Kerala’s rich cultural heritage encompasses unique art forms and musical instruments. In his lec-dem, ‘Percussion Instruments of Kerala’, Dr. M.N. Moorthy, professor and HOD of violin, SST College of Music, Thiruvananthapuram, provided interesting insights into their origin, evolution and usage. Their association with deities and temple rituals has lent them a special significance.
Percussion instruments made using animal hide (avanaddha vadyas) are classified into three groups based on the manner of positioning the instrument – Aangyam, Aalingyam, and Ourdwakam. Instruments placed on the lap and played are Aangyam. When lifted and hung from the body, they are Aalingyam (chenda, maddalam, idakka, timila). When placed on the ground and played, they are Ourdwakam (mizhavu).
Ekamukha vadyas are those played on one face, while dwimukha vadyas are those played on both faces. Further classification arose on the basis of vadyas played on stage in classical recitals and those in the folk (naadan) genre.
Chenda: There is a famous saying 'Pathinettu Vaadyangalum Chendaikku Thaazhe' which means that 18 instruments - udukku, ganjira, idakka, veekan, chengila, timila, suddha maddalam, toppi maddalam, maram, kurumkuzhal, kombu, ilathalam, karadika, veeraanam, kidupidi, thappu, kudukkaveena and para are ranked beneath the chenda, which reigns supreme.
Used in Kathakali and percussion ensembles such as Panchari and Pandi Melam, the chenda, a two-faced cylindrical drum, features in both classical and ritualistic art forms. When played on the left (upper) side, known as thelivu, it becomes an asura vadya due to loudness of tone. When played on the right side, known as mandam, it becomes a deva vadya, as the sound is subdued. Thus, for tantric rituals, the right side is played and in ensembles such as Thayambaka, the left side is used.
Chenda is made from jackfruit, banyan, coconut or arecanut wood. Calf skin is stretched across the top end. The upper portion has two layers of skin while the lower portion has six to nine layers. There are 12 holes through which a thick rope called vakka kayaru is inserted for tightening the body. Presently only two varieties, namely the common uruttu chenda and the veekan/veeku chenda are seen. The latter is an upa tala vadya. As its tone is muted, two veekan chendas accompany the uruttu chenda. Other types included the muri, cheru, kutti and parayan chendas.
Kerala’s famed Panchavadya Melam ensemble features chenda, timila, maddalam, edakka, ilathalam and kombu. Of these, the first four are drums.
Edakka: It originates from the Tudi, played by adivasis of Wayanad. Incorporating structural changes suggested by sage Narada, it qualifies as deva vadya, known for its soft, sweet tone.
True to its name, edakka is hung midway on a wall, without resting on the ground or any raised surface, between playing sessions. The wood is scooped out to make an hour-glass shaped shell, at the bottom of which a thin string or fibre root is attached to enhance intensity and pitch. Called podippu, 64 multi-coloured woollen balls are suspended from four wooden rods (jeevakol), enabling adjustment while playing.
Maddalam: With only a handful of experts in the village of Peruvambu (Palghat) to fashion this drum today, the sudha maddalam is in vogue, played in Panchavadya,
Maddalapayattu and during sthree vesham in Kathakali. Held horizontally, it is drummed on both faces. The right face has a lower tone than the left.
Timila: It is said to originate from a replica of Siva’s damaru, made and played by Surapadma to accompany the Lord’s tandava nritta. Hung from the left shoulder, it is played on both faces. Bored through the centre is a hole that heightens acoustic quality.
Damaaram and murasu were ancient drums used during proclamations. Chetti vadyam is a kettle drum accompanying kavadi attam and puli kali (tiger dance).
While dhavil is native to the Irula tribe in Palghat, mattalam is common among the Gotra tribe (Idukki district). Aravana muttu, duff muttu and dahar are drums unique to the Muslim communities of Kerala. Mizhavu, which has won recognition from UNESCO, is an integral part of Koodiyattam.
Its identity is so revered that the rites and rituals conducted for a new born child are performed for this drum.
