Skip to main content

The First Lesson - By Mysore Vasudevacharya

Mysore Vasudevacharya, doesn't need any introduction among the the Carnatic Music Devotees. Many popular compositions like 'Broche varevarura' in Kamas, 'Mamavatu sri Sarasvati' in Hindolam, 'Bhajare Re Manasa' in Abheri, 'Ninne Nammitinayya Sri Rama' in SimhendraMadhyamam are the contribution of this great Musician who belonged to the 'Shishya Parampara' of Sri Thyagara Swami, forerunner among the Trinities of Carnatic Music. We found an old article written by him- published somewhere in between 1900 -1961, recalling the days he spent with his Guru - Sri Patnam Subramania Iyer around 1870s! Those words, like his compositions, were flowing out from the heart of purity.





He writes :


Says Bhagavadgeetha. You should serve your Guru with devotion and sincerity; you should prostrate at his feet; you should ask him questions and get your doubts cleared; you are, then, ready for the road to 'Brahmagnana' .



Who is a Guru ? In the word Guru, Gu denotes darkness and Ru stands for removal. The word Guru thus means one who removes darkness. A Guru is one who, through his gnanopadesha, enlightens the sishya. It is through Guroopadesha that the sishya attains Brahmagnana. It is through him that the sishya is introduced to the esoteric secrets of Art or Science. No wonder, then, the Guru is held in high esteem in our tradition.




Your attainments will be proportionately related to your devotion to God and Guru.


the sishya should abandon all comfort and sleep and devote himself wholeheartedly to his studies.


'Dravyarjana' and 'Vidyarjana demand constant and continuous effort ; one should work for them every moment.

Guru Patnam Subramanya Iyer




The sishya should gaze with his mind's eye on the picture of the form of his Guru from head to foot to be able to reach his goal without impediments on the way. The sishya is also known as 'anthevasi' because he lived the Gurukula Vasa so that he was ever ready to attend to the needs of his Guru.

And how should a Guru be? A true Guru should be a 'Shishy-hruthApaharak' but not a 'vithApaharak' . The Guru should try to win the heart of his sishya and not merely extract monetary benefits from him. The Guru should feel delighted if he were to be excelled by his own desciple : 'shishyaathichedam parajayam'.

Mysore Vasudevacharya



In a Gurukula there are usually not more than two or three sishyas The Guru who is not under any monetary obligation to any of them is master in every sense ; he teaches the sishya whenever the likes and whatever he chooses. He will, thus, always give his best to his sishya. The sishya who pays the 'Gurudakshina' through his seva only always tries to please his Guru by means of his ardent devotion. He awaits with patience and eagerness for the blessings of the Guru. The sishya is thus ever in a respective frame of mind conducive to grasp things quickly and assimilate them fully.

This was the first lesson we were taught at the Samskritha Pathasala: I decided to live up to these principles when I went to TIRUVAYYAR for my training in music under my Guru Patnam Subramanya Iyer. I stayed there for a little over six years Parameswara and Kempegowda of Coimbatore were the other two disciples who were with my Guru at that time. According to the daily routine of work each of us had to follow, I was required to get up early in the morning and be ready to provide the 'tamboora sruthi' for my Guru at the time of his Sadhaka which would be from 4.30 to about 6.30.

After the Sadhaka I went out to collect tulasi for his pooja. My next task was to go to the river and wash the clothes of my Guru and his wife and fetch drinking water. By the time I returned home, the Guru would have finished his pooja ; I would wash the pooja utensils and keep them ready for the next day. Lessons for Parameswara and Kempegowda began by about 9 in the morning and I was to be present at the time and listen attentively.



After food, I would be by the side of my Guru who would be engaged with his musical composition. At night, I had to make the bed for my Guru and do 'padaseva' till he fell asleep. Several months rolled by in this manner but I received not a single lesson from my Guru. I had not the courage to ask him either as to when he would begin teaching me. However, it was not difficult for him to read my thoughts. One day, he himself talked about and said. Do not think, Vasu, that you have just wasted away your precious time because I have not taught you anything so far. I am fully aware of your eagerness and enthusiasm to learn I was only preparing the foundation for the future construction. A student of music should first of all welcome all opportunities to hear good music ; their benefits are many. After attentive listening, one can learn in no time any Varnam or Keertana, however, difficult and complicated it may be, I have taken you to the very doors of the temple of Art; what remains to be done is to enable you to have a darshan of the 'moola vigraham' .

The next day, as instructed by my Guru I got up early to have my bath in the Cauveri. I went to the Tyagaraja Samadhi and offered prayers. Returning home, I did Sashtunga- pranamam to my Guru 'Sangeethavidyasidharsthu' said he and blessed me placing his band on my head, I felt thrilled.



