KOCHI: Unlike contemporary artforms in Kerala, sopana sangeetham is a ritualistic form of music that is bound by faith, caste and tradition. It is a blend of vedic, folk and tribal music, and is largely performed by members of the Marar and Pothuval families.
Ooramana Rajendramarar, an exponent in sopana sangeetham, however, believes that changes are inevitable in a dynamic cultural scenario. So he started trained many students irrespective of caste, due to which he had to face difficulties on his way. According to him, sopana sangeetham has been brought out of the temples with the efforts of a few progressive musicians.
“God resides in our heart. Every artform becomes an instrument that links us with the divine spirit. So, breaking the shackles of traditions is not always to be condemned. However, I strongly oppose changes made to sopana sangeetham which would rid the artform of its soul, which is steeped in Bhakthi,” says Rajendramarar, who has been working incessantly towards exploring the glorious past through various temple arts and recreating them for progeny.
Sopana sangeetham is sung by the sides of the steps that leads to the sanctum sanctorum, and it stands out for the highly devotional flavor that gets added to it. It is recited when the sopanam closes for customary ceremonial offerings to the deity. “Most people visit temples when they start to fear life. They approach the divine spirit to ask for blessings, with a shattered heart and lost mind. With an unsteady mind, they plead for something better, and this is where the sangeetham plays an enchanting role. The sangeetham purifies their negativity and helps to stamp the deity on their soul.” says the exponent.
Rajendramarar hails from Ooramana near Ramankulam, a land of many famous musicians. His father Pulipra Ramamarar and brother Ooramana Venumarar are also experts in panchavadyam. Rajendramarar started learning music as a child from his father and uncles. He vividly remembers his schooldays when he used to sing sopana sangeetham and rush to school trying not to be late. After his 10th standard, he joined Irinjalakuda Unnayiwarrior Kalanilayam and practiced kalikottu for four years. It was then he found his guru, Thrikkamburam Krishnankutty Marar who refined his talents. He also practiced panchavadyam, parishavadya, thayamba, kalamezhuthumpattu and many other ritualistic arts. Rather than just performing arts, he is much more curious about its evolution and other interesting aspects. This dedication led him to reinvent kudukkaveena, which existed long back.
“Kudukkaveena is an ancient instrument from Kerala. I tried very hard to lay my hands on one, but I simply could not find the instrument anywhere. So, I made one myself using coconut shell and leather,” he says. “It’s like Idakka, but it creates sound depending on the change in force applied by the left hand.”
The deep knowledge in this field and the penchant for music helped him prepare a textbook for students of Vaikom Kalapeedam. ‘Kshethra Kalapaadangal’ is a book enriched with details about the different musical instruments and ritualistic art forms of the land. He is also planning to write his second book, which will be on sopana sangeetham.