Pracheena Sampradaya Bhajan

Sri Bhagavannama Bodhendra Saraswati was born in Mandana Misra Agraharam at Kanchi as the son of one Kesava Panduranga. Bhoddendra's former name was Purushottama. It was he who stressed the efficacy of devotion as a means to liberation in Kali. He therefore undertook the great task of Nama Siddhanta, or establishing the supreme efficacy of reciting the names of Bhagavan in many of his writings, chiefly in Namamrta Rasayana and Namamrta Rasodaya.

His mission of Nama Siddhanta was pursued with equal vigor by Sridhara Venkatesa, or Ayyaval of Tiruvisainallur and by Sadguru Swami of Marudanallur. It was the Nama Siddhanta of Bodhendra that was ultimately responsible for the evolution of Bhajana Sampradaya as an institution in the religious life of the Hindu community in South India.

Sri Bodhendra performed Tatanka Pratistha at Jambukeswaram and while returning to Kanchi he attained videha mukti at Govindapuram on Full Moon day in the month of Proshtapada of the cyclic year Prajotpatti (1692 AD). It is said the spiritual presence of Bodhendra still abides at his Adhisthana at Govindapuram. It is said that in the calm silence of the night a melodious voice uttering Rama Nama is heard rising from subdued tones to a crescendo, and then fading into silence again. 

Sri Sri Sri Marudhanallur Sadguru Swamigal actually codified the Dakshina Sampradaya Bhajans by collecting from various sources, places and formed the paddathi. Later on many Great Bhagavathas from Thanjavur and Pudukottai district gave better shape to it. The Most important among many others who were responsible for this was Pudukottai Sri Gopalakrishna Satguru Swamigal.

Sampradhya Bhajans are Bhajans performed over many many generations. Sampradaya (in sanskrit means "gift, grant, bestowing or conferring; handing down by tradition). Two types of Bhajans are distinctively identified based on the North and South practices, in Sanskrit called "Uttara Sampradhaya Bhajan" and "Dakshina Sampradaya Bhajan" with traditions and customs being unique albeit borne from the same Hinduism. Whereas the Uttara Sampradaya Bhajan had its roots in Northern India with the preservation of the Hindu tradition amidst the Mughal dynasty which was prominent during the 1200-1400 period, Dakshina Sampradaya Bhajans flourished in the Thanjavur, more specifically the Kaveri belt. Some Similarities appeared between the North and South primarily among the Gods worshipped upon and on whom the Bhajans were offered mainly Lord Panduranga, Radhe Krishna and Rama Seetha. But nowadays this is being extended with more and more Kalyanams being performed, Dharma Sastra Kalyanam also being among the list.

Sampradaya Bhajana usually begins with a Naamavali on Lord Hari. This is followed by singing Thodaya mangalam. Thodaya mangalam is followed by Guru Dhyanam, which begins with a Keerthana on Lord Guru Dakshinamoorthy. Sri Bodendral Guru Dhyanam is then sung with a number of Guru Krithis of Sri Bodendral. This is quite important to be sung. After Gurus, we start with the Gita Govinda Kavyam composed by Jayadeva, the krithis being more popularly known as Ashtapathis. All the 24 Ashtapathis are sung. Ashtapathi is then followed by krithis of Narayana Theerthar, Bhadrachala Ramdas, Purandaradasar, Sadasiva Brahmendral, Gopalakrishna Bharathi, Oothukadu Venkatasubbayar, Thyagarajar, Meera Bai, Kabirdas, Surdas, Namdev, Tukaram etc. After Guru Parampara vandanam then starts, Shodashopachaara Pooja which is done as per Vedic rites (all offerings as per Shodashopachaara pooja such as Sugandham, Doopam, Deepam, Nivedyam, Thamboolam, Mangala Harathi are offered through songs as well) and then the Upachara Keerthanam is sung. Ganeshadi Dhyanam starts after this pooja, when songs in praise of God Ganapathy, Saraswathy, Murugan, Siva, Ambal, Ayyappan, Raman, Krishnan, Perumal, MahaLakshmi, Narasimham, Panduranga Vittal are being sung followed with a song on Anjaneya. After Ganesha Dhayanam starts Divyanaamasankeerthanam begins. During Divyanamasankeerthanam, Lord Krishna is represented as the Deepam (Lamp) and this is kept in a central position and those who participate in it are considered (Sankalpam) as Gopis. This part is known as Deepa Pradakshinam. The various keerthanas sung during Deepa Pradakshinam are sung in Bhagavans praise and Gopika geetham which is the essence of Bhagavatam (Dasama Skandam) which is being chanted. After that rasakreeda songs of the lord are sung, concluded with a Vittal dhyanam and / or Paramasiva Dhyanam. Finished with this the deepam is then placed back in its original position, signifying the return of the Lord to his abode. After Deepa Pradakshinam starts what is known as Dolotsavam. During Dolotsavam, as in our marriages, where there is Nalungu, Poo Pandh Vilayadal are performed for the Lord. This is also performed with the help of selected keerthanas by various composers mentioned above. In the Sampradaya Bhajana Padathi, there is also an extension to the above, which is Radha Kalyanam or Seetha Kalyanam. In this part, Kalyanam as per our traditional ways are performed for Radha and Krishna or Seetha and Lord Rama. This Kalyana Mahotsvam is also conducted by singing songs of various composers mentioned above and as per Vaidika Parampara also.