The tradition of Tamil Christian Carnatic Music

The tradition of Tamil Christian Carnatic Music

The ancient style of music that was practiced in all the older civilizations - Indian
Japanese, Hebrew, Greek and Egyptian and Persians was melodic. When William
Wilson Hunter talks of harmony he says “The seven notes which they (Indians)
invented, at least four centuries before Christ, passed through the Persians to
Arabia and thence was introduced into European music in the eleventh century
A.D. The wandering minstrels spoken of in the pan Indian paana tradition, spread
all over the northern hemisphere and as researcher Rosenthal has proved should be
identified with the gypsies. The young gipsy girls rambling about with their fathers
who are musicians and dancing to divert any person who is willing to give them a
small gratuity for it, is of India origin.

This paana tradition developed into the classical music that is described in
Sillapathikaaram, while in the North, the same, influenced by the Persian and the
Mohamedian traditions took the form of Hindustani music. The south Indian
tradition or the Carnatic music of today though often misconstrued to be of
Sanskrit origin is in fact indigenous Tamil music. During the Thevaram period this
tradition began to translate the agam tradition of love between man and woman
into love between God and man and produced the beautiful musical body of
literature of the bakhti cult.

Christianity is an oriental religion. Swami Vivekananda says Christ is an Asian
whose teachings could appeal to an Indian more than an American. Recent
researches show that unlike the European missionaries who propagated
Christianity doused in Roman rationalism, the early Christianity that was brought
by St. Thomas, the simple Jew through the Malabar Coast had been oriental in
ethos and was more appealing to the simplicity of the Dravidian religion which
was not transcendental or dogmatic and was akin to that of the Greeks and the
Sumarians. Later the Bakthi Movement amalgamated this Christian religious
experiences and this explains the echo of Christ’ teachings in Saiva Siddanta on
one hand and the oriental nature of the religious practices in the Goan churches on
the other. Modern researches also say Christ’s triumph over death could have
given birth to the dance of Siva vanquishing Muyalavan, the God of Death at the
cremation grounds. St. Thomas gave the people the idea of a savior conquering
death and this captured the imagination of the artistic Dravidian people. The ideas

of the simple Jew were absorbed completely with the “indigenous elements of
great beauty” of the Dravidian culture.

This explains why the Indian Christian converts of the eighteenth century thought
that the westernized service procedures created a vacuum in Christian practice and
worship in churches besides being an embarrassment among other Indians. They
missed the ‘bakhti’ element of ‘Saiva Siththananda’ and the unparallel melodic
tradition and the elevating beauty of Tamil poetry and this natural craving of the
native mind gave birth to the rich Christian karnatic tradition of Tamil Nadu

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The richness of Tamil language and its musical nature of Tamil prosody did not
escape many of the European missionaries. Attracted by Tamil culture and
literature Veeramaunivar’(Italian - Beschi) wrote Sathurakaraathi,
Thirukkaavaluur Kalambakkam and Kitheriyamman Ammanai, Adaikalamaalai,
Tirukkaavaloor kalambakam, Karanaambara Pathikam, Annai Allunkal Anthaathi,
Vannam and Thevaaram. Though he is known today only as the author of
Thembhavani the keerthanai-s that he wrote in the Alvaar tradition with Mary as
Periya Nayaki and himself as Thayriyanathan is excellent poetry. Among
Christians only the keerthanai-s like jaganaha, kuruparanatha (in
sankarabharanam) is popular.

G.U. Pope in his translation of Tiruvasagam is so spontaneously immersed in the
emotional and devotional outpouring of the Saivite hymn that he has to defend
himself from the Christian Mission, saying that he translated Tiruvasagam
overpowered by the beauty and the bakthi rasa and not the religious fervor.

