Rhythm and Music

P.1e. NARAYANANNAMBIAR

fitllJ or Kfipyanam is the dramatic production of classical Sanskritplays, utilizing

K stylised acting rather than dance. This exalted art form which dates back to
around two thousand years was once renownedthroughout Indiabut nowremains
within the confines of the little state of Kerala. At the request oflndra and theother Devas,
Brahma, the creator of the Vedas, chose the text from Rigveda, actingfromthe Yajurveda,
music from the Samaveda, the aesthetic sentiments (rasas) from the Atharvaveda and
created the fifth Veda or the Natyaveda (chakshusayajna) sacrifice that is visually
realised), an entertainment that is audible and visible. The Natyaveda therefore is said 10
be chaturvedasvarupa (possessing the qualities of Ihe four Vedas). KU!1u and Kutiyauam
arealso ca4u~ayajiia which achieved name and fame first in heaven (devaloka) and then
on earth (bhidoka}: This art form has as its basis Sanskrirplays-someof the Sanskrit plays
that are the sources of Kiatyiittam are Bhasas's Pratijniiyaugandhariiyana,
Svapnaviisavadaua, Avimiiraka, Pratimanataka, Abhisikaninaka, Modhyamavydyoga,
Panchariura , Diuagh atotkacha, Diaavakyam, Balacharita and ChaTudattom;
Sri Harsha's Nii gimandam, AschaT)'achUl!ama~i by Saktibhadra. Kulasekharavarma's
TapatisamvaTana and Subhadriidhananjaya, Neelakantha's Kalyiinasaugandhika,
Bodhayana's Bhagavadajjuka, Mahendravikrama PallavasMattaviliisam and suchothers.
In the early days, all the different parts of the Sanskrit drama, from SutTodhiiTan
Purappadu (the presentation of the Sfilradhara or the narrator who explains/relates the
Slory) till the Bnaratavakyam, or the last division of the play were enacted. In the course
of time, this mode of dramatic presentation was considerably changed to present only
single acts. This procedure was also altered so that only certain sections from the acts
were adopted for staging. It is in this manner that various acts like Anottankarn,
Abhisiirikankarn, Arattankarn, Kapolapatahankam, Vasantaseilankam and such others
originated. Side by side with this shortening of the Sanskrit plays, there occurred parallel
changes in many observances in Kiitiyanam. The conversation betweenthe actress (nan)
andthe Sutradhiira which acted as introduction to the drama wasomitted altogether. The
invocational verse tNiindisloka), which introduced and explained the scene, came.to be
recited separately for each act. The mutiyakkina (the final bath and symbolIc.burning of
theyajnasiila after the sacrifice), the avabhrta (final bath at the end of the sacrifice) of the
cha~usayajna, carne to be necessarily observed at the closing of Kfi!iya!l'UD as well.The
TanulcholIal (abridged story presented in manipravQlabhasa or a nuxture of Malayalam
and Sanskrit) which was usually rendered immediately before the mutiyakkitta. came to
be presentedseparately at the end of each act. .
It is also evident that devices like Praveshakam. Vishkambham, and the lIke were
borrOwed into kiltiyattam. The ritual preliminary Piirvarangam) as elaborated in the fifth
 10Z P.K. NARAYANAN NA.\lBfAR

