AMRITHAVARSHINI and AMRITHAVARSHINI team and team on the national percussion. | Photo Credit: Kk Najeeb
A session called “Pennkaalangal”, which means “female rhythms”, attracted on Saturday the second day of the National Festival organized by Keral Nataka Academy wrapped audiences.
The session began with a captivating address Mohiniyattam Exponent and scholar Deepti Omechery Bhall, who revived the poetic beauty of Mohiniyattam’s Padavarns, joined the soulful voice support of Suprabha of Keral Kalamandalam.
Amritavarshini, a bold presence in the tradition of Thvil -controlled men, led a live ensemble called Yuvaathalathatharangam. Its powerful power was set on the pulsing stage. The platform was more than the stage – it was a significant confirmation of the rhythmic breakthrough of Mrs. Amritavarshini in the patriarchal area.
Change and recovery
Margamkali, one bastion of male artists, was added to the tapiseria of resistance and reclamation. With Akhila Joshi, Sibi Paul and the Kormido team, the presentation was a statement of change and revival.
From the traditionally artistic art of Thullala dominated by a male dominant feature with a strong performance Kalamandalam Sarmila and Troupe got into the center of attention and turned the form into a space for gender claims and narrative justice.
In the tabla Mumbai’s Mukta Raste, the rhythm did not know the sex. Her commanding tabla recital, accompanied by Santosh Ghande to Harmonium, was another resonant statement of female prowess.
The slot session culminated in an exciting thayambaka led by Nandini Varma and the team. At a time when women were missing in Chenda performances, Mrs. Varma carved a niche through a mere determination and gravel. Her journey reflected the struggles and triumphs of countless percussionists.
Pennkaalangal was not just a meeting. It was the Academy’s sincere recognition of women of percussionists, a rhythmic rebellion against the patriarchy, and an ode to every woman who dared to beat the drum and get her space back.
The second day of the percussion festival began with a mixing performance that resisted time and age. The stage in the Murali Theater came alive with majestic rhythms of Panchari Meam, led by no one other than 80 -year -old Therozhi Ramakuruppu and his ensemble.
Youthful bark
With the pulsating spirit who believed his age, Mr. Ramakuruppu Chenda took the performance with a youthful enthusiasm. When the first rhythms echoed through the theater, the sound and visual splendor of Melama captivated the eyes and hearts.
Mr. Ramakurupp, who came to the venue, was warmly welcomed by the chairman of the Mattannur Sankarankutty and the secretary Karivellur Murali, who accompanied him with a proper honor.
Panchari Melam, faithful to its classic form, has developed in five rhythmicphase. It started at a slow pace and grrally to the creation of Thoderoous culmination in the fifth phase. Each phase was held by the Master of the Percussionists: Cheranllur Sannahcane Mara, Tirvalla Radhakrishna Mara, Porsur Haridas and Kamithiruth Uni Nair lead the second to Fith segments. The ensemble included Chenda led by Maestro Kizhakkot Cuttan Mara, turmeric led by Panamann Manoharan, combos unni Nair and Ilaatalam Asisad SHASHIM, Aong with their relevant teams.
The remarkable 118 percussionists joined the stage together in the perfect harmony and turned the performance into a live sculpture of sound and movement. With each synchronized rhythm, the crowd was attracted deeper into the spirit of Meam. The powerful performance was not just heard – it was felt.
Published – 12 July 2025 20:58
