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The Source of the Cosmos Sri Chakra Sri Chakra Sri Chakra Sri Chakra Sri Chakra

The Journal of the Sri Rajarajeswari Peetam, Rush, NY

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Namashivaya Valzha

Since the last issue...

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Past Month Events

Karthikai Deepam, Dec. 4by Abhi Somaskanda

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Compared to running thetemple’s brahmotsavam festivalof Sharada Navarathri, Aiya hada relatively slow November. Heperformed a marriage ceremonyat the temple during the firstweekend of November and thenheaded to Pickering, Ontario thenext day to conduct a Rudrahomam at the local Hindu temple.

In mid-November Aiya went toMississauga, Ontario to speak to120 Islamic students at one of thecity’s largest mosques. Thestudents were all women andthey were joined by about 600others over the Internet for Aiya’slecture on Hinduism. On the 18th,the temple was graced with aconcert by famous singer O.S.Arun. Toward the end of themonth, the temple musicians gottogether and held a special bhajansession in honour of Sri Satya SaiBaba’s birthday.

Aiya spent most of December inIndia, where he visited severalholy kshetrams includingThiruvannamalai, Kanchipuram,Nemili, Chidambaram andDevipuram. He returned on the20th to prepare for what turnedout to be two well-attendedworkshops: Mantra’s Effects onthe Body, conducted by Aiya onthe 24th, and a session on the LalitaSahasranamam conducted byParashuramananda natha (or SriKumar) on the 25th. The last majorevent of the year was the kids’Raja Matangi homam on the 31st,which was attended by about 60children—all of whom receivedthe mantra that day.

The latter three events allhappened during Thiruvempavai,which concluded with a veryserene Ardhra Darshanam on Jan.3, 2007. Pongal in mid-January

saw Balananda (or Shankar)perform the Sankaranthi puja,which included the traditionalboiling-over of milk from thepongal kalasam and aSuryanarayana puja. Aiya was inCalifornia at that time, and thentraveled to India for a few days atthe end of the month for thekumbhabhishekam festival inDevipuram

This year’s Deepa puja saw thetemple aglow in the night, onceagain. Clay deepams surroundedthe inner sanctum and lined thewindows in the yajna shala. Infront of the homa kundam, thetemple’s large hand-made lingamsat atop a few wooden bases thatwere stacked like steps. Eachlayer’s four sides were adornedwith clay deepams until theyreached the lingam, decoratedwith lights as well.

Once all the deepams were lit bythe devotees, Dr. Viswanathan ledthe ceremonies with a Navavarnahomam, as Aiya was in India. Thepuja began at 6pm and ended at9pm, with prasadam for everyoneafterwards.

by Abhi Somaskanda

Mantra’s Effect on the Body(workshop), Dec 24

Following last year’s lead, thetemple hosted another workshopon Christmas weekend, SundayDecember 24th, from 9:30am to4pm.

Aiya spoke to more than 100people in the packed yajna shala,about the biological,metaphysical, and physiological

effects of mantras on the humanbody. Surrounded by dozens ofcharts, drawings, and hand-drawn sketches hung around theyajna shala, Aiya explained theimpact of chanting mantras, andone’s sadhana, on the brain, heart,and even on the microscopic cellswithin the body. He also detailedthe proper way to chant theprimordial sound “AUM,” holdingout Akara and Ukara for ninecounts, and Makara for 18 counts.

Each devotee left with a CD of allthe slides used during theworkshop.

Rounding up a busy last monthof the year at the temple, thechildren organized anotherhomam, this time in praise of RajaMatangi. This is the third yearthat the kids have planned andexcecuted an elaborate homam,complete with garlands,purnahutis, saris, palaharams,and much more.

The homam allowed childrenbetween the ages of 6 and 16 toactively participate. The day priorto the homam, several of the kidsand some adults received the RajaMatangi mantra from Aiya so thatthey could chant it during the

by Abhi SomaskandaRaja Matangi Homam, Dec. 31

One child offered the purnahuthi intothe fire after each Sri Suktam.

