ArtCity: Papanasam Sivan, The prolific composer

Whether it is for the immensely moving ‘Naanoru vilayaattu bommaiyaa’, (நானொரு விளையாட்டு பொம்மையா?) pleading to the Mother Goddess for mercy, the picturesque ‘Kaana kann koadi vaendum…’, (காணக்கண் கோடி வேண்டும்) describing Kapali’s procession or, the hugely popular film song, ‘Manmadha leelayai vendraar undo’ (மன்மத லீலையை வென்றார் உண்டோ?), Papanasam Sivan stands out as a composer par excellence. He has composed around 2,500 krithis and songs in various ragas. His journey as a Vaggeyakara (composer and singer) began with ‘Unnai thudhikka arul thaa’ (உன்னைத்துதிக்க அருள் தா ) in Kuntalavarali, which he sang in praise of Thiruvarur Thyagesar. An impressed devotee described him as ‘Tamil Tyagayya’ and the sobriquet has stayed with him.

Born on September 26, 1890, in Polakom, a small village in Thanjavur district, Ramaiah (as he was named) was later called ‘Sivan’ by people because of his immense devotion. He spent many years at Papanasam with his brother and thus came to be known as ‘Papanasam Sivan’.



Sivan received his formal training in music from Noorani Mahadeva Bhagavatar and Samba Bhagavatar. He was fortunate to come under the protection of Vidwan Konerirajapuram Vaidyanatha Iyer, who became a great inspiration. Being impressed by the Vidwan’s rendering of the Thodi raga, Sivan composed about 20 kritis in the same raga, bringing out its varied nuances.

A great devotee of Kapaleeswara of Mylapore, his krithis on the Lord are remarkable for their lyrical beauty. His description of Shiva in the Mohana raga krithi ‘KApAlI’ is a classic example of his ability to draw verbal portraits.

“Madhipunal aravu konrai tumbai arugum matthaipunai maa sadaiyaan;

Vidhi talaimaalai maarban uritta kariyin vempuliyin toaludaiyaan;

adhira muzhangum udukkaiyum tirishoolamum ankiyum Kurangamum ilangidum kaiyaan;

Dyutimigu tirumaeni muzhudum saambal tulanga edir mangaiyar manamkavar jagan moahana (Kaapaalee)

“மதி, புனல், அரவு, கொன்றை, தும்பை, அருகு, மத்தை புனை மா சடையான்;

விதி தலை மாலை மார்பன் உரித்த கரியின் வெம்புலியின் தோலுடையான்;

அதிர முழங்கும் உடுக்கையும் திரிசூலமும், அங்கியும் குரங்கமும் இலங்கிடும் கையான்;

த்யுதிமிகு திருமேனி முழுதும் சாம்பல் துலங்க எதிர் மங்கையர் மனங்கவர் ஜகன்மோகன ( காபாலீ)”

Sivan has composed more than 100 kritis on Kapaleeswaraar and Karpagambal. In ‘Karpagamae Kadaikkann Paaraay’, he depicts the Goddess not only as the Universal mother but as the Absolute Brahmam that pervades all beings.

“Sattu cidhaanandam adhaai sakala uyirkkuyir aanaval nee;

tattuvamasyaadhi mahaa vaakkiya tatpara vastuvum nee;”

“சத்து சிதானந்தமதாய் சகல உயிர்க்குயிர் ஆனவள் நீ!

தத்துவமஸ்யாதி மகா வாக்கிய தத்பர வஸ்துவும் நீ!”

It is interesting to note that Sivan exhibits the special characteristics of all the three great composers known as the ‘Trinity of Carnatic music’. We can recognize Tyagaraja’s melting devotion, Muthuswami Dikshithar’s poetic richness and Shyama Sastri’s aestheticism in his compositions. He has not only composed on many gods and goddesses, but has composed in a variety of genres too. He has enriched dancers’ repertoire with his delightful varnams such as ‘Swami Naan Undhan Adimai’ in Nattakkurinji and the sprightly thillanas.



Sivan’s facility with languages is amazing. He is as comfortable with pure Tamil as with Tamil interspersed with Sanskrit phrases. ‘Kaa Vaa Vaa’ in Varali is extremely popular for its delightful phrases, pregnant with meaning, especially in the charanam.

“Aaathirul ara arul oli tarum appanae annalae aiyyaa vaa!

Paaba tiral tarum taabam-agala varum pazhanivalar karunai mazhaiyae vaa!

Taabatraya veyilara nizhal tarum vaan taruvae en kula guruvae vaa!”

“ஆபத்திருள் à®…à®± அருள் ஒளி தரும் அப்பனே, அண்ணலே, ஐயா வா!

பாபத்திரள் தரும் தாபம் அகல வரும் பழனிவளர் கருணை மழையே வா!

தாபத்ரய வெயில் à®…à®± நிழல் தரும் வான் தருவே என் குல குருவே வா!”

‘Srinivasa  Tava Charanau Chintayaami’ in Kharaharapriya bears evidence to his mastery over Sanskrit. And so, is the delectable, ‘Krishna, Mukunda, Murarae’, from the movie, ‘Haridas’.

His lullaby is replete with vatsalya bhava. Like Bharathiar’s ‘Chinnanjiru Kiliyae’, Sivan’s ‘Kannae en kanmaniyae’ in Kurinji is the joy of every mother. The lines,

“Thaedaadha en nidhiyae, thevittaa thellamudhae,

Vaadaatha menmalarae, manththul inikkum thanithaenae!”

“தேடாத என் நிதியே, தெவிட்டாத் தெள்ளமுதே!

வாடாத மென்மலரே, மனத்துள் இனிக்கும் தனித்தேனே!”

seem to bring out the gratification and delight of a mother, while rocking the cradle.

While Sivan’s compositions lend themselves to elaborate improvisations as the main items in a Carnatic concert, they add liveliness as tail-enders too. They fit in anywhere, adding class to the concert. That might explain the continuing popularity of his compositions.



Sivan has worked as a teacher in Kalakshetra, Chennai, started by Rukmini Arundale. He has composed songs for movies and sung them too. Some of his popular film songs (even to this day) are, ‘Radhae Unakkukkobam’ and ‘Ambaa Manam Kanindhu…’ He has also acted in movies such as ‘Bhaktha Kuchela’, ‘Tyaagabhoomi’ and ‘Sevaa sadhanam.’

His original name being ‘Ramaiah’, Sivan used the mudra (signature) ‘Ramadasan’ in many of his compositions.

‘Papanasam Sivan Day’ was celebrated for the 4th consecutive year on 26th November 2017 at Brookefields’ Banquet hall, Coimbatore, in connection with his 127th birthday. There were mini performances by up and coming artistes from 8 a.m. onwards. Dr. Rukmani Ramani (daughter of Papanasam Sivan) and Papanasam Ashok Ramani (her son) gave vocal performances. Brindha Raghunath (violin) and K.S.Raghunath (mridangam) accompanied the former and Nagai R Sriram (violin) and Kallidaikurichi Sivakumar (mridangam) accompanied the latter.