One of Kerala’s oldest surviving temple arts, sopana sangeetham is verily God’s Own Music. The hour-glass shaped idaykka creates a deep hum, representing the beats of time. Tuned to it, the swell of meditative lyrics softly urges the mind to amble its way to the doorstep of the cosmic divine.
The idea probably gave the art form its name and initiated the practice of staging it on the steps leading to the sanctum sanctorum of temples. Over the years, the tradition of singing it during sandhyas or conjunctions of the day developed into a distinct system that remained rooted in the temple, practised by a community of artists. “Quite a sin it was to sing Sopana Sangeetham outside the temples,” says idaykka maestro M A Krishnadas.
That convention, however, has seen a change of late. Sopana sangeetham is being performed on cultural stages, at weddings, events, incorporated into fusion projects, and introduced to audiences who may never have encountered it inside a temple. Eloor Biju, a well-known exponent, calls it an exciting phase. “The changes are amazing to witness as an artist,” he quips.
One of the noted changes is the way the art form has democratised. The story of Krishnadas, born into a family of artists, shows how deeply embedded sopana sangeetham once was in particular communities.
“Historically, access to sopana sangeetham was restricted, limited to specific caste groups associated with the temple (ambalavasis),” Krishnadas says. “But now, a lot has changed,” he notes.
That change is reflected in the way Sanjay J Nair took up the art form. With no art lineage to his credit, the Thrissur native’s journey into sopana sangeetham began as a devotee. “It has made a huge difference in my life personally and spiritually,” Sanjay says.
Probably, the resurgence of sopana sangeetham began sometime in the late 80s, when certain Malayalam films showcased the serene beauty of this music, says Manikantan Mariappan, a young artist who performs at the Attukal temple in Thiruvananthapuram.
“I have no inheritance to claim of the art form. What inspired me was my initial acquaintance with this mellifluous music, primarily through films like ‘Parinayam’, ‘Agnisakshi’, ‘Sopanam’, and ‘Desadanam’. Can anyone forget Peringodan of ‘Devasuram’, the wandering singer fashioned after the legendary Njeralath Rama Poduval?” smiles Manikantan.
For many Malayalis, their entry to sopana sangeetham began when Oduvil Unnikrishnan appeared on screen with his idaykka, crooning ‘Vande Mukunda Hare.’
“M G Radhakrishnan’s beautiful voice and the thrumming idaykka — that was the first time sopana sangeetham entered Kerala’s popular culture,” says Manikantan.
There may still be concerns about the longevity of the musical tradition, but both Krishnadas and Biju are optimistic. Biju says his 26 years of experience of career have made him confident of the art’s mettle to weather any challenge.
“It is great that youngsters are coming forward to learn. Listeners are also mesmerised by the genre’s spiritual aesthetics. But the extent of awareness many have of the art form remains a question. Many listeners do not even realise the potential of the sopana ragas,” he says. Also, the contribution of the idaykka often goes unnoticed, he adds.
“Idaykka is the heart of the art form,” Krishnadas explains. “Sopana sangeetham is, at times, rendered using only the idaykka. The instrument’s ability to produce subtle tonal variations gives the music its distinct emotional richness. It is beyond mere technical brilliance and straddles a deeply gratifying, spiritual boundary,” says Krishnadas.
Biju agrees. “The effect can be felt both by the artist and the listeners. It is a miracle of an instrument. It awakens one’s emotions and sets us on an inner path to the self. You can call it even getting closer to god.”
He believes the idaykka beats, with the lilting lyrics to match, have therapeutic qualities. “Many children with autism have found calmness in sopana sangeetham,” he says, recalling an experience involving an individual from Delhi who had been largely unresponsive.
“After listening to the art form for a period of time, that person began showing movement,” he says, noting that while such experiences are yet to find scientific grounding, they do bring forth the powerful impact of music.
Now, as sopana sangeetham reaches new audiences, artists are also exploring fresh possibilities. “For any art form, innovation is key,” Krishnadas says. Replete with rare ragas, the sopanam tradition is a treasure trove. And its musical scales are increasingly being recognised and adapted into contemporary compositions, he observes.
Biju adds how fusion is also rising rapidly. Performances combining sopana sangeetham with classical dance forms such as Mohiniyattam and Kathakali have also become common, introducing the tradition to younger generations.
Yet, Biju and Krishnadas together stress that any innovations in the art should not come at the cost of authenticity. “The younger generation should take time to understand it deeply,” says Biju. “Research is important. Only then can meaningful innovations happen,” chips in Krishnadas.
Sopana sangeetham thus has come a long way, from sacred temple precincts to stages and society.
“Yet, there is much to do to make it an art of the masses. It is heartening that the art form is getting more recognition now. What is needed is to take care that the essence of the art form — as the love between the personal and the divine — is kept intact and understood,” says Biju.
This story was reported by Vijayalakshmy S for TNIE-Kerala. With inputs from Aparna Nair