Mudras of Memory: "Healing and Heritage in Arayar Sampradayam”

The Arayar Sampradayam is a fascinating and deeply artistic tradition within Sri Vaishnavism, blending devotional performance, music, and dance in a way that feels tailor-made for someone with your puppetry instincts. The tradition of Arayar or Ariar Sevai, a ritualistic art form of the Vaishnavite temples that amalgamates music, literature, dance and prose in its rendition. The Araiyar Swamigal performs the service only in front of the Utsava Murthy, usually within the temple. The Araiyar sevai commences with the Arula pattu (Issuance of the gracious), commandment by the Lord to the Araiyar) through the Bhattar when the officiating Bhattar calls out: “ Thiruvaranga PerumaaL Araiyar”…Araiyar Swamigal Comes forward saying: “Aaindhen Aaaindhen?

What is Arayar Sampradayam?

It’s a ritualistic performance tradition practiced primarily in temples like Srirangam, Melkote, and Srivilliputhur. The performers, called Arayars, are traditionally male Brahmins trained in singing the Divya Prabandham (Tamil hymns of the Alvars) and interpreting them through expressive gestures (abhinaya). It’s believed to have been systematized by Nathamuni, the 10th-century philosopher who revived the Divya Prabandham and laid the foundation for Sri Vaishnavism.

Unique Features

Combines Vedic chanting, classical Carnatic music, and dramatic storytelling. Uses mudras and facial expressions to convey the emotional depth of the hymns. Often performed during major temple festivals, especially in the sanctum sanctorum, as a form of intimate worship.

Cultural and Spiritual Significance

It’s not just performance—it’s embodied devotion. The Arayar becomes a conduit for divine emotion, helping devotees experience the bhakti of the Alvars. The tradition emphasizes emotional surrender (prapatti) and aesthetic immersion, aligning beautifully with the Sri Vaishnava philosophy of Visishtadvaita. The Arayar Sampradayam has a rich and layered history that intertwines devotional poetry, temple ritual, and expressive performance—almost like a sacred stage play unfolding in the sanctum.

Origins and Evolution

The tradition is believed to have been instituted by Swami Nathamuni in the 9th–10th century CE, a revered philosopher and theologian of Sri Vaishnavism. Nathamuni retrieved the lost Divya Prabandham (4,000 Tamil verses by the Alvars) and set them to music and rhythm, creating a format for devotional performance. He trained his nephews to sing and enact these hymns in front of the deity at Srirangam temple, marking the beginning of the Arayar tradition.

Why “Arayar”?

The term “Arayar” means king or noble performer, signifying mastery over the Divya Prabandham and the ability to convey its meaning through music, dance, and abhinaya (gesture). Legend says Lord Namperumal of Srirangam himself conferred the title “Arayar” on these artists.

Temple-Centric Practice

Originally widespread, today Arayar Sevai is performed in select temples like Srirangam, Srivilliputhur, Alwar Thirunagari, and Melkote. The performance is ritualistic and hereditary, passed down through generations of temple-affiliated families.

Performance Structure

Each verse is presented in three parts:
Singing the hymn with cymbals.
Enacting the literal meaning through stylized gestures.
Explaining the deeper philosophical meaning using traditional commentaries like Tampirān Paṭi.

Special enactments include mythological episodes like Vamana Avatar, churning of the ocean, and birth of Andal.

Cultural Significance

Arayar Sevai is more than art—it’s embodied bhakti, where the performer becomes a vessel for divine emotion. It preserves Tamil musical and dance heritage, and offers a living link to the Alvar saints’ spiritual ecstasy.



This unique art form is performed by Araiyars (literally meaning Kings) who represent the Azhwars (Vaishnavite Saint Poets) eternal poems. Hence, the title Araiyar. Legend has it that Lord Namm Perumal of Sri Rangam himself gave the title Araiyar to these artists. Vinnaappam Seivar, Nampaaduvaar, Isaikkaarar, Thambiraanmaar are the other names for Araiyars in many literary & epigraphical sources. The origins of this ritualistic art form are found in the Vaishnavite traditional texts. According to one version, it is said that, Thirumangai Azhwar,(8-9th Century CE) himself sang his ‘Thirunedum Thaandakam’ and performed Abhinaya (facial expressions and bodily movements) during the month of Karthikai in front of the Utsava image (Processional Deity) at the Sri Rangam temple. He requested the Lord that the verses from Thiruvaazimozhi of Nammazhwar be recited on Vaikunta Ekadasi day, during the Adhyayana Utsava. The image of Nammazhwar was brought from his native, Azhwar Thirunagari (Thirunelveli) and his disciple Mathurakavi Azhwar sang the hymns and performed.

