കഥകളി - നിരന്തര സാധനയുടെയും അഭിനിവേശത്തിന്റെയും കല - കലാനിലയം ഗോപി ആശാന്‍

കഥകളി - നിരന്തര സാധനയുടെയും അഭിനിവേശത്തിന്റെയും കല - കലാനിലയം ഗോപി ആശാന്‍

ഇരിങ്ങാലക്കുട ഉണ്ണായി വാര്യര്‍ സ്മാരക കലനിലയത്തിലെ സീനിയര്‍ പ്രൊഫസര്‍ കലാനിലയം ഗോപി ആശാനും സംഘവും കല അബുദാബിയുടെ ആഭിമുഖ്യത്തില്‍ നടത്തിയ കേരളീയം 2010 എന്ന പരിപാടിയില്‍ ലവണാസുരവധം കഥകളി അവതരിപ്പിക്കുയണ്ടായി. ഇത് നാലാം തവണയാണ് കല അബുദാബി കഥകളി യു എ യില്‍ അവതരിപ്പിക്കുന്നത്‌. അബുദാബി ഇന്ത്യ സോഷ്യല്‍ സെന്ററില്‍ വച്ച് നടന്ന പരിപാടിയില്‍ ഒരു വന്‍ ജനാവലി തന്നെ പങ്കെടുത്തിരുന്നു. ഈ വരവിനോടനുബന്ധിച്ചു തിരനോട്ടം ദുബായ് ഒരു കഥകളിപദ കച്ചേരിയും ചര്‍ച്ചയും ദുബായില്‍ നടത്തുകയുണ്ടായി. അബുദാബി മലയാളി സമാജത്തിലും കഥകളി ആസ്വാധന ക്ലാസും ചര്‍ച്ചയും നടന്നു. ഈ മൂന്ന് പരിപാടികളും പങ്കെടുത്ത കാണികളുടെ സംഖ്യാ ബലവും അതില്‍ പങ്കെടുത്തു കലാകരന്മാരോട് അവര്‍ നല്‍കിയ സ്നേഹാധാരങ്ങളും യുറോപ്യന്‍ രാജ്യങ്ങളില്‍ ഉണ്ണായി വാര്യര്‍ കലാനിലയം ട്രൂപിന്റെ കൂടെ പര്യടനം നടത്തിയിട്ടുള്ള ഗോപി ആശാന്റെ ആദ്യത്തെ ഗള്‍ഫ്‌ സന്ദര്‍ശനം ഒരു വിജയമായി എന്ന് തീര്‍ത്തും സൂചിപ്പിക്കാം.

അബുദാബിയില്‍ നിന്ന് നാട്ടിലേക്ക് മടങ്ങുന്നതിനു മുന്‍പ് ഗോപി ആശാനും അദ്ധേഹത്തിന്റെ ശിഷ്യന്മാരില്‍ പ്രധാനിയും തിരുവനന്തപുരം റിജിയണല്‍ കാന്‍സര്‍ സെന്റര്‍ ഹോസ്പിറ്റലിലെ ഡോക്ടറുമായ രാജീവുമായി ഏതാനും നിമിഷങ്ങളില്‍ ഒതുങ്ങി നിന്ന ഒരു കൂടികാഴ്ചക്കും സൌഹൃദ സംഭാഷണത്തിനും എനിക്ക് അവസ്സരം കിട്ടി. ആ അസുലഭ നിമിഷങ്ങളില്‍ നിന്നും ഏതാനും ഭാഗങ്ങള്‍:

RM: നമസ്കാരം ഗോപി ആശാന്‍, എന്റെ കോളേജ് വിദ്യാഭ്യാസ കാലത്തിനു ശേഷം പ്രവസ്സ ജീവിതം തുടങ്ങിയതിനു പിന്നീട് ആശാനെയും ആശാന്റെ കളിയും കാണാന്‍ കിട്ടുന്ന ആദ്യ അവസ്സരമാണിത്. വളരെ അധികം സന്തോഷം തോന്നുന്നു. ആശാന്റെ സംഘത്തില്‍ ഉള്ളവരെ പറ്റി ഒന്ന് വിവരിക്കാമോ?
KG: സംഗത്തില്‍ പത്തു പേരാണ് ഉള്ളത്. പ്രധാന വേഷം (ഹനുമാന്‍) ഞാന്‍ കെട്ടുന്നു. സീതയായി കലാനിലയം വിനോദ് കുമാര്‍, കുശന്‍ ആയി കാവ്യ പുഷ്പാങ്കതന്‍, ലവനായി ഐശ്വര്യാ ഗോപി, സംഗീതം കലാനിലയം രാജീവന്‍, കലാനിലയം ബാബു, ചെണ്ട കലാമണ്ഡലം ശിവദാസ്‌, മദ്ധളം കലാനിലയം പ്രകാശന്‍, ചുട്ടി ജനാര്‍ദ്ദനന്‍ എന്നിവര്‍ കൈകാര്യം ചെയ്യുന്നു. ഡോക്ടര്‍ രാജീവ്‌ ഞങ്ങളുടെ അവതാരകന്‍ ആയി കൂടെ ഉണ്ട്.

RM: ആശാന്റെ കഥകളി വിദ്യാഭ്യാസ്സത്തെ പറ്റി ഏതാനും വാക്കുകള്‍
KG: ഞാന്‍ 1971 മുതല്‍ കഥകളി കലനിലയത്തില്‍ പഠിക്കുകയും തുടര്‍ന്ന് അവിടെ തന്നെ ഡിപ്ലോമയും, ബിരുദാനന്തര പഠനവും നടത്തിയതിനു ശേഷം അവിടെ അധ്യാപകനായി ചേര്‍ന്നു. മുടങ്ങാതെ ഇന്നും തുടര്‍ന്ന് പോകുന്ന അഭ്യാസ്സവും കഥകളി എന്ന കലയോടുള്ള എന്റെ അടങ്ങാത്ത ആധാരവും അഭിനിവേശവും കൊണ്ട് ഞാന്‍ ഇന്ന് ആ കലാലയത്തിലെ ഒരു മുതിര്‍ന്ന അധ്യാപകനായി വേഷം വിഭാഗത്തിന്റെ തലവനായി ജോലി നോക്കുന്നു.
RM: താങ്കളുടെ ഗുരുക്കള്‍?

KG: പള്ളിപ്പുറം ഗോപലന്‍ നായര്‍, സദനം കൃഷ്ണന്‍കുട്ടി, കലാമണ്ഡലം കുട്ടന്‍, കലാനിലയം രാഘവന്‍, കലാനിലയം ഗോപലകൃഷ്ണന്‍ എന്നിവരായിരുന്നു എന്റെ ഗുരുനാഥന്മാര്‍. ചിട്ടയായ അഭ്യാസ്സവും, ഗുരുകുല വാസ സമ്പ്രദായവും കഠിനമായ പരിശീലന ക്രമങ്ങളും എന്നെ ഒരു നല്ല ശിഷ്യനും പിന്നീട് ഒരു നല്ല ഗുരുനാഥനും ആക്കി മാറ്റാന്‍ നിമിത്തമായി. ഉപരി പഠനം പദ്മഭൂഷന്‍ കലാമണ്ഡലം രാമന്‍കുട്ടി നായരുടെ കീഴില്‍ കലാമണ്ഡലം ആസ്ഥാനം ആയിട്ടായിരുന്നു.
RM: ആശാന്റെ പ്രധാന വേഷങ്ങള്‍ ഏതൊക്കെയാണ്?
KG :ഇതിനോടകം കഥകളിയിലെ ഒട്ടുമിക്ക പ്രധാന വേഷങ്ങള്‍ കെട്ടി ആടാന്‍ കഴിഞ്ഞു എന്നുള്ളത് വളരെ സന്തോഷം ഉള്ള കാര്യമാണ്. എന്റെ അസ്വാധകര്‍ക്ക് വീണ്ടും വീണ്ടും കാണണം എന്നുള്ള വേഷങ്ങള്‍ ഹനുമാന്‍, കീചകന്‍, ദുര്യോധനന്‍ പരശുരാമന്‍, ബ്രാഹ്മണന്‍, ഭീമന്‍, അര്‍ജുനന്‍ എന്നിവയാണ്.

