SARASWATI VEENA-20

'KALI', the name of my first acoustic Saraswathi Veena on which I have played for many thousands of hours (from the 60s).

SARASWATI VEENA, THE ONGOING IDENTITY CRISIS-

This is an era of Electric "Veenas". My articles on hard work and rigorous practice which are applicable only to acoustic Veenas may appear strange and seem like brouhaha over nothing in a scenario where the fast and flirtatious Electric "Veenas" are made easily approachable and manageable.

Labour and penance on Veena are required only in the case of acoustic Veenas in order to bring out the true resonance of their wood properties that are responsible for producing the true tone of Veena, celebrated as "Veena Nadham".

In the absence of Veena's acoustic features the tattva (nature) of the artist neither connects itself to the Veena nor is it duly projected by the instrument. Therefore all the Electric "Veenas" (due to usage of magnetic mikes) have a uniform tone of an alien combination of guitar-gottuvadhyam-sitar.

The tone of an Electric "Veena" (passing off under the name of Saraswathi Veena), is entirely controlled and managed by the mike system (sans the acoustic features of Veena) lending an artificial razzle-dazzle comparable to the glitter of imitation jewellery (the true tone of acoustic Veena being the 24 carat gold).

These "Veenas" are also designed to facilitate any speed and comes in all shapes and sizes, including the normal size. They are not only travel friendly, these "Veenas" do not require the hard work an acoustic Veena demands. Electric "Veenas" are quite easy to handle with the mike (instead of the player) taking all the burden of glamourizing the tonal output.

While the field of music and social media are flooded by Electric "Veenas" played by all and sundry, only a handful are acoustic Veena loyalists. Out of the Electric "Veena" players only a few stand out, and that too only for their "bani" (style of school) and "vidwat" (musicianship). Therefore the responsibility of identifying a real Saraswathi Veena lands on the music lover or aspirant.

The Power Of Srimad Bhagavatham

OXFORD STREET, LONDON, 1995-

The Gorakhpur publication of Srimad Bhagavatham was quite a large and heavy book.

"It's only a 2-week trip, don't carry such a heavy book. You already have a Veena and this book is going to increase the baggage weight." My husband's advice made sense.

I started reading Srimad Bhagavatham a week ago with a determination to read it everyday. I didn't want to break the pattern at any cost even if it meant carrying the huge book with me to London.

"But how can I stop reading? I'll try to read at least one page everyday during the trip."

In the end my husband somehow managed to convince me to leave the scripture behind.

I left Chennai with a sense of guilt for not taking Srimad Bhagavatham with me.  

On one of the free days during my stay I visited the famous Oxford Street in London.

Even the grandeur of Oxford Street could not ease my depression. All the same, I was awestruck by the brightly lit richness of one of the world's busiest streets. 

The incongruity of associating Lord Krishna with foreign people, places or things never ceased to fascinate me. Looking around I felt overawed that Lord Krishna created Oxford street.., Manhattan..., the exotic Paris...., the lovely English countryside...., my favorite Beatles...., Nusrat Fateh Ali Khan..., T.M.Thyagarajan...., Voleti....., Srirangam Gopalarathnam......, Michael Jackson....., the divine Carnatic music....., the divine harmony of western music...., the exotic perfumes..., attars of the Middle East....., the divine jasmine flowers of Madurai...., the mysterious beauties of Egypt..., the bold beauty of Afganisthan....(I believe Afganisthan to be a part of Mahabharatham!!)..., it was an endless list. 

Pensive, I raised my head to look at the tall skyscrapers and found the molten gold beauty of a full moon staring at me from a clear night sky.

That day was Pournami. Moon which is exalted in Lord Krishna's star Rohini was in full form. Trying to visualize His face in the moon I removed my footwear on the crowded Oxford Street. Crinkling my eyes shut and with folded palms I felt weighed down by a sense of deep regret for not bringing the Srimad Bhagavatham book along with me to London. I prayed fervently within myself, " Oh why ever didn't I bring the Srimad Bhagavatham book along with me? Today is such an auspicious day and I have failed to read the scripture on such a day as this!! My God, please, please forgive me!!!" I was engrossed in my misery.

"Namastey Ma'm!!" A British accented male voice greeted me. Startled I opened my eyes to find an ISKCON devotee of British nationality standing in front of me. His arms were stretched out and he held a thick book in his open palms!