Following Devanaeya Paavanar’s Cristava Keerthanam the poetry of
Vedanayakam Shastriyar, Munsiff Mayuram Vedanayagam Pillai(1826-1993), G.
Samuel (1850-1927) and H. A. KrishnaPillai is a rich contribution to the Tamil
karnatic Keerthanai tradition. This Christian keerthanai tradition that grew parallel
with the tradition of the Tamil Muuvar and the Trinities is in line with the rich
legacy of Thevaaram, Thiruvaasagam, the songs of Alwars, the songs of Vallalar
and Arunagirinathar. These songs are powerful, rich in prosody, musicality and
fineness. This keerthai tradition is steeped in effective usage of ethukai, mooonai,
thodai of Tamil prosody, rich imagery, and ani and in no way inferior to other

Tamil keerthanai-s in value, prosody and music. Eratchanyayaatrikam,
Thempaavani, Bethlekham Kuravanchi are in the tradition of Periapuranam and
Kambaramayanam. Vedanayakam Shastriyar, H. A. KrishnaPillai and G. Samuel
(1850-1927) are called the Christian keertanai Tirumurthis because the religious
fervor is akin to that of the Alwars and Nayanmars. We see in them poignant
poetry with unconditional love as subject matter. The heartbreaking tone of Enkae
sumanthu pookireer?, nenjae ni kalangaathe, oodivaa jananae ( Ponaakavaraali),
the confessional tone of ayaya naan paavi, nithyakanmalai enakay(mukaari), the
deep piety of theyvanbin vellamae (kuntharavaraali), the pain in saranam
saranam anantha (neelambari) and the happy tune of yuutha rajasingam (kithara)
eimmattum jeevan tantha, aatumamae en muluullaea (Aanantha pairavi) and the
trust that is replete in deva pitha enthan meypanallo (kammbhoji) are only a very
few that had not gone out of hearing though hundreds of them have perished.

Hailing from Tirunelveli, Vedanayakam Shastriyar (1774-1864) was a student of
Missionary Schwartz and later King Serfoji’s poet laureate. Vedanayakam
Shastriyar has to his credit 122 literary works that include Gana noondi naatakam,
Bethelahem Kuravanji, 8 citillakiam, 2 plays, 5 moral poetry, 4 isai illakkiyam, 4
nattupura illakiyam, Gaanapatha Keerthanais, Paraaparan Maalai, Ganakkummi,
Aathiyaanantham, Yaartrapaattu,Gana nontdi (poetic drama)and 77 urainatai. He
wrote about 5000 ganapatha keerthanai-s.

Bethelahem Kuravanji is sublime poetry that proclaims the love between the maid
of Zion and Jesus and is written in the Kuravanji tradition in which a girl fails in
love the god or king in ula and the gypsy girl or kurathi proclaims her future where
she would marry her sweetheart.

Shastriyar also wrote pathavarnams, thaana varnams, swarajathi-s and
keerthanai-s. Several keerthanais are in the ragas used by Thiagaraja. For example
he wrote ‘paramasivana, pavavimosana’ following the same pattern in
Thiyagaraja’s sujana jeevana in gamaas raga.

To read Sastriyar’s Jepamalai is to enter into another world of complete sublimity
and reading the opening song on creation is to be almost present at the act of
creation.

Native of Palayankottai, H. A. KrishnaPillai(1827-1900) is called the Christian
Kamban. Even while very young he memorized Kamba Ramayanam, Tirukkural
and many other literary classics and this erudition coupled with the music of the
rich vaishnavite tradition that he was born in make his keerthanai-s evoke
sensibilities akin to that while one listens to Tirumuari-s.

Many of his keerthanai-s like sathay nishkalamay(sangaraaparanam) are in
cempavazha nadai. His famous works are Rachanya Manoharam(566 songs)
Erachanya Yaathrikam(3813),Devaarapppaadalkal.(144),Erachanya Samaya
Nirnayam(1898), Erachanya saritham, pootri Tiruakaval, Ellakkana Chudamai,
Kaaviyataruma Sangrakam(2500) and Vedaporulammai. An epic, Rakshanya
Yathirigam is a powerful rendering of Pilgrim’s Progress. R. P. Sethupillai says
that the work is not a whit inferior to Kambaramayanam. His command of all the
meters of Tamil prosody is commendable. He reaches unparallel beauty and
symmetry in his keerthanai-s and his devotion is breathtaking. His Rakshanya
Manoharam is a work of great merit.

G. Samuel (1850-1927) is a native of Kumbakonam. His grandfather was a

minister to King Sethupathy and his father received Naavalar pattam. He learnt

Tamil in Tharmapuri Aathinam and later became a scholar in English and German.

His works include Sathya Veda Paayiram, Suvishasaha Keerthanaykal, ullathu

Naarpathu, Thiruvirunthaadi, Duuba kallasam, Paalar Poocharam, and

Kaathaamalar kuudai. Among his keerthanai-s seer thiru eka vasthae ( in

Poorikkalyaani) is often sung in churches.