RM: താങ്കള്‍ക്ക് ലഭിച്ചിട്ടുള്ള പുരസ്കാരങ്ങള്‍ ?
KG: 2003 ഇല്‍, കേരള കലാമണ്ഡലം വക കഥകളിക്കു ഉള്ള സമഗ്ര സേവനത്തിനുള്ള പ്രത്യേക പുരസ്കാരം ലഭിക്കുകയുണ്ടായി. കൂടാതെ, തനിമ ഇരിങ്ങാലക്കുടയുടെ വക പുരസ്കാരവും ലഭിച്ചിട്ടുണ്ട്. മറ്റു ഒട്ടനവധി ചെറിയ പുരസ്കാരങ്ങളും ആദരവുകളും വേറെ.RM: താങ്കള്‍ എന്ന് മുതല്‍ ആണ് കഥകളി അഭ്യസിപ്പിക്കാന്‍ തുടങ്ങിയത്?
RM:പ്രധാന ശിഷ്യര്‍?
KG: 1980 മുതല്‍ കഥകളി പഠിപ്പിക്കാന്‍ തുടങ്ങി. ആദ്യത്തെ ശിഷ്യന്‍ പ്രഭാകരന്‍ എന്ന ഒരു വിദ്ധ്യാര്‍ത്തി ആയിരുന്നു. ഇതോടകം 200 ഇല്‍ അധികം പ്രതിഭകളെ വളര്‍ത്തിയെടുക്കാന്‍ എനിക്ക് കഴിഞ്ഞതില്‍ വളരെ അധികം ചാരിധാര്‍ത്ഥ്യം ഉണ്ട്. ജയന്തി, Dr. രാജീവ്‌, വിനോദ് വാര്യര്‍ എന്നിവര്‍ അവരില്‍ ചിലര്‍. ചിട്ടയായ അഭ്യാസ രീതികളും ശിഷ്യരോടുള്ള താല്‍പര്യവും അവരെ എന്നും കലയില്‍ മുന്നില്‍ തന്നെ നില്ക്കാന്‍ പര്യപ്തമാക്കുന്ന വിധത്തില്‍ വളര്‍ത്തിയെടുക്കാന്‍ കഴിയുന്നു.Dr. R: ആശാന്റെ പഠിപ്പിക്കുന്ന രീതിയെ പറ്റി, ഇതിനിടയില്‍ ഞാന്‍ ഒന്ന് പറഞ്ഞു കൊള്ളട്ടെ. പൂര്‍ണ അര്‍പ്പണ മനോഭാവവും, സമര്‍പ്പണവും കൂടി ചിട്ടയും നിഷ്ഠയും കൂടിയ അദ്ധേഹത്തിന്റെ അധ്യായന രീതി എന്നും ശിഷ്യര്‍ക്ക് ആത്മ വിശ്വാസ്സവും ദൈര്യവും ക്രിയാല്‍മകതയും നല്‍കുന്നു. എത്ര കാലം കഴിഞ്ഞാലും ആ പാഠങ്ങള്‍ മനസ്സില്‍ ഉള്ളില്‍ നിറഞ്ഞു നില്‍ക്കും. ഒരു പ്രത്യക്ഷ ഉദാഹരണം ഈ സന്ദര്‍ശന വേളയില്‍ ദുബായില്‍ നടന്ന ശില്പശാലയില്‍ ഗോപി ആശാന്റെ ശിഷ്യനും ഇവിടെ ദുബായില്‍ ജോലി ഉള്ള കൃഷ്ണന്‍ ഉണ്ണി അവതരിപ്പിച്ച ചൊല്ലിയാട്ടം ഏറെ പ്രശംസ പിടിച്ചു പറ്റി. ചുരുങ്ങിയ സമയത്തിനുള്ളില്‍ ആണ് അദ്ദേഹം അതിനു തയ്യാര്‍ എടുത്തതും അവതരിപ്പിച്ചതും എങ്കിലും ആശാന്റെ ശിക്ഷണത്തില്‍ പഠിച്ച പാഠങ്ങള്‍ കാലങ്ങള്‍ കഴിഞ്ഞിട്ടും മറക്കാതെ നില്‍ക്കുന്നുണ്ടായിരുന്നു അദ്ധേഹത്തിന്റെ ഉള്ളില്‍.

RM: താങ്കള്‍ ഇപ്പോള്‍ ഉണ്ണായി വാര്യര്‍ കലനിലയത്തില്‍ എന്ത് ചെയ്യുന്നു? കഥകളിയുടെ ഇന്നത്തെ അവസ്ഥയെ പറ്റിയും കഥകളി പഠനത്തെ പറ്റിയും എന്തെകിലും ?
KG: ഞാന്‍ ഇപ്പോള്‍ ഉണ്ണായി വാര്യര്‍ കലനിലയത്തില്‍ വേഷം വിഭാഗത്തിന്റെ തലവന്‍ ആയി പ്രവര്‍ത്തിക്കുന്നു. ഒരു കഥകളി വിദ്ധ്യാര്‍ത്തി ചുരുങ്ങിയത് രണ്ടു വര്ഷം എങ്കിലും നിരന്തരമായി അഭ്യസ്സിച്ചാല്‍ മാത്രമേ കഥകളി അരങ്ങേറ്റം നടത്താന്‍ പറ്റുകയുള്ളു. മറ്റു കലകള്‍ അങ്ങനെ അല്ല. മുന്‍പ് ഒക്കെ കാലത്ത് മൂന്നു മണിക്ക് എണീറ്റ്‌ കണ്ണ് സാധകവും ഉഴിച്ചിലും ഒക്കെ നിര്‍ബന്ധം ആയിരുന്നു. ഇന്ന് പലരും അതൊന്നും ചെയ്യുന്നില്ല. അതെ പോലെ പണ്ട് കളി ഒരു രാത്രി മുഴുവനും ഉള്ള അവതരണ രീതി ആയിരുന്നു. ഇന്ന് പോയി പോയി അത് മൂന്നും നാലും മണിക്കൂറിനുള്ളില്‍ ഒതുങ്ങി ഒരു സംഷിപ്ത രൂപം മാത്രമായി ചുരുങ്ങി ഇരിക്കുന്നു. അത് കൊണ്ട് തന്നെ പദവും മേളവും ആട്ടവും വിസ്താരങ്ങള്‍ എല്ലാം തന്നെ വളരെ അധികം ഇല്ലാതായി കഴിഞ്ഞു. കുട്ടികളും മാതാപിതാക്കളും ഏറ്റവും എളുപ്പം പഠിച്ചു എടുത്തു അവതരിപ്പിക്കാവുന്ന വിദ്യകള്‍ പഠിക്കാന്‍ താല്‍പ്പര്യം കാണിക്കുന്നു.Dr. R: ഇന്നത്തെ ഗുരുക്കന്മാരില്‍ ചുരുക്കം ചിലര്‍ മാത്രമേ പഴയ സമ്പ്രദായങ്ങള്‍ തുടര്‍ന്ന് വരുന്നുള്ളൂ. അവരില്‍ ഒരാള്‍ ആണ് ഗോപി ആശാന്‍. കണ്ണ് സാധകവും, ഉഴിചില്ലും എല്ലാം അദ്ദേഹത്തിന് നിര്‍ബന്ധം. കൂടാതെ, സമയം നോക്കാതെ ഉള്ള പഠിപ്പിക്കലും. വെറുതെ അല്ല അദ്ധേഹത്തിന്റെ ശിഷ്യര്‍ എല്ലാവരും കളിയില്‍ പുരോഗതി പ്രാപിക്കുന്നത്. ഇതിനോടകം അദ്ധേഹത്തിന്റെ 10 ശിഷ്യര്‍ക്ക് കേന്ദ്ര സ്കോളര്‍ഷിപ്‌ കിട്ടിയിട്ടുണ്ട്. അത് കിട്ടാന്‍ ഉള്ള എല്ലാ മാര്‍ഗ നിര്‍ദേശങ്ങളും തയ്യാറെടുപ്പുകളും എല്ലാം ആശാന്‍ മുന്നിട് വന്നു ഒപ്പം നിന്ന് ചെയ്തു കൊടുത്തത് കൊണ്ട് അവരെല്ലാം ഇന്ന് ആ സൌഭാഗ്യങ്ങള്‍ അനുഭവിക്കുന്നു.

