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Bahula Panchami

 

The caption denotes the fifth day of the waning moon when the great soul, saint 
Thyagaraja attained Jeevan 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@xxxxxxxxx

 


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