A Tryst with KAnchipuram

Kanchipuram is an ancient city established in 3rd century BC. It is so close to Bangalore that I wonder why I never made it there for 22 years. 

Kamakshi Amman Koil

For a long time, Kanchi meant Kamakshi to me through many songs on that beautiful form. I dreamed, imagined and sang about the form so much that I was very eager to visit her sannidhi in Kamakshi Amman Koil. That was indeed the first temple I visited barely an hour after I reached Kanchi.

I was approaching the entire Kanchi visit very cautiously so that I don't make it a completion of a To-Do list and miss the forest for the trees. I wanted to feel the intensity of the shrine with all my being.

I wanted to do a pradakshinam before I had the darshan. I wanted to get the whole context and bow down to everything around her before I had the audacity to enter into her sanctum for the darshan. It was 4 PM when I went in and the temple was just reopened for the evening. There was very little crowd. I bought a few lotuses to offer to AmbAL.

I paused at a huge kuLam (Temple Tank) and a peaceful neem tree as I did the pradakshinam and slowly entered the empty lines for free darshan. I went straight into the inner temple and there was a lot of expectation as I recalled the story of the bilam (cave) that Kamakshi was supposed to have come in as a 9 year old and the Gayatri Mandapam on top of it. There was a short pause in the progress of the queue and I used that time to sing Devi Brova by Syama Sastri which is full of the emotion needed to receive her fully. 

I had a beautiful and intimate darshan however fleeting. Abhishekam was being done with milk, water etc. I went around the main sanctum and got back into the line as there was so little crowd and had darshan again from a closer vantage point. 

I came out and was marveling about the beautifully lit gopurams on all 4 sides and the main golden gopuram in the middle while sitting on the steps of a pillared mandapam.

A priest or an administrator mentioned that Alankaram was being done then after which prasadam will be distributed. So, I went in again for darshan. This time, there was some crowd but not too overwhelming. I was trying to be more present and was focusing on the beautiful chanting by Bombay Sisters on the speakers.

Just as I neared a fork in the queue, the right branch was opened and I was let into that line which went even closer without any obstructions. I had the beautiful darshan with her form fully decorated. I was trying to focus on her feet as Vinay Varanasi mentioned a mere glance at the tip of her foot is enough to be granted all that we need and desire. It was difficult to do that as the vastram was covering her feet. I consoled myself that I at least had thought of it.

I came out and lined up for Prasadam - not once or twice or thrice but four times. I had different prasadam each time - miLagu sAdam, Sakkara Pongal, Coconut rice, curd rice and panchamritham. All high quality and tasty. The process and the fruit, both were the best!

That was a magical evening of being with Kamakshi devi and I walked back to the hotel.

On my second day, I went to Kumara KoTTam as the auto anna told me that Tuesdays are special for Murugan there. It was raining due to cyclone that day and I bought an umbrella and set out there that evening. After the darshan  at the relatively small temple, I enquired by chance, the way to go to Kamakshi temple. They gave me a shortcut from behind the temple. I was thankful for the 2 minute shortcut. As I was approaching the Kamakshi temple, a flower lady was literally in tears and getting drenched in the rain requesting me to help her with a call to the shopkeeper who has locked his shop and gone home with her wares inside. I was immediately reminded of Vinay Varanasi's words that Devi could come in any form and his exhortation for us all to be open. I paused there despite the rain and helped her with what she needed. But, I do feel bad that I didn't offer her the protection of my umbrella while we interacted. I did advise her to wait in a dry place for half an hour and to come back and check on the shop. Later, I walked over to the Kamakshi Amman temple and entered into what was now a familiar place.

The free entrance was free of crowds. There was a slight pause near the sanctum as abhishekam just got completed and the curtain was drawn during the alankaram. I was thankful for the wait as I dwelled on her form and grace through Devi Brova (ChintamaNi), Brovavamma (NeelAmbari) and Ekamresha Nayike (Suddha Saveri). There was also really melodious carnatic music being played by the Nadaswaram vidwans. I thoroughly enjoyed it. I finally had the darshan, prasadam and headed back to the hotel via UlagaLanda PerumAL temple.

On my third day in Kanchi, I headed to the Kamakshi Amman Koil in the evening like a homing pigeon. It was the day of Chandana KAppu (Sandalwood paste) alankaram that day. I went in for darshan several times as the lines were short to non-existent. I could pause and soak in the beauty of everything in the temple. While I waited between darshans and before alankaram could be done, I found a small mandapam behind the temple near the kuLam while the partly cloudy skies threw a comforting veil all above me and light wind blew in the most pleasant manner. 

I was prepared with my books and practiced/sang Kamakshi swarajathi (Bhairavi) and O Jagadamba (Anandabhairavi). I had many rounds of darshan and prasadam. The temple is very well kept in general and Kamakoti Peetham is doing an excellent job preserving the temple and the tradition.

On my fourth and final day, I went to Kamakshi Amman Koil in the evening as it opened so that I can take leave. I went to the now-familiar flower seller, bought a lotus garland while she threw a couple of water lilies that I was eyeing  and went in. The crowds were larger that day but I wasn't regretting it. I spent the time quietly in the lines as long as it took. The first time, the darshan was of Kamakshi without any alankaram. I had a good view of her divine pAdam and bowed down. I waited and went in for the second and final time after the alankaram in green. I took leave, donated for the prasadam fund and had my final prasadam ONCE and left as I had a very early start the next day.

Divya Desa Darshanam 

UlagaLanda PerumAL

On my way back from Kamakshi Amman Koil on my first day in Kanchipuram, I took a more direct route to my hotel which is all of 10 minutes away. Lo and Behold! I chance upon UlagaLanda PerumAL Koil. I later found out that it is not only a divya desa kshetram but also houses 3 other divya desa perumAL koils - Sri Neeragathu PerumAL, Sri KAragattu PerumAL and Sri KArvAna PerumAL. The main PerumAL who is UlagaLanda is also known as Trivikrama or VAmana in the PurANams. 

As I did in all the temples, I tried to take in the antiquity and significance of these kshetrams slowly and carefully as I did the pradakshinam. I was overjoyed to find AnDAL with her father VishNuchitta by the side in a shrine of their own among other AzhwAr shrines. I paused there and sought her grace for the ThiruppAvai yagna that I have taken on. I have whispered KuttuviLakkeriya ThiruppAvai and went on further to complete the pradakshiNam. I found a couple of devout devotees ringing cymbals and chanting various Tamil chants as they regretted why they didn't visit more often. A priest near Sri KArvAna PerumAL was trying to exhort all the visitors to learn more about our culture and faith.