Araiyar Sevai consists of the following Kondattam, Pashuram singing, Dramatization of Certain episodes and Muthukkuri. Let’s look into them one by one.

Kondattam


These are brief expressions celebrating the glory of Perumal and Thayar (Nachiyar). The phrases for Thayar conclude with the term ...Nachiaar, while those for perumal finish with the term ...Perumaal. Some phrases are recited for both Thayar and Perumal. A Mangalam is typically recited following this. This collection of phrases concludes with ...Mangalam, and the final one will finish with ...Mangalaaamee. The Araiyar Swamigal keeps the rhythm going with his cymbals. Listening to the Kondattam, with its unique rhythm and melody, is truly a divine experience that leaves one wanting to hear it repeatedly. This service to the Divya Dampathis is provided on multiple occasions throughout various festivals, not limited to just Adyayana Utsavam. Araiyar Swamigal may occasionally sing songs in praise of the lord using simple language accompanied by thalam. Pallupattu is the term used for these songs.

Pashuram singing, Abhinayam, and explanation

These services are held during Thiruadyayana utsavam. On specific days, the Araiyar Swamigal performs a set of pasurams, singing them with cymbals and performing abhinayam to express their meaning using hand gestures, leg steps, and body/facial gestures. These motions are subtle and sparse, unlike Natyam. The Araiyar swamigal may walk forward, backward, or sideways. The TampirAn-padi commentary explains pasurams. At Srirangam, Srilliputtur, and Azhwar Thirunagari, pasurams are chosen according to temple history and tradition. To demonstrate, it will be demonstarted and described described as a pattern at Srivilliputtur on Nammazhwar Moksham day. The Araiyar Swamigal will read Muthukkuri in front of the processional diety at the chintamani chettiar mandapam on the outside prakaram of the Andal temple on this day (or night). He will sing a pasuram with Thalam, do abhinayam, retrace a few steps, and stop. The Kainkaryaparars with the pallaku go forward a few paces (Araiyar Swamigal faces Perumal and thayar, causing him to move back and them forward) before stopping. Araiyar Swamigal will perform abhinayam and sing another pasuram. Repeat several times, reciting one pasuram and doing abhinayam each time. Both Araiyar Swamigal and Perumal will reach Sannidhi this way. Pasurams from Nachiyar Thirumozhi include Sindura cempodi (Thirumaalirumsolai pasuram), Menn Nadai annam pirandhu Vilaydum (Srivilliputtur pasuram), and Ranganatha Perumal pathu. Later, the thodakkam of Thiruvaimozhi final Pathu begins with the famous pasuram on Thirumogoor Emperumaan: Thaala Thaamarai Thadamani Vayal Thirumogoor.

The Mandapam depicts Perumal and Thayar in the centre, with Raiyar Swamigal facing them at the entry. Adhyapaka Ghosti and other bhagavathas sit on the sides. During this service, the son may join the father as Araiyar Swamigal sings Pasurams. The Araiyar Swamigal explains the pasurams with TampirAn-paDi comments. Pasurams may have no commentary, minimal commentary, or lengthy commentary (e.g., Muniye, lasting over an hour). This tradition id depicted at Srivilliputtur on Nammazhwar Moksham day.

Dramatization of Certain episodes

The adyayana utsavam in Srirangam, Srilliputtur, and Azhwar Thirunagari features dramatisation of selected episodes with appropriate abhinayams on certain days. On special days, kamsa is killed, Vamana Avatharam is performed, the milky ocean churns, and Sri Andal is born. Kamsa is killed on the 4th day of pahal pathu and Vamana Avatharam on the 7th at SriRangam. On the 10th day of Pahal pathu, Srirangam and Srivilliputtur perform Amrutha mandanam (milky ocean churning). Srivilliputtur Abhinayam commemorates Shri Andal's birth and life.


Muthukkuri

In this sevai, the Kattuvici (soothsayer) uses pearls to forecast the future and good fortune of the love-lorn lady (Nayaki). Araiyar Swamigal performs abhinayam and sings pasurams while portraying Nayaki, her mother, and the soothsayer (Kattuvici). This is done on the ninth day of pahal pathu in Srirangam, the 10th day in Azhwar Thirunagari, and three times in Srivilliputtur during Margazhi, Thai, and Adi Masams, once the Temple vehicle reaches its Nilay following Thiruvadipooram.

