What is the Arayar sevai?
The Arayar sevai is the unique upachara or offering to
Vishnu made in three Vaishanava temples in Tamilnadu. Srirangam, Azhvar
thirunagar and Sri villiputhur and in the Melkote Thiru Narayana temple in
Karnataka, performed by a specific family who hold the hereditary rights to
this offering. The Arayar through music and hand gestures expounds the meaning
of the Tamil verses composed on Vishnu by the 12 Alwars-saints (who lived in
various periods between the 7-8 centuries.) that are found in the Divya
prabandham. In addition to this the Arayars also perform two other worship
services that have a combination of music and drama called the” Muthukuri sevai”
and the “Pallupattu.”
The performance is today done only by one family in
Srirangam and two families each in Azhvar thirunagari and Sri villiputhur. In
Melkote the Arayar only sings the verses in the ancient panns (equivalents of
the Ragams). In this paper, we will examine briefly the history of the Arayar
sevai its different forms with specific reference to the Azhvar thiru nagar
temple.
The performance is called Arayar Sevai and the performer
who is called an Arayar. There are several explanations for the word; two of
the more popular ones are-
Arayar means king and since the Arayar is a master of the
verses of the Alwars in the Divya Prabandham and is able to demonstrate their
meanings through music and dance to the general public. He is called an Arayar
of the Dya Prabandham.
‘To tell’, is also a meaning for Aria and the Arayar who
tells of the songs in the Divya Prabandham becomes an Arayar.
The worship (Sevai) offered by the Arayar is there for
known as Arayar Sevai and this also referred to as “Kondattam” or celebration
of the greatness of Vishnu by the Arayar.
In texts, common parlance and inscriptions Arayars are
known by other names as well,
Vinnappam Cheyvar – they speak directly and only to the
lord and make their requests only to him.
Nampaduvan- the sing the praises of our lord Nam (Perumal)
Isai ariyum Peruman – Referring to their ability to sing
the Prabandham.
Thambiranmar – Roots word are probably than-piran-mar
meaning those who belong to the lord and indicative of the Arayar becoming an
Azhvar himself when performing the Arayar sevai.
The Arayar is always a male and has to follow a specific
dress code and perform a vow before each performance.
The origin of the Arayar Sevai.
In the 10 the century, in a village called Kattumannar
Koil (Viranarayanapuram) there lived a person called Nathamuni who was the son
of Sri eswara Bhattar. The period he lived in is still not fully agreed up on
but, scholars put it at around ACE 825-918.
One day Nathamuni heard a group of pilgrims sing a song
of 11 verses on the Sarangapani deity in Kumbakonam. The last word said,
“Sweeter than the melody of the finest flute”.
This decade from a
thousand are by Kurugur’s sadagopan.
His refugees are in the feet of Krishna,
The lord who sucked the breasts of the ogress.
Recite them to be loved by all those around you.
Thiruvaimozhi 5.8.11.
Entranced by the verse, Nathamuni asks for the rests of
the thousand. The pilgrims direct him to Kurugur since the poet is Sadagopan
from Kurugur. When he goes to
Thirukurugur, no one seems to know any other verses. He meets a disciple of
Madhurakavi who teaches him “Kanninum Sirittaambu”, a song on Sadagopan
by Madhurakavi. “Recite this under the same tamerind tree 12000 times, he is
told, he does so and receives not only the song he wanted but many others, he
compiled them in the 4000 Divya Prabandham and set them to tune and instituted
the Arayar sevai.
The 4000 thousand verses are composed by twelve saints
who lived between 5 th and 8 th centuries and sung in praise of Vishnu are
known as the Azhvars. The verses are revered by Vaishnavites and continue to be
recited in temples. They are known as the Tamil Vedas.
The collection consists of four parts of thousand songs
each they are,
1.
Mudal Aayiram or first thousand contains
947 songs. It includes
A)Periyaazhvar thirumozhi (473 songs)of
periyaazhvar, including Thiru Pallaand.
