MALAPPURAM: For centuries, the thunderous rhythm of panchavadyam has echoed through Kerala’s temple grounds, almost always performed by men.
In Edappal, however, that powerful tradition is resonating with a new voice. In a remarkable cultural shift, 75 women from the region have stepped into the rhythmic arena, forming what is believed to be Kerala’s first all-women panchavadyam ensemble and challenging long-standing barriers with determination and passion.
Trained under the guidance of the Sopanam School of Panchavadyam, the team made its debut on International Women’s Day. Since the performance, the group has been receiving invitations to perform across the state, marking a significant moment in a classical percussion tradition historically dominated by male artists.
The ensemble brings together women aged between 10 and 74. Housewives, teachers, doctors, and students stand side by side in the group, united by a shared love for rhythm. For many of them, stepping onto the stage with powerful percussion instruments was both a challenge and a dream fulfilled.
Panchavadyam, one of Kerala’s most vibrant temple art forms, blends the sounds of five traditional instruments. The thimila, maddalam, ilathalam, edakka, and kombu together create a powerful rhythmic experience that has long been woven into the cultural life of Malayalis.
The all-women initiative was conceived by renowned instrumentalist and director of the school, Santhosh Alankode. The idea, he says, emerged from a deeply personal memory. “When we were planning a programme for the inauguration of our new building, my thoughts went to my mother. It was her lullabies that first gave rhythm to my life,” Santhosh says.
“When I realised the event would fall on Women’s Day, I felt it would be meaningful to honour mothers by training women in panchavadyam. We decided to offer the training free of cost.”
Santhosh points out that women’s participation in panchavadyam is extremely rare. The art form has long been dominated by men, influenced by rigid social traditions.
“I wanted to challenge these perceptions. Music should not be restricted by gender, caste or background. Our school believes everyone deserves an opportunity to enter the world of music,” he says.
Founded 16 years ago, the Sopanam School has consistently promoted inclusiveness in classical percussion training. The women’s panchavadyam team is one of its most ambitious initiatives yet.
Members of the ensemble say the journey to the stage was not easy. Training began only in December, leaving the group just four months to prepare for their debut performance.
“We come from different sections of society and there is no space for discrimination in our school,” says team member and journalist Deepa. “That is why this group became possible. There are housewives, teachers, and professionals among us, but all of us worked with a single goal to bring this team to the stage.”
Learning to play the instruments was physically demanding, especially for middle-aged and elderly members. Instruments such as the maddalam and kombu require strength and stamina. “Many of us had health issues and handling these instruments was difficult at first,” Deepa says. “But during practice, we slowly forgot those challenges. In fact, many of us felt our health improving as we continued training.”
Their debut performance on March 8 received encouragement from several prominent figures in the percussion world, including Mattannur Shankarankutty Marar, whose support boosted the confidence of the performers.
The recognition has already opened new doors. The group has begun receiving performance requests from various parts of the state and even from Mumbai. However, the team plans to spend the next few months further refining their skills before taking on more stages.
Another major challenge was arranging instruments for such a large ensemble. For several weeks, the group practised with old and repaired instruments.
“With the help of many kind-hearted people, we were finally able to gather all 75 instruments needed for the performance,” Deepa says.