Andal and her world of poetry have simply consumed this researcher. Azhwars, especially Tirumangai have fascinated her. Two decades and several publications later, Dr. Archana Venkatesan declares that she has a long way to go and is enjoying every bit of it. Her subjects have taken her to Sri Vaishnava temples in Tamil Nadu, where the Azhwars’ poetic works are a way of worship.
An Associate Professor of Religious Studies and Comparative Literature with the University of California (Davis), Archana visits home to observe how festivals are conducted in temples and the place of Azhwar poetry in the scheme of things. Her recent trip is dedicated to Adyayana festival as part of her project for the Guggenheim Fellowship. “It has not been possible to get away for long stretches, in order to attend a festival from beginning to end. So I catch up parts of it, say the first ten days at Villiputhur, the second ten days at Azhwartirunagari and the associated festivities later,” she explains. Archana’s has been returning to the Tirunelveli belt since early 2000.
Archana’s story is the rise of a girl born and raised in Chennai, who found her calling in the U.S. An English literature student at U.C., Berkeley, she happened to accompany her friend to her Tamil class. Dr. George Hart was speaking on Sangam poetry and Archana was bowled over. “I hadn’t studied Tamil in Chennai. Dr. Hart was really surprised when I asked him what he was teaching. My initiation happened at that moment,” recalls Archana. She learnt Tamil from Prof. Maraimalai, visiting professor, and began to read books. “The university library was fantastic and I devoured everything,” she supplies.
When Archana expressed her wish to do her thesis in Araiyar Sevai, Dr. Hart suggested Andal. “What would I do with just two works,” she countered and her mentor’s reply was, “Go to Srivilliputhur, Andal’s birthplace. You’ll get the answers.” And what a heady world it turned out to be! And a turning point in her academic career. “There is a festival for every landmark in Kodai’s life — Her birth is Adi Pooram, which was celebrated recently, her Nonbu in Margazhi (December) followed by her wedding are all marked,” expands Archana.
Archana is not so much involved in dates here. “I’m not interested in how old Andal was, how she was related to Vishnuchitar, etc. It becomes clear that we are looking at a well-educated and accomplished woman, whose poetry is my focus. And the persona that comes through that female voice,” explains Archana, who finds Andal adopting different voices for her Tiruppavai and Nachiar Tirumozhi . “The beauty of her poetry, the choice of words, the maturity, etc., are breathtaking,” observes Archana. “My mission is to explore the intersection of text (read poetry) and festivals. In other words, how exquisitely the verses get translated into visual images — they simply merge as one entity,” she adds.
But then Azhwar’s poetry, including Andal, was born out of experience. “Anubhavagrantam. They soaked in the moment, whether it was the beauty of the god/goddess, their decoration and the festival,” says Archana. She has a special place in her heart for Tirumangai, who presented himself as Parakala Nayaki. She wants to translate all his verses. “It may take another ten years but I want to do it,” she asserts.
The marathon adyayana festivals (recital of Prabhandam) are right now occupying her attention. A bout of viral infection notwithstanding, she witnessed the festival at Navatirupati. Archana points to the variation in the calendar of events. For instance, it is Vedupari-Kanaiyazhi-Mattaiyadi at Azhwartirunagari. This differs in Tirukurungudi. “Through their verses, the Azhwars build gods, who come alive in their resplendent tirukkolam during the temple festivals. It is this creativity, which fascinates me,” she says. Attending the entire three weeks of Pagal Pathu and Raappathu is both an ecstatic and draining experience for the devotee. He almost gives up at the fag end and as a shot in the arm comes the climax and he is ready for another session. Vaikunta Ekadasi is the highlight of Rapathu and the opening of Paramapada Vaasal differs from place to place,” says Archana.
Right now Archana is at the end of a three-year term as Chair, Department of Religious Studies. It is a responsibility involving the work of the head of a department, including administration, etc. “I love the work and interacting with the students. Only I haven’t had much time to do my research and writing. The Guggenheim fellowship has given me the respite and after I finish it, I hope to turn my attention to Tirumangai’s poetry — the ultimate,” says Archana.
Is she in touch with Dr. Hart, who set the ball rolling? “He is in Florida and I keep him posted on the developments on my academic front. After all, he opened the door to this magic world,” says Archana.
As a woman explorer in an unusual field, was there any resistance from the orthodox sect?
“Well, eyebrows were raised, 15 years ago, when I landed in Srivilliputhur — alone and cash-strapped. I stayed in modest lodges and dashed around on foot, buses and any transport that didn’t make a hole in my purse. But I was taken care of. Both temple officials and lodge owners realised I was serious and were protective,” she says.
Araiyar Srinivasan of Alwar Thirunagari handed over to Archana, manuscripts of Tiruviruttam in which Nammalwar dons the role of Parankusa Nayika, in love with Narayana. “He gave them to me to be salvaged. It was at the end of my India trip. I flew away after leaving it in a preserved environment and on my next visit, took it to the French Institute, got them all digitalised and returned it to Araiyars of Alwar Thirunagari,” reminisces Archana. “I can never forget the freedom he gave me to think and ask questions — it is like oxygen supply to a researcher.”
Archana makes special mention of Varadesikar of the French Institute of Pondicherry. “Usually the habit is for a tutor to talk down to his students, more so if it is a woman. It is universal. Whereas I prefer a dialogue — stop and ask questions, get clarifications. Varadesikar (he is no more), who guided me in translating Tiruviruttam, was open-minded. Never assuming the I-know-all-you-listen attitude, he laid down the facts as history had it and what legend offered. And allowed me to raise questions.”
It is this freedom Archana cherishes most. “Agreed, the verses of these religious texts have been analysed by scholars. But there sure should be room for people like me, who love the poetry, to come up with interpretations. How I relate to it and communicate with it. It is this voice, which I want to record, and in translation I find an ideal vehicle,” sums up Archana.
