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 Saliamangalam Bhagavathamela... 381 years uninterrupted!- Priyamvadha Muralie-mail: priyamvadhamurali24@gmail.com May 21, 2026 "On the eve of Sri Lakshmi Narasimha Jayanthi Utsavam 2026, Sri Lakshmi Narasimha Bhagavatha Mela Baktha Samajam, Saliamangalam and the natives of this small village carry forward the rich traditions of a 380-year-old tradition. It is the farsighted vision of our elders, enthusiastic next generation of youngsters, the daughters of Saliamangalam who stand second to none in their multifaceted contributions and the residents of entire agraharam supported by our media partners and art and culture government bodies to stand solidly behind our samajam in nurturing this timeless tradition. We place on record our heartfelt gratitude to the entire community", says Sundaram Janakiraman, President, Sri Lakshmi Narasimha Bhagavata Mela Bhaktha Samajam, Saliamangalam. Reading the above lines from the pages of the commemorative souvenir released on the 30th of April, inaugural day of Narasimha Jayanthi Utsavam 2026, at Saliamangalam, one could surely feel the humility, simplicity and inclusiveness for an integrated higher purpose. They are the pillars that have held this Samajam on a strong pedestal, unshakable for three centuries and more. The challenges that came their way were minuscules in front of their enormous dedication that came in a powerful unison leading to absolute surrender. This tiny yet mighty agraharam is sandwiched between lush green fields in the Papanasam taluk falling between Thanjavur and Thiruvarur districts. Saliamangalam is the oldest of the villages nurturing Bhagavata Mela tradition, others being Melattur and Theparmanallur in practice currently. This quiet village bustled with religious fervour as it went on to celebrate its historic 381st year Utsavam. भक्त्या त्वनन्यया शक्य अहमेवंविधोऽर्जुन । ज्ञातुं द्रष्टुं च तत्त्वेन प्रवेष्टुं च परन्तप ॥ ५४ ॥ "By undivided devotion alone, Arjuna, I can be known, seen in reality, and entered into". Bhagavad Gita, 11.54 And He does enter here... He just doesn't enter but "He breathes" at Saliamangalam! The vibrations of Vedic chants, the symphony of soulful Mangala Vaadhyam and the devoutly endearing villagers gather to watch the "Prana Prathistai" of the centuries old "fig wood" mask of "Narasimha" and "Swetha Vinayakar". This annual ritual leads to giving life to the "Sri Mukam" ensuring sanctity. A practice different from Melattur Sampradaya. The mask is given a new lease of life by reworking on the intricate details and repainting with only plant and stone-based dyes carried out by chosen bhagavatas. The elderly women too partake in this holy process beginning days before, getting the tamarind seeds ready for adhesive purpose among other preparations. The sacred event brings together the villagers in huge numbers, in and out of Saliamangalam and overseas too. Age was just a number here. 90 or just 9 years, everyone assembled in that reverberating Vasantha Mandapam that housed the mask during the utsavam. It is to be added here that the mask is brought out for the auspicious Mahotsav from the ancestral abode of Bhagavathar's Pooja arena with strict austerities to the Vasantha Mandapam, that becomes the Garbha Griha during the utsavam. It is significant to note that the mask of Lord Vinayaka as Swetha Vinayaka is adorned with much religious fervour. A divine sorting is done in front of all the senior practitioners / members of the sangam. The boy designate aged between 5 to 10 is chosen for the role of Vinayaka in the natakams on the auspicious day of Rama Navami. The members ensure all artistes have roots connecting to Saliamangalam, either from paternal or maternal side. This is perceived as a commitment for their village and for upkeep of tradition, once initiated into the divine role. Equally solemn was their dance drama presentation. Bharatam Panchanatha Bhagavatar's composition of the "Thattu Sutthu" laced with intricate jathis of "Sri Natana Kasinatha" stands as a unique display of music and dance of this tradition and seen only at Saliamangalam. They are performed with vigor since its inception in the 16th century. They dance in front of the presiding deity, Srinivasa Perumal and his consorts, who ceremoniously arrives in front of the Vasanta mandapam to watch the Bhagavata Mela Natakam set to unfold with Prahladha Charitram. It is said that artistes take a vow that they are set to complete yet another year with fervent bhakthi with the Lord as witness! Seeking His grace, they go around the deity with an "Aadi Paadi Ula!" Verses from Svetasvatara Upanishad reflect as one witnesses the divinity unfolding during this auspicious beginning of the natakam.  