VILLISAI VENDHAR PATTABIRAMAN THE NOBLEST PONDICHERRIAN

[Villisai Vendhar Pattabiraman conferring Dravida Maamani Award on A.Vanthiyathevan, Mrs.Umamaheswari Vanthiyathevan and N.Nandhivarman in picture ]

To preserve Villupattu, a folk art form a school girl danced at a public function. 

The next day she is bound to receive a surprise mail appreciating her dance. Soon after a state honour has been conferred on a scholar a mail lauding his work will land in his house. Yes, there is one person in Pondicherry who rejoices at everyone‘s achievement. This trait of 73- year –old Kalaimamani Pattabiraman has earned him a unique place in people‘s minds. Working to preserve the folk art, Villupattu, Pattabiraman has injected into its contents government schemes like family planning and maintaining a clean, hygienic environment. 

This multifaceted poet and singer also teaches French to those who aspire to learn. Mr. Qureshi, from Maharashtra, who picked up French with ease under the guidance of Pattabiraman was deeply impressed by his teacher and openly lauds him as ―living, eternal example of simple living, high thinking, and effective, practical teaching.‖ Pattabiraman is known for his Villupattu. The title Villisai Vendar conferred on him speaks about his zeal in preserving this folk tradition for the past 36 years through his tireless performances. The greatness of Tamil music lies in converting even stone pillars into musical instruments. Playing on a bow shaped instrument the singer narrates a story in songs interwoven with prose, along with messages and morals for society, creating a melodious and pleasant musical story that came to be known as the Villupattu. 

In his book, History of South Indian Carnatic Music from Vedic Times, Rangaramanuja Iyengar states, ―The basic culture of the peninsular South is that of the Tamil language and its civilization. It is reflected in every 200 aspect of life in the three regions of Andhra, Karnataka and Kerala. Carnatic music is the common heritage of the entire region. Though the major contribution came from Tamil there is no conflict in theory or practice. Ipso facto the instinct to draw music out of even granite is in evidence all over the South. This last line deserves special mention and attention. The greatness of the musical achievement of the Dravidian states deserves world recognition.

To extract music out of stone is one of the note worthy cultural gifts for which we owe our thanks to sculptors. In the Kumbakonam Kumbeswarar temple, and at Azwar Thirunagari, we can find a ―Nadasawaram‖ made out of stone. The pillars of temples situated at Azaharkoil, Madurai, Azhwar Tirunagari, Tirunelveli, Susheen diram, Kalakkadu, Tiruvananthapuram, Tirupathi, Tadipathri, Lepakshi, Hampi and many other places of the South are capable of echoing musical notes. 

Haling from such a rich culture and legacy, it will not be surprising to find weapon shaped musical instrument indicating the inner urge of a highly civilized society that wants weapons too to eschew violence and produce music. The traditional musical instrument of the Tamils was yazh and the singers of that instrument are known as Yazpaanar, and Yazhpaanam is a territory in Sri Lanka. There were 18 kinds of ‗Yazh‘that prevailed for centuries all over the region. Yazh is a musical instrument that was popular even from the pre-historic period. Vipulananda Adigalar in his ―Yazh Nool‖ mentions a variety of yazh known as Villyazh, i.e. yazh made in the shape of a bow. Villyazh had strings but the later day Vill did not have any string. Justice Maharajan, a renowned Tamil scholar, mentions Sathur Pichaikutty as one who laid the foundations for the emergence of Villupaatu. 

The great comedian Kalaivanar N.S Krishnan popularized Villu pattu and the story of Gandhi Mahan in villupaatu performed in radio by him deserves 201 special mention. There are some more noteworthy artistes like Kuladeivam Rajagopal, S.S.Rajendran, Sevalkulam Thangayya, Nelvalai Narayanadas, Mamsapuram Baludravidan, Madathur Arunachalam, Selliah, Kovai Muruganantha Bharathy,Kanchipuram Panjatcharam, and Muthu Ganesan as mentioned by Villisai Venthar Pattibiraman in his book Isai Thantha Isai. The high pitched voice of S.S. Rajendiran, known as Latchiya Nadigar [Actor with Ideals]. and his dramatic talent created an everlasting impact on Kalaimamani given by the Government of Pondicherry. The South Zone Cultural Centre, which wanted to promote this folk art, has accepted Pattibiraman as a traditional guru and provides Assistance. The high pitched voice of S.S Rajendiran, known as Latchiya Nadikar [Actor with Ideals] and his dramatic talent created an everlasting impact on Kalaimamani Pattabiraman who started to tread in his footsteps. It has earned him many awards like the Kalaimamani given by the Government of Pondicherry. The South Zone Cultural Centre, which wanted to promote this folk art, has accepted Pattabiraman as traditional guru and provides assistance. He also has many books to his credit. Varumaiyai Ozhippom., Padithan Parungalen, Vaarungal Malaysiavuku, Pillaigale Ungalukkaga and Sathigal Illaiyada are some of his books. A teacher who won the National award for the best teacher from then President R Venkataraman in 1986, he is spreading this folk art under the guru-shishya parambara scheme. His voice can be heard in most of the government and school functions here.Yet his humanistic nature, the abundant love he has for his kinsmen and the social concern that finds expression in his poetry have won him many friends who call him the noblest citizen of Pondicherry. 

Courtesy: New Indian Express: 11th September 2004 : N.NANDHIVARMAN