Shocked and in utter disbelief I saw that it was a book of Srimad Bhagavatham!! My eyes dilated in shock I quickly looked up at him.

In pale saffron robes, tulsi beads adorning his neck and wrists, the Srichurnam on his forehead shining moistly in the dazzling lights of Oxford Street and eyes twinkling with warmth he asked me cheerfully, " Hare Rame Hare Krishna!! I have this last copy of Srimad Bhagavatham, I would be very happy to give it to you!"

Finding my voice amidst my excited heartbeats at the miracle that was taking place, I answered eagerly, "Of course...of course I will take the book. Thank you....thank you so much!! Please tell me, how much to pay?"

P.S- The book given by the ISKCON devotee was one of the 10 volume set and not the volume I was reading. Whatever, it was SRIMAD BHAGAVATHAM manifesting in the middle of Oxford Street and a divine miracle that happened in my life. Lord Krishna answers in Kaliyuga and He resides in SRIMAD BHAGAVATHAM.

TELUGU VERSION OF SRIMAD BHAGAVATHAM,  A GEETHA PRESS PUBLICATION (GORAKHPUR)

Shreeya’s Giggles ( My granddaughter’s blog)

My guitar chords for the theme of Romeo and Juliet edited by my 12 year old granddaughter Shreeya in her blog, Shreeya'sGiggles! The link to it-    https://shreeyagiggles101.blogspot.com/2020/12/veena-gayathri-romeo-juliet-theme.html?m=1.    

                                                                

LAUNG LAACHI-SANDLI SANDLI

 Music- GURMEET SINGH, Audio&Video mixing-JAGAN G (Please use phones)

Durga Puja - 2020

RAGAMALIKA (AARABHIMAANAM) ON GODDESS COMPOSED BY THARANGAMPADI PANCHANADA IYER

RAJAN-NAGENDRA

                                                       RAJAN-NAGENDRA
My work in the cine field from late 60s was most meaningful, rich and memorable due to my interaction with legendary composers.

The most renowned composers of Kannada and Telugu movies Rajan and (late) Nagendra will forever be etched in my memory for their incredibly soulful compositions. Here's their mega hit number Endendu Ninnanu Maredhu from Eradu Kanasu. 

Requests for live recording made me do a simple home video where I sit to do my practice. Videoed, audio/video mixed by Jagan G. 

Maneyanu Belagidhe

 

The Romance Of Veenas

LORD SHIVA PLAYING RUDRA VEENA

The golden Veena of Rajamathangi had a life of its own. The Veena was filled by the breath of Rajamathangi. The Veena containing the breath of the Goddess stirred as soon as Lord Shiva held Thadadhagai's willing hand on the battlefield of Mount Kailash. 

Lord Shiva's Rudra Veena represents the masculine/Purusha (yang) of the Universe. While Goddess Rajamathangi's golden Veena epitomized the feminine/Prakrithi (yin) of the Universe. 

The fiery gaze of the Rudra Veena  melted the shy beauty of Rajamathangi Veena. At a speed of batting eyelids the divine breaths of the Prakriti-Purusha Veenas found each other between the regions of the Pandyan kingdom and Mount Kailash..... in passion beyond proportions.

GODDESS RAJAMATHANGI PLAYING VEENA

MEENAKSHI KALIVENBA

I have been trying to get Sri Meenakshi Kalivenba for quite a long time and realised that it's not available anywhere. Obviously this Tamizh stotram which is the essence of Sri Meenakshi tattvam is out of print/publication. Finally the Goddess willed me to get it through a very good friend in Madurai. It's indeed my pleasure and privilege to upload the same as this stotra parayanam would greatly benefit art aspirants in the 64 types of fine arts (chathushashti kalas).

The English essays given below the Kalivenba is not a translation of the stotram but a synopsis of the life of the Pandyan Empress.

MEENAKSHI KALIVENBA (11)

MEENAKSHI KALIVENBA

THE LORD OF MOUNT KAILASH, SHIVA RACED WITH ALL HIS WEAPONRY TOWARDS THE BATTLEFIELD. HE LOOKED MIGHTY AND FORMIDABLE.  HE SAW THADADHAGAI (RAJAMATHANGI)  STANDING GRACEFULLY AND ERECT AS A LIONESS. HER EYES WERE LIKE PRECIOUS GEMS AS THEY FEASTED ON THE APPROACHING FORM OF THE LORD OF KAILASH, DRAPED IN TIGER-SKIN AND WITH LONG, THICK PLAITS OF HAIR RUFFLED IN THE BLOWING WIND.