On the second day too, I stopped at the UlagaLanda PerumAL Koil on my way back from the KamAkshi Amman Koil. It was raining quite steadily but I had an umbrella and a jacket for protection. There was even less crowd due to rain but there were a few people. I had the darshan of all 4 PerumALs as I did not note the names properly on the previous day. The garrulous priest was missing in action and in fact, the priests were preparing to close the temple down early due to inclement weather. 

I did complete the pradakshiNam despite the rain thanks to the umbrella (the metaphor of VAmana approaching Bali with an umbrella is not lost on me here!) and collected the tasty prasadam (Pulihora) and came back to Azhwar mandapam to rest and relish the prasadam. Just then, an interesting heartwarming episode happened.

As I was enjoying the Prasadam, an old couple wanted to borrow my umbrella for doing their pradakshiNam. I let them though I was in a hurry. Then, I had the idea to offer all 4 new pAsurams to AnDAL who was standing there peacefully and patiently. I sang them all to her with not a soul around. Towards the end, MaNi, the security guard came to me and appreciated it and was reminiscing how he learnt them all as a teenager. I took a picture with him. God appears in mysterious ways for sure!

I feel that great things can happen in life if we don't resist life due to our own fears, anxieties and suspicions.

Then, on the third day also, I went to the UlagaLanda PerumAL temple and had the quick darshan of all PerumALs and completed the pradakshinam. Then, I sat down near AnDAL after offering two lotuses near her threshold. Then, I did the musical offering of the two older ThiruppAvai pASurams that I did not sing the previous day. I also sang MANikkam KaTTI (of PeriAzhwAr, her father). But, it was interesting that I could not recreate the spontaneous magic of the previous evening. Experiences cannot be created but they just happen when you least expect them. 

VaradarAja PerumAL

The moment we find out that there are 108 divya desams (2 are encountered in after life) out of which 15 are there in Kanchipuram, there is a desire or a goal to 'finish' them all. It was the first thought which I modulated later so that I am not hung up on that detail.

I had reserved my final day for visiting several PerumAL temples, but, I could go to only three of them not counting UlagaLanda PerumAL that I already visited thrice. Of course, I am not counting the divya desams that are in EkAmbranatha Koil (Sri NilattunDa PerumAL) and Kamakshi Amman Koil (Sri ThiruKkalvanoor or Adi VarAha PerumAL). It felt like Vaishnavaites tried to organize and protect their sacred sthalas and vigrahas by going even to the extent of taking refuge in other temples as a last resort.

Due to trasportation delays, I started late and headed directly to VaradarAja PerumAL temple. It is a little away from the hotel and found the temple to be large with so many areas not kept up well. I found the whole Temple tank, many mandapams and Venugopala Sannidhi etc. not being taken care of and left to decay. 

The approach through the temple to the main shrine is quite listless and confusing. But, finally, after climbing a few steep steps (like in Tirumala), I finally reached the main sanctum with a beautiful vigraham of PerumAL in standing posture. 

There was then a bee line to see and touch the golden lizard that the temple is well known for. I reluctantly waited to do what everyone is doing. Along the way, I noticed several beautiful murals with many of them fading away due to disregard to antiquity.

As time was running out, I quickly went to ViLakkoLi (Deepa PrakAshar) PerumAL temple. It is a small temple with a peaceful compound and a beautiful small temple for AnDAL. The sanctum of PerumAL's sanctum was clad with bright, burnished brass, quite fitting to the theme. There was also a sannidhi for Maragathavalli ThayAr.

Later, I headed to Sri Vaikuntha PerumAL. It is a very small but ancient (8th CE) temple built by Pallavas and is being 'managed' by ASI. The familiar lion motif adorns the outer walls. There is a huge peepal tree in the compound. A small set of idols of PerumAL are in the main shrine, a large part of which seemed to be under construction and cordoned off. I sat there and sang 'SoundararAjam' as my offering there. 

Ekambranathar Koil

This is a Prithvi linga Kshetram of the 5 Pancha Bhoota Linga Sthalas. From the moment, I had learnt 'Chintaya Maa Kanda Mula Kandam' (Bhairavi) of Sri Muthuswami Dikshitar this year, a connection with this sacred place has been firmly established in my mind. I have been marveling about the beauty and power of this temple as captured in this gem of a song. That moment has finally arrived this morning. 

As I headed to the Koil at around 9 AM, I passed by Kumara KoTTam Murugan Koil, apparently special for Muruga on Tuesdays. I also saw an old lady, probably a local flower seller by the road, removing her sandals and turning toward Kamakshi Amman Koil gopuram and paying her obeissance with a heartfelt namaskaram. I was looking around for Sri Kanchi Kamakoti Peetham on the way but could not locate it. Finally, I was deposited at a small square full of shops and I walked from there towards what seemed like a construction yard.

As I walked past an outer gopuram covered completely in scaffolding, I hesitatingly walk over an uneven and unpaved ground through a broken compound wall under a dilapidated arch. I kept checking if this was indeed the way to the temple. I bought a few vilva leaves and flowers to offer to Lord Shiva while leaving my sandals with  the helpful shopkeeper and entered a listless compound. But, before entering what seemed like the hub of activity, I noticed a very ancient and beautiful structures and sculptures to my left in  a compound with a gate that was slightly ajar. I took a detour and walked past the open gate into the compound.

There is obviously some restoration going on at a languid pace. I saw a large tank that is completely silted up and a beautiful mandapam with 4 Nandis atop. Many broken stone sculptures were strewn about a large pillared hall adorned with mesmerizing sculptures of incidents of Shiva Puranam on its crest. I moved from there to the main temple only after spending several peaceful moments immersed in that antiquity. 

I wanted to take in every little detail engraved on its walls and pillars and in that process, I wandered around to the huge bejeweled Nandi to take his permission to have the darshan of his Shiva. There was also a very endearing Ganesha decorated with a fresh garland, under a vilva tree all by himself. 

After that, I approached the main shrine passing several thresholds and halls. I was searching around for the ancient mango tree but decided on focusing on the linga darshan first. But, first, I wanted to do a pradakshinam of the sanctum. I was transfixed by the vigrahams of Naaluvar (The main 4 Nayanars - Thirugnana Sambandar, Thirunavukkarasar, Sundarar, and Manickavasagar) adorned with fresh jasmines. Their inspired outpourings some of which I know to sing come to my mind. 

