Dasa (Sanskrit '''') is a term used with the primary meaning 'enemy', especially relating to tribes identified as the enemies of the Indo-Aryan tribes in the Rigveda. The word later acquired other connotations, meaning "servant" or "slave", or in a religious sense a "devotee" of a deity.

The Dasa are often identified as the non-Indo-European populations subdued by the people practicing Vedic rituals in the course of the Indo-Aryan migration. Asko Parpola proposed that the original Dasas were fellow Indo-Iranians of the BMAC, who initially rejected Aryan religious practices but were later merged with them.

A similar term for enemy people, Dasyu, is also used in the Rig Veda. It is unclear whether the Dasa and Dasyu are related.

Dasa, Dasyu and Arya

Dasyu is a term that could also be applied to Vedic kings, if their behaviour changed. In the battle of the Ten Kings (Dasarajna) in the Rig Veda the king Sudas calls his enemies "Dasyu" which included Vedic peoples like the Anus, Druhyus, Turvashas, and even Purus. (RV 7.6, 12-14, 18)

There is also a Dasa Balbutha Taruksa in RV 6.45.31 who is a patron of a seer and who is distinguished by his generosity (RV 8.46.32). There are several hymns in the Rigveda that refer to Dasa and Aryan enemies and to related (jami) and unrelated (ajami) enemies (e.g. 1.111.3, 4.4.5); still, in the battle of the ten kings, there are Dasas and Aryas on both sides of the battlefield and in some Rigvedic verses, the Aryas and Dasas stood united against their enemies.

Dasa

The meaning of the word ''dāsa'', which has been long preserved in the Khotanese dialect, is "man". The word "dasa" is contained in the name of a famous Vedic king, Divodāsa (meaning "heaven's slave").

Several other protagonist people in the Rig Veda also have "dasa" in their name. These include King Sudasa and Grtsamadas.

Racial interpretations

In the Rig Veda, Dasa, Dasyu and similar terms (e.g. Pani) occur sometimes in conjunction with the terms krsna ("black") or asikni ("black"). This was often the basis for a "racial" interpretation of the Vedic texts. But Sanskrit is a language that uses many metaphors. The word cow for example can mean Mother Earth, sunshine, wealth, language, Aum etc. Words like "black" have similarly many different meanings in Sanskrit, as it is in fact the case in most languages. Thus "black" has many symbolical, mythological, psychological and other uses that are simply unrelated to human appearance. Bhagavan Shri Shanmukha Anantha Natha is the first scholar to define that the 'blackness' of Krishna is not a racial interpretation but refers to the Absolute in its phase of manifestation as denoted by Samkhya philosophy. The Rg Veda does not refer to ethnic terms but philosophical realities. Krishna too is described as an Asura and this does not mean that he is a 'black Indigene' waiting on the banks of the Amshumati river to fight with Indra (RVIII. 85. 13-15) but that the Absolute is in a stage of manfestation allegorically depicted by the 'black drop' in the Rg Veda.

Also Iyengar (1914) commented on such interpretations: "The only other trace of racial reference in the Vedic hymns is the occurrence of two words, one krishna in seven passages and the other asikini in two passages. In all the passages, the words have been interpreted as referring to black clouds, a demon whose name was Krishna, or the powers of darkness." (6-7, Iyengar, Srinivas. 1914.)

The term krsnavonih in RV 2.20.7 has been interpreted by Asko Parpola as meaning "which in their wombs hid the black people". Sethna (1992) writes, referring to a comment by Richard Hartz, that "there is no need to follow Parpola in assuming a further unexpressed word meaning "people" in the middle of the compound krsnayonih", and the better known translation by Griffith, i.e. "who dwelt in darkness" can be considered as essentially correct. Another scholar, Hans Hock (1999), finds Karl Friedrich Geldner's translation of krsnayonih (RV 2.20.7) as "Blacks in their wombs" and of krsnagarbha (RV 1.101.1) as "pregnant with the Blacks" "quite recherché" and thinks that it could refer to the "dark world" of the Dasas.

In RV 4.16.13, Geldner has assumed that "krsna" refers to "sahasra" (thousands). But this would be grammatically incorrect. If krsna would refer to "sahasra", it should be written as krsnan (acc. pl. masc.). Hans Hock (1999) suggests that "krsna" refers to "puro" (forts) in this verse.

For sure the Vedic writers wrote of the Dasa-Dasyus as peopple who lived in evil or darkness. The RV 2.2.7 says, "Indra the Vrtra-slayer, Fort-destroyer, scattered the Dasa hosts who dwelt in darkness."