 SHE WAS OVERAWED BY HIS MAJESTIC AND FIERCE APPEARANCE. 

SHE FELT ENTICED BY HIS GRACE AND COMMAND. OVERCOME BY SHYNESS SHE DROPPED HER WEAPONS TO THE GROUND AND BENT HER HEAD IN BASHFULNESS. THAT VERY MOMENT HER THIRD BREAST VANISHED. THOSE AROUND THEM IN THE BATTLEFIELD WITNESSED THE SCENE WITH AWE AND WONDER. LORD SHIVA WAS OVERCOME BY LOVE AND APPROACHED THADADHAGAI TO CAPTURE HER HAND WHICH SHE WILLINGLY EXTENDED. THE CELESTIAL WEDDING OF LORD SHIVA AND THADADHAGAI/ MEENAKSHI WAS HELD IN MADURAI ON THE EIGHTH DAY OF THEIR DIVINE MEETING. 

 

MEENAKSHI KALIVENBA (10)

MEENAKSHI KALIVENBA

THADATHAGAI PIRATIYAAR (RAJAMATHANGI) BESIEGED MOUNT KAILASH WHICH IS THE ABODE OF LORD SHIVA.  COUNTLESS GANAS (THE LORD'S SERVANTS) WERE SENT BY LORD NANDHI, THE GUARD OF MOUNT KAILASH, TO FIGHT WITH THADADHAGAI. THEY ALL WERE DEFEATED EFFORTLESSLY BY THADADHAGAI. ON HEARING THAT MOST OF HIS MILITARY PERSONNEL WERE DEFEATED BY THADADHAGAI THE LORD HIMSELF BORE THE WAR WEAPONS AND CAME TO THE BATTLE FIELD.

 

MEENAKSHI KALIVENBA (9)

MEENAKSHI KALIVENBA

PLAYING HER GOLDEN VEENA IN HER KADAMBA GARDEN, THE WARRIOR EMPRESS THADADHAGAI (RAJAMATHANGI) FELT PANGS OF STRANGE LONGINGS. SHE INSTINCTIVELY KNEW THAT SHE HAD TO GO TO MOUNT KAILASH. SHE DECIDED TO PROCEED IMMEDIATELY TO ATTACK MOUNT KAILASH AND DEFEAT THE GANAS OF LORD SHIVA IN KAILASH.

 

MEENAKSHI KALIVENBA (8)

MEENAKSHI KALIVENBA

ON ONE AUSPICIOUS DAY, KING MALAYADHWAJA PERFORMED THE CORONATION CEREMONY TO APPOINT THADADHAGAI (RAJAMATHANGI)  AS THE RULER OF PANDYAN KINGDOM.  SHE RULED JUSTLY AND WITHOUT BLEMISH AFTER HER FATHER PASSED AWAY.

PEOPLE LIVED IN SHEER BLISS UNDER THE DIVINE VIRGIN RULER. ONLY HER MOTHER QUEEN KANCHANAMALA WAS CONSTANTLY WORRIED ABOUT HER DAUGHTER WHO STILL REMAINED A VIRGIN.

MEENAKSHI KALIVENBA (7)

MEENAKSHI KALIVENBA

WHEN THADADHAGAI'S (RAJAMATHANGI) MOTHER QUEEN KANCHANAMALA WORRIED ABOUT THADADHAGAI'S MARRIAGE, SHE REPLIED THAT HER MARRIAGE WOULD TAKE PLACE AT THE RIGHT TIME. FIRST AND FOREMOST THADADHAGAI WANTED TO ESTABLISH HER PROWESS ON THE EIGHT DIRECTIONS OF HER LAND. SHE PLEADED WITH HER MOTHER NOT TO WORRY ABOUT HER MARRIAGE.

 

MEENAKSHI KALIVENBA (6)

MEENAKSHI KALIVENBA

THE VALOROUS PANDYAN EMPRESS THADADHAGAI (RAJAMATHANGI) WAS A VIRGIN. SHE WIELDED INCREDIBLE COURAGE AND SKILLS ON THE BATTLEFIELD DEFEATING  POWERFUL RULERS OF HER TIME. THE LAND RULED BY THE VIRGIN EMPRESS WAS KNOWN AS 'KANNI NADU'.

