CHAPTER - 4

FORMS AND INSTRUMENTS FIGURING IN

BHĀGAVATHAR’S BHAJANA

The Bhajana is sung individually and in congregation. Bhajana

Paddhati comprises of songs which are performed in a sequential order. It
has got a framework or set programme. Bhajana paddhati is a structured
Bhajana ritual. In a Bhajana performance, various musical forms like
kirtana, abhang, asht apadi and different musical types like pundarikam,
ślōka, nāmāvali, viruttam are included. Various musical instruments are
also used in his Bhajana. All these Forms and musical instruments are
discussed in the following paragraphs. The importance of music, sāhitya
and tāla aspects are also analysed in this chapter.

4.1 Various Forms in his Bhajana

Normally in any Bhajana paddhati, the following order of musical

forms and types are seen. They are as follows- Puṇdarīkam, Slōka, Kīrtana
and Nāmavali.

Puṇdarīkam –It is a kind of formula consisting of few words focusing on

one deity or another, saints or Gurus. Puṇdarīkam consist of Forms, the
first is a couplet followed by Prativacanam. The former is uttered by the
Chief of the Bhajan group or senior Bhāgavathar and the latter is uttered by
the [Link] words referred in the puṇdarikam varies from deity to
deity,saints and [Link] Puṇdarikam and Prathivacanam uttered at the
start of the Sampradāya Bhajana is a classic example for this order of the

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Bhajana ritual. In Bhajan Sampradāya, Puṇdarīkams are uttered for every
dhyāna of Gurudhyāna, Dēvatha Dhyānas, Saints of composers etc. At the
commencement of the Bhajana, the following Puṇdarīkams are uttered :

Pun darīkam Prathivacanam

Janaki Jeevana Smaranam Jai Jai Rāma Ram

Namah Pārvathi Pathaye Hara Hara Mahādeva
Gōvinda Nāma Sankīrtanam Gōvinda Gōvinda
Pundalika varada Hari vittala
Ānjanēya Swāmiki Jai
Sadguru Swāmiki Jai

The above order of Puṇdarīkams are followed by Gōpālakrishṇa

Bhāgavathar at the start of the Bhajana programme.

Puṇdarīkam gives an effect of spiritual atmosphere in any Bhajan

programme as the whole audience is involved in uttering the prativacanas.

Sloka : It is a popular poetic verse non-rhythmical music traced from

itihāsa Purānas. Slōkas may be either in couplets or a four line stanzas. In
Bhajana Sampradāya, the slōkās are rendered in the following manner.
Slōkas are performed either as Avadhārika dhyāna slōkas rendered at the
commencement of the Bhajana or in dhyana slokas on any deity or [Link]
is rendered in Dēvatha Dhyāna section and as itihasa puranas /chatur veda
puranas in puja section and finally as mangala carana slōkas at the end of
the Bhajan Sampradāya. The slōkās consist of melodies set to verses in
which there is no rhythmic accompaniment, yet an implied tāla is an
intrinsic part.

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Avadhārika Slōkas

They are the poetic verses, derived from Itihāsa purānas, Srīmad
Bhāgavatam. It tells the inherent characteristics of the rāga with no tala.
Avadhārika slōkas are rendered as dhyāna slōkās prelude to
Tōdayamangalam which are introduced to induce the faith of the devotes.

Shuklam Bharadharam Vishnum …………….

extends from 1-38 verses
Dhoorikrutha ………. Hanumantha

Two line verse slōka

Sarvakalyana dātaram Sarvabhathgana Vārakam

Apāra Karunāmūrthim Ānjaneyam Namām Yaham

Four line verse sloka in siva dhyana in Devata dhyana section.

Śivam Śivā Karam Santham

Śivathmānam Sivōththamam
Śiva marga Pranēdharam
Pranadosmi Sadāsivam.

Sarvakalyana dātaram Sarvabhathgana Vārakam

Apāra Karunāmūrthim Ānjaneyam Namām Yaham

It may be in one rāga or to a group of rāgas in the form of rāgamālika.

