Had there been a certification scheme for the temple arts, Paanivaadhyam (Paani) would have been tagged the ‘Gods Only’ breed. For, here’s the percussion pattern of Kerala which is exclusively the god’s domain. Performing arts were originally conceived to pay obeisance to the almighty. Later, many of them gained popular appeal and fanned out of the temple precincts. A few of them still remain in the groove. To this offbeat genre belongs Paanivaadhyam.
Paanivaadhyam is highly ritualistic. Perfection is its forte. Even a minor flaw is inexcusable and is considered disastrous. Marars, the traditional performers, undergo extensive and rigorous preparations like fasting. They also observe strict protocols and dress code on par with the temple priest. Before getting into action, the lead performer seeks the permission of the temple’s presiding deity and invokes Lord Ganapathy a well.
Paanivaadhyam, according to the belief, is the symbolic invite to the celestial deities to participate in select temple rituals and annual festivals. The custom is not in vogue in all the Keralite temples. The sounds, viz. Tha-Thom-Thai, the percussions produce denote tantric salutations. The ascending scale has 64 beats and the descending 32. The beats are set to specific intervals and the performer has to memorize all the details.
The ingredients of Paanivaadhyam include two mini dholaks called ‘Maram’ (Wood), Chengila (Gong) and Shanku (Conch). The drummers stand face to face. The conch is blown at the beginning and close of the ritual. Both the drum heads are of equal size like the Keralite percussion, Madhalam and have the same pitch. The drum heads are made of calf skin and are played with plain hands (no stick is used). The body of the Maram is made of Jackfruit, red sanders or Kanikonna (Cassia fistula) wood. There is another variation of Paanivaadhyam which features Thimila (Another percussion particular to Kerala) in place of Maram. The Maram version is called Valiya (Big) Paani and the other the Thimila Paani. The former is more profound in nature. There are regional deviations (North and South Kerala) and traditional shifts (Saivam and Vaishnavam)
There is nothing in Paanivaadhyam that appeals to a connoisseur. All that one observes is the intermittent and isolated drum beats that break the hour long silence. Still some artistes learn and perform this ritual out of sheer devotion. But the nuances of this ritual need to be handed down the generation, if the tradition is to survive.
#kerala#percussions#paani#festivals#rituals
K.V.Murali Mohan
A passionate freelance writer and ardent communicator - Double Post Graduate in communication subjects -Recipient of Kulapati Gold Medal and TKM Rao award in Journalism - Credited with four decades of literary pursuit spanning over 300 plus articles in national and regional publications.
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