the MRTS pillars however put paid to any real hope of restoring the Canal. The waterway is now cut across in some places by the MRTS route and in many places the MRTS runs on the waterway itself. This has naturally constricted the space available for the water to flow and any widening or dredging will naturally be hampered by the structures. It is a classic example of various Government bodies working independently with no wholistic idea on what is to be done.

 

At this point in time, the real beneficiaries of the proposed nationalisation and improvement scheme will be the sections of the Canal that are outside city limits. The 2002 plan made no bones about this and it was decided that the Canal network would connect to the road system within the city which meant therefore that the portion of the Canal within city limits would remain untouched. While this may disappoint residents of Chennai who still hope to see a revived Buckingham Canal, it may be the only option available.

 

 Pic by Ajay Khullar – taken from S Muthiah’s “Madras, the Gracious City”

Short and Snappy dated 15th November 2008

Short and Snappy dated 15^th November 2008

 

On Violating VCs

 

‘Vice Chancellor’ read the large plaque on the car that narrowly missed colliding with the Man from Madras Musings’ car and many others that had lined up in an orderly fashion (or as orderly as you can get in Chennai traffic) waiting for the red light to change to green. As to which university was headed by this personage in his chariot of fire MMM could not fathom. But the VC’s chauffeur it was obvious considered himself and his vehicle to be above law. Just in case some near sighted humble mortals on the road did not see the large plaque, there was also a red revolving light on top of the car. The only elements that the vehicle lacked were the outriders and the wailing siren. The policeman on duty at the signal sprang to life and attention and jumped about like one possessed. These days when the presence of a mere “G” on the number plate is enough to clear all roads, can you imagine the impact plaques and red lights have? Being unable to get the traffic signal to switch to green, the policeman dashed to the middle of the road and ordered all the vehicles proceeding in the opposite direction to stop. He then waved the VC’s car through, all the while saluting like an automaton. To MMM, the policeman’s multi-tasking brought to mind the tales of all powerful Gods with many hands that his grandmother (MMM’s and not the policeman’s) had told him when he was a mere kid (and a very attractive one at that, at least as per MMM’s mother). If only all our policemen were as efficient and reacted as quickly, Chennai would be a better place altogether.  As for the VC, MMMs doubts if His Highness noticed all that happened in his wake, but the aftershocks were felt for long. For one, several vehicles tried to jump the signal by tailing the VC’s car. Those who were coming in the opposite direction, were irritated at having to stop and so made up for lost time by racing ahead. The signal decided to help things along by changing just then and therefore those who had raced ahead had to stop while those who were waiting had to race ahead. Only they could not. Chaos reigned and as for the policeman, he had gone back to looking like a statue erected in his honour by his admirers.

 

MMM driving along, wondered if VCs were entitled to red lights and plaques declaring their official status. And would a vehicle belonging to someone in charge of a university violate traffic laws with such impunity?

 

… and Verbose VCs

 

It has been a fortnight of interaction with VCs as far as the Man from Madras Musings is concerned. MMM was invited to attend a meeting where a Vice Chancellor of a University was to deliver a speech on what ailed Indian education. The VC came on time, he was introduced in lyrical passages filled with panegyrics and the topic of his speech was announced in a clear stentorian voice. The VC then stood up to speak. The first five minutes were spent in thanking the organisers. Then ten minutes were spent in the praise of a prominent attendee. Ten more minutes were spent on the greatness of music as a soothing element, though what brought on this train of thought was beyond MMM. There followed five minutes in praise of ragging and five more minutes in defence of the reservation policy and the VC then took his seat, much to the amazement of the audience. What about the topic asked someone in a hushed whisper. To which a wag replied that the subject matter had manifested itself physically and therefore nothing more need be said.

 

Never-ending digs

 

The digs that the Man from Madras Musings had written about last fortnight continue unabated and the complete absence of the rains has no doubt encouraged those in charge to order further excavations. Going about some of the roads that could be directly transported to Mohenjodaro or Harappa with no questions asked, MMM wondered as to why such road-works in Chennai had to be long drawn and only use manual labour and not some of those high-powered mobile equipments that can be seen doing the same work abroad. On enquiry it transpires that there is a powerful lobby that controls road work and these contractors wield enough influence to ensure that such repairs are always done using manual labour and most inefficiently at that. Rather surprising that an administration that is always claiming that Chennai is being made international in class and stature should be turning a blind eye to the most obvious example of backwardness.

