Language, Music, and Drama were interwoven in the lives of the Tamils, from ancient times until today. In ancient times Tamil music was called Pun. But at present, the Carnatic music is expressed through Ragas.
In ancient times, the male musicians were called, Paanar and female musicians were called Paanathiyar, and those who danced for their music were called, Koothar, the female dancers were called Koothiyar or Viraliyar. In those days, even the lands, were generally divided into five different categories. Those categories were based and divided according to landscape, climatic conditions, and nature of the land. The five categories were Kurinchi, (mountain and mountainous area), Mullai (forest and forest area), Marutham (paddy field and paddy field area), Paalai (desert and desert area), and Neithal (sea and seaside area). These aforesaid categories of lands had each distinct (Pun Isai) music, as well as different musical instruments, including leather drums, string instruments, and wind instruments.
Language (Iyal), and Isai (music) underwent changes. To understand the music of the Sangam age one has to refer to the ancient works, Paripaadal and Kalithokai. In ‘Paripaadal’ there are references to numerous Puns. But they were, never preserved properly, most of these rested in oral traditions. The theme of the music was love, and the songs to which they danced were love songs. This is evidenced by certain verses, appearing in ‘Paripaadal’, ‘Arivoondapaadalotuaadalumthonra’
The post-Sangam era is known as Sanga Maruviya Kaalam. During this era, the ancient Tamil epic Silapathikaram was written by Illango Adikal. According to it, Mathavi the dance heroine danced eleven dances at her arangetram. Those eleven dances were based on religious themes and consisted of ‘Thieva Viruthi’. The music for all these dances was based on PUN. This is seen in the last verse of the chapter on Mathavi’s Arangetram.
After the Sanga Maruviya period, Tamil music and language suffered a setback, because of the foreign invasion. But this dark era did not last long, because Karaikal Ammaiyar, appeared on the scene, with the deeply devotional music. This age of Karaikal Ammaiyar was followed by the Bakthi period from 7th century A.D. till the14th century AD. Tamil music revived largely due to the four Saiva Saints, and twelve Alwaars and various other saints composed devotional hymns. Still, most of the compositions of the Saints, and Alwaars were sung with the same devotion and following the traditional Puns.
The three Saiva saints, Appar, Sampanthar, and Sundarar, composed Thevarams, (religious hymns). Varam means music. Thevaram means devotional hymns. These three saints were called, ‘Thevara Mum Moorthikal’, or ‘Thevara Trio’. Those who sing thevaram are to this day called ‘Thevara Nayakam’. Those who danced for Thevaram were called ‘Thevaradyarkal’. The outstanding dancers were honoured by conferring the title ‘ThalaikolI’. But there is a reference to ‘Sivagnana Sampanther Thalaikoli’, which apparently is a reference that those who sang and danced for Thiru Gnana Sampanthar ‘s hymns.
Originally seven Puns existed, but later out of these seven Puns altogether 103 Puns, developed. Poet Sekilaar referring to saint Sampanthar called him the saint who propagated the seven Puns in order to glorify the PUNS. Even today in Carnatic music, all the ragas are based on seven swaras [Sabtha Swaras].
Those who sing the Thevarams are called Othuvars. The musical traditions of the PUNS are preserved by oral traditions. Even in today’s dance recitals, the Thevarams are danced by most accomplished dancers, though not by all. In dance recitals, most of these Thevarams are danced with the same ‘Pun traditions’ or Viruthams, (without thala). Thevarams, when they are used in dance with thala and Pun Isai, is called Pannakam. Here Nirutham and Nirthiyam are interwoven.
Twelve Vaishnava Alwaars sang songs on Vaishnava themes. These were believed to have been sung in 108, Vaishnava temples. All these Paasurams were based on Pun Isai. These were compiled by Natha Muni, and published to the world as ‘Naalaaieram Thiviya Pirapantham’. Curiously enough, only in the Paasurams, of Namaalvar the Puns are noted. Altogether 13 Thevara Puns and six special PUNS are mentioned.
There is evidence, that at the Sri Rangam Temple, the dancers danced for Paasurams, and danced with Abinaya. The males who danced for Paasurams were called Araiyar, and their service was called ‘Araiyar Sevai’. The female dancers were called Sri Vaishnava Maanikam. Today in dance stages, the dancers use these Paasurams based on Carnatic music, but not based on Pun Isai.
The ancient Tamil music Pun Isai is used, by coordinating with Carnatic music ragas. In olden days a song called ‘Devapaani’ was sung at the beginning of a dance recital as an invocation song. This was based on Pun Isai. This tradition is still followed at the beginning of a dance recital, by singing Vinayagar Sthuthi or Thodaya Mangalam in today’s stages.
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