chapter of Niuya Sastra-<>bservances like Pratyiiharam, Arambham, Yokrapani,

Sanghbrana-and all the practices described in verses (such as "gitanam mandra-
kadinam .. ." "piirvam sthitalayah Karyyah . •." "bhrmgiirajjaradharau . . .;" padiini
paficagaccheyuh brahmanoyajanecchayii . . . "puspafijalyapavanggasca . . .; "tatal;
salalitairhastairabhivandya!) pitamahah. . : ' all began to be conducted in the Piuvaranga:
Apart from Sanskrit dramas, Kramadipika and Attaprakararn are two works thatform
the basis of Kii!iyii!!am. Kramadipika describes in detail features such as the role to be
played by a certain character, the mode of entrance, the different rhythmic limb
movements to be enacted, the mode of exit, and such others. Attaprakaram treats in great
detail the artthabhinaya (detailed gesticulation to convey the meanings of the words
spoken) of the verses and sentences. This includes various modes of acting such as
"iichyarttha (denoted sense), vyangyiirttha (connoted sense), Sliishiirttha (wordplay),
exira dramatic features like upashlbkam (the vidiiSaka's parody in Sanskrit sung in reply
to the hero's sloka), pratislbkam (the vidusaka's translation of the upaslbka in simple
Malayalarn), the modes of expressing different emotions involved in features like kriga,
koppa~iyikkuka, kaiiasOddhiiranam, parvativiraham and the like. Based on the above
Kramadipika and Anaprakiiram, kiipyiinam is usually perfoemed in a Ktatampalam or
templetheatrewhichis believedto be one of the five protective structures in temples, and
in Ktntuparambu. open spaces where scenes created on the basis 01
"vidiksvapibhavendrangam kadachi bhartturajfiaya" (Niityas Siistra) are presented.
The chief instrument employedfor this ancient art foem is the mrdanga or mizhiivu.In
his Narya Siistra, Sage Bharata has classified musical instruments under four different
heads-ghanam, avanaddham, tatam and susiram. The mrdanga comes under the group
avanaddharn. This instrumentwas made from clay in ancient times. Later, for the sakeo!
convenience it began to be made from copper. Nowadays, both the copper and the mud
instrumentsare used in Kerala as accompanimentto Kiuiyiutam.
There are two types of Mizhavu according to its shape-the round one and the egg-
shaped one. Depending on its size, there are three categories-big, medium and small.
The temple theatres built for presenting dramas are also of three types-vikTlhtam
(rectangular), Chaturasram (square) and tryairam (triangular). Accordingly the big
mizhavu has to be used in the vikrshtatemple, the medium in the Chaturasra andthesmall
in the Tryasra, This is for ensuring maximum clarity of sound. "Mm mayam·Q}
mrdangastu bh~4am bha~ayatitica" Natya Siistra. (Ch. 33 Verse 331.). The Mrdanga
made o~ clay IS called bhii~diiviidyam in Niitya Sastra. The percussion instrument
(gha[a,'adya) described in Sarngadeva's San gitaratniikara as 'ghana~ ila4t)G~
suPa.U~asc a stokavakrromahOdarah pii~ibhyiim viidyate tajiiaih carmmiinaddhii~
ghatah. appears to be the Mizhavu. In addition to this references to the miihavu accUlIll
many ancient literary works. The instrument Mula or kutamula referred to in
Chilappatikiiram seems to be the mizhavu. Alongwith the other ~usi~a1 in·strumeots. the
Mizhavu was also used as accompanimenlto the dance of Madhavi the diivadiisi (temple
girls who were considered custodians of theatrical arts and dancers before the idol)-
'tannu maippin, vali nintatu mulavai'. Many other occasions when the mizhiivu was used
are also descnbed. Ka~~aiiariimiiya~m also has a reference to this instrUment ..
 RHYTIl.\1 AMD ~lUSI C IOJ

'ipydkina miliivoliyiilevarkkum paritiipam kalavan' (to remove the sorrows of everyone

by the thundering sou nd of the mithiivu). Ba~a has drummed on the mizhiivu impressively
in accompaniment to the co smic dance (rii'!4a"a) of Lord Siva and was rewarded with a
thousand hands-this allusion to the mizhiivu occurs in the Biinayuddhaprabandha as 'y e
l'adyena tavaprasadarnatulam nrttai pura pilrayam', From all these scattered references, it
is evident that the mizhiivu had bee n in popular use in this country for centuries. There is
an allusion to the mrdan gasaila in the invocational verse in the famous work of Kottayattu
Tampuran, the inno vator of the an form of Kathakal i: 'durggiim ciipi
mrdangaiailanilaydm i riporkkatimistadiim ... .' This mrdangasaila is regarded to be the
miliikkunnu, where a mithiivu had spontaneously appeared (sl'ayamhhu). Even in present
times, holy cere mo nies are offered at that temple where the mizhiivu had mysleriously
appeared.
Since ku{iy aniim is believed to be a chaksusayaiina, the instruments used are also to be
maintained as divine and pure:

pi\heiiyasya mrdailgami.!ag~apiiniindyadipuQyiiha1ql
tatbhutani visoddhya nandicitimal sniiiiiintavastriiv('la1)
hcmostadhruva samskriyo yadit adadauopa-vltadikam
prarccyatosyaca riijayet gururatha priiviirako vadayet.