 

MEENAKSHI KALIVENBA (5)

MEENAKSHI KALIVENBA

THE PANDYAN PRINCESS THADADHAGAI'S  (RAJAMATHANGI) FAME SPREAD AS SHE GREW UP TO BE A VALOROUS YOUNG WOMAN. SHE WAS AN EXPERT IN ARMOURY AND MILITARY SKILLS. SHE WAGED WARS CONQUERING MANY KINGS AND THEIR KINGDOMS.

 

MEENAKSHI KALIVENBA (4)

MEENAKSHI KALIVENBA

THE COSMIC VOICE OF LORD SHIVA ASSURED KING MALAYADHWAJA THAT HIS DAUGHTER THADADHAGAI'S (RAJAMATHANGI) THIRD BREAST WOULD VANISH WHEN SHE FINDS HER HUSBAND.  KING MALAYADHWAJA DECIDED TO BRING UP HIS DAUGHTER LIKE A SON.

 

MEENAKSHI KALIVENBA (3)

MEENAKSI KALIVENBA\

GODDESS MEENA DEVI (RAJAMATHANGI) WAS KNOWN AS THADADHAGAI PIRATIYAAR AS ORDERED BY LORD SHIVA. PANDYAN QUEEN KANACHANAMALA IN HER PREVIOUS BIRTH WAS KNOWN AS VIDYAVATHI. GODDESS ANGAYARKANNI (PARVATHI) PROMISED VIDYAVATHI THAT SHE WOULD BE BORN AS VIDYAVATHI'S DAUGHTER IN HER NEXT BIRTH AS THE PANDYAN QUEEN KANCHANAMALA. KING MALAYADHWAJA'S 'YAAGAM' FOR A VALOROUS SON YIELDED A THREE-BREASTED DAUGHTER. LORD SHIVA'S COMMANDED THROUGH HIS COSMIC VOICE THAT THE THREE-BREASTED GIRL SHOULD BE NAMED THADADHAGAI AND BROUGHT UP AS A SON.

MEENAKSHI KALIVENBA (2)

                                                         MEENAKSHI KALIVENBA

GODDESS MEENAKSHI (RAJAMATHANGI)AS A THREE YEAR OLD GIRL, CAME OUT OF THE HOLY FIRE OF A 'YAAGAM'   PERFORMED BY KING MALAYADHWAJA AND SHE SAT ON QUEEN KANCHANAMALA'S LAP. 

MEENAKSHI KALIVENBA (1)

MEEKASHI KALIVENBA

BORN TO THE PANDYAN KING MALAYADHWAJA AND QUEEN KANCHANAMALA,  GODDESS MEENA DEVI (RAJAMATHANGI) WAS BORN WITH THREE BREASTS AND NAMED THADADHAGAI.

 

RAJAMATHANGI

Meenakshi Gayathri Mantra-

UNNIDRIYAYAI CHA VIDHMAHE

SUNDARAPRIYAAYAI CHA DHEEMAHI

THANNO MEENA DEVI PRACHODHAYAATH

NARAYANHA SHABDA MATHRAM.....

 

LORD NARAYANHA

(I have spelt 'Narayana' with a 'H' as 'Narayanha'. In Devanagari the second 'Nha' is different from the first 'Na' of the divine name.

It's a known fact that slokas of Lord Maha Vishnu especially Vishnu Sahasranamam activate Agna Chakra as well as the chakras above Anahatha Chakra while Shakti related slokas especially Lalitha Sahasranamam activates Mooladhara Chakra (coiled serpent feminine energy at the base of the spinal column) as well as the chakras below Anahatha Chakra.

The divine name 'Narayanha" physically activates the pressure points in the roof of the mouth by means of the tongue. Consequently the Agna Chakra and the  lesser known Lalana Chakra (situated in the back of the mouth  or root of the palate) of a human being are stimulated and activated.

