As Mahālaya Pakṣa begins today, we completed a beautiful two-day class on Vande Mātaram by Dr Ramaa Kausalya's Marabu Foundation and INDICA, led by Madhuvanthi Badri.
For a class predominantly attended by South Indians, Madhuvanthi opened up the Bengali world of Bankim Chandra Chatterjee’s hymn - its language, cultural memory, music and deeper movement between the native and the cosmic.
The six stanzas trace an extraordinary arc. The Mother first appears as the living landscape: “sujalāṃ suphalāṃ,” “śasya-śyāmalāṃ,” “śubhra-jyotsnā.” She then becomes collective strength and resides as “vidyā,” “dharma” and “prāṇa.” Then comes the revelation: “Durgā daśa-praharaṇa-dhāriṇī,” “kamalā,” “vāṇī”— before the hymn returns to the gentle “śyāmalāṃ saralāṃ susmitāṃ.”
Madhuvanthi also brought alive the musical journey of the hymn. While its earliest tune is associated with Jadunath Bhattacharya, the celebrated Tagore rendition is in Raag Desh.
And then Madhuvanthi sang the stunning “Jago Durga Dashapraharanadharinee.” The iconic song of the All India Radio Calcutta broadcast Mahishasuramardini, heard at dawn on Mahālaya as Bengal awakens to Devi. Dwijen Mukherjee’s rendition became especially beloved and remains closely associated with the broadcast.
So “Durgā daśa-praharaṇa-dhāriṇī” in Vande Mātaram suddenly acquires another layer of resonance. The ten-weaponed Devi of Bankim’s imagination meets the Devi awakened through song in Bengal every Mahālaya.
Nearly 40 of us, including students of PSG Coimbatore and Avinashilingam University, were transported by the call to our Mother.