Idakka
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[edit] Idakka,Njeralathu Harigovindan
(Idaykka)
The Royal Grandeur among musical instruments of Kerala
A musical instrument literally means a tool or piece of equipment which when played rhythmically produces musical tones. If this is agreeable, then Idaykka can and must be considered and classified as a musical instrument. The literal meaning of an instrument in Sanskrit is ?Vaadayathe Anena? or 'Vaadayithum Yogyam' - ?which can be played?. Idaykka can be categorized under the instruments like Chenda, Mridangham, etc. But in Kerala instead of stating that Idaykka is to be beaten rhythmically like as we do on Chenda or Mridangham,it is said that Idaykka is to be played rhythmically. As for the origin of the name of Idaykka (Edakka), it is believed that it came from the sound ?Dakka?. It is well known to people who have an idea of Hinduism that this is the instrument which in tied on the ?Trishool? of Lord Shiva. The use of onomatopoeia by keralites is also well known. Thus the ?Dakka? sound transformed in to words like ?Edakka? and ?Idaykka?.
According to Pathanjali and Panini the importance of ?Dakka? lies in the fact that the various consonants and vowels of our language is derived from this ?Dakka?
It is also believed that once when lord Shiva and Parvathi stopped their dance. The Dakka tied on to the Trishul of lord Shiva produced 14 different sounds. According to Pathanjali it is these sounds which later became vowels and consonants of our language.
SLOKA
Read in Sanskrit Language
"Nrithaavasane Nataraaja Raajo Nanaada Dakkaam Navapancha Vaaran Udhdhartha Kaamo Sanakaadi Sidhdhaan Ethath Vimarsho Shiva Soothra Jaalam"
This is what Panini has stated in this ?sloka? (stanza). The 14 different sounds produced is as follows:
- .Ayi Un
#.Riluk #.E On #.Ay Auch #. Hayavarat
- . Lann
- .Njamangana Namm
- . Jabhanj
- .Ghadadhash
- .Jabagadadhash
- . Khafakshadadharchtathav
- .Kafapay
- . Sshashasar
- .Hal
With reference to this assumption it is assumed that the instrument ?dakka? or Idaykka has the ability to produce all the sounds in a language. Accordingly, it is assumed that Dakka or Idaykka like every other instruments can produce every musical tones.
It is quite interesting to note that the Idaykka is a developed from of the ?Thudi? an instrument used by the ancient tribesmenwho lived in the forest and that of the ?Pootham? artisans and it is no wonder why Idaykka was given a pivotal position in the Trishul of lord Shiva. Lord Shiva is also interpreted to be the lord of the aboriginals. And thus it is quite clear that Idakkya has a profound relationship with gods.
In the ?Musical gemss? of lord Vishnu there is mention about 3 types of instruments Huduka, Dakka and Madhidkkya which are similar to each other in structure. It is assumed and some insights reveal that Idaykka is the developed from of Mandidakkya.
Once this instrument which belonged to lord Vishnu, was stolen by the disciples (Bhoothaganam) of lord Shiva and used during the dance performance of lord Shiva. When this was known by lord Shiva, he ordered them to return it back to lord Vishnu. But when they approached him lord Vishnu turned down their apologies and cursed them by saying ?if you keep this instrument on the ground, that place will be destroyed?. This is another version of the story regarding Idakkya that still find place among the traditional instrumentalists.
Goddess Baghavathi ?the goddess of knowledge and learning ?is considered as the goddess of Idaykka in the ?musical gems? of lord Vishnu. Mention has been made about Idakkya being used while reciting the customary songs named ?charyagaanam? for worshipping ?goddess Bhagavathi?. Mention of this kind has been made in many other books.
Even Kunjan Nambiar, the famous Malayalam poet mentioned about Idakkya in his ?Ghoshayathra? (procession). Idaykka finds place in most of the literary works that has close links with Dravidian culture.
Even though this may be the case Idaykka is still used and popularized as an instrument of and for the gods and goddess. ?Idaykka? was not seen or used even in the court of king Swathitirunal ? the most coveted connoisseur and patron of music. It was not seen to be used by the musician and karnatic song maestro Thyagaraja, when he was visited by classical musician ?Shadkala Govindamarar?. This means that Idaykka before being used on a stage along with the accompaniment of other instruments was confined to the cultural and customary rites and rituals.