Munsiff Mayuram Vedanayagam Pillai (1826-1993) wrote Pratabha Muthaliyar
Charithiram which is the first novel in Tamil and so he is called the father of
Tamil novel. His Samarasa keerthanai-s are of general nature often transcending
religious barriers and only in a very few places he refers to Jesus as saviour. A very
great humanitarian he fought for girl education and gender issues in Neethi Nool,
and Penn Kalvi

Three siblings-Rev. C. P. Ganamai, Canon C. D. Ganamoni and and P.S. Peter-
and sons of Vachiramani Christian Ubathesiar(1835-1910) were great scholars in
Tamil. They have written more than 750 keerthanai-s together. C. P. Ganamai
wrote marakkala munivar, macchamunivar, neervisari kavithai among other
works. His two works were made into text books in 1895. C. D. Ganamony wrote
Snanamuni Carithai, Christukulakkummi, Siluvaippaadukal and Veda keethangal
in beautiful diction. His 221 keerthanai-s are written with excellent properties of
Tamil prosody and in almost all popular raagaa-s like Shankarabharanam,
punnagavaraali, kendai, senjurutti, kalyani and howlipanthu. Bethalakem
Urroram in Sankarabharanam is a very familiar keerthanai.

Abraham Pandithar is called the father of Tamilisai Iyyakkam. Abraham Pandithar
is the great musicologist who demonstrated through his researches that Tamilisai is
Karnatic music. Through his mathematical calculations he proved in unequivocal
terms that in ancient TamilNadu sruthis were set in geometrical progression and
that an octave had 24 diatones. He showed how by capturing the jeeva sura-s in
mother raaga-s, new ragas could be made. He strongly felt that if keerthanai-s are
sung in languages other than the mother tongue, the effect of music on the person
is lost. Singing must be done with an awareness of the full meaning of the song. He
believed that more than the western harmony the melodic form is capable of
elevating the spirit towards pietic heights. Besides keerthanai-s he wrote Christian
sahithyam for all the popular geetham-s and varnam-s of popular musicians to
educate the Christian children karnatic music and is published as Karunamirtha
Sagara Thirattu. He composed several kritis.

Rev. S. yosep (1847-1895), grandson of Perumal Nadar was a man of great honour
in the king’s service in Travancore. He published two periodicals Travancore
Times in English and Travancore Abimony in Tamil. His Cella Thambi Paadal has
145 keerthanai-s which crusade against caste and religious fanaticism,

Rev. Arulappan Savarimuthu Iyar(1886-1936) is a teacher from Tirunelveli. He
always e sang his keerthanai-s in a great voice with great piety like Thyagaraja.
His sang the Lord’s Prayer in harikambhoji.

Packiya Nathan Thavidu Iyar(1840-n.k) wrote keerthanai-s both in Karnatic and
Hindustani ragas and performed kathakalachepams,

Marion Ubadeysiyaar’s (n.k- 1908) keerthanai-s were in sindu nadai and of them
Dayanada Francis famously exclaimed “mariyan paadalukuu urukaathoor
vaerooruvar paadalukku urukaar”,

George S.Vedanayagam’s (1868-1932) works include Amal Guru Sathagam,
Sarguru Sathagam, Nenjurugu Sathagam, Mathar Kummi, Aadavar Kummi,
Padakottippattu and EtraPAattu. His works are compiled in 12 anthologies in
which his themes often are women’s liberation and women’s education. He uses
asiriya viruthappppa with 12 feet and ethukai and monai.

John Palmar(1812-1883) was a scholar in Tamil, English, Malaylam, Sanskrit, and
Greek. He wrote Christayana Kaaviyam, Ganapatha Keerthanam, Mesia Vilasam,
Sathya Veda Sarithirakkeerthanai, Peeranada Kummi and Nalarivin Saarkavi. In
more than his 200 keerthani-s he has used 27 kinds of raga-s and 8 thalavarities.

Devaavram Munshyar(1802-1874) evinced great scholarship in Tamil, English,
Sanskrit, Science, Astronomy and music. He has written Nalarivu Saram in the
form of question and answer, VedaVithikkural in Tirukkural form, Cemmozhi in
the form of Aathicchudi and Tirutthattamaalai in Moothurai form. Indukavi
maalai is an anthology of keerthanai.

