I was fortunate to attend a Drama on Sadguru Bodendra Saraswathy Swamigal at Narada Gana Sabha on 16th February 2014, enacted by Bombay Gnanam & Group (BG&G)
This was under the auspices of Parthasarathy Swamy sabha. Interestingly, the hall, for this drama, has not been changed and the Sabhas like Narada gana Sabha, Partharsathy sabha, Brahma Gana sabha and Karthik Fine arts have been sponsoring every day. Yesterday was the second day of the (same) drama. Of course, the advantage is that there is no need to move the set and NGS being the centre of the “Musical hub”, this hall, obviously, attracts like -minded crowd.
At the very outset, BG&G needs to be congratulated for taking the bold attempt of bringing a drama on Sadguru. As dramas are almost extinct sans some comedy dramas by SV Sekhar and Crazy Mohan, BG&G’s attempt to recreate the visuals of Sadguru is a definite welcome and should be applauded and as it was- the standing ovation, she got from the full house on Sunday was a proof of this.
Sadguru was s the 59th Pontiff of Kanchipuram mutt. He attained “dIkshai” from His mentor Sri Viswathy Kendra Saraswathy Swamigal. Let me tell the story in brief-
Sadguru was the only child for Mohan Pandurangan and Suguna, who had been yearning for a child for quite some time. With the blessings of Sadguru, Suguna gave birth to Purushottaman. As he grows he was performed “BrahmOpadesam” and was trained in vEdAs, under the tutelage of Sadhguru, along with another orphan Brahmin boy Gnana sekharan. Gnana sekharan was expert in “jotisha sAshtra”. In his young age. Sri.Viswathy wanted to teach “brahma Gnanam (Brahma vidhdhai)” and assured him to do this after he returns from Kashi.
In between, Purushottaman and Gnana sekharan wants to embark into a journey to kashi to have a darshan. Though Gnanasekharan knows that he would not survive to reach kAshi, he takes a vow from Purushottaman that if one of them dies, en route, to kAshi, the other one will perform the rites and on reaching kAshi dip in to the river Ganges to attain “jala samAdhi”. En route, Gnana sekharan passes away.
While Purushottaman meets his Guru and seeks his permission to end his life, He reluctantly agrees. While plunging in to Ganga, dEvi appears and refuses to take his life saying that he should be alive to be useful to the world.
After this, Sri.Viswathy makes him as the 59th pontiff of kAnchi mutt and rechristen his name as Sri. Bodendral.
Sadguru Bodendra, after this, started propaganding rAma nAma everywhere and wiping the tears and grievances of many bhaktAs through his sheer power of Rama nAma.
He also meets sadAshiva brahmEndAl in Tiruvidaimaruthur and at last comes to Govindapuram, situated between kumbakonam and mAyuram. This is the place He selects to attain “jeeva samAdhi” since “rAma nAma” was continuously vibrating in this place.
Even today, we can go to this small hamlet called Govindapuram and immerse in to the bhakti bhava of Sadguru and feel the vibration of Sadguru through his rAma nAma.
Rama nAmam has been the “tAraka mantra” of Sadguru. That was the underline point of his entire life. This has been narrated by two instances (though we have plenty) in that drama. One being a Girl, without her knowledge, abducted and in order to prove her innocence, Sadguru asks her to chant Rama and dip in the river near Puri Jagannath temple and comes out as a “sumangali lady”. Another one, dumb boy speaks after he eats the left out of Sadguru.
Rama nama mahimai:
Ramakrishna parahamsA, in his autobiography writes like this- “As I was rowing in Ganges, I saw the entire kshEtram full of Gold (tangamayamAna) and I fell unconscious after witnessing a scene wherein Lord ParmEshwara is chanting “Rama namah” in the ears of the each and every departed soul in kAshi”
The same has also been narrated by Adhi shankara in “Rama bhujana prayAdah stotram” as given below”
“ShivO rAma rAmedhi rAmedhi kAshyAm…. (2nd line)
bhajEham bhajEham bhajEham bhajEham” (4th line)
which means “I go on praying “rama nAmah” which has been uttered by ParamEshwara in kAshi”
நன்மையும் செல்வமும் நாளும் நல்குமே
தின்மையும் பாவமும் சிதைந்து தேயுமே
சென்மமும் மரணமும் இன்றித் தீருமே
இம்மையே இராம வென்ற யிரண்டெழுத்தினால்
என்னும் கம்பரின் பாடல் இரண்டெழுத்து மந்திர மாகிய இராம நாமத்தின் மகிமையை விளக்குகிறது.