Hymm XXIV reads of Brahmanaspati defeating the Dasyu demon Vala, "He drave the kine forth and cleft Vala through by prayer, dispelled the darkness and displayed the light of heaven."

The Vedic seers pray evil or darkess stay away from them: "May I obtain the broad light free from peril: O Indra, let not during darkness seize us."

Hymn XL, speaking of Devas Soma and Pusan reads, "At birth of these two Gods all Gods are joyful: they have caused darkness, which we hate, to vanish."

Hymn 3.1.3 reads of Agni, "Bull, who beholdest men, through many mornings, among the dark ones shine forth red, O Agni."

Hymn 3.2.17 reads that dark (metaphor for evil) people ae purified through Deva Surya: "To thee proceed the dark, the treasure-holders, both of them sanctified by Surya's bounty."

Hymn 3.3.3 writes of Indra and his twin brother Agni killing darkness with light: "Killing the darkness at the light's foundation, the Couple newly born attain their beauty."

Tvac

There are three instances in the Rig Veda where the phrase ''krsna'' (or ''ashikni'') ''tvac'' occurs, literally translating to "black (or swarthy) skin": :1.130.8de '''' :— "Plaguing the lawless he [Indra] gave up to Manu's seed the ''dusky skin''" (trans. Griffith) :9.41.1 '''' :— "(Praising the Soma-juices) which descend like streams of water, swift, brilliant, rapid driving off the black covered (Rakshasa who are darkness)" :9.73.5cd '''' :— "Blowing away with supernatural might from earth and from the heavens the ''swarthy skin'' which Indra hates." (trans. Griffith)

''Tvac'' "skin" does, however, also take a secondary, more general meaning of "surface, cover" in the Rigveda, in particular referring to the Earth's surface. For this reason, there can be debate on whether instances of ''krsna tvac'' should be taken to refer literally to a "black skinned people". Maria Schetelich (1990) considers it a symbolic expression for darkness. Similarly, Michael Witzel (1995b) writes about terms like ''krsna tvac'' that "while it would be easy to assume reference to skin colour, this would go against the spirit of the hymns: for Vedic poets, black always signifies evil, and any other meaning would be secondary in these contexts". Hans Hock argues along similar lines

The Rigvedic commentator Sayana explains the word ''tvacam krsna'' (RV 1.130.8) as referring to an asura (demon) called Krsna whose skin was torn apart by Indra.

Anasa

In RV 5.29.10, the word anasa is in connection with the Dasyus. Some scholars have translated anasa as "noseless". But the classical commentator Sayana translated anasa as "without mouth or face" (anas = an "negative" + as "mouth"). Sayana's translation is supported by the occurrence of the word mrdhravacah in the same verse. Sayana explains the word mrdhravacah as "having defective organs of speech" (Rg Veda 1854-57:3.276 n.). The description of Dasas as "nose-less" and "mouth-less" is method of associating the demonic Dasa as disfigured beings, who are covered by ignorance (black).

The religion of the Dasas/Dasyus

A Dasyu is a member of an aboriginal people in India encountered and embattled by the invading Aryans (c. 1500 bc). They were described by the Aryans as a dark-skinned, harsh-spoken people who worshiped the phallus. This allusion has persuaded many scholars that worship of the linga, the Hindu religious symbol, originated with them; it may, however, have referred to their sexual practices. They lived in fortified places from which they sent out armies. They may be considered the original Sudras, or labourers, who served the three higher classes of Brahman, Kshatriya (warrior), and Vaishya (mercantile), from whose ritual communion they were excluded.

The main difference between the Aryas and the Dasas in the Rig Veda is a difference of religion. Already A. A. Macdonell and A. B. Keith (1912) remarked that: "The great difference between the Dasyus and the Aryans was their religion... It is significant that constant reference is made to difference in religion between Aryans and Dasa and Dasyu." The Dasas and Dasyus are also described as ''brahma-dvisah'' in the Rig Veda, which Ralph T.H. Griffith translates as "those who hate devotion" or "prayer haters". Thus Dasa has also been interpreted as meaning the people that don't follow the same religion as the Aryans. Rig Veda 10.22.8 describes the Dasa-Dasyus as a-karman (non-performers of Aryan sacrifices), anya-vrata (observers of other rites) and in Rig Veda 10.105.8 they are described as anrc (non-singer of laudatory hymns). In RV 8.70.11 they are described as a-deva-yu (not regarding Deva ).