A scene from Prahladha Charitram While this happens on the street, Prahladha Charitram, the master play of the erudite composer, Baratham Panchanatha Bhagavatar, moves on to the erected altar facing the Lord. Adhering to Natya Shastra, the theatrical order at few places are similar to Melattur but vary much in their presentation. Panchanatha Bhagavatar's proficiency in Dravidian languages and mastery over literature is visible through his sophisticated musical composition. The dance presentations followed the principles of Bharatanatyam and Yakshaganam. The dialogues, apart from original Telugu composition, have evolved over time. With due consultation from scholars, few significant dialogues are added with verses from Vedas and shastras to connect to the younger generation. The aharya of Hiranyakasipu was intriguing with Saliamangalam's characteristic moustache and a cushioned feet gear in the form of black socks. This is to perhaps enable gliding movements as the character demands sweeping movements with fury on the street! Every male artiste including those adorning the female roles executed their depiction through dance and drama with much ease be it in nritta or abhinaya. If Leelavathy (Ganesarathinam) with natural elegance, maintained her helpless stance torn between her demonic husband and devout child, Prahladha came in with a different age group of boys (Pranav Narasimhan, Sai Karthik and Sriram). They held the staunch bhakthi intact at varied stages, surrendering to the engulfing taunts posed by the father. Hiranyakasipu...young, articulate, vibrant and full of brimming energy arrives at his Darbar creating the unrest amongst the Jeevatmas. His conflicting inner war fighting to win his son's love was evident through his sublime eyes at times and soared red with anger and vengeance directed towards his "Vairi", Mahavishnu, many times. It was a balanced artistry with restrained dramatics. His mastery over nritta caught one's critical eye through the interesting paadha bhedas. It was surprising to note in just a year's time how this young actor Anirudh Subramanyam coming back to his village every year from Germany, has mastered the role of the dynamic Hiranyakasipu. With the veteran C.S.M Subramanyam, the current President of the sangam, leading the dance front, what else could one expect. Sixty years of service through portraying varied roles with grit and perfection, guided by his Guru Naatyacharya VP Dhananjayan, this Bhagavata has incorporated nuances of structured dance presentations emphasizing nritta and abhinaya significantly seen through the last 10 years. The music and orchestra ensemble was ably led by Ramadasa Bhagavatar along with G Ramdass, V Venkatramani and BR Arjun. The much awaited "Avatarana" of Lord Narasimha (Bhagavatar C.S.M Subramanyam), adorning the Sacred Mask unfolds at about 3am.  Sri Mukham of Narasimha The entire arena is sanctified. Hiranyakasipu descends to the street again to face a combat with the Lord who is looming behind the massively erected pillar. Holy Vedic chants are initiated within this "sanctum". Every Bhagavata in the village takes a cleansing shower before the sacred moment. An elaborate and intense Stambha Sthuthi done by young Sriram (well trained by Guru Shobana) opens to the smashing of the pillar. The Lord in all His glory adorned with huge flower garlands offered by villagers breaks out of the pillar. The emanating divinity is welcomed through fireworks amidst thunderous roars from the "living Narasimha" and Hiranyakasipu. The deepa arathy, freshly strewn flowers, ringing of sacred bells and reverberating music leaves one pining for a spiritual satiety seeking union with Paraman that is literally "breathing" in front of us. And he does as he adores the Sri Mukam initiated with "praana". He blesses his Parama Bhagavata Prahladha and the onlookers after the Samharam of Hiranyakasipu, before going into the Garbha Graha at about 6am. The festival concludes with Rukmini Kalyanam and Anjaneya utsavam the following days. Every Sahrudaya’s heart is filled with a bliss. The Annapoorna trust ensures every visitor is fed well even during the wee hours when the play progresses. This trust not only preserves art and culture of this village but caters to safeguard the interest and livelihood of the needy. Wonder how they manage this noble initiative so seamlessly. The entire samajam functions unassumingly. With the only title of "Bhagavata" prefixing their names, for so many years of selfless toil to upkeep a tradition for centuries, what binds them and governs them solely is "to make the Lord breathe every year" at Saliamangalam. कर्मपातपरीहारस् त्रिकालार्चा विशेषतः ।नक्तं कृत्यान्यथो पूजाफलसिद्ध्य्आदिदर्शनम् ॥ २३ ॥ "Invoking the Lord through undeterred Nithya Karma, day and night, one sees the perfection of the fruits of worship". Hari Bhakthi Villasa. Sri Lakshmi Narasimha Bhagavatha Mela Bhaktha Samajam, Saliamangalam grounded with Ananya Bhakthi, will surely soar high carrying the rich legacy of this great tradition gaining momentum year after year with the immanent force of the "Breathing Narasimha"! No wonder Kanchi Maha Periva, Sri Chandrashekara Saraswathi Swamigal, hailed this village as "a sanctum of Dharmic art"!  Priyamvadha Murali is the Director, Bhagavata Mela Vidyalaya, Melattur. She is the daughter/disciple of Bhagavata Mela Guru Melattur S Natarajan and senior disciple of Guru Chitra Visweswaran. |
