In memory of a maestro
V. KALADHARAN
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The first Venkichan Swamy Smaraka Puraskaram was given to scholar and connoisseur of music A.S.N. Nambeesan
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ACCOLADES: A.S.N. Nambeesan receiving the Venkichan Swamy Smaraka Puraskaram.
Connoisseurs of yore used to quote a line from a Kathakali play - `Eathorupurushanedo Ennodu Nerppan?' - while describing the percussion wizard Thiruvilwamala Venkichan Swamy. His mastery over the chenda and the maddalam helped him restructure Kathakali Melam and Panchavadyam in the early twentieth century.
By repositioning the maddalam, he played the instrument with both hands.
A wide variety of ennams and chollus bloomed from both ends of the maddalam. This horizontally held percussion has since been a significant presence in Panchavadyam and Kathakali Melam. To honour this maestro, Kshetra Kalaaswadaka Samiti has instituted an award in his name from this year. The Kalady-based Samiti is devoted to promoting indigenous music.
The Venkichan Swamy Smaraka Puraskaram is for writers and critics who have made substantial contributions to the cause of Kerala's traditional arts. This year, A.S.N. Nambeesan, an accomplished scholar of temple-music and author of an authoritative book on the indigenous music traditions, was selected for the award. In a function held at Puzhakkarakkavu Temple auditorium at Muvattupuzha, M. Madhavankutty, secretary of Thiruvambadi Devaswom, Thrissur, presented the award to the octogenarian scholar.
A.S.N. Nambeesan is the inheritor of a great legacy in percussion-music. Nambeesan is hailed as the composer of Vaadyamanjari, a percussion-ensemble. Incidentally, Nambeesan is a born nonconformist who often takes on traditionalists with a rare logical acumen. He became the centre of a controversy for upholding the irukol panchari introduced by his favourite artiste, Mattannoor Sankarankutty, in the Pancharimelam. Whether one agrees with Nambeesan or not, no one can deny his zest for experimentations in percussion-music. The present recognition acknowledges his contributions in this regard too.
An unusual treat
After the function, Kalpathy Balakrishnan and his colleagues began mesmerising the audience with a Thayambaka recital. From a crisp manodharmam in the mukham, Balakrishnan moved to the pathikaalam in which the ennams emanated with clarity, precision and power. His manodharmams in the nila were awe-inspiring. True to the east Palakkad taste, Balakrishnan eloquently played the adanthakooru, the piece-de- resistance of the recital.
Kalpathy Balakrishnan is the centre of attraction.
The final Irikita had a small segment of ettichurukkal that showed his inimitable command over rhythm and saadhakam.
Switching the stick from the right to the left and from the left to the right hand sporadically, Balakrishnan captivated the audience.
The programme was a befitting tribute to the two geniuses whose enduring creativity has survived the test of time.
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