The quality of music can make or break a dance performance. However, the artists who make music for dance and allied art forms belong to a reticent fraternity, rarely singled out for attention.
Which is why it came as a welcome surprise when a stand-alone performance or pada katcheri was presented by the Kathakali music ensemble comprising Kalamandalam Vinod (vocal), P.K. Sreerag Varma (vocal and ilathalam), Krishna Praveen Poduval (chenda) and Kalamandalam Rajnarayanan (maddalam), prior to the staging of ‘Poothanamoksham’ at the Anna Nagar Ayyappan Temple, Chennai, at the initiative of Uthareeyam.
One of the first things you noticed about the vocalists’ approach was the importance paid to lyric, with every line committed to memory. Other praiseworthy aspects were the emphasis on bhava which manifested in tonal modulation as well as in the deep involvement in verse and song.
“Our training is systematic and conforms to a strict regimen,” reveals Vinod, lecturer, Kathakali sangitam, at the Kerala Kalamandalam, whose intensive training in the six-year diploma course at the same institution is reflected in his renditions.
“The first three years are devoted to gaining a strong foundation in Carnatic music alongside a gradual initiation into Kathakali sangitam. Only after attaining the requisite level of proficiency does the specialisation in Kathakali music begin from the fourth year onwards.” Vinod’s gurus include Kalamandalam Gangadharan who recognised his talent and inducted him into the course, Madambi Subramanian and the late Raman Varrier.
“Vocalists are expected to practise Thodayam daily as its structure provides a firm grounding in handling talas, kalapramanas and bhavas. The process of constant learning is augmented by listening to kutcheris of present day musicians and the past masters,”says Vinod whose favourites include KVN, MDR, S. Kalyanaraman, Semmangudi, Alathur brothers, Voleti and Nedunuri.
To what extent do these compositions offer scope for improvisation? “It depends on the katha chosen. There are currently 35 themes regularly staged. Of these, the four great classics of Kottayam Tampuran – ‘Bakavadham’, ‘Kalyanasaugandhikam’, ‘Kirmeeravadham’ and ‘Nivathakavacha Kalakeyavadham’ have a set framework with clearly defined rules which must be adhered to (sanketa bhadram). However, in other plays such as ‘Nala Charitam’, in specific compositions, there is greater flexibility in choice of raga. But the singer must always bear in mind the sthayi bhava. When improvising on sangatis or choosing a raga different from the customary one, he should convey the specific bhava emoted by the kali artist, as the music is a seamless extension of the kali (bhava sangitam). Of course, the same raga, depending on the handling, could convey varied, even opposing emotions. For instance, Thodi can convey sringara, bhakti, dukham.”
P.K. Sreerag Varma credits his entry into this field to his guru Nedumpally Ram Mohan. Adopting his guru, a Math teacher and professional musician, as his role model, this engineering graduate, who hails from the Zamorin royal family of Calicut, intends to pursue his passion for Kathakali music in tandem with his job. He shares an interesting fact.
“Apart from Carnatic ragas, some padams are set to Keraliya ragas such as Padi, Ghantaram, Navarasam and Puraneera which have a distinctive structure.”
For the kutcheri, the padams chosen were such that each was from a different katha (story) and each represented a different sthayi bhava. The opening padam ‘Harihara Vidhinutha’ (Nattai, Chempata, Nalacharitha) generated brisk energy, then segued into a poignant portrayal of Lalitha from the line ‘Amba Devi’, the raga sweep both expansive and moving. The iconic ‘Ajitha Hare’ (Sri, Chempata, Kuchelavritham) has garnered widespread appreciation beyond Kathakali circles.
Taking off emotively in the tara sthayi, the lyrics are comparable to fragrant flowers strung together in multi-hued combinations. The gradual descent of ‘Mridula Kamala Ruchira Nayana Mridare’ and then again ‘Karuna Varanam Aruna Sahaja Ketana’ to a petal soft landing highlighted the lovely cadences. ‘Gowrisam Mama’ (Mohanam, Muri Adantha, Kiratam) is a kesadi pada description of Lord Siva that encapsulated a catchy line-up of symmetric sangatis.
‘Vichane Batha’ (Thodi, Chempata) from ‘Nalacharitam Part 3’ details Bahukan’s soliloquy after King Rituparna permits him to reside at the palace. Measured stately prayogas sculpted a majestic Thodi alapana, with minimal sahitya taking the place of alapana syllables, much like a viruttam. When percussion joined in, melody and rhythm fused in Unnayi Warrier’s much loved oeuvre, the sopanam influence emerging in the articulation of the plaintive tara sthayi gandhara and madhyama.
In Irayammam Thampi’s padam ‘Karna Partha’ (Brindavana Saranga, Chempata, Uttara Swayamvaram), Kripa chides Karna for assuming that Arjuna’s defeat in Virata rajya will be a given. Kripa praises Arjuna’s parakrama, describing his deeds of unequalled valour. The raga’s delicate glides and glissades crested to an exhilarating high, borne there by rapidly accelerated drumming.
Kudos to the team of talented, dedicated young musicians who strive to keep alive the traditions of this exacting and edifying art form.
BOX
Kathakali sangitam
Most compositions in Kathakali sangitam are set to the major Carnatic ragas. The rendition combines the gamakas characteristic of these ragas with the plain-note style that distinguishes Sopana Sangitam, the music sung at Kerala temples. Types of compositions include the thodayam, purappadu, mela padam and katha. The talas used are chempata, chempa, panchari, adantha and triputa. The lead vocalist is known as Ponnani and the supporting singer as Singidi. They mark the tala beats with two instruments – chengila (bell metal gong struck with a wooden stick) and ilatalam (cymbals). The accompanying percussion instruments include chenda, maddalam and idakka. The compositional language is predominantly Manipravalam (a combination of Samskrtam and Malayalam) and sometimes Sanskrit.
Since the 20th century, the Kerala Kalamandalam has emerged as the premier institution that has groomed and produced renowned artists.
