All auspicious events begin with Vigneshwar Pooja. It is a prayer seeking Lord Ganesha’s blessing for the seamless proceedings of any function.
63rd Mayuram Radha Kalyana Mahotsavam also started with Vigneshwar Pooja on 16th February early morning at Mangala Vinayakar temple situated next to Senthangudi Japa Matam. The Pooja was performed by chanting ashtothram (108 names) of Ganesha and offering neivedhyam (prasadam or sacred food).
The purpose of the Ganapathi Homam is the same as that of Vigneshwar Pooja. It is performed with igniting fire in a square-shaped place. Lord Ganesha is invited to be present in the fire, accept our offerings and bless us with energy. As fire is the symbol of energy, it can be said that we request for energy to perform our ventures successfully. The homam consists of chanting various Ganapathi mantras and pouring offerings like ghee into the sacred fire.
At 63rd MRK, Ganapathi Homam followed Vigneshwar Pooja with offerings of appam, sundal, modhakam and ashtadravya (made of 8 materials, namely coconut, banana, honey, sugarcane, ghee, modhakam, jaggery, and puffed rice). It was performed by four well-versed purohits.
This ritual is usually performed for divine blessings seeking safety before journeys are undertaken.
As Pandurangan who resides at Senthangudi Japa Matam round the year moves to the stage at Vallalar Koil Matam for 63rd MRK, Yathra Dhanam was performed requesting Lord Pandurangan’s permission for the move.
Decorating the idols or portraits of gods with garlands for the celebrations.
After Lord Vittal with His consorts moved to the Stage, His portrait was decorated artfully, a visual treat for bhaktas. Not only the Lord is decorated, His abode for the three days Vallalar Koil Mandapam is also decorated. The roof is the stage is decorated uniquely every year. Bhaktas sponsor the decorations with great joy and love towards Radhakrishna. The stage is covered with red carpet for bhagavathars to sit and mike sets are arranged for all to hear the proceedings with clarity. Air coolers have been placed strategically to keep the place cool and comfortable. Half of the street facing the stage, Vallalar Koil Double Street, is covered with pandal (a temporary erected of upright poles supporting a roof that is usually of bamboo matting; especially, a large open-sided temporary pavilion often used for large meetings) and chairs are placed for bhaktas to sit and watch the ceremonies and concerts. The arrangement of closed circuit TV since last couple of years has been a great value addition for the MRK which enables and close-up viewing for those sitting at the back too.
As you can see in the accompanying images this year also the portrait of Radhakrishna was decorated artfully and the mandapam and pandal were set nicely.
Dakshina Bharatha Sampradaya Bhajan Padhdhati has been the methodology followed for about 300 years for performing the Radha Kalyana mahotsavam. It is a set of songs sung in a preset order (click the hyperlink devoted to it in the ABOUT tab for more details).
At our MRK also the padhdhati has been adhered to in its purest form. From 9 am to 12.30 pm, the Dakshina Bharatha Sampradaya Bhajan Padhdhati was performed by the team of locally and statewide renowned bhagavathars (those who sing Lord’s praise) led by E. K. Jayarama Bhagavathar and included Balarama Bhagavathar, Mayiladuthurai Krishnamoorthy Bhagavathar’s sons Gnanaguru Bhagavathar and Nagaraja Bhagavathar, Jeyatheertha Bhagavathar, Babu Rajasekaran, Briha Balu Bhagavathar, Pichumani Bhagavathar , Dholak Vagulabaranam, and Mrudangam Sivakumar. We are honoured by the presence of Sri Ganesh Sharma, who is a specialist in Abhinaya Alankaram, from Unjavruthi till the concert on Sunday. The first session covered Dhyana slokams, Thodaya mangalam, Guru dhyanams and beginning of Ashtapathi songs till 12.30 pm. The style of singing Ashtapathi is also special here. Usually the rest of the team repeats lead bhagavathar’s lines. Here all bhagavathars take turn and sing each two-line stanza of the eight-stanza song. (Ashtapathi means the song contains eight stanzas.)
The verses from Vedas “Annadanam Samam Danam Trilokeshu Na Vidhathe” (Annadanam is supreme and incomparable to any charity) are the golden standard of the MRK.
Menu (12.30–3.30 pm): Pagakai kondakadalai sambhar, parupu, avarai kai curry, vazhaikay curry, kootu, pachadi, appalam, tomato rasam, arisi thengay payasam, mor and mangayinji oorukay.
In addition to the variety mentioned above, one more specialty is, as can be seen in the accompanying images, bhagavathars, bhakthas and organizing committee members are sitting and eating together without any discrimination.
Singing of Ashtapathi songs continued along with panchapathi (songs of 5 languages) and gurukeerthanas. Sixteen Ashtapathis were sung by the end of the first day.
From 4 pm to 5.30 pm light tiffin is served on all three days in addition to three main meals. This time the menu was Ashoka, kichdi, bonda, chutney and coffee.
Since the silver jubilee year, it has been a practice to host two Carnatic concerts, vocal or instrumental, Friday and Sunday evenings each. They replaced Mrs. Kamala Moorthy’s Harikatha pravachanam (narrating stories from the Scriptures[Purana]).
At the 63rd, Chinmaya Sisters duo, Uma and Radhika, were the first of two who graced the stage on Friday evening. Their elegant presence and stylish rendering in their sweet and mellifluous voices kept the audience enraptured. Their portfolio of songs included “bhagyadha Lakshmi bharamma”, “Bho..sambho”, “aadadhu asangadhu vaa kanna” and “kurai onrum illai”.
Simultaneously when concert was going on, the dinner was started being served from 7.30 pm and went on till 10.30pm. The dinner menu included onion and mullangi sambar, jeera rasam, ennai kathirikai curry, beetroot curry, poosani kootu, dangar pachadi, narthangay oorugay and mor.
It is a ritual involving singing of lullabies to put gods to sleep. It marks the end of the day. Though we wonder why gods need protection, it is in our culture at times to imagine gods as one among us and treat them as we treat our brethren.
From10.30 pm to midnight dolotsavam took place grandly with bhagavathars singing lullabies and appointing four among them in four directions to guard the doors of Lord Vittal’s abode. This procedure is very interesting to watch. As Lord Vittal’s portrait has to be decorated for next day’s celebrations, the ritual of waking the Lord up also followed dolotsavam.