 

Touring Thorapakkam

 

Thorapakkam is considered to be a newly developed part of the city and the Man from Madras Musings went there with high expectations. Would there be six-lane roads MMM wondered. What about road signs, plenty of greenery, footpaths and medians? Perhaps even proper residential and office blocks? MMM was in for a big disappointment. The roads were more like narrow streets. There were hardly any footpaths and the roads themselves were pitted and full of potholes. There were no road signs anywhere and it was only by asking every launderer and neighbourhood shop on the way that MMM managed to reach his destination. As for greenery, the only sign of that colour was on MMM’s face what with his feeling mildly seasick after being rocked about in his car as it drove over every bump and dived into every rut. MMM is surprised that our civic authorities who all the while claim that the older parts of the city are beyond improvement owing to many years of faulty planning are replicating the same methods of development in the newer areas also.

 

The tomato takes off

 

The Chief should not get offended on reading this and the Man from Madras Musings wishes to assure him that this is not a veiled attempt to ask for a raise, though that will be most welcome under the circumstances. MMM refers to the skyrocketing prices of vegetables, particularly the tomato which like Abou Ben Adam appears to lead all the rest. MMM notices that stepping out with a bulging wallet for vegetable shopping only ends in an emaciated purse and a near empty shopping bag with a few purchases that can only be seen with a magnifying glass. MMM wonders if the Government, which floats bonds for oil and infrastructure should also introduce a tomato bond. And what about getting the currency on to a Vegetable Standard rather like the Gold Standard of yore? The legend on the rupee notes could then read “I promise to give the bearer a bag of vegetables of equal value”.

Mosquito menace

 

Now that the monsoons have come, rained and gone and have been pronounced a complete success, though the Man from Madras Musings does not believe the last pronouncement, they have left in their wake a flourishing brood of mosquitoes which are feeding on the citizenry. The administration has not yet woken up to them and as yet no fogging machines are in sight. As for getting the stagnant waters in the rivers to flow, that would be a really tall order. But what with the frequent power cuts, especially in the evenings, MMM really is Man Mauled by Mosquitoes.

 

Chennai’s Second Master Plan – Flawed but frozen

Second Master Plan – Flawed but frozen

 

The Government held a two day seminar on the Second Master Plan for Chennai Metropolitan Area over 31^st October and 1^st November. While it was ostensibly meant to discuss the plan which will be the blueprint for the city’s development till 2026, it was largely a futile exercise for the Government has already notified the plan. It was also made clear during the inaugural address itself that the Government was not willing to make any further changes to the plan, no matter what recommendations emerged from the seminar. The points that were discussed were however worth noting, for they highlighted the areas in which the entire plan was inadequate and needed to be improved.

 

Some of the loopholes in the master plan which were pointed out by those attending include:

 

1. Making the zonal and regional development plans on a priority: The earlier master plan, which was made over 30 years ago, saw detailed development and implementation in only 56 out of the 96 zones that it covered. In the light of this, it is absolutely necessary that the master plan devolves into the regional plans on a priority basis. But at present the Government has not set any deadline for this. It is vital that plans are made early as several of the areas are bursting at the seams with unplanned development.
2. Drainage and Waste Disposal: It was felt that the Master Plan has no detailed thought on how to handle this. The continued use of Perungudi and Kodungaiyur as dumping yards despite several protests from locals has not spurred the government to take action and look at modern, pollution free methods of waste disposal. Even the basic step of segregation at source has not been implemented. The attendees also pointed out that a master drain network needs to be worked out between the Chennai Metropolitan Water Supply and Sewerage Board (CWSSB), the PWD and the CMDA.
3. Pallikaranai: The Plan has not demarcated this area as a reserve and the place is subject to development. Whatever has been done in the past has resulted in problems of flooding during the rainy season. It was recommended that a canal be built to drain the surplus water from the marsh to the sea.
4. Water Supply: The importance of preventing any further development in the Red Hills area was stressed. As this is the prime source of water for the city, it was emphasised that this area should be out of bounds for development.
5. Problems of affordable housing: Given that the Master Plan talks all the while about making the city people friendly, it has really not addressed the issue of affordable housing and how it plans to bring this about. In fact no thought has been given to this.
6. Listing and Protection of Heritage Buildings: The recommendation on Transfer of Development Rights that the Master Plan contains, really has no teeth as it fails to explain how this will translate into reality. As a consequence, the city’s heritage, both built and natural is continuously under threat.
7. Reactions of Government departments: It was evident that even other departments of the Government were not very clear or happy with what had been notified. The police have complained about the inadequacy of parking space norms and housing departments have asked for greater clarity.