RM: കഥകളിയില്‍ എന്തെകിലും നൂതനമായ ആവിഷ്കാരങ്ങള്‍ താങ്കളുടെ നേതൃത്വത്തില്‍ ചെയ്തിട്ടുണ്ടോ?
KG: ഉണ്ണായി വാര്യര്‍ സ്മാരക കലാനിലയത്തിന്റെ നൂതന രീതികളുടെ ഭാഗമായി വന്ദേമാതരം, അഷ്ടപദി എന്നിവ കഥകളി രൂപത്തില്‍ ആക്കിയിട്ടുണ്ട്. കൂടാതെ, മറ്റു ഭാഷ സാഹിത്യങ്ങളില്‍ നിന്ന് മാക്ബത്ത്, ഹാംലെറ്റ്, മെര്‍ച്ചന്റ് ഓഫ് വെനിസ്സു, എന്നിവയും കഥകളി രൂപത്തിലാക്കി ഇന്ത്യയിലും വിദേശത്തും ഇപ്പോള്‍ അവതരിപ്പിക്കുന്നുണ്ട്. അവയ്ക്ക് എല്ലാം നല്ല സ്വീകരണം ആണ് ലഭിക്കുന്നത്.

RM: താങ്കളുടെ കുടുംബം?
KG: ഭാര്യ ജയശ്രീ, നല്ല ഒരു ഭരതനാട്ട്യം, ഓട്ടംതുള്ളല്‍, കഥകളി നര്‍ത്തകി ആണ്. ഇപ്പോള്‍ ബാങ്കില്‍ ജോലി ചെയ്യുന്നു. ഏക മകള്‍ ഐശ്വര്യാ ഗോപി. ഇപ്പോള്‍ സിവില്‍ എഞ്ചിനീയറിംഗ് പഠനത്തിനു ചേര്‍ന്നു. കഥകളിയില്‍ എന്റെ തന്നെ ശിഷ്യ ആണ്. വളര്‍ന്നു വരുന്ന ഒരു കലാകരി എന്ന് പറയാം.


RM: താങ്കളുടെ ആരാധകരോട് എന്തെങ്കിലും പ്രത്യേകിച്ച് പറയാന്‍ ഉണ്ടോ?
KG: കഥകളി എന്ന കല എന്നും നില നില്‍ക്കണം എങ്കില്‍ അതില്‍ ജനങ്ങള്‍ക്ക്‌ താല്‍പര്യവും അതിനോട് പഠിക്കാന്‍ വരുന്നവര്‍ക്ക് അര്‍പ്പണ മനോഭാവവും വേണം. അവരുടെ സന്ഘ്യാ ബലം ഇപ്പോള്‍ കുറഞ്ഞു വരുന്നു. ആ പ്രവണത മാറിയെ തീരു. തിരനോട്ടം ദുബായ്, കല അബുദാബി എന്നീ സങ്കടനകള്‍ ഈ മേഖലയില്‍ സ്ലാഘനീയമായ പ്രവര്‍ത്തികള്‍ ആണ് ചെയ്യുന്നത്. ഗള്‍ഫ്‌ രാജ്യങ്ങളിലും പുറത്തും ഇങ്ങനെ ഉള്ള പ്രത്യേകിച്ചും തിരനോട്ടം ദുബായിയുടെ ആഭിമുഘ്യത്തില്‍ നടത്തുന്ന കഥകളി ആസ്വാധന അവതരണ പരിപാടികള്‍. . ഇനിയും കഥകളി കലാകാരന്മാര്‍ക്ക് കൂടുതല്‍ അവസ്സരം നല്‍കുകയും കഥകളി, കേളി, തായമ്പക എന്നിങ്ങനെയുള്ള കേരളത്തിന്റെ തനതു കലാ രൂപങ്ങള്‍ പ്രദര്‍ശിപ്പിക്കാന്‍ ഉള്ള അവസ്സരങ്ങള്‍ കൂടുതല്‍ ആയി ലഭ്യമാക്കുകയും ചെയ്യണം എന്ന അഭ്യര്‍ത്ഥന ഉണ്ട്.

കലാനിലയം ഗോപി ആശാനും ഡോക്ടര്‍ രാജീവുമായുള്ള എന്റെ കൂടികാഴ്ച അവിസ്മരണീയം ആയിരുന്നു. വായനക്കാര്‍ക്ക് കലാനിലയം ഗോപി അശാനുമായി ബന്ധപ്പെടണം എന്ന് ആഗ്രഹം ഉണ്ടെങ്കില്‍ താഴെ കാണുന്ന വിലാസ്സത്തില്‍ ബന്ധപ്പെടാം:Kalanilayam Gopi
Sreevalsam


Sangameswara Avenue


West Nada


Irinjakalkuda


Thrissur Dist, Kerala, India


Tel: 0944 767 3382 , 0480 2828382


E-mail: gopisreevalsam@rediffmail.com






രമേശ്‌ മേനോന്‍
29 June 2010.

Poly Varghese - An innate artistic brilliance decanted through strings of Mohana Veena

Poly Varghese - An innate artistic brilliance decant through strings of Mohana Veena





On a recent personal visit to UAE, Poly Varghese, one of the four exponents of Mohana Veena performed at different venues in UAE.

Although, I could not watch live any of them, I could hear the vibrations through audience comments and news reports.

With interest in music and the instrument, I went ahead and searched for his journey thus far. It was indeed a fruitful journey, to know the musician and the innate talent he has for his musical and artistic brilliance.

Poly Varghese had his initial training in music and other art forms from, the Kerala Kalamandalam, a renowned centre for art and music, an institute which Poly entered as a teenager and later emerged from as a leading Mridangam player . Thereafter, he pursued his quest for music at the Viswa Bharati University, Santiniketan. Here, he had the unique opportunity and access to learn various instruments both percussion and stringed out of which he specialised in playing Hindustani music on the Electric guitar.

A chance meeting with Pandit Viswa Mohan Bhatt gave him an opportunity for intimate access to the Mohan Veena which incidentally happened to be an instrument designed and developed by Pandit viswa Mohan Bhatt himself , who is India’ s first Grammy award winner and also the recipient of the Padma Bhushan.

Poly Varghese has played for the programme "sugamana ragangal" that was telecast on the Chennai Doordarshan channel.

Today, Poly Varghese under the guidance and tutelage of Pandit Bhatt has emerged as a noted Mohan Veena player and has a number of concerts to his credit both in India and now, in the Middle East.

His notable performances in UAE include the one at the Arab cultural centre Sharjah which is part of Arab India Cultural Exchange organized by the Government of Sharjah and at the Adishakthi Ashram (headed by Veenapani Chawla a renowned theatre exponent), in Pondicherry and also at the Centre for Experiencing Socio-Cultural Interaction at Madurai.

After this historic performance, which was held on 16th October, 2010, Dr Omar Abdul Aziz (Head of SharjaH Arab Cultural Center Dept. of Culture and Information U A E ) presented him with a certificate of appreciation from the Department.

His concerts in Dubai was appreciated by HE Sanjay Verma, Consular General of Indian Embassy in Dubai.

During his visit, he had two memorable performances at Indian Social and Cultural Centre Abu Dhabi.

and one at Kerala Social Centre Abu Dhabi.

It may not be out of place to mention that he is at ease while playing not only the Mohan Veena but also the electric Guitar.

Poly has also been creative enough to develop the 40 stringed three-neck guitar which he has named as the "Poly String Guitar" (bahu thantri veena).