Post-Vedic use

Use of religious "devotees"

Guru, or ''Sat guru'' in various traditions of Hinduism is given the name Dasa, Servant of God, as for example the pure teacher, also called ''Uda ka Das'', meaning ''the servant of the one God''. The other Sanskrit word meaning of servant, is retained in all Indian languages where monotheistic devotion to personal God is practiced. In Tamil ''tontai'', ''dasa'', servant or "slave," commonly used to refer to devotees of Vishnu or Krishna. According to Gaudiya Vaishnava theology Smriti statement '''' means that living entities (''bhuto'') are eternally in the service (dasa) of the Supreme Lord (Hari). Thus designation for Vaishnava followers of ''svayam bhagavan'' Krishna was the status title ''dasa'' as part of their names as in Hari dasa.

As a surname or byname

The present day usage of Dasa in Hinduism has respectful connotation and not derogatory. It always means 'slave of god'. In the past, many saints from all castes added it in their names signifying their total devotion to god. An example is Mohandas Gandhi. Another example is Surdas, the blind Brahmin poet. 'Das' is one of the common surnames of Brahmins, especially in East India. '. As any other proper word to translate the word "slave" is absent in Sanskritized Hindi, the word Dāsa is used for the same. Further more in the bhakti yoga a person can be in a relationship with God in any of the 5 ways and one of the relationships is ''Dasyu-bhakta'', meaning being a "slave of God" as said before. All initiated male members of ISKCON have the word "dasa" at the end of their initiated names, meaning "servant", and all initiated female members of ISKCON have the words "devi dasi", which means "goddess servantess" (dasi is the feminine form of das) Example: Urmila devi dasi. Then the first part of their names is a name for something connected with divinity: often a name of Radha Krishna or Chaitanya Mahaprabhu.

In Hindu revivalism

Hindu revivalist authors like Sri Aurobindo believe that words like Dasa are used in the Rig Veda symbolically and should be interpreted spiritually, and that Dasa does not refer to human beings, but rather to demons who hinder the spiritual attainment of the mystic. Many Dasas are purely mythical and can only refer to demons. There is for example a Dasa called Urana with 99 arms (RV II.14.4), and a Dasa with six eyes and three heads in the Rig Veda.

Sri Aurobindo commented that in the RV III.34 hymn, where the word Arya varna occurs, Indra is described as the increaser of the thoughts of his followers: "the shining hue of these thoughts, sukram varnam asam, is evidently the same as that sukra or sveta Aryan hue which is mentioned in verse 9. Indra carries forward or increases the "colour" of these thoughts beyond the opposition of the Panis, pra varnam atiracchukram; in doing so he slays the Dasyus and protects or fosters and increases the Aryan "colour", hatvi dasyun pra aryam varnam avat." Thus, Aurobindo sees the Arya varna or lustre of the thoughts that Indra increases as psychological. In several Lord Indra is also said to be a white bull with and his friends are the Maruts, who are horses so when the Rig Veda speaks of a certain color they mean the color of god as an animal. For example, the twin deities Nastya and Dasra are said to be "horse princes." In some Rig Vedic verses, even Lord Agni is said to be the red bull that stands out from the dark bulls.

According to Aurobindo (The Secret of the Veda), RV 5.14.4 is a key for understanding the character of the Dasyus:

:''Agni born shone out slaying the Dasyus, the darkness by the light, he found the Cows, the Waters, Swar.'' (transl. Aurobindo)

Aurobindo explains that in this verse the struggle between light and darkness, truth and falsehood, divine and undivine is described.

Dasa and related terms have been examined by several scholars. While the terms Dasa and Dasyu have a negative meaning in Sanskrit, their Iranian counterparts Daha and Dahyu have preserved their positive (or neutral) meaning. This is similar to the Sanskrit terms Deva (a "positive" term) and Asura (a "negative" term). The Iranian counterparts of these terms (Daeva and Ahura) have opposite meanings. The terms Dasyus and Asuras as negativity personified in the Rg Veda (RVIII. 85.9) (RV. VIII. 66.3), and especially personified by Vrtra, the slayer of Indra, positivity personified, was first put forward by Bhagavan Shri Shanmukha Anantha Natha in his work Divine Initiation (Singapore, Shri Kali Publications, 2001), 19. This concept, as he outlines it, is similar to the Yin-Yang concept of the East Asians. The Aryans are also personifications and this idea is also put forward by Anantha Natha in the above work.

References

Further reading

Bhagavan Shri Shanmukha Anantha Natha and Shri Ma Kristina Baird for the correct, nonracial meaning of the terms Dasyus and Asuras in their work "Divine Initiation" (ISBN 0-9582324-0-7) by Shri Kali Publications

Ambedkar, B.R. (1946) Who were the Shudras?