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homam.The homam was broken up into

6 recitations of the Sri Suktam,each line separated with the RajaMatangi mantra. There were 6groups of children who rotatedsitting around the homa kundam,a different group after each SriSuktam. At the end of one, a childoffered the purnahuti, packedwith a sari, a thali, a garland, andseveral other items for thegoddess.

Along with the homa dravyam,children were given some of thenine different palaharams made.The nine palaharams were madein groups of 108 each, and whatwas not offered as bakshanam,was served to the people andtaken home by the kids.

From the cleaning andpreparation, to the chanting andoffering, the children took chargefrom top to bottom in yet anothermagnificent homam.

The finalpurnahuthiafter the sixthSri Suktam

Everyone in the yajna shala linked upduring each ahuthi offering.

Coming off the heels of theworkshop, Thiruvempavai beganon Christmas morning this year.As all the devotees gathered in thetemple at 5 a.m., Aiya begansinging the Thirupalliyelichi andThiruvempavai songs. TheThirupalliyelichi is recited towake up the gods first, and theThiruvempavai songs are inpraise of Lord Shiva.

The ritual lasted until 6:30 a.m.every morning. Each devotee wasgiven the chance to doabhishekam and pancha upacharapuja to a small Nataraja andShivakami following each verse ofthe Thiruvempavai.

After the puja each morning,Aiya told stories of different saintsin the towns betweenChidambaram and Annamalai,where these songs were sungmany years ago and are still sungtoday.

The final day, ArdhraDharshanam, saw the bigNataraja and Shivakami broughtin front on the dvaja stambam,and placed in a large tub forabhishekam. Everyone wasallowed to do abhishekam andgroups of people at a time

Thiruvempavai, Dec.25-Jan. 3by Abhi Somaskanda

Nataraja and Shivakami adornedwith finery after abhishekam

performed puja.After alankaram of Nataraja

and Shivakami with elaboratejewelry and rudrakshas,Mannikavasagar (whoexpounded the Shivapuranam),and the Thirumurai books weretaken in procession around thetemple.

Following a few songs from theThiruvachagam, Aiya and thedevotees retired to the yajnashala for maha prasadam andone last story.

Aiya poured a tray full of vibhuthi on Nataraja and Shivakami

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The Sri Rajarajeswari Peetam ~ 6980 East River Road ~ Rush, NY 14543 ~ Phone: (585) 533 - 1970

Kalasam milk spilling over

Upcoming Events

Maha Shivarathri, Feb. 15

This year’s Shivarathri falls ona Thursday night, and will seethe usual chanting of 11Rudrams. However, guests willenter the temple that evening tobehold an elaborate arrangementof 1008 valampuri (right-handed)shankams, placed in an intricateformation stretching from theinner sanctum out to theyajnashala. As usual, guests willbe given bilva leaves with whichto place on the variousShivalingams around the templeduring worship. The night willbegin around 8 p.m. andconclude at about 7 a.m. the nextmorning.

by Kamya Ramaswamy

by Kamya RamaswamyTamil New Year’s, April 14

The traditional dhani puja(worship to rice, grains and otherforms of wealth) that isperformed for new year’s will beincorporated with the Saturdaypuja. There is also a possibilitythat the temple will hold anotherlarge Pratyangira homam at thehoma kundam located in the fieldbeyond Kashi. Please check thetemple website for regularupdates.

by Abhi Somaskanda

Shankaranthi (Thai Pongal),Jan. 14

Thai Pongal was held on aSunday morning this year, withthe exact time of pongal at 10:17a.m. A large brass kalasam wasplace on top of a kolam in front ofthe large artistic Sri Chakra thatgreets devotees as they walk inthe temple.

With Aiya out of town,Balananda (Shankar) commencedSuryanarayana puja as the potwas placed on the burner.Everyone offered a handful of ricegrains into the pot once the milkin the pot spilled over,auspiciously to the Northeastfirst.

This festival of the South Indiaand Sri Lanka is in celebration ofand praise to Lord Surya to blessthe land with good grain andabundance.

by Kamya RamaswamyChitra Poornima, May 1

This is the day on which peoplewho have lost their mothers mayoffer tarpanam for her soul. Thisday only needs to be observed fora person’s late mother if, forwhatever reason, that personmissed offering tarpanam on heractual day of passing. Devoteesmay register with the temple ifthey wish to sponsor and takepart in that day’s puja, which willbe led by Aiya.

