 It is evening. Buses thunder past. Autorickshaws snake their way through the gaps among the buses, as noisily as possible. Add cars, rickshaws, scooters, cycles, pedestrians, flower vendors and other hawkers. You get the picture of any busy thoroughfare in Madras.
Arya Gowda Road is no different. But in the middle of all this cacophony, a music festival is held every year, for 9-12 days, around Ramanavami time. A festival which draws mammoth crowds and draws the best from the best of artistes.
As I drive on, concentrating on the traffic, my companion suddenly points out the entrance to Ayodhya Mandapam, our destination. Not wanting to stop and incur the "@#%^*" of the MTC bus drivers, I drive ahead and finally locate a parking space in a side street quite some distance away.
Two-wheelers and vendors selling panchangams, 'darbai' and pamphlets with instructions on how to do several rites oneself, block the entrance to the mandapam. On entry, we see the entire hall filled with scaffolding as the asbestos roof is being replacted. The 'stage' on which the artistes perform is on the left and straight ahead we see the sanctum which has no idols but only paintings of Lord Rama and other Gods. The principal deity is
Pattabhirama.
A few earnest residents of West Mambalam established the Ram Samaj in 1954. One of the original founders, Krishnamurthy Rao, is the current president. He was most helpful in giving us the information we needed. Originally conducted on a vast plot of empty land, opposite the current location, the programmes of kathakalakshepams and kutcheris around Ramanavami soon became very popular.
 In 1957, the seer of Kanchi, Chandrashekharendra Saraswati, camped in the vicinity. On walking down the mud track, that was later to become Arya Gowda Road, he suddenly walked into the scrubland opposite the then location and suggested that a permanent structure be built at that very spot to worship Lord
Rama.
The office-bearers of the samaj were taken completely unawares. With just Rs 67 in their kitty, they had no idea as to where the funds would come from. However, with a loan extended by a well-wisher, the land was acquired for around Rs 3,000 and work began. In 1961, the association moved into its present home.
In the beginning, the programmes would begin on Ramanavami day. They were conducted over nine days. Valmiki
Ramayana kathakalakshepam would be rendered from 6 p.m. to 8 p.m., followed by a concert usually by a prominent artiste. Such was the draw of the festival that except for
Ariyakkudi Ramanuja Iyengar and
G N Balasubramaniam, all others have performed here.
The association still regrets this gap in its proud record.
Madurai Mani Iyer, was a hot favourite and there was an occasion when the crowds completely blocked the road, which caused traffic diversion. Suddenly, there was a commotion as a man was trying to force his way through with determination. It was Madurai Somu, desperate to get in and listen to Mani Iyer! Madurai Somu was to become a great draw here himself much later. His concerts would go on till 3 a.m.! He preferred a Saturday evening slot as he could go home on Sunday morning and take rest.
With the increase in crime rates, the late night programmes became a problem. The kathakalakshepams were then started nine days before
Ramanavami. Ramar Pattabhishekam now coincides with Ramanavami. The 'music festival' starts the next day and goes on for 12 days.
This facilitated an early start for the concerts. However, with the increasing number of artistes and demands that juniors be provided an opportunity, the music programmes have three slots on each day. The junior slot is from 3 p.m. to 5 p.m., followed by two senior slots. Which possibly brings us to square one again.
Things have not changed much since the days of N C Vasanthakokilam and Madurai Mani Iyer's performances. The dais is still makeshift, the audience still squats on the floor. 'Mambalam mosquitoes' sting like needles and hold parallel concerts, sometimes causing claps. Traffic is frightening. Buses wantonly honk outside during the middle of the concerts.
But they cannot be blamed as the programmes do create a bottleneck. There is a larger audience, which sits on the parked vehicles outside to listen and leave as they please. Entry is free. The traffic led a senior artiste to remark tongue-in-cheek that the programmes should begin after midnight.
Some years ago, the Metropolitan Transport Corporation
(MTC) magnanimously diverted its vehicles through neighbouring Thambiah Reddy Road. But this miracle ceased occurring from the next year.
The association, despite its comfortable financial position, cannot hope to build an auditorium due to lack of space. The funds are better utilised, feel the office-bearers, in charitable causes such as the running of Gyanvapi, a place for conducting obsequies, the Mithilapuri Kalyana Mandapam, which is let out at very low rates, a school and a free library. The absence of idols is explained by the fact that with their installation, the place would be declared a temple and the Hindu Religious and Charitable Endowments (HR&CE) Department would step in at once to take over and (mis)manage the funds.
What then makes Ayodhya Mandapam the Music Academy of April? Why does
T N Seshagopalan even agree to sing in the 3.30 p.m. slot in case of a clash in dates, rather than give the programme a miss? Why does
Sudha Raghunathan sing till 1 a.m. and invariably wind up her concert with a cheery, "Good Morning"? Some attribute it to the power of the deity, considered by many a "vara prasadi" - a powerful giver of boons.
Others feel it is the participation of the Mambalam residents, who, cut off from most of the other major sabhas, make this event something to remember. Till date, the association conducts the programmes through funds generated by voluntary donations.
A 'thattu' is taken around in which most of the 1,500 strong audience put their
offerings. There is never a shortage of volunteers or donors. Such is the level of involvement. With such an audience, which artiste would grudge performing? With the encouragement they receive, even the 'Tukkada' section goes on for more than an hour. An inspiring atmosphere that most sabhas lack, despite the best seating arrangements and acoustics.
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Ramanavami at Ayodhya Mandapam