This guitar is designed as a three neck guitar and it is unique because all the tones of indian classical music can be expressed at the same time in this instrument. morevover there has not been any indian string instrument having 12 octaves..these 12 octaves demonstrate the 3 characters of indian classical music. The three necks (finger board) are the bass neck, lead neck and the high neck.

Poly Strings Guitar can be called as the conglomeration of 4 musical instruments namely the tarab and the three finger boards. this guitar is equipped with four electric pick ups which are unique and distinct in its own way. the pick up used for the bass neck is designed to give an acoustic feel the tarab pick up is entirely different to the three pick ups because tarab expresses the natural tone of all acoustic instruments and for this purpose alone was the pick up created . when listening to the tones of the tarab one can listen to the tones of the sitar and the Mohana Veena. The connection of these four pick ups are embedded in an electronic mixer which is part of the guitar and this mixer helps in complementing and enhancing the tones.

It may be noted that guitars available in the market are mono guitars meaning it doesn’t have a stereo unlike the Poly Strings Guitar which uses the technology of an audio surround system and has a 4.1 surround.

As a continuous learner, he is always in the process of perfecting and pursuing deeper the nuances Mohana Veena. In this pursuit, he has developed his own inimitable style of playing and many times improvises and plays his own compositions too. He puts in about more than 10 hours to practise his music every day, which is a point to note for the new generation of musicians.

The musical background and base he has travelled thus far may also explains for his excellence. He has studied Mridangam for several years under eminent vidwans including late Korambu Subramanyam Nampoothiri. In addition, he was also a student of Kathakali under Kalamandalam Gopi and leading Kathakali artists. He is also an excellent Tabala player. Well versed in South, North and Eastern style and ragas of Indian music, he automatically enter himself into any musical stage with his awareness, creativity and on stage improvisation. The knowledge of accompanying instruments add extra dimension to his performance. This make him blend more with his accompanying artists and also take them at their own skill level as he transcend himself into a musical journey on stage.

Having travelled with the Baul singers of West Bengal, he is familiar with their music and can render high-pitched Baul songs with ease. He is also trained in Rabindra Sangeet.

To add more dimensions to his creativity, Poly Varghese, has proved his talent in acting and has been in experimental theatre for several years. He has worked with great theater personalities in India like Krishnammoorthy, Badal Sircar, Nasser etc and has acted in plays of different languages. He has also appeared on the silver screen as well.

Poly is also a music composer and has composed music for films and theatre. In 2005 he won the Jeevan Atlas Award for the Best Music Director of the year for the Malayalam film "Kootilekku". He had the privilege of having closely worked with the famous music director the late Devarajan master.

He conveys his emotions through his music. This is well explained when one gets to listen to him. It also may explain the reason why many conventional musicians do not really understand his brilliance. Like a bird flying through the sky, or like a river silently flowing with it’s designated course, or the same river, flooded and violently flowing through wherever it is taken during the momentary current, his music has no boundaries. No rules and regulations. No wonder, he is being recognized by more and more senior musicians within India and abroad.

Born in Kerala, Poly Varghese has sufficiently good working knowledge of 9 languages including English, Tamil, Hindi, Bengali and Oriya.

Poly Varghese and his wife Sabeena Varghese (a lecturer in Library Science at Union Christian College, Madras) and their infant daughter Mithra Poly Varghese live at Madras.

He can be contacted on:

E-mail: polyvarghese@gmail.com

Face Book: http://www.facebook.com/home.php?#!/profile.php?id=1283735713

Phone: 00 91 99 40 27 39 31

This interview was done through interactions with him during his visit and knowledge shared by him through email exchanges
Ramesh Menon, Abu Dhabi
24.10.2010

Mind Speaks - Mahanavami Maholsavam at Urakam Ammathiruvadi Temple, Thrissur

Mind Speaks - Mahanavami Maholsavam at Urakam Ammathiruvadi Temple, Thrissur.

During my recent summer holidays in Kerala, I made it a point to visit my ancestral home and the devi temple located there.

It was a big change from the scorching sun and hot weather climate of UAE to be there in Kerala during the monsoon period. It was drizzling, or rather getting to rain heavily when I visited the temple. As I walked on the granite pathway the sight of the long compound wall, filled with green algaes due to the rain, and carrying reminiscence of a series of beautifully pasted earthen lamps in the formation "Mahanavami Maholsavam" instantaneously brought memories of my childhood days there during the navarathri festival.

In those days, the 9 days of navarathri festival was celebrated in an elaborate way. As preparation for the festival starts, both children and adults gather inside the temple compound and then bring clay from adjacent paddy fields and then mix it well and then make small earthen lamps which is then pasted beautiful on the long compound wall, creating a formation "Mahanavami Maholsavam" written in Malayalam. Then, we all sit together and then prepare threads for the lakhs of lamps neatly placed on the walls surrounding the sanctum sanctorum. Then, it is the turn to segregate the bunches of plantain offered by devotees. First they are segregated and separated according to size, type and then they are kept inside special cells made inside the eastern gopuram. Once it is sufficiently ripened, i.e by the Durga dashami day, they are taken out and neatly displayed at the western entrance of the temple. This arrangement along with thousands of lamps lighted using sesame oil, brings out a divine feelings and presence which devotees never get in any other temples.

Those days, children volunteered themselves without hesitation to bring the naivedyam materials from there home to offer to devi once they keep their books for pooja.

It was pooja holidays and our books have been kept for devi's blessings, as children, we utilised every opportunity to play football, which were bought using the dakshinas we received from kumatti festivals conducted during onam. After an hour or two of hard fought match between teams formed within ourselves or guest teams from outside, it is time for us to go and take an elaborate bath at the mampilly pond, across the road. With full all the time, and cold as ever, a swim, and a bath follows and we are back to the temple once again. By then, it is time for lighting the lamps. Together, we all gather and take small torches made of clothes and then light one lamp and from it one by one the lakhs of lamps on the walls inside the temple. Along with it the neatly decorated earthen lamp formation "Mahanavami Maholsavam" will also glow.
It is a beauty to watch these lamps shining in the midst of bunches of banans and floral and leafy decorations made neatly in between. The gentle evening wind that flows that time, will make the lamps move around to either sides as if they too are enjoying the divine scene and talking to us of their joy.

To extend our mischievous side of childhood and bring them to the festivities happening there, we used to take out one or two bananas from the neatly displayed bunches, carefully selecting the best ones, leaving the elders and caretakers in fury and letting them chase us down with the catch. They will never get us, and usually, all the anger and fury will all die down instantaneously once it's time to watch the katcheri, or kathaprasangam or dance programmes happening at the festival panthal specially made for navarathri.

All these memories are from those joyous moments happened several years ago still remain within as bright and clear as ever, denotes the importance of this place, in particularly this devi temple. Why not then explore it further?

Urakam Ammathiruvadi Temple

Urakam, A small village on the way from Thrissur to Kodungallore via Irinjalakuda. It is a serene village, located approximately about 12 kms from Thrissur town and almost the same distance from Irinjalakuda town when one travel towards Thrissur.

The devi temple situated there, is one amongst the major 108 Durga temples, popularly called as “Ammathiruvadi Temple”.

Urakam Ammathiruvadi Temple is an architectural marvel with its majestic Rajagopuram (ornamental gateways), Mathilkettu (compound walls), ootupura (feeding hall), nalambalam (building immediately surrounding the sanctum sanctorum), the double storied Shrikovil (sanctum sanctorum) and the serene atmosphere maintained at the inner temple. The calmness and pious aura you get inside this temple could never be experienced in any other you may get to visit.

History of Urakam Ammathiruvadi Temple

According to the Kerala folklore, Poomulli Namboothiri (also sometimes referred to as Thiruvalayannur Bhattathiri) founded Ammathiruvadi temple about 700–1000 years ago. The temple site was once the location of the Namboothiri's household. Ūrakam was then a part of the Peruvanam village (one of the 64 villages of ancient Kerala).