There were also 108 lingams, sphatika (Crystal) lingam, a sahasra lingam (with many lingam faces on one lingam), Nilathunda PerumAL during my pradakshinam and finally entered the sanctum through the free line. It was a beautiful, uniquely shaped (due to the sand or earth that it has formed out of) lingam with the murthis of Shiva and Parvati behind it. Later, I decided to take a ticketed darshan and entered again to have a closer darshan. I pay up to do a short archana and prayed for the welfare and wellbeing of the family and came out through a hall lined with 1008 lingams. Finally, I walked into a courtyard where the beautiful 3500-year old mango tree reigns supreme. It is tightly surrounded by a manmade structure with a priest seated there. A small, vibrant and bedecked Nandi is in eternal wait in front of it.

I finally came out while taking the time to study various pavilions and sculptures of divine and even human forms on the walls and pillars. It was raining down heavily as the much-expected cyclone has finally descended in all its fury. I found a  small mandapam where I could rest going over the various songs of Shiva till the rain abated. Many flower sellers spread out next to me stringing flowers in a collaborative activity. I share some of the sumptuous prasadam including the famed Kanchi Idly with them while rain continued. I stayed there for 2 hours with no goal in mind and just taking in the time as it unfolded. 

KailAsanAthar Temple

It is situated a little away from the main bustle of the town but not very far. When you first see it, it looks like an open air museum right in the middle of a warren of small houses and shacks. It was made to stand out as a heritage piece (1300 years old built by Pallavas) while being managed by ASI inside a modern-looking compound with a lawn and linear landscaping. What struck me first other than the insistent flower seller was a number of sculptures which have degraded and lost their definition and perhaps continuing to do so since the security around this monument is minimal. There was a huge Nandi in a corner of the compound on a large pedestal.

I took a long time as usual to wander around the outer compound and saw many representations of Shiva and Parvati in small shrines all across the front. On all the other 3 sides, a series of Lions as the Pallava metaphor abounded. Lion is apparently the symbol of Pallavas and the king Narasimha Varman was also known as RajaSingham. 

I finally bought some flowers and entered into the next enclosure. It was all open to the skies and the weather was the most pleasant after the downpour of the previous day. There are two lingams - both 16-faced, installed by Narada and Vishnu. I entered the next enclosure with exquisite sculptures and ajanta-like murals all around. I took the time to see them closely with the help of the local sweeper acting as a 'volunteer' guide. There were many meditation chambers.

Many forms of Shiva in various dance poses, Ardhanareeswara and one in disguise as a mendicant (Meenakshi Sundareswarar Kalyanam?) etc. were sculpted all around the inner wall of the enclosure. Then, I had the darshan of the Shiva Lingam after the abhishekam was over. We were encouraged to go around the lingam through a Janana-MaraNa dwaram (Starts narrowly and expands gradually) to complete the pradakshiNam. I managed to do that and came out and waited in various beautiful mandapams till the priest finished the rituals and came out to do the same for the other lingam. Finally, we were given coconut rice as prasadam and then, I headed back to town for my first elai sappaDu since I arrived here.

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Sourdough Bread - A Boule is Born

    With just the two of us to fend for ourselves at home, a boule (or a loaf for some of you) goes a long way and in fact, lasts way too long. I often forget to refresh my sourdough starter which is otherwise patiently languishing in the cheese compartment. After two weeks of missing refreshes, I decided to not only refresh it but also bake a boule of bread - like checking to see if the sleeping baby is alive and well. 

    Like most seemingly 'simple' things, it is quite complex and long-drawn-out. It means, 2 additional pre-refreshes the day before including an overnight refresh before actually initiating the last lap of developing the levain which is the actual 100g of well-developed or ripe starter to begin the gestation of a new boule and giving it a new lease of life before it is devoured - crumbs and all.

Levain is all smiles 😀😀

    After the two or more pre-refreshes on the previous day, bread preparation takes close to 7 to 8 hours of attention, divided it may be while none will see me leaving my home for more than 30 minutes during all that time. The quiet but frenzied activity during those hours involves setting 8 alarms on the phone for 10 minute kneading, six 30 minute reminders for salt, folds 1-4, pre-shape and shape steps. Finally, a 3 hour reminder to 'retard' the bench-proofed boule in the refrigerator to slowly develop additional layers of flavour. 

    A full 12-18 hours later, the boule-in-waiting is brought to the foreground, giving it, its baking parent's brand of scoring before it is sent to the Dutch oven inside a regular oven to 'grow' up and be what it was always meant to be.

Born-again Boule

    I do it even if it is just to make sure that the starter is alive, while disregarding:

    - its demands on my attention for extended periods

    - the fact that my breadbox is not yet empty

    - the inanity of marveling its looks (colour, crumb, composition) time and time again

    - the cringe-worthy portraits from multiple angles with varied lighting and magnification

    - the truth that they all look related and it is hard to tell the difference of one from the other, even for the parent baker.

    In effect, it's not easy and wants a big chunk of your life with only the promise of an unpredictable outcome. But, like parents anywhere, I do it again and again while gushing over each boule as if it is new, unique and even start babbling about it to strangers on social media.

    Coming to think of it, it's not very unlike how we make much ado about our children, right?

My Lineage

Our memories of our past linger in our minds till the end. Especially, the significant and meaningful ones. But, they vanish in a trice once we exit the scene. They simply cease to enjoy their existence. Period.

To let them linger a little more, I thought I would jot down a few details that are still extant about my ancestors in this page. I will add them as I go. 

I know little to nothing about my paternal grandparents. But, I will try to unearth some from my older siblings in due course. So, the first one is about my maternal grandfather - Sri VAkATi Sanjeevi Setty of Nellore Town in the current Andhra Pradesh. He is considered a VidyA dAtha (Donor of Knowledge or Education) in the circles of Nellore that still enjoy his munificence in the form of Savodaya College and the beautiful compound it is situated in.

The source of this bio came from my brother Sri K.C. Muni Kumar on a nudge from Sri Purushottam, a well-wisher and the former Principal of Sarvodaya College. I tried to create a WiKi page for it but, it is struggling through a debate on its significance there. So, I am finding another outlet for it to exist without a debate for those who may be inspired by it in future.

