KUTTIKKUNJU THANKACHI - INTREPID PIONEER

                                                                        (post by Madhavi Ramkumar)

© Madhavi Ramkumar

Let us take a trip back in time to the nineteenth century and the kingdom of Travancore in South West India. In Thiruvanthapuram is an abode known as ‘Kizhakke Mațam’ which belongs to an illustrious and aristocratic family. On an ornate, painted cot reclines a lady tugging at a ‘punkah’ with one hand. However, she is anything but relaxed or lethargic. She dictates, to younger members of the family, literary works suffused with originality, erudition and beauty. She is a great scholar and master of both Sanskrit and Malayalam. She is passionate about Kathakali and Mohiniattam, and conducts a class for Thiruvathira, a dance form performed by groups of women in Kerala. She is also an accomplished musician, regularly tunes her thambura to the six ‘kattai’ sruthi and sings to its accompaniment. The instrument itself is remarkable, made of glossy black wood and smaller than the regular thambura, with the top carved in the shape of a serpent’s hood.

This extraordinary woman is Kuttikkunju Thankachi, daughter of one of the greatest of Malayalam poets, composers and Kathakali playwrights, Irayimman Thampi. It would be difficult indeed to find another such pair in the literary annals of any language.  Irayimman Thampi, himself was the grand nephew of Maharaja Karthika Thirunal, who made invaluable contributions to literature and Kathakali. Kuttikkunju Thankachi, born into this family in the year 1820, grew up in an atmosphere redolent with cultural and intellectual influences of the highest order. Her contributions to literature, music and Kathakali are sufficient to accord her a preeminent position in the cultural history of Kerala in particular and of South India in general.

The fact that Kuttikkunju Thankachi was among the earliest of women composers, if not the earliest, in Carnatic music has gone largely unnoticed. Classical compositions with pallavi, anupallavi and charanams set to ragas and thalas in the Carnatic mode are part of the priceless legacy left behind by her. Given her affinity for and felicity with the medium, it is possible that she composed a large number of songs, but only a few have come to light.  These include the Malayalam krithis ‘Kathyayani Mam Palaya’ in Kamboji raga and adi thala, which is in praise of Devi, the presiding deity of the temple at Palkulangara in Thiruvananthapuram. ‘Samajahara Hare’ in Kalyani raga and adi thala pays obeisance to Lord Adikeshava of Thiruvattar which was in South Travancore and is now in Tamil Nadu.  ‘Anandarupa Hare’ in Panthuvarali raga and chapu thala is about Lord Krishna, the deity of the Malayinkeezhu Temple, in the suburbs of Thiruvanathapuram. ‘Sri Pavanapuresha Pahi’ in Surutti raga and adi thala reflects the composer’s deep devotion to Lord Guruvayurappa. Her Sanskrit compositions include ‘Suryakotiprabhamakute’ set to Natta raga and chapu thala and ‘Pahi Mohanakrithe’ in Khamas and adi thala. Unfortunately even the few mentioned here are rarely included in music concerts today, including by musicians in Kerala.

Much scholarship and command over language, literature, music and dramaturgy are required for the creation of a Kathakali play. That Kuttikkunju Thanakchi made successful forays into the male bastion of Kathakali authorship more than a hundred years ago testifies to her indomitable spirit and dynamism. Her three Kathakali plays ‘Parvathi Swayamavaram’, ‘Shrimathi Swayamvaram’ and ‘Mithrasahamoksham’ have been hailed as repositories of poetic excellence. The first narrates the story of Parvathi’s wedding to Lord Shiva, the second deals with that of Shrimathi, daughter of Ambareesha, and the third with the salvation of the King Mithrasaha from the Mahabharatha. Kuttikkunju Thankachi’s extensive knowledge of the classics is evident from the choice of subjects. The shringara padams penned by Kuttikkunju Thankachi have been cited as examples of her aesthetic and lyrical acumen. The plays also incorporate a variety of characters representing the diverse costumes in Kathakali, and incidents and emotions that contribute to visual impact on stage. Of the three written by her, ‘Parvathi Swayamavaram’ is considered especially stage worthy and dramatic. Regrettably, again, they are rarely, if at all, performed today.

Kuttikkunju Thankachi’s works comprise diverse genres such as the Thiruvathira songs ‘Shivarathri Mahathmyam’ ‘Seetha Swayamvaram’ and ‘Naradamohanam’, and the Kurathi songs ‘Kiratham’ and ‘Nalacharitham’. Her poems ‘Thiruvananthapuram Sthalapuranam’ and ‘Vaikkam Sthalapuranam’ belong to the category known as ‘Kilippaattu’, while ‘Gangasnanam’ is a ‘Thullal’ and ‘Ajnathavasam’ a play.