Legend has it that during then, due to the atrocities and calamities happening within the Desham, elders suggested three prominent members from the community, viz, Valaya Bhattathiri, Kadalayil namboothiri and then Komarathu Menon to travel to Kancheepuram and pray to goddess Kanchi Kamakshi and then please her and bring favourable solutions to ward off the evil effects happening that time.

They all went and pleased with their prayers, happy with the devotion, devi agreed to come with them to Urakam. Accordingly, Kanchi Kamakshi decided to come to Kerala on the palm leaf umbrella of Poomulli (Valayannur) namboothiri. He reached home and placed the umbrella on the floor of his house. After a short nap, he came back and found that he was unable to take back the umbrella from the place where he kept. It was heavily grounded to the floor. Later upon further investigation it was confirmed that Kanchi Kamakshi was residing on that umbrella. The goddess came in Namboothiri’s dreams that night and let him know that he was supposed to build a temple for the goddess, and leave Ūrakam towards Nouth. She also let him know that he was to find an idol in a well far away and reinstate the goddess from the umbrella onto that idol. Namboothiri did as the goddess wished. He built the temple, after a short period of administration of the temple matters by the Poomulli family, he left all that he owned to the temple, and gave the administration to the Maharaja of Cochin. From then on the goddess was known as the Ammathiruvadi.

Later on the temple administration was transferred to Cochin Devaswam Board, who takes care of it even now. Urakam Ammathiruvadi temple is an integral part of the 1400 year old Arattuppuzha pooram festival. Arrattuppuzha pooram is called as Deva Mela, where all the gods and godesses assemble together in the presence of Thriprayar Thevar (Sri Rama). According to the old customs continued by the family of Cochi Raja and then subsequently by the Kerala State, whenever, Ammathiruvadi travel outside the temple, i.e for pooram or other festivals, she is supposed to be greeted with official "Guard of Honour" by the police. All festivities of this temple are taken care of a local committee with the guidance of Cochin Devaswom board.

Stories passed on from elders tell also that in those days, the idol installed by Poomulli Namboothiri was originally the devi idol worshiped by Sri Rama before he went to war with Ravana. There are several historic connections one get to see in places nearer to Oorakam, supporting the claim that the village was part of ancient hindu history. Due to the same connectoins, this village and all the adjacent villages carry a divine and prosperous aura throughout. Agricultural and other activities always flourish here.

It is also said that one family close to the temple became so devoted to the devi that she was pleased with their bhakthi and from then on, the eldest member of this family - Vazhappilly - became the guard of Ammathiruvadi and wherever she goes, she will be accompanied by this member. This continues even now.

Since she came to Urakam on an umbrella made of palm leaf, whenever Ammathiruvadi's idol is carried out, it will be accompanied by a person carrying an umbrella made of palm leaf.

Special days and major festivals of Ammathiruvadi Temple

The famous festivals of this temple are Mahanavmi, Thrikarthika, Rohini Villakku, Makayiram Purappadu, Peruvanam Pooram and Arattupuzha Pooram.

They are celebrated in the following months:

Navarathri (in September / October)

Thrikkaarthika (in November / December)

Pooram (in March / April)

Illam Nira (in August / September)

Vavaarattu ( In October / November)

As I wrote earlier, Urakam Ammathiruvadi is an integral part of Arattuppuzha and Peruvanam Pooram and other small poorams (festivals) associated. One special ceremony that happens along with these festivities at the end of it is the Upacharam ceremony between Ammathiruvadi and other deities who comes to attend them. It is a delight to watch the two elephants carrying the idol greeting each other three times standing face to face and then taking leave.

It symbolises the co-ordial relationship between the villages and gods these deities represent and also a silent acknowledgement to confirm that they will meet again next year same time. This special ritual is prevalent only in temples around these region.

Poojas conducted at Ammathiruvadi temple are according to the kerala temples rituals and procedures. Accordingly the temple will open every day at 3:00 am with palli unarthal and 5 major poojas and 3 shivelis are conducted during the day it closes at 08:00 pm. Apart from the major deity, i.e. Ammathiruvadi, prathishtas of Shastha (ayyappa), ganesha and presence of lakshmi, durga, saraswathi and maheswari are also believed to be seen here. A very important nagaraja prathishta is here. It is also said that a presence of Kodungallur Bhagavthi is seen at the eastern gopuram of Ammathiruvadi temple. Due to all these divine conclave, devotees on their way to Shabarimala and specially those who go to Kodungallur Bharani make it a point to visit Urakam temple on their way and see blessings from Ammathiruvadi before they travel further.

During the time, sanctum sanctorum is closed for major poojas, Ashtapadi songs are sung and it creates an added vibration to divine presence within the temple.

You may visit the link below to listen to Urakam Padinjaare Marath Krishnamaarar singing one of the songs praising devi in the video link below:

http://q4music.blogspot.com/2010/08/ashtapadi-by-oorakam-padinjaare-marath.html

As Ammathiruvadi is also Kanchi Kaamakshi, many devotees from Kancheepuram in particular and Tamilnadu overall make it a point to visit Urakam Ammathiruvadi temple, whenever they visit temples in Kerala. In fact several astrologers based there often finds this link and connection and guide devotees to visit and offer pranams to Ammathiruvadi for blessings and prosperity of all kind.


Navarathri 2010 at Urakam Ammathiruvadi Temple

Navarathri, one of the major festivals of Urakam Ammathiruvadi temple is celebrated normally during September / October month ( i.e. in the malayalam month of Kanni). The celebrations starts from the pratham thidhi of Kanni month to the nine days reaching the navami day. Vijaya dashami day is celebrated in an elaborate manner with many children getting initiated to the world of knowledge on that particular day. From the first day, in particular from the Durgashtami day, the temple premises will be decorated richly with flowers, tender leaves from coconut trees and other light arrangements followed with it. In addition, on all these days, there will be extensive lighting of the lamps (deepalankaram / chuttuvilakku).

Exclusive to Urakam Ammathiruvadi is the special decoration of the temple premises within with bunches of banana. Devoteees from near and far, and in particular the families who live near to the temple will donate bunches of different varieties of banana 3 days before. These are then segregated by the temple committee according to size and type and then kept inside special cells within the eastern gopuram of the temple and uttuppura. On durgashtami day, it is taken out and then decorated neatly, starting from the western entrance (main entrance facing to which the deity faces) and then all throughout the temple. Approximately more than 1000 bunches of bananas of different varieties will get offered by devotees for this ritual.

Urakam and villages associated are rich and famous for agriculture of all types, in particularly banana plantations and it is believed that several years ago, there was a drought and calamities. Following it, harvest was not possible and the devotees prayed to Ammathiruvadi to rescue them from their difficult situation and promised to offer the best produce to devi, if everything turns alright. It happened that from then on, they never had problems with it, and they brought in abundance their produce and offered to devi as offering.

This decoration is very special for Urakam Ammathiruvadi temple. The huge wall adjacent to the Western side entrance of the temple, will be also decorated with earthen lamps a formation is created on the wall with writings "Mahanavami Maholsavam" written in malayalam. The banana bunches with the stem are set and kept in an extremely beautiful way at this entrance and the yellow color of the ripened plantain along with the light emanating from the numerous lamps set in series along with it makes an extremely beautiful and exclusive site, which devotees could watch only here at Urakam Ammathiruvadi temple.

The elaborate lighting arrangement (chuttu vilakku or deepalankaram) on all the nine days are also very special to this temple.

The view towards the sanctum sanctorum from this entrance is very special. Children, on all the three days of the Mahanavami festival, will bring in special offerings for naivedyam to goddess Saraswathi, at whose lotus feet, they all had kept their books and tools for pooja.

Thousands of devotees from all over Kerala and nearby state will visit the temple during the final three days of Navarathri.

Tiny tots will be initiated into the world of letters at ‘Vidyarabham’ ceremonies to be held at different temples on the Vidhyarambham day. Thousands of devotees bring in their children to conduct the first orientation ritual on Vidhyarambham day.