It is seen that Idaykka and its mellifluous sound is used in temple during ceremonial offering and during special festivals. The instrumentalists belonging to ?Marar ? and ?pothuval? community has the privilege of using Idaykka during special customary festivals like, ?Vilakkacharam?, Idaykka ? Pradhaskhinam in the temples of Kerala. Idaykka is famous for its use as an instrument to be played with a devotional song praising gods and goddesses, by the Idaykka artist himself when the inner sanctum sanctorum of the temple is closed for ceremonial offering. It is also used in accompaniment with an instrument named ?Mizhavu?, which is the principle instrument for ?Koodiyattam? ? a traditional dance form of Kerala.
Apart from this it is used during the performance of traditional dance forms like ?Mohiniyattam? ?Thiruvathirakali,?Ottamthullal?and in Kadhakali (only when the female rules are enacted ).It is also used in a musical performance like Sopanasangheetham (performed when the inner sanctum sanctorum of the temple in closed for customary offerings). Devotional musical concerts, recital of Kadhakali songs and in modern musical composition like light music poetry recitation and also in instrumental musical concerts like Panjavaadhyam ,Idaykkathayambaka and Idakkakacherry (concert). It is quite interesting to note that the potential and the mellifluous sound of these instruments is made use of by the modern music composers
Different parts of Idaykka
1. Kuttyi:-
The core of the tree yielding superior jackfruit or its roots, black wood, catechu, the Indian laburnum, red sandal wood etc.. are the trees used for making the kuttyi of Idaykka .The trees that does not sleep at night and have grown on the banks of a constantly following river are the most preferred. The Kuttyi is a comparatively wide hollow stick with a length of 8-8 1/2 inches and a diameter of 4-4 ? inches. After making the wood hollow, the end or face of the Kuttyi will be ? inch wide. Even though both the ends of the Kuttyi are of the same width, the center part of the stick will be comparatively thin. Exactly at the center of the stick, there is hole, which is known as the air hole. This hole, which is two millimeter in diameter, is known as the navel of the Kuttyi. It is believed that, when the end part or the face of Kuttyi made in this manner is brought close to the ear, we can hear the ?Om? reverberations. It is through the navel of the kuttyi that the air produced because of the pressure while the idayakka is played passes out. Two reeds of Palmyra are tied on to the small nails on both the end and sides of the ?Kuttyi?. It is these reeds that produce the vibration when Idaykka is played. In order to get a grip on the stick, a cloth or ?edakacha? is wound around the Kuttyi.
2.Valayangal (Rings)
Two rings each of 1-inch thickness are made from the plank of wood of a mango tree or a jackfruit tree and which is similar to the rings used by children to play. Each ring will have a diameter of about 8-8 ? inches. Six holes are made in these rings for tying the strings. Once the holes are made the skin should be stuck on the rings in such a manner that it covers and reaches out of the circumference of the rings. This skin, which is known as ?ulloori? or ?chavvu?, is made from the outer wall of the cow?s intestine. This thin layer of skin in cleaned and purified by members of a community named ?chakliar? This skin is stuck on to the rings with a paste made from a special kind of boiled rice mixed with ash obtained by burning dried cow dung. It is the boiled rice that we get from the temple after the ceremonial offering to gods and goddess which is used for the purpose. Even though ?Idaykka? has two sides or face, only one face is used to play. The face that we use to play is known as the ?kottuvattam? (front side) and the other in the ?mootuvattam? (backside). In order to understand the face that is used to play, a ?poduppu? or a colorful woolen ball is tied on to the end.
3.Jeevakkolukal
It is the four perfectly rounded sticks, which are 7 inches long and 1 inch in diameter. Several types of wood of lightweight are used for making this ?Jeevakkolukal?
4.Poduppukal
It is a bunch of colorful woolen balls tied on to the 4 perfectly rounded sticks named ?Jeevakkolukal?. One bunch will consist of 16 different colorful woolen balls, which is tied on to a ?Jeevakkol? using cotton thread that is ? inch thick. ?Poduppu? means ?decoration?. each ?jeevakkol? consists of 16 different colorful woolen balls and altogether there will be 64 woolen balls on the 4 ?jeevakkolukal? (16 woolen balls x 4 Jeevakkolukal) usually the woolen threads for making the woolen balls are brought from places like Kashmir, Banglore and Assam where it is commonly available. But in ancient times, according to Lakshmikutty Amma w/o late Njeralathu Ramapothuval, these balls were created from the clothes discarded by the tailors.
5. Tholkacha : (Sholder band)
?Thol? means shoulder and ?Kacha means cloth? The peculiarity of some of the traditional musical instruments of Kerala is that the instrumentalists have to stand while playing it. And so these instruments have to be carried by the instrumentalists. To make it easier for them to carry the instrument, they have a shoulder band which will be tied on to both sides of the instrument. This shoulder band is usually made of cloth.
