Threads of Tradition: Saurashtrian Influences on Music and Bhakti
By: Mathura Sharma
Mathura's ancestors migrated from the Saurashtra region of Gujarat to Tamil Nadu after the Somnanth Temple was destroyed by Mahmud of Ghazni in the 11th century. Although generations have passed, the Saurashtrian community has preserved its distinct identity, while also weaving itself into the vibrant cultural and social tapestry of Tamil Nadu. Keep reading to learn more about this community and how its rich history weaves itself into music and bhakti practices!
As the sun casts its golden glow upon the colourful homes of Meenakshi Street in Krishnapuram Colony, a Paati (Tamil for grandmother) draped in a faded cotton saree, sits back against her deck chair on the verandah of her home. The scent of jasmine wafts through the humid Madurai evening, mingling with the distant clang of the temple bells from the Meenakshi Sundareshwar Temple. Yet, amidst the symphony of the city, her senses reach for something else - the gentle crackle of a cassette player, plumped up against the black gate leading out to the street, ready to fill the air with melodies of the past. As the cassette whirred to life, its tiny clogs turning in rhythmic clicks, the soulful voice of T.M. Soundarajan spilled into the air and Paati’s eyes began to close in reverie.
T.M. Soundararajan, fondly known as TMS, was one of Tamil cinema’s most legendary playback singers, his deep and resonant voice shaping the golden era of film music. T.M. Soundararajan was born into a Saurashtrian Tamil family in Madurai, part of a unique community that had journeyed centuries ago from Gujarat to Tamil Nadu and other neighbouring states in South India. Like many of his Saurashtrian counterparts, T.M. Soundarajan, who was carnatically trained, contributed to and greatly shaped music in Tamil Nadu.
Saurashtrians speak their mother tongue, Saurashtra, alongside Tamil or other local languages of the regions they settled in. Saurashtra is a rare Indo-Aryan language with roots in old Gujarati, enriched over centuries by Dravidian language influences. Whilst Saurashtra has its own script, it is also written in Tamil, Telugu and Devanagari. Though the language is still spoken within the community, especially in domestic and cultural settings, younger generations are increasingly shifting to Tamil or other regional languages. Known for their expertise in silk weaving, artistry and their deep-rooted connection to temple traditions, Saurashtrians found their place within the spiritual and artistic heart of Madurai, contributing immensely to its devotional musical landscape. Music plays a significant role within the Saurashtrian community and greatly shapes their devotional practices.
Listening to Saurashtra basha (language) bhajans from an early stage has deeply shaped my own Bhakti practices. These devotional songs not only help me forge a deeper connection to spirituality but also reinforces my sense of cultural identity. As someone who resonates with Bhakti through music, my Saurashtrian influences allow me to draw parallels between the strong sense of devotion I feel in listening to Gujarati garbos & bhajans, and the Tamil bhakti padalgal (songs) of the South. The seamless blend of linguistic and musical traditions in Saurashtra basha bhajans, which take significant inspiration from the structure and style of both Gujarati bhajans and South Indian bhakti padalgal, enhances my spiritual experience. Over time, the community’s practices and contributions have helped me weave my heritage together while connecting with a broader tradition of Bhakti that spans across India.
It was no surprise then, that the music of TMS, shaped by both Tamil and Saurashtrian influences, carried an unmistakable soulfulness that resonated deeply with Paati and countless others like her (myself included!). His rendering of Saurashtra basha bhajans are ones that I frequently return to, much like Paati. T.M Soundarajan’s voice is one that I will always identify with devotion and nostalgia.
It is this nostalgia that made his voice drifting through the air feel like a familiar embrace for Paati. As the mechanical whirring of the cassette player came to a halt, Paati gently opened her eyes, a content smile etched across her face. She gently rose from her chair, plumped the cassette player back against the black gate and tied her pallu across her waist, as she headed back into the kitchen, ready to check on her fermenting dosa batter.
About the Author:
I’m Mathura, a 23-year-old based in the UK with a deep passion for Indian classical music. I’ve been training in Hindustani vocal music at Sur Sangat for the past 1.5 years, alongside my training in Carnatic vocal and Bharatanatyam. Music is more than just an art form to me—it inspires and motivates me, but it’s also where I find solace. My spirituality is deeply connected to my music, and as an avid lover of bhajans, I find great joy in exploring devotional sounds from different traditions.
My love for bhajans, combined with the influence of my Saurashtrian roots in South India, inspired me to write this piece. Not many people know about the Saurashtrian South Indian community, its rich history, or the bhajans that emerge from it. This heritage has shaped my ability to connect not only with the Bhakti Padalgal of South India but also with bhajans from other regions of India, making my musical journey even more meaningful.