Kīrtana : Kīrtana has its origin in the later half of the 14th century.
Tāllappākam composers are the first to introduce Kīrtana-s with the three
divisions Pallavi, Anupallavi and Caranam. Kīrtana-s are the sacred form
of Music which creates Bhakti rasa which is the ideal underlining the
compositions Kīrtanas are lucid, simple and easy method of rendering. The
presence of Plural caranas is a distinctive feature of Kīrtana. In Kīrtana-s
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sometimes anupallavi may be absent. Kīrtana form can also consist of one
Pallavi, Anupallavi and only one carana For ex. Taranga Kīrtanas,
Dāsarathi Kīrtana-s. Gīta Gōvinda Astapadi, Similarly Tyāgarāja’s
Divyanāma Kīrtana-s, Utsava Kīrtana-s and Sampradāya Kīrtana-s of
Annamacārya are good examples.
In the Bhajana Sampradaya, kīrtanas are found in the following
sections. Tōdayamangalam –It is a set of songs composed by saints like Śri
Annamāchārya, Śri Bhadrachala Rāmādas, Śri Vijayagōpala swamy,
complied like a garland of precious stones by Marudānallur sadguru
Swāmigal. It is sung as Aahvaana Kīrtana-s (welcoming the deity).
Sampradāya Bhajana commences with Tōdayamangalam Kīrtana-s which
are in praise of Lord Rāmā, krishṇa and Lord Śrinivasa (Venkatesa). The
songs are in the following order.

1. Jaya Janaki Rāmāna -Nāttai rāga set to jampa tāla.

Caranu caranu in Arabhi,
Guru kīrtana-s-common guru kīrtana – Gurumoulimanae in Behāg rāga
Gīta Gōvinda kīrtana-s( ashtapadi) – Rādha vadhana in madhyamāvati rāga
which is a kalyāna ashṭapadi.
Taranga kīrtana-s – Kshemam guru gopala in mohana rāga
Panchapati kīrtana-s.Rāma rā rā in kamās rāga( Bhadrāchala Rāmadas)
Hari nārayana Hari nārayana in Kedāragoula (Purandaradāsa)
Mānasa sancarare in sama raga (Sadāsiva Brahmendral)
Eppovaruvaro in Jonpuri (Gōpala Krishn a Bhārati)
Rama bhakti samrajya in Suddha bangala ( Tyagaraja)
Bajōre bhaiyya in mānd rāga.(Kabīrdas kīrtana)
Caranaraja mahima in Simhēndramadhyama (MīraBai kīrtana)

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In Pūja section, Upacāra kīrtana-s starting from Āhvāna to Prārthana
abhangs. Bāro murāre in Dēsh rāga
Upacāramulanu in Bhairavi. Sundarathe dhyāna in Prārthana abhang.
Kīrtana-s covered in dēvatha dhyānas that is from ganēśa dhyāna to
Harihara dhyāna which are covered in the Bhāgavathar’s paddhati.
In the Divyanama kīrtana section , kīrtana-s are covered representing lord
ganesa then Rāma, Krishṇa, pānduranga vittal as well as Avatāra kīrtana-s
of lord Vishnu, Rāsa lila kīrtana-s and finally dīpa samarohana kīrtanas.
Rama Badra ra ra in AnandaBhairavi raga.
Dhanya Dhanya ho in Māand [Link] Rasa lila kīrtana-s GopiGopala Bala n
the raga Purvikalyani. In Dolotsava seva kīrtana-s –Starting with
Hecchariga ga rara in Yadukulakambhoji and ending with Prakara
Rakshana kīrtana-s starting with Kaveridire and ending with Kumkuma
candana .These are covered in pavvlimpu rituals composed by Saint
Tyāgarāja and Annamācārya and later adopted by Sadguru Gopalakrishna
Bhagavathar. He has selected the kīrtana-s in appropriate order of rituals
based on his Manodharma and was performing Dolotsava Bhajan as
Dolotsava paddhati of his own.
Nāmavali: is a musical type rendered in praise of Almighy.
Nāmāvali rendering is intended for Congregational singing in the Bhajana
Sampradāya. The recital of Nāmāvalis give an effect of Collective strength
in the devotional atmosphere. It is characterized by the repetition of words
by the congregation. A good example of the Nāmāvali is the Nāmāvali
rendered at the end of the Tōdayamangalam –

Rāma Gōvinda Rāma Rāma Kalyāna Rāma

Rama Pattabhi Rama Raghava ending with

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 Gōvindam mama j īvanam
Gōpālam mama j īvanam.

