Wedding Rituals Unchanged Since Andal's Time- 8th Century

                                      ‘’ ANDAL’’ –means the  girl who ruled. She was so special to Lord Ranganathar, that people gave her the name ‘andal’-the one who ruled over HIM , the Lord of Bhooloka Vaikundam – Srirangam.  Her story is a fine example of bridal mysticism and is similar to Meera Bai of Mewar. She was found miraculously  by the temple priest ,under a basil bush in the temple nandavanam-  and named Godha- given by the earth.

           Kodhai, Godha were her other names. She is one of the twelve ‘’alwars’’ or saint poets  who together  composed the ’naalayiram’-the 4000 sacred hymns and poems on Vishnu. So important is this girl- saint who merged with the Lord  , that every  Vaishnavite  temple  has a special sannidhi(sanctum) for this  Goddess. With her tilted “kondai’’(head gear) and her beautiful  ‘’vaira’’(diamond) namam   and nose-ring , Andal is approached  by parents of unmarried girls for the ’mangalya’ blessings. In fact , among Vaishnavites, it is a common belief that singing or reciting Andal’s beautiful dream-song- ‘’Vaaranamayiram’’, which details succinctly , her marriage rituals to Aranganathar ,will culminate in marriage for the recitor. And thus  the song survives and lives on with a special sheen. Nobody forgets Andal.

                                        Recently, while teaching this song to students of music, I was struck by the vivid wedding rituals  and scenes  described by Kodhai .  Even today  ,we find   the same rituals of the 8^th century  in our Hindu marriages. I feel happy- that we could at least preserve this heritage intact.

                                       Andal starts the song – which is actually her dream-( “kana”’ , narrated to her ‘thozhi’- friend- ) with her Lord  arriving in style along with a thousand elephants-’Vaaranamaayiram’.   Nowadays  , what with elephants banned in the city,  the groom arrives in  a horse-drawn carriage (ritual borrowed from North India). In days gone by- the bridegroom used to arrive  in an open car, with  an English band, a Nadhaswaram ensemble,  and  gaslights on either side ,carried by Koravas (gypsies).  The  flower- decorated car  used to be followed by a host of glittering, laughing friends and relatives dressed  in their  wedding finery. The  hapless  groom would be dressed in  a Western suit-complete with  neck-tie and a bouquet in his right hand.   Noisy little  boys and girls would sit next to him and fight for space.  This ‘’mappillai azhaippu’’ is now obsolete. It is replaced by a  horse-carriage holding the bride as well. This is followed by Bollywood dancing by wild youngsters. And everyone eats chaat and kulfi.

                                           Coming back to the song- the’ thoranams ‘  mentioned in the song are very much there. But now event managers tie them up fashionably. The holy water-‘naatrisai theertham’’  is still prepared by the priests- with saffron, elaichi and other herbs. Indra and other Gods are assembled-   but  here on earth   we have elderly relatives and a group of learned priests. The bride   is garlanded  and the  mother ties the ’kaappu’ same as in the song—“’kaappu naan katta”’.

                              Next , Andal details a number of young dancers-Sadir-ila- mangaiyar – who bring’  deepams’- lamps- placed on’ kalasams’- silver kudams.  Here we can  realize that the term—‘Sadir’’ for dance   was in vogue  in those ancient days. Now we have  women  relatives carrying kudams with lamps placed inside them – they hold them and circle the bride and groom on the ‘’oonjal’’- (swing) . As in the song –     the entry of the  traditionally- dressed  groom does cause a flutter- especially among women and girls.

                                        ’Madhalam kotta  varisangam nindroodha”- the drum and the conch  raise bold sounds. Now, we have instead ,  the  Nadhaswaram and the thavil- which being the ’mangala’ vadyams-, proclaim an auspicious event .No wedding is complete without these  endearing instruments. Here we can note  that many days and years ago- a wedding definitely  had music and dance  as part of the rituals.  There is next  a description of the pearl- decorated ‘’pandal’’- shamiana.  Half- a century ago- I have seen gaily decorated pandals made of coconut leaf fronds-which were expertly raised in a jiffy- and lit up with tube lights and paper and mango leaf decorations. There were exclusive ’pandal’ contractors who were very much in demand.  Inside the pandals- I remember- we never ever  felt the heat--- so cooling were the eco-friendly materials. Nowadays the concrete, heat- causing  kalyana mandapams  need AC’s and fans, and are gaudily decorated for most part. In my ancestral home ,we always received the summer with a ‘’pandal’ in front of our bungalow-’ where  we whiled away the hot months with ease.  Sitting under pandals and big trees in summer is far  more cooling than Ac’s and fans.

                                          Having come under the   decorated  ‘pandal’, Andal  says-‘’ I dreamt  that Madhusudhanan   held my hand .’’ The touch is as thrilling for us  as it is for her. Even in our weddings- the first touch--’sparsham’-  of hands decorated with mehndi -’guided by the priest is unique  for the couple .At that very moment the thavil gives the’’getti melam’’, or a continuous beat which proclaims to all that the bride and groom have held hands in holy union .In another line- she talks about  ‘ semmai-udaya thirukkai ‘  -the divine hand of Narayanan   holding hers and   they do the  ‘’ammi’-’ grinding- stone ritual—’ammi midhikka kanaa kanden thozhi naan’.

                                        “’Erimugam’’— with the fire  in  front- ‘’arimugan achyuthan-(Lord)‘ makes Andal stand in front of the Fire  ,and placing his hand over hers- ‘’porimugam  Thatta ’’the ritual of  pouring the ‘’pori’’ on the fire- is followed- as we do now . This is the third reference to the divine holding of hands . The rhyme-  vari-  ari- eri- and pori- come out with ease.  Time and again she details His touch on her fair hand --an incurable romantic. A great Romantic poetess.

                                               ‘’ Kumkumam appi-kulir chandam mattitthu-‘’ the couple is decorated with cool sandal paste and kumkum-  so is it done now. But a procession atop  an elephant is not in vogue now.That is however followed by Royal families in India.

                                          In the last verse Andal says it is a narration of her dream --and it is  a word-- garland  in ‘’thooya thamizh-maalai’ -chaste tamil ‘’- which she composed for the good of the   people- and she mentions that she lives in   the famed  Srivilliputhur – and is known as Kodhai.  A beautiful poetic song – which has been in circulation for centuries- undiminished in its appeal. The chronicler- Andal ,- is worshipped everywhere and remembered by all- with special affection  in the holy month of “’margazhi’’.- .In that month-, still- the devout pray to her and to Vishnu in all His avatars.   Her Tiruppavai  verses are sung every day.Vaaranamayiram at Iyengar weddings.

                                              When Andal’s father   Vishnuchitthan  chastises her, for dressing up as  a bride- with garlands belonging to the Lord , Ranganathar appears in a dream and summons her to Srirangam . Respendent in silks, jewels and garlands,  sweet Andal sets off in her pearl- encrusted palanquin. At the corner of the Srirangam temple- she sees the Lord  in His gem-encrusted  pallakku  – she gets down – rushes to Him ,and entering the  holy temple –She merges with Him.  Her dream comes true.