This verse elaborates the procedures for sanctifying the mizhiivu. After making the
mizhiil'u from clay or copper, the tantri (performer of religious ceremonies) animates it by
means of sacred rites: "A seat is made of rice and other food grains and the mrdanga is
placed on it. Ganapathi, the lord who remo ves all obstacles, is first worshipped, and other
ceremonies like nandimukham (preliminary rites), pu~yiiham (purification) are carried
out. Then Nandi or Nandikesvara, the lond of all percussion instruments, is invoked. This
is followed by the ritual s of snanam (bath), l'asrral'ara'.'am (attiring) etc. Then the homam
(offering to agni, the fire) is done, eight ceremonies observed among Brahmins such as
garbhiidhOnam (cre ation of life within the womb), pumsal'anam (rite to protect and
strengthen the life within the embryo), simamam ( a ceremony which enables the foetus
to respond to so unds), jatakarmam (ceremonies to be preformed when a child is born),
niimakara'.'am (naming the new-born child), annapriiSanam (initiating the child to eat
rice), chaulam (shaving off the hair) and upanayanam (leading the child to the guru to get
initiated to knowledge) are carried out for the mizhiivu. The rite called upani~kr~am
or taking the child outside the hou se for the first time after birth in order to expose It to
sunlight is not attempted for the Mizhavu, Then the Mizh iivu. is considered as asking for
~tiation (upanayana), all offerings are carried out for the attainment of an ideal hour for
uutiation. At that hour the pu~ul (the thread worn across the shoulders by Brahmins) and
a. piece of deerskin (ajiijinam), are placed across the Mizhavu. Then the holy nt es
SIgnifying the sacrifices co nnected with the study of the four sections of the Vedas
(charurdrarya homa) are performed. Finally prasannapuja (a ceremony that suggests that
the deity is pleased ) and nlriiirjana (a rite with a view to propitiate) are performed . The
Nambiiir (one who performs on the mizhiil'u) then ties a leather piece across the mouth of
 10.1 P.K. NARAYANAN NAMBIAR

the mizhavu in accordance with the rules. The tantri is the first pers on to drum on the
mizhiivu and he is followed hy the Narnbiar.
After conducting all these ceremonies, the mizhiivu is presente d on stage. All the
observances and dance s that precede the S jitradharan Purap padu, are to be performed for
this initial presentation of the mizhiivu as well. Onl y a mizhiivu that has bee n sanctifiedby
holy rites can be used as accompaniment in dramas and such other visual arts. A miVuivu
which is broken or has become defective has to be accorded all due funeral ceremonies as
described in the Tantrasamuchchaya.
The Position ofthe Mizhiivu
" Ye nipatthyagrhadviire mayapuravvam prakirttite/tayobhandasya .'inyiisal)
maddhyekiiryya~ prayoktrbhi": the mizhiivu has to be placed on the stage at a point
equidistant between the entrance and exit of the nepatthyagrha (sanctified green room) in
the Kiittampalam. .

Beliefs Regarding the mizhiivu

It is believed that the mizhiivu is positioned at the kutapasthdna (a position in the
eastern front of the temple, a little spaced towards the right) of the niuyaprasiida ( the
temple structure meant for performing ans) which is one of the five protective s tructures
of the temples, and observes eternal celibac y with its mind fixed in pure devotion on the
nadabrahma (the Ultimate or Absolute Sound), worshipping it with the sound "om."
The other instruments used for Kiittu and Kiltiyattam are itaykka, sanhku,
kurumkuzhal, kulitalan and timil a. itaykk a is dru mmed in agreement to the rhythms set up
on the mithiivu. The sruti (the basic background tune) is provided by the kurumkuz}ull.
The sound of the conch (sankhaniidam) enhances the richness of the other musical nOles.
The function of the kulitalam is to control the rhythm and blend all the sounds produced.
This pafichavadyamelam (blending of the music from five instruments) enlivens the
dramatic action and makes it appealing to the spectators.

vadye~uyalna!) prarhamastu kiiryya!)

l ayya hi nalYasya vadanti vadyam
vadye ca glte ca susamprayukt e
na!yapfllyogo iia vipattirneti . (Nii/ya Siistra Ch. 33. Verse 334)

. The above precept highlights the authority and importance of the use of musical
mstrumen ts. Each phenomenon in the universe is based on tiila-the word tiila has l~
?rig in from the sound 'tala' . 'Tala' talapfllti !t!)ayamiti dhatokhaili
smrtah The sound 't'
10 tala repre sents Siva and the 'I' sound signifies Sakti the cons ort of Siva. It is also seen
that 'tak~: i ankara: prokta: lakiira: saktirucyatesiva'saktyarmiikastiilii .. .' Just as Siva
an~ Sakti are the sou rce and basis of the uni verse, rhythm (tiila) is also the basis of this
universe.
Each movement in the universe is based o n 'a certai n rhythm-the flight of birds. IDe
flow of n vers, the chirp ing of birds, areatl rhythmic. Similar ly song, musical instnJlllen~
and dance are all grou nded in rhythm . Tiila or rhythm is controlled by kiila (time}-la/a
 RHYTHM AMDMUSIC IDS