 

Given such feedback, it is most surprising that the CMDA has categorically stated that no further modifications in the Master Plan were possible. Even here there were contradictions. The Minister in charge, in his valedictory speech said exactly the opposite and agreed to incorporate what was feasible. With such contrasts and conflicts, can the Master Plan be effective?

 

 

Pancha Bhuta kritis of Muttuswami Dikshitar

Early thinkers have written that all creation is made up of five elements- space, air, fire, water and earth. As per the Taittriya Upanishad these elements came from the Supreme Being. Kalidasa’s Abhijnana Shakuntala begins with the verse “yA shrShTihi shrAShTurAdhyA bhavati…” which traces all creation to the divine couple Parvati and Parameshwara thereby embodying them as the Supreme source of all creation. In South India, on the same lines, there are five important temples, all dedicated to Lord Shiva, each one of them representing him as one of the five elements.

 

Muttuswami Dikshitar (1775/6-1835), the great composer visited each one of these shrines and dedicated songs to them. These are today referred to as the Pancha Bhuta Kritis (songs on the five elements). It is not clear if the composer himself intended them to be grouped together, though they do have certain common features. All the five songs have the standard kriti structure of pallavi, anupallavi and charanam. All kritis incorporate the raga mudras, a characteristic of many Muttuswami Dikshitar kritis.

 

Chidambaram is the shrine where Shiva is worshipped as Space. The sanctum has the world-famous icon of Nataraja, the dancing deity beside which is an empty space referred to as Chidambara Rahasyam or the secret of Chidambaram. The very word Chidambaram is full of cosmic symbolism for it refers to the space within the heart of the devotee where the Lord is said to be in cosmic dance as depicted by Nataraja. This space is also called daharAkAsha. Dikshitar’s kriti here is Ananda naTana prakAsham in raga kEdAra. The song opens with the lines describing the Lord as being effulgent in dance and as the Lord of Sivakamavalli. The first lines of the anupallavi, emphasising the space motif, describe the Lord’s effulgence as being equal to many suns. It then states that he pervades daharAkAsha and grants salvation. The last line of the anupallavi has the legend behind the temple as it states that Shiva displayed himself with an uplifted foot to Patanjali and Vyaghrapada here. The charanam, continuing on the space theme, says the Lord bears the moon and the Ganga (which is believed to be of heavenly origin) and has a blue neck, the colour blue once again indicating space. The importance of Chidambaram as the foremost Shaivaite shrine is emphasised when the composer says Nataraja here is the basis for all shrines beginning with Kedara. The raga name is also incorporated here. Legend has it that 3000 sages left for Chidambaram from Kailasa and on reaching their destination found one missing. The Lord then indicated that He was that person and counting Him in would make 3000. This is highlighted in the line “bhUsura trisahasra munIshvaram”. The song, in keeping with one dedicated to a dancing deity has sollukattus to be sung at the end of the anupallavi and charanam.