He started the lesson with his own Varnam in Begada marachitlunde. Though I was able to learn the piece by heart in a couple of days, he did not teach me any thing else for the next three months. I was asked to practise the same Varnam morning and evening! in 'Prathama' , 'madhyama' and 'Thri kalams' . Next, he analysed the varnam 'avartam' by 'avartam' and explained the 'Ragasanchara' and 'Ragabhava' in each 'avartam' . He asked me to take up one 'avartam' a day and elaborate the 'ragaprayoga' occuring therein. This excercise went on for about a month. “Look, Vasu”, said my Guru, “I have taught you the Begada Ragam in its totality. Nothing else remains for me to teach you in that ragam. So thorough and so detailed was the method of training. Neither the Guru nor the Sishya in those days was guided by the number of varnams and kritis taught or learnt. Any thing taught or learnt should be flawless and complete; that was their aim.




author
Written by
Mysore Vasudevacharya

Comments

Popular posts from this blog

Executive Music Therapy Health Check up for the Wandering Monk! - Margazhi 2018

H aving come from Delhi to Chennai Margazhi, i decided to do an executive music therapy and consulted different 'resident doctors', specialists, super specialists etc located in different Sabhas. My music therapy began at Krishna Gana Sabha on 24th December with 'a detailed examination' by Pandit Ronu Majumdar who is arguably the best Lungs and Breath specialist. He decided immediately on 'checking' me that i should first be de-toxicated as I have come from a highly polluted Delhi. He breathed melody of his magic flute for two hours and i felt as if i am surrounded by Air Purifier. At the end of the session he gave me a hug to certify that i am purified. My next visit was to Partha Sarathy Swami Sabha where a Fulbright ( fully bright ) GP by name Sikkil Gurucharan took me right under his nose . I was seated by him in the front row and the session of 150 minutes was rejuvenating. He also took help from a very senior Consul...

Pollachi Tamil Isai Sangam annual dance fest

A s a part of 33rd annual dance festival by the Pollachi Tamil Isai Sangam, a group of Mohiniyattam dancers from Upaasna akademy of fine arts of Mumbai led by Smt. Sujatha Nair presented a few selected Mohiniyattam items on Sunday 12th August 2018 at the KKG Thirumana mandapa auditorium. Starting with an item in praise of the one tusked Vigneswara they presented a Varnam in ragam Simhendra Madyamam depicting few scenes from Ramayanam like Ahalya moksham, Seeta Swayamvaram and Sabarai Darshanam. While Sujatha Nair did a solo presentation of an ashtapadi from Gitagovindam. The group also presented an item in Ragamaalika, recreating the Vrindavana leelas of Lord Srikrushna. All the items were choreographed by Smt. Jayashree Nair, founder director of Upaasana. Jayashree Nair and her students were felicitated by the Sangam secretary Sri G D Gopalakrishnan.

SPIC MACAY 'Kumbh' - A plethora of Indian classical music and dance

W e all know the 'Kumbh' or 'Kumbha' Mela (Fair) to be one of the largest human congregations in the world. This 50 day festival is a pilgrimage of faith where people gather to bathe in the sacred river, Ganges. Traditionally, the ArdhKumbh (which is now celebrated as Kumbh) is held once in every six years at different locations (Prayagraj, Haridwar, Nashik and Ujjain) depending on Hindu astrological positions. This year, the Kumbh is being celebrated from 15th January - 4th March 2019 at Prayagraj, Uttar Pradesh. SPICMACAY has come together with Ministry of Culture, Government of India, Dept. of Culture, U.P., District Administration, Mela Administration and got the opportunity to be a part of the Kumbh Mela 2019 Anahad Naad 'The Unheard Sound' and celebrate the richness and diversity of our Indian heritage. In this regard, SPICMACAY has invited students from different states to participate in the majestic SPICMACAY Kumbh Mela 2019 to be hel...

"And singing still dost soar, and soaring ever singest...", Dr. Bombay Jayashri at Narada Gana Sabha

V idushi Bombay Jayashri culminated her musical yagnas Margazhi season Chennai appropriately at a Sabha whose name is synonymous with the Vedic sage holding Tampura singing songs of Vishnu and Sadguru Gnanananda . Yes Sadguru Gananda Auditorium of Narada Gana Sabha was chocked with ardent music lovers from Chennai and rest of the ‘world’ to listen to Carnatic music by Bombay Jayashri. While, on 30 December 18, people started queuing up outside the gates in 'tune' with the anticipated calm and meditative music, there was a celestial event of invisible line up of ragas waiting to waft in and gently enter the vocal chords of the divine singer framed between two Tampuras . And when curtain was raised at 4 pm. Bindumalini, Kalyani, sriranjani, Sindhu Bhairavi, Desh - to name a few Gandharv Beings - came one by one in a very orderly manner. In contrast to the melody , the applause was higher than 6 on the Richter Scale and the standing ovation appeared to be unend...

