A bird, Bharati and melody

Carnatic musician R. Suryaprakash and Tamil scholar Dr. Arul Avvai Natarajan join hands for Kuyil Paattu

R. Suryapraksash

It was the call of the cuckoo bird, which inspired Carnatic vocalist R. Suryaprakash to get immersed in the poetry of the legendary Subramania Bharati. “Moved by its haunting ‘coo,’ I wondered why not tune the verses of Bharati’s epic work, Kuyil Paattu for music lovers, caught in the lockdown, across the world,” says Suryaprakash, tracing the genesis of his venture. Before long thought metamorphosed into action and ‘Kuyilpaattu Paduvom’ was born.

Suryaprakash’s classmate from school, Dr. Arul Avvai Natarajan, had written a related article in his current post as Director of Translations for the Government of Tamil Nadu. Coincidentally, it effused themes of the same works and instantly, Suryaprakash knew who this project must include. It meant analysing the massive work — 744 lines in nine chapters — a task that excited Dr. Arul.

According to Dr. Arul the beauty of

Kuyil Paattu lies in its origin. “Bharati has described it as the outcome of his reverie, taking place in a garden in the west of Puducherry. He was listening to the cuckoo’s melodious cry and comprehended its meaning — a songbird pining for his love,” he describes. The verses unfold like an epic, with characters such as a bull, monkey, a sage, and even ghouls playing parts. Studded with mystique, it’s a narrative, which will unfold as the weeks progress, each verse being brought to life by Suryaprakash’s vocalisations and choice in ragam.

Suryaprakash calls it his ‘passion project,’ an extension of his love for Bharatiar’s compositions that are a must in his concerts. While he continues to indulge in Bharathiar’s more popular, often patriotic works, he hopes this episodic series will introduce audiences to a rare side of the poet.

Arul Avvai Natarajan. (

New ragas

His rendition, he anticipates, will fill at least 25 online episodes. Released in an array of ragas, including Bouli, Natakuranji, Ahiri, Sumanesa Ranjani, Nalinakanthi, Atana, Sindubhairavi and Durbarikanada, his priority remains the compatibility of the lyrical and musical bhava — a concept that has led the musician to set certain verses to talam, while others remain more extempore as virutthams. The project has also allowed Suryaprakash to discover two new ragas — Kuyilkurinji and Suryavasantha. While the former is a janya of Chakravaham, named for its resemblance to the kuyil’s call in tara sthayi, the latter, a janya of raga Soolini, is the result of the artiste’s extended practice sessions during the lockdown.

“Kuyilkurinji is more folksy and happy in nature, while Suryavasantha has both veera rasam and pathos,” he explains.

With one episode released on May 24 and many to come, available both on YouTube and the artiste’s social media pages, it’s a project to note and one that he hopes keeps rasikas engaged during this trying time. Perhaps, it’s an effort to preserve the old — a positive spirit and hope which personify Bharati — for future generations to come.