B) Thiruppaavai by Andal (30 songs).
c) Naachiyaar Thirumozhi by Andaal (143
songs)
D) Perumaai Thirumozhi by Kulasekhara
Azhvar (105 songs)
E) Thiruchanda Virutham by Tirumazhisai
Azhvar (120 songa)
F) Tirumaalai by thondaarady Podiazhvar
(45 songs).
G) Tiruppalli Ezhuchi by Thondarady
Podiazhvar (10 songs)
H) Amalaanathi Piran by Thirupaanazhvar
(10 songs)
I) Kanninun siru thaambu by Madhurakavi
Azhvar (11 songs)
2.
Periya Tirumozhi or greater hymns contains 1134 songs. All sung by Tirumangai
Azhvar.
A)
Periya Tirumozhi (1084 songs)
B) Thiru kuraan Thaandagam. (20
songs)
C) Thiru Nedun Thaandagam (30 songs)
3. Thiruvaimozhi by Nammazhwar (it contains 1102 songs)
4. Iyarpa is the last division
in the Divya Prabandham and contains the following
a. Mudal Thiruvandaadhi by
Pongai Azhwar (100 songs)
b. Irandaam Thiruvandhaadhi by
Bhootath Azhwar (100 songs)
c. Moondraam Thiruvandaadhi by
Pey Azhwar (100 songs)
d. Naanmugan Thiruvandaadhi by
Thirumazhisai Azhwar (96 songs)
e. Thiru virutham By Nammazhwar
(100 songs)
f. Thiru vaasinyam by Nammazhwar
(7 songs)
g. Peria Thiru Andaathi by Nammazhwar (87 songs)
h. Thiruvezukootriru kkai by
Thirumangai Azhwar (1 song)
i. Siriya Thirumadal by
Thirumangai Azhwar (40 songs)
j. Peria Thirumadal by
Thirumangai Azhwar (78 songs)
5. Ramanuja Nootranthaati ( 108 songs) of Amudhanar and
it was added to the text compiled by Nathamuni neither is it own Vishnu nor is
it by an Azhwar.
Many of these song sing the praises of Lord Vishnu
enshrined in various places all over india and Nepal and even the two states of
being in heaven. The places referred to are revered as the holy as the “108
Divya Desham.”
Madhurakavi Azhvar is an exception because though he sang
only of Nammazhwar but, he too is counted as an Azhwar. Given his devotion for
Nammazhwar, no verse by Nammazhwar may be recited without reciting 11 composed
by Madhurakavi.
Today they are recited by devotees sitting facing each
other in all Vishnu temples. It is only in the three temples in Tamilnadu that
they are also sung and danced by the Arayars.
Nathamuni classified the Divyaprabandham in to Iyarpa
which was meant to be chanted and Isaippa which was suitable for singing with
his nephews Keelai Ahatthu Aazhwan and Melai Ahatthu Aazhwan. Swami
Nathamunigal set the Paasurams of Isaippa to tune (pan) and trained his nephews
to sing and worship the Prabandhams in front of the Lord at Srirangam. In doing
so his intension was to captivate the general public to understand the verses
of the Azhwar through music and dance. Nathamuni composed himself two slokas on
Nammazhvar and these are recited as a part of the Thaniyan for Nammazhwar’s
thiruvaimozhi. Inscriptions in temples and commentaries on the Divya
Prabandhams tell us of the Arayar sevai being performed in Kanchi,
Thirumaliruncholai also called Azhagar Koil. Triplicane, Thirupathi,
Thirukurungudi, Thirukkannapuram and Thiruvananthapuram. None of these temples
have Arayars today. In most of these places even old timers cannot recall
Arayars in the temple.
An interesting mention on the origin of the Arayar sevai
is mentioned in the temples records of Srirangam called the “Kovil Ozhugu”.
Here it is mentioned that Thirumangai Azhwar sung and danced his
Thirunedunthandakam in front of the Utsav deity of Srirangam and also caused for
according the Thiruvaimozhi status on par with the Vedas. The record go on to
say that in the Margazhi month, the deity of Nammazhwar was taken from Azhwar
Thirunagari was taken to Srirangam. The Thiruvaimozhi verses performed and the
deity brought back. We are not sure as to when this practice was stopped.