Sri VAkATi Sanjeevi Setty

    Sri Vakati Sanjeevi Setty was born in April 1891 to Late Sri Vakati Narasimhulu Setty and Smt Ethirajamma. He did not have any formal education. He supported several freedom fighters of his times in the Nellore town and surrounding areas. After Indian independence, he gave free housing to Sri Potti Sriramulu when the movement to create free Andhra Pradesh was at its peak in the 1950s.

    He became a junior partner to a leading Gogineni family venture in the mica business. Hiowever, he did not limit his business skills to mica segment alone but also excelled in cloth business in the town and the entire Madras Presidency. Many business associations regarded him in high esteem based on the recognition his name enjoys in the region till today. He was supposed to have been honored and recognized by the business associations. 

    He later married Smt. Ranganayakamma of Daggumati family. The couple gave birth to two sons - Sri Rangaiah and Sri Badrinath, followed by two daughters - Smt. Lakshmi Kanthamma and Smt. Prabhavathy. Sri Rangaiah and his wife Ramanamma did not have children. Smt. Ramanamma passed away in the early 1970s. Sri Badrinath passed away due to health tragedy within one year of his marriage. He was supposed to be a brilliant graduate of commerce. Smt. Lakshmi Kanthamma is married to a practicing advocate and had four children. Smt. Prabhavathy married an engineer Sri K. Pandurangaiah Chetty. They had four children - Sri K. C. Munikumar, Smt. Mallika, Smt. Jayasri, Sri K.V.Krishnaprasad. All 4 children are post graduates. Sri Munikumar was an Electronics Engineer and was the founder of a successful Electronics company in the Defence sector. He currently lives with his wife Smt. Aruna Kumar in Secunderabad. Smt. Mallika married Sri Gopal Krishna (Indian Navy) and Smt. Jayasri married Sri K. V. R. Partha Saradhy (Electronics Engineer in ECIL - Electronics Corporation of India). Sri K.V. Krishna prasad, Ph.D. was educated in both India and the USA and worked at Intel, a well-known American chip manufacturer in USA and later served in India as its Chief Information Officer in Bangalore. He currently lives with his wife Smt. Padmaja in Bangalore. [1]

    Sri Vakati Sanjeevi Setty was supposed to have been mentally disturbed after the loss of Sri Badrinath. Soon after that, Sri Vakati Sanjeevi Setty retired from from the pressures of businesses that he used to run. He then acquired the lands to the extent of 350-400 acres in a village called Sivaramapuram near Eeduru close to Nellore to spend his time in agriculture and live peacefully closer to the nature. During this time, he founded a trust to run a Vysya hostel to help the poor students of the Vysya community. Later, he converted that trust in 1976 to support Sarvodaya college for fostering formal college education. He named Sri K.C. Munikumar as his successor as the permanent president of both education and college committees. As per the will of Sri Vakati Sanjeevi Setty, Sri K.C. Munikumar's son Sri K. Hetunandan,Ph.D. should be the successor for Sri. K.C.Munikumar.

    Sri Vakati Sanjeevi Setty spent his final years in the college premises and personally oversaw the college activities. Finally, his end came in August 1981 at Vijayawada in his youngest daughter Smt. K. Prabhavathy's home within a month of the loss of  his second wife, Smt. Pankajamma.

    Sri Vakati Sanjeevi Setty is currently survived by 9 grandchildren and several great-grand and great-great-grand children settled all over the world. 

    [1] Based on the narration by my mother based on her recall

వాకాటి సంజీవి సెట్టి (in Telugu)

    శ్రీ వాకాటి సంజీవి సెట్టి ఏప్రిల్ 1891లో స్వర్గీయ శ్రీ వాకాటి నరసింహులు సెట్టి మరియు శ్రీమతి ఎతిరాజమ్మ దంపతులకు జన్మించారు. ఆయనకు అధికారిక విద్య లేదు. ఆయన నెల్లూరు పట్టణం మరియు పరిసర ప్రాంతాలలో తన కాలంలోని అనేకమంది స్వాతంత్య్ర సమరయోధులకు మద్దతుగా నిలిచారు. భారతదేశానికి స్వాతంత్య్రం వచ్చిన తర్వాత, 1950వ దశకంలో స్వేచ్ఛా ఆంధ్రప్రదేశ్‌ని సృష్టించాలనే ఉద్యమం ఉధృతంగా ఉన్నప్పుడు శ్రీ పొట్టి శ్రీరాములుకు ఉచిత గృహాన్ని ఇచ్చారు. 

    మైకా వ్యాపారంలో ప్రముఖ గోగినేని కుటుంబ సంస్థకు జూనియర్ భాగస్వామి అయ్యారు. ఆయన తన వ్యాపార నైపుణ్యాలను మైకా విభాగానికి మాత్రమే పరిమితం చేయలేదు, కానీ నెల్లూరు పట్టణంలో మరియు మొత్తం మద్రాస్ ప్రెసిడెన్సీలో వస్త్ర వ్యాపారంలో కూడా రాణించారు. అనేక వ్యాపార సంఘాలు ఈ రోజు వరకు ఈ ప్రాంతంలో ఆయన పేరు పొందుతున్న గుర్తింపు ఆధారంగా ఆయనను ఎంతో గౌరవించాయి అని విదితమౌతున్నది. 

