Gam Ganapathe Namonama

My wishes in advance to all my readers for a very happy Vinayaka Chaturthi! It falls this coming week, but I will be busy with my grandchildren, so I am posting ahead of time. May Lord Ganapati shower blessings on all! I have never made kozhukattais (मोदक), I should make an attempt sometime. Enjoy yours!

Have you all been reading about the furor over Sanatana Dharma? That there is a Sanatana Abolition Conclave in Tamil Nadu? I’ve been reading about it with great sadness. I too am strongly against caste discrimination, untouchability, gender-inequality etc. which are criticisms against Sanatana Dharma. Arguments made by Periyar and Ambedkar came from a place of bitter experience.

But is there not a difference between Sanatana Dharma and its interpretations? Is it not the same Sanatana Dharma which says ‘Tat Tvam Asi‘, ‘Ayam Atma Brahma‘ etc. without any caveat of caste, creed or sex? Surely, so many of the so-called rules and regulations have been made by human beings based on the societal norms of the time? When we say Sanatana Dharma, do we not mean something eternal, divine?

I know so little about all this that I cannot offer any arguments for my case. I am just sad that with the intention of removing divisiveness, even more division is being created. Is it not the time for humanity to stand undivided, in acceptance of each other and in sympathy, having a common goal to go forward?

You see, life has taught me that the divisions are superficial, that in reality there is a great commonality amongst us all. I was born in what the anti-Sanatana Dharma activists will call a privileged family – I was born in an educated, well-to-do Tamil Iyengar family. I didn’t know as a child that it was privileged. As I grew older, I saw the differences; it was the financial inequalities which gave me the most cause for thought, not the religious ones. My identity as an Iyengar girl-woman remained strong.

I married a Bengali who is not of the same caste. Many new cultural experiences came into my life. I started enjoying not only rasam-sadam but shukto and labra too. Food cooked in gingelly oil smelt as good as food cooked in mustard oil. I struggled with my husband’s non-vegetarianism; I still do. However, I do not question anyone’s choice to eat meat. Over time, my Iyengar-woman identity expanded to become an Indian-woman identity. I say ‘expanded’ because that core of Iyengar-woman has never been lost; even this blog and love of Carnatic Music originates from my upbringing, does it not.

At some point of time, we took up Australian citizenship. At that time, it was a practical choice. I was still very much an Indian-woman in my head. But over time, my links to my adopted land became more and more strong. My habits changed, my outlook too. I was no more the Indian woman who had left India’s shores in 1983 but an Indian-Australian woman. Then we moved to USA and then onto Switzerland where we lived for more than 16 years. I met and mixed with people from many parts of the world. My Indian-Australian identity too dropped to a large extent. Where I saw differences before, I started seeing only commonality. But I still clung to my ‘brown-coloured’ identity.

Then my children married white Australians. Ah what a grand university this life is! Every barrier gets broken whether you want it to or not! Now my extremely white, kind and gentle daughter-in-law is as dear to me as my daughter. My calm and steady, equally white son-in-law is a great match for my daughter. And best of all, my darling grandchildren, who are a grand mix of ethnicities, are the apples of my eyes! I am now almost colour-blind! I say ‘almost‘ because though I don’t differentiate based on ethnicity, I do notice it. Maybe the time will come when I will not even notice it anymore.

Of course, I still have endless discriminatory thoughts! I cannot see criminals, child-abusers and wife-beaters with the same sense of oneness. I can be quite judgemental in other ways too. The difference is this – I know intellectually that we are all the same and that it is my shortcoming that I cannot truly experience it.

What has divisiveness / oneness to do with Ganesh Chaturthi, you may wonder! The thought came to me that in a Hindu universe made of so many sects and subsects, of philosophical differences and regional preferences, Ganapati may well be the one God who is worshipped across most geographical and sectarian divides in India. I wonder if I am right… Hard core Sri Vaishanvites will no doubt demur, but still…

I have chosen a charming kriti composed by Muthiah Bhagavatar – ‘Gam Ganapate’ in Hamsadhwani – to celebrate the occasion. Here are the Trichur Brothers with a rousing rendition in the video below (listen from 50:39 to 59:40). I do like their beautiful voices, always such a pleasure to listen to!