Two branches of Vaishnavites.
Temples where Arayars perform today in Tamilnadu are
administrated by those who belong to the Thenkalai sunsects of Vaishnavites.
The origin of the two sub sects – Vadakalai and Thenkalai
is a post 10 th century phenomenon since, these differences are not heard of in
saint’s Ramanuja’s times. They are called Vadakalai (Northern) and Thenkalai
(Southern) though in reality there is no geographical polarization to justify
their nomenclature. They probably emerged in the time sree Vedanta desika whose
contemporary was Pillai Lokacharya.
The two key differences between sub sects are that the
Vadakalai’s (Who wear the Thiruman as “U”) give equal importance to Perumal and
Lakshmi while the Thenkalai’s (who wear the Thiruman somewhat similar to a “Y”)
regard Lakshmi as the prime devotee.
The more basic difference is in terms of the attainment
of God. Vadakalai tenets say that our relationship to God must be like that of
a baby monkey to its mother. The little monkey constantly clings to the mothe,
similarly we need to constantly –through a teacher - work towards realization
of the supreme and do this through the rituals of “Saranagathi/ Prapathi.
Thenkalai tenets compare our relationship with God to that of a kitten and a
cat. The kitten is – without much effort on its part, taken by its neck and
deposited in a safe place by the cat, similarly they believe by leading a pious
life and hope that by attending to the temple rituals and paying allegiance to
the pontiff salvation will occur.
In practice, both sub sects have fairly similar rituals
in the temples and elsewhere but in the temples. Vadakalai’s tend to give prime
importance to Sanskrit texts and Thenkalai’s to Tamil texts. As an extension,
generally Vadakalai’s tend to have a greater focus on greater focus on vedic
rituals than the Thenkalai’s. Both venerate Ramanuja. The preceptor of
Vadakalai’s is Vedanta Desika and for Thenkalai’s it is Manavala Mamunikal and
Pillai Lokacharya.
In the 17th and 18th century, the
sub sects were often in violent disagreement with each other. Fortunately today
this is less and both sects have at least learnt to be more appreciative of
each other in the future and work towards the common cause of Vaishanavism and
Hinduism.
Being a unique performance for the Lord through music,
gestures (Abhinaya) and explanations, the Arayar sevai is more than just a
music dance performance. The Arayar both through gestures, and afterwards
through words, explains the verses in Manipravalam, a combination of Tamil and
Sanskrit words. Arayars therefore need not only knowledge of music and dance
but a deep understanding of Vaishnavite philosophy they also need to know the
verses of Divya Prabandham and their meaning (both literal and metaphonical) by
heart since no recourse may be made to actual texts while the Arayar sevai
happens.
The Arayar sevai is an intense form of worship. The
Arayar before the performance fasts maintains a vow of silence and deep
contemplation of the Lord. Before the performance his ritual attire is unique. He
wears a conical crown that has the marks of the Thenkalai’s sub sect of
Vaishnavites. Since all Arayars belong to this sect. The cap signifies eternal bliss for when the
Arayar performs he ceases to exist as an individual and instead becomes the Azhwar
whose Paasurams he performs. The Karnapatras on either side of kireedam cover
his ears and therefore muffle other distracting noises. It is significant to
note that only the Arayar during the Arayar sevai is allowed to wear head gear
within the temple precincts.
The Arayar also wear a long garland that was worn by the
deity and has a Parivattam, an upper garment worn by the deity tied around his
head. All these acknowledge the blessing and honor given to him by the deity in
his hands he has the cymbals or Kulitalai or Thalam. They are used to keep the
beat and their sharp tone assist in focusing attention.
The Arayar sevai is always done inside the temple
precincts and in front of the Utsava deity and never in the main deity in the
Garbhagriha. However before or after every Arayar sevai , the Arayar reports
the same to the main deity in the sanctum.
