Maestro's beat
V. KALADHARAN
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Kalamandalam Kesavan has been awarded the Pattikkamthodi Ravunni Menon Memorial Award this year.
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DRUMMING UP EXCITEMENT: Kalamandalam Kesavan.
The introduction of the chenda into the `sacred domain' of Kathakali by the provincial king of Vettathunadu in the late 17th century must have raised many an eyebrow among the conservative audience.
How can this asuravaadya go hand in hand with the maddalam, the mangalavaadyam?
The chenda in Kathakali
But history proved that such apprehensions were unfounded. The chenda not only found a great companion in maddalam but established its pre-eminence as well in the musical segment of Kathakali within a short period of its entry into the field.
The 20th century witnessed the rise of legendary percussionists in Kathakali chenda like Kalamandalam Krishnankutty Poduwal. One of his disciples is Kalamandalam Kesavan, who has been awarded the Pattikkamthodi Ravunni Menon Memorial Award this year for his meritorious services to Kathakali.
Peringod in Palakkad district, the home-village of Kesavan, is renowned for giving birth to scores of acclaimed artistes in the field of classical performing arts. Neetiyath Govindan Nair, Kesavan's maternal uncle, was a well-known chenda-artiste. It was under his tutelage, that Kesavan learnt the pnemonics of the chenda.
While joining Kalamandalam as a student of chenda, Kesavan had already developed his taste for literature too along with music. At Kalamandalam, it was under Kalamandalam Achunni Poduwal that Kesavan mastered the techniques and nuances of the percussion. In the early 1960's, Kesavan, ably assisted by his colleague, Kalamandalam Narayanan Nambissan, on the maddalam, became the cynosure of all eyes during Kathakali recitals held in connection with temple festivals. Their `melappadams' preceding the first play were a delectable treat to rasikas.
In course of time, Kesavan joined the Fact Kathakali School at Udyogamandal. Here he found his new partner, Chalakkkudy Narayanan Nambissan, a percussionist par excellence. For over a decade, from 1970, Kesavan and Nambissan were unquestioned patriarchs of the percussion-ensemble in Kathakali.
Devotion and scholarship
What is that distinguishes Kesavan on stage from his contemporaries and successors? An exemplary devotion coupled with a fastidious understanding of the text and context of Kathakali plays is his strength.
His eyes, mind and hands are in perfect harmony while playing the chenda for all the Nayaka and Prathinayaka roles wielded by supreme artistes like Kalamandalam Krishnan Nair, Kunju Nair, Ramankutty Nair and Gopi. Tracing the subtle emotions of satwik characters like Nala and closely following the vigorous kalasams of the villainous and demonic characters like Raavana and Dussasana on the chenda are demanding, both physically and psychologically. Like his legendary Guru, Kesavan too has displayed his prowess in vocal music, in the composition of new Kathakali plays, histrionics and even in poetry.
He has, many a time, handled the role of vocalist in Kathakali performances. Of the umpteen new plays he has composed over a long period of time, `Ekalavyacharitam' and `Sohrab and Rustom' have won the admiration of viewers for their theatrical panache and thematic novelty. Among his poems, `Karkotakan' has some memorable lines.
Acting has always been a passion for Kesavan. He has enacted several roles in Kathakali, including that of Keechaka. He did a substantial role in the film `Maarattam,' directed by G. Aravindan. His role of a father in `Kadhanayakan,' made him a familiar face for cine buffs.
"What I did not gain during half a century of my career as a percussionist, I got by acting in this film and in the TV serials that followed," Kesavan once remarked.
Humility and cheerfulness are his hallmarks of this septuagenarian artiste who hates leisure.
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