Aurobindo, Sri. 1971. The Secret of the Veda. Pondicherry: Shri Aurobindo Ashram.

Bryant, Edwin: The Quest for the Origins of Vedic Culture. 2001. Oxford University Press. ISBN 0-19-513777-9

J. Bronkhorst and M.M. Deshpande. 1999. Aryan and Non-Aryan in South Asia. Ann Arbor: University of Michigan Press.

Elst, Koenraad Update on the Aryan Invasion Debate. 1999. ISBN 81-86471-77-4 ,

Frawley, David The Myth of the Aryan Invasion of India, 1995. New Delhi: Voice of India; In Search of the Cradle of Civilization, Chapter 6

Hock, Hans. 1999b, Through a Glass Darkly: Modern "Racial" Interpretations vs. Textual and General Prehistoric Evidence on Arya and Dasa/Dasyu in Vedic Indo-Aryan Society." in Aryan and Non-Aryan in South Asia.

Iyengar, Srinivas. 1914. "Did the Dravidians of India Obtain Their Culture from Aran Immigrant [sic]." Anthropos 1-15.

Macdonell, A.A. and Keith, A.B. 1912. The Vedic Index of Names and Subjects.

Parpola, Asko: 1988, The Coming of the Aryans to Iran and India and the Cultural and Ethnic Identity of the Dasas; The problem of the Aryans and the Soma.

Rg Veda 1854-57. Rig-Veda Samhita. tr. H.H. Wilson. London: H.Allen and Co.

Schetelich, Maria. 1990, "The problem ot the "Dark Skin" (Krsna Tvac) in the Rgveda." Visva Bharati Annals 3:244-249.

Sethna, K.D. 1992. The Problem of Aryan Origins. New Delhi: Aditya Prakashan.

Talageri, Shrikant G. 2000. The Rig Veda - A historical analysis.

Trautmann, Thomas R. 1997, Aryans and British India. Berkeley: University of California Press.

Witzel, Michael. 1995b, 325, fn, "Rgvedic History" in The Indo-Aryans of South Asia.

See also

Mleccha

Panis

Asura

Dahae

Déisi

Category:Demons in Hinduism Category:Rigvedic tribes Category:Sanskrit words and phrases

ja:ダスユ no:Dasa pt:Dasa ru:Даса fi:Dasjat uk:Даса

Coordinates	28°36′36″N77°13′48″N
name	Milton Mallawarachchi
background	solo_singer
birth name	Milton Mallawarachchi
born	April 7, 1945
death date	March 10, 1998
origin	Sri Lanka
genre	Playback singing, Sri Lankan music
occupation	Musician
years active	1969–1998 }}

Milton Mallawarachchi (1945 – 1998) was a popular Sri Lankan musician.

Mallawarachchi has sung songs by Karunaratne Abeysekera, K. D. K. Dharmawardena, Premakirthi de Alwis, Clarence Wijewardena, Upali Danawalawithana, Dharmasiri Gamage, Ajantha Ransinghe, Shelton Weeraratne, Kularatne Ariyawansa, Ananda Padmasiri, Vernon Perera, Chitrananda Abeysekera, Bandara Wijetunga and Vijaya Ramanayake.

Life and career

Early life and career

Mallawarachchi completed his early education at Ananda Sastralaya Kotte. He was a member of a short lived group called the Sakyans and subsequently the La Ceylonians. Mallawarachchi's vocals on the latter group's "Daha Duke Vidyahala" and "Mal Ravamal" led to his discovery by producer Patrick Corea. Kurera offered to record the young vocalist on four songs "Oruwaka Pawena," "Ran Kuduwak Oba Sadu," "Sansare Sewanale" and "Mangale Neth Mangale." The songs were released on the Exvee label as a 78 rpm record in 1969 and gave Mallawarachchi his first popular hit with "Oruwaka Pawena."

Music

Well known music Composer Patrick Denipitiya gave Milton Mallawarachichi's songs a modern touch with Songs Like "Ivuru Tala" , "Ma ha Eda", "Ma nisa Oba" . "Sayura theredhi" on which helped him to become a huge success.

In 1974 renown musician Clarence Wijewardena composed the songs "Gana Andure," "Eda Rae," "Mata Men Ohutada" and "Maga Thotadhii" for a Mallawarachchi EP release on Gemstone. Wijewardena would also write "Awasara Natha Mata," "Sulange Pawe," "Thaniwi Sitinai," and "Prem Raja Thahane" for Milton.