The list is long and includes Easudasan Annaaviyaar Kumbhakonam(1848-1904-),
Y. M. Soloman, Vedanayagam Bhagavathar (1883-1936), Thanjai Satyanathan
Pillai, M. Vedamanikam(1864-1917) V. Masilamany(1858-1932), Dr.
Savariraayan M.B.BS, F.R.C.S(1882-1969). Gabriyel Ubadesiyaar(1820-1885) T.
Iyyathurai Bhagavathar(n.k.- 1980).Rev. S. Paramanantham(1873-1960), Y.
Yakobu, Rev. S. simon, S. Muthusamy, G. S. William, Rev L. E. sthevaaan.
Devasahayam Elzhuthar, Rathna Parthesiyar: Sathyavasagam Pandithar, S. S.
Yesuvadian Iyyar, A.I.Pitchaimuthu, Arulanandam Prasangiyar,Thayiriyam
Elutthar Essacu Packianathan and Abraham Alvin L.Ponnusamy Iyyar(1897-1965)

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One is amazed by the great gamut of Christian Literature especially the keerthanai-
s, and wonders why they do not form a part of Tamilisai karnatic tradition. This
corpus will add value to the problematic discourse of the Sanskrit origin of the
karnatic tradition and to help steer completely away from the charlatanism of

Sanskrit and Telugu hegemony that prevails today in karnatic music tradition.
Apart from bhakthi, this body of poetry often is rich is themes of social reform like
women’s liberation and caste fanaticism.

Up to the first part of the last century, first and second generation of Christians
wrote and sang keerthanai-s and there were katcheries and katakalachepams and
so Christianity was largely swadesi in nature. But since karnatic music does not
yield itself easily to congregational singing there was a systematic subordination
of karnatic music in the church. A few like Jothi Pandian tried to make
keerthanai-s adapt to the accompaniment of orchestras and such programmes were
popular and many times showcased among the programmmes of Music Academy.
However, because this Christian keerthanai-s were not part of the learning
programmes, Christian children were devoid of the opportunity and consequently
the following generations abandoned this tradition and took to westernization. Now
the few keerthanai-s that are sung in the churches cause only embarrassment
among neighbours and so are slowly abandoned. The foreign melodies that were so
strange and alien to the Tamil Christian forefathers are now popular; however
Christians often feel that they are deprived of a splendid and spiritual exaltation
that can be provided by the native air.

Interfaith dialogue is always helpful to fight out religious fanaticism and Tamil

Nadu among other Indian States, stands out in religious tolerance and

inclusiveness. A dialogue that nurtures and celebrates the common cultural

background of the people is very essential to continue peaceful existence. Christian

keerthanai tradition will add to the egalitarian spirit of Tamil Nadu and will be a
rich addition to Tamil language, literature and music. “Accentuate the similarities
between religions and attenuate their differences” was Gandithi’s dictum he argued

if Christianity is to have a hold in India it must be swadshi (local) in nature

Christian keerthanai tradition has its roots firmly in the bhakhti tradition and
embracing it as part of karnatic music would not only preserve the swadshi (local)
nature of Christianity but also will be a powerful tool of interfaith dialogue and
would celebrate unity in diversity. The soul stirring piety and the rich diction that

one finds in the keerthanai-s will be a value addition to the glory and splendor of
Karnatic music.

Hence if this distinct tradition is allowed to be part of the curriculum in schools
and universities, katcheries and katakalacepams, will again form part of Christian
culture and the large Christian population will again have recourse to their original
cultural moorings and the distinct culture of Tamil Christians will be preserved as
part of Tamil culture.

If one listens to songs like - varavaenum enatharasea – (Vedanayakam Sastriyaar)
by O.S.Aruna in mohanam, kankalai eredupean (Ayya Durai) by Kalpana in desi,
jaganaatha (Veeramamunivar) by Akila Srinivasan in kanakangi, kandean en kan
kulira (Abraham Pandithar) by Nidyashree Mahadevan mathyamavathi,
sarvolokathipa namaskaaram ( T. Vedamanikam) by Sriram Paarthasaarathy in
inthalam- no matter its sung by a Hindu or a Christian the soul stirring melodies
rich in language and music make us wonder at the richness of Tamil language and
the unparallel piety that could be conveyed by karnatic music.

Dr Amutha Pandian