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Footnote: Lyrics and Translation

Composer : Muthiah Bhagavathar
Raga : Hamsadhwani
Language : Sanskrit

पल्लवि
गं गणपते नमो नम शङ्करि तनय नमो नम

अनुपल्लवि
अङ्कुश धर मङ्गलकर पङ्कज चरणा वारणा

चरणम्
पङ्कजासनादि वन्दित भक्तार्ति हरण मुदित
कुङ्कुमाप गुण निधे हरिकेश कुमार मन्दार

Transliteration

pallavi
gam gaNapatE namO nama shankari tanaya namO nama

anupallavi
ankusha dhara mangala kara pankaja charaNA vAraNA

charaNam
pankajAsanAdi vandita bhaktArti haraNa mudita
kunkumApa guNa nidhE harikEsha kumAra mandAra

Translation

pallavi
Gam (Bija mantra of Ganapati)! Salutations (namO nama) to Ganapati! Salutations (namO nama) to the son (tanaya) of Parvati (Shankari – wife of Shiva)!

anupallavi
Salutations to (implied) the elephant-faced one (vAranA) who holds (dhara) a goad (ankusha), who causes (kara) welfare and auspiciousness (mangala), who has lotus-like (pankaja) feet (charaNa).

charaNam
Salutations to (implied) the Ganesha deity made from Indian Coral tree root (mandAra, a sacred tree – unsure of this translation), who is worshipped (vandita) by Brahma (pankaja Asana – the lotus-throned-one) etc (Adi), who removes (haraNa) the grief (Arti) of devotees (bhakta), who is pleased (mudita) with Kumkum and water (kunkuma Apa – unsure of this translation), who is a reservoir (nidhi) of good qualities (guNa), the son (kumAra) of Shiva (harikEsha, also signature of composer).

Bhavayami Raghuramam

A very Happy Ramanavami to all my readers! May God’s grace fall upon you all!

I have chosen a concise Ramayana for you to listen today as you meditate upon Lord Rama. When I use the word ‘meditate’, I use it loosely, Meditation need not always be in a lotus position, does it? For me, it is often with my head nodding under my headphones. I call that worship too!

As to the song, it is a Ragamalika composed by Swathi Thirunal. There are those amongst you who don’t appreciate ragamalikas; I bring this composition particularly to your attention. While the lyrics list the major events in each kandam (canto) of the epic, the ragas paint the emotion in parallel. Balakandam is in a calm and stable Nattakurinji reflecting the stability of Rama’s childhood. Ayodhyakandam in Dhanyasi resounds with a gentle sweetness. I don’t think this goes against the story as Rama is perfectly content even in exile. Aranyakandam is in a romantic Mohanam reflects the happy life Rama and Sita lead in the forest in spite of Shurpanakha et al. Kishkindakandam is in a grief stricken Mukhari as both Rama and Sita suffer, each in their own way. Sundarakandam follows in a more hopeful Purvikalyani though it is still infused with sadness thanks to the minor Ri. Yuddhakandam finishes in an auspicious Madhyamavati, the traditional raga for a happy conclusion. And the whole is tied together in a prayerful Saveri. I understand the original version was only in Saveri. It was Semmangudi Srinivasa Iyer who tuned it as a ragamalika, adding the chittaswarams as well. This is the version popularised by M.S.Subbulakshmi.

I have chosen a rendition by the young Trichur Brothers. I think they have done a very credible job indeed. There are of course some wonderful renditions by yesteryear greats. In my growing years my father used to play a tape by MS all the time; I still hear her voice in my head when I think of this song. And I just love MDR meandering through the composition in his inimitable style; I always take a particular pleasure in his re-catching Saveri at the end of every charanam; it’s almost a thrill to hear the switch to ga-ri-sa-da, ri-sa-da, sa-da 🙂 But there is also great enjoyment in listening to young voices sing these age-old songs with such conviction.  Trichur Brothers start their rendition with the following shloka. They sing it also in a ragamalika like the main composition. (Note : If you are new to Raga recognition and distinction, this is a perfect opportunity to try your skills on this shloka as you know which ragas to expect).

वामे भूमिसुता पुरश्च हनुमान् पश्चात् सुमित्रासुतः

शत्रुघ्नो भरतश्च पार्श्वदलयोः वाय्वादि कोणेषु च।

सुग्रीवश्च विभीषणश्च युवराट् तारासुतो जांबवान्

मध्ये नील सरोज कोमळरुचिं रामं भजे श्यामळं॥ 

vAmE bhUmisutA purascha hanumAn paschAt sumitrA sutah
shatrughnO bharatascha pArchvadalayOh vAyvAdi kONEshu cha.
sugrIvscha vibhIshaNascha yuvarAT tArAsutO jAmbavAn
madhyE nIla sarOja kOmalaruchim rAmam bhajE shyAmaLam

With Sita (bhUmisuta-daughter of the earth) on the left (vAmE), and (cha) Hanuman in the front (puras), in the rear (pashchAt) Lakshmana (son (sutah) of Sumitra), surrounded by (pArshvadalayoH) Shatrughna and (cha) Bharata, and (cha) with Vayu etc (Adi) in the corners (kONEshu), with Sugriva and the young king (yuvarAj – don’t know why it is yuvarAt in the shloka) Vibhishana, the son (suta) of Tara i.e Angada, Jambavan and in the centre (madhyE) the gently (komala) handsome (ruchim) dark-hued (shyAmaLam) Rama looking like (implied) a blue lotus (nIla sarOja), whom I worship (bhajE) .