One of Mallawarachchi's most successful songs was "Mai Gaha Yata" done under the production of Melroy Dharmaratne in 1976. It was released on the Silverline label as an EP backed with "Ran Mudu" and two songs ("Andanne Epa" and "Ma Samanalayak") by Shiromie Fernando.

Mallawarachchi released one of the first music audio cassette's in Sri Lanka under the guidance of Wijewardene in 1978. It was titled ''Anytime-Anywhere'' and was on the Tharanga label.

Mallawarachchi debuted as a playback singer in the 1971 film, ''Poojithayo''. In 1984, he was honored with a best playback singer award at the Sarasawiya Awards for "Kendan Yannam," a song from Sena Samarasinghe's ''Aethin Aethat''. He was the main male play back singer in the movie "Senakeliya" which was a box office hit in 1974 where he sang songs like "Reyak Upadda" and Duets with Indrani Perera "Samanala Renak Se" and also with Victor Ratnayake and CD Fonseka to the Music Direction of Music Director Patrick Denipitiya.

Mallawarchchi was a popular live attraction; at a time when there was no TV in Sri Lanka, his appearances at variety shows sponsored by the Ceylon Tobacco Company drew huge crowds. Mallawarachchi appeared alongside the Super Golden Chimes at the Super Concert 101/102 organized by Wijewardene.

He died on March 10, 1998.

Personal life

Mallawarachchi was married to Swarna Mallawarchchi, and had four children: Ranil, Harshini, Nadija, and Tharaka. Ranil Mallawarachchi, the eldest, continues in his father's tradition. "Etha epita dura akase...swarnwarna tharuwak wilase" song written by Karunarathne Abeysekara for Milton dedicated to his wife Swarna.

References

Category:1945 births Category:1998 deaths

Coordinates	28°36′36″N77°13′48″N
Name	Purandara Dasa
Background	solo_singer
Birth name	Srinivasa Nayaka
Born	1484
Died	1564
Origin	Kshemapura, Shivamogga, Karnataka state, India
Genre	Carnatic music
Occupation	Carnatic vocalist
Website	}}

Purandara Dāsa (1484–1564) (sometimes spelled as a single word) () is one of the most prominent composers of Carnatic music and is widely regarded as the "father of Carnatic Music". Purandara Dasa addressed social issues in addition to worship in his compositions, a practice emulated by his younger contemporary, Kanaka Dasa. Purandara Dasa's Carnatic music compositions are mostly in Kannada; some are in Sanskrit. He signed his compositions with the ''mudra'' (pen name), "Purandara Vittala" (Vittala is one of the incarnations of the Hindu god Vishnu). About 1000 of his songs are extant.

Biography

Inscriptional evidence suggests Purandara Dasa was born in 1484 AD in Kshemapura, near Tirthahalli, Shivamogga district, Karnataka state. According to other opinions, his native town was Purandaraghatta in Karnataka, or Purandaragad near Pune, but the latter is considered a historical mistake - connecting his "pen name" (his ''ankita'') with a location that mainly served as a military encampment in the 15th and 16th century. The only son of Varadappa Nayaka, a wealthy merchant, and Leelavati, he was named Srinivasa Nayaka, after the Lord of the Seven Hills. He received a good education in accordance with family traditions and acquired proficiency in Kannada, Sanskrit, and sacred music. At age 16 he married Saraswatibai, said by tradition to have been a pious young girl. He lost his parents at age 20, thereby inheriting his father's business of gemstones and pawning. He prospered and became known as "navakoti narayana" (abundantly rich man; owner of nine crores).

According to popular belief, he was led to devote himself to musical composition by a miraculous incident which made the heretofore greedy and miserly merchant realize the worthlessness of his attachment to worldly possessions. A Brahmin man wanted to perform the sacred thread ceremony (''upanayana'') for his son and came to Srinivasa's wife for money. She gave him her nose ring to sell, and the man sold the nose ring to Srinivasa himself. The miserly Srinavasa lent the man his money. Meanwhile, his wife was worried about what to say to her husband, so she prayed to her favorite deity, who gave her a nose ring just like the one she had just given away. When Srinivasa hurried home, anxious to know if the nose ring was hers, he was bewildered seeing her wear the same one! She confessed what had happened, and he was converted to belief in the virtue of a charitable life. 30 years of age, he gave away all his wealth to charity and together with his family left his house to lead the life of a wandering minstrel to proselytise religion. In his very first song composition, he laments his wasted life of indulgence. It begins with the words 'Ana lae kara' in the Shuddha Savaeri raga, set to Triputa tala.

