6 November 1509
|Died||1609 (aged 100)|
|Occupation||Saint, Poet, philosopher, composer|
|Part of a series on|
Kanaka Dasa (1509 – 1609) was a Haridasa, a renowned composer of Carnatic music, poet, philosopher and musician. He is known for his Keertanas and Ugabhoga, compositions in the Kannada language for Carnatic music. Like other Haridasas, he used simple Kannada language and native metrical forms for his compositions.
Originally named Thimmappa Nayaka, Dasa belonged to a shepherd Kuruba caste of Kaginele in Haveri district. He was born in Baada village, near Bankapura and he was a warrior at Bankapura fort. Based on one of his compositions, it is interpreted that he was seriously injured in a battle and was miraculously saved. After this incident, he gave up his profession as a warrior and devoted himself to composing music, writing literature and explaining philosophy to the common man. His early work includes poems titled Narasimha stotra, Ramadhyana Mantra, and Mohanatarangini.
Nanu Hodare Hodenu
There is folklore behind this popular quotation. Kanakadaasa's Master Vyaasatirtha (ವ್ಯಾಸತೀರ್ಥ) once posed a question:
Who among the scholars present in the convention could attain salvation (Moksha).
Kanakadaasa firmly answered in the negative about himself as well as his master. Scholars in the convention were seriously agitated by his firm replies; they felt that Kanakadaasa must be haughtily inconsiderate to deny salvation to his own master let alone the remaining scholars. When asked about his own chances, he affirms:
ನಾನು ಹೋದರೆ ಹೋದೇನು (If "I" gone, I may go)
adding to the fury of the scholars. His master who could discern the real wisdom behind Kanakadaasa's affirmation asked him to elaborate. He made a Pun giving different literal and philosophical meanings. Though it seemed on the surface that Kanakadaasa claimed that he alone may attain salvation, he had in fact put forth a thoughtful message, that no matter the level of one's scholarly prowess, one cannot achieve anything until the ego is eliminated.
Kanakadasa has a special association with Udupi as he was the disciple of Vyasatirtha Swamiji. On the request of Vyasaraya Swamiji of Vyasaraja Matt he had come to Udupi. But it was an era when discrimination on the basis of caste was at its peak. The Brahmin priests would not let him enter the temple as he was from a "lower" caste though Vyaasaraaya Swamiji asked them to let Kanakadaasa into the temple. Kanakadaasa was outside the temple meditating on Krishna, his Lord, and singing songs in praise of Sri Krishna. He did this for weeks, camping outside the temple, cooking his own food. Though distraught over being prevented from entering the temple, he composed poems in praise of Lord Krishna and composed Kirthanas (Poems) which are relevant even today. He sings about how all humans being equal, as everyone is born the same way physically, everyone shares the same water and sees the same sun helping life on earth. Hindu temples and the deity in the temples always face east. In Udupi, though, Lord Krishna, in deity form, faces west. It is believed that something unnatural must have happened when Kanakadasa was outside the temple for days waiting to be allowed to go into the temple and see the. It is believed that during those days, when Kanakadaasa was not allowed to have darshan of Lord Krishna, he poured his heart out singing kirthanas for his dear Lord. Miraculously, the deity of Lord Krishna turned around to face west. Through a crack in the outer walls of the temple, Kanakadaasa the ardent devotee of Sri Krishna was able to see his Lord. This left the orthodox community flabbergasted why something like that had happened. Ever since, Sri Krishna's deity has been facing west, though the main entrance is east-facing. The miracle remains. Today that window (commonly called "Kanakana Kindi") stands as a tribute to Kanakadaasa. Devotees who visit Udupi's Sri Krishna temple, try to have a darshan of Lord Krishna through this small window seeking to re-live the ecstasy where Kanakadaasa had when granting the divine ‘darshan’. It is a memorial to Kanakadaas, and also testimony to the eclectic Hindu belief that devotion, poetry, and sainthood are above caste and creed and certainly above rigidly maintained orthodoxy. It is said that Kanakadasa lived in a hut in this place in front of the “gopura”. Later, a small shrine was built in his memory and it came to be known as “Kanakana Kindi” or “Kanakana Mandira”.
Although many saints such as Purandaradaasa and Vijayadaasa visited Udupi and were devotees of Lord Krishna, it is Kanakadaasa's association with Lord Krishna, that conveys a deeper meaning.
