Raajan Narayanan was introduced to the world of Carnatic by Viswakala Bharathi Sri Eelanallur S.Sathyalingam (Apsaras Arts, Singapore), a graduate from the prestigious Kalakshetra institute. Raajan was eventually tutored in the Thevaram recitation, in paan murai by Sri Balachandra Desikar. He has won the nationwide Thevaram recital competition thrice, consecutively. In addition, Raajan has won numerous competitions in the light music genre and was a finalist in the nationally televised talent search, in Singapore. Raajan has accompanied various Bharathanatyam performances, in Singapore and has performed regionally in the US and Canada. He is a Data Analytics consultant and evangelist by profession and based in the Boston area. As part of his passion for Thevaram, he has been teaching Thevaram at the Boston Sri Kalikambal Shiva Temple, Bellingham, MA.

I am an avid data analytic enthusiast. I love studying and modeling data for better insights to solve real business problems. I work as a data analytics solutions consultant for a startup organization, based in Bedford, Massachusetts.

I started learning Carnatic music in my early teens. Growing up in Singapore, I had the great privilege of experiencing visiting maestros from India. I used to frequent concerts with my dad who was a music lover.  Loved every concert that I attended, especially those of M S Subbulaksmi Amma’s. Not knowing the difference between the raga “Kalyani” and “Karaharapriya”, all I knew was, they sounded different and had its unique beauty. I was also fascinated with the various vocal gestures, especially the Gamakams. Thus started my music education. A pure self-experiment of trying to replicate or, to a great extent, imitate these musical geniuses. What started of as an experiment slowly evolved to something that I started loving. I was formerly trained in Carnatic music by the late Viswakalabharathi, Ellanaloor, S. Sathyalingam, a student of the Kalakshetra institution. I was also eventually trained in Pann (the melodic mode of ancient Tamil) method of reciting the Thevaram by Othuvar, Balasubramaniam from Chidambaram.

Thevarams are sacred 7th century hymns, in Tamil, recited during by Saint Thirugnanasambandar, Saint Thirunaavukarasar (Appar) and Saint Sundaramoorthy Nayanar. These hymns are in praise of Lord Shiva. Thevaram means Divine (The) Garland (Aaram). The Thevarams are the first seven volumes of the 12 volume Shaivaite poetry collection, know as Thirumurai and also the 5th Veda in Tamil Nadu. The first 3 volumes of the Tirumurai are Thevarams recited by Saint Thirugnanasambandar. The next 3 by Saint Thirunaavukarasar and the 7th volume by Saint Sundaramoorthy Nayanar. Each Thevaram comprises of 10 stanzas, known as Pathigam and is set to an ancient Tamil melodic mode, known as the Pann. The scale of the Pann system conforms to 25 ragas of the Carnatic system. However the emphasis of the scale is bound to conformity to the sahitya or lyrics and is not on creativity or improvisation, as in the Carnatic system. Thevarams are recited as part of the Pancha Puraram from the Agamic practice in the Saivaite temples in Tamil Nadu. Each hymn in the Thevram is an immaculate Tamil poetry containing vital messages for leading a purpose filled life.

The quest to understand Thevaram has been part of my journey in “self inquiry”. My relationship with Thevaram has been an interesting one. My approach to understating this musical form has been very conversational and has particular to the Thevaram I attempt. For example reciting a Thevaram, such as the most commonly recited thevaram, “Thodudaya Seviyan”, in the Pann Nattapadai (raga Naattai), gave me a very different sensation than chanting another Thevaram, such as Angamum Vedhamum, in the same Pann. The conversation started when I was questioning the sensational aspect while reciting the Thevaram. That ie, both have the same melodic pattern, both talk about Shiva and no musical elaboration is required to recite them. With so much commonalities between these pathigams (I use the word pathigam, Thevaram, hymns and verses interchangeably !!.....all referring to the same), why would I feel different. I started exploring the lyrics and context of these pathigams. It is during one such exercise of textual analysis, I found this particular line in Saint Manikavaasakar’s Thiruvasagam (8th volume in Thirumurai), that struck a chord. In which he says “Solliya Paatil Porul Unarndhu Solluvar” which when translated means “Those who chant with complete realization of its meaning”. The Ah Hah moment came when I realized the difference between “Knowing” and “Realizing”. When we refer to Shiva, we “Know” the he is the lord who is seated with his consort Parvati, somewhere in the Himalayas, surrounded by Rishis . We see the snow capped peak of Mount Kailash and “know” that Shiva is there. This is what we have been told. Now to realize the word “Shiva” is a journey onto itself. It holds a different connotation for example at various times of the day, circumstances, verses, conversations etc. 