Musical Trinity Vs Sampradaya bhajan Trinity.
As we have musical Trinities, Sadguru Bodhendral, Sridhara AyyAvAl and marudhAnallur Sadguru swamy were the Tritinities for sampradhAya bhajan Padhdhdhi. This has been further propaganded by Tapovanam sadhguru Gnananda swamigal and Swami Haridas Giri. Presently, numerous bhAgavathars are walking on this road laid by the above sadhgurUs.
BG&G brought the characterization very well and the actors (all ladies) performed. The costumes were amazing and the dubbing was perfect. Dubbing male’s voice in to a female character and one will not know the difference. Such perfection.
Beautiful settings of a hut, Pooja Room, effect of roaring of Ganges are few of this classic drama.
By making this drama free for all, BG has done a great service to bring more people to know the importance of Rama nAma.
There are few suggestions, BG may consider.
Bring one more “real time” story of Sadguru curing the grievances of the bhaktha. Two is not enough. More instances will be registered in the mind of youngsters as well as old instantly.
Reduce the “Chanting of mantras”. The problem, here, is – Guru is chanting and the shishyAs are repeating. This repeat, naturally, takes time. Not all the rasikas are familiar with mantras and may not like this process. Reduce this and instead, bring more “moral values’ to the story as being preached by Sadhguru.
Bring the mantra- “GananAm twa” a famous Ganapathy Dhyana slokam as the first chanting instead of Shanti pAtam. Ganapathy has already been forgotten by Carnatic Music performers. Even Drama artists also forget, where will He go ?
Bring SadgurU’s kritis in the background. There are so many kritis of Sadguru. Instead of playing new kritis, His kriti would elevate the drama’s image.
BG, at the end of the show informed that she was blessed by Kanchi Sri. Jayendra Saraswathy Swamigal before staging this and also asked to perform Adi Shankara as a drama by Kanchi seer, no wonder this attempt would bring more bhakthi bhavam in the mind of rasikas..
This was under the auspices of Parthasarathy Swamy sabha. Interestingly, the hall, for this drama, has not been changed and the Sabhas like Narada gana Sabha, Partharsathy sabha, Brahma Gana sabha and Karthik Fine arts have been sponsoring every day. Yesterday was the second day of the (same) drama. Of course, the advantage is that there is no need to move the set and NGS being the centre of the “Musical hub”, this hall, obviously, attracts like -minded crowd.
At the very outset, BG&G needs to be congratulated for taking the bold attempt of bringing a drama on Sadguru. As dramas are almost extinct sans some comedy dramas by SV Sekhar and Crazy Mohan, BG&G’s attempt to recreate the visuals of Sadguru is a definite welcome and should be applauded and as it was- the standing ovation, she got from the full house on Sunday was a proof of this.
Sadguru was s the 59th Pontiff of Kanchipuram mutt. He attained “dIkshai” from His mentor Sri Viswathy Kendra Saraswathy Swamigal. Let me tell the story in brief-
Sadguru was the only child for Mohan Pandurangan and Suguna, who had been yearning for a child for quite some time. With the blessings of Sadguru, Suguna gave birth to Purushottaman. As he grows he was performed “BrahmOpadesam” and was trained in vEdAs, under the tutelage of Sadhguru, along with another orphan Brahmin boy Gnana sekharan. Gnana sekharan was expert in “jotisha sAshtra”. In his young age. Sri.Viswathy wanted to teach “brahma Gnanam (Brahma vidhdhai)” and assured him to do this after he returns from Kashi.
In between, Purushottaman and Gnana sekharan wants to embark into a journey to kashi to have a darshan. Though Gnanasekharan knows that he would not survive to reach kAshi, he takes a vow from Purushottaman that if one of them dies, en route, to kAshi, the other one will perform the rites and on reaching kAshi dip in to the river Ganges to attain “jala samAdhi”. En route, Gnana sekharan passes away.
While Purushottaman meets his Guru and seeks his permission to end his life, He reluctantly agrees. While plunging in to Ganga, dEvi appears and refuses to take his life saying that he should be alive to be useful to the world.