6. Idaykka kol (stick used for playing the Idaykka)
The stick used for playing an ?Idaykka? is almost 4 times smaller than the one used for playing a ?Chenda?. It is made from the branches of trees like red madder or a tree locally known as ?Chapangam?. The shape of the stick is similar to that of an elephants tusk. The one end which we hold is broader and the other end will be curved and slightly pointed. Sometimes the stick is also made from the broken or damaged stick used for playing ?Chenda?.
What the different part of Idaykka denote?
1) The reeds of palmyra at the end or face of ?Kuttyi?
The two reeds at the face of the ?Kuttyi? denote the universal soul and the individual soul. It is commonly assumed and believed that the relationship between Radha and Lord Krishna is like the same relationship that exists between the individual soul and universal soul-Jeevaathma and Paramaathma. It is also believed that the reverberation of ?OM? is the result or the culmination of there two souls.
2) The six holes in the valayam (ring):
The two rings are held on to the ?Kuttyi? placed in the center by cotton strings. It is compulsory that there should be only 6 holes at equal distance on each ring. These six holes represents the six ancient Indian scientific principles- saakyam, Yogam, Vaiveshikam, Nyaayam, Poorvameemamsa and Utharameemamsa (Vedanta).
3) Jeevakkolukal:
Once the strings are tied on to both the rings, the four ?Jeevakkolukal? in inserted in between these strings. These 4 ?Jeevakkolukkal? represents the 4 Vedas- Saamam, Rig, Yajur and Atharava.
4) Poduppukal (the woolen balls for decoration):
The 64 colorful woolen balls or ?Poduppukal? represents the 64 different traditional art forms. The 64 woolen balls may not be of different colors but may have different colors in one ball itself.
5) Knotting the thread before placing the Jeeva kkol:
The two rings are tied onto each other with the Kuttyi in the centre with a string, which is thinner than a pencil. Once the Kuttyi is placed in the exact position the strings are tightened. A knot is made at the place from where the string in tightened. This knot, which is used to tighten or loosen the strings, is known as the ?Pavithrakettu? or the ?Holy knot?. This knot has the same shape of the rings that is made before performing the last traditional rites to a person after death, using a grass named ?Darbha?. Once the strings are tightened, the strings that is hanging loosely is fastened five times as made into a knot. This denotes the ?Shivapanjakshari Manthra? or the ?Five mantras or holy recitals praising Lord Shiva ?. It is also believed to be the five words ?Na Ma Shi Vaa Ya? thereby leading this to an acumination of ?Lord Vishnu and Lord Shiva.
Peculiarity of Idaykka:
Idaykka is the only traditional musical instrument of Kerala, the component of which can be assembled and dissembled conveniently. An assembled Idaykka is usually hung on the wall. In some temples it is being outside the door of the inner sanctum sanctorum, which add to its beauty. It is now commonly used for ornamentation in the houses not only by Keralites but also by foreigners. Ananda Sivaraman, the son of Late Njeralathu Rama Pothuval and the only person who have mastered the ?Artisanship? of making an Idaykka in Kerala, also shares this opinion.
Learning to play an Idaykka:
The main peculiarity in learning most of the traditional musical instruments of Kerala like the Chenda , Idaykka etc. is that, the beginners will not be taught the instrument using that particular instrument. Instead they will have to master the art of playing it by practicing on a similar shaped object made of wood or stone. It is the farsightedness of the great teachers of there musical instruments who have coined this idea. They may have wanted the students to master it with great difficulty until there is proper hand and mind co-ordination to attain rhythm.
For the beginners of ?Idaykka?, they are usually given a block of wood called ?Kayyatha? or ? a block of wood which suits the hand? and a stick made from tamarind tree. They have to stand while practicing and are made to practice different rhythmic oral tunes like ?Thakuku?, ?Themkuku?, Thathakuku?. ?Them Them kuku? ?Thakida? ?Thakida?, ?Thathakida?, at different speeds. The rest of the tunes must be formulated with ones own imagination.
There are no schools in which ?Idaykka? is being taught except the school run by Njeralathu Hari Govindan. People who have mastered ?Chenda? will be able to play ?Idaykka? with a little bit of practice. In any case it is only through rigorous practice and devotion that one can master ?the Idaykka?.
