Latest news with #NationalPercussionFestival
The Hindu
14-07-2025
- Entertainment
- The Hindu
The Hindu journalist receives ITFoK media award for best reporting
Mini Muringatheri, Special Correspondent, The Hindu, received the media award for best reporting (print) for the International Theatre Festival of Kerala (ITFoK) for the year 2024. Minister for Higher Education R. Bindu presented the award at the closing ceremony of the three-day National Percussion Festival on Sunday (July 13, 2025). The award carries a cash prize of ₹10,000, a memento and certificate.
The Hindu
13-07-2025
- Entertainment
- The Hindu
A thunderous finale to the National Percussion Festival
The concluding day of the three-day National Percussion Festival on Sunday offered a resounding feast for the senses, leaving percussion enthusiasts thoroughly enthralled. It was an experience that surpassed even the grandeur of Thrissur Pooram as the country's most celebrated percussion maestros converged on a single stage across various sessions. The atmosphere echoed like a thunderstorm of beats, marking a truly unforgettable conclusion to the festival. The final day programmes began with a stunning performance of Pandi Melam by Peruvanam Kuttan Marar and his ensemble. As early as morning, rhythm aficionados began flowing into the Actor Murali Theatre, drawn by the sheer anticipation of experiencing the majestic power of Mr. Marar's artistry. Once the melam began, the entire gallery was engulfed in rhythm. Some of them closed their eyes and sank into deep, meditative immersion, while others could not resist joining the beat, nodding heads, swaying arms, completely absorbed in the pulsating energy. The spectators did not just watch; they felt the performance. The dynamic intensity radiating from the stage reached straight into their hearts. 130 percussionists The power of Pandi Melam lies in its unbridled rawness, what performers describe as a celebration of wilderness through rhythm. The most captivating feature of the Pandi Melam is its use of the 'kolumpal' technique, which magnifies its primal appeal. A total of 130 percussionists joined in, delivering a thunderous performance that left the audience in awe. Another highlight of the final day was a panel discussion titled 'Thaalagopurangal: Rhythm and Cultural History,' held in the Black Box venue. Moderated by N.P. Vijayakrishnan, the session brought together percussion legends across Kerala's major rhythm traditions. On Sunday, the thayambaka performance drew percussion lovers from across the State to the Kerala Sangeetha Nataka Akademi grounds, many arriving solely to witness this rhythmic spectacle. Led by Kalloor Ramankutty and his ensemble, the performance unfolded the infinite possibilities of thayambaka, weaving a spellbinding tapestry of rhythm that resonated through the atmosphere. Beginning in a subdued tempo, the pace gradually intensified, culminating in a breathtaking crescendo that left the audience spellbound. Dynamic experience A total of 68 percussionists took part in the performance, under the direction of 22 master percussionists, creating a dynamic and immersive rhythmic experience. The audience responded in unison, not just as spectators, but as co-travellers in a powerful journey through rhythm and tempo. Bhoospandanagal, a Jugalbandhi performed by Sukhad Munde, Tejovrush Joshi and Santhosh Khande drew attention. The festival concluded with a breathtaking performance, Chairman's Symphony, led by akademi chairperson Mattannur Sankarankutty. The National Percussion Festival, organised by the Kerala Sangeetha Nataka Akademi, was an unprecedented cultural triumph, said akademi secretary Karivellur Murali. 'Held as a tribute to tabla maestro Ustad Zakir Hussain, the festival, titled 'Thathinthakathom,' made history as the first of its kind percussion-only festival in Kerala. Over 1,000 artistes took part in it, performing in front of a combined audience of nearly 5,000 percussion lovers. Despite being held during the monsoon, every performance unfolded before packed audiences, a testament to the festival's magnetic pull,' he said.