His writing started showing his innovativeness in using the day-to-day activities of the common man. For e.g. Ramadhanya Charite is a poetic expression of conflicts between rich and poor classes where he uses Ramadhanya ragi (staple food of poor and high in nutrients) and rice (main food of rich but not as rich in nutrients) to synonymously represent poor and rich. He joined Haridasa movement and became a follower of Vyasaraja who named him as Kanakadasa. His poems and krithi deal with many aspects of life and expose the futility of external rituals. They stress the need for the cultivation of moral values in life. His compositions addressed social issues in addition to the devotional aspect. Kanaka Dasa was very aggressive and straight forward in criticizing evils of society such as superiority claims using caste system. His poem "Kula Kula Kulavendu hodedhadadiri" asks humans not to segregate themselves from one another, because every human is born the same way, everyone eats the same food and drinks the same water, hence none is superior or inferior to one another.
The deity he worshiped was Adhikeshava of Kaginele, presently in Haveri district of Karnataka. Kaginele, now a village, was a prosperous place and trading center in the Middle Ages. Out of the many of his compositions, about 240 (see Ref 2) are fully accountable today. All his Karnataka Music compositions end with mudra (signature) Kaginele Adhikeshava. In addition to being a poet, he worked as a social reformer by downplaying dogmatic communities that were suppressing the disadvantaged communities. Kanakadasa made an extreme effort in reforming the disadvantaged communities by convincing them to give up their age-old obsolete social practices and adapt to the changing world. He effectively used music to convey his philosophy. He lived at Tirupathi in his last days. He is one of the greatest musicians, composers, poets, social reformers, philosophers and saints that India has ever seen.'
- Nalacharithre (ನಳಚರಿತ್ರೆ)
- Haribhakthisara (ಹರಿಭಕ್ತಿಸಾರ)
- Nrisimhastava (ನೃಸಿಂಹಸ್ತವ)
- Ramadhanyacharithre (ರಾಮಧಾನ್ಯಚರಿತೆ), a rare work on class struggle
- Mohanatarangini (ಮೋಹನತರಂಗಿಣಿ)
Kanakadasa wrote about two hundred forty Karnataka Music compositions (Kirtane, Ugabhogas, padas, and mundiges or philosophical songs) besides five major works. His compositions are published in many languages. For example, about 100 songs in Kannada and 60 songs in English are published in popular books.
His writings were unique in style. In Ramadhanyacharitre, an allegory on the conflict between the socially strong and weak castes and classes, presented as an argument between two foodgrains, rice and ragi, is a most creative literary piece with a powerful social message, In the work, rice represents the socially powerful and ragi (millet) represents the working people. The two grains come before Rama to argue their case and establish their superiority. In the end, Rama sends both of them to prison for six months. At the end of the period, rice has turned rotten while the hardy ragi survive, earning Rama's blessings. This shows the intelligence of Kanakadasa in trying to reform society. He was blunt in criticizing those who opposed the good practices. In one of his compositions, he says,"Eternal hell is for those who criticize noblemen, for those who condemn teachings of jagadguru...".
- Nalacharitre (Story of Nala)
- Haribhaktisara (crux of Krishna devotion)
- Nrisimhastava (compositions in praise of Lord Narasimha)
- Ramadhanyacharite (story of ragi millet) and an epic
- Mohanatarangini (Krishna-river).
Kanakadasa rationalized bhakti (devotion) by giving worldly similes. His writing has an intimate touch that identifies the reader with the poet himself. His two famous compositions in the translation are given below. One condemns the caste system in a refined poetic way and the other wonders at the colorful and baffling creation of God Almighty in childlike wonder.
His Nalacharite is based on the famous love-story of Nala and Damayanti, which appears in Mahabharata. Though a great devotee of Lord Krishna, Kanakadasa gives his own interpretation. Nala who is in love with Damayanti exercises restraint in the svayamvara (choosing bride/bridegroom) ceremony to win over Damayanti by allowing Indra and other gods a chance to win over her. When he loses everything in a dice-game and gets exiled to the forest, stubbornly followed by Damayanti, he deserts her in sleep, hoping that she may go back to her parents and have a better life. He later drives king Rituparna to the second svayamvara of Damayanti, to see his wife married to a suitable person and be happy! Lord Krishna appears only once casually to rescue the caravan in which the hapless Damayanti was traveling and was attacked by wild elephants.
