Law of Thermodynamics

 Why do we keep Kolu?

First of all, for the uninitiated, kolu is the arrangement of dolls on steps ( not staircase!) during Navaratri. While the number of steps could vary depending on the space and resources available, the number should always be odd- though this may sound odd! The period of Navaratri, which is nine days (and nights) after the new moon in the Tamizh month of PurattAsi, is considered to be very auspicious, as it is dedicated to Shakti and the three forms of Shakti- Durga, Lakshmi, Saraswati. Shakti is Energy and it is believed that the spiritual energy is at its peak during this period.

So, what is the significance of Kolu (a.k.a.Golu) which is kept essentially in South India and how is it related to spiritual energy?

It is a proven fact that one's energy levels go up while indulging in any form of art. This indulgence could be performing could be performing or watching or listening to others' performances. Secondly, when like-minded people gather for and with a purpose, the level of energy goes up. Therefore, keeping Kolu, inviting others to their homes and make them sing, make people more vibrant and positive. Thirdly, arranging the dolls itself is an art and is a form of expression. Fourthly, it is said that those days, clay was a by-product obtained while desilting the irrigation canals and dolls were made of this clay. These dolls became popular and the process continued. Note that the desilting of canals happened during the months of Aadi and AavaNi - the months preceding Purattaasi.

Whatever it is, Kolu has come to stay though with a lot of innovation. Let us celebrate Kolu and Navaratri, with a song.

Recently, my son and I were discussing the Raga Shree and the use of 'padhanipama' in the raga. Just to deviate slightly by getting a little technical, let me tell you that quite a few ragas in the Carnatic system of music, has what is called 'prayoga', which is the same group of swaras appearing ubiquitously in the raga. In fact, this is loosely and equivalent of leitmotif  and this gives a particular raga, its identity. As far as my knowledge goes, 'padhanipama' prayoga is a later addition. 

I told my son, "Even Tyagaraja did not use it" adding "because he did not like it". I went on to add "ILaiyaraaja does not like it too". When he asked how I knew this(the second one), I told him in jest that he himself mentioned it to me. 

My thoughts veered to this song based on Shree and my fingers clicked on the song stored in my system. I decided to write about that song instantly and the reason is obvious. In fact, I had elaborately written about this song in my other blog long ago (https://rajamanjari.blogspot.com/2008/11/ilaiyaraajas-music-is-rich.html). But revisiting a song and writing about it again, gives me pleasure, a kind of pleasure not easy to put in words.

Starting with the drone of the tanpura followed by a sloka on Vinayaka, the beginning of 'Devi Durga Devi' (Sankeerthana- 1986), is auspicious with the very brief dance jatis ( Madurai Srinivasan) enhancing the divine feeling.

Energy flows in the voice of SPB and Vani Jayaram. Backed by the mrudangam and the subtle sound of the ankle bells, the Pallavi brims with energy. Even before one bats an eyelid, one feels the raga.

Is this potential energy or kinetic energy?

The veeNa and veNu reverberate with powerful phrasings of the raga in the beginning of the first interlude. As if being challenged, the mrudangam, which dashed off syllables with pulsating weight in the Pallavi, enters again and plays with intensity. It is of course a friendly banter with the veeNa- veNu blowing like a gentle sea breeze.

It is beauty personified as the mrudangam reverberates with different patterns in chatushram in the CharaNams.

The second interlude has a volley of swaras rendered with lucidity and grace even as one gets to see the shimmering beauty of the raga(yes, without 'padhanipama'!). The mrudangam and the tabla alternate between the lines, the former being sounded when the female voice renders the swaras and the latter being played when the male voice renders the saahitya.

Creativity + Innovation = Energy.

Energy can neither be created nor destroyed, but can be transformed!

Does this answer the question asked in the beginning?

Rajghat

 

What does religion mean to me?