In Three MonthsThe next issue of theSri Chakra Magazine

Devi willing, the next issue ofthe Sri Chakra Magazine will be upon the temple’s website(www.srividya.org) at thebeginning of May 2007.

The historic firstkumbhabhishekam of Devipuramis happening during the first weekof February, and the Rochestertemple is lucky enough to haveseveral of its own in attendance.As this event will only take placeonce in 12 years, the next issuewill be all about the Devipuramkumbhabhishekam. The Sri Chakrais looking for devotees to help outthis issue by contributing stories,pictures, poems, experiences oranything at all by April 16th.Please e-mail us atsri_chakra_mag@srividya.orgwith your submissions.

Sri Gurubhyo Namaha!

***The editorial will return.Meanwhile, the Sri Chakra would liketo extend its heartfelt gratitude to Aiya,Kathy Allen, Gratuz Devanesan, Dr.Ravikumar K., Pathmanathan uncleand Parameswari auntie, Frances(Nicky) Perera, Dr. A. Somaskanda,Dr. Devi Padmanaban, and thedevotee(s) in temple lore for theirinsightful contributions to this issue.

Balananda (Shankar) beginningSuryanarayana puja

Please keep checking thetemple websitewww.srividya.org for morepictures of festivals!

left: Devoteesputting rice intopongalkalasambelow: Finalcamphoraarathi to thepongalkalasam

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By Dr. A. Somaskanda

music reviewmusic reviewmusic reviewmusic reviewmusic reviewmusic reviewmusic reviewmusic reviewmusic reviewmusic review

Sri Rajarajeswari Peetam ofRush New York ended itsphenomenal year of musicalprograms with a much awaitedconcert by the wildly popularicon of carnatic music, Sri O.S.Arun, on November 18, 2006.

Since his burst onto the classicalmusic scene, Sri Arun has had acultish and almost fanaticalfollowing both in India andabroad. Scion of a storied musicallineage, this Gandharva princeholds such magical sway over hisfans as would befit a peerlessmagician with almost mysticalpowers. Gifted with a ringing,sonorous voice, laced with anarray of mellifluous overtones, hewields absolute control over itslightning passages across theswara scale and its deftnegotiations of the swara maze.

He has carved out a niche forhimself in the carnatic musicworld by his unique style ofsinging. It is this style, wellgrounded in the stringentgrammar of the carnatic idiombut redolently embellished withflourishes from the Hindustaniidiom, that sets him apart fromhis peers. Thus his renditions oftraditional compositions assumean elegance and vigor rarelymatched in the contemporarymusic arena. He holds a mastersdegree in carnatic music andSangeet Shiromani Diploma. Hehas won accolades and awardstoo numerous to mention. SriArun is a prolific composer andan innovator par excellence, andhas collaborated with many jazzmusicians in the West in jointmusical ventures. He has also

composed music for classicaldances of India.

His concert format stands out inmarked contrast to the traditionalcutcheris in the sense that hefreely mixes the classical sahityaswith bhajans inTamil, Hindi, andother major Indian languages.This perhaps is a deliberateaffirmation of his deeply heldconviction that the apparentdichotomy of classical music intotrue classical and light classical isillusory and contrived. Thisstance has often raised the hacklesin some quarters of musicalorthodoxy.

The ConcertHe started his concert with a

delightful bhajan on LordGanapathi, “Prabho Ganapathe,”composed by Agastayar and setin raga Tilang. This is a famousbhajan popularized by SwamiHaridas in the 80’s. Tilang is anaudava (pentatonic) raga that

originated from Hindustanimusic, but has been a favoriteraga among all the major carnaticcomposers. As if to underscore histheme that bhajans are no lessclassical, he ended this bhajanwith pleasing raga phrases andswara passages that served todelineate and expound theintegrity of this raga’s melodicstructure.