The Arayar sevai commences with the Arulappattu (Issuance
of the gracious commandment by the Lord to the Arayar) through the priest. The
Arayar comes forward saying “Aaindhen, Aaindhen”
He then dons his headgear and accepts the Parivattam and
Garland from the priest and begins using the Thalam. The Thalam of Nathamuni
who created this practice is said to be in Azhwar Thirunagari. He then takes a
suitable position a few feet in front of the main deity and begins.
Significantly, the Arayar is not required to commence his rendition of the
Paasurams after the customary recitation of the Thanians. The tapping of the
floor with his right foot and the use of the Thalam consecutively three times
signifies the closure of one line/unit respectively. Thanians are short verses
preceding the Divya Prabandham verses that pay homage to the Azhwar and other
Vaishnavite Acharyas.
The Arayar Sevai is performing during the Pagal pathu
Rapathu festival in the three temples. This festival falls in Margazhi. This
period falls within the Anadhyayana kaalam or a time when except for the
Thiruppavai of Andal no other Divya Prabandham can be recited called the Thiru
Adhyayana utsavam. On certain other festival occasions, there is in
Srivilliputhur alone, an Arayar sevai Kaiseka Ekadasi is another occasion for
the Arayar sevai to be performed.
The Arayar sevai consists of the following:
Kondattam.
Kondattam are short phrases extolling the greatness of
Azhwars’s experience of Perumal and Thayar. They are usually followed by a
simple song.
Vyakhyanam.
During the Pagal pathu period, the utsava deity is
beautifully decorated and the Arayar sevai happens in front of the deity.
Depending on the particular day the Arayar will take up a select set of
Pasuraams sing them along with the rhythm using the Thalam and perform
Abhinayam to convey the import of the Pasuraams with hand gestures, steps using
their legs and body/facial gestures. These gestures are not elaborate as seen
in the natyam, traditions but, subdued and used sparingly. Also the Arayar may
walk a few steps in front or back or sideways.
The explanations of the Paasurams is done with a
commentary called the Vyakhyanam. A certain pattern is followed in the choice
of Paasurams at Srirangam, Srivilliputhur and Azhwar thirunagari corresponding
to the local history and tradition of the temple.
Typically only the first and last verses of the Paasurams
are performed but, in that the Arayar brings out the entire import of the song.
Some of Nammazhwar’s verses are written as if Nammazhwar is the Nayika pining
for her Lord. These are couched in metaphor that the Arayar explains in
graceful gestures.
The Rapathu Utsavam happens for 12 days immediately after
the Pagalpathu Utsavam and this happens after dusk. Here verses by other
Azhwars are chosen.
The dramatization of certain episodes with appropriate
Abhinayam is done on selected days at Srirangam, Srivilliputhur and Azhwar
thirunagari during the Adyayana utsava. The slaying of Kamsa, the Vamana
Avatharam, the churning of the milky ocean and the birth of Sri Andal are
enacted on special days.
The Muthukuri sevai is the prediction of future/ good
fortune is made by Kattuvaci (soothsayer) to the lovelorn lady (Nayaki) with
the help of pearls(Muthu).
Here Arayar sings certain Paasurams and performs
Abhinayam simultaneously taking the roll of Nayaki, her mother and the
soothsayer. This is performed on the 9th day of Pagalpathu at
Srirangam, 10th day at Azhwar thirunagari and on 3 occasions at
Srivilliputtur.
Before the actual performance of the Muthukuri, the
Arayar enacts the Paasurams that talk of the story of how the ocean was churned
by the Devas and Asuras for Amrita. This lasts for about an hour and then
begins Mutukuri sevai.
Thirumangai Azhwar’s Thirunetunthantakam in this, most
verses talk of the Nayakas mother lamenting on the condition of her daughter,
who is consumed with a passion for her Lord. The mother calls the Kurathi to
predict when her daughter will get over this. The Arayar plays the role of the
mother, the daughter and the Kurathi. When the Arayar plays the role of the
mother, the garment held in his hand with a knot at the top symbolizes the
daughter.
The mother asks the Kurathi, who has caused her daughter
this pain and what medicine must be used. She complains that her daughter talks
to her pet birds, dreams for someone and cries for no reason. She then calls
the Kurathi who first introduces herself and talks of the different lands she
has been to.
