As Thrissur Pooram drums reach a crescendo, we recall Parisha Vadyam—the ancient rhythm that once led the gods.
Thrissur Pooram, Kerala’s grand carnival of percussion, has long mesmerised connoisseurs with its thunderous Pandi Melam, intricate Panchari Melam, and the majestic swell of Panchavadyam. But buried beneath this vibrant soundscape is an older, lesser-known tradition — Parisha Vadyam, the ritual ensemble that once heralded the arrival of the gods. While contemporary audiences revel in the spectacle of synchronised beats and soaring tempos, few are aware of this ancestral art form that predates and possibly paved the way for Panchavadyam.
Parisha Vadyam had its origin at Ramamangalam the birthplace of the legendary musician, Shatkala Govinda Marar.
Legend has it that the ensemble was performed by the ‘Paarishadas’, escorts of the Devas, during the latter’s procession. And hence the name. A ritualistic temple art, it is used during the consecration of the deity, ‘Kalasam’ (purification of idol) and ‘Utsava bali’.
Ancestral echoes of rhythm
The instruments used are Timila, Veekkan Chenda (bass) – also known as Achan Chenda – Kombu, Kuzhal, Elathalam (cymbals), Edakka and Sankhu (Conch).
There are three phases for the performance. The first is ‘Ottakkol’ (one stick) on the Chenda. During this, the gap between two beats is filled with eight beats on the Timila. ‘Irukida’ is the second phase. Here, during the two beats on the Chenda, ‘ri, ki, da’ is played on the timila which will be heard as ‘ta, ri, ki, da’.
In the third phase, Chenda ‘kooru’ is played. This entails four sections of 28 beats, thus making a total of 112 aksharas. A peculiarity of Kerala percussion is the tapering of beats. Therefore, each section starting with 112 beats will enter into 56, 28, 14, 7, 3.5, 1.75 and conclude. 1.75 is played as eka tala of two aksharas.
Once Chenda kooru is finished, Irukida is repeated. At the beginning of the Kooru and conclusion of the performance, beating on the Veekkan chenda makes it highly an exciting one.
Though in temples around Ramamangalam, Parisha Vadyam is presented, it is only at Ramamangalam that the structure is maintained in its purity even now.
As for the metamorphosis to Panchavadyam in later years, the Veekkan Chenda was replaced by Maddalam, keeping all other instruments. But on an experimental basis, Kavil Sundara Marar, the leader of the contingent added a Maddalam also, though its role was limited.
The contingent had 25 percussionists who performed ecstatically to make the performance a memorable one which attracted a huge posse of admirers too.
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Read it.Very informative