Soorya fest - 'Parampara' series

P arampara series of performances in Soorya fest 2018 this year will be conducted from Nov 1 to 10 at Thiruananthapuram, Keralam. The venue of performance will be Ganesham and will begin at 6.45 PM on all days. 1 Nov - Dakshina Vaidayanathan ( Bharatanatyam ) 2 Nov - Pratiksha Kashi ( Kuchipudi ) 3 Nov - Sreelakshmi Govardhan ( Kuchipudi ) 4 Nov - Divya Unni ( Bharatanatyam ) 5 Nov - Abhayalakshmi ( Odissi ) 6 Nov - Reddy Lakshmi ( Kuchipudi ) 7 Nov - Deepti Gupta ( Kathak ) 8 Nov - Shweta Prachande ( Bharatanatyam ) 9 Nov - Lavanya Ananth ( Bharatanatyam ) 10 Nov - Uthara Unni ( Bharatanatyam ) Time : 6.45 PM - all the above performances. November 1 to 10 Workshop on Dance by Guru Bragha Bassal Hamee 11-Inch Tabcase Tan Brown Leather Tablet Case / Sleeve / Pouch for Toshiba ...

Nrtya Techniques in Mohiniyattam; book released

R enowned 'Mizhavu' artist and Guru - Padmashri P.K. Narayanan Nambiar released a book ( Malayalam ) - 'Nrthya Sankethangal Mohiniyattathil' written by Dr. Geetha Sivakumar at Palakkad, Keralam. Over the years, different 'Baanis' or 'Traditions' had contributed a lot in the nourishment of Mohiniyattam. This book -'Nrtya Sankethangal Mohiniyattathil' focuses on 'Kalamandalam baani'.   ”Mohiniyattam, a lyrical dance form of Kerala, has a well structured 'prayoga' style in Kerala Kalamandalam Kalaries. This book tends to analyse the techniques of Mohiniyattam adopted by Kerala Kalamandalam so as to consider it as a Lasya Nrtya form. The queries on the techniques of nrtya such as what, why, where, when are the basic thought of this study. It is analysed on the basis of Sanskrit texts, which give us more scientific explanations and principles. ...

The Second ‘WOCUE Rasa-Navam’ ( something special captures )

F rom the set of pics that came under our consideration, we selected this beautiful capture of Smt. Shashwati Garai Ghosh in landacape orientation as the second WOCUE rasanavam – something special captures. Photo by : Debojyothi Dhar, Captured at Mukteshwar Fest, 2017 In this picture, the Dancer is positioned like a wonderful sculpture. The color of her costume is well blended into atmosphere of the stones on the Temple structure in the background. Lights on the Temple structure are nice and the other structures goes into darkness slowly into the infinity. (Announced on 29th May 2017) About the Artist : SMT. SHASHWATI GARAI GHOSH Smt. Shashwati Garai Ghosh, is an Odissi Dancer from Kolkotta. She is a Disciple of Vidushi Sharmila Biswas. Shashwati has performed several times at the Konark Festival, the Mukteshwar Festival, and the Ananya Festival in India. Besides, she has danced at Menaka Thakkar’s group production (Toronto, 2004), Maximum India...

Third studio show at Sarani, Whitefield

S arani’s third studio showing showcased two dance forms, Mayurbhanj Chhau by Sri Aditya Srivastava, a student of Guru Sri Janmajaya Sai Babu and Odissi duet by the mother-daughter duo, Smt. Sonalika Purohit and Kum. Srinika Purohit. Sri Aditya Srivastava began his peformance with a dance descriptive of Shiva and then moved onto one where he showcased the elements of martial art techniques that are so much part of Chhau. His jumps, spins and controlled body movements were enjoyed by all including the little ones. Photo Credits : Sri.S Devarajan Following Sri. Aditya’s performance Smt. Sonalika Purohit and Srinika Purohit presented the Odissi. Their performance, while tilted towards the presentation of abhinaya, did also showcase amazing neatness of techniques by eight year old Srinika. Whether it was Smt. Sonalika’s performance describing the 'Panchabhutas' or Kum. Srinika’s description of the Goddess Durga, or their item 'Madhurashtakam', ...

Nrithya Seva Mani by Cleveland Thyagaraja Festival to Kalasree Dr Sunanda Nair

C leveland Thyagaraja Festival's Nrithya Seva Mani award will be presented to the renowned Mohiniyattam exponent Dr. Sunanda Nair. The title of Nrithya Seva Mani is bestowed upon an individual who has made a lasting contribution to Classical Dance through propagation and demonstration. Senior disciple of Pathmabhushan Dr Kanak Rele, Dr. Sunanda Nair is one of the foremost exponents of the art today. She is the first student to complete Masters Degree in Mohiniyattam in India. She has completed her PhD from University of Mumbai for her thesis "Intrinsic Lyrical Feminism in Mohiniattam". She was in high school, while she started the Srutilaya Institute of Fine Arts, which trains students both Mohiniattam and Bharatanatyam, in 1980. She had performed all around the globe in prestigious venues and had received somany awards such as 'Kalarathnam’ from Kerala Kalamandalam(2016), 'Kalaasree' from the Kerala Sangeetha Natak Akadem...