Watch from 19:01

https://www.youtube.com/watch?time_continue=1229&v=AhOofbPtuQQ

(for some reason embedding is not working)

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Footnote (Lyrics and Translation) :

Composer : Swathi Thirunal
Raga : Ragamalika – Saveri, Nattakurinji, Dhanyasi, Mohanam, Mukhari, Purvikalyani, Madhyamavati
Language : Sanskrit

Pallavi and Anupallavi (Saveri)

भावयामि रघुरामम् भव्य सुगुणारामम् ।
भावुक वितरण परापाङ्ग लीला लसितम् ।।

bhAvayAmi raghurAmam bhavya suguNArAmam
bhAvuka vitaraNa parApAnga lIlA lasitam

I meditate upon (bhAvayAmi) the delightful (ArAmam), gracious (bhavya) and virtous (suguNa) Lord Rama (rAmam) of the Raghu dynasty, who playing (lasitam) at his Divine Play (lIlA) bestows (vitaraNa) happiness (bhAvuka) to others (para) with just his sidelong glances (apAnga).

Charanam 1 (Nattakurinji) – Balakandam

दिनकरान्वय तिलकं दिव्य गाधिसुत सवना-
वन रचित सुबाहु मुख वधम् अहल्या पावनम् ।
अनघमीश चापभङगं जनक सुता प्राणेशं
घन कुपित भृगुराम गर्व हरमित साकेतम् ॥

dinakarAnvaya tilakam divya gAdhisuta savanA-
vana rachita subAhu mukha vadham ahalyA pAvanam
anaghamIsha chApabhangam janaka sutA prANEsham
ghana kupita bhRgurAma garva haramita sAkEtam

He who is the ornament (tilakam) of the sun (dinakara) lineage (anvaya), he who killed (vadham) the demons (implied) beginning with (mukha) Subahu while protecting (avana) the sacrifice (savana) performed by (rachita) the Vishwamitra (son (suta) of gAdhi), he who purified (pAvanam) Ahalya, he who broke (bhanga) the bow (chApa) of the sinless (anagham) Shiva (Isha), he who is the husband (prAnesha) of Sita (daughter (sutA) of Janaka), he who destroyed (haram) the pride (garva) of the profoundly (ghana) kupita (angry) Parashurama (bhRgurAma as he is a descendent of bhRigu), he who is from (ita) Ayodhya (sAkEtam).

Charanam 2 (Dhanyasi) – Ayodhyakandam

विहिताभिषेकम् अथ विपिन गतम् आर्य वाचा
सहित सीता सौमित्रीं शान्ततम शीलम् ।
गुह निलय गतं चित्रकूटागत भरत दत्त-
महित रत्नमय पादुकं मदन सुन्दराङ्गम् ॥

vihitAbhishEkam atha vipina gatam Arya vAchA
sahita sItA saumitrIm shAntatam shIlam
guha nilaya gatam chitrakUtAgata bharata datta-
mahita ratnamaya pAdukam madana sundarAngam

He who went (gatam) to the forest (vipina) with (sahita) Sita and Lakshamana (saumitrI, son of Sumitra) at the word (vAchA) of his Lord (Arya) in spite of (atha) the destined (vihita) consecration (abhishEkam),  he who was in the habit of (shIlam) being extremely calm (shAntatam), he who went (gatam) to the residence (nilaya) of Guha, he who went (gata) to Chitrakoota, he who gifted (datta) Bharata his esteemed (mahita), bejewelled (ratnamaya, studded with precious stones) sandals (pAdukam), he who has an intoxicatingly (madana) beautiful (sundara) body (angam).

