Recollection: Evolution of Nada Mantapa

December 20, 2006

Evolution of Nada Mantapa

by H.V.Prasad

We are indeed fortunate to witness one of the greatest moments in the history of Datta Peetham. Sri Swamiji Himself has said on several occasions that the construction of Nada Mantapa is one of the most important singular happenings in the Datta Peetham. Devotees consider it a divine blessing to be a part of this historic moment.

It is very difficult to fathom the words and actions of a Sadguru. The seeds of Nada Mantapa were sown around 1986, barely two years after the inauguration of the Universal Prayer Hall (named as Kireeta). The new prayer hall replaced the thatched structure which had been serving as the prayer hall for two decades. It was built in 1984 with a view to accommodate the increasing number of devotees who thronged Datta Peetham in pursuit of peace of mind. The same year, a Malaysian devotee presented Poojya Sri Swamiji a synthesizer. From then onwards, the Sunday Satsang sessions were filled with wonderful and soothing music. As Sri Swamiji’s fingers danced up and down the octaves of the keyboard, the devotees experienced a rare kind of musical catharsis. Sri Swamiji had all along upheld the importance of Divya Nama Sankeertana (chanting the divine names of the almighty. Now, a new and exciting dimension - ‘Music for Meditation and Healing’- was added to the already captivating

Sunday Satsang sessions.

In 1987, Sri Swamiji’s devotees in Holland arranged the first ever "Music for Meditation & Healing" concert in Amsterdam. The disciples who had accompanied Sri Swamiji were indeed pleasantly surprised that Sri Swamiji was giving a music concert. What a wonderful experience it was for everyone in that auditorium! As every note that emanated from the synthesizer seemed to envelop them, they slipped in to a state of sublime trance.

It was on this eventful evening that Sri Swamiji mentioned that an ornate and aesthetic music auditorium should be built in the Ashrama in Mysore. On several occasions afterwards, Sri Swamiji used to say "Ashrama is incomplete without a good performing theatre. There are many devotees and artists who want to render dance and music seva to Lord Dattatreya. The present prayer hall is not suited for it."

In 1993, history was created when Sri Swamiji undertook the seven month long "Nada Prasara" tour abroad. Sri Swamiji toured a dozen countries to propagate the therapeutic and healing qualities of music. Sri Swamiji performed in 45 different centres. The concerts were held in many of the world’s best performing theatres. The infrastructure of the auditoriums was truly amazing and state of the art. During this tour also, Sri Swamiji mentioned several times about building an auditorium in Mysore.

After returning from the tour, one day Sri Swamiji went around the Ashram to choose a site for the hall. Sri Swamiji stopped at the centrally located lemon garden that existed for the past 16 years. "This is the place" said Sri Swamiji. For many years, the lemon from that garden was being used for Navaratri Poojas. The life of the lemon plants too had reached the end. It was as though their purpose was over and they were paving the way for the next activity.

It was during the 53rd birthday celebrations of Sri Swamiji that the foundation stone was laid by Sri N.T.Rama Rao, the then chief minister of Andhra Pradesh on 9th June 1995. It was on this day that Sri Swamiji gave the name ‘Raga Ragini Nada Mantapa’ for the auditorium.

Then came the challenging task of designing the auditorium. Constructing an auditorium is not as simple as constructing a house or cottages. It involves meticulous planning, evaluation and execution. Above all, the divine concepts and ideas of Sri Swamiji had to be incorporated. Right from the beginning, Sri Swamiji insisted that the design and technology should be indigenous and should blend well with the environs of the peaceful Ashrama.

In 1995, during Sri Swamiji’s tour abroad, two architects were consulted in the USA.

After Sri Swamiji returned to Mysore, the project remained silent for about six months. All of a sudden in February 1996, discussions resumed. The search for architects suitable for the project began. Within seven days, reputed architects from Bangalore were brought to Mysore for discussions. Sri Swamiji already had a design in His mind. Sri Swamiji related an episode from the Ramayana which inspired Him to conceive the design.

While wandering in the woods, Rama, Seeta and Lakshmana happened to pass near a pond where melodious sounds emanated from deep within the water. Sri Rama felt suddenly refreshed and his fatigue disappeared. Upon enquiry, Sri Rama was told that long ago, celestial musicians had come to the earth on a short visit to disturb the penance of a sage. It so happened that the sage made them to stay back permanently because he found the music to be congenial for penance. Ever since that episode music constantly emanated from the pond.

During His search for Seeta, Sri Rama met Hanuman. Several days of search yielded no result. Sri Rama became fatigued and drained. Then, Hanuman picked up a palm tree leaf and started fanning the Lord. Hanuman’s fanning produced not only cool breeze, but also melodious musical tunes. By this, Sri Rama overcame the fatigue and became fresh again.