Urakam Desham and life around

Any write up about Urakam will be incomplete if no mention is made about some of the equally beautiful and prestigious villages and the temples and festivities surrounding them. So, let us now travel a bit around and see the life and happenings there.

Urakam Desham, is a small village. Urakam and Oorakam are the two spellings used interchangeably for this place. Urakam is surrounded by several small villages. There are several devi temples in these small villages associated with. They all have historic significance.

The place is also surrounded by many natural pools and ponds which are full throughout the year. The nearest Parakkovil temple is situated 2 kms away from Oorakam and one can see ancient writings on rock, with foot prints set to be of Bhima.

Arattupuzha is one such village nearby to Oorakam and is very famous for the Arattupuzha Pooram, which is the one and only “Devamela” on the earth usually celebrated in March/April.

Arattuppuzha temple is about 3000 year old and this festival is the oldest and most extravagant of all the poorams celebrated in Kerala. The temple is dedicated to Lord Ayyappa called as Sasthavu. It is believed that on this day hundred and one gods and goddesses of the neighbouring villages visited lord Ayyappa, the deity of the Arattupuzha Temple.

On the fifth day of the festival, a procession is held in which drummers, and 108 caparisoned elephants accompany the beautiful elephant carrying idols (‘thidambu’) of 23 deities, including Thripayar Thevar, Oorakathamma Thiruvadi, Cherppil Bhagavathy, Chathakudam Sastha, Anthikad Bhagavathy, Thottipal Bhagavathy, Pisharikkal Bhagavathy, Edakkunni Bhagavathy, Ayyunnil Bhagavathy,Thaikkattussery Bhagavathy, Kaduppassery Bhagavathy, Choorakkottu Bhagavathy, Poonilarkkavil Bhagavathy, Kattupisharikkal Bhagavathy, Chakkamkulangara Sastha, Kodannur Sastha, Nankulam Sastha, Sreemattil Sastha, Nettissery Sastha, Kalloli Sastha, Chittichathakkudam Sastha and Medamkulam Sastha.

The gathering is lead by Thriprayar Thevar (Sri Rama) and all the other devas and devis are assembling there at Arattupuzha to offer pranams to him during the early morning hours of this festival day. It is a feast for eyes to watch the impressive line up of several gods at one place, accompanied by beautiful elephants and eminent melam artists and hug crowd in front on the ground set right after harvesting the paddy season just finished.

Between Arattupuzha and Kadalassery, another small village, is Neruvissery, which is yet another small village consisting of about 40 houses. There is a Krishna Temple, called "Nerukkavu Thevar" and "Nerukkavu Bhagavati". Most of these temples are governed by Devaswam Board. There is another small temple of "Swamy Ayyappa" too in this village. There is an ancient Shiva Temple, the deity known as "Kandeswarath Appan" less than 1 km west.

Oorakam and nearby villages have had many famous people associated with the ancient history of Kerala. Vaidikan Kaplingadu is a famous brahmin priest, whose Illam (residence) is located in this Village. Similarly Late N.V. Krishna Warrier's birth place and his variam called "Nerukkav Variyam" is also this village. It is believed that the Kaplingadu Mana (not existing now) was built on the order of Shakthan Thampuran. Music director Vidhyadharan Master, Director Priyanandanan, Artist Komu, are some amongst them. There are many silent and unsung heroes from Urakam and nearby villages who have marked their presence in the scientific and medical field.

Vallachira is another small village closer to Oorakam. Mahanavami festival of the Urakam Bhagavathi Temple, which is being celebrated in October every year; and the Bharani Festival of the Vallachira Bhagavathi Temple are the important festivals though there are other small festivals.

Most of the people of these villages were agriculturists and now a number of people are engaged in various jobs. Vallachira is famous for it’s craftsman who make gold jewelleries. A number of new generation are engaged in gold Jewellery making which changed the overall development of the people. The villages adjacent to each other also have several imitation gold jewellery units which is doing very well these days.

Cherpu is another village which is adjacent to Oorakam. Elephants made here on various types of wood are very famous world-wide. Furniture industry is also another source business interest to the locals.

The temple Thiruvullakkavu Sree Dharmasastha Kshethram is situated nearer to Oorakam and cherpu, is very famous for it’s Ezhuthinurthu festival during Mahanavami and Vidhyarambham days.

Oorakam, Cherpu and other adjacent villages are very famous from the olden days for the number of eminent percussionists, especially in the field of Chenda Melam. Peruvanam Kuttam, Peruvanam Satheeshan, Oorakam Appu, Kombathu Kuttan Panicker, Kelath Aravindakshan, Pazhuvil Raghunath, Peruvanam Satheesan, Peruvanam Sivan and Peruvanam Prakasan are some among them.

The other major temples in the district that conducts elaborate ‘Vidyarambham’ rites is the Thiruvullakkavu Dharma Sastha temple at Cherpu. Members of the Thiruvullakkavu Warriam lead the ceremonies.

Approximately about 10000 children will be initiated into the world of letters at this temple on this auspicious day. The rituals will begin as early as 4:00 and will extend to the whole morning.

Hindu, Christian and Muslim family members live amicably with unity. The population of all these villages are heterogeneous and social solidarity and unity of the people is significant.

Special rituals and offerings for Mahanavami and Ammathiruvadi

This year Mahanavami is on 16th October and Vijaya Dashami on 17th October.

Devotees present Aval, kadhalipazham and jaggery mixed together are offered to lord saraswathi on Mahanavami days for Naivedyam. It is also very auspicious to offer Bhadradeepam for Devi during these days. In addition, performing Navagraha pooja will be auspicious for prosperity, overall well being of the family. Special poojas are performed for nagadevas on Navarathri days to bring progeny, prosperity and to ward off any evil effects in the horoscopes.

Urakam Ammathiruvadi temple is said to have a conclave presence of Lakshmi, Durga and Maheswari. Therefore it is very important for children and artists and educationists to come and worship Ammathiruvadi during Mahanavami.

Saraswatha pushpanjali performed here is very special for educational prospects of school going children.

It is extremely auspicious for children and artists to visit the temple during early morning hours and pray to her and then take the specially made thirumaduram (prasadam) from the chief priest.

Special neyppaayassam, vella nivedhyam are also important offerings. For the nagaraja deity present, devotees offer paalppayassam and turmeric powder. All these offerings brings in peace and prosperity to the devotees. Parents offer Thaali and Pattu along with Chandanam Chaarthu and Ayillya pooja to Ammathiruvadi in the names of their children who are in the marriageable age.

Ammathiruvadi temple is filled with the presence and blessings of goddess lakshmi. It is auspicious for devotees, in particular businesmen and industrialist to perform para (different types of para - including the one with coins) and conduct udayaasthamana pooja for prosperity in their respective business field.

It is also very auspicious for devotees to visit Ammathiruvadi and pray during their birth day and conduct poojas.

As the temple is filled with goddess Saraswathi's presence in abundance, many famous artists and performers visit Urakam Ammathiruvadi temple during navarathri days and offer and perform their vidhya in front of the devi in the special panthal. It is an age old tradition and all the legends like Chembai Vaidyanatha bhagavathar (Kacheri), Chithali Rama Marar (Thayambaka) etc have performed regularly here.

Website for Urakatm Ammathiruvadi temple

http://www.urakathammathiruvadi.com/

How to reach Oorakam:

Urakam Ammathiruvadi Temple can be reached by bus from Thrissur Bus Station. All buses going towards Irinjalakuda will pass by Oorakam. Thrissur Railway Station is the nearest railhead. Cochin is the nearest Airport.

This Navarathri season, especially on Mahanavami and Vijayadashami day, if possible, do make it a point to visit Urakam Amma Thiruvadi temple. Enjoy the beautiful and auspicious presence and vibrations of the temple and write to me your feelings with photos.