Apart from the regular Musical forms seen in Bhajana, Aśtapadi and
Tarangam have a pride of place in the Sampradāya Bhajana system.

Asht apadis are composed by Jayadeva Maha Prabhu, ardent

devotee of Lord Krishna. Asht apadi contains 24 songs. Each Kīrtana
containing 8 Stanzas. Mostly carnatic rāgas are adopted in Tamilnadu but
in Guruvayoor temple and Puri Jagannath temple Asht apadis are rendered
in different style.

Abhang Nāma Sankīrtana:

Abhangs are highly sacred forms in music. Abhangs are used both
in Harikatha and [Link] Abhang Kīrtanas have originated from
Maharashtra where Saint composers like Tukaram, Namadev, jñānadēv,
Janabāi and also Samartha Rāmadās have a great place in the Abhang
rendering, who have composed good number of Abhangs in praise of Lord
Pānduranga Vittal, the presiding deity of Pandarpur. The music is simple
and the tune is repeated with slight embellishments and variations.
Abhangās do not have a fixed tune.

As per the Sampradāya Bhajana followed by Gopalakrishna

Bhagavathar, the Abhang Kīrtanas are accommodated in the following
sections.

I Section - In Guru Dhyānas - Guru Abhangs Kīrtanas are

rendered, such as:

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 Trivitha Tapasi, Sadgurune Majhe, Sri Guru Sarika

In Saint Sadhu Dhyānas, the following abhangs are accommodated.

Santhapathāchee, Santhachiye, Kōdi Janma Punya Sādhana

Sādhalae.

Puja Section:

Prārthana (Prayers) Abhang Kīrtanas are accommodated just before

Mandrapushpa.

Baapa Majha, Tu majhemavuli, SundaratheDhyāna, Dasachee

Sampathi, Vadana Suhasya, Hey Dayaluva.

Dēvatha Dhyānas:

Rama Dhyāna - Tumajha yejaman

Rama gava Rama dhyava

Pānduranga Dhyāna - Rupa pahatam lochani

Paya Joduni Vitevari
Mukuta Kundaline

Ānjaneya Dhyāna - Dhanya Anjanīca

Divyanāma Sankīrtanam - II Section: Before the dipa

samaropanam Pānduranga Prarthana Puja is rendered before the dīpa jyothi
with the kīrtana ksheera sagarantha.

After the Dīpa Samāropanam, Prarthana Abhang Kīrtanas are

rendered.

Jāchevamsin, Ratnajaditha, Tujhe nama gayena, Sadha majhe

Pandarichavacha, Yechi dhana dhekadeva.
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4.1.1 Musical Aspect

From the time of Marudanallur Swamigal, or even after his time

(say upto 1900) the Sankīrtana Sampradāya was handled by persons well
versed in Sastras, great devotees and also ardent followers of the carnatic
music system. These people are well aware the difference between the
technical aspect of music and Bhakti aspect of music rendered in
Sampradāya Bhajana. In the first half of the 20th Century, naturally as in
any other system, distortions must have got built into the system, by which
Bhajana became a sort of technical display of carnatic Music by a few
persons handling the system. In fact the Musial aspect of Bhajana is
conditioned by two factors namely Bhakti and Bhava respectively, which is
directly related to the understanding of the Sāhitya as well as the
composers intent in writing the song which is absorbed by the individual
while rendering the Kīrtana. Sadguru Gōpālakrishṇa Bhāgavathar himself a
versatile musician of high attainment, once he devoted himself to Nāma
Sankīrtana curtailed the natural and overpowering desire to exhibit
technical Music. That is why in most of his renderings when one perceive
the raga, the mind automatically goes into the song and a fine balance
between music, laya and bhava are struck and the bhāva, bhakti aspect
dominates. In Bhagavathar’s Bhajana he chooses same raga for rendering
ślōka, kīrtana, and nāmāvali in any Dhyāna section.
In Guru Dhyana section
Sloka : Brahmānandam paramasukhatam
Kīrtana : Nīpada darsanamu
Namavali : Akanta guru varam