 

shrI kAlahastIsha in raga Huseni is on Shiva as Vayu Linga. A lamp that keeps flickering in the rather airless sanctum shows the manifestation of Shiva as air here. The song says Shiva is like the zephyr to His devotees. The anupallavi states that He is the life breath of the Gods and manifests as the five elements, for all five have shrines for themselves here. The shrine is referred to Dakshina Kailasa (the Southern equivalent to Kailasa). The charanam says the Lord here is the consort of Gnanaprasoonambika. The last line speaks of Kannappa Nayanar as the lowly huntsman who worshipped the Lord here and made the shrine famous. The raga mudra is in the line prANamayakOshAnIla bhUmi salila agni prakAsha. In the Dikshitar system this raga was called UshAni.

 

The Lord manifests as fire at Tiruvannamalai. Called Arunachalanatha, His consort here is Apitakuchamba. The song in sAranga, aruNAcalanAtham, mentions Her in the pallavi. Simply thinking of Arunachala is said to grant salvation and Dikshitar states this in the opening line of the anupallavi as smaraNAt kaivalya prada. Taking fire as the theme, he says the Lord is like many suns at dawn. The charanam says that He is the ancient effulgent Shiva Linga. It has been scientifically proven that the rock of Arunachala is one of the oldest on earth and has a fiery origin, either a volcanic eruption or a meteor strike. The Linga itself is unusual for it is grey in colour bringing to mind a stone of volcanic origin. Dikshitar states that the Lord bears a Saranga (deer) in His hand, thereby bringing in the raga mudra. The madhyamakAla charanam begins with viprOttama viShEshAntarangam, bringing to mind the special grace shown to Gnanasambanda at this shrine. The last line once again brings in the fire motif – the Lord’s effulgence puts the sun, the moon and fire to shame. sAranga is a synonym for camphor, an easily flammable substance.

 

jambUpatE in raga Yamuna (also the name of a river) is on Shiva as water, in which form He is worshipped at Tiruvanaikka near Trichy. The sanctum of Shiva always has water from the Kaveri seeping in and in the rainy season it floods the shrine. This is a song steeped in fluid symbolism. The pallavi asks the Lord to give the nectar of bliss. The anupallavi states that He is worshipped by Brahma who is seated on the lotus which is born in water and that He quenches the fires (sorrows) of the heart. Then it states that He is the Lord of the rivers Sindhu, Ganga, Kaveri, Yamuna (also the raga mudra) and Goddess Akhilandeshwari who has a throat like a conch (which is of water origin). The charanam refers to the sthala puranam and says that the Lord here is the water Linga worshipped by the daughter of the mountains and residing at sAmajATavi (the forest of elephants).

 

Shiva in the form of earth is worshipped in Kanchipuram. Here he is Ekamranatha, residing at the root of a mango tree. He is hence also referred to as mAmUlanAtha. Dikshitar refers to this in cintaya mAkanda mUla kandam. A panel depicting Shiva as Somaskanda (Shiva with Uma and Skanda) is below this mango tree and hence the second line of the song propitiates Somaskanda. The anupallavi states that Shiva’s feet provide empires, an indirect allusion to the Pallava Empire that flourished from here. An empire is also an earthly possession. In the charanam, there are allusions to the God of Love and the God of Death (Shiva excels Madana in beauty and quelled Yama) both important personages for humans. The last lines speak of the deity as Bhairavi prasanga (embraced by Parvati). This brings in the raga mudra and also refers to the purana here where Parvati worshipped Shiva in the form of a sand linga. To test her devotion, Shiva sent a flood through the river Kampa which threatened the linga. Parvati in her anxiety embraced it and Shiva was pleased. This song mentions no consort for there is no shrine for Her in the temple. All the Shiva temples of Kanchipuram have no shrine for Devi and the only Devi shrine is that of Kamakshi.

 

Dikshitar’s Pancha Bhuta Kritis are fascinating musically and otherwise.

 

 

 

 

 

 

Rallapalli Ananthakrishan Sarma

My tribute to Rallappalli garu arose because I overheard two people in the Music Academy saying they wondered why he was given the Sangita Kalanidhi!! I then realised I knew very little of this great man too and so did some digging. The Hindu managed to unearth a photo of Annamacharya’s statue and the photo of Rallapalli is from Sruti archives.

http://www.hindu.com/fr/2008/11/14/stories/2008111451360600.htm