Kerala is a land of rhythms and myriad are the rhythmic ensembles that celebrate this rhythmic bond. Chenda is one among the common instruments that is used for solo performances and also as a lead for creating the melam – literally meaning mergence of a group. The main varieties of the ensemble such as Panchari and Paandi occupy a pivotal role in festivals of Kerala, that of central Kerala to be precise.
Recently, Urakam, a small town in Thrissur, celebrated 500 years of Panchari melam. History notes that Mazhamangalam Narayanan Namboodiri (1525-1595), author of Bhaasha Naizhada Chambu (ancient poetry form with prose and verse), conceptualised and propounded this form to be accomplished by Pandarathil Ramamarar and dedicated it to the presiding deity of the place.
This scientifically structured melam is performed by a conglomeration of more than a hundred performers handling instruments such as chenda, ilathalam, kombu, kurumkuzhal and so on in a disciplined manner. Performed generally within the temple compound, this form has five phases or ‘Kaalam’ (tempo), each of them based on beats totalling 96, 48, 24, 12 and six respectively. Each of this phase has three stages: onnam kaalam , edakaalam and kuzhamarichil .
The onnam kaalam starts in a slow tempo. It is from here that the pyramid of rhythm is built. Usually this initial phase occupies almost half of the total duration.
Depending on the duration, the number of kalaasams (crescendos) are set and it slowly passes on to the second stage, edakaalam. In this stage, the beats with the open palm have to be powerful. The third stage, kuzhamarichil means the rotation of the wrist of the hand that holds the stick. In this way, through the four phases, the fifth phase is reached creating a shower of rhythm, ending in a majestic finale.
The beauty in this compact and comprehensive system is that no experimentation or periodical evolution has taken place in rhythmic or technical structure and this centuries-old rhythmic tradition is still enjoyed by the contemporary world.
Many are the titans of yesteryear who had successfully executed and carried forward this tradition with care. And the same ensemble creates a variegated ambience when played at different venues such as Tripunithura, Irinjalakuda, Peruvanam, Kuttanelloor or elsewhere, depending on space and time.
‘‘But some experimentation has occurred in the direction of its presentation,” observes Kallekulangara Achuthankutty Marar, noted scholar-cum-performer. In contrast to the conventional style of playing with the stick in the right hand and left palm, another style of playing with sticks in both hands ( Irukol Panchaari ) developed in the northern parts. This can be made enjoyable only if the minute variations in sounds produced by the palm are reproduced by the stick,” says Marar.
The other components in addition to the chenda also play contributory roles for the totality of the musical performance.
The one-and-a-half day celebrations were packed with Thayambaka, Paandimelam, Pancharimelam, Panchavaadhyam, Kurumkuzhal, Nadaswaram concerts and so on.
Maestros Thrippekulam Achutha Marar, Cherussery Kuttan Marar and Peruvanam Kuttan Marar were honoured during the occasion. But sadly, no seminar or discussions were conducted that could shed light on the technicalities and academics of the melam.