In this section, all these three are rendered in raga Malayamarutham.

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 The Musical Aspects of the Bhāgavathar’s Sampradāya Bhajana
Paddhati is based on the CD enclosed in this Thesis. The CD highlights the
style of rendering of Bhāgavathar in his Bhajanas covering the samples of
each starting from Pundarikam, namavali, Todayamangalam, Guru Dhyana,
Astapadi, Tarangam, Prarthana abhang and ends with a namavali in praise
of Bhagavathar composed by an ardent devotee.
Pun darīkam – are always rendered in Pancama note. The whole
Pun darīkam remains in the same note (P) and ends in the same note and
the prathivacana ranges from Panchama to tara shadja(ś)

Namah pārvati pataye - Hara Hara Mahādev

Nāmāvali - Initial Nāmāvali is sung in Māya Mālava Goula rāga set to

Ādi
Hari Nārayana Hari Nārayana
Hari Nārayana Nāma parayana

This is a Mūrchanakaraka mela able to evoke a soft and soothing

feeling. Mainly compositions commences on the notes sa, ga, dha and .In
this nāmāvali notes ranges from madhyama to tara [Link] use
to handle this nāmāvali very [Link] sthayi notes are not used here.

Dēvēshaganārāditha -Tōdayamangalam – Sāvēri – Rūpaka.

This raga is a janya of 15th melakartha .madhyama note (M) is very

prominently [Link] sthayi notes (m) are just touched and glided and
Bhagavathar renders this raga with ease and in beautiful way. The main
aspect of the nāmāvali is, each carana starts in the same note as per the
rendering of Bhagavathar. Here the second carana starts in the raga Begada
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 Last Carana commences with Rajanicara………vijayagopala
hecchariga is rendered in sahāna rā[Link] is also sung in the same prayoga
as that of first one. The highlight of his rendering is that, he changes the
raga spontaneously creating beauty to the kirtana.

In another kirtana, Murahara nakadara in madhyamavati raga, the

speciality seen in Bhagavathar’s rendering is in the phrases,
Nārāyanathenamo namo, the avarohana krama is beautifully rendered. In
the phrase Na ra ya na te, the svaras occur as S N P M R in descending
order. The commencing note in each carana will not change in
Bhagavathar’s rendering. In the carana Ādi dēva sakalagama sannutha and
the last carana Vedodara Śri Venkatanāyaka of Murahara nakadara,
Bhagavathar sings in a prescribed way without including more gamaka-s.
The raga chaya of madhyamavati is completely brought out.

In the 12th ashtapadi “paśyadi diśidiśi …..bhavantham” is taken which is in

the raga sankarābharana,29th mela ,Sampurna raga ri and dha occur as
dirgha and kampita svaras .Ś n p is a visesha prayoga in this [Link]
raga–The total raga chaya is brought by Bhagavathar. For ex. In the 2
carana”thvadabhi sarana rabha sēnavalandi

Padati padānikiyanticalanti”
P D N

Here in this phrase svarakshara occurs where he sings soulfully. The

notes p D n coincides with the sahitya padāni. The shaking note of N is
prominently rendered. Svarākshara is the beauty signified by the

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confluence of the svara syllable and the identical or like sounding syllable
in the sāhitya. The next sample of kirtana is

Nalithade yenna nālige - Simhēndramadhyamam - Ādi

This is a kīrtana sung in Saraswati Dhyāna with 3 caranas by

Rangavittāla dasar. Simhendramadhyamam is a 57th mela raga Sarva svara
gamaka varika rakti raga ri,ga,ma and ni are jiva [Link]
commence on the notes sa,pa and [Link] rasa rāga. The speciality in this
kīrtana is the avarōhana krama prayoga beautifully rendered by him. For
ex-In the pallavi Na li tha de ye
S n D P M
One of the prominent pratimadhyama raga seen in Bhajana.