has to be correctly timed. One who employs a musical instrument without an awareness
of tala or kiila is described in the Siistras as: "atiilajiiamiikiilajiianutiasrrajiiam ca
vMaluun/ca.rmmaghQtakamit)'evam pravadanti manisinah"
Kuttu and Kutiyii\JarI1 performed in the Sanskritdramatic tradition emphasises the four
kinds of acting-siitvilea (the spirited), vdchika (speech.) iiirgilea (bodily) and iihQryalea
(assemblage or decor). The tiiliis used for Kii\iyiillaJll are EkatalaTriputatala, Jhampatala
Ohruvatala Chernbatala Atantatala, Pafichari, Lakshrnitala, Mathyatala and Mallatala,
I. Eleatiilam is the mode of drumming maintaininga laghu (4 akshara). Chaturasrajati
1lcatala- its unit is four aksharakiila, where the aksharakala signifies the time for the
completion of one cyle of the tiila. Here three laghus are counted and the fourth is the
actual beat-s-takatum, takatum, takatum (this is the beat).
2. Triputataki this has an aksharakiila of 7 and belongs to the tryasara or the tisra
variety. Counting 2, The third is the time-beat: then counting one, the next is the beat,
again one is counted and the next is the beat: dbi lea taka taka taka, dbi ka ta ka ta lea ta
ka, dhi lea taka ta ka ta ka ta ka . . .
3. Triputa (mishrachappu) -lts aksharakala is 3 112. it is the miiroccbap variety. Three
are drummed, one left and thus carried on: Dbi ka ta ka ta, ta ka ta, ta lea ta . . ' ti, ttl. tta.
4. Jhampauila (khandachappu) has an aksharakala of 10 and is drummed in half
aksharakala of 5. This tiila is adopted in Kii\iyiillaJll·
5. Dhruvatiila--drummed in an aksharakala of 14. This belongs to the chaturasra
variety. The beat comes after five counts. then after three counts, again after three
counts-drummed in the mode 6, 4, 4, . . . .
6. Chempatatdla is chasurairajati t[ipura having an akfharakiila of 8. the beat falls on
the fourth count. The first beat falls after 3 counts, the second after one count, the third
again after One count and so on.
7. Ararala has an aksharakiila of 14 khalJ4ajiiti a!atiifam. Here the first fourare beats, then
onecount. again four beats. then one count and so' on: Ti tti lti ttai, ti tti tti nai, ttai, ttai....
8. Lakshmitala, nowadays used only for Jatiiyu's performance: Obi tti ttai taka
dhilea13ttai taka dbittai dhikatai dhitai ta dhi ka ta ttai.. . •
9. Panchari has an akshrakiila of 6: dbakkitta dhikkitta . .. is the mode.
In addition to these tlilas, madhyatiila, mallotiila and many others are said to have
been used but the mode of'drumming these is unknown.

The Modes of Using Tala •

Various technical rules are applied to the viichika acting in Kutiyarram. Ragas (no.les)
are attributed in accordance with different characters. variations of the constant bhiiva,
variety of stylised limb movements and variety of occasions. In accordance with the
manner of reciting the Vedas. and on the basis of udiitta. anudatta and svan~ ?ote.'. the
ragas are Muddban Srikanthi Tontu Arran, Indalarn. Murajindalam, Veladbuh, Oa~am.
Viratarkkan, . 'TarU an, K~rakku;"JiJii, Pau;'!i. Poraniru, O~hkhagandhiira~ ,
CetipaJicamarn. BhiJiJiapaficamam, VIrapanchamam. Sp'kamaram. KaIll ki, Gh~ttantan,
Anran. Indala raga is usually employed by ideal. brave and noble characters. Artaraga
 106 PKNARAYA."IANNAMBIAR

suits a mood of sambhogairingiiravosta (the erotic rosa in union). Chetipchahamam