His rendition of MahaVaidyanatha Iyer’s “PahimamRajarajeswari” in ragaJanaranjini, was evocative andflowed with a languid grace thatspoke to the presiding deity of thetemple, and warmed the rasikashearts.

His essay of Saint Thyagaraja’sfamous kriti, “Nagumomu,” inraga Abheri, was brilliant in itsexecution. His elaborate alapana,exploring the upper reaches ofchatursruti Dha and Kaishiki Ni,caressing its melodicpermutations, was stirring in its

O.S. Arun Concert at theTemple, November 18

O.S. Arun OS Arunreceivingshawlfrom Aiya

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articulation. His sound grammar,imagination, and power wereamply evident in his effortlessJanta and Dattu Varisa prayogas.

He mesmerized the audiencewith three hauntingly beautifulnumbers, all set in pleasingaudava ragas. “Aanika Doosara”by Sant Tukaram was set in MisraSivaranjini, an alluring offshoot ofthe hugely popular ragaShivaranjini, a member of the so-called Sa Ri Ga Pa Dha Sa family.Ashtapadi “Charuseele” byJayadeva, was rendered withdeeply moving bhava, recallingKrishna’s heart-rending,remorseful pleas to his belovedRadha, begging her forgivenessand imploring her to place hercooling feet on his head. This piecewas set in raga Vaasanthi, again amember of the Sa Ri Ga Pa Dha Safamily (Mohanam is anotherpopular member of this group).Sant Surdas’s “MadhukaruShyamu Hamare Choru” was asoulful rhapsody on Krishna, setto a bewitching raga called Surya.

I think the high point of thisconcert was his exuberantrendition of Namdev’s “BhakthaJana Vatsale.” This melody, set toa lively rhythm, was in ragaMegha Mallar, which is apentatonic Hindustani raga (itomits Gandharam andDhaivatam). It has no carnatic

counterpart but is somewhatsimilar to raga Madhyamavathi.It is also a monsoon raga that, likethe carnatic ragaAmrithavarshini, is credited withthe power to produce rain ifexecuted properly. Sri Arun, asalways, plunged into the bhajanwith gusto. His whole personawas aglow in rapturous ecstasy,rhythmically swaying to thequickening tempo of the music.His complex and expansive handgestures added a charmingdimension to the music. Heenjoined the audience to singalong with him at the concludingportion of the bhajan, while hissinuous voice unleashed a flurryof sangatis in a thousandrhythmic permutations andcombinations. In blissfulabandon, the audience obliged,singing and clapping in lock stepwith the tempo of the music.

Melakkaveri Thyagarajan wasoutstanding in his collaborationand sensitive interpretation of themusic. His recaptures of thealapanas and swara prayogaswith their countless nuances wereelectrifiying.

Manikandan on mridangam,and Kirankumar on tabla werebrilliant. Their jugal bandhi in theconcluding passages of“Nagumomu” andsynchronization in the opening

OS Arun lost in one of the many moving compositions

piece “Prabho Ganapathe,” wereparticularly spellbinding,bringing to the fore theirvirtuosity.

The concert ended with a fewrequests such as “Anjaneyan,”and a resounding ovation fromthe wildly cheering audience.

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SC: How was Aiya like backthen? Now everyone sees himvery much as a leader.

Nicky: Oh yeah! Oh, I felt likethat 30 years ago too.

Sri Chakra: What did you dotogether in school? Were you inthe same classes or sameactivities?

N: I met him when I was juststarting—I was in first year andhe was in his final year. I was sosurprised when he just camealong and talked to me. It was outof the blue; this was before Ijoined the department (ofArchitecture at the university). Ijoined Colombo University to doscience. And then Architectureopened up and they asked me toapply. When Aiya joined, it wasnot in the university. Before I evenwent for my exam he spoke to meand he said, “You’re in!” and Ithought, “Yeah, right, whatever.”When I went for my exam I didn’tdo very well at all. But I askedanother friend of mine to checkthe results and I was in!

Three of us freshmen girls,Haran, and another friend of hisused to hang out together all the

time and people couldn’tunderstand why. Somehow thefive of us got along so well, butsomehow I got really close to himand he told me I was his sister in apast life and he’d been looking forme and finally found me.

