In his element
JAYARAMAN V
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Kallekulangara Achuthankutty Marar prefers to let his artistry speak for him and his school of thought.
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There are many talented youngsters. But they are being led astray by their penchant for imitation.
STICKING TO TRADITION: Kallekulangara Achuthankutty Marar
He is humble, unassuming and genial, both on and off the stage. He has his own views on the art of Thayambaka but he chooses his words carefully lest it should disturb his luminous contemporaries in the field. That is Kallekulangara Achuthankutty Marar, a chemistry graduate from Victoria College, Palakkad. But when he plays the chenda, this soft-spoken man makes his beats heard loud and clear.
His performance at Ravipuram Sree Krishna Temple, Kochi, was orthodox in nature but tempered with improvisations, in keeping with the esoteric framework of a solo chenda recital. To those who remember him making his maiden appearance as a stripling at the festival at Sree Poornathryeesa Temple about two decades ago, it came as a pleasant surprise to discover that he has not made any compromises to play to the gallery. When many stalwarts in the field are plagued by a sag in the tempo during the crescendo, Achuthankutty keeps the pace on an even keel till he takes it to a thrilling finish.
However, the modest musician points out that he too has his own strengths and weaknesses. But he adds that a firm grounding in music that was instilled in him by his father, Kallekulangara Govinda Marar, Mankurissi Appa Marar (Nilakanta Marar) and the titan Chithali Rama Marar has helped him a great deal.
Marar is proficient on the thimila and can ably provide the beats for various temple rituals in addition to participating as frontline Melam performer for Thrissur Pooram (Thiruvamabadi) and Guruvayur temple festival. He believes that improvisations that flout the classical structure may impress untrained listeners but it may not be welcomed by connoisseurs of music. Hence he always tries to strike a balance between the two.
Definition of Thayambaka
How can you define Thayambaka? He explains: "The word `Thaayam' may stand for `dual' and also for `Thaalam.' Since sequences containing unit measures are doubled up in a progressive fashion known as `Vaka,' Thaayam plus Vaka came to be called Thayambaka. When you give emphasis to the term `Thaalam,' the interpretation could be that Vaka merges with the prescribed Thaala structure, thus it too becomes Thayambaka."
According to Achuthankutty, "There are many talented youngsters. But they are being led astray by their penchant for imitation. They should observe their elders style of performance and then evolve a style of their own by doing rigorous practise and by identifying the realm in which they are found wanting."
Regarding the `Triple Thayambaka,' he feels that the threesome should be of the same kalari and practise together for such a performance to have the desired effect, technically as well as aesthetically.
N. P. Vijayakrishnan, who has authored a book on Kallekulangara Achuthankutty called `Thayambakayute Rasathanthram' (The Chemistry of Thayambaka) points out that the maestro is too preoccupied during his performances and thus fails to note the reaction of his audience. He feels that, at times, Marar gives the impression that his spontaneity is shrouded by his pre-conceived notions as to what should be the form of an ideal Thayambaka in which aesthetics get less focus than the traditional idiom.
Yet, Marar is a sought after maestro because of the element of dependability in his performances. But he never hogs the limelight and prefers to be a team player during a double or triple Thayambaka. This is something Kallekulangara Achuthankutty needs to take care of, Vijayakrishnan emphasises.
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