Percussion in Kathakali underwent substantial transformations in the first half of the last century. Among those icons who redefined the scope and significance of the chenda in Kathakali, an unforgettable name is that of Pallassana Chandra Mannadiyar. He nurtured many of the reputed chenda artistes in Kathakali. One among them is his nephew, Margi (Kalamandalam) Krishnadas whose calibre and persistent efforts over the years have made him an integral part of major Kathakali recitals in Kerala and outside the State.
In the early 1980s, Chandra Mannadiyar decided to enrol his nephew as a student of chenda at Kerala Kalamandalam, simultaneously sending his son, Prasad, to PSV Natyasangham, Kottakkal, for tutelage in the same instrument. Prior to that Krishnadas had taken lessons in thayambaka from his grandfather, Krishna Mannadiyar. It was the legendary Kalamandalam Krishnankutty Poduwal who initiated Krishnadas into Kathakali Melam in the first year of his training at Kalamandalam. Krishnadas learnt from titans such as Mannadiyar, Achunni Poduwal and Balaraman in the years to come.
For the character
From Krishnankutty Poduwal, he grasped the discerning sensibility with which one has to play for characters that differed in form and temperament. Yet, he feels that no one can reproduce the tonal clarity, dramatic underpinnings and depth that flowed spontaneously from Poduwal’s articulations on the chenda. He cites instances of him playing the Naalamiratti.
It was from Mannadiyar that Krishnadas inherited his aptitude for creating rhythmic exuberance by profusely employing the well-chiselled urulukol (slow, medium and fast movement of the wrists giving rise to waves of syllables on the chenda) punctuated by nerkol (vertical falling of the stick at the centre of the left-surface).
Kalamandalam Krishnadas
Inquisitive by nature, he studied the essence of other melams— panchari, paandi, dhruvam and the like from Sadanam Vasudevan.
When he became an instructor of chenda at Margi Kathakali Vidyalayam in the capital city, Das had to relocate. He had to familiarise himself with a different cultural milieu. Since then, he began concentrating on Kathakali melam.
Weighty and infectious are his beats on the chenda. The dexterity with which his sticks negotiate with the left and the right surfaces of the chenda is exemplary. While playing for scenes of sringara (romance) and shoka (anguish), swaras on his chenda turn into whispers whereas for the battle scenes, they evolve into thunder and lightning. He has that ability to adapt his playing to suit textual and contextual sensitivity.
Playing for the titan
Kalamandalam Gopi’s discourses are a formidable challenge even for outstanding vocalists and percussionists in Kathakali. His juggling of the tempos – slow, medium and fast – in linear and zigzag modes related to angikabhinaya, especially during the non-textual improvisations, is often complex and unpredictable. Even during the course of padarthabhinaya, Gopi might shift the rhythm from chembada (eight beats) to panchari (six beats) if it involves dance as well.
To read his mind and follow his actions at the macro and micro levels, a chenda artiste needs to be imaginative. Krishnadas is one of the few percussionists of the day who is capable of tracing on the chenda even minute movements and expressions of Gopi with an unerring instinct and accuracy. Mastery over rhythm and tempos coupled with a close reading of the contextual emotions enable Krishnadas to deal with the aesthetic pursuits of Gopi that differ from stage to stage.
With his proven talent to play for all the lead character presentations of Gopi, Krishnadas finds it extremely easy to accompany the rest of the actors in the field.
Of the umpteen awards and recognitions that came his way, Kerala Sangeetha Nataka Akademi Award and Kerala Kalamandalam Award need special mention. The art lovers in his home village, Pallassana, in Palakkad district, are organising an event later this month to felicitate both Krishandas and his cousin, Kottakkal Prasad.
