The conventional south Indian Bhajan originated mainly due to the efforts of Maruthanallur Sadguru Swamigal. Bhajan basically involves music in simple form with essence of Bhakti as the main embodiment. The songs are sung in chorus thus entailing a universal brotherhood. A melodic piece rendered in group singing has profound influence on the ear and mind and fetches mass appeal. The spiritual fervour of a Bhajan is apt to move one to reverence and worship.

Bhajans have evolved with a variety of patterns (paddhathi) over the years mainly due to the efforts of a few important stalwarts like Narasimha Bhagavatar, Godandarama Bhagavatar and Gopalakrishna Bhagavatar. The general sketch remains the same, viz., songs of various saints in different languages, regional forms of music etc. One can find Todayamangalam of Annamacharya, Geetagovinda (Ashtapati) of Jayadeva, Krishna leela tarangini of Narayana theertha and compositions of with keertans of many seers and saint poets of India nicely embellished in the bhajans of South India. While Ashtapati of Jayadeva of Orissa took the prominent position in the bhajan plan, the Telugu compositions of Bhadrachala Ramadasa, Kannada compositions of Purandaradasa, sanskrit compositions of Sadasiva Brahmendra, Tamil songs frm Nandanar Charithram of Gopala Krishna Bharathi, Tyagaraja kritis, the Marathi Abhangs, Hindi keertans of Tulasidas, Kabir, Meerabhai's songs added a sense of unity among the bhajan singers.

The songs sung in the traditional south Indian Bhajan are usually simple melodies. All the three forms of Indian music (classical, semiclassical and folk forms) find a place in the south Indian bhajans. The Ashtapathis and Tarangams which form a primary part in the bhajan are sung with a brief naration of slokas preceding the song. The ability of the singer to embellish the slok narration with his musical skill will produce the essence of the sloka absorbed well.  Following this the Ashtapatis are sung in chorus. Thus one can clearly find that the classical method of alapana comes over in the first art and simple melody rich semiclassical style prevails in the latter portion.

Interesting exhibitions of high classical music are seen in presentation of many songs including namavalis. To cite a few, the niraval in the song Amalaasayanutha and the niraval and pratyahada gamaka phrases in Kamalavallabha are worth noting. Namavalis are not set to specific ragas but they are presented in such a way that the tunes are enriched with classical methodology. For example, the namavali, Govinda Govinda Gopala Radha ramana is sung in three positions spread over middle, higher octave, thus clearly portraying the fact that a form of pallavi singing is present. Also, intricate rhythmic patterns are brought out during the presentation.

The highlight of south Indian Bhajan pattern is Deepa praakshinam. This item consists of several simple songs followed by folk forms in majority. Kummi, Kollattam, Odam, Chittar songs are some of the typical folk forms of Tamil Nadu sung towards the end of the deepapradakshinam. The item Dolotsavam or Utsava Sampradaya kritis which come as the last part of bhajan contains many folk tunes of Andhra. It contains several forms of lullaby songs and finally prabodhana (suprabhata) songs.

In the presentation of bhajan songs, utmost care is taken to bring out the essential aspects of a raga in which it is sung. It is a joy to listen to the bhajan rendering of several of the classical ragas like Sankarabharanam, Kambhaji, Kalyani, Bhairavi (in which the subtle variations of nishada are brought out with ease by the singers), Yadukulakambhoji, Nilambari, Anandabhairavi, Nadanamakriya, Punnagavarali etc.The raga Ghanta, which is not heard often in concerts, is a very familiar raga for bhajan
singers.

At this juncture it is worth noting that many of the Saint Tyagaraja compositions have been influenced by the bhajan presentations because of his involvement in bhajans.  For example, songs with niraval sangatis (such as Rama Nee samana mevaru) are influences of namavali singing in Bhajans. Tyagaraja has composed many songs (Divyanama kritis) for Deepapradakshinam and his Utsava sampradaya kritis are clear indication of his involvement in Bhajans. Most of these kritis are set to folk tunes well-known in the dolotsava padhdhati of south Indian bhajans.  Typical examples are: Hecharikaka rara, Pavanaja stuthi patra, nagumomu galavani, Napali, Ksherasagaravihara.

Marriage celebration is also considered an important item of Bhajans especially during occasions like Ramanavami day etc. It is believed that Bhadrachala Ramadasa initiated this form of worship by conducting Sita Kalyanam with songs set in Telugu folk tunes. The marriage invitaion song ( Allo neradillo), Muthukuthal (suvvi song) etc are typical examples which are practised in our bhajan tradition.

Thus in short one can say that bhajans form a platform for all the three styles of Indian music. If one wishes to have a feel for all the three types, just join the Bhagavatas in chorus. No wonder, classical stalwarts like GNB, Ariyakudi participated in bhajans to gain the THREE DIMENSIONAL NATURE of Indian music. Not the least, the fact that a mridangam player starts accompanying artistes in bhajans to gain confidence in the first place is a testimony of the scope bhajans have for Indian music
 
 

Back home
.