The term Keli carries more than one meaning. In the literal sense, it is ‘play’. It also denotes fame and publicity. In the context of temple-music, Keli has for centuries been used as a prefix for a couple of genres such as Maddalakkeli, Chendakkeli, Arangukeli and so on. Keli is but most commonly referred to as a prelude to the traditional overnight performance of Kathakali.
Till the latter half of the last century, the interplay of chenda, maddalam, gong and cymbals in the temple courtyard was the harbinger of a major Kathakali recital at night. Usually, junior percussionists perform the Keli. Against this convention stalwarts of chenda and maddalam came together recently at the Vezhaparambu Sri Mahadeva Temple at the Nayathode village, near Angamaly, to reinforce the significance of Keli as a small yet potent genre of percussion music.
The Keli began with Kalamandalam Sankara Warrier on the maddalam and Kalloor Ramankutty on the chenda playing chembada vattom (eight-beat cycle). Arundev Warrier and Porur Unnikrishnan provided unstinted support to them on the two instruments respectively. Altogether they played six ennams, which had a terrific impact on the large group of informed listeners. With alluring left hand strokes on the four sthanas (positions) and imaginative ornamentations woven by the right hand, Sankara, the maverick, mesmerised the audience. Himself an ace Thayambaka player, Kalloor Ramankutty’s fluency, especially during the urulukai (fast twist of wrists towards right and left), was in harmony with Sankara’s spic and span artistry.
From Chembadavattom, the maestros moved on to the nila (juncture) of the slow tempo Panchari kooru (six-beat cycle). While maddalam is congenitally conversant with the permutation and combinations of Panchari, the performance of the same on the chenda left some noticeable loopholes throughout.
The loud beats on the chenda off and on interfered with the sound modulations of the maddalam, obfuscating the niceties. Kalloor Ramankutty’s obvious lack of experience with the culture of Kathakali-Keli took away the tonal intelligibility of the dialogue between the chenda and the maddalam.
Edanila and Erikita, the two important segments of a Thayambaka recital, invaded the Keli afterwards. Ramankutty was perfectly at ease in both. All the four percussionists spared no effort to prove their creativity and expertise as the Keli headed to the crescendo.
Too much of the muthaippus at times resulted in structural fallouts. There happened to be a mutation in the character of the Keli. Despite directional shortcomings, the recital proved to be a bracing experience for the innumerable fans of percussion ensembles.
