ARAYAR SEVAI

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). Here, 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 Divya 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 17^th and 18^th 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.

The Arayar sevai.

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.

Occasion of performance.

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.

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 9^th day of Pagalpathu at Srirangam, 10^th 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.