    ఆ తర్వాత దగ్గుమాటి కుటుంబానికి చెందిన రంగనాయకమ్మ గారిని వివాహం చేసుకున్నారు. ఈ దంపతులకు ఇద్దరు కుమారులు - శ్రీ రంగయ్య మరియు శ్రీ బద్రీనాథ్, తరువాత ఇద్దరు కుమార్తెలు - శ్రీమతి లక్ష్మీకాంతమ్మ మరియు శ్రీమతి ప్రభావతి. శ్రీ రంగయ్య, ఆయన భార్య రమణమ్మ దంపతులకు పిల్లలు లేరు. శ్రీమతి రమణమ్మ 1970వ దశకం ప్రారంభంలో మరణించారు. శ్రీ బద్రీనాథ్ పెళ్లయిన ఒక సంవత్సరం లోపే ఆరోగ్యం విషమించడంతో కన్నుమూశారు. అతను వాణిజ్యంలో తెలివైన గ్రాడ్యుయేట్ అయ్యారని వినికిడి. శ్రీమతి లక్ష్మీకాంతమ్మ ప్రాక్టీస్ చేస్తున్న న్యాయవాదిని వివాహం చేసుకున్నారు మరియు వారికి నలుగురు పిల్లలు ఉన్నారు. శ్రీమతి ప్రభావతి, ఇంజనీర్ శ్రీ కె. పాండురంగయ్య చెట్టిని వివాహం చేసుకున్నారు. వారికి నలుగురు పిల్లలు - శ్రీ కె. సి. మునికుమార్, శ్రీమతి మల్లిక, శ్రీమతి జయశ్రీ, శ్రీ కె.వి.కృష్ణప్రసాద్. నలుగురు పిల్లలూ పోస్ట్ గ్రాడ్యుయేట్లు. శ్రీ మునికుమార్ ఒక ఎలక్ట్రానిక్స్ ఇంజనీర్ మరియు డిఫెన్స్ రంగంలో విజయవంతమైన ఎలక్ట్రానిక్స్ కంపెనీని స్థాపించారు. వారు ప్రస్తుతం వారి సతీమణి శ్రీమతి అరుణ గారితో సికందరాబాద్ లో నివసిస్తున్నారు. శ్రీమతి మల్లిక శ్రీ గోపాలకృష్ణ (ఇండియన్ నేవీ) గారిని వివాహం చేసుకున్నారు. శ్రీమతి జయశ్రీ  శ్రీ కె. వి. ఆర్. పార్థ సారధి గారిని (ఈ సీ ఐ ఎల్ - ఎలక్ట్రానిక్స్ కార్పొరేషన్ ఆఫ్ ఇండియాలో ఎలక్ట్రానిక్స్ ఇంజనీర్) వివాహం చేసుకున్నారు. శ్రీ కె.వి. కృష్ణ ప్రసాద్, పిహెచ్. డి. భారతదేశం మరియు అమెరికా - రెండింటిలోనూ విద్యనభ్యసించారు మరియు అమెరికా లోని ఒక ప్రసిద్ధ అమెరికన్ చిప్ తయారీదారు అయిన ఇంటెల్‌లో పనిచేశారు. తర్వాత భారతదేశంలో దాని ప్రధాన సమాచార అధికారిగా బెంగళూరులో పనిచేశారు. వారు ప్రస్తుతం వారి సతీమణి శ్రీమతి పద్మజ గారితో బెంగళూరు లో నివసిస్తున్నారు. [1]

తన రెండవ కుమారుడు శ్రీ బద్రీనాథ్ మరణించిన తరువాత, శ్రీ వాకాటి సంజీవి సెట్టి గారు తాను నిర్వహించే వ్యాపారాల ఒత్తిళ్ల నుండి విరమించుకున్నారు. ఆ తర్వాత నెల్లూరుకు దగ్గిర ఈదూరు సమీపంలోని శివరామపురం అనే గ్రామంలో వ్యవసాయం చేస్తూ ప్రశాంతంగా ప్రకృతికి దగ్గరగా జీవించేందుకు 350-400 ఎకరాల వరకు భూములు సేకరించారు. ఈ సమయంలో, అయన వైశ్య సమాజంలోని పేద విద్యార్థులకు సహాయం చేయడానికి వైశ్య హాస్టల్‌ను నడపడానికి ఒక ట్రస్ట్‌ను స్థాపించారు. తరువాత, ఆయన అధికారిక కళాశాల విద్యను ప్రోత్సహించడానికి సర్వోదయ కళాశాలకు మద్దతుగా 1976లో ఆ ట్రస్ట్‌ని మార్చారు. ఆయన తన మనవడిని శ్రీ కె.సి. మునికుమార్ విద్యా మరియు కళాశాల కమిటీలకు శాశ్వత అధ్యక్షుడిగా ఆయన వారసుడిగా ఎంచుకున్నారు. శ్రీ వాకాటి సంజీవి సెట్టి గారి సంకల్పం మేరకు శ్రీ కె.సి. మునికుమార్ కుమారుడు శ్రీ కె. హేతునందన్, పిహెచ్. డి  గారు కె.సి.మునికుమార్ గారి వారసుడు కావాలి. 

శ్రీ వాకాటి సంజీవి సెట్టి గారు తన చివరి సంవత్సరాలను కళాశాల ప్రాంగణంలో లోనే గడిపి కళాశాల కార్యక్రమాలను స్వయంగా పర్యవేక్షించారు. చివరకు 1981 ఆగస్టులో విజయవాడలో ఆయన చిన్న కూతురు శ్రీమతి. కె. ప్రభావతి ఇంట్లో, రెండో భార్య శ్రీమతి పంకజమ్మను కోల్పోయిన నెలలోపే స్వర్గస్తులైయ్యారు. 

అయన కుటుంబీయులలో తొమ్మిది మంది మనవళ్ళు మరియు చాలా మంది ముది మనవళ్లు మరియు జేజి మనవాళ్లు ప్రపంచమంతా వ్యాపింఛి ఉన్నారు.

1. ↑ తక్షణ కుటుంబం యొక్క వృత్తాంతం. రచయిత తల్లి ద్వారా వివరించబడింది.

My Journey in Music

    I have crooned for as long as I can remember. As a child in the mid '70s, I couldn't resist humming a tune especially if it was a good, catchy one. When we used to go to see a cinema, I would insist that my father buy the song books that used to be sold along with samosas and other snacks.

    Most of my childhood memories begin in the town of TenAli when I was in my 5th grade. We used to be able to listen to the dialogues and music coming from the Venus Theatre if we went up to the rooftop in the evening and then that would repeat during the second show. Once a popular and a hit movie called 'Sri Krishna Vijayam' was being screened there for over 100 days which meant that we could hang on to those dialogues, verses (Padyalu) and songs during all that time. I still remember some verses and songs, like the one SatyabhAma would launch into when she gets angry with Sri Krishna, from that movie.

    A few years later, we moved to VeTapAlem which is about 6 km from the sea coast of the Bay of Bengal during my 9th and 10th grade years. My sister's friend, also a family friend, Gowri akka who had a wonderful voice would encourage me by teaching some songs and bhajans such as SivakAnta Sambho and Tani KhAyee KhAyee bol sunAvA.  She had a tuneful and bell-like voice. I still sing those songs quite faithfully.

    I had 'influenced' my parents to buy me a cassette recorder available usually in the 2-in-1 format (with integrated Radio) which was a rage then. They bought it in the Burma Bazar of the then Madras.  I used to do several experiments recording and editing various voices including mine in the few limited ways it could be done.