The next kirtana is Nārāyana Tīirtha’s Tarangam Bala gōpāla

Krishna pāhi pāhi – Mohana set to Ādi tāla.

This particular kīrtana is rendered in Taranga [Link] is a

janya of 28th mela, Harikambhoji, Audava raga,varja and upanga raga
ri,ga,dha are the raga chaya [Link] and pa are resting [Link] svara
prayoga gg pp dd ss and datu prayoga is [Link] this kīrtana anahata
eduppu is seen For ex.:

Balagopala Krishna pahi pahi-nanda

Bala gopala Krishna pahi pahi
In Anupallavi
Neela megha sharīranithyanandam dehi- nanda

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 Here the word nanda is added to give lustre for the rendition of the
kīrtana.

Another taranga ‘Kshēmam Guru Gopala’ in Mōhana Ragam - Lord

Krishna is invoked as ‘Loka Guru’ and his protection to the mankind is
illustrated here. This tarangam invokes Lord Krishna in the form of Ācārya
or Guru for removal the agñāna and protection to the man kind. Normally
in Kalyāna Utsavams after the kalyāna aśtapadi, this kīrtana is preferred
and rendered.
Another Prarthana abhang “Yeh Dayaluva Yeh Krupaluva” is
preferably rendered by him which is very popular and he sings in every
Bhajana. This abhang is rendered by doing abinaya.

4.1.2 Sahitya Aspect:

Mostly in Sampradāya Bhajana, Kīrtanas are rendered in which apart

from the tune of the Kīrtana, the language or the sahitya bhava is
predominantly seen. The text of the Kīrtana is given importance by
understanding the meaning of the sāhitya completely and render and does
the abhinaya.

Normally in Bhajana songs, Sanskrit is commonly used.

Nāmāvaḷi , Pun darīkam and slōka are mostly in Sanskrit.

Pun darīkam

Jānaki Jīvana Smaranam - Jai Jai Rāma Rāma

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Slōka:

Suklambharadaram Vishnum
Sashivarnam Caturbhujam… Vighnopasantaye

Nāmāvaḷi :

Jai Ganesha Jai Ganesha Jai Ganesha Pahimam

Jai Ganesha Jai Ganesha Jai Ganesha Rakshamam

Many Kīrtanas are also composed in Telugu. Telugu Kīrtanas forms

the bulk of the South Indian Bhajana Sampradāya. Tyāgarāja’s
compositions are mainly in Telugu was also a Sanskrit scholar, indeed
composed many pieces in Sanskrit. Annamāchārya’s Kīrtana-s are mostly
in Telugu. In Bhajana, in addition to Sanskrit and Telugu, Kannada, Tamil,
Hindi & Marathi language is also used. Songs attributed to Mira Bai, in
Hindi and especially songs in Marathi of Tukārām and Ramadas Kīrtanas
are included in the Bhajana Paddhati. The sāhitya of the Kīrtana are
invocatory, dramatic, meditative and praising the deity. Mostly Bhajana
songs are invocatory renderings.
In Bhagavathar’s Bhajana, he has composed kirtana-s in praise of

Lord Rama and Krishna in both Sanskrit and telugu.

These kirtana-s are included in his Bhajana Sampradaya Paddhati.

4.1.3 Tālā Aspect

Rhythm is the substructure on which everything in nature sprouts up.

The multitude of processes in the Universe abide in the law of Rhythm.
The Function of Rhythm in a musical composition is to maintain the

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balance in its music. Rhythmic pulse is called ‘Laya’ in terms of music on
the terms of music on the basis of which the form of ‘Tāla’ has taken root.
The Laya is connected with both ‘rhythm’ and ‘tempo. It means the
measured flow created by uniform duration of ‘Kala’ whereas ‘laya’ is the
interval of time between beats.