The Lalana Chakra is a significant chakra owing to its functioning in the storage of the nectar (Amritham) that drips from the Bindu (situated behind one's head, exactly the point where brahmins tie there hair in a tuft). This nectar which drips from the Bindu and falls into the Lalana Chakra is cleansed further by the Vishuddhi Chakra. In cases of a weak Vishuddhi Chakra the nectar surpasses it to fall into the Manipura Chakra (solar plexus chakra). Here the Amritham is devoured and does not give the intended results of liberating the human being. When the divine nectar or "Amritham" is thus purified by the Vishuddhi chakra, it is said to heal even incurable diseases and prolong the lifespan of a human being which explains the following sloka-

"Narayanha Shabdha Maathram Vimuktha Dukha Sukhinobhavanthu..." (the mere word "NARAYANHA" relieves one from distress and grants peace and joy..)

The pronunciation of the divine name "NARAYANHA" involves  the tongue's action of hitting the roof of the mouth and with lips apart.

'NA' - the tip of the tongue hits the foremost portion of the roof of the mouth ( right behind the 2 central incisors).

'RA' - the front portion of the tongue hits (in a vibratory motion) on the borderline of the central roof of the mouth.

'YA'- it's an open mouthed pronunciation requiring, the sound produced from the Vishuddhi Chakra (throat chakra) spreading upwards towards Agna (forehead) and downwards in the direction of Anahatha (heart) chakras. The 'Lalana Chakra' which is behind the roof of the mouth is awakened to receive the 'NHA' which is to follow.

'NHA' - The tongue most emphatically strokes the central point of the roof of the mouth and close to the 'Lalana Chakra'.

Therefore the entire roof of the mouth is subjected to activation, directed towards the 'Lalana Chakra', the'Agna Chakra' and the 'Vishuddhi Chakra'.

KHECHARI MUDRA- This mudra achieves the same results as the divine name 'NARAYANHA'.

Acoustic Expressions.......

1) Love you more than I can say (Leo Sayer), 2) Nee Partha Vizhigal (Anirudh Ravichander)

Thank you Jagan G for audio/visual mixing.

 

RADHASHTAMI-26/08/2020

                                                              GODDESS RADHARANI

SANCHARADADHARA- GEETHA GOVINDAM

(SRI JAYADEVA ASHTAPADI)

 

SARASWATI VEENA-19

RENOWNED VEENA GURU SMT. RAMAVARAPU VIJAYALAKSHMI WITH THE TRADITIONAL BOBBILLI SARASWATI VEENA

An original Saraswati Veena is made out of seasoned, pure Jackwood. Jackwood is specifically used for making divine instruments like Veena, Thavil, Mridangam, Udukku etc.because of its divine charecteristics and features. The wood grains have the ability to absorb and project the pranic energy of the Veena practitioner.

The whole intention of using Jackwood is for the Veena practitioner to benefit spiritually by interacting with the divine properties of Jackwood grains. The true resonance of Veena naadham emanating from the combined energies of the practitioner's life-force energy and the Jackwood grains is the TRUE TONE of the Veena.

Veenas by using magnetic mikes (thereby suspending the all-important and core essential role of Jackwood grains in nurturing the true tone of Saraswati Veena) fail to achieve the true tone. A Veena aspirant has to take care not to be lured by the mere label of ‘Saraswati Veena’. The aspirant has to primarily understand the dynamics of Saraswati Veena in order to identify the real Veena.

The existing scenario of all Veenas (Electric Veenas and abnormal shaped/small-sized Veenas) being showcased as "Saraswati Veena" has resulted in an absence of demarcation between Electric/abnormal shaped/sized Veenas and original Saraswati Veenas. Today the responsibility of identifying the difference between a  true tone Veena and an artificially processed magnetic-mike-Veena (which suspends the core of Veena) has fallen upon Veena aspirants, music organisations and music lovers.

The regular, normal size of Sarswati Veena (Thanjavur, Bobbilli, Mysore and Trivandrum Veenas) is between 4.3 inches to 5 feet in length and definitely not less than 4 feet. The original size does not facilitate acrobatics/gimmicks on Veena by way of abnormal speeds. Veena being divine is designed for controlled and disciplined playing. The austerity of Veena-tapas lies in combining the energies of the practitioner and the of the Saraswati Veena.

P.S: According to traditional Veena technicians, bronze (kanchu in telugu, vengalam in tamil) frets and bridge are preferred to brass (itthadi in telugu and pitthalai in tamil) metal for great resonance. In telugu a vibrant voice is compared to a bronze-like voice (kanchu kantham). Therefore bronze is the ideal metal to be used for Veena frets and bridge for bringing out the inner voice of the practitioner.