In the course of his wandering he met the holy sage Vyasatirtha. According to Prof. Sambamoorthy, Srinivasa had his formal initiation at the hands of Vyasatirtha in 1525 when he was about 40 years old, with the name Purandara Dasa bestowed on him by Satyadharma Teertha, a later occupant of the Vyasatirtha Matha (or Vyasaraya Matha). Purandara Dasa traveled extensively through the length and breadth of the Vijayanagara empire composing and rendering soul stirring songs in praise of god. He spent his last years in Hampi. The mantapa (mandap) in which he stayed is known as Purandara Dasa Mantapa (mandap). He took sanyasa towards the close of his life. He died in 1564 at the age of 80.

Purandara Dasa and Carnatic music

Purandara Dasa systematized the method of teaching Carnatic music which is followed to the present day. He introduced the raga ''Mayamalavagowla'' as the basic scale for music instruction and fashioned series of graded lessons such as ''swaravalis'', ''janta swaras'', ''alankaras'', ''lakshana geetas'', ''prabandhas'', ''ugabhogas'', ''daatu varase'', ''geeta'', ''sooladis'' and kritis. Another of his important contributions was the fusion of ''bhava'', ''raga'', and ''laya'' in his compositions. Purandara Dasa was the first composer to include comments on ordinary daily life in song compositions. He used elements of colloquial language for his lyrics. He introduced folk ragas into the mainstream, setting his lyrics to tunes/ragas of his day so that even a common man could learn and sing them. He also composed a large number of ''lakshya'' and ''lakshana'' ''geetas'', many of which are sung to this day. His ''sooladis'' are musical masterpieces and are the standard for ''raga'' ''lakshana''. Scholars attribute the standardization of ''varna mettus'' entirely to Purandara Dasa.

The itinerant dasas who succeeded him are believed to have followed the systems he devised, as well as orally passing down his compositions.

Purandara Dasa was a ''vaggeyakara'' (performer), a ''lakshanakara'' (musicologist), and the founder of musical pedagogy. For all these reasons and the enormous influence that he had on Carnatic music, musicologists call him the "Sangeeta Pitamaha" (grandfather) of Carnatic music.

Purandara Dasa had great influence on Hindustani music. The foremost Hindustani musician Tansen's teacher, Swami Haridas was Purandara Dasa's disciple. Purandara Dasa's compositions are equally popular in Hindustani music. Hindustani music legends such as Bhimsen Joshi and Basavaraj Rajguru have made them more popular in recent years. Young, well known artists such as Venkatesh Kumar, Nagaraja Rao Havaldar, Ganapathi Bhatt, and Nachiketa Sharma are continuing the tradition of singing Purandara Dasa's compositions in north Indian music concerts.

Film director and playwright Girish Karnad made a documentary film titled, ''Kanaka-Purandara'' (English, 1988) on the two medieval Bhakti poets of Karnataka.

Philosophy

Purandara Dasa has explained the essence of Upanishads, Vedas, in simple Kannada. His Keerthanas have simple lessons on leading a noble life.

Compilations of Purandara Dasa's lyrics

Gaja Vadana Beduve Gowri Thanaya A popular Purandara Dasa composition in Carnatic Raagam Hamsadhwani

Jackson, William J. 2002. ''Songs of Three Great South Indian Saints''. Oxford India. ISBN 0-19-566051-X

KavyaPremi. 1996. ''Purandara Daasa Haadugalu''. Dharwad: Samaja Publishers. Contains ca. 225 songs; in Kannada language.

Notes

Works cited

Gavai, Sheshadri. 1956. ''Sangeetha kalaravinda''. Bangalore: Aravinda Publications.

George, T.J.S. 2004. ''MS–A Life in Music''. New Delhi: HarperCollins Publishers India, a joint venture with India Today Group. ISBN 81-7223-527-5.

''The Hindu'' online. 2006-10-20. Friday Review Chennai and Tamil Nadu. Columns : An authority on Purandara Dasa

Iyengar, Masti Venkatesha ("Srinavasa"). 1964. ''Purandara Daasa''. Bangalore: Bangalore Press.

Iyer, Panchapakesa. 2006. ''Karnataka Sangeetha Sastra''. Chennai: Zion Printers.

Kamath, Suryanath. 1980. ''A concise history of Karnataka from prehistoric times to the present''. Bangalore: Jupiter Books.

Massey, Reginald and Jamila Massey. 1996. ''The music of India''. With a foreword by Ravi Shankar. New Delhi: Abhinav Publications. ISBN 8170173329.

Sharma, B.N.K. 2000. ''History of the Dvaita School of Vedanta and Its Literature''. Delhi: Motilal Banarsidass. ISBN 8120815750.

