Sreejesh Marar Polur, Calicut is performing Thayambaka. Thayambaka is of course a kind of symphony comprising one Idanthala, two valanthala, two Sruthichenda, and two or four thalam. The group starts with Sandhyavela or something similar to it. Towards the climax of this the Thaymbaka drummer enters and begins the "ennams" and goes to the manodharmas. The end is characterized by the Ganapathikkai. Normally it takes three hours and odds. It can take more time or less as per the occasion. Double Thayampaka, Treble thayambaka are duets and with three main drummers respectively. When it’s duet two idanthalas are used and in treble three idanthalas are used. Valanthala are the timer beats and “thalam” and “thaalavattom” is denoted by the striking of the Valanthalakkaran. Sruthi Chenda is an accompaniment to the Thaymbakakkaran and is with matching pitch to the Idanthala (Thayambakakkaran’s Chenda).
The use of animal skin wrapped hollow columns, to make thud sounds, might have begun during the prehistoric time itself. The drummer after using it for duration of time might have listened to the rhythm form within him, the rhythm of life - Rhythm is there in every aspect of this universe. The big bang, it’s told by the scientists, who explore into the beginning of this universe, had a rhythm, rather an impeccable rhythm. This rhythm got embedded in every living and non-living component of the cosmic body. The Thandava Nrutha in the Chidambara of every living and non-living thing of the beginningless, endless, nameless universe. Place you right palm on the bosom of yours. You can, sure, listen to this eternal rhythm. Any aberration in this rhythm, everything will become unmusical, non-enjoyable-He listened to that inner rhythm of his. Imbibed that rhythm into the animal skin wrapped hollow wooden trunk. He listened to the quality of the sound produced by striking on it. Adjusted the quality of the sound too to match it with the music of his desires. In the beginning he might have used it to scare away an approaching wild animal. Then slowly the sound became rhythmical and musical, he discovered a new talent, which has been lying latent in him. Whenever he started playing it, other human beings, animals around him, and the plants growing nearby, all shown sign of getting pleased in it. The sound produced by beating on the diaphragm made on the hollow tree trunk using dried animal skin, spurred him from within. He found it’s really good. Everything good is offered to that invincible, protecting, omnipotent, force which he later on called GOD.
The strikes were made in patterns. He prescribed definite structures and patterns to the strokes. “Melams” Thaymbaka etc were thus born.
I just make an earnest attempt mimic my forefathers. Try to stick to the path shown by them. I don’t know how far it has been possible for me to do this. I pray, bestow upon me also the same dexterity with which they have done it. I pray when I beat on the drums, let it be as pleasing to the fellow men around, fellow Inhabitants around.
Let these strokes of mine produce the most enjoyable of sounds. If these sounds are pleasing to your ears and appealing to your minds, I consider my birth has been a blessed one.
Please watch the programme and let me know how good it’s to watch, how good it’s to hear.