    When there is a song in you, none can stop it, can they? For one of our school annual day competitions, I had worked on a state patriotic song "Maa Telugu Thalliki" with the help of one of my teachers. The annual day function was conducted on one late evening, I recall. The school was a stone's throw from our house, but, strangely no one from the family attended my live singing for the competition. Another kid had sung a Telugu Christian song for the competition. We were both adjudged joint winners of the First Prize. I still remember that I was given a fountain pen and a book of Vemana's poems as the prize.

    My dalliance with film music continued through my junior college and Engineering degree at REC, Trichy. I used to enroll for elocution and music competitions and I would sing some of the classical music-based songs from Hindi and Telugu movies. 'Maanasa VeeNa Madhu Geetam' from America Ammayi was one of them.

    Through all these experiences, I remember being turned off by any Carnatic music I may have heard on the radio. It was never my aspiration as I wasn't exposed to 'good' classical music other than a few stock songs from my mother. I had heard some of it at home when my sisters were forced to learn but they didn't follow through. Most of the music on the Radio was uninspiring and hence never figured in my list of aspirations. 

Initiation

    Given that context, I was initially reluctant when my Sister-in-law (SIL) suggested that I learn Carnatic music from an aunty in the opposite house. My SIL wanted some company to learn with. I remember singing 'MarugElara' from the movie SankarAbharaNam smugly in an informal audition of sorts. Aunty was gracious enough to not point out any of my lapses.

    One fine evening, I started my classes with Aunty - Smt. Rajam Rao or Rajalakshmi Rao, wife of Brig. R. R. Rao who used to live in a palatial house opposite ours in the tranquil, leafy neighbourhood of Sainikpuri in Secunderabad. I went in cagily at first and started with SaraLi varasalu (Simple swara sequences). Something about the purity of those swaras struck me deeply. I was an instant convert. That was 1983 right after graduating from REC.

    During 1983-87, my career was at a low ebb and was devoid of purpose, meaning or excitement. I used to feel like a square peg in a round hole. All that vacuum was however quickly filled when music, bhajans and chanting of Vishnu Sahasranamam, Hanuman Chalisa and Nama Ramayanam etc came rushing in. We used to have a small devoted group of friends of Aunty and Uncle who used to meet to chant these together. It would often be followed by beautiful meditation led by Aunty. She had a magnetic personality and could spread her own love and devotion like a magic blanket over all of us. I certainly felt comforted and protected by that.

    Aunty, who was later to be christened as Om Aunty by my nephews and niece, was also a disciple of Swami Sivananda of The Divine Life Society, Rishikesh. She used to sing from the bhajan tradition of Sivananda Ashram mellifluously with a lot of devotion. I was smitten by that magic and hence, used to spend time with a number of elders during those formative years.

    There were also times when Aunty and Uncle used to travel to the USA for many weeks to visit their 3 sons and their families. During those weeks, I used to house-sit for them. I used to stay there, read there, meditate in their puja room, take their pet Leo (a Cocker spaniel) for walks, sleep and shower there. I used to come home only for meals. It was all uncontroversial as my sister-in-law was understanding and the rest of the family with demands on my time were busy or living elsewhere. That was the time during which I virtually devoured a number of books on music (Prof. P. Sambamoorthy etc.) and spirituality (by Swami Sivananda (a loving Guru and a prolific author) and Sri Ramakrishna Paramahamsa etc. 

    I used to discuss many of these topics with Aunty at length as I had many questions. The immersive experiences I had during those years were instrumental in shaping the rest of my life. That was pretty much a 4-year tapas (Penance) and Seva (Service) with a single-minded focus.

    I think aunty was also happy to have an eager and receptive young student in me who wanted so much of what she had in her. I do not believe that her own children received as much from her. It helped as well since I did not have much else going on in my life and I was young and unentangled! Our classes would often go on for hours while ending with dinner with them on many a night. They used to have a wide variety of fresh and left-over food which I used to help uncle with in preparing and clearing. We would continue to talk late into the night or chant something after dinner.

    I distinctly remember one late night when I was learning 'Nindati Chandana', a Jayadeva Ashtapadi in Darbari Kanada based on the reference of Bombay Sisters. The lofty tune with loftier poetry along with the harmonium aunty used to play might have hit a crescendo one night that we got some complaints from neighbours on the next morning! The voices obviously travelled a long distance on those straight roads of Sainikpuri in the still of the night!

    During those 4 years of my life, I was initiated into classical Carnatic music, learnt several Geetams (short songs by major composers which provide a succinct introduction to several ragas), Kritis and light classical songs from whichever new albums that I fancied. I also learnt many nuances of the English language and the art of communication from Aunty. Music filled my life from 0 to infinity during those magical years.

The Hiatus

    As my listless job at HAL was getting to me and obviously others too, I did what I did best - to study and write several competitive exams for MBA of all kinds, not sparing even Forestry and Rural Management. I think I wore the exams out more than they wearing me out! On a lark, I also applied to business colleges in the USA after writing GMAT and TOEFL. I used to enjoy the verbal part and score better in it than in Quantitative. Finally, I decided to go to the USA to study interdisciplinary programs in Engineering and Management instead of General Management to maximize my chances for financial aid. That meant that I needed to write GRE a couple more times. As a sort of final redemption, I got into the prized IIM, Bangalore, but not before I got mentally ready to go to NJIT, USA for MS in Engineering Management and had a visa in hand to boot. I did not budge from my resolve to go away a long distance from home just so that I can clear my head a bit and be myself. I would learn much later that the decision turned out to be the best one for me as the experience while doing something is more important than WHAT we actually do. WHAT is always incidental and just a detail! Journey over Destination!

    However, that decision meant not much scope for continuing with my music. That barren phase in my music journey continued for at least a decade. However, singing did not stop completely as I used to sing a few from my tiny repertoire at various Indian Associations (Telugu, Kannada sangha, Tamil etc.). There was some self-learning too of simpler songs that I felt were accessible.

    Aunty visited us in Arizona after my marriage in 1989 in her only visit to my house. She taught me several Kritis during that time. 'Kaligi unte kada' by TyAgarAja in Keeravani and 'Thomthadare' by Poochi Srinivasa Iyengar in Kaanada from those days are still green in my memory. The learning did not match my earlier phase as I was married, living away from home and was studying my Ph.D at ASU. But, I am thankful for those times with aunty. 

