Nadaswaram, is considered to be one of the most ancient and unique musical instruments of Tamilnadu. It would be appropriate to call this instrument a rare combination of music and divinity. The history and current perspective of the instrument forms the fundamental basis of this presentation.
Our predecessors considered temples as the abode of peace and sanctity. This system of holding the temples as the centre stage of our culture has prevailed for the last several centuries. Temples have nurtured several arts forms, the important ones being music and dance. Both these formed the basic essence of the bhakti tradition. The credit for such a rich tradition has to be given to the Azhwars and Nayanmars. The Tamil language and the patronage for music were interlinked during the ancient period. The temples in Tamilnadu have been the main inspiration and source of the bhakti tradition. Thus music played a special role as a medium for prayer. Musical celebrations were very popular and Nadaswaram acquired a special status in such presentations. Everyone in the temple precincts and the villages relished the music emanating from Nadaswaram. Thus this instrument became an integral part of temple celebrations throughout south India.
Special temple repertoire:
The present day practise of presenting Varnams, Keertanas, Javalis, Tillanas in Nadaswaram concerts is of recent origin, perhaps 60-70 years. Earlier, concerts at the temples were significantly different. Ragas were rendered with their full embellishments/laya structure and appropriate to the presiding deity. The Nitya Pooja or daily prayers normally comprised 6-8 rituals. Each time an appropriate raga was rendered on the Nadaswaram. This was the tradition and continues even today. The expert on Agama Sastra-s, Sri Ramaswamy Dikshitar, has laid down a detailed structure for Nadaswaram recitals at the temples.
The first pooja, Tiruvanandal, is performed between 5 am and 6 am to wake up the Gods. During such times, ragas like Bhoopalam, Bowli, Malayamarutam are played. During the 7 am Vila Pooja, ragas like Bilahari, Kedaram are rendered. Around 8 am ragas like Dhanyasi, Saveri, Aaaveri, and around 10 am ragas like Surati, Mukhari, Manirangu are played. At noon, during the Ucchikala Pooja Mukhari, Poornachandrika, Mandari and similar ragas are played. At 8 in the night during the Ardhajama pooja, ragas like Sankarabharanam, Bhairavi, Kambhoji, and at the 10 pm Palliarai pooja, ragas like Anandabhairavi, Neelambari are handled.
Thus it is a very scientifically laid down structure which was not only appealing but in keeping with the time of the day. The village folk could easily identify the time without clocks merely by listening to the ragas and the songs. Devotees would also be able to know which pooja was being performed. This evidences the fine-tuned prayer scheme prevalent in south Indian temples.
The playing of ragas is keeping with the temple rituals. Rendering of Mallari, Pancha Nadai, Ragam-Tanam-Pallavi etc during the procession of the deities were the traditions prevalent over many years. In recent times, Madurai Sri Ponnuswamy Pillai, Tiruveezhimalai brothers, Tiruppambaram brothers and Sri Karaikurichi Arunachalam contributed to the change in the concert format from the earlier raga-oriented approach to the present format of handling of Varnams, Kritis, Keertanas, Tillanas etc.
Conclusion:
Such is the greatness of this instrument! Every temple should nurture this instrument and restore the traditional practises. This will not only provide a livelihood for many artistes, but will also protect this endangered and ancient art. Schools imparting detailed training and coaching should be established in every city/town. Let us all unite and nurture this ancient temple art form.
COURTESY - SRI P N SETHURAMAN
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