becomes appropriate for medicore characters.
This tune is also used by evil characters and children. Muddan is considered best for
the sambhbgasringiiravastha of demons (rak~hasiis) . On the other band, their
viproiambhasringiira (the erotic in separation) is best conveyed by means of Muralindala.
This riiga suits Sri Rama in his sambhbgairingiiravastha while Diinam and
Bhiiiiiapaiichamam are regarded the best for revealing the adbhuta rasa (the wondrous)
inherentin the sambhogairiiigiiravastha of Sri Rama. The Duhkhagiindhiira is commonly
used by all characters to suggest Soka (sorrow) and karunam (pathetic). When angt)' or
cruel, Tarkkariiga is adopted, for vlrarasa, Viratarkkan is the ideal note. To convey
adbhuta rasa. Diina riiga is used. Sometimes this raga is also employed 10 suggest Ibe
bhayiiiiaka rasa (fear) as well. Tontu is a raga conveying the iiinta rasa (peace) and
bhakti (devotion). Ghattantari riigo provides the ideal note for conveying news regarding
defeat and destruction of evil characters. However, this raga is also employed in prayer
songs 10 a favourite deity. While Korokkurinni raga is usually suggestive of monkeys,
the Poraniru riiga is employed for descriptions of monsoons and mornings. Srlkan/hi is
used at the end of an act, in the description of dusk and noon, slaughter of evil tyrants and
in devotionalmoods.
Viiladhu/iriiga is utilised in passages where frightened characters cry out or listen from
a far. Srikamaram is to describe the shyness of One stirred by kama (desire). Thereis also
a karika or verse denoting the rhythms and music that are 10 be employed in accordance
with the bhiiva pictured.
Muddartta (viratarkesu) ceti pafica dal)ay61 korakkurifiiii rageca dhruvatale'
prakirttita'. Music rendered in the Dhruvatiila has to be used in verses and sentences
rendered in MuddhanArttan, Virartarka, Chetipafichama, Dana and Korakkuriiiiii.
Srikanrl,Ji, tOI)!U, pUranlr, Kai'ikyamindajepi ca
_ ekat316 viti[ddis!alJ bhinna pancamaduhkhayon
Ekatiitam of the caturaira kind is to be used for Srfkamhi, Tontu, Puraniru, J(aj, iki,
indalam, Bbinnapancama, Duhkhagandhara, . .
ghauantaryJiikkya rage ca tarkke caruarisamiiiite
t.ripu!a tala eVQs)'iil savilambita miuraka:
The ragas Ghattantari, Tarkan and'Antari are to have as background the tripu,a
tala in vilambita kala or (slow-paced).
Maddhyamamatrgm triputam ve!adhii!yam vadanti talajna!)
apare punarhinatyedhruva iii kaisci] samakhyatah
Vii!adhuli _raga has to be accompanied by Triputa tala in a medium pace
(madh)~amamatra). There is a difference of opinion that here dhfUviila can also be IJ5<d.
sn1<amare ca pauralyam !ripu\iitidruLi maLi
(F or Sfl1<iimara .and Pauriiji ragas, the accompanying tala is triptua beat in the aridru ta
(murukiya tnputa 10 a very fast kala.)
muralindalariige co dhruvatiilo vi/ambito
(In dramatic passages enacted i~ th~ Muralindalaraga, dhruvatiila in"a slow pace ~
regarded ideal.) . . . .
ekolii!ena kiiryyam syii bhaiiiiyal sarvvam yadhocitam.
 RHYTIl~1 AMD MUSIC 107

A special rule, that ekatdla can be used according 10 the occasions is also in prevalence
among the musicians

The Orchestra (me!a) in Ku{iyii!(am

Various rhythms and different kinds of musical notations are employed in iir{am
(performance where actor s expre ss ideas by limb movements and facial expressions) and
dances in Kutiyattam, The meta in Kii!iyiigam varies in accordance with the subtle
variations in characters, acting, movement, and the constant bhdvas expressed. The
different mela in Kiitiyattam can be broadly classified into three: (l) Me!a suitable for
dance movements form ulated according to various rhythms and music asin Mattavilasam,
Anguliyankarn, Mantrankam and other common practices; (2) Me!a catering to
emotionally significan t elaborate acting. like i!akiya!!am, chotliyanom. anvayiccattam,
slokii!!am; (3) Me!a played on the stage when no characters are present.

Gestures and Movements

There are many techn ical names by which the dramatic representations in Kuttu and
KUriyiirtam are known. Some of these are chari, kalakalavddyam, jari, tappiyirannal,
tattu, meyyu, nirggita, bandhananirggita, parikramam. jar; konsu mukhavamna, ra1J{iim
nata. asiyai i pullarikkuka, miuametukkuka, hiJsyak.riya, ko~o{{am kriya, cheriyakku,
valiyakku, dhruva, ku~ku~am, dikpalaktzvaridanam-these are all stylised movements of
the legs and hands . Action of roaming is suggested in ambatiiyanam, (movements in the
sky), kalappurattu natak kuka (stylised walking of noble male characte rs),
chelluntina{akkuktz (stylis ed movement of fem ale characters), vattattil natakkuka, vattattil
chati natakkuka, otl natakkuka. Special limb movements are suggested in yuddcachiiri,
krida, mayildttam, j atiiyu vinte tiilam chavittuka and ulkhanan a. SimhaSlhobha.
gajaSlhobha, paksisthobha and viinarasthbbha are emotional displays. With all these
impressive actions, the acto rs and their acting are imparted vigour and elegance and the
scene made striking with appropriate background music in different tollis like Chempata,
Tpputa, Ekatalam, Dhruvam, Lakshmitajam and others. Some of the technicalities that a
musician playing on the miihii vu ought to be aware of, when the above acts are presented,
are provided below.