    After getting my first job at Intel during recession of the early '90s, I used to commute to North Phoenix, 45 minutes each way. I found a teacher Smt. Padma Sivaswamy along that route. But, somehow, that didn't last. 

    When we moved to Portland, OR in 1994, I joined a small private group called 'Saptaswara' as their sole male voice. We used to meet every Sunday for practice and learning and would also perform together on various occasions. Most of them were not trained musicians, but, they were very enthusiastic. During that time, I had a chance to learn group singing of Tyagaraja Pancharatna Kritis (modelled after Sri Maharajapuram Santanam) for the annual Tyagaraja Aradhana. I still sing those after making some alterations for the version modelled after Sangeeta KaLAnidhi Sri D.K. Jayaraman in the current group.

    In 1995, there was an opportunity to learn from Smt. Indira Menon, a disciple of Sri S. Ramanathan in Portland, OR. I learnt over 10 songs (Thiruppugazh, Tyagaraja, Narayana Teertha etc.) I practice those till today and they have remained etched in my memory. In fact, I am in Whatsapp touch with aunty who lives in Chennai.

Indira Menon and uncle
at the music academy in Dec 2024

    It was good fun for 4 years till 1999 when I finally took the plunge to restart my formal Carnatic music learning from the legendary VaiNika and Vocalist Smt. Sreevidhya Chandramouli. I don't know why I waited that long to restart my journey in music on a serious note though I had known and interacted with Sreevidhya from 1994.

    I still remember Sreevidhya commenting that she found natural melody lacking in my voice and wasn't sure why. She later realized that I was singing in the wrong shruthi. My natural shruthi changed from F# to B. I was fully aware of the great fortune of having a legendary teacher like Sreevidhya, a 10th generation Karaikkudi bANi VaiNika, living a mere 10 minutes away from my home through serene backroads. Over the next four years, I learnt a lot from her and am happy to note that I still sing almost all of what I learnt from her. It is also my bhAgyam that I was able to learn a couple of Kritis from her mother Late Smt. Rajeswari Padmanabhan (a Kalakshetra teacher and a 9th generation Karaikkudi bANi Vainika). I still sing those songs as well - 'Sri Hari Vallabhe' in Suddha Dhanyasi (Mysore VAsudEvAchar) and 'Kripa Joochutaku' in Chaya TarangiNi (TyAgarAja).

Homebound

    I made a snap decision in 2001 to move back home to India and engineered the big move finally in January 2002. Apart from moving countries, jobs, and domains, the company thankfully remained the same. The decision did seem like a huge deal for our friends in the US, but, for me, it was crystal clear and continues to be so till today.

    Despite all these changes around me, I was still very intent on continuing my music journey in this blessed land of divine music and culture. Sreevidhya requested a student, Sri Sankaranarayanan of her mother, Rajeswari maami to help me out. He was a sweet, soft-spoken man. He heard me sing 'Amba Sourambha' (Arabhi) and later took me along to meet Smt. Satyavathi, a disciple of Sangeeta Kalanidhi Sri R.K. Srikantan, in Rajajinagar.

    She had a class going on at that time and I could hear the pleasing strains of Tambura in the background. She however recommended that I go and see her Guru Sri R.K. SrikanTan Sir because of male shruthi.. Srikantan sir was living in Guttahalli in North Bangalore. He took me in as I don't think he was very selective. He is capable of teaching anyone with his clear, no-frills music known for Shruthi purity, clear enunciation and adherence to tradition. His voice was as transparent as pure water and needed no further adornments. I learnt a couple of varnams - Saveri and Pantuvarali, but, it used to be quite a drive from Whitefield even 20 years ago. He would sometimes lean on me for driving him to some of his concerts and speaking engagements. He was over 80 when I learnt from him. Eventually, in 2004, I had to discontinue classes with Sir because of the long distance. I really wish now that I had learnt some rare dAsara padas from him. That would have been a precious capsule of his legendary music that I could have preserved in my voice and heart. 

    I continued my music lessons with Smt. Savitha Kartikeyan, a disciple of Sangeeta Kalanidhi Sri D.K.Jayaraman. My colleague Muthu whose two daughters were learning from Savitha, connected me to her. When we went to meet her in Golden Enclave on old Airport Road close to Intel office, I clearly remember that she was humming Kharaharapriya. As they were about to move to Palm Meadows in Whitefield, I started my classes with her there. Again, as my luck would have it, I was just 10 minutes from her home. I would often ask for classes during my work lunch time and practice with a tape in the car while driving. I always wanted to have music as a constant thread in my life irrespective of how busy I was otherwise. It was slow but, was surely present.

Early Retirement

    When planets aligned to make my wish to retire early came true in 2012, I only wanted to have enough time for exercise, writing and music. I had been ready to retire for a long time! 

    But, I often entertained some doubts about what the purpose of my learning was - the so-what of it. It was clear that I was not preparing to get on the concert stage at my age and capability. My music learning was surprisingly infrequent despite all the time at my disposal then either due to difficulties in scheduling classes or my own lack of purpose and practice. However, music learning never stopped but continued to hobble along. 

Amma's Passing

    In 2018, my mother travelled to my home all alone despite all the mix-ups plaguing her due to neurological issues, on what was to be her last flight. Her situation quickly leapt from one difficult situation to another. Finally, the diagnosis of her terminal brain tumour came as a bolt from the blue. We took her back to Secunderabad  while her issue was held at bay with steroids. She left us after 2 months while closing out the passing of her generation, but not before triggering in me, some revelations about the role, music can have in one's life.

    In the first month, she was more conscious though still somewhat unaware of her location or affliction. It was fortunate that she was still able to enjoy music deeply. I would have a 24-hour play list of devotional and Carnatic music going continuously by her side. I would also sing many songs to her and she would often ask me for specific songs. I still recall how she broke into rapturous applause on listening to my 'TheerAda ViLaiyATTu PiLLai', a gem of Sri Subramania BhAratiyAr.

    However, she fell into a coma the moment she was off steroids and never opened her eyes again from that stupor. We would still play her favourites continuously as we felt certain that music resonated deep inside her being even though all other senses were failing. This continued till she finally passed 'peacefully' in the early hours of 16th, November 2018.

    What struck me the most then was the critical role that music played in her final days. Music preserved the connection she had with her core self in tact. It perhaps carried her to the other side by holding her hand without too many bumps during the final transition.