That was when I started my deeper inquiry into what these verses mean for me. The more analysis there was, I found myself internalizing these verses and looking at life with varied and beautiful perspectives. 

Here’s a short example to illustrate this. Looking once again at the Thevaram “Thodudaya Seviyan”, Saint Thirugnanasambandar describes lord Shiva as “Vidai Yeri” or the “One who is seated on a bull”. This is the more common imagery of Shiva, Parvathi, seated on Nandhi, the bull. Visual depiction of this scene is abundant in paintings and sculptures. . Why would the child poet Thirugnanasambandar sing about something that is quite obvious?  In looking deeper into what this Saint could have referred to, we need to look at the role of the bull in its symbolic aspect. The traits of the animal bull, as we know it are synonymous with hard work, selfless (it ploughs the fields for the benefit of all human) and non-reward seeking (it does not eat out grains or food). The message here is that for “one who is selfless and diligent in service to other’s, the divine will stand support”. In the western world we coin phrases such as “God helps those who help themselves” or simply “hard work pays off”. Such deep messages found in these divine verses inspired me to seek further.

In Singapore, Thevarm recitation has been part of the local temple agamic tradition. All Saivaite, temples have Othuvar (Musicians who have been specially trained to recite the Thirumurai) who would recite verses from the Thevaram during the evening Pooja. Lessons were conducted for those who waned to learn the hymns in the traditional method. This is where I started my learning of the verses and in parallel to my carnatic education. I was giving the priviledge of participating in the annual Thirumurai recital competitions organized by the Singapore Thirumurai Maanadu and have won the competitions 3 consecutive years. 

In the more recent years, I have been exploring the symbolic representation of these hymns. Really fortunate to have multitude of on-line resources, to aid this quest. In addition, I read books on human behavior and drew inferences from them. I have yet to touch the surface of these Pathigams and in my quest to do so,

I have had the intent of teaching Thevaram for a few years. This golden opportunity came early this year through Sri Bhairavar Shivachariyar, the Chief Priest of the Boston Sri Kalikambal Shiva Temple in Bellingham, Massachusetts. Really feel blessed to have the opportunity to teach Thevaram at this temple

My hope is to teach the Thevaram in the Pann method. In the process to teaching I hope to establish a dialog on the symbolic aspect of the Thevarams. My hope this that those who learn the Thevaram, are able to internalize the meaning of the hymns and enjoy its true essence through mindfull recitation.

 

My music gurus Viswakalabharathi, Ellanaloor, S. Sathyalingamand  Othuvar, Balasubramaniam from Chidambaram initiated me to this divine hymns. For that I am thankful. Over the years, my search for its inner meaning has led me to lots menors, like Sri Bhairavar Shivachariyar, Sri Shanmuga Sivachariar, son of the late Sambamurthi Sivacharyar, much revered upasaka of Kalikambal temple in Chennai, have been instrumental in this quest. There are lots more mentors, I did not have the privilage of meeting by bless with the opportunity of listening to their discourses. Speeches of Maha Periyava of kanchi, Thiru Muruga Kirubanandha Variyar, Suki Sivam and Prof So So Meenakshi Sundaram are some that I listen and refer to. Thanks to You Tube.

For those who have not been exposed to these verses, there are plenty of recitations on You tube. In addition sites like shaivam.org and thevaaram.org are great resources for understating the literary meaning of the Thevaram.

The best way to learn it is of course recites the Thevaram in temple. There is a method to recite them. Thevaram is not sung but chanted, a similar way how vedas are chanted. This method of chanting is being taught at the Boston Sri Kalikambal Shiva Temple, Bellingham, MA. In addition to the chanting, the historical context and the inner meaning is also discussed during these sessions. Group lessons are also conducted via skype for those who have proximity challenges. Please contact the Boston Sri Kalikambal Shiva Temple for more info.

Thevarams are not only hyms in praise of the lord but also contains symbolic messages that one can derive to find a higher purpose in life. It is my hope that we can establish an platform, in the New England area to learn and openly have dialogs on this rich subject. A special thanks to Ranjani Saigal and Lokvani for spearheading this interview and helping me on this quest.