The word ‘Tāla’ consist of two letters ‘Ta’ and ‘la’. The former
represents Lord Siva, while Goddess Parvathi is represented by the other.
Tāla arises out by the unison of these two Gods. The word ‘Tāla’
connotes the existence of rhythm in the three Geetam, Vadyam and
Nrityam. Two things are essential for the Tāla the object and the friction or
the thing that springs out the sound. The interval between the clappings is
Tāla. Rhythm in the universe is both perceptible and non perceptible. The
perceptible tāla in music are concerned The non-perceptible or the latent
rhythm is enjoyed by the philosophical poets. In Bhajana Sampradāya,
Tālas mostly used are Ādi tāla, Rupaka, Jampa, Tisra eka tāla, Cāpu tāla.

Ēka tāla has beat followed by counting of fingers for the syllables it
possess.

For Ex. In Gopalakrishna Bharati Kīrtana in Panchapati Section.

Ādiya Padhaththai Kanare – Suruti – Eka

Triputa – has a beat followed by counting of the syllables for the

laghu, again a beat and a wave and again a beat and a wave for the two
Drutams.

In the Dīpa Pradakshina section, has included the Kīrtana.

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 Śri Haripāda thirthame – Sankarabharanam – Triputa

Jampa: has a beat followed by counting of the syllables again a beat

for the Anudrutam and a beat and a wave for the Drutam.

Mangalani santu - Nādanamakriya – Jampa.

Desādi tāla - It is one of the variety of Adti tāla. They are the
result of the edupu / variety of the beginning of the rhythm after the
Musical piece.

Namāmi Sivam Sadadēvam – Behāg – Desādi

When the composition commences on the third matra Desādi tāla

Occurs.

Cāpu is a variety of Eka tāla itself. The misra jati eka tāla of 7
syllables is called by the name chapu at present.

In the devatha Dhyāna – Krishna Dhyānam.

Indu yenage Govinda ninna – Bhairavi – Cāpu.

Mostly Ādi tāla is predominantly usedin Bhajana. Many Kīrtanas

are set in Ādi tāla. Ādi tāla is the Chatusra triputa itself and is the most
common rhythm in the carnatic music.

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For ex.

Nādabrahmame Śri Tyāgarāja – Vijaya nāgari- Ādi.

Rūpakam – has a beat and a wave for the Drutam and a beat
followed by the counting of the syllables for the laghu.

In Tōdayamangalam section,
Vijayagōpālaswāmi kīrtana –
Dēvēsaganārāditha – Sāvēri – Rūpakam

In Sampradāya Bhajana, Tālās are used while rendering Kīrtana and

Nāmāvali and not used in rendering slōka and Puṇdarīkam.
4.2 Instruments used in Bhagavathar’s Bhajana

Musical instruments play an important and significant role in any

Bhajana ritual in order to support and enhance the elegance of rendering of
the Bhajana.

In Sampradāya Bhajana, the following musical instruments are used.

1. Tambura/Sruti Box

Tambura which is a classical instrument of stringed group is a drone

accompaniment which gives life to any musical programmes, supports a
perfect base for the performer’[Link] Tambura Sruti infact provides a perfect
sruti and in the case of Gopalakrishna Bhagavatar’s Bhajana programme,
Tambur Sruti is invariably used by him. Tambur Sruti is one of the attires
accompanying Bhāgavathar while performing unchavritti bhajan.

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 Tambura is a part and parcel of Bhagavathar’s Bhajana. It was a
regular feature to witness the violin accompanying Bhagavathar’s Bhajana.
Sruti box is meant for providing substantial support to the vocalists/
Bhajana performer with required sruti [Link] electronic srutibox
is commonly used in all the bhajana programmes by other Bhagavathas for
required sruti levels of accuracy.