SC: Oh wow! How old was hethen?

N: Probably 26.

SC: And he was doing all thattelling-the-past stuff then, too?

N: Before we met, yes! Oh yeah,he was well into it. And peoplewere coming around asking (hisadvice) and to tell them whatwould happen to them, and so hewould (help them). I used to go sitby him and I asked him to do thesame for me, as well. And he said,“No, because your mother doesn’tlike this,” because I’m Catholic.And he said to go ask her, but Ididn’t ask… I just came back the

next day and said, “Yeah, she saysit’s fine!” And he said, “You didn’teven ask!” And I thought, “Whyare you like this?”

We had a telepathic connection; Ionly had to say, “Haran, I wishyou were here,” and he’d be thereeven though we were miles apart.It actually happened. The maincampus was in one place and theDepartment of Architecture wasabout three or four miles away.And I went to the grounds for abasketball game and my sistertold me she had lost her purse. SoI thought, “Oh, I wish Haran washere,” and I didn’t think twiceabout it and we both got changedand went to the basketball court.So we were just starting practiceand suddenly I said, “Oh, I have togo!” and my sister asked where. Isaid, “Haran’s coming!” and ranto the entrance. He was there andhe asked, “What did you want mefor? You called me and that’s whyI’m here.”

PART 1

“Paiya” in Tamil means, little boy.During the Thiruvempavai festival, thetemple was graced with a surprise visitby someone who had known Aiyaduring his university years. FrancesPerera (or Nicky as we now know her)was best friends with Aiya when theyboth attended Colombo University inthe late 1960s. While visiting herchildren in Mississauga this Christmas,she called the temple to reconnect withher old friend. The Sri Chakra had anintimate chat with her about Aiya, thenand now. Here is the first half of thatconversation.

Nickyand Aiyametagainaftermorethan 30years

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I told him what happened, mysister lost her purse and she’sworried about her library cardand some other documents shehad in it. He concentrated for awhile and said, “Well, the purse isthere outside the chemistry lab bythe third window. It’s on theledge. She had some money in itand it’s not there but everythingelse is there. So she ran to get itand it was exactly where he said.There was no money but the restof it was all there. And he said,“Please don’t do this again,”because he was close to his examand in the middle of his finaldrawings. If it didn’t happen tome, I wouldn’t even believe it.

Also, he told me once that he’llappear to me in my dream. I said,“Oh yeah, I have nothing elsebetter to do than dream aboutyou!” But that night he appearedand he was in a cream-colouredveshti and he was standing thereand waving at me. And to thisday I still remember this dream.

About six months ago I dreamtof him again, and he was muchyounger like during our schooldays. When I met him this time hesaid I had asked him to meet meagain, and that’s why he cameagain in a dream. I knew fromthat time that I would definitelysee him. Before that I thought Imight see him, but then I Googledhim. I did it about five years ago,but then this ‘priest’ and ‘temple’words started coming up and Ithought, “Yeah, right, Haran in atemple? It can’t be.”

SC: Why did that seem like thatwas so impossible?

N: It wasn’t impossible, butcome to think of it, it crossed mymind that it could be but maybe Ididn’t need him too much at thattime so I didn’t even look. But thistime I was very determined and Ithought whatever Wijayaharancomes up, I’m looking. This time Iput in ‘architect’ and it said‘Lusaka’ so I took a look. And hispicture came up and I thought Iwas going to cry, I was so happy. Ijust couldn’t believe it. From thattime, I was waiting to see him.

Nicky, Aiya, and Nicky’s son,Nuwanka

…look for part 2 of Aiya thePaiya in the next Sri Chakra!

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The stories of the devotees atthe Sri RajarajeswariPeetam create the veryessence of the temple’s soul. Aiya has verified all thesetales for their authenticity,and he urges devotees toshare their experiences forthe benefit of futuregenerations. All identities willbe kept in the strictestconfidentiality unlessotherwise informed.

