A Tale of Nemesis (An Old and Rare Book)

Preface The origins of Yatcakanam lie shrouded in mystery. Theories do not want to support the claim that the art had a divine origin and that the early musical compositions were the intuitive works of inspired sages. Starting as a mode of singing, Yatcakanam has today become verily, a medley of song, dance and drama. This happens to any art since the form and techniques have to change to suit the tastes and temperament of contemporary audiences. Prof. Bhandarkar speaks glowingly of the early Yatcakanam as 'a lyrical outburst of love and devotion'. The original music was characterized by intensity of passion and 'lent itself easily to sweet singing by wandering minstrels'. A vague ecstasy was its distinct characteristic; An aura of mysticism lent it a unique charm. The themes of the song had a bearing on Puranic lore and tradition. In fact, I the predominant rasa that permeated the songs was that of bhakti or total surrender to the Almighty. Obviously, the songs were vibrantly poetic and emotional'. "Love of a higher order, other than carnal love or mundane passion". was also exploited. Heroic deeds figured occasionally.

Yatcakanam, as the name implies, is the music of the Yaks has. Obviously the question crops up as to who the Yaks has were. An authoritative commentator on the Meghaduta of Kalitaca, whose protagonist is a love-lorn Yaks pining for his be- loved at Ramakiri, attributes to the Yaksha a fairly high rank in the hierarchy of angels. Most of them were in the employ of Kuperan, the Lord of wealth. Their primary duty was to sing in praise of Goddess Laksmi, the embodiment of prosperity. Yatcakanam was marked by gusto and superior ecstasy. Spontaneity was it hall- mark.

Another apocryphal story about the origin of the Yaks has attributes their creation to Lord Piramman. Unnamed as they were at that time, they sought protection or raksha from their creator. Lord Piramman quibbled on the word raksha and chose to call them yakshas '. Another group, which also sought protection from Lord Piramman, absent mindedly mispronounced a letter in the word raksha which distorted the meaning and so was forced to don the despicable role of rakshas.

Whatever be the origin of the Yakshas, the term Yaksha has come to stay and connotes the idea of divine origin. In various parts of our country, there are groups of people who trace their descent from the angels who went by different names such as Yakshas, Kinnaras, Caranas, Vidyataras, Kantar as and Kimpurushas .. Prof. Bhandarkar has a dig at the divine hierarchy of angles, arch-angels and ministering spirits with its own distinctions of status and caste, akin to what obtains on the earth: In Nepal, there are people who claim descent from the Kantar as. The Vaicyas of Marwari also call themselves Kantar as and their music goes by the name Kantarvakanam. There are Caranars in Sourashtra who are proud of their divine origin. In Tamil Nadu, there are devars or Godmen. A tribe, which lives both in Andhra and Karnataka, is called the Yakshas. They are also known as Jokiness or Jackals. The Balijas also claim for their community a divine origin.

Yatcakanam is different for Carnatic music and Hindustani music. While Camatic music traces its origin from Mattriya Karma and Hindustani music from Satjakarma, Yatcakanam had its genesis in Kantarvaganam. The Yakshini Vidya mentioned in our Mantra sastras has been identified as Yatcakanam which is sung to invoke the blessings of the Almighty. The prevalent belief was that the songs would cure barrenness, bring success in love and confer prosperity and riches. Vatciyayana in his Kama Cattram and Hema Cantira in his Tec Nama Malai mention yatcaranama or a night earmarked for the Yakshas. This has been identified with Tipava Ji. "The tradition was to sing Yatcakanam throughout the night and appease the Gods, both minor and major". Even today, the Telugu Brahmins celebrate Yakka Tevata Pujai. The highlight of this function is Yatcakanam.

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