The Kurathi quickly diagnosis that the Nayika is
suffering from the pangs of being separated from her Nayaka, the Lord of
Srirangam. She then performs the actual soothsaying called “ kudal ezhaithal”,
here rice is spread out on a large platter and the Kurathi draws concentric
circles, all the while saying, the names of the Lord in different temples and
referring to the Nayika as Ranganayika Nachiar. Each sentence ends with Kuden
(will join) and Kudilen (will not join). The Arayar then, to indicate the
mother taking her daughter to Srirangam, paces the long Mandapam (in Srirangam,
the Arayar does it standing in the same place) and goes closer to the Utsava
deity.
Here the Arayar takes on the role of the girl’s mother
and complains to the Lord of what he has done to her daughter and asks the Lord
for a solution. The Arayar then recites a Paasurams from Periazhwar’s
Thirumozhi were the Azhwar takes the role of the mother who comments on her
daughter having been taken by the Lord. We thus understand that the Muthukuri
sevai ends with the Lord having taken the Nayika. The entire performance with
the initial praise of the Lord during the churning of the ocean takes around 3
hours.
Pallu pattu.
The Pallu pattu is sung on the Gajendramoksham festival
(Thiruvural Thirunal) and when the Utsava deity is taken back- to the sanctum
at the end of each day in Pagal and Rapathu. The symbolism here is the Lord
going to the core of the temple and therefore attaining his complete greatness.
The Pallu pattu also sung when the feet of the Utsavar is placed on the head of
the processional image of Nammazhwar as a representation of Nammazhwar
receiving the devine blessings.
When these songs are sung the Arayar uses an Mridangam
accompaniment (replaced the Parai an ancient percussion instrument) and only
signs them. Significantly these are the only sons sung by the Arayar which are
not composed by the Azhwars. There are 13 songs and all of them are in simple
Tamil. Some are of the heroine pining away for the Lord and others describe the
beauty and greatness of Vishnu. They are only sung and no commentaries are
given nor are they danced to when some of these songs are used in the Vyakhyanam.
Then they may be accompanied by Abhinayam.
There are legends of how an Arayar who stayed with a
lower caste community learned/ sang these songs. Desiring his return to the
temple, Lord Vishnu himself is said to have appreciated this song and got them
included. We how ever have no clear evidence of how this non-Brahmanical form
of singing became included in to the temple ritual.
The Pallu pattu in this context is not related to the
Pallu genre of Tamil Poetry.
Pranaya kalakham.
This happens on – it is the staging of a mock quarrel
between the Vishnu and Lakshmi where the latter accuses the former of
infidelity. How the Arayar intercedes, enlists the support of Nammazhwar and re
unites the devine couple is the story.
In doing this, the Arayar intercedes on behalf of the
Perumal and singing and performing the different verses of the 4000 Divya
Prabandham. The Arayar creates a conversation between Vishnu and Lakshmi, where
the latter is suspicious of where the former has been all day and how the
former protests his innocence.
It is only in Azhwar thirunagari that this happens in
complete form. In Srirangam this happens without the conversations, the
Abhinaya and the pacing of the feet by the Arayar.
Padi yetham.
When the processional deity returns to the sanctum, as the
deity ascends the steps, the Arayar walks backwards while facing the deity and
sings verses. This is done for all processions for Azhwar and for those of
Polindu Ninra Piran where he is in procession without the Thayar deities. The
custom here is of welcoming back the Lord.
Pradeep Chakravarthy.
References:
Books:
Venkat
raman’s Arayarsevai, Tamizh puthagalayam, Madras, 1985.
Bharati,
Srirama, “Arayarsevai” – theatre expressions in Sri vaishnavism” , Bhavans
foundations, Mumbai.1995.
Ayyangar,
Ramaswamy, “Vakula Bharana Satagopar”, Sundram Charities, Madras, 1976.
Resource
persons:
Sri
Appu Sadagopan, Azhwar thirunagari.
Sri
Sreenivasa Arayar, Azhwar thirunagari, Madurai.
Dr,
V.V.Srivatsa.