TempleTempleLoreLore

Last year, the Sri Chakra was able tointerview an upasaka who hadrecently received diksha and was ona trip to Rochester. He told themagazine about his spiritualexperiences and some of the lessonshe has learned from Aiya and Devi.This month, the Sri Chakra featuresthe second in four parts of thatinterview.

Again, when my third eye wasopen, distance was not quite thesame thing. Things would appearcloser or further… one time theflame from the deepam wastouching the ceiling and Lakshmiwas standing the whole way up.

In one of my previous births, Ihad been a kshatriya in the early1950s from what I feel, I wasalone, I think my family was deador they had abandoned me. I wasa vagabond and I was walkingaround feeling a lot of self-pityand I came to this one village andthere was this one swami whowas sitting there and there was aline of people who were therebusy getting blessings from him.

At the time I remember Ithought this guy was a joker—hewas smiling the whole time, hewas rather rotund (had quite atummy), he was a short-ishperson and he was wearingsannyasi robes. He was sittingthere and laughing the whole timeand I thought this was a fool. But

I joined the line because that’show tradition goes when he came,he touched me on my foreheadand I went off.

I don’t remember feelinganything at the time, but the nextday I immediately decided to go tothe Himalayas and search for myguru. I went off to the Himalayasand donned the sannyasi robesbecause as you know withkshatriya tradition the last stageof life is to be a sannyasi so Idecided to take that.

And during times like when I’msaying Sahasranamamnowadays, I can remember timeslike when I first saw theHimalayas, walking through aforest and just seeing it up there.Other images happen when, likewhen I’d have a really coldshower now, I’d have an image ofme standing or praying in themountain stream. I could even seemyself with my long beard andsuch. I can even remember livingin a cave at the time.

From what Aiya tells me, at theend… I lived three years as asannyasi and then I died. AndAiya says right at the end when Idied the guru I’d been searchingfor the whole time had actuallybeen the guy who I thought wasthe fool, who’d touched me. Andthat had beenRajarajeshwarananda (the guruof Kalyanananda Tirtha, andparama guru of Guru Garu, in ourlineage).

What Aiya says is the whenRajarajeshwarananda had givenme my shakti phat, what he haddone was that he’d given me theBala mantra—the whole of Bala,the amount of the Bala mantrathat I had to say throughout mywhole life—he gave that in one go.And so because you have to havea Shiva-Shakti balance and myShakti was so far out of balance…I had this very strong tendencyand feeling of going to theHimalayas for Shiva.

So I went there and I hungaround, as Aiya would say withthese orange-robe jokers and Ilearnt Rudram and startedchanting it and all of these Shiva

mantras and I went to Kailas andclimbed up to it. Hence even nowI feel this very strong yearning togo to Kailas and I get feelings ofclimbing up to the top andholding it and saying Rudramcontinuously.

That’s why when I got initiatedthis time, Aiya put me straight toPanchadasi because I’d finishedBala.

…to be continued next issue

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“WITH NANDI’S GRACE I SOUGHT MOOLAN,

WITH NANDI’S GRACE I SADASIVA BECAME,

WITH NANDI’S GRACE TRUTH DIVINE ATTAINED,

WITH NANDI’S GRACE I SO REMAINED.”

- THIRUMULAR

OMOM NAMASHIVAYANAMASHIVAYA

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KootruvarFebruary 2007

NaNaNaNaNayyyyyanmarsanmarsanmarsanmarsanmarsNaNaNaNaNayyyyyanmarsanmarsanmarsanmarsanmars63636363636363636363

by Gratuz Devanesan

Kootruvar was not your average saint. He did notwalk around barefoot (he might have I don’t knowfor sure that he didn’t) in a dhoti, spreading theword of the lord andperforming miracleshere and there–bringing people to life,making them get stungby cobras etc.–that sortof thing, was not histhing. He was achieftain whoconquered swathes ofland in southern India,cutting into the Cholakingdom. (As such, hemust have killed quieta few people, butprobably didn’t bringany of them back tolife…).

On the other hand fora chieftain with agroup of followers to defeat Cholas on their own soil,at a time when Cholas dominated southern India,required, for lack of a better word, a miracle on itsown.