Kuttikkunju Thankachi considered her father Irayimman Thampi her primary guru and states as such clearly in some of her works. She was further tutored by renowned scholar Haripad Kochpilla Warrier, who also taught Maharaja Swathi Thirunal, Her contemporaries were deeply impressed by her scholarship and command over Sanskrit and Malayalam, and the kings of Travancore right from Swathi Thirunal down to Srimulam Thirunal showered her with many gifts and honours. Kuttikkunju Thankachi deserves to be feted and celebrated far more than is being done now, especially in view of the fact that she was a pioneer in many ways. At a time when few women engaged in creative pursuits, she had the courage and dynamism to write and create original works that were acclaimed by her peers. Her abiding interest in the classical arts including music and Kathakali and in varied categories of poetry and folk arts bear testimony to her multifaceted genius. When she passed away in the early twentieth century, she left behind a substantial body of work that could serve as a source of inspiration to all aspiring creative artistes.

Every year International Women’s Day is celebrated with great fanfare. Certainly Kuttikkunju Thankachi deserves to be held up as a role model for all women, especially those seeking excellence in the creative fields. That she chose to occupy herself with intellectual and artistic endeavours of such quality and rigour is a testament to her brilliance and dedication. It is sincerely hoped that her invaluable contributions will be recalled and revived and that her works in different genres will gain wide currency among performers and connoisseurs alike. That would no doubt be the greatest tribute to this outstanding litterateur and intrepid pioneer.

Image source: Wikipedia

VOICE CULTURE AND CARNATIC MUSIC

 (post by Madhavi Ramkumar)

© Madhavi Ramkumar

The significance of the human voice in Carnatic Music has been the subject of much debate and discussion. It is often regarded as a mere vehicle for communication of musical ideas, and of no great significance or importance in isolation, in direct contrast to many other systems of classical music including Hindustani and Western, which lay great emphasis on culturing and conditioning the voice to its utmost potential.

This is not of course to suggest that Carnatic Music neglects the voice in its entirety. A good voice is regarded, by many, as a divine gift, and special efforts to enhance its quality deemed unnecessary.  While a naturally rich and pliable voice is certainly a major asset, prescribed ways to aid and improve voice quality need to be practised diligently, much like an athlete exercises to improve physical fitness, agility and flexibility.

That artistes with less than perfect voices have attained the pinnacle of success in Carnatic Music may seem an anomaly. Lack of a strong or pleasant tone and limited range and flexibility have been overshadowed by the primacy accorded to other factors such as adherence to tradition and rhythmic expertise. The very essence of the idiom, its ragas and compositions, its distinctive use of gamakas, and the immense scope for individuality and improvisation, coalesce to create an identity that many consider to be beyond mere felicity of voice. Such is the genius of the system that the quality of these ingredients provides the aficionado with intellectual stimulation and aesthetic pleasure, and the voice, apparently, pales into insignificance.  The sheer beauty of the concepts themselves would seem to condone lapses in their presentation.

There is also a converse argument that such are the demands of the style that it is difficult, if not impossible, to achieve and preserve voice quality comparable to, for instance, that in Hindustani Music. The sheer weight of the gamakas, for example, calls for much effort in their articulation. It is often contended that Carnatic Music is only for a select audience, the nuances and intricacies of which can only be appreciated by a select few. Inclusion of gamakas prescribed for the raga, delineation of the precise aural curve required, and incorporation of the mandatory minute microtones take precedence over beauty of the voice.  A raga like Thodi cannot be rendered effectively without consideration to these aspects, however captivating the voice may be.

However, there is much to be gained by paying more attention to the subject.

There is no gainsaying the fact that the voice is the first thing that a listener hears and reacts to. A clear, steady and refined voice, without the occasional bleat, wobble and quiver, one that maintains its timbre in all three octaves, is unwavering and capable of sustaining itself in the execution of extended notes, would only underscore and accentuate the wonderful attributes of the highly evolved and sublime art form that Carnatic Music is. As a system it holds within itself immense capacity to touch the head, the heart and the spirit, and the voice is the vehicle that carries it to the listeners, irrespective of whether they are connoisseurs or laymen. Sadly, uneven tone, lapses in sruthi alignment, inconsistencies in voice production, and sometimes un-aesthetic modulation, imperfect enunciation of vowels and syllables in both raga alapana and the rendering of compositions, seem par for the course.

 A performance is the culmination of years of learning and rigorous practice. It calls for many tangible and intangible elements including great presence of mind, a razor sharp memory, improvisational skills based on a solid grounding in the system, and rhythmic expertise. The amalgam creates an experience like none other. And it is the voice that conveys all of this to the listener. Each voice is unique, with strengths and weaknesses that are peculiar to it. It is therefore imperative that greater emphasis be laid on culturing and conditioning the voice to become the best that it can be. This glorious tradition of music deserves nothing less.