After narrating these episodes, Sri Swamiji said that the Nada Mantapa auditorium should be in the shape of a palm tree leaf (frond). The architects left the Ashrama with busy thoughts of this complex and challenging structure to be designed. The Bhoomi Pooja of Nada Mantapa was performed on 2nd May 1996.

In June 1996, before Sri Swamiji left for yet another tour abroad, the architects me Sri Swamiji in Bangalore and submitted the designs. After going through the details of the design and lay out, Sri Swamiji at once approved it and permitted them to go ahead and call for estimates. Soon civil contractors, structural contractors and electrical consultants were finalised.

The land was cleared and levelled. By Navaratri 0f 1996, the pillars were soaring high in to the sky and by Datta Jayanti (December) 1996, the roof was in place. The work progressed in phenomenal speed. Whenever Sri Swamiji visited the site, he would give new ideas and designs to be implemented. Then started the task of decorating the auditorium. Embellishing and decorating a building of this dimension, that too to Sri Swamiji’s taste and satisfaction turned out to be an arduous task. Undaunted by the challenge a team of dedicated staff of the Ashram worked day in and day out to realise Sri Swamiji’s ideas.

Sri Swamiji’s vision translated an ordinary auditorium in to an ethereal music hall which could be compared to the celestial music hall, the Indra Sabha Bhavana.

Unique features of Nada Mantapa.

The world’s first and only Sapta Swara Devata Mantapam: This Mantapa has deities of the godheads representing the seven musical notes. Sa-Agni, Ri-Brahma, Ga-Saraswati, Ma-Parameshwara, Pa-Maha Vishnu, Da-Maha Ganapati and Ni-Surya Narayana. It is Sri Swamiji’s wish that the artists who perform here should first worship the Sapta Swara Devatas before beginning their programme.

Twenty-two gigantic Tamburas have been sculpted and positioned gracefully against the 22 pillars of the auditorium. These 22 Tamburas represent the 22 Shrutis mentioned in the Sangeeta Shastra.

The entrance of the auditorium has the sculpted deities of godheads connected with music - Chaitanya Maha Prabhu, Narada Muni, Garuda, Vishwaksena, Anjaneya, Tumburu, Hayagreeva, Nandi, Bhringi and Ganapati. The porch is colourfully decorated in Tamilnadu style.

It is planned to decorated the walls with huge portraits of eminent music composers of the past. A special lighting system will illuminate the portrait of the particular composer whenever his composition is sung or played. For example, when the composition - Samaja Varagamana - of Saint Tyagaraja is played or sung, the lights in front of the portrait of Tyagaraja will automatically light up. The portraits of composers from South India (eg., Tyagaraja, Muttu Swami Deekshitar, Purandaradasa etc.,) , North India (Tansen, Tukaram, Meera Bai etc.,) and Western Countries (eg., Beethoven, Vivaldi, Mozart etc.) will adorn the walls of Nada Mantapa.

The staggered seating system will hold more than 3500 people in this sacred auditorium, making it one of the largest performing theatres in India. The vast stage measuring 2150 sq.ft. can accommodate ballet groups and philharmonic orchestra groups. As the auditorium is an amphitheatre, there is vast scope for future expansion. The seats are laid out in a radial pattern such that they fall within an angle of 140 degrees from the position of the performer.

The auditorium is equipped with state of the art sound (Bose Corporation of USA), lighting and theatrical systems.

There is a big Yaga Shala to the North West of the auditorium where rituals can be performed during festivities like Navaratri.

The hall has been so designed that several other functions like seminars and symposia, training camps, Yoga camps and mass eye treatment camps can be conducted in it.

Nada Mantapa is a testimony to Poojya Sri Swamiji’s dedication, attachment and love for music. Right from its conception till its completion Sri Swamiji was totally involved even in the minutest of its details. Whenever He found time amidst His busy schedule, Sri Swamiji would discuss and give important suggestions which resulted in making the Nada Mantapa unique in all ways. Whether He was sitting on the banks of the sacred Manasa Sarovar or travelling in the hot and dusty villages of Andhra Pradesh or waiting in the transit lounge of an international airport, Sri Swamiji used His spare time in working out the finer aspects of the Nada Mantapa project. His commitment for any project is always complete and He does not allow his focus to deter until the project is completed with absolute perfection. That Sri Swamiji had worked out the details of the inauguration of the Nada Mantapa almost one year in advance is one of the examples of His meticulous planning.

Sri Swamiji is an inspired music revolutionary whose experiments and research in music have been acclaimed as harbingers of an era of "Music for Meditation & Healing" or Yoga Music. We are confident that the lofty artistic ideals and creativity along with humanitarian goals of Poojya Sri Swamiji will leave a permanent imprint on the society at large.

P. Lakshmi Prasad

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If you cry , because the Sun has gone Out of your life, your tears will prevent

You from seeing the Stars.

- Ravindranath Tagore

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