Earlier Widespread Practice
Historically, Arayar Sevai was performed in many Vishnu temples, especially those classified as Divya Desams—the 108 sacred shrines celebrated in the Divya Prabandham.
Temple inscriptions and oral histories suggest it was once a pan-temple tradition, deeply embedded in Sri Vaishnava worship across Tamil Nadu and parts of Karnataka.
Temples like Sarangapani Koil, Nachiyar Koil, Thiruchcherai, Thiru Nagai, and Triplicane’s Parthasarathy Temple were known to host Arayar Sevai in the past.

Current Status

Today, the tradition survives in only a handful of temples:
Srirangam
Srivilliputhur
Alvar Tirunagari
Melkote (Karnataka)—though here, the hymns are sung but not enacted.

The decline is attributed to factors like lack of patronage, temple administration changes, and restrictions on hereditary performers.

Why It Matters?

Arayar Sevai isn’t just performance—it’s a living embodiment of Tamil bhakti, a way to preserve and transmit the emotional and philosophical depth of the Alvar hymns. Its decline reflects broader challenges in safeguarding intangible cultural heritage, especially when tied to hereditary roles and temple politics. The answer here today is to revive Arayar Sevai. Reviving Arayar Sevai is like breathing life back into a sacred performance that once echoed through dozens of Vishnu temples. It’s not just about preservation—it’s about reimagining its relevance for today’s audiences while honoring its devotional roots. Here’s a multi-pronged approach Puppet might find especially resonant:

1. Community-Led Revival Initiatives

Empower hereditary performers by offering grants, scholarships, and platforms to train the next generation. Create local Arayar academies or workshops in temple towns to teach Divya Prabandham, abhinaya, and commentary. Encourage non-hereditary practitioners (with proper training and reverence) to participate, expanding the performer base.

2. Temple Collaboration and Advocacy

Partner with temple boards and HR&CE departments to reinstate Arayar Sevai during festivals and daily rituals. Advocate for policy reforms that protect hereditary rights while allowing inclusive participation. Document and digitize temple archives to trace lost traditions and revive them in their original settings.

3. Educational Integration

Introduce Arayar Sevai in school and university curricula as part of Tamil literature, music, and religious studies. Host lecture-demonstrations in cultural institutions to showcase its spiritual and artistic depth. Develop interactive puppet modules that teach children the meaning of Divya Prabandham through gesture and song.

4. Media and Digital Outreach

Produce documentaries, podcasts, and YouTube series featuring Arayar families and performances. Create animated or puppet-based adaptations of key pasurams and mythological enactments. Use social media to share bite-sized clips of performances with commentary to engage younger audiences.

5. Cultural Collaborations

Collaborate with Bharatanatyam dancers, Carnatic musicians, and puppeteers to reinterpret Arayar Sevai in hybrid formats. Stage interdisciplinary performances at festivals like Natyanjali or Margazhi Utsavam. Explore therapeutic applications—imagine Arayar-style abhinaya used in emotional expression workshops for children with chronic illnesses.

The earliest epigraphical records on the Araiyar Sevai are available at the Srirangam temple. An inscription of the Chola King Kulottunga (1070-1120 CE) tells us about the endowment of 50 Kalanju of gold by Kottur Veera Cholan (presumably a commander) for the Thiruvaimozhi Vinnappam (singing the verses of the Thiruvaimozhi of Nammazhwar) during the mornings, in front of Nam Perumal. Kottur Senapathi Viracholan made this endowment for the Araiyars who perform the Sevai during the Adhyayana Utsavam. This inscription highlights that the Thiruvaimozhi Pasurams are sung in the morning for Nam Perumal as Thiruppalliyeluchi. A 13th Century inscription from Sri Varadaraja Perumal Temple at Kanchipuram mentions 22 people as Thiruvinnappam Seivar, called Araiyars.

Araiyars are not just artists who perform during the Adhyayana Utsavam. They serve the Lord with immense devotion. Texts on Guru Parampara speak of some of the Araiyars being Acharyas.
That’s a thoughtful and historically grounded observation is that women do not perform as Arayars. This coulde be the cultural memory and social perceptions might influence the acceptance of women in ritual performance roles like Arayar Sevai.