The Hindu
12-07-2025
- Entertainment
- The Hindu
Echoes of empowerment: ‘Penkaalangal' resonates at National Percussion Festival
A session titled 'Pennkaalangal,' meaning 'female rhythms,' drew a packed audience at the K.T. Muhammed Theatre on the second day of the National Percussion Festival on Saturday organised by the Kerala Sangeetha Nataka Akademi. The session opened with a captivating address by Mohiniyattam exponent and scholar Deepti Omchery Bhalla, who brought alive the poetic beauty of Mohiniyattam's padavarnnas, joined in soulful vocal support by Suprabha from Kerala Kalamandalam. Amritavarshini, a bold presence in the male-dominated thavil tradition, led a vibrant ensemble titled Yuvathaalatharangam. Her powerful performance set the stage pulsing. The akademi's platform was more than a stage—it was a resounding endorsement of Ms. Amritavarshini's rhythmic breakthrough in a patriarchal domain. Change and revival Adding to the tapestry of resistance and reclamation was Margamkali, once the bastion of male performers. With Akhila Joshi, Sibi Paul, and team at the helm, the presentation was a declaration of change and revival. From the traditionally male-dominated art of Thullal, a powerful performance by Kalamandalam Sharmila and troupe took centre stage, turning the form into a space for gender assertion and narrative justice. In the tabla segment, Mumbai's Mukta Raste proved that rhythm knows no gender. Her commanding tabla recital, accompanied by Santosh Ghande on harmonium, was yet another resonant statement of female prowess. The session culminated with an exhilarating thayambaka led by Nandini Varma and team. At a time when women were absent from chenda performances, Ms. Varma carved a niche through sheer dedication and grit. Her journey mirrored the struggles and triumphs of countless women percussionists. Pennkaalangal was not just a session. It was the akademi's heartfelt recognition of women percussionists, a rhythmic rebellion against patriarchy, and an ode to every woman who dared to beat the drum and reclaim her space. The second day of the percussion festival began with a stirring performance that defied time and age. The stage at the Actor Murali Theatre came alive with the majestic rhythms of Panchari Melam, led by none other than 80-year-old Therozhi Ramakuruppu and his ensemble. Youthful zest With a vibrant spirit that belied his age, Mr. Ramakuruppu took the chenda and began the performance with youthful zest. As the first beats echoed across the theatre, the sonic and visual splendour of the Melam captivated both eyes and hearts. Arriving at the venue early in the morning, Mr. Ramakuruppu was warmly welcomed by the akademi chairperson Mattannur Sankarankutty and secretary Karivellur Murali, who escorted him to the stage with due honour. True to its classical form, Panchari Melam unfolded in five rhythmic phases. It began in a slow tempo and gradually progressed, reaching a thunderous climax in the fifth phase. Each phase was helmed by master percussionists: Cheranallur Sankarankutty Marar, Tiruvalla Radhakrishna Marar, Porur Haridas, and Vellithiruthi Unni Nair led the second to fifth segments. The ensemble included chenda led by maestro Kizhakkoot Kuttan Marar, kurumkuzhal led by Panamanna Manoharan, kombu by Unni Nair, and ilathalam by Asiad Shashi, along with their respective teams. A remarkable 118 percussionists took the stage together in perfect unison, turning the performance into a living sculpture of sound and motion. With every synchronised beat, the crowd was drawn deeper into the spirit of the Melam. The powerful performance was not just heard—it was felt.
The Hindu
12-07-2025
- Entertainment
- The Hindu
Trailblazer in ghatam now hears beats of success
When Sukanya Ramgopal walked into the percussion scene over five decades ago, she didn't just carry a ghatam, she had for company defiance, grit, and the will to break barriers. Today, seated among legends at the National Percussion Festival in Thrissur, she smiles with grace and a quiet fire. 'Of course there was hostility,' she says. 'Percussion is seen as a male domain. But here I am, more than 50 years later.' 'Too delicate fingers' Sukanya is the first woman to play the ghatam professionally in the Carnatic tradition. Her entry into the field wasn't easy. Even her guru, the legendary Vikku Vinayakram, was hesitant. 'He said my fingers were too delicate for the ghatam. I was 12. But by 13, I had switched from mridangam to ghatam. Within six months, I was performing in small concerts.' But the real turning point came when she was around 26. At a reputed concert venue, the mridangam player refused to perform alongside a woman. 'I was shattered,' she recalls. 'That moment burned. But it also lit a fire in me. If doors wouldn't open, I'd build my own stage, I told myself.' And she did, boldly. Transforming ghatam In 1993, Sukanya shattered convention with 'Ghata Tharang', a revolutionary concept where she played six to seven ghatams tuned to different pitches. She transformed the humble, supportive ghatam into a solo powerhouse, giving it a melodic voice rarely heard before. The very next year, she doubled down on her vision launching Stree Taal Tarang, India's first all-women percussion ensemble. It wasn't just a performance group; it was a protest in rhythm, a celebration of female artistry that dared to defy a deeply male-dominated space. 'I wanted to pull the ghatam out from the shadows, from the margins, and place it at the centre stage,' she says. And she did. Audiences across India and abroad gave her standing ovations, clapped for every intricate swara pattern. Recognition poured in. But even today, she points out, the field remains a male stronghold. 'Few women take up percussion. The opportunities are rare, recognition even rarer.' 'Art above barriers' Her message to aspiring women percussionists is clear: 'There may still be stigma. You may be pushed aside. But you have to carve your own niche. Don't wait for a place, create it.' Art, she believes, must rise above barriers. 'There should be no discrimination, no gender, caste, religion, or colour in art. The soul of art is humanity.'
The Hindu
11-07-2025
- Entertainment
- The Hindu
Three-day National Percussion Festival kicks off in Thrissur
The National Percussion Festival — titled Thathinthakathom — organised by the Kerala Sangeetha Nataka Akademi began on a rousing note in Thrissur on Friday. Dedicated to the legendary Ustad Zakir Hussain, this is Kerala's first-ever national-level percussion festival, showcasing a wide range of Indian rhythm traditions over three vibrant days. Although the akademi has been organising numerous programmes dedicated to music and theatre, this is the first time a grand festival has been exclusively curated to celebrate percussion, said Mattannur Sankarankutty, Chairman of the akademi. 'The percussion festival is a magnificent confluence that showcases a rich variety of percussion instruments that form the backbone of the State's rhythmic heritage. Designed like a string of beautiful pearls, the festival seamlessly weaves together Kerala's native percussion traditions with other indigenous and national percussion forms, representing a vibrant tapestry of India's diverse rhythm cultures to the world,' he said. This historic event brings together diverse percussion traditions from across India, offering a grand celebration of rhythm, sound, and tradition under one roof. Actor Murali Theatre was packed