Andariki Vadanamulu to Smt. Vishaka Hari

The moment she comes on the stage spines in the hall go erect, ears go up, other senses surrender, the heart and mind fills with joy, worries and thoughts vanishes, does it sound like Paramata appearing on the stage? Well yes, who else can take away your worries, anxieties and be more than Prozac with just her singing and storytelling abilities? To a little kid she appears like the next door mami, so friendly in her appearance, speech and smile and to the older ones she is the musical spiritual power house and spiritual cleanser. I spotted a Sanyasi seated in the front and wondered if that could be Narada or Hanuman come down in the form of Sanyasi to hear the mesmirising description of Ramavatar and Krishnavatar. Undoubtedly, Smt. Vishaka is the satsang central for satwicks and more than astha channel for the commoners.

We’ve all heard Pancharatna Keerthani’s, a few of us may have read the meanings of these krithis more from the word to word, but the majority of us are oblivious to in-depth meaning, tone, raga bhava, tone of the composer. But this presentation is not the annual Thiruvaiyaru Thyagaraja Utsavam rendition by vidwans and vidushis, seated in a line facing each other and some trying to steal the show with their costumes and jewelry and dilute the essence of Aaradhanai. The ambience was much more spiritual, serene and saintly.

A Thulsai madam to her left, two huge doors behind her and two tiny windows to her left and right, large beams with creepers on it and open space above her head reminded us of the “mutram” in the Thanjavur style houses. It was so homely, lively and comely. She didn’t appear like a strict teacher with a stick or a strict tone, but her story telling abilities silenced our senses and took us on a journey we never want to end. I must say it was thousand times much better and more vividlt presented than Steven Spielberg’s Avatar.

Be it an anecdote from Ramayana in Treta yuga (8000 years back) or Krishna avatar in Dwapara yuga and tying these together with Devar namas, Trinity compositions, Ashtapadis and Abhangs, she is blessed and best one to present, preserve and preach, definitely a bellwether of the Hindu society.

To go through the Pancharatna keerthanas of Thyagaraja, weaving together stories from various yugas and anecdotes from various yuga purushas in 3 hours, you need to be faster than the speed of light and sound, your intellect needs to be shaper than the sharpest material. Effortlessly she tied down the 500+ audience like the same way Yashoda tied down mischievous Krishna to the “ural”.

Do you know the context behind each of the krithis? Do you know the choice of ragams and rasams behind these krithis? Do you know the avatarams celebrated in each stanza of the krithis? Do you know the bhavams behind each of these krithis? Do you know the entire Balakandam is packed in the 1st charanam of the Naati Kriti Jagadhaananda karaka that celebrates the valor of Rama and Lakshamana? Can any other raga other than Naatai convey veera rasam of Rama and Lakshmana (Ahalya shapam, Maricha vadham, Vishwamitra yagam) in Balagandam? Should we admire Thyagaraja’s musical prowess or should we admire Smt. Vishaka’s proficiency to identify and present such facts to us?

I have tried my best to remember and share the tidbits on the Pancharatnams.
1.Jagadananda Karaka - Ragam Naatai – Veera rasam – Rama avataram – Balakandam. The only sanskrit krithi in the 5 ratnas. This kriti also fits in the “Tana varanam” format. Every word from Pallavi, Anupallavi and Charanam can be taken out “Namaha” can be added at the end and turned into 108 Ramanamavali. Eulogizes Rama as “Janaki Prana nayaka”. Composer also beautifully brings out the truth of the sum total of Shiva, Brahma, Vishnu and others, equals Rama.

2.Dudukugala - Ragam Goulai – Karunya rasam – Rama avataram. In this krithi Thyagaraja laments, confesses his sins and pleads for Karunyam and redemption. (Sins: just wandering around as though being satisfied with a full meal, giving sermons to people who are really not interested in listening or who are too incompetent to understand, self-styling oneself as a great person, and mistaking the dross for the real thing. Interestingly he lists four categories of people before whom he has tried to pass off as a great man; the ignorant, the riff-raff, the shudras or low caste folk and women. In a play on words, he bemoans those who crave for wives and progeny).

3.Sadhinchane - Ragam Aarabhi – Adbudha rasam – Krishna avataram. Thyagaraja has used the liberty of the language, Adbudha rasam of Aarabhi ragam to bring out the metaphors and smilies with having a surfeit of adjectives. But towards the end of the kriti he comes back to Rama, his Ishta deivam.

4.Kanakana Ruchira - Ragam Varaali – Sringara rasam – Rama avataram – Ayodhyakandam. He describes the entire Seetha Kalayanam from how Seetha catches a glimpse of Rama to lavanyam and lakshanam of the bride and groom.

5.Endaro Mahanubhavulu - Sri Ragam – Shanta rasam – Saluations to all saints, bakthas, immortals, the moon, the sun, sanakasanandas, dikeeshakas, devas, kimpurushas, prahalada, Narada, Thumburu, Anjaneya, Siva, Sukha, Maharishi, and Brahma.
Her explanation of the Pancharatnas was like Konar/Cliff notes – it was simple, easy and sensible. The power of Thyagaraja’s words and Smt. Vishakas narration is capable of annihilating our sins, drive away our hopelessness and put us on the path of self realization.

The three hour journey took us to cross roads of music and spirituality visited by none other than Thyagaraja and his contemporaries. She filled our eyes with tear and hearts brimming with bakthi. Bangalore audience very often put their hands together to exhibit their “anandam” and “exhilaration”. There was no yawn or no break and many wondered what yuga they were in.

Smt. Vishaka Hari is beyond limitations of languages (Hindi, Marathi, Telugu, Kanada, Tamil, and English), she is multi lingual and mellifluous in all of them. She is beyond national and international boundaries (Bombay, Chennai, Bangalore, Delhi, Minneapolis), knows compositions of all composers (Trinities of Thiruvaiyaru, Dasars of Karnataka, Sants of Maharashtra) and has musical prowess to narrate Navarasas in ithihasas, puranas in more than Navaragas.

Apart from being a captivating storyteller and an adept musician, she is a spiritual doctor for those with wounded heart and mind. Spiritual doctor in her brahminical attire –traditional nine yards saree gives her the “Tam Brahm” GI tag and lends respect to the community. The community may want to claim and celebrate her as theirs, but she is a global treasure to be cherished and protected. Above all she is a torch bearer, a custodian of values for Hinduism and Carnatic Music. And to such people we just have two words - Andariki Vadanamulu!

What are you waiting for? Click on this link to download many of her Harikathas.