Nrisimhastava is a work dealing with the glory of god Narasimha (half human and half lion).
Kanakadasa's Ramadhanyacharite has quite an unconventional theme. It is about a battle of words between ragi (millet) and rice, each claiming superiority. They go to lord Rama for justice. With the help of the sages, Rama proves the superiority of ragi over rice. Ragi becomes blessed by absorbing the qualities of Raghava, another epithet of Rama. It is interpreted as poverty and humility being upheld by the poet above material wealth. Even today, Ragi is the food of the poor, having high nutritional value compared to rice, especially for people with diabetes because of its low sugar content.
Mohanatarangini, although a kavya (a poem in classical style) written with all conventional eighteen descriptions, deals with eroticism. Pleasure-based eroticism of Shri Krishna with the consorts. The eroticism between Aniruddha and Usha forms the main theme.
It excels in depicting contemporary life. The description of Shri Krishna's Dwaravati (Dwaraka) is very similar to that of Vijayanagara, under Krishnadevaraya as noticed by foreign travelers. The market place with colorful stalls with various commodities, well-demarcated lanes brimming with craftsmen, clients and merchants, royal garden parties and glory of the palace find their place in Mohanatarangini. It echoes the contemporary Portuguese travelers' accounts. A drinking bout of men and women of the working-class is very picturesque. The reader feels as if Kanakadasa is providing a commentary of a live event. It is for such unconventional and down-to-earth descriptions as also for social awareness that the great poet-saint has become immortal.
In tribute to the great saint, the Government of Karnataka has declared his birthday as a state holiday. All the government offices, schools, and colleges around the state celebrate the birth anniversary of Shri Kanaka Dasa.
Unfortunately, the State holiday in Karnataka is not used for unifying the castes and creating the much needed social harmony that Shree Kanaka Dasa struggled all his life. Kanakadasa Jayanthi is celebrated across all the communities, which is good progress.
In January 2013, the Kaginele Development Authority – Kaginele, Haveri District, Government of Karnataka, India - re-dedicated the newly built Kanaka Dasa Fort and Palace to the general public, at Baada, Bankapur. The tourist spot is open for the general public and highlights the life and sainthood of Kanaka Dasa
The Kannada movie Lucia starts with Nee Mayeyolago recited and is based on an abstract idea of the same theme.
Another Kannada movie Ramadhanya [May 2018] based on his life and most famous work - Ramadhanya charithre - beautifully encapsulates the saint's karmic journey and the relationship between two staple food of South Indians (1) Raghava Dhanya or Ragi and (2) Bhattha or Rice...
- Karnatakada Mahasant Kanakadasa by M. Basavaraj,(2007) The Publications Division of the Ministry of Information and Broadcasting, Govt of India, http://www.publicationsdivision.nic.in/b_show.asp?id=857 Archived 24 September 2015 at the Wayback Machine
- says, Anantha Raju (15 December 2018). "Illustrious Saint Kanakadasa". Star of Mysore. Retrieved 3 May 2020.
- Medieval Indian Literature, A Anthology (1997) by Shiva Prakash H.S., edited by Ayyappapanicker, Sahitya Akademi ISBN 8126003650, pages 198–200
- HARISHANKAR. "The Great Saint Sree Kanaka Dasa". Retrieved 5 April 2020.
- Rao, Vasudeva (2002). Living Traditions in Contemporary Contexts: The Madhva Matha of Udupi. Orient Blackswan. ISBN 978-81-250-2297-8.
- Ahiraj, M. (21 February 2018). "Document that 'disproves' common belief Kanakadasa was denied temple entry". The Hindu. ISSN 0971-751X. Retrieved 3 May 2020.
- Hegde, Sanjay (28 April 2014). "For human resolve, not miracles". The Hindu.
- Kanakadasa-The Golden servant of Lord Hari (2001) by Basavaraj Naikar, National Book Trust ISBN 81-237-3664-9
- Kanaka Daasara Padagalu (1997) By S Rudramurthy Shastri, Bhagya Laksmi Publishers, Bangalore
- Songs of Three Great South Indian Saints by William J. Jackson (2002), Oxford India Paper, ISBN 0-19-566051-X
- "Bhakta Kanakadasa".
- Kanaka-Purandara IMDb
- AWARDS: The multi-faceted playwright Frontline (magazine), Vol. 16, No. 03, January 30 - February 12, 1999.