If the Kavasams were composed and sung to shield us from the many dangers lurking around, there are other songs that although seems to be songs of praise to the deities, had an added subtle meaning to it. As Vaidyar Bhani told at one gathering, that a song by Avvai had three different meanings to three different people in three different fields and at three different periods in life. What was a song of praise for Lord Vinayaga to a school going child took on a different dimension when his guru in Siddha Medicine told him that it was a magic formula for the preparation of a medicine. When he stepped onto the path of Jnana it took on a new meaning. His guru Yogi Ramaiah told him that it was entirely dealing with Jnana.
Similarly, the Vinayagar Agaval composed by Auvaiyar was both a song of praise and a song on yoga writes S. Janarthanan in his book "Dhyana Yogam", published by Arulmigu Amman Pathipakkam, Chennai, 1990.
The Tamil Guardian posts at https://www.tamilguardian.com/content/introduction-auvaiyar%E2%80%99s-vinayagar-agaval, carried the following piece that runs parallel to Dr. Bhani's experience too.
Auvaiyar’s poem is a many layered experience of philosophical concepts brought to life via devotional poetry. It begins with contemplation of the external form of the God ... the Vinayagar Agaval begins with contemplation of the jewelled feet of the god: The feet are a symbol of grace. Without beginning with the earthly shadow or foot print of the God one may not aspire to understand his totality. The Vinayagar Agaval swiftly moves beyond contemplation of the feet to adoration of the face and body of the God.
Auvaiyar now moves away from contemplation of external form and the material universe into her metaphysical journey. The poetess explains further her experience of the physical yoga tradition, which is first mentioned in the circa 3000 year old Rig Veda texts. She refers to the energy centres of the body and energy rivers (“Nadis”) such as the Ida and Pingala. She talks of wakening the “Kundalini” energy source, which is symbolised as a coiled serpent at the base of the spine. The rising of the Kundalini, its “sinking and soaring”, achieved through meditation and physical yoga, signifies spiritual awakening.
In Saivite beliefs, spiritual awakening, leads to immortality and miraculous powers The term Siddhanta is also connected to the term “Siddhi”, meaning miraculous gifts and so the Siddhanta is the discipline of awakening these gifts. Hence the eight modes are thought to be the eight Siddhis or miraculous powers gained through the awakening of the Kundalini as described in the Tirumantiram text dated circa 500 AD. We should note that Auvaiyar throughout uses the language of “gift” as opposed to that which is acquired or earned. Wisdom, clarity, bliss, eternal life: these are all gifts of the God. Auvaiyar’s poem remains in essence devotional, born out of her experience of the divine.
In https://www.alchemywebsite.com/vinayaga.html, Layne Little writes,
At first glance, the work seems conservative enough; as it begins with the traditional contemplation of the god from foot to crown. But it promptly veers off into the domain of the mystic as she invokes Ganesha as the embodiment of Turiya. Turiya, or "the Sleepless Sleep" is a state of deep yogic trance, where the aspirant sleeps to the illusionary and transient realm of gross sense phenomena and wakes to the infinitude of the inner realm.
Avvai accredits her advancement to Lord Vinayar, having moved from Bhakti to Yogam and Jnanam, just as the lyricists of the song Azhaikiran Madavan (அழைக்கிறான் மாதவன்) writes ஆத்ம ஞானம் அடைந்த பின்னும் தேடினேன் தேவ தேவா! தாமரைப் பாதமே.
In https://truthdiveblog.wordpress.com/category/culturereligion/
She proceeds to end the poem by coming back to Bakthi. This Bakthi is a total surrender since Avvaiyar dedicates each and every step she passes in yoga to Vinayagar. Avvaiyar assigns everything to the lord as if She has done nothing.