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[[Media:== [[[[[[Media:== [[['[[[== [[Media:Sopana sangeetham,Sopaana sangeethamnjeralathu harigovindan,HARIGOVINDAN,Harigovindan]] ==]]]']]] ==]]]]] ] ==]]
Njeralathu Harigovindan, the sixth son of Raama Pothuvaal and Kolleeri Lakshmikkutti Amma, was born on July 3rd 1975 at Angaadippuram, in Malappuram district of Kerala state. Hari hasn’t got so much exposure in Sopaana Sangeetham but he inherited the talent from his father. He made his debut in 1995. Though he hasn’t got enough chance for formal education in music, he claims a pivotal position in Sopaana Sangeetham. In 1996 August 13 Raamapothuvaal died, leaving a great art form in his name. Harigovindan a B.A. B.Ed. graduate in Malayalam literature, got ‘ Naaraayananunni Nambi Puraskaaram’ in 1996. Meanwhile he passed the audition test in ‘Ashtapadi’ which is played according to the rhythm of the instrument Idaykka from All India Radio, Calicut. He was conferred the scholarship for research in music in 2001 and and it published by Kerala Saahithya Academi, entitled ‘Kerala Sangeetham Kettathum Kelkkendathum ‘ Melodies of Kerala; heard and to be hear. In December 2004 Hari received ‘BOSTON WORLD YOUTH CULTURAL AWARD’ which announced his international recognition. He has given a new vocal style to Sopaana Sangeetham by singing his own songs according to occasions. He has published many articles based on his music in different periodicals. Yathibaakki’ The rest of the ascetic is one of his own Malayaalam short story collections, which was released in 1999. He is also experienced as a News reporter and News editor in various cablevision channels. For fulltime devotion in the field of music Hari sacrificed his teaching profession in January 2004.
In 1999 January 29 he married Maaya, who is an M. Sc. B. Ed. Graduate in Mathematics from the village named Aanamangad and they have got a daughter named Sree Lakshmi . So far he has sung and presented his artistic talents in different stages in and outside the state, gradually becoming an expert in this field. By January 2008 he will have completed 2131 stages. This young man has appeared on all the Malayaalam television channels with his enchanting music. He acted in a Malayaalam tele film done by M.G.Sasi named "Anubhavangal" Experiences in 2004.Hari appeard as an actor and playback singer in the film”Adayaalangal” which got the best film award of Kerala state in 2007. Hari’s voice is also used in the music album named ‘ THE SOUL OF ANAMIKA IN BLACK AND WHITE’ done by Mr. Shahbaas Aman, the tele film ‘KAALAM’’ Time about Pallavoor Appu Maaraar by Mr. Raamachandran KELI Bombay and in the documentary film Idaykka done by Bhagath (news reader - India vision ). Hari has a unique style, which is obvious in all his performance. He has already become a major figure in the field of Sopaana Sangeetham also known as ‘Kottippaadiseva’ and ‘Bhajanam’. His name is established as the only youth who promotes and renovates Sopaana Sangeetham which was confined with in the temples to the wide arena of audience without the limits of caste, creed, religion and language.By the year 2007 onwards he expressed his vision to known as “PAANAN”.This word simply means singer.He also describes that its not a caste name but a honour to the singers which had given in ancient Kerala by the rulers.Through this name he likes to uplift the standard of original Kerala singers and a deep discussion.Hari also composed many songs,Theme music and composition for Mohiniyaattom. 2007 onwards his audio Cds are available published by MC audios and godsownheritage.com Thrissur.
About his presentation
In an hour long stage performance, normally he sings the Sanskrit lyrics taken from ‘Geetha Govinda’ or ‘Ashtapadi’ by the famous poet ‘Jayadeva’ and the Malayaalam lyrics which praises the gods and goddesses like Ganapathi , godess Saraswathi, ThirumaandhaamKunnilAmma, lord Shiva, Ayyappan etc. He includes his own songs about nature (Maamala naade……,Vandhe Nilaa nadee……..,Thaththi thaththi nadakkuva….), the Onam festival, communal harmony etc. There used to be 8-9 songs in one normal presentation. Usuallyhe plays Idaykka along with his songs a very rare talent in this area. , Hari uses the instrument named ‘Chenggila’, If another artist plays Idaykka, along with his song. Even though it is a purely temple art form Harigovindan gets more opportunities outside the temple like educational institutions, marriage functions, birthday celebrations, art festivals, award functions etc. He has done many demonstration classes based on this instrument and music. Usually he conducts these classes for half an hour. He is also an invitee as an inaugurator of many functions. Now he resides at the village named Paalakkode in Valamboor of Perintalmanna taluk in Malappuram district of Kerala state with his family . His mother, four brothers and two sisters are still alive. His younger brother Aananda Shivaraman is the only person in the state who can make the instrument ‘Idaykka’ in its complete structural form.
