If you have lived in Maharashtra, you would have seen vast groups of people singing and dancing on their way to Pandharpur. They are so engrossed in their devotion that the heat, the Sun, rains nothing matters to them. There are men and women of all ages in the group, there are children, there are the rich, the poor, people of all castes walking together. They all sing the glory of Vittal and there are chants off Panduranga Vittal as they walk through this ancient land.
nnnnThe Bhakti movement came about as people were tired of the dominance of a few who had a monopoly over worship. It was difficult to understand the concepts of the Vedas for all. People wanted an easier method, one that was accessible to all. They wanted to worship in their own words. Hinduism is a flexible faith; it is truly a people’s religion. It has no single book or code or dogma; it reacts to the people’s need. Thus, was born the Bhakti Marg, the path to God, the path to realisation through devotion.
nnnnThe Vittal Bhakti cult, centred around the worship of Lord Vittal (also known as Vithoba or Vitthal), is a significant aspect of the Bhakti movement in India, particularly in Maharashtra and parts of South India.
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Origins and Spread:
nnnnThe worship of Vithoba is believed to have originated in the state of Maharashtra, particularly in the town of Pandharpur, which is the principal centre of this devotion. Vithoba is considered a manifestation of Lord Krishna.
nnnnThe cult spread to South India, especially to Karnataka and Andhra Pradesh, through the influence of Marathi-speaking communities and saints.
nnnnKey Figures:
nnnnThe cult was made popular by many saints, including Sant Tukaram, Sant Dnyaneshwar, and Sant Eknath, who wrote devotional poetry in Marathi.
nnnnThese saints emphasized personal devotion and the accessibility of God to all, regardless of caste or social status.
nnnnRituals and Practices:
nnnnThe pilgrimage to Pandharpur, especially during the Ashadi Ekadashi and Kartik Ekadashi festivals, is a major event where devotees walk long distances to reach the temple. The people who walk, sing and dance are called the Warkaris.
nnnnDevotional singing, dancing, and the recitation of the saints’ poetry are integral parts of the worship.
nnnnTradition of Abhang Singing
nnnnDefinition:
nnnnAbhangs are devotional hymns sung in praise of Vithoba, written primarily in the Marathi language. The word “Abhang” means “unbroken,” signifying the eternal, continuous devotion to God.
nnnnCharacteristics:
nnnnAbhangs are typically sung in a simple, melodious style, making them accessible to the common people.
nnnnThe lyrics of Abhangs often reflect themes of devotion, love for God, and a yearning for spiritual liberation.
nnnnThey can be sung alone or as a group and the repeated words lends itself to sing as a group, a community. It gives you a sense of belonging.
nnnnAbhangs were in the language of the people, mostly in Marathi, and no one had a monopoly on either creating an Abhang or singing it. An Abhang was from the heart and it spoke and touched the hearts of the people.
nnnnProminent Composers:
nnnnSant Tukaram is one of the most famous composers of Abhangs. His Abhangs are known for their emotional depth and spiritual fervour.
nnnnOther prominent saints, like Sant Namdev and Sant Eknath, also contributed significantly to this tradition.
nnnnPerformance and Cultural Significance:
nnnnAbhang singing is a communal activity, often performed during religious gatherings, festivals, and pilgrimages.
nnnnThe tradition has been kept alive through oral transmission, with families and communities passing down the songs through generations.
nnnnInstruments:
nnnnTraditional instruments like the harmonium, tabla, and manjeera (cymbals) often accompany Abhang singing, providing a rhythmic and melodic foundation.
nnnnInfluence in South India
nnnnWhile the Vittal Bhakti cult is more prominent in Maharashtra, its influence can be seen in South India through:
nnnnPilgrimages and Temples:
nnnnTemples dedicated to Vithoba can be found in parts of Karnataka and Andhra Pradesh. The pilgrimage tradition also extends to these regions.
nnnnDevotional Music:
nnnnThe tradition of Abhang singing has been adopted and adapted by South Indian musicians, blending it with local musical styles.
nnnnCultural Exchange:
nnnnThe interaction between Marathi-speaking and South Indian communities has led to a rich exchange of devotional practices, enriching the overall Bhakti movement in the region.
