Rakti in raga and laya

Rakti in raga and laya’ is a complex theme which covers a variety of aspects. Attempts have been made to interpret rakti in different ways. The origin of the word ‘rakti’ is hard to trace, but the term is used commonly to denote a manner of singing that is of a highly appreciated quality. It carries with it a sense of intense involvement or engagement. Rakti is derived from the root word ‘ranj’ – ranjayati iti ragaha, ranjayati iti raktihi. That which is pleasing, which engages the mind joyfully may be called rakti. The term rakti is not found in pre-17th century texts like Niruktam, Vyjayanti and Amarakosam.

Rakti in raga

The raga scheme was subjected to several transformations and divisions before it attained some sort of stability during Venkatamakhi’s period. There are several categories of raga-s, but only a few among the plethora of raga-s have been accorded the status of ‘rakti raga-s’. We have the ‘ghana raga-s’ – a name given to the ‘ghana raga panchakam’ or the cluster of five – Nata, Gaula, Arabhi, Varali and Sree, which are represented by Tyagaraja’s five compositions, popular today as the Pancharatna kriti-s. Why are they called ghana raga-s? Are they heavier in any sense than other raga-s? Do these ‘ghana’ raga-s lend themselves as substantially to elaboration as Todi, Sankarabharanam or Bhairavi?