Vengamamba
7th August 2022 was the 205th death anniversary (vardanthi) of Tarigonda Vengamamba as per the Hindu calendar, commemorated simultaneously at Tirumala, Tirupati and at her birthplace Tarigonda. Remembrance of a person after centuries is only for a select few - either for those who have left behind a legacy of having done good, or for their notoriety.
Vengamamba is of the first category.
Vengamamba’s life (20 April 1730 – 21 August 1817) was one of personal hardship and deep devotion to her chosen deity Venkateswara, which took the form of worship at temples, offering free food to pilgrims and composing operas and songs that are still performed today. Vengamamba’s life is celebrated even now for her literary output and the life of devotion that she led. She wrote poetry in the Dwipada Kavyam style, as well as operas to be performed in Yakshagana.
Tarigonda Vengamamba
India Post, Government of India,
GODL-India <https://data.gov.in/sites/default/files/Gazette_Notification_OGDL.pdf>,
via Wikimedia Commons
Her early years - an indication of things to come
Vengamamba was a much longed-for daughter born to her parents after six sons. She was named Venkamma since she was a prayer answered by Lord Venkateswara of Tirupathi in Chittoor district of Telangana.Even as a child she would spend long hours in prayer and contemplation at her village temple. She was unusual for her age, sitting apart immersed in composing verse instead of playing with friends.
Such uncommon behaviour in one so young, and the fact that she thought of Lord Venkateswara as her husband led the villagers to call her ‘mad’. These attitudes were unfortunately only early indicators of how she would be viewed throughout her life - with unfairness and persecution.
Her father realised that his daughter’s precocious talent for writing and composing needed nurturing so he approached the renowned philosopher Subramanya Desika to be her guru. The teacher was thrilled to have such rare talent to mentor, and took up her education in right earnest. As her education intensified and her writing talent was honed her fame spread quickly.
It was now time as per custom for Vengamamba to be married, but her beauty and intelligence drove away many suitors. When she did get married at an early age her young husband died soon after.
This was a huge tragedy for any young woman of the time and, usually, Vengamamba would have had to adopt the dress and customs deemed fit for widows. She however absolutely did not agree to conform and to dress as a widow in plain clothes, without jewellery and the other accoutrements of a traditional married woman.
In her mind she was much married…..to God.
As she continue to dress and behave as a married woman, societal opposition to her only grew.
Education, education, education - her escape from a limited life
Vengamamba learnt Yoga from her guru Subramanya Shastri, and became proficient in it. Even while she was still living in Tarigonda, and with the encouragement of her guru, Vengamamba composed poetry and Yakshagana. Her first composition was Tarigonda Nrusimha Satakam. Following this she wrote these works for Yakshagana - Narasimha Vilasa Katha, Siva Natakam and Balakrishna Natakam - and Rajayogamrutha Saram, a Dwipada Kavyam.
All through she continued to face the ire and jealousy of the local priest. Finally, unable to tolerate the priest’s behaviour, she left Tarigonda at the age of 20 and moved to Tirupathi.
The lone traveller
Her journey to Tirupati as a lone young woman could not have been easy in those days. There were no facilities for travellers en route. She travelled nearly 100 kilometers on the journey, crossing dense forests and climbing the hill of an elevation of more than 950 meters to finally reach the temple of Venkateswara.
This is the journey that must have brought home to her the difficulties faced by travellers and pilgrims all the time. It gave her a perspective on how to reduce this hardship in a practical manner by offering free food to devotees.
At the time she reached the temple her compositions had preceded her and had made her famous. She was welcomed by the temple authorities, and also by the family of the famed composer Annamacharya.
Taking a stand against oppressionSome time later, an incident in Tirumala forced her to leave for Tumburakona in the Seshachalam hills, a little more than 250 kms away. There she observed penance for six years in a cave now named Tarigonda Vengamamba Gavi and also composed many of her Yakshagana operas.
Over time the priests at Tirumala realised their folly and invited Vengamamba back. The practice now of ‘Muthyala Harathi’, aarati with pearls, as the last ritual of the day during Ekantha Seva at Tirumala dates back to this time. During this daily Seva Vengamamba was given the privilege of reciting her verses before the Lord.
Her seva for devotees continues today
Vengamamba pioneered the idea of distributing free food at the Srivari temple at Tirumala which was situated amidst dense forest at the time. She made food and water available there every year for 10 days during the festival of Sri Narasimha Jayanthi.
Today unlimited and free food is available for pilgrims on all days at the Matrusri Tarigonda Vengamamba Anna Prasadam Centre near the Tirumala main temple. Such has been the impact of Vengamamba’s social work centuries later.
Vengamamba continued to write and compose kavya (poetry) and Yakshagana (opera) on themes from the Puranas. Her most famous opera is Venkatachalam Mahatyam which consists of nearly 2000 poems.
About Yakshagana
Although now Yakshagana is popularly known in South Karnataka, the art form has had a long history in Telugu, Marathi, Kannada, Malayalam and Tamil speaking areas.
Yakshagana is a performance art that includes music, dance and drama. It has particular costumes, usually explores themes from the Puranas (The Ramayana and The Mahabharata) and is wholly based on the Natya Shastra, the ancient treatise on performance arts written by Bharata in about the 2nd century BC.
Yakshagana has been a prevalent art form since the times of the Satavahanas (100 BCE to 2nd CE). While many other theatre arts modified and evolved to be today’s classical arts, Yakshagana retained its popular touch and rural flavour. It has remained accessible to the common person although rooted in the same origin as all Indian performance art forms.
In Telugu speaking lands where Vengamamba lived, Yakshagana took inspiration from Telugu literature and current events. As such, Telugu Yakshagana is considered to be a treasure trove on history, culture and society. It took wing during the medieval period Bhakthi Movement and formed a way for even the poor and uneducated to take part and perform this art form. Chindu Yakshaganam, a form performed in Telangana has always been open to women performers, which has not been the case with Yakshagana from other places.
Yakshagana formed a channel for people to vent against feudal and oppressive rulers down the ages with the choice of themes readily available in the Puranas.
In such a milieu, Vengamamba’s operas were also an important resource for not just people’s entertainment but also for spiritual solace and secular knowledge.
Venkamamba’s works
Vengamamba’s works are poetry and Yakshagana operas. Some of her compositions are Srikrishna Manjari, Rukmini Kalyanam, Gopika Natakam, Jalakreeda Vilasam, Vashishtha Ramayanam and Ashtaanga Rajayogasaaram among several more.
For all her achievements, Vengamamba always played down her work. She claimed she was untaught and unworthy of composing great poetry.
Venkamamba’s legacy today
Her devotion to Venkateswara at Tirupati is acknowledged and celebrated to this day. During the nightly Ekantha Seva for the Lord her name is included as a devotee during the service. Her descendant continues to contribute towards this service in her beloved temple.
The TTD (Tirumala-Tirupati Devasthanam) has begun to encourage and popularize Vengamamba’s works by sponsoring the training and the performance of her Yakshagana compositions. The compositions were fading away due to not being discussed and researched among experts nor being performed for the general audience. This move by the TTD is a much-needed effort to keep Vengamamba’s works alive and relevant.