On the face of it, the question may sound inappropriate on Oct 2^nd but scratch the surface and you will agree that it is not more relevant than on this date. I say this not with a sense of triumphalism but with a sense of pain which is indescribable and to a great extent incomprehensible.

Rather than answering the question directly, let me quote what the gentleman who was born exactly 150 years ago at a place called Porbandar had to say:

‘’While I believe myself to be a Hindu, I know that I do not worship God in the same manner as any one or all of them’’.

If that statement sounds slightly complex, let me quote one more:

‘’The need of the moment is not one religion for the whole of human kind, but mutual respect, equal regard and tolerance of the devotees of different religions’’.

Not many statements can sound as candid as this one and not many statements are as relevant as this one in 2019.

Mohandas Karamchand Gandhi was a multi faceted personality- one which had varied dimensions. But personally speaking, it is his genuine belief in treating all religions and faith equally which appeals to me the most and this is not without any reason.

At the cost of sounding politically incorrect, I feel I should not hesitate to voice my opinion on the happenings in the country now. If lynching and questioning the other person’s right to eat what he/she feels is right have become a practice, forcing others to ‘chant’ the name of ‘our God’ has become the new norm.

If these can be called as pernicious, what can one say about the fight for a piece of land just to build a structure which is supposedly meant for worshipping ‘our god’. One wonders if God can be owned by somebody and if ‘your god’ can ever be inferior to ‘my god’. This is not as ludicrous as the venomous public statements by the so-called leaders who seem to have any qualms in talking ill of other religions and more importantly, people who follow those faiths. What that 'other' is, I am sure, is obvious to all.

If the Mahatma who said ‘ all worship the same God under different names’ and ‘to revile one another’s religion, to make reckless statements, to utter untruth, to break the heads of innocent men, to desecrate temples or mosques is a denial of God’ was alive today, I am not sure what he would have done looking at the way people fight in the name of God.

On this special day, I thought no song would be more appropriate than ‘Ram Ram’ from ‘ Hey Ram’(2000). But before that, I thought I must clarify one thing. ‘Ram’ to him was a more a symbol of universal love and less a religious deity. 

And now to the song..

Not many have the guts to chant Ram’s name in Salaat style. This composition starts with that. Is the call of the Muezzin for praying in the name of Ram a case of blasphemy or is it for communal harmony?

I shudder to think what would have happened if this song was released in 2019. Would there not have been a call to ‘ban’ the song as it ‘hurt the sentiments of the majority’? How dare can Ram be prayed that way? I cannot help recalling what happened sometime during last year when lumpen elements spread malicious information about carnatic singers singing ‘Christian songs in praise of Jesus in pure Carnatic ragas’ with a call to boycott such singers who were ‘involved in conversion’!!

Hats off to Raaja sir for composing those lines and to Kamal for singing those lines.

It is not that only the first line reminds one of Islamic prayers. The entire song, based on Sindhu Bhairavi has the contours of Arabic and Persian music and this has not been done without any purpose.

What is also amazing is the high-shruti on which the composition is based on. If high-shruti itself is not so easy to render, higher-octave in this is tougher. But the singers come out trumps.

The Salaat is followed by the percussion which plays ‘4/2/4/2/4’(ta ka dhi mi/ta -/ta ka dhi mi/ta -/ta - - mi). The ghatam , essentially a South Indian percussion instrument follows the western percussion. The piped instruments enter now and play Sindhu Bhairavi.

The seamless starting of the Pallavi is equally amazing.

The first interlude has the Arabic flavour first and then a Persian flavour. But the fact that it has the western classical shades cannot be denied.

Same is the case with the second interlude as well, though it must be said that there is more of Persian flavour which even makes one dance like a snake-that is if at all snakes can dance!

The call and response and the harmony in the CharaNams indicate just one thing to me.

‘Call’ your conscience whenever you are disturbed.

‘Respond’ to the atrocities without violence.

Spread ‘Harmony’ across the nation.