Ramesh Menon, Abu Dhabi

(team1dubai@gmail.com)

6-yr-old comes out of coma, thanks to music

6-yr-old comes out of coma, thanks to music
Ananthakrishnan G, TNN, Aug 1, 2010, 12.53am IST

THIRUVANANTHAPURAM: Doctors attending to six-year-old Radhika at Government Medical College Hospital in Kerala’s Alappuzha district never thought she would make it. But unbelievably, the girl, who was ‘‘completely paralysed in an accident while playing has managed to come out of coma in less than two months, thanks to a steady dose of enchanting music.

‘‘I couldn’t believe it,’’ exclaims Dr Girija Mohan, who heads the paediatrics department. It was Dr Mohan’s idea to try music on her. ‘‘She was admitted on May 30 and was put on ventilator for 2-3 days. That improved her breathing but was still comatose. Though we tried all means, there was no further improvement and she was literally like a vegetable. That’s when I thought about ways for neuro-rehabilitation. I searched the Internet and found out literature about music therapy and decided to give it a try.

‘‘So besides the medicines, we played melodious songs set in Carnatic music style including her favourite song on Krishna from a Malayalam film — over a headphone throughout the day for a week. We tried that too.

Miraculously, she started responding to it and then we shifted to an external speaker by her bedside in the ICU. The kid now can move with the help of a walker and responds to queries,’’ said Dr Mohan.

The kid’s mother Manju is overjoyed. ‘‘I had no hope but she now tries to recite those songs which she was made to listen to,’’ she said fighting to hold back tears. Her father Raju, a fish monger, who was finding it hard to foot the bills is now hopeful.

Dr Renjith S Joseph, who assisted Dr Mohan said, ‘‘Recovery in such cases is generally usually extremely remote. The kid was afflicted with quadriplegia, where the patient looses both sensation and control. But what happened to Radhika is just amazing.’’

The tiny tot was playing with her mother’s shawls when one of them fastened around her throat choking her. In medical terms, its called a ‘choking game where the player derives a kind of pleasant sensation,’’ explained Dr Girija. But when the knot tightens, as in the present case, it can lead to a semi-handing state.


To read it in original, please visit TIMES OF INDIA Online.

Ramesh Menon's Clicks and Writes

Dear Readers,

Due to time constraints, I have streamlined all my blogs to one common point.

Kindly therefore bookmark and visit,

http://www.clicksandwrites.blogspot.com/

Regards,

Ramesh Menon

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To master, with love - Sadanam Divakara Marar

To master, with love
Mr. Sivadasvarma for ExpressBuzz



Sadanam Divakara Marar presenting sopana sangeetham at Thamaramkulangara Sree Dharma Sastha TempleSivadas VarmaFirst Published : 23 Sep 2009 11:45:00 PM ISTLast Updated : 23 Sep 2009 10:44:21 AM IST

KOCHI: Sadanam Divakara Marar is a living encyclopedia of temple art forms, both ritualistic and artistic. Hundreds of his disciples, who attained expertise over myriad temple art forms under Marar's strict and systematic teaching, are planning to honour their guru. In a colourful function, proposed to be held on October 4, at Ernakulathappan Hall, Marar will be honoured with a veera srunkhala. Divakara Marar started his formal training under his uncles Narayana Marar and Kunjikrishna Marar. After learning the basics of the ritualistic percussion ensemble Marar learned more from Thazhathedathu Govinda Marar. Then he turned towards the Unnayiwarrier Smaraka Kalanilayam, Irinjalakuda, and learned the unique kathakali chenda from Alankarathu Appu Marar. Then he shifted to thayambaka and learned under the strict guidance of the chenda maestro, Chandra Mannadiar. Marar mastered the intricacies of thayambaka from Peroor Gandhi Seva Sadanam and came to be known as Sadanam Divakara Marar.


The clarity of nerkol (straight beat by holding the stick perpendicular to the face of the drum) is the specialty of Divakara Marar. “Holding the stick vertically above the face of chenda in a symmetrical position, is most important,” Marar says elaborating on the strenuous training he underwent under the strict vigil of masters like Chandra Mannadiar and Appu Marar.

“That is the secret of clarity of the beats which play a crucial role in making a melam or thayambaka more attractive,” Marar observes.

Even while Marar was busy with the staging of thayambaka, kathakali chenda and other forms of traditional percussion ensemble, he was very keen to train the younger generation. He started his teaching career at RLV College of Music and Fine Arts as a kathakali chenda teacher. Later he became the Principal of Vaikkom Kshethra Kalapeetom, an art school run by Travancore Devaswom Board. After his retirement the Devaswom Board made use of his matchless skill by appointing him visiting professor.

Even in his late seventies Divakara Marar is very active as a teacher at Ernakulam Siva Kshethra Vadhya Kalalayam and Kanayannoor Vadhya Kalalayam.

Marar has a special skill to hand over the rich tradition rooted in typical Kerala rhythm to the young generation.

After recognising his teaching skill, institutions and individuals always depend on him to train the young generation in languishing temple art forms.

Marar’s deep knowledge in temple art forms like sopana sangeetham, marappani, parisha vadhyam and thimimila paani was systematically documented with the financial aid of Ministry of Cultural Affairs. “Most of the traditional percussion ensembles like parisha vadhyam and kotti paadi seva (ancient form of sopana sangeetham) have been handed over from generation to generation as an inherited art form,” Marar says. However the theoretical part of these languishing art forms is quite intricate. With an aim to document these art forms for posterity Marar started a two-year research and the Central Government has awarded a fellowship for this vast and deep study of the traditional Kerala percussion ensemble.

“Sopana sampradaayam of singing is quite different from Carnatic vocal or even kathakali sangeetham,” Marar says. It was only at a later stage ashtapadhi was added to the singing style of sopanam, Marar observes. Kottipadi seva, the earlier form of pure sopana sangeetham was designed by our great ancestors to praise the presiding deities of different temples. These compositions were popularly known as thyaanis and were in conventional keraleeya ragas like poraneera, paadi, indalam and kanakurinji.

Legendary sopanam singer the late Njaralathu Rama Poduval used to sing a song praising Thirumandhamkunnu Bhagavathy in poraneera raga which is very popular as ghanasangham. “Different baanis (schools) are there for sopana sangeetham like that of Ramamangalam baani developed by the legendary singer Shadkaala Govinda Marar, Poduvaal baani popularised by the saintly singer, the late Njaralathu Rama Pothuval, and also the Guruvayoor baani of Janardhanan Nedungadi,” Marar says.

Marar has also documented the customs to be followed by a temple artist for performing marappani and thimilapaani, which are inevitable percussion ensembles in connection with holy temple rituals ulsava bali, sree bhoota bali and various kalashams.

As a teacher Marar can boast of hundreds of disciples spread all over Kerala who can perform sopana sangeetham, parisha vadhyam and other traditional temple art forms. And now it is the turn of these disciples to honour their master with nothing less than a veera srunkhala.

sivadasvarma@gmail.com
to read the original article, please click here

Kuldeep M Pai

Kuldeep M. Pai stands in the forefront of the next generation of star performers of Carnatic music. With several years of pleasantly arduous training in vocal as well as instrumental music, continuously honed by some of the greatest of Indian musicians, Kuldeep’s music has a multi-directional discipline and feeling that are evident in his performances. His training in playing several accompanying instruments manifests clearly in the way he engages with the accompanying artists and their music.

Kuldeep M. Pai’s training began as early as age three, at Kochi from where he hails. His obvious versatility in playing mridangam, violin and harmonium were duly nurtured with adequate training. Kuldeep’s musical lineage is an illustrious one – he has been trained by Vidwan Shri N. P. Ramaswamy (Kochi) and later in Chennai by Vidwan Shri O. S. Thyagarajan. Vidwan Shri Mannargudi Easwaran has provided Kuldeep with a specialised training in the highly nuanced technical aspects of rhythm in Carnatic music. Kuldeep also has the academic vista open for him what with a Gold Medal in his Masters Degree in Indian Music from the University of Madras, Chennai.

