KOCHI: Though most percussion ensembles have a fixed structure and mathematical duration, edakka pradakshinam performed at Sree Poornathrayeesha temple is a pure ritualistic art form. All the seven nights of Vrischikolsavam at the temple are filled with the divine music of edakka pradakshinam, a percussion ensemble designed for the annual festival of Sree Poornathrayeesha.
While panchari melam, atantha melam and chembada melam are performed by professional artists under Perumanam Kuttan Marar, edakka pradakshinam is strictly confined to the percussion artists in charge of the routine rituals of the temple.
This unique presentation is a medley of temple art forms. The structure of edakka pradakshinam is designed for presenting in the late night. In the glow of country torches and glittering caparisons the temple percussionist begins the first phase of edakka pradakshinam with the soulful rendering of kottipadi seva (ancient form of sopana sangeetham) with the rhythmic support on edakka. After elaborating the devout mood of traditional ragas like padi and poraneera he concludes the rendition before the presiding deity. Then Jayan Marar and Murali Marar, the sopanam singers of the temple, render the thyaanis (praising songs of Sree Poornathrayeeshan).
This is followed by Venu, another traditional percussionist, on the holy conch and then starts the pulsating rhythm of thimila. Raju with his kurumkuzhal joins the musical medley later. The fine combination of the sounds of thimila, edakka, kurumkuzhal and the kombu of Aneesh, edakka pradakshinam rounds the temple accompanying the divine procession with the deity atop three caparisoned tuskers.
The tonal support of kurumkuzhal and kombu strengthens the link between edakka and thimila as the frequent rhythmic support from elathalam gives a sedative tonal beauty to the entire performance.
To add to the divinity of the ritualistic percussion ensemble, a beautifully designed conch with silver lining is carried in front of the procession.
The artist recreates the sweet resonance of edakka on thimila.
Almost all the creative numbers percussionist Mundempilly Raman creates on edakka are matchlessly recreated by the thimila artist Sreekuttan.
As the edakka pradakshinam proceeds the chengila player fills the gaps between edakka and thimila with the sonorous tone of chengila which is handled by Munmbilly Krishnakumar, another temple artist.
The tonal clarity of chengila is helpful for young artists making their debut on edakka and sopana sangeetham.
Guruvayoor Sree Krishna Temple also holds a similar type of edakka pradakshinam on special occasions.
At a time when most ritualistic art forms are struggling for survival these performances can do a lot for the popularisation of temple art forms in Kerala.
kochi@expressbuzz.com