Tattu:A Dance Form

This is acted by the character called Klipiili in Mahendravikrama Pallava's .far:e
Marlavilasa. Thi s is accompanied in the quick placed Triputa tala. vasan~a 's a~lOn In
Bhasa's Pratijiiayaugandhariiyana (ManlfiinkaIJl Acr 3) is the. T~pulata!a while the
dance of the madman Yaugandh arayana in the same ~a IS In . th: qu~ck.paced
Jhampatiila; that of Hanuman in Chudamani (Ch. 6, AngulIyankam), rs In quick-paced
~riputarala. Though all these actio ns are falling under the s~e name, they ar~ acted
differently and the tiilas used are different. However, some acuc ns do not differ in their
presentation; only the mode of rii!a is different.
Jati
This act is done by many ch aracters-the dance steps do not.differ. But the beals of
the music are quite different. The oral formula of one or two acuons are gwen below as
108 P.K. NARAYANAN NA.\ IBIAR

examples. When Jati is acted by Kapali, the Tala is Triputa: ti, tti, tatinkiti tatinkiti t(lrem
(2 times); ti tti tatinkiti tatinkiti, tatinkitikitikiti, tatinkiti tatinkiti threm, When the same
act is done by the Bhriintan (madman), the tala remains triputa:
titti, threm t!lremtaraha taraha threm (3 times)
titti, threm thrern taraha taraha threm thrern taraha,
threm threm taraha tarahatarahathrern
For Hanuman:
ti tti tta, ta, taraha, tarahathrem (2 times)
ti tti tta, ta, taraha, tarahatta, ta taraha, tatta taraha
taraha threm,
The Act Called Ttutu
I. For Kapiili, the tala is Triputa ti tti tta, tatinkitita, .. ti tti tta, tatinki tita ti tti tta,
tatinkitita, tatinkitita, tatinkitita' (thus twice). When the beat is repeated the second time,
tripura'ta!a is employed till tatinkitithrem, tittakitim tati kiti threm" and Jhampa ta!a is
used for the portion "kitithrern dhakukkum",
2. For Bhranta (mad man), the tala is Jhampa: "kititta, kitikiti, threm threm thrOm
t!lrem taraha threm (2 times):
kititta kitikititthrem threm, ta kitikiti,
tthrem tthrem ta, tthre tthrem ta,
tthrem threm ta kiti kiti, tthrem
tthrern tthrem tthrem tarahatthrem
kitirthrem thakukkum ...
3. For Hanuman, murukiya tripurala!a is utilised:
ti tti tta, tarahatthrem, taratthrem. tarahatthrern
ti tta kki tim tarahattrem-s-ti tti tta, ti tti trn;.em
ti tti tta tarahatthrem . . . .
Tiilas to be employed for cenain ulkkhattanas can also be described: "sarm'flUll'
tumUlam yuddham"; the section is from 'tora~ayuddhfu\k:irn' in Bhasa' s Abhishekanraka
The context is one where Sankukama informs Ravana that Indrajit had imprisoned
Hanuman. This is ajoyous dance performed in an ecstatic mood ofj umping up anddown.
Here chaturairajati Triputatiila is used. Murukiya Jhampatiila is made use of to
Vasantaka's act in Mantrlinka-indira vayara tarppanam kollata. , SurpPar)akh"s
ulkkhattana, 'indranum chandranum enikku venta' is accompanied by murukiya triputa
tiiia. 'unnata unnata paccorum vennayumI kerata kerata, kattilum mettayum'-this is the
context which expresses the overwhelming joy of Atreya who jumps ecstatically ~n
~ow~ng that his_de~ friend Jimutavahana had married Malayavati; the passage occurs to
Naganandam KU\Jya!\arIL The tala here is also murukiya Triputa. Thus different
u/kkhattana are rendered in different la/as.
The former kind of mela referred to here are those that act as accompanimentto the
~ces o~ ethereal beings and earthly beings, mostly acted in the form of worshipping the
deity. ThIS mel~ ~sually accompanies acts where dance is of prime importance. ~.~
second category IS In accordance with the bhava expressed: 'iha bhiivarasliscaiva dfjndi.
 RHYTHM A.\fD MUSIC 109