2. Harmonuim
This instrument is originally of European origin and has become
known to the Indian music world, of late. Harmonium has evolved into a
truly bicultural instrument. Harmonium provides a lively support for the
performer in enhancing the luster of the Bhajana programme. As it name
indicates, Harmonium provides Harmonious effect to the Bhajana.

3. Mridangam
It is a percussion instrument, commonly used in the Bhajana
programmes as a solid accompaniment. The Mridangam is the main
tālavadya along with which the cymbals and the Chipla are used.

4. Dōlak
It is another musical instrument similar to Mridangam used as a
accompaniment for Bhajana performance. The Dolki is chosen for street
Bhajans / Veedhi Bhajana / Nagara Sankīrtana. Nowadays, Dōlki is
prominently used in Bhajanas though Mridangams are played, providing a
good rhythmic impact to the Bhajan especially when Namavalis are sung
after kīrtana.

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5. Tabla
It is another percussion instrument used in bhajana especially in north
Indian concerts. Instead of mridangam, tabla is used in some bhajanas
programmes in South India.

6. Jalra:
It is a generic name for the pair of brass cymbals ranging from 1 - 6
inches across the mouths and varying in shapes and gauges of metal. Jalras
are used by Bhagavathar for performing Bhajana. Both the hands are used
while playing Jalra. They are related to the Tālas and are perfect
accompaniment used by Bhagavathar.

7. Haribol
Otherwise named as `Jallari’ This is normally called `Haribol Jalra’
Haribol Jalra is a long 24 inches pain of steel strips, each strip fixed with a
number of two piece of brass circular strips used in singing. 16 pairs of
circular strips fixed on the 24 inch long strip.

Haribol Jālra is specially handled by Pudukottai Gōpālakrishna

which is accompanied in all his Bhajana programmes. Only handles this.
This is used by Bhagavathar when he renders nāmavali, during the end of
the pūja section and as well as Prakāra rakshanam (section of the
Dōlōtsavam). Haribōl Jālra is named by Bhāgavathaswāmi as the name of

Hari is repeated when the nāmāvaḷi is rendered as follows:

`Haribōl Haribōl Hari Hari bol

Rāmabōl Rambol Rama Rama bol
Sita Sametha Sri Ramachandra Bol
Krishna Bol Krishna bol Krishna Krishna Bol
Rādha Sametha Sri Radha Krishna bol
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 Here the `bol’ represents to render by opening the mouth & singing
Bhagwan chanting the nama of Hari by means namas of Haribol
instrument.

8. Chipla
It is a kind of Clapper made of hand wood mounted with metal dircs or
small bells. Like Jalra, Chipla also comes in pairs, each has holes, or rings
through which the performer places his fingers in order to grasp it. Pair of
chiplas are played held with one hand. Pudukoṭṭai Bhagavathar is usually
seen with Chiplas in his hand during the Bhajanas. Especially in the
Unchavritti attire gives details of Unchavritti Sūtra, Akshaya Pātra, Rāma
Nāma Sūtra. Saffron coloured cloth tied around his head, tamburu, Chipla
in his left hand.

9. Gejjai

These are fabricated by bunch which fastens around the anklets of

the tiny bells. It is another instrument used performer in bhajana
programmes by Pudukottai Bhagavatar. Especially during the following
sections of the pūja. The start of the pūja - Bāro Murāre and Caranā gatha
vathsala gejjai is tied around the anklets of the at the start of the pūja which
remains till the end of the Dōlōtsava section. It is a treat to watch the
Bhāgavatar in action when he does the abhinaya with the gejjai. A reference
to the gejjai is seen during the Dāsarathi Kīrtanas of Purandaradāsa
especially where Purandaradasa used the gejjai in his programmes even
Mirabai, an ardent devotee of Lord Krishna was seen with gejjai while she
renders the Kīrtana-s.

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 All the above mentioned musical instruments are undoubtedly a most
effective supporting accompaniments for any bhajana programme. They
form inseparable items especially during Bhagavathar’s Bhajana
programmes. such accompaniments add lustre to the performances of
Artists providing a devotional atmosphere during the Bhajana Programme.

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