Ours is an age of jugalbandhis and fusion-music, most of which are predictable in content. Luxurious display of individual artistry followed by a collective performance on musical instruments is the standard formula associated with these two genres and such recitals have won wide appreciation as mass entertainment programmes.
However, a few talented artistes have contributed their mite to such ventures. One among them is Vazhappally Krishna Kumar, an ace ghatam artiste. He has now come up with an project ‘Modam — Mohanaghatanadam’, which successfully explores the musicality of the ghatam almost comprehensively.
Thanks to the efforts of artistes from Pudukkottai Dakshinamoorthi Pillai to Vikku Vinayakaram and his distinguished disciples such as V. Suresh, the ghatam has found a comfortable space in Carnatic music.
Pot of antiquity
A reference in the ‘Sundarakandam’ of Valmiki Ramayana is often cited as evidence of the antiquity of the ghatam, which encompasses the panchabhutas. Made of red mud, the sides of the instrument provide enough scope for the percussionist to use his right hand freely while he employs his left hand for strokes on the mouth of the pot.
Krishna Kumar trained on the mridangam under Vazhappally Chellappan and later under Cherthala R. Jayadevan. He was initiated into the tenor and tempo of the ghatam by Jayadevan and received advanced training under Suresh.
The artiste, accompanied by six gifted percussionists, meticulously selected seven ghatams capable of creating all the seven swaras of Carnatic music. He, thus, began the recital by playing the basic seven notes on the ghatam — tha, ka, thi, mi, tha, ki, tta, in three divisions, in Adi tala. Krishna Kumar then moved on to a note in raga Mohanam. Since the ghatam is organically disinclined towards gamaka, the note did not have the desired effect despite the artiste’s effort.
Next he executed the thisra nada (thim, tha, ri, ki, ta), an adaptation of a slice from the Panchari melam.
From this refreshing piece, he stepped into mishragati and in the khanda nata that followed he played another note in raga Revathi. Both notes have been composed by violinist Idappally Ajith. The note in Revathi was superb in diction and the listeners were spellbound by the musical sensibility of the artiste. Incidentally, this raga is detached from the lure of gamaka and hence best suited for the sound structure of the ghatam.
In harmony
Each percussionist supported the principal artiste to the best of their ability. The final segment was in chaturashram, akin to that of the taniavartanam in a traditional Carnatic music concert. Korappu, Pirattu, Mora and Korvais were well-knit with the natas in this piece. Harmony and laya were intrinsic to the fingering of the percussionists.
The sound that emanated from the mouth of the ghatam when each of them played on it carried a faint note of gamaka. The recital, altogether, could sustain the curiosity of the listeners. The programme was presented at the Changampuzha Samskarika Kendram, Edappally.