sampratisth itah drs taiva silcito hyarttah pascadangai vibhavyate .' Most of the musical
notes in Kfiliya!!am give importance to bhdva. The y are approp riate for enacting bhiiva
(bhiiviibhinaya). The m ode of empl oying a tala suitable to a rasa has alread y been
discussed. Accordi ngly, though the same talas are utilized for the enactment of various
bhii" as, the differen ce in the sty le of rend ering is ev ident. Some examples can be quoted
to illustrate the point:
In passages like "chala kuval aya dhamno., (SubhadrOdhaiiaiijaya. Act I ) and
"Sasimani sitaseyam .. . (Naganandam. Act 2), which give importance to the s.rogara
rasa, when performed in de tai l, Dhruva tala is employed as background . This tala is
drummed softly , ind icative of th e inherent rasa and is made significant by means of
various subtleties . The Dhruva tiila that accompan ies verses rendered by noble heroes like
Arjuna or Jimutavahana in Artaraga is nOI simi lar to the Dhruva tala that is used for the
performance of Ravana in sringiirarasa-Ravana's performance which otherwise stresses
!he I'i rarosa. The verse is one that begins 'Hima!<ara hima garbharasya stavakina, •
.'(Cfludi'un.a1Ji. Act 5) This is drummed with some vigour but witho ut employing many
subtleinnovations. Intheverse passage "aparagirinisannam .. ,.. which is a descriptionof
dusk, when performed in Srikanthi raga, the corresponding tala is chaturairajiiti E/wta/a
in patinjakiila (slow tempo ). This tala is drummed in agreement to the bhdva, mudra
(gest ure) and m o vements. The sa m e tala vari es subtl y wben empl oyed for
'raksdvadhadvirata karmma • . .(ChudamalJi. AC(5) rendered in raga Srikanthi. Here the
raga employed in slightly suggestive of Virarasa (heroic) and indicative of the sthay
bhava of /lanuman. However, a performance totally different from all these is
Parvativiraham. The ver se that is the basis for enacting Parvativiraha (Parvati's
separation from her bel oved) is:
maulau kinnu mahesa maninijalarn kim vaktrarnambhcruham
kim nila!akave~ika bhramarika kim bhnilate "id ke
netre kim saphari kirnustanayugam premkhadrathangadvayarn
sa saJilciimiti vaficayan girisutam cangadhara: patuva: . . . .
. This stanza deal s with th e queri es of Parvati to Lord Siva and the lies spoken.by Siva
In the nature of excuses. A mood of angry irritation is imparted for Parvati' s questions and
that of a deceptive innocence to S ivds answers, by the caturasrajati Ekaiata. The
on:hestra th at beg ins in a very slow tempo approaches the second stage on the occasion
of Parvati leavin g the side of Siva; the music becomes taut when the conte xt depicts th~
turbulence of Kaildsa (the abode of Siva) and Parvati 's subsequent fear. When Parvati
finally takes refu ge in Siva, the m usic reverts 10 its original tempo . The high and low pilc.h
of the tala effectively repre sents the ascent and descent of emotions . On the whole, this
OCcasion is one which excellently reflects the emotional turbulence in the characters
POrtrayed.
Similarly, there are d ifferences in the use of the Tp pU!3ta1a as well. The tala is be~l in
the normal lone for Antari raga, with more vigo ur, and in madhylll7Ulkiil~ (me~um
tempo) when employed with Tarka, raga. When used with Pauriiliraga. the T?pu\atiila IS
drummed with the max imum tempo, in the atidrutakiila. When the tala acts as
background for spe cial perform ances like KailiisOddharana (the lIftmg of Kailasa ), or
bki ng a look at Kailasa, it has to be drummed without break and m the same manner. If
1\0 P.K. NARAYANAN NMlBlAR

the miihavu artist introduces breaks in the tala, the spectator may not fully comprehend
the magnificence and height of Kailasa. When the mountain is described, the tala is io
madhyamalaya (medium tempo). To depict the mountain top s breaki ng open to give rise
to rivers, the tala is begun in a soft tempo . Slowly it gains tempo and attains the maximum
vigour towards the end to picturize the width of the river and show s it merging in the sea.
In an act demonstrating the upheaval of a mountain, the tala picks up tempo in degrees in
accordance with the increasing weight of the mountai n and re aches th e highest pitch. In
such context, the tala has to be effectively drumm ed with increasing intensity, if the
actor's perfonnance is to be convincing.
Another occasion for mela is Patappurappiitu (preparation to go to war). The Iii!a
employed in this instance is rripurarala. To suggest the movement .of armies towardsthe
battlefield, they are presented as setting forth 10 the accompanimen t of many musical
instruments. In such instances, the Narnbiar uses his sense of discretion and endeavours
to simulate an approximation of the sounds of different musical instrument s to the best of
his ability on the Mizhavu. For example, to evoke a sound of drinking liquor, a 'kudu
kudu kudu' sound is produced on the mithavu by the particular positioning of the finger
and the palm on it-the finger is placed on the edge of the Mizhavu and the folded left
palm in its middle. There are many other instance s similar to this.
An artist performing on the Mizhavu has to clearly conceive the prakrta (story
enacted), hero and the other characters, the occasion (contexts of acting in accordance
with rasas like s.mgara), bhiiva, artha (meani ng), and evoke reasonably subtle sound
variations and thereby perform skilfully in order to generate the intended bhiiva . To
succeed in producing music reflecting all the bhiiviis, an artist has to possess considerable
knowledge, practice, familiarity with the stage traditions; talent and an ability for aesthetic
appreciation and full-fledged devotion to God.
Another occasion for the orchestra which emp hasizes bhdva is the orchestra WI
accompanies the performance of the Vidiishaka in Ekntiila. The Vidiisaka is a comic
character who appears on the stage as the humorous co mpanion of the hero. His comic
acuons include pu~unulu tekkal (rubbing his pu~unuf), kutuma verpetuttal (the kuru"'"
refers to the tuft of hair worn in a knot at the front or back of the head-the Vidlishaka
would un~e ~s knot and run his hands through the hair), muntu pi/i;iju viSal (fanniDg
~~If Wlth his me/mundu, an upper garme nt), fanning his companion , acting sen il ely 10
his friend (a.cuons like massaging his companion's hand s) and man y others. This mefa IS
m~n~ned 10 Ekatiila and is most suitable for the Vid usak a' s performance. This kind of
me!a IS VIrtually absent in other kinds of comic arts . In short mela catering to lh<
dominant bhava is indispensable for Kiitiyattarn, whic h is a visual art iliat lays emphasis
on the satva element in acting.
:n e third kind of mi la is referred to in Natya Sast ra as: aiigananru samarvii.rtlhanl
c.chldra prac~hatJEie tatha viSramahetssobhiirrrham bhiindavadyam prayojayer (0). n,.
verse 18) and 10 Sangirararnakara as ' vi~riintau ran gasamsth anam gatayarn Jl!lYawnapr .
According to these, this mela is 10 be empl oyed during intervals when there are nO
r~cters on the stage and on such occasions the orchestra serves to entertain .the
~udlence and prev~nl ~redom. It also assists in filling the gap that may be cre~ted dunn.!
intervals. The basic tala emp loyed here is the chaturairajati Triputa. OccasIOnally Ibis
 RHYTHM A.\ID MUSIC III

