Kerala is not only famous for the backwaters, temples, Trichur Pooram and elephants but also for instruments such as Chenda and Idakka.
Idakka (idakkya/edakka/edakkya) is considered the most revered percussion instrument in Kerala and is known as Deva Vadyam. It is used in the temple rituals, usually performed during the daily pujas or as an accompaniment to Sopanam music that is rendered outside the sanctum sanctorum of various temples in Kerala, and during the Athazha puja in temples.
During our visit to Kerala, we witnessed an idakka performance at the Chepleeri Siva temple near Punjapadam. When the sannidhi was closed during the puja time, the Marar stood near the steps leading to the sanctum sanctorum and sang to the accompaniment of idakka. This is a custom followed in almost all the temples in Kerala.
At the Chepleeri Siva temple, the performer first sang in raga Nattai and then played on the idakka. The invocatory song called Tyanis were sung.
Usually the first song is in praise of the presiding deity of the temple. After this other kirtanas and ashtapadis are rendered. In between the songs, normally a final korvai or mukthayippu will be played on the idakka.
Idakka is also played during the Idakka Pradakshinam, when the deity is taken around the temple. This practice is followed during the Uthramvilakku festival at the Edakkunni Sri Durga Bhagavathy Temple, Ollur, Thrissur. At the Sri Poornathrayeesha temple in Tiruppunitura, the Idakka pradakshinam is performed on all seven nights of the Vrischikolsavam annual festival.
Idakka is a wooden drum with four strings and is about 8 to 8½ inches long. It is made from karungali, sandalwood or with wood from the jackfruit tree. It is in the shape of an hour-glass, with the two sides resembling the damaru. Played with a stick, the pitch of the idakka can be changed by pressing the lacing in the middle.
The main body is called Kuttyi, which is about half-an-inch thick. Its thin in the centre and wide towards the end. Small nails are attached to both the faces of the idakka and thin plastic wires or strings are fastened to these nails.
The two outer rings with a diameter of 8 to 8 ½ inches, known as the Valayalukas, are cut from jackfruit wood and are further moulded to get the required shape.
The two Valayalukas are then connected to the Kuttyi with the help of threads that pass through six holes in the rings. The two Valayalukas are then attached to two pieces of thin hides. There are four Jeevakols that are attached and the size of these Jeevakols depends on the size of the thread placed across idakka to join Valayalukas to the Kuttyi as these Jeevakols are hung on the strings. To each of these Jeevakols are tied 16 woollen balls, (64 totally) known as Podippukal. In order to hang the instrument on the shoulder, a piece of cloth called Tholkacha is used. The stick used to play idakka is made out of bamboo, tamarind wood or chappangam.
A religious connect
Researcher Mahitha Verma’s thesis on the ‘The Role of Music in the Temples of Northern Kerala’ says that idakka has a divine connection. Its two faces represent the sun and the moon, while the two strings at the edge represent jivatma and paramatma, the four jeevakols — the Vedas, the Tholkachcha refers to Nagaraja, the six holes depict the six Sastras and the 64 Podipukkals represent the 64 art forms.
Idakka is normally played only in a standing posture. The instrument is hung on the left shoulder and the stick is held in the right hand. The performer tightens and loosens the cloth tied around the instrument in order to increase or decrease the pitch.
It is usually the Marars of the Ambalavasi community who play the idakka. In Northern Kerala, sometimes the Poduvals also play this instrument. There are set patterns for playing referred to as Kooru. These are to be played for the various rituals/ pujas and according to the time of the day.
Idakka is also performed in Koodiyattom as a secondary instrument with the main being the Mizhavu. Sometimes played in Kathakali for the female characters, idakka of late is extensively used in Mohiniyattom and Krishnanattam performances.
Mahitha Verma also talks about the legend behind why the instrument is not placed on the ground but only hung from a peg or rafter in a temple. This favourite instrument of Lord Vishnu was once stolen by the Sivaganas. Lord Siva instructed them to return it to Lord Vishnu. But when they approached Vishnu, He cursed them that if ever they place the instrument on the ground, the entire area will explode.
Idakka is a rare combination of melody and rhythm. It allows the performer to come up with rhythmic patterns and tonal variations. Hence it is rightly called the Sruti Tala Vadya.
The writers are well-known Carnatic violinists
