sowkkiyamo.

 Kannan varugindra neram  karai oram...

Tendral kandu kozhathadu parum..

Gaanathidai mona kuyil osai kidayaana taram

Aana kuzhal isai kelum.... pona

Aaviyellam kooda meelum

Challa chalanam ittu odum 
nadhi padum vanam

Thangi thangi suzandru aadum  nalla

Thudhi padidum adiyavar manamaanadhu, edhu pol ena

Thulli thulli gudithodum pugazh solli solli  isai paadum

Kannan nagai polum mullai inai illai endru

Kandadum vandu ondrum vallai –idhu

Kanavo alla nanavo yena karadaadhu irumaname - oru

 Kalamum poi ondrum sollen yengal

Kannan andree veru illaen

Thaazhai madal neenthu nokkum, mullaipaarkkum enna

Sowkkiyamo?? endru ketkum 
 ada mozhipesida idhuvo pozhudenavo

Adho varum Madhavan muthu mudiyinilservom

Ange mella mella pesi nervom....

Introduction: KAvaDic cindhu  is a generic term which covers a variety of folk songs in Thamizh sung in different rAgams—mostly cenjuruTTi, Anandabhairavi, and harikAmbhOji  towards the end of Carnatic music concerts. They are also popular as dance items in BharathanATyam performances. They are light classical in content but rich in emotion—steeped in bhakthi. They follow strict prosody in construction characterized by quick rhythmic tempo called “mudugu”. Their segmented pattern is: pallavi (eDuppu), anupallavi (toDuppu), and 3 caraNams (muDippu)---also called KaNNis---கண்ணிகள்.

These folk songs were/are traditionally sung during devotional dances undertaken to fulfill prayers---usually to Lord Murugan--- carrying “kAvaDi” (structures made of wood or steel) in different shapes and sizes balanced on the shoulders of devotees----young and old.

The song under consideration, “KaNNan varuginRa nEram…” is not a typical “kAvadi” dance song per se but follows the same pattern and meant to praise Lord Krishna in BrindAvan.  The tempo follows that of the traditional folk song. It is rich in lyrical beauty and melody. It describes the BrindAvan flora and the excitement of the sylvan species---the river, the breeze, the cuckoo, the bees, and the flowers there awaiting Krishna’s arrival.  Let us examine the lyrics and the meaning here.

rAgam:  mAnji (naTabhairavi janyam)    tALam: catusra Eka

pallavi

kaNNan varuginRa nEram - karaiyOram
tenRal kaNDu kozhittadu pArum
kAnattiDai mOnakkuyil OsaikkiNayAnattaram
Anakkuzhalisai kELum - pOna
AviyellAm kUDa mILum                                        (kaNNan)

caraNam 1

sallaccalanamiTTODum nadi pADum                                                                       vanam tangi tangic cuzhanRADum - nalla
tudi pADiDum aDiyAravar manamAnadu idu pOl ena
tuLLi tuLLik kudittODum - pugazhc
colic  colli isai pADum                                              (kaNNan)

caraNam 2

kaNNan nagai pOlum mullai iNai illai - enRu
kaNDatum vaNDonRum vallai - idu
kanavO alla nanavO enak karudAdiru manamE                                                             oru kAlamum poiyonRum sollEn - engaL
kaNNananDri vERu illEn                                           (kaNNan)

caraNam 3

tAzhai maDal nIttu nOkkum mullaippaarkum - enna
sowkkiyamO enRu kETkum - aDa
mozhi pEsiDa iduvO  pozhudenavE
adO varum mAdavan
muttu muDiyinil sErvOm - angE
metta mettappEsi nErvOm                                                 (kaNNan)

Meaning:

Pallavi: It is that time for KaNNan’s (Krishna’s) arrival. It is palpable at the riverbank when the gentle breeze is blowing pleasantly. In the surrounding forest, you can hear the sweet sound of the flute which matches the melody of the cuckoo. Hearing such a melody, even the departed souls would return.

CaraNam1:  The waves of the water in the river make a gentle splashing sound which resembles the sound of a song. The river is meandering along the forest creating whirlpools along the way. The river flows in ways which reflect the minds of  the  devotees singing in praise (of Krishna).

CaraNam2: The bees after noticing that the jasmine flowers do not actually resemble the smile of Krishna stopped contacting the flowers. Oh mind, please do not wonder whether this is all real or just a dream. I shall not lie and this is all due to Krishna’s arrival.

CaraNam3: The fragrant screw pine flower (tAzhampU in Thamizh) and the jasmine flower exchange looks and ask about each other’s welfare. But then they decide that the time is not appropriate to indulge in such small talk and that they would better decorate the hair of Krishna and then engage in incessant conversation thereafter.

Commentary: The composer, OotthukkADu VenkaTa Kavi (OVK), is visualizing the sylvan ambience with the flowing river and the gentle breeze to welcome the arrival of Krishna with the sound of his flute matching  the melody of the cuckoo. He imagines the gentle waves of the river water are singing happily because of the anticipated arrival of Krishna. He attributes human characteristics of singing and dancing to the river. Along the riverbank he notices the fragrant flowers such as the Pandanus fascicularis  and jasmine and imagines they are indulging in small talk wishing to be decorating Krishna’s hair.

The song is sung at a galloping gait like that of the river flow and the breeze along the riverbank. It is classified as kAvaDic cindhu (the kind of melody that matches the movements of those devotees who carry either milk pots on their heads or specifically designed devices carried on their shoulders and make  brisk rhythmic movements while traveling to the abode of the lord---usually at the top of a hill).

Composer: The composer OVK’s diction in Thamizh is commendable. It is worth mentioning that in several songs, the choice of certain words is so impeccable and absolutely irreplaceable. UtthukkADu Venkatasubbaiyer (1700-1765), affectionately known as OVK, predates the Trinity. He was born in NeedAmangalam and lived in Mannargudi in ThanjAvUr district. Very little is known about his personal life. His songs have been compiled, edited, and published by Needamangalam Krishnamurthy Bhagavathar, one of OVK’s descendants. OVK composed many kritis in Sanskrit and Thamizh, mainly on Krishna.

OVK was the first to compose thematic compositions like Navavarana and Saptaratna kritis consisting of nine and seven songs in each, respectively. He learned the rudiments of music from Pooranur Natesa Bhagavatar. Without further recourse to additional training, he found his mental guru in Lord Krishna himself.

OVK was the first one to use the ‘madyma kAlam” –a fast-pace delivery- in his compositions. His compositions have pleasant melody, ringing rhythm, and free-flowing rich devotional lyrics. Most of his compositions are popular among dancers. His famous works include Rudra sabhadham, Nandana geetham, Kalinganarthana prabhavam, Rajagopala Nrityotsavam, and Sri Krishna Ganam. There are quite a few padams in the compendium Sri Krishna Ganam.

Some other OVK’s  Thamizh compositions that are very popular in music concerts and commercial recordings are: tAyE yasOdA (tODi), asaindADum mayilonRu (simmEndira madyamam), alai pAyudE (kAnaDA), kuzhalUdi manamellAm (kAmbhOji), pArvai onRu pOdumE (suruTTi), nI tAn meccikkoLLavENum (sriranjani),  ADum varai ADaTTum, and tEril vandAnO (husEni), yArenna sonnAlum (maNirangu), pullAip piRavi taravENum (senjcuruTTi), eppaDittAn en uLLam (nIlAmbari), and  pAl vaDiyum mukham (nATTaikkurinji).