mila is enriched by introducing talas that normally accompany Tiiyambaka (a kind of

orchestral performance on the drums). Sometimes flutes are also made use of during
intervals. It was a common practice to sing kirtaiias (songs in praise of deities) in ragas
like Saveri on the Kurumkuzhal. This practice also helped to engage the attention of the
spectators and pleasing them. The Nambiar has to be extremely cautious in providing the
appropriate mela using variou s talas that perfectly harmonise with the gestures of the
actor, the action, the bhiiviis enacted and the different kinds of stylised movement.
Intervals were ideal occasions for the Nambiar to display his genius, harmoniously
blending the sound of the m izha vu with the sounds of other musical instruments
employed, thereby helping to create a wonderful effect of the Pancavadyamela (ensemble
of five instruments).

Tiiyambaka on the Mizhiivu

This is a type of performance on the mizhiivu in which the Narnbiar is provided an
opportunity to prove his practice, skill and genius. The tala is Chembata. first drummed
in a low tempo and then raised to a middle tempo (different types of middle tempo like
etavattam , etanilay; the kuru (a technical term) may be anyone like cembakkiou,
atantakkuru, pancharikkiou, a low chembakkliru, The tempo approaches the irukita
(when the drummer is almost in a sitting position). This performance demands great skill
and effort on the part of the Nambiar. Tayambaka is usually performed in between the
practice called mizhavochchappetuttal ( the sounding at the beginning of Kuttu and
Kii!iyattam when the mizhavu is placed or to make it perfect for performance). a
performance in Ekatala.
There is no doubt that good orcbestral music contributes considerably towards the
effectiveness of the acting. It may be emphasized that the skill in performing on the
musical instrument acts as the deciding factor regarding the clarity and elegance of the
gestures. the intensity of the eyes, the effectiveness of the bhavas, the perfection of the
subtle stylised walkin g-all aspects of abhinaya (acting) on the stage. . .
Compared 10 the musical instruments employed in other visual arts like Kathakali, the
Mizhavu poses considerable difficulties when it has to provide background tala for
different gestures and acts. In the first place, the position of the Mizhavu is behind the
actor. The mudrobhinaya (acting by gestures) cannot be easily seen by the Nambiar
stationed behind the actor and therefore it is difficult for him to provide always the tala in
accordance with the gestures. Secondly, performances in the SakJwc1zamkfama~a modes
have to be specially comprehended and the corresponding tala given-this is also a hard
task. To attain craftsmanship on the Mizhavu, the artist pas to have considerable practice.
a comprehensive knowledge of Kiitiyattam, familiarity wi ~ drarr>a and s~g: traditions,
an awareness of the legendary stories. knowledge of mudriis, rasas and ragas, ability to
understand Character, a detailed understanding of various kinds of stylised walking
(charibhidiis), a mastery of Sanskrit, awareness of the different tatas, tempo and t~ne,
knOWledge regardin g the important points on the Mizhavu that are the sources of musical
notations on the instrument. aod original talent. Above all, he should also possess a
sincere devotion to art, his guru. and God:
112 P.K. NARAYANAN NAMBIAR

sphutaprahararn vil'dam vibhaktam

raktam vikrstam karalepanamca
trimsrjjanapurita ragagamyam
lt1fdangavlidyam gunanovadanti, (Natya Sastra. Ch. 33. Verse 333)

Translated f rom MalayalO1'l1 by JQYQSTre RamaJ:rislutmL