After this, Sri.Viswathy makes him as the 59th pontiff of kAnchi mutt and rechristen his name as Sri. Bodendral.
Sadguru Bodendra, after this, started propaganding rAma nAma everywhere and wiping the tears and grievances of many bhaktAs through his sheer power of Rama nAma.
He also meets sadAshiva brahmEndAl in Tiruvidaimaruthur and at last comes to Govindapuram, situated between kumbakonam and mAyuram. This is the place He selects to attain “jeeva samAdhi” since “rAma nAma” was continuously vibrating in this place.
Even today, we can go to this small hamlet called Govindapuram and immerse in to the bhakti bhava of Sadguru and feel the vibration of Sadguru through his rAma nAma.
Rama nAmam has been the “tAraka mantra” of Sadguru. That was the underline point of his entire life. This has been narrated by two instances (though we have plenty) in that drama. One being a Girl, without her knowledge, abducted and in order to prove her innocence, Sadguru asks her to chant Rama and dip in the river near Puri Jagannath temple and comes out as a “sumangali lady”. Another one, dumb boy speaks after he eats the left out of Sadguru.
Rama nama mahimai:
Ramakrishna parahamsA, in his autobiography writes like this- “As I was rowing in Ganges, I saw the entire kshEtram full of Gold (tangamayamAna) and I fell unconscious after witnessing a scene wherein Lord ParmEshwara is chanting “Rama namah” in the ears of the each and every departed soul in kAshi”
The same has also been narrated by Adhi shankara in “Rama bhujana prayAdah stotram” as given below”
“ShivO rAma rAmedhi rAmedhi kAshyAm…. (2nd line)
bhajEham bhajEham bhajEham bhajEham” (4th line)
which means “I go on praying “rama nAmah” which has been uttered by ParamEshwara in kAshi”
நன்மையும் செல்வமும் நாளும் நல்குமே
தின்மையும் பாவமும் சிதைந்து தேயுமே
சென்மமும் மரணமும் இன்றித் தீருமே
இம்மையே இராம வென்ற யிரண்டெழுத்தினால்
என்னும் கம்பரின் பாடல் இரண்டெழுத்து மந்திர மாகிய இராம நாமத்தின் மகிமையை விளக்குகிறது.
Musical Trinity Vs Sampradaya bhajan Trinity.
As we have musical Trinities, Sadguru Bodhendral, Sridhara AyyAvAl and marudhAnallur Sadguru swamy were the Tritinities for sampradhAya bhajan Padhdhdhi. This has been further propaganded by Tapovanam sadhguru Gnananda swamigal and Swami Haridas Giri. Presently, numerous bhAgavathars are walking on this road laid by the above sadhgurUs.
BG&G brought the characterization very well and the actors (all ladies) performed. The costumes were amazing and the dubbing was perfect. Dubbing male’s voice in to a female character and one will not know the difference. Such perfection.
Beautiful settings of a hut, Pooja Room, effect of roaring of Ganges are few of this classic drama.
By making this drama free for all, BG has done a great service to bring more people to know the importance of Rama nAma.
There are few suggestions, BG may consider.
Bring one more “real time” story of Sadguru curing the grievances of the bhaktha. Two is not enough. More instances will be registered in the mind of youngsters as well as old instantly.
Reduce the “Chanting of mantras”. The problem, here, is – Guru is chanting and the shishyAs are repeating. This repeat, naturally, takes time. Not all the rasikas are familiar with mantras and may not like this process. Reduce this and instead, bring more “moral values’ to the story as being preached by Sadhguru.
Bring the mantra- “GananAm twa” a famous Ganapathy Dhyana slokam as the first chanting instead of Shanti pAtam. Ganapathy has already been forgotten by Carnatic Music performers. Even Drama artists also forget, where will He go ?
Bring SadgurU’s kritis in the background. There are so many kritis of Sadguru. Instead of playing new kritis, His kriti would elevate the drama’s image.
BG, at the end of the show informed that she was blessed by Kanchi Sri. Jayendra Saraswathy Swamigal before staging this and also asked to perform Adi Shankara as a drama by Kanchi seer, no wonder this attempt would bring more bhakthi bhavam in the mind of rasikas..