The idakka (Malayalam: ഇടയ്ക്ക) is an hourglass-shaped drum from Kerala, south India. They are very similar to the damaru which is found throughout India. Where the damaru is played by rattling knotted cords against the resonators, the idakka is played with a stick. Like the damaru the idakka's pitch may be bent by squeezing the lacing in the middle. It is slung over the left shoulder and the right side is beaten with a stick. The left hand is used for tightening and loosening the tape wound round the middle. Varying the tension of the tape produces variations in tones. Simple melodies extending over one octave can be played in this instrument. The Edakka is one of the five instruments that constitute the panchavadhyam of Kerala.
The Idakka is considered to be a Devavadyam (a very auspicious instrument). During pooja time it is the custom to play the Idakka as an accompaniment to singing.
In Kathakali, the Idakka is played when a female character holds the stage (when the Chenda is not played). In Koodiyattam, the Idakka gives good support to the Mizhavu (the pot drum).
The Idakka is an indispensable accompaniment for other dance forms, most notably Mohiniyattam and Krishnanattam. It has become an accepted member of several dance troupes outside Kerala.
Of all the tradititional instruments of Kerala, Idakka is regarded as the most difficult to learn and master.There are many institutions in Kerala where Idakka and other instruments are being taught.Majority being situated in Central Kerala(Ernakulam and Thrissur districts).
Of the current lot of Idakka artists, the most famous include Thiruvilvamala Hari,Tripunithura KrishnaDas, Chottanikara Subhash Marar(also an expert in Timila),Tichur Mohanan and Chendamangalam Unni. The one name which is always synonymous with Idakka and Sopana Sangeetham is the Pallavur Legend - Pallavur Appu Marar.
Divinity of Edaykka Edaykka is a divine instrument, especially when it is presented at sopanam, during Pooja sessions. It is performed solely, or accompanied with the divine music, SopanaSangeetham during Poojakottu. Its of no doubt that Edaykka basically is a drum-based-music-instrument. But the beliefs-associated with it, and athmosphere which presents Edaykka-Music, creates an overall Bhakthi mood, both in presenter as well as the audience, which brings out the divinity charecterestics associated with this instrument. Some divinity factors are listed below. 1. The two faces of Edaykka represents Sooryan (SUN)and Chandran(MOON). 2. The central-stem(Cylindrical shaped part) forms the Shareeram(BODY). 3. Two Strings at the Edge forms, Jeevaathma and Paramaathmaa. 4. Six holes thru which the faces aare knotted togather resembles Six saasthraams(Sciences) 5. Four Jeevakkols (punched in between the chords) resembles four Vedas. 6. 64 Podippu refers the SixtyFour Kala(Artforms). 7. The Tholkacha(One used to hang the instrument in presenters sholder) refers to Sivanaagam(The holy snake of LordShiva).
As one presents Edaykka from sopanam(Divine steps before the Sanctum-Santorium), he keeps in mind that all the above are whole-heartedly and completely devoted to the Moorthi(Almighty) in the srikovil(Temple Shrine)
There are people who does'nt agree with above factors, and would like to callt Edaykka as just like any other Drum-like Musical instruments. But, any Edaykka performer in temple strongly beleives all the factors listed above, and presents the Music-beats on Edaykka in front of his Lord during Pooja session. The discussion is not like, If Edaykka is divine or not!! Rather it is more like, How strong your beleifs are..
Duel-Aspects of Edaykka Edaykka is a KottuVaadyam(BandBased) as well as a GeethaVaadyam(MusicBased). It acts as in former classification when in Panchavaadyam, Idaykka Thaayambaka etc.. and as in later during Mohiniyattam, or Fusion sessions. There are very few such instruments in the world with such distingt and diversified appl.levels. Performers like Thiruvilwamala Hari, Tichur Mohanan, and Thiruvilwamala Jayan uses the first aspect, While the Exponents like Nandakumar, Krishnadas etc uses the second one. Also, Sri. Thiruvilwamala Jayan is one among very few artists who performs Thaayambaka on Edaykka.
Edaykka and Sopanasangeetham A discussion on Sopanasangeetham goes along with talks on Edaykka. Its a divine music sung in front of Sopanam, along with Edaykka beats, (and at times Chengila(A metalic instrument)), consisting of various Keerthanam(Rhymes) about the currosponding temple-moorthi. GeethaGovindam, written by KaviJayadeva is also presented as Ashtapadi, in Sopanasangeetham. Marar and Poduval are two castes(Hindu Ambalavaasi) privilaged in doing this art performance. Njeralathu RamaPoduval, Pallavoor AppuMarar and Aalipparambu SivaraamaPoduval are some past maestros, and N P Ramadas, Ambalappuzha Vijayakumar etc are some future expectations in this divine music stream.
