Sanghakkali, traditionally performed by the Namboodiris as a ritual, is one among several rare art forms of Kerala that is fast vanishing. Of the 32 groups that used to perform it not so long ago, today there remains just one.
To save the art from extinction, a team of youngsters created the Kizhiviri Chathira Sangham of Anjoor in Thrissur district. Says Poongad Narayanan Namboodiri, one of the group’s functionaries, “Many veteran practitioners of the art form are no more. Hence, we started this organisation to preserve this tradition.” Trained in Carnatic music at the Chembai Music College, Palakkad, Narayanan is assisted by his cousin Cherumittam Prasanth, a theatre activist. They have a advisor in Dr. P. Sankaranarayanan, former principal of Sree Krishna College, Guruvayur, who was the first to be awarded a Ph.D for his thesis on Sanghakkali in 1992 by the Calicut University.
Family rites
Sanghakkali was performed in Namboodiri homes during the ‘shodasa kriyas’(16 rites) as well as in Shiva temples. The ritual begins with kottichakam pookal, the traditional welcome extended to the team by the head of the family.
Pathram Kotti Aarkkal 
After a short invocation, keli , a traditional announcement by a percussion ensemble, is presented along the lines of Kathakali. Next is pathram kotti aarkkal, literally meaning ‘shouting along with drumming on a vessel’. A vatta chembu (large circular copper vessel) is placed on the floor upside down and the performers strike it with their bare hands. Plantain leaves are placed on the base to avoid soot stains on the drummers’ hands. As the drumming continues, two artistes armed with long wooden ladles move in parallel lines on either side of the vessel in sync with the rhythm even as invocatory verses are sung.
Ithikkandappan
Legend has it that naalu padam (four lines), the segment staged next, was a mantra given to the Namboodiris by sage Jangama, enabling them to win a contest organised by Pallibhana Perumal, a ruler of Kerala who had embraced Buddhism. The mantra is believed to be the gist of the four Vedas.
This is followed by a sadya or feast, accompanied by the chanting of ‘curry slokas’ describing the various dishes. Elements of humour are introduced by shouting out for delicacies that are not on the menu. Feast over, the performers go to the pond to wash their hands and as they return, they sing the traditional vanchi pattu. Next is the paana, with meaningful slokas recited to a variety of rhythms such as adantha, mudiyadantha, tripuda etc., as the troupe sits on the stage. At this time, Ithikkandappan, a jester, makes an entry. He symbolises Kaimal, the local ruler.
Flanked by torches and armed with sword and shield, he begins a wordy duel with the group of singers, in an effort to destroy the spiritual ambience. To nullify the negative effect caused in this segment, the bali uzhichil, a dance by Parvati in the guise of a gypsy, is presented nex t.
A host of funny characters including a drunkard, a grandmother and a fish vendor, make cameo appearances. This may appear paradoxical since fish is taboo for the Namboodiris, but impromptu slokas interpreting the virtues of fish and connecting it cleverly to contemporary events is an occasion for much literary dexterity.
As of now, a team of ten youngsters is being groomed by Narayanan and Prasanth. They have already presented Sanghakkali at many events including at the Soorya festival and on television. According to Sankaranarayanan, a serious study of this art form can throw much light on the political and cultural history of Kerala.e
The writer and culture critic is a trained musician.