    A few months after that, I rededicated myself to music by resolving to focus only on compositional music in stead of wrestling with the development of various technical elements necessary for the concert stage. I loved the beauty of poetry, melody, devotion and the wonder of history that music evoked in me. It was fortunate that my teacher Savitha agreed with my decision as well.

    I also started practicing at 4 PM daily and my learning became steadier. Daily practice showed in the ease and joy of my music.

Pandemic - A Game Changer

    When the COVID-19 pandemic hit the world in March 2020, it gave a new twist for the better to my music. I was learning 'O Jagadamba' in Ananda Bhairavi, a Syama Sastri's classic then. I started to learn the remaining song line by line in many iterations through Whatsapp with my teacher, Savitha. The laser focus and rapt attention in the Whatsapp medium was a new experience for me when compared with physical classes that were few and far between. When I finally learnt the song successfully, it gave a new impetus for my subsequent learning during the pandemic and continues till today. 

    I started learning many diverse magnum opuses like 'RanganAyakam' in NAyaki, 'Cetah Sri' in DwijAvanti and popular songs like 'BrOchEvArevarurA' in KhamAs and several others like Tunbam NErgayil, Bruhi MukundEti etc. My list of songs to learn was long and the learning was relentless. It opened a new and a more flexible mode of learning which could beat the scheduling issues with physical classes. Consistent practice also helped my music a great deal. In contrast, my progress and learning were spotty at best when the physical classes were the norm before the pandemic.

    Savitha rarely compliments me since she probably sees many areas that need perfection in my music. It is actually as well since 'not yet perfect' means there is a purpose and path ahead for my music without the baggage of too much pride or complacency. There were several times she said that my music started blossoming. Relentless practice, learning and newfound dedication certainly made a huge difference. I remember many specific instances: BrOchEvArevarurA swara passage, Sri VEnkaTa GirISamAm' (SuruTi), Sri RanganAyakam (NAyaki), Pankaja lOchana (KalyANi) and Mandhir Kugandadu (Sindhu Bhairavi) evoked her spontaneous positive affirmation for my attempts.

    That was the time as well when I started recording each current and old song after several practices till I got one successful rendition as error-free as possible. In fact, one good recording is the mark of closure of my learning of any song. It also serves as my future reference.  It was during that time that my teacher gave me a Student-of-the-Month commendation and shared the video recording of my Sri RanganAyakam across all of Parampara, our music school ecosystem. I had also started sharing the recordings of my renditions to a few interested friends and family. It would gladden some of them and they sometimes let me know how they felt.

    Overall, my resolve to focus only on compositional music in order to immerse myself in their lyrical beauty, poetry, rhythm, mythological nuggets, philosophical truths, wisdom and Bhakti (devotion) started sowing its precious seeds deep into my being. Performance ceased to be my focus, if there was any of that lingering need for adulation. I hope these seeds will sprout and grow even when everything around me may be failing. I have seen it live in my mother's precious final days. In fact, I feel she left me an effective lesson even as she passed.

My Music Today

    I learn music today rain or shine, in town or out with a sense of urgency. There is an urgency because I am aware that my time is limited. I am not sure how many years I will still have with the ability to know, hear, learn and sing.

    I try to motivate myself with various projects and treat them as Yagnas. I am working on Pancha bhuta linga yagnam which started in the late '90s with my learning of 'Jambupate' (The element of Apam/Water) and ArunAchala (The element of Agni/Fire). I had learnt AnandAmrita (The element of AkaSa/Space) a decade ago and have just finished learning Chintaya (The element of Prithvi/Earth) and I am on the home stretch now and will need to learn Sri KALahastISa (The element of Vayu/Air) next.

    I also would like to get started on ThiruppAvai yagnam. I know only 2 of 30 with a long road ahead to tread. It is a deep desire and I hope to realize it one day.

    I also enhance my regular learning by reviving songs I had learnt from as far back as 40 years with my many teachers over the years. I am going through them composer by composer to give my reviews a theme. I listen to the teacher's reference a few times, practice it over several days, record it and self-correct it several times before making one good, final recording which I share with friends and family and post some of those on my YouTube channel as the closure. It of course does not mean I will remember them for ever. Music needs constant practice to stay in the foreground.

What Music Means to Me

    I like to learn music just for the sake of learning without missing a beat till my time is up. I feel it is the best preparation I can do for my final moments so that they are charged, intense and deeply meaningful. Though I do feel happy to receive validation from other mortals, I am trying wean myself from it or not place too much value on it. Though it is considered a performing art, I try to conduct my music learning and practice to not depend on it for it to be complete. I consider an occasional performance opportunity to be a fitting avenue for the art but not essential. As Sri M says, music is meditation. I derive huge inspiration from that since meditation does not otherwise come easily.

    When I reflect on the series of legendary lineages that I came into contact with, through my teachers - Rajalakshmi Rao aunty, Sreevidhya Chandramouli, Indira Menon, R.K. Srikantan and Savitha Kartikeyan - I am moved by the good fortune bestowed on me in this short life. It is a blessing that they also chose to share their precious music with me. I distinctly sense the blessings of Sri Saraswati as the kind of opportunities that came by my way are simply phenomenal and could only be attributed to the magic of divine providence. All my teachers are exceptional, sincere and humbly carry the torch of sublime music and all its traditions. It is one of the miracles of my life that I sat at their feet, but was acutely aware of its preciousness even as I lived those moments. 

    Music is a divine vibration of longing and striving of many noble souls that came before us. It expresses the essence of my deepest self. It is perhaps the deepest I can go within, at the moment. It is my daily offering. It is a gift that I do not want to fritter away. One day, when everything about me and around me has gone numb, I hope and pray that my being resonates to music in some corner of it. I hope that I will feel comforted and nourished by the protective envelope of divine vibrations that follow in its wake.

    It is a journey that I hope will continue at some level till the end and hopefully beyond.

__________________________

My current teacher Smt. Savitha Kartikeyan's YouTube Channel

PantuvarALi varnam by Sangeeta KaLAnidhi Sri R K SrikanTan

Smt. Sreevidhya Chandramouli's Recordings on YouTube

Smt. Indira Menon's NavAvaraNa Kriti album on Spotify

My YouTube Channel serving as an archive of some of my learning 

(Caveat: All errors in any of my renditions are entirely mine)