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?