Kootruvar kept defeating his adversaries and madeit as far into the Chola kingdom as Thillai. There hedesired that the 3000 priests of Thillai should crownhim king. However, the priests, being politicallyaffiliated to the Chola king and fearing reprisals,refused saying that they would only perform thatrite to those stemming from the Chola lineage.

After all, the Chola kingdom had been in place forcenturies, and this guy with his hairy bunch offollowers, would probably not last too long. As

priests who have little faith in god often do, it is bestto side with the one who has the dough and themuscle to provide the dough for the longest time–

back then it wasthe Chola kings,not Kootruvar.

Despondent, heleft Thillai andwent to Kerala,which was part ofthe Cherakingdom.

Kootruvar wasnot a politicallyvain chieftain. Hewas aware that allthe glory andbounty he hadwon came as thelord’s prasadam.Kootruvar was adevout Shivabhakta who

chanted the pancaksharam continuously, especiallyon the battlefield. In turn he used his bounty to makelife more pleasant to Shiva bhaktas, by providingthem with necessities and land. When he wished tobe crowned in Thillai, not just some city, but Thillai,he had other motives than vain glory.

The priests were not aware of that, but the Lordwho dwelled in his heart was fully aware. Heappeared in a dream to the despondent Kootruvar,and placed his glorious feet as a crown onKootruvar’s head. This is what Kootruvar wantedwhen he had tried to convince the priest’s to crownhim. He was now certain that he had conquered theone thing that mattered–a place under Shiva’s feet.

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One’s mind is relegated to LordShiva at the utterance of the word‘dance,’ be it in India or elsewhere.Lord Shiva is the Lord of Dance,also popularly called Nataraja inTamil. He stands there in theGolden Hall of Chidambaram inthe most striking and regal pose,subjecting the observer toquestion beyond the mundaneattributes of one’s own existence.

The distinct elements of theTandava Nritya are derivationsfrom the distinct mudras andobjects depicted in this symbolicand sacred pose. On Nov 16, 2006I performed the Saptha Tandavamof Lord Shiva at the SahasraJyothi Linga Archana in NewJersey, an auspicious andelaborate puja performed by Mr.Kompella Subbarao, the newpeetadhipathi of Devipuram,India. ‘Saptha’ means seven and‘tandavam’ literally means leap orjump.

This is more a masculine,vigorous style of Bharatanatyam,which demands intense energyand grueling practice. I wasdelighted and thrilled to performat this event, especially because Istrongly believe thatBharatanatyam should beperformed between and duringrituals, for its innate essence isspiritually ordained.

It was a challenge for me toperform all seven as a solo andeven more to perform the dualityrole of Shiva and Parvathi. Asusual, I choreographed my entiredance repertoire but often wouldbreak down emotionally duringmy practice sessions. Insane love

for the great Lord overpoweredme to noncontainment. That iswhen I decided that I needed myGuru Aiya’s guidance. And there Igot it.

Before I delve into the aspects ofthe seven tandavams of LordShiva, I would like to give you asnapshot of Sahasra Jyothi LingaArchana. One-thousand andsixteen agal villaku (clay lamps)were placed in the form ofShivalinga in 16 avaranas. Eachavarana was constructed with aspecific number of lamps thatsymbolically represented themanifest and unmanifestessentials of the universe.

Amidst the auspicious lightingof the lamps there was powerfulRudra parayanam, bhajans, vedicchanting, and Shiva tandavanritya.

The Shiva tandavam as Imentioned earlier has vigorousmovements that are deliberateand forceful, competing to creategeometrical alignment within thenatural flow of energy thatoperates at the two levels of

existence—macrocosm andmicrocosm.

Moreover, it is imperative tostate that the core of this dancereflects the five important actions:shristi (creation), sthithi(maintenance), samhara(destruction), tirobhava (illusion),and anugraha (grace oremancipation). The dynamicprincipal within the dancemovements is meant to achievethe perfect alignment of all—thedancer, audience and the source.

The tandavam is encompassedwith 108 karanas, and 32anghaharas which are theprimary composites of thisbeautiful nritya. You need to betrained from a young age tomaster the 108 karanas, when theflexibility of the muscular jointligaments is still at your disposal.

