Bahula Panchami

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Bahula Panchami

 

The caption denotes the fifth day of the waning moon when the great

soul, saint Thyagaraja attained Mukthi. And his mortal remains were

interred on the banks of the five rivers and the place is called

Thiruvaiyaru.

 

The day of his Nirayana is considered to be auspicious that it looks

as though Thyagaraja chose to shed his mortal coil on that day.

 

The verdant paddy fields with wavelike undulations having a backdrop

of sylvan surroundings add charm to the holy place. the cool ozone

wafts through the divine air that is pervading already brings an

inexplicable ecstasy and subliminal tranquility to every pious

person.

 

Although Thyagaraja was born at Thiruvarur his parents migrated to

this place obviously feeling it to be conducive for divine pursuits.

During ordinary days an eerie atmosphere permeates in and around the

"Sannithi" to the rustle of the leaves of trees around. The place

reverberates with animation only during this annual festival when

there is an influx of musicians which term embraces the vocalists,

violinists, vainikas, flutists, and those who play percussion

instruments. They throng on the day of "Bahula Panchami" at the

special pandal in front of the "Sammadhi" in their traditional dress

with caste marks on their forehead thus producing a divine auras to

the congregation.

 

This annual festival is celebrated for five days obviously conforming

to the fifth day viz., Panchami the name of the Kshetra and

Pancharatna that is being sung with rapture. It starts with "Uncha

Vritti" Bhajan circumambulating the streets starting from the

residence of the great saint at "Thirumanjana Veedi". To the chanting

of the Vedhas "Thirumanjanam" is performed as the day dawns on the

"Panchami Thithi" to the heralding of the famous krithi of Thyagaraja

as per established convention viz "Chetulara" in "Bhairavi" played on

flute and on Nadaswaram while ripples on the cauvery gurgle

synchronising with the mood. The concourse of people reverentially

sit in the enclosures to witness the "Abishekam" and simultaneously

hear the pancharatna kirtanas by eminent musicians to which even

amateurs join with glee. The Cauvery slows down with placidity

apparently to enjoy the concert which is

available to it only once in a year.

 

The concerted singing supported by accompaniments with rhythm carries

everyone to the realm of God and creates a sense of feeling of being

in tune with the infinite at least for a while. The gems

Jagadanandakaraka, Dudukukalanannae, Sadhinchane, Kanakana, and

Entharomahanubhavulu in the ragam Nattai, Gowlai, Aarabi, Varali and

Sriragam respectively sung in chorus rent the air and the duration is

one hour to both the singers and the audience. At the conclusion of

each song “Aarathi” is performed to the icon of the great composer

who is decorated with flowers. The ethos of the traditional and

customary practice pervades the entire atmosphere and is being

preserved with piety and sanctity.

 

The music world is very much indebted to this great savant composer

whose compositions are sung in all the music halls and auditoriums

and are being heard with gusto both by connoisseurs and ordinary

lovers of music.

 

After the event the place puts forth a void till the next year with a

sepulchral silence and the Cauvery dawdle nonchalantly in its

meandering course to put it in words of the poet Teenyson on “the

brook”, “Men may come and men may go but I go on for ever”.

 

 

This article was written by Sri Late L.P.Sampath Iyengar

 

Comments and feedback can be sent to suprajaiyengar

 

 

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