Dr. Vasudev Agnihotry "Purandaradasaru mattu Shri Mad Bhagavata Ondu Toulanika Adhyayana" Ph.D Osmania University Hyderabad Andhra Pradesh India 1984 Publisher: Samskriti Prakashana Sedam. Keertana Vidya nagar sedam 58522 dist gulbarga Karnataka

See also

Haridasa

Shri Madhvacharya

Vyasathirtha

Kanakadasa

Dvaita Philosophy

External links

Annual Purandara Dasa and Thyagaraja Aradhana in D.C., Maryland and Virginia

Bhagyada Lakshmi Baaramma A popular Purandara Dasa composition in Sri Raagam

Lyrics and translation of Purandaradasa compositions

Category:1484 births Category:1564 deaths Category:Carnatic composers Category:Kannada poets Category:Hindu poets Category:Madhva religious figures Category:Dvaita Category:16th-century philosophers Category:Indian Vaishnavites Category:People from Shivamogga Category:History of Karnataka Category:Kannada people

hi:पुरन्दर दास it:Purandara Dasa kn:ಪುರಂದರದಾಸರು lt:Purandara Dasa ml:പുരന്ദരദാസൻ mr:पुरंदरदास ta:புரந்தரதாசர் te:పురందర దాసు

Coordinates	28°36′36″N77°13′48″N
Name	M.S.Subbulakshmi
Background	solo_singer
Born	September 16, 1916 Madurai, Madras Presidency, British India
Died	December 11, 2004Chennai, Tamil Nadu, India
Origin	India
Genre	Indian classical music
Occupation	Classical Vocalist
Years active	1930–2004
Label	HMV
Spouse	Thiagarajan Sadasivam
Religion	Hindu }}

Madurai Shanmukhavadivu Subbulakshmi ( 16 September 1916 – 11 December 2004), also known as M.S., was a renowned Carnatic vocalist. She was the first musician ever to be awarded the Bharat Ratna, India's highest civilian honor. She is the first Indian musician to receive the Ramon Magsaysay award, Asia's highest civilian award, in 1974 with the citation reading "Exacting purists acknowledge Srimati M. S. Subbulakshmi as the leading exponent of classical and semi-classical songs in the Karnataka tradition of South India."

Biography

Early years

Subbulakshmi (Kunjamma to her family) was born in Madurai, Madras Presidency, British India to veena player Shanmukavadiver Ammal and Subramania Iyer. Her grandmother Akkammal was a violinist.

She started learning Carnatic music at an early age and trained in Carnatic music under the tutelage of Semmangudi Srinivasa Iyer and subsequently in Hindustani music under Pandit Narayanrao Vyas. She also learned Sanskrit and Telugu under Dr. Nedunuri Krishnamurthy.

Her mother, from the devadasi community, was a music exponent and a regular stage performer, and Subbulakshmi grew up in an environment very conducive to musical learning. Her musical interests were also shaped by regular interactions with Karaikudi Sambasiva Iyer, Mazhavarayanendal Subbarama Bhavathar and Ariyakudi Ramanuja Iyengar. Subbulakshmi gave her first public performance in 1929 when she was 13 years old at the prestigious Madras Music Academy. The performance consisted of singing bhajans (Hindu hymns). The academy was known for its discriminating selection process, and they broke tradition by inviting a young girl as a key performer. Her performance was described as spellbinding and earned her many admirers and the moniker of musical genius from critics. Soon after her debut performance Subbulakshmi became one the leading Carnatic vocalists.

Move to Madras

In 1936 Subbulakshmi moved to Madras (now Chennai). She also made her film debut in ''Sevasadan'' in 1938,.

Musical style and performance

Singing career

Subbulakshmi first recording was released when she was 10 years old. She gave her first public performance during the Mahamaham festival at Kumbakonam at the age of sixteen. She began her Carnatic classical music training under her mother Shanmugavadivu and then Hindustani classical training under Pandit Narayan Rao Vyas. By the age of 17, Subbulakshmi was giving concerts on her own, including major performances at the Madras Music Academy, a prestigious centre for the study and promotion of Carnatic music. Performance in Carnatic music concerts, was until then, a domain, traditionally reserved for men. She performed a vast variety of devotional musical forms in different languages including Tamil, Kannada, Sanskrit, Panjabi, Hindi, Malayalam, Telugu, Bengali, Gujarati and Marathi.

When the governor of Madras wanted the famous spiritual leader, Mata Sri Anandamayi Ma, to reside in his residence, Anandamayi Ma replied, "I will stay in the house of Subbulakshmi. She is Meera to me." Within two days, Sadasivam had special quarters built in their garden for Mata to give darshan and arranged for a new well to be dug nearby for fresh drinking water. Every evening thousands of people gathered there.