The Saptha Tandavam includeAnanda tandavam, Sandhyatandavam, Kaliga tandavam,Tripura tandavam, Oordhvatandavam, Umamaheshwaratandavam, and each of these willbe discussed later in this article.

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Dr. DeviPadmanaban

By Dr. Devi Padmanaban

Saptha Tandava Natyamduring SahasrajyothiLinga Archana

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Namashivaya Valzha

Getting into the dance aspect ofthe tandavam, I would like tomention that the jathis for thefootwork and leaping movementsfor the respective tandavamswere comprised of distinctsyllables. These syllables areinherent in the particular kriyathat governs the laws of theuniverse. The sahityam which isthe story-telling piece of the dancerecital had stories of the greatSaivite saints Appar, Sundarar,Sambandar, and Manikkavasagar.

Ananda tandavam (dance ofbliss) as legend goes, talks of LordShiva performing this dance forhis consort Shivakamasundari,Vyaghrapada and other rishis inthe Golden Hall of Chidambaram(cosmic hall of consciousness). Thekriya here is creation and thefootwork and movements areevenly tempered.

In the Sandhya tandavam, LordShiva performed the dance duringthe hours of twilight witnessedby everyone in Shivalokam. In the

Kaliga tandavam, I performed thedual role of Shiva and Kalicreating an ambience of mildagitation, executing heavyrhythmic footwork in an alternateorder. The play of Shivaconquering the Tripura demonwas portrayed in the Tripuratandavam where the createdmood was a dominant, jubilantvictory.

In the Oordhava tandavam, Ihad to bring alive the fierce,robust and competitive nritya indualistic role as Shiva andParvati. Here, I strived to executethe jathi sequences in alternateorder, set in an escalating mode. Inthe Umamaheshwara tandavanritya, the prevailing mood was

equanimity where the dualism ofShiva and Parvati was distinct inthe realm of unity. Also, the jathiswere scaled toward this mood.

The last of my tandava sequencewas the Samhara tandavam,which spells dissolution at alllevels. During the puja, Iperformed this when all but onelamp was lit. The electric lightswere turned off and the feeling atthat time was reflected in the lightof the lamps (representing thesoul) amidst the darkness.

I really enjoyed this piece. It issaid that Samhara tandava isonly witnessed by Her, as two ofher names from the LalithaSahasranamam areMahapralayasakshini andMahatandavasakshini.

Every dancer should strive tocreate an awareness of on ongoingexperience that unfolds whenperforming. This great spiritualart is studied for its own sake, andis destined as its sole purpose.Moreover, it lends itself to a greatand intense puja, not only for theaudience but also for the dancerand the source—because we areall connected.

Dr. Devi Padmanaban in a few of Shiva’s Tandavas

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on the way tovyasa Guga –whereMahabharatawas dictatedby Deva Vyasaand written byGanesha – itis 5111 yearsold

Rishikesh -on the banksof the Gangawith theHimalayas inthebackground(nearDayanandaashram)

Saraswathiriver- theonlyvisiblepart of it.The restonly runsunderground.

Saraswathi temple

dr. radr. radr. radr. radr. ravikumar k.’svikumar k.’svikumar k.’svikumar k.’svikumar k.’sdr. radr. radr. radr. radr. ravikumar k.’svikumar k.’svikumar k.’svikumar k.’svikumar k.’s

Yamunotri

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Namashivaya ValzhaHari-ki-pairi, in Haridwar (entrace toHimalayas) -- people come to thisspot for Ganga arthi at 7 p.m. daily

Uttara Kashi -people areallowed totouch themurthi

UttaraKashi -where theGangaturns fromnorth tosouth

Gangotri templefrom front

Dr. Ravikumar K.at Bhadrinathtemple

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This is part one of atwo-part photo spread.In the next issue wewill have more of Dr.Ravikumar K.’s trip tothe Himalayas

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Namashivaya Valzha

Sri Gurubhyo NamahSri Gurubhyo NamahSri Gurubhyo NamahSri Gurubhyo NamahSri Gurubhyo NamahSri Gurubhyo Namah