nnnnThe Deccan and western coastal areas have seen an intermingling of people from Maharashtra, Karnataka and Andhra. Thus, the worship of Vittal spread in these areas.
nnnnIn Tamil Nadu, the influence of the Vittal Bhakti cult and the tradition of Abhang singing is notable, showcasing the region’s openness to devotional practices from different parts of India. The Maratha Kingdom of Thanjavur also influenced the spread of the worship of Vittal and the singing of Abhangs. But here it took root among the elite classes rather than the common folk, as the language was different and the common folk already had their own Bhakti movements based on the Shakti, Shiva and Ayyapan. Thus, while the worship of Vittal was egalitarian and widespread in Maharashtra, it Tamil Nadu it was restricted to smaller communities.
nnnnTemples and Worship:
nnnnTamil Nadu is home to several temples dedicated to Lord Vittal, the most prominent being the Vittal Rukmini Temple in Thiruvallikeni (Triplicane) in Chennai. This temple is an important centre for Vithoba worship in the state.
nnnnOther temples include those in places like Govindapuram, where Vittal and Rukmini are venerated.
nnnnFestivals and Pilgrimages:
nnnnJust like in Maharashtra, the Ashadi Ekadashi and Kartik Ekadashi festivals are celebrated with fervour in Tamil Nadu, particularly in temples dedicated to Vittal.
nnnnPilgrimages and processions are common during these festivals, with devotees taking part in large numbers.
nnnnTradition of Abhang Singing in Tamil Nadu
nnnnAdoption and Adaptation:
nnnnAbhang singing has been warmly embraced by Tamil Nadu’s musical community. Many Carnatic musicians include Abhangs in their repertoire, integrating them seamlessly into classical concerts.
nnnnThis inclusion has helped popularize Abhangs among Tamil audiences, who appreciate the devotional and melodic richness of the hymns.
nnnnNotable Performers:
nnnnProminent Carnatic musicians such as M. S. Subbulakshmi, Aruna Sairam, and Bombay Jayashri, Ranjani and Gayatri have played a significant role in popularizing Abhangs in Tamil Nadu. Their renditions often include a blend of Tamil and Marathi devotional elements.
nnnnThese musicians have performed Abhangs at major music festivals and concerts, helping bridge the cultural gap between Tamil Nadu and Maharashtra.
nnnnThere are also large Bhajan groups or Mandalis which are popular. The most prominent singer among these groups is led by Vittaldas Maharaj.
nnnnAbhang singing, to some extent, is a commercial enterprise here rather than a community affair due to the limitations of language.
nnnnCultural Integration:
nnnnThe tradition of Abhang singing in Tamil Nadu has been enriched by local musical styles and traditions. This fusion creates a unique blend that resonates with Tamil audiences while maintaining the essence of the original Marathi hymns.
nnnnDevotional gatherings, bhajan sessions, and religious events often feature Abhang singing, highlighting its widespread acceptance and popularity.
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- Musical Ensembles and Instruments: n
In Tamil Nadu, abhangs are often performed with traditional South Indian instruments like the mridangam and veena, along with the harmonium and tabla, creating a harmonious blend of North and South Indian musical traditions.
nnnnCultural Exchange and Influence
nnnnThe presence of the Vittal Bhakti cult and the tradition of Abhang singing in Tamil Nadu exemplifies the cultural exchange that has occurred historically in India. The Bhakti movement, with its emphasis on personal devotion and accessibility of the divine, transcends linguistic and regional barriers, fostering a shared spiritual heritage.
nnnnModern Context
nnnnContemporary Performances:
nnnnMany modern-day performances, including those at the Margazhi music season in Chennai, feature Abhangs, demonstrating their enduring popularity.
nnnnDevotional music albums and recordings by Tamil artists often include Abhangs, further spreading their reach.
nnnnCommunity and Cultural Programs:
nnnnCultural programs and community events in Tamil Nadu frequently incorporate Abhang singing, reflecting the inclusive and diverse nature of Tamil culture.
nnnnEducational institutions and music schools in Tamil Nadu also teach Abhangs, ensuring that future generations continue to appreciate and perform these devotional hymns.
nnnnThe Vittal Bhakti moment remains strong and touches people’s hearts even after all these centuries. It is a way for the common people to reach out and touch the almighty, bring solace during difficult times and spread happiness in an uncertain world.
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