Visit his website for more info:

http://kuldeepmpai.com/profile.php

They Unearthed Sufi Singers From South India

They Unearthed Sufi Singers From South India
By: Bhairavi Jhaveri

Chennai-based record label EarthSync is giving an unusual twist to folk music from around the world. iTalk chatted up co-founder, Sonya Mazumdar on their rare finds

Fusing Sufi singers from Nagore, Tamil Nadu with Middle Eastern percussion, sprucing up vocals by traditional singers from Myanmar using a soothing arrangement, even mixing electronica with folk in their latest project, EarthSync has managed to make folk music saleable without dipping into the "fusion" market.

The essence of EarthSync's music remains raw, with a naked representation of the soul of folk artists.

It was founded in 2005 by Sonya Mazumdar and Yotam Agam with the Laya Project as their first production, which captured a musical journey of the Tsunami-affected communities in Sri Lanka, Thailand, Indonesia, Maldives, Myanmar and India and was distributed as a double CD + DVD pack.

The aim was to provide support to folk artists, their culture and the beauty of the lands without indulging in charity.

What kind of folk and traditional music were you looking at promoting when you started?
Our idea was to identify and provide global recognition to music forms that were popular locally, but not confined to boundaries of these lands. Laya Project was our first production, for which we travelled to six countries to record music among local communities, since we believed the Tsunami was affecting not only those in lands it had ravaged, but cultures here too.

The Laya Project's music documentary was sold along with a DVD. Why was a visual representation necessary?
It's a personal musical tribute to the survivors as well as the resilience of the human spirit. The production creates a composition that mixes and enhances original recordings, and embarks on an inspirational visual and musical journey crossing borders, while preserving the music of the people. Some of the performances are rare, and needed to
be documented.

What is the focus of EarthSync's second production titled, Nagore Sessions?
Nagore Sessions features 3 dargah singers from the district of Nagapattinam, Tamil Nadu. When we featured one of their songs in the Laya Project, we realised that their music needed a distinct platform. Here, Nagori singers collaborate with Middle Eastern percussion and Indian instruments from North India. The album marks the discovery of Sufi music from South India.

Is folk music difficult to sell?
It's not about the music per se, but about presenting it in a way that audiences appreciate the richness of the music. Fusion is often more easily absorbed by audiences, however, there is an ocean of traditional music forms that can stand alone in all its majesty. This is evident in Laya Project, in tracks such as Katalu Talu from Indonesia, and Tapattam from India, Buduburru from Maldives.

What does it take to source music, find the artists?
A lot of research! We search countries and localities for native music, often not very recognised in the other parts of the world.

Tell us about Business Class Refugees.
Business Class Refugees (Kartick & Gotam) is a collaboration between music producer Patrick Sebag and Yotam Agam, a sound designer, who have remixed EarthSync's folk productions to create an alternative, electronic album and a special live show.

What's unique about upcoming release, Shoshan?
Shoshan by acclaimed composer Shye Ben-Tzur, comes from Rajsathan. He performed with his group of Rajasthani vocalists and percussionists and set Hebrew poetry to Qawwali music.

The complete EarthSync range Laya Project, Nagore Sessions, Techari, Voice Over the Bridge and Business Class Refugees is available at all leading outlets like Landmark, Plant M and Rhythm House.

EarthSync distributes in Mumbai, Delhi, Bangalore and Chennai and is priced between Rs 295 and Rs 800. Log onto www.earthsync.com for more information

http://www.mid-day.com/lifestyle/2009/jun/050609-Laya-Project-Sonya-Mazumdar-EarthSync-Tsunami.htm

Music on your finger tips

Music on your finger tips
Radhika Bhalla

You don’t have to be born a prodigy to know how to play an instrument and Dr Saubhagya Vardhan Bhahaspati proves just that with his new book ‘How to Play Harmonium’, published by Better Books. First of a ‘How To’ series, the book is a music enthusiasts’ bible on not only how to learn to play the instrument but also on the history of its arrival in India in the 16th century, its indigenous development to the various western versions and models of the instrument. The book has separate chapters dedicated to the use of harmonium along with visuals to help identify the keys, identification of one’s own set, parts of the device along with its tuning, maintenance and repair. Interestingly, there is a section devoted only to voice lessons and modulation to suit it. It also teaches both old and new raags and songs. “There has been no book in English dedicated to the Harmonium till now and I wanted to share it’s wonders with the world,” he tells us there are two editions of the book — a hard bound copy for Rs 395 and a soft bound for Rs 95.

A teacher of music, recipient of various honours and author of many music books, Brahaspati says, “This book is good for starting off. However, if one wants to learn the subtleties of playing the Harmonium, one definitely needs a guru. You cannot learn it in 20 days flat; it is a constant learning process. The more you play the better you get.” The book is available at all book stores in both English and Hindi.

http://www.indianexpress.com/news/Music-on-your-finger-tips/473837

"eswar" - a three-in-one unit for Shruthi, Thaala and Raaga

Good news for Music Learners /Music Lovers. A Mumbai/Chennai basedCompany is launching a new electronic gadget branded "eswar". It is a three-in-one unit for Shruthi, Thaala and Raaga. All 72 melakartharagaas and most of the janya ragaas, along with popular thalaas/shruthihave been stored in the unit in audio playable mode. More details areavailable in their website www.eswaronline.com

New music release - Ivar Vivahitharayal - SSG Ratheesh's first song

New music release - Ivar Vivahitharayal - SSG Ratheesh's first song

New music release - Ivar Vivahitharayal - SSG Ratheesh's first song

Song: Paazhmulam thandil....

more updates coming soon.

Copyright law for wedding pomp mooted

Copyright law for wedding pomp mooted

Special Correspondent THE HINDU

‘Musical extravaganza violates Copyrights Act’

National conference on Copyright Act concludes

Move to make law friendly to developing nations

KOCHI: Should performance by hired disc jockeys or highly-paid popular singers at wedding receptions, common among the well-off classes, be exempted from the copyright law?

No, feels G.R. Raghavender, deputy secretary and registrar of copyrights in the Union Ministry of Human Resource Development (HRD). While singing of songs and other music performances during wedding ceremonies is a cultural tradition in India and have been exempted from the law under Section 52(1) (za) of the Act, the musical extravaganza at wedding receptions needs to be brought under the copyright law, he says.

Distinction


“There is a need for making a distinction between normal music performance during a wedding reception and the performance by disc jockeys or video jockeys or film actors and popular singers engaged through event managers by paying substantial amounts of remuneration,” Mr. Raghavender argued at a national conference on copyright law’s limitations and exceptions. “The latter is in conflict with normal exploitation of the work by the author or right holder.”

Section 52 (1) (za) (which exempts “the performance of a literary, dramatic or musical work or the communication to the public of such work or of a sound recording in the course of any bona fide religious ceremony or an official ceremony held by the Central Government or the State Government or any local authority”) also keeps wedding procession and other social festivities, which are defined as part of religious ceremony, out of the ambit of the Copyright Act.

(The Copyright Act protects literary and dramatic works, musical works, artistic works, including maps and technical drawings, photographs and audiovisual works, among other things. The rights recognised by copyright include the right to copy or otherwise reproduce a work; the right to perform it; the right to make a film or sound recording of the work; the right to communicate it to the public by broadcasting it or other means; the right to translate it and the right to make adaptations of it.)

Mr. Raghavender pointed out that the 1994 amendment to the Indian Copyright Act 1957 permitting wedding processions and other social festivities associated with marriage under the cover of religious ceremonies was criticised by some people. They had argued that marriage was a social institution, not a religious one. To them, since marriage itself was not associated with religion, the inclusion of wedding procession and other social festivities as part of religious ceremony was fallacious. They had also argued that ostentation and heavy spending on music performance at wedding receptions were undesirable and hence it was okay that the copyright owners were paid their due for the performance of music or sound recordings.

Mr. Raghavender, however, felt that while wedding and related festivities were essentially religious in nature, the expensive music and other lavish entertainment should be covered by the copyright law.

The two-day national conference, organised by the Cochin University of Science and Technology and sponsored by the Union Human Resource Development Ministry, ended here recently with recommendations to make the law friendly to the needs of the developing countries.