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Photo: S. Ramesh Kurup

Swan song: Kalamandalam Sankaran Embranthiri’s music was a faultless blend of melody, emotions and aesthetics.

The stylisation and experimentation initiated in Kathakali music by Mundaya Venkitakrishna Bhagavathar (1881-1957) blossomed in full through his disciple Kalamandalam Neelakanthan Nambeesan (1920-1985). Nambeesan was the mentor of a group of talented Kathakali vocalists such as Unnikrishna Kurup, Gangadharan, Rama Varrier, Embranthiri, Hyderali, Madambi Subramanian, Thiroor Nambeeshan and Venmani Haridas.

It was in this ambience that the advocates of a new renaissance in Kathakali music – Embranthiri, Hyderali and Haridas – emerged. The trio redefined the aesthetics of Kathakali music. Subsequently, Embranthiri teamed up with Haridas and the celebrated duo wowed audiences with their aural magic. Even after Haridas’ and Hyderali’s demise and despite his health problems, Embranthiri continued to perform. His last recital was a Kathakali pada kutcheri at Changampuzha Park in Edappalli. It was a tribute to Guru Neelakanthan Nambeesan.

Emrbanthiri, who hailed from Malappuram, learnt Carnatic music under Govinda Pisharody for about three years. In 1957, he became a student of Kalamandalam and was trained by Sivaraman Nair and Neelakanthan Nambeesan.

“It was poverty that landed me in the world of music and later forced me to enrol in Kalamandalam,” he used to reminisce.

His fans used to find it hard to believe that this outstanding singer had graduated from Kalamandalam with average marks. In 1965, he joined Unnai Varrier Smaraka Kalanilayam at Irinjalakuda as an instructor in Kathakali music and it was during this period that he groomed Kalanilayam Unnikrishnan. In 1970 Embrandiri joined FACT Kathakali School.

What changed his destiny was his dedication and hard work. His uncompromising stand on abhinaya sangeetam and his desire to learn helped him become a strong presence in the world of Kathakali music that was dominated by his guru Nambeesan and other senior singers. In a way, Embranthiri was his own mentor.

Embranthiri succeeded in winning many fans by tapping the scope of gamaka in his executions to evoke contextual bhavas that were unsurpassable. Knowing the limitations of his vocal chord and the state of his health, he stressed more on the mantra and madhya sthayi and delved into the emotional ambience of each libretto.

He infused music into the expressions and gestures of each actor that he had sung for. Stories such as ‘Nalacharitam,’ ‘Karnasapadham,’ ‘Rugmangadacharitam,’ Kuchelavritham,’ ‘Keechakavadham’ and ‘Santhanagopalam’ attained melodic heights when sung by Embrandiri.

Indisputably, his music was a faultless blend of mellifluousness, emotions and aesthetics. Verses such as ‘Madhava jayasoorya’ of ‘Krimeeravadham,’ ‘Ajita hare’ of ‘Kuchelavritham’ (Sriragam), and ‘Nada bhavacharana’ of ‘Santhanagopalam’ (Devagandhari) were soaked in bhakthi when he sang them. His rendering of verses such as ‘Marimankanni’ (Dwijavanthi), ‘Kundina nayaka’ (Kalyani) and ‘Oorjita asaya’ (Kamboji) of ‘Nalacharitam’ and ‘Sukhamo devi’ (Nattakurunji) of ‘Lavanasuravadham’ motivated both the actors and audience.

While he continued to progress as an artist, his health took a turn for the worse. At the peak of his artistic career, Embranthiri had to undergo several surgeries. One of his legs was amputated and both his kidneys were transplanted. His vision was severely impaired. But the maestro had said: “I think I have the blessings of all the Gods; imagine if I had lost my voice instead.”

With the demise of Embranthiri at the age of 63, ends another chapter of renaissance in the modern history of Kathakali music. Although several State honours, including the prestigious Swati Puraskaram (2004) was awarded to him, like many other maestros in Kathakali, he was deprived of any kind of national honours.

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