Charanam 3 (Mohanam) – Aranyakandam

वितत दण्डकारण्य गत विराध दलनं
सुचरित घटज दत्तानुपमित वैष्णवास्त्रम् ।
पतगवर जटायु नुतं पञ्चवटी विहितावासं
अति घोर शूर्पणखा वचनागत खरादि हरम् ॥

vitata daNDkAraNya gata virAdha dalanam
sucharita ghaTaja dattAnupamita vaishNavAstram
patagavara jatAyu nutam panchavatI vihitAvAsam
ati ghOra shUrpaNakhA vachanAgata kharAdi haram

He who went (gata) to the vast (vitata) Dandaka forest (AraNya), he who destroyed (dalanam) Viradha, he who was gifted (datta) the matchless Vaishnava weapon (astram) by the virtuous (sucharita) Agastya (ghaTaja – born in a pot), he who is worshipped by (nutam) the chief of birds (patagavara) Jatayu, he whose abode (AvAsam) was put in order (vihita) in Panchavati, he who destroyed (haram) Khara etc (Adi) who came (Agata) on the word of (vachana) of the very (ati) horrible (ghOra) Shurpanakha.

Charanam 4 (Mukhari) – Kishkindakandam

कनक मृग रूप धर खल मारीच हरमिह
सुजन विमत दशास्य हृत जनकजान्वेषणम् ।
अनघम् पम्पातीर संगताञ्जनेय नभोमणि
तनुज सख्यकरं वाली तनु दलनमीशम् ॥

kanaka mRga rUpa dhara khala mAricha haramiha
sujana vimata dashAsya hRta janakajAnvEshaNam
anagham pampAtIra sangatAnjanEya nabhOmaNi
tanuja sakhyakaram vAlI tanu dalanamIsham

He who killed (haram) the wicked (khala) Maricha who had worn (dhara) a form (rUpa) of a golden (kanaka) deer (mRga) here (iha), he who searched for (anvEsham) the daughter of Janaka (janakajA) who was seized (hRta) by Ravana (dasha – ten, Asya-face) who disregarded (vimata) the virtous (sujana), he who is sinless (anagham), he who, accompanied by (sangata) Hanuman (AnjanEya), made friends (sakhya karam) with Sugriva (son of (tanuja) the Sun (nabhOmaNi)), he who destroyed (dalanam) the body (tanu) of Vali, he who is supreme (Isham).

Charanam 5 (Purvikalyani) – Sundarakandam

वानरोत्तम सहित वायुसूनु करार्पित
भानुशत भास्वर भव्य रत्नाङ्गुलीयम् ।
तेन पुनरानीतान्यून चूडामणी दर्शनं
श्रीनिधिमुदधि तीरेश्रित विभीषण मिलितम् ॥

vAnarOttam sahita vAyusUnu karArpita
bhanushata bhAsvara bhavya ratnAnguliyam
tEna punrAnItAnyUna chUDAmaNI darshanam
shrInidhImudadhi tIrEshrita vibhIshaNa militam

He who, accompanied by (sahita) the best (uttama) amongst the Vanaras, offered (arpita) in the hands (kara) of Hanuman (child (sUnu) of Vayu) the beautiful (bhavya) bejewelled (ratna) ring (angulIyam) which was lustrous (bhAsvara) like a hundred (shata) suns (bhAnu), he who saw (darshanam) the blemishless (anyUna) (crest jewel (chUDAmaNI) brought (AnIta) in turn (punah) by him (tEna ie hanuman), he who is the reservoir (nidhi) of auspiciousness (shrI), he who met (militam) Vibhishana who sought refuge (Ashrita) on the shores (tIrE) of the ocean (udadhi).

Charanam 6 (Madhyamavati) – Yuddhakadam

कलित वर सेतुबन्धं खल निस्सीम पिशिताशन
दलनम् उरु दश कण्ठ विदारणम् अति  धीरम् ।
ज्वलन पूत जनक सुता सहितम् यात साकेतं
विलसित पट्टाभिषेकं विश्व पालं पद्मनाभम् ॥

kalita vara sEtubandham khala nissIma pishitAshana
dalanam uru dasha kaNTHa vidAraNam ati dhIram
jvalana pUta janaka sutA sahitam yAta sAkEtam
vilasita paTTAbhishEkam vishva pAlam padmanAbham

He who made (kalita) the best (vara) bridge (sEtubandham),  he who killed (dalanam) numerous (nissIma-endless) wicked (khala) demons (pishitAshana-flesh eaters), he who crushed (vidaranam) the huge (uru) ten-headed (dasha kaNTHa) Ravana, he who is extremely (ati) dhIram (brave), he who, along with (sahita) Sita (janaka sutA-daughter of Janaka) who was purified (pUta) by fire (jvalana), proceeded to (yAta) Ayodhya (sAkEtam), he who shone (vilasita) in coronation (paTTAbhishEkam), he who protects (pAlam) the world (vishva), he who is the lotus-navelled one (padhanAbham).