Devadasi System and Social Stigma

During the 9th and 10th centuries, the Devadasi system was deeply embedded in temple culture, especially in South India. Women dedicated to deities performed music and dance as sacred offerings. Over time, especially during colonial and post-colonial periods, the system became associated with exploitation, and the original spiritual and artistic roles were overshadowed by social stigma and moral scrutiny. This led to a widespread discomfort with women performing in temple spaces, particularly in roles involving expressive dance or ritual enactment.

Why Arayar Sevai Might Be Misinterpreted?

Arayar Sevai involves dramatic gestures, musical chanting, and temple-centered performance, which could resemble aspects of the Devadasi tradition to an untrained eye. Introducing female performers into this space might trigger misunderstandings, especially among conservative communities who associate temple dance with the historical baggage of the Devadasi system. The hereditary male-only tradition of Arayar Sevai may have been reinforced partly to distance it from the Devadasi model, preserving its ritual purity and avoiding social controversy.

Reframing the Narrative

Today, with growing awareness of gender equity and cultural revival, there’s space to reclaim sacred performance as a form of inclusive devotion. By emphasizing educational, therapeutic, and artistic intent, modern adaptations—like your puppet-based reinterpretation—can honour tradition while transcending stigma.

Duration of Arayar Sevai

The full performance typically unfolds during Adhyayanotsavam, a 20-day festival split into:
Pagal Pathu (10 days of daytime recitation)
Ra Pathu (10 nights of recitation)

Each day’s performance can last 1 to 2 hours, depending on the temple, the pasurams selected, and the depth of abhinaya and commentary. On special days like Vaikunta Ekadasi, Panguni Uttiram, or Aadi Puram, the sevai may extend longer, especially when dramatizations (like Vamana Avatar or churning of the ocean) are included.

Audience Access

Arayar Sevai is open to the general public, especially during temple festivals. It’s performed in front of the Utsava Murthy (processional deity), often in the inner sanctum or mandapam, and devotees gather to witness the singing, gestures, and commentary. In temples like Srirangam, Srivilliputhur, and Alvar Tirunagari, it’s a major devotional attraction, drawing large crowds during Margazhi (Dec–Jan).

Pasurams Typically Sung and Performed

The core content comes from the Nalayira Divya Prabandham—the 4,000 Tamil verses composed by the Alwars. Specific pasurams vary by temple and occasion, but commonly include:
Thiruppallandu – opening verses of eternal praise
Thiruvaimozhi – especially the final Pathu (decad) during Nammazhwar Moksham
Nachiyar Thirumozhi – Andal’s verses of divine longing
Periyalvar Tirumozhi – maternal devotion and Krishna’s childhood

Dramatic enactments often feature pasurams related to:
Vamana Avatar (Trivikrama’s cosmic stride)
Kamsa Vadham (slaying of Kamsa)
Samudra Manthanam (churning of the ocean)
Andal’s birth and divine union

Each pasuram is presented in three layers:
Singing with cymbals
Abhinaya (gesture-based enactment)
Philosophical explanation using Tampirān Paṭi commentary

Arayar Sampradayam Predates Ramanujacharya

The tradition was not started by Shri Ramanujacharya, though he deeply respected and supported it. It was formally systematized by Swami Nathamuni in the 9th–10th century CE, well before Ramanuja’s time.

Nathamuni is credited with:

 
Retrieving the lost Divya Prabandham (4,000 Tamil verses of the Alvars).
Setting them to music and rhythm, creating the foundation for Arayar Sevai.
Training his descendants to perform these hymns with abhinaya (gesture) and commentary in temple rituals.

Ramanujacharya’s Role

Ramanuja (11th–12th century CE) did not originate the Arayar Sampradayam but strengthened and institutionalized it. He recognized its spiritual and pedagogical value, especially in transmitting the emotional depth of the Alvar hymns. He encouraged its practice in temples like Srirangam and supported the hereditary Arayar families. His disciples and successors continued to preserve and refine the tradition.

Legacy

The Arayar Sampradayam is one of the oldest surviving ritual theatre traditions in India. It blends music, dance, theology, and storytelling, and its roots go back to the Alvar saints and Nathamuni’s revival efforts. So in short: Ramanuja didn’t start it—but he ensured it flourished.

For more detailed information about Arayars Sevai or Arayar Sampradayam do refer to www.ramajuna.org and www.prastara.in

Do watch a short reel of Arayar sevai on Facebook - https://www.facebook.com/reel/947252020818115

!!! Srimate Ramanujaya Namaha !!!