She traveled to London, New York, Canada, the Far East, and other places as India's cultural ambassador. Her concerts at Carnegie Hall, New York; the UN General Assembly on UN day in 1966; the Royal Albert Hall, London in 1982; and at the Festival of India in Moscow in 1987 were significant landmarks in her career. In 1969 she was accompanied by Indian Railways Advisor SN Venkata Rao to Rameshwaram, where she famously sang several songs in front of each idol in the Rameshwaram temple.

After the death of her husband Sadasivam in 1997, she stopped all her public performances.

Films

M.S. also acted in a few Tamil films in her youth. Her first movie "Sevasadanam" was released in 1938. MS Subbulakshmi also played the male role of Narada in "Savitri" (1941) to raise money for launching Kalki, her husband's nationalist Tamil weekly. Her title role of the Rajasthani saint-poetess Meera in the eponymous film (1945) gave her national prominence. This movie was re-made in Hindi in 1947. The movie had M.S Subbulakshmi. sing the famous Meera bhajans, with Dilipkumar Roy as the music director. Later, she quit films and turned wholly to concert music.

Awards and honours

Pandit Jawaharlal Nehru had this to say about M.S. Subbulakshmi- "Who am I, a mere Prime Minister before a Queen, a Queen of Music". While Lata Mangeshkar called her ''Tapaswini'' (the Renunciate), Ustad Bade Ghulam Ali Khan termed her ''Suswaralakshmi'' (the goddess of the perfect note), and Kishori Amonkar labeled her the ultimate eighth note or ''Aathuvaan Sur'', which is above the seven notes basic to all music. The great national leader and poet Sarojini Naidu called her "Nightingale of India". Her many famous renditions of bhajans include the chanting of Bhaja Govindam, Vishnu sahasranama (1000 names of Vishnu), Hari Tuma Haro and the Venkateswara Suprabhatam (musical hymns to awaken Lord Balaji early in the morning).

She was widely honored, praised and awarded. Some of the more popular ones include ''Padma Bhushan'' in 1954, ''Sangeet Natak Akademi Award'' in 1956, ''Sangeetha Kalanidhi'' in 1968 (literally, Treasure Chest of Music. She was the first woman recipient of the title), Ramon Magsaysay award (often considered Asia's Nobel Prize) in 1974, the ''Padma Vibhushan'' in 1975, the ''Kalidas Samman'' in 1988, the Indira Gandhi Award for National Integration in 1990, and the ''Bharat Ratna'' in 1998. She was also honored as the court-singer of Tirumala Tirupati Devasthanams. Tirupati Urban Development Authority (TUDA) has installed a bronze statue of M.S. Subbulakshmi at the Poornakumbham circle in the temple town. It was unveiled by Andhra Pradesh Chief Minister Y. S. Rajasekhara Reddy on 28 May 2006.

The most famous Kancheepuram Saree shade known as MS Blue was created for her by the well known Congress party member and philanthropist, Sri Muthu Chettiyar when they met at the residence of Sri R. Aiyadurai and Smt. Thangam Aiyadurai at Lady Desikachari Road, Madras, who were close friends of MS and Sadasivam.

She was bestowed with enormous prize moneys with these awards, she donated most of them to charity. She has given more than 200 charity concerts and raised well over Rs. 10,000,000.

She was awarded honorary degree degrees from several Universities.

She was an ardent devotee of Kanchi Mahaswamigal and she rendered his composition ''Maithreem Bhajatha'' (O World! Cultivate peace) in her concert at the UN in 1966. She donated many of the royalties on several best sold records to many charity organizations.

References

Further reading

M.S. Subbulaksmi, the Voice Divine (79 pages) by V. Gangadhar.

MS - A Life in Music, T. J. S. George. 2004, HarperCollins. ISBN 978-81-7223-527-7

MS & Radha - Saga of Steadfast Devotion - by Gowri Ramnarayan - http://www.msstribute.org/

External links

Biography at the official site of Ramon Magsaysay award

Photo of MS, Sadhasivam and Ellis R. Dungan

See also

Category:1916 births Category:2004 deaths Category:Carnatic singers Category:Tamil musicians Category:Indian actors Category:Tamil actors Category:Recipients of the Bharat Ratna Category:Recipients of the Padma Vibhushan Category:Recipients of the Padma Bhushan Category:Recipients of the Sangeet Natak Akademi Award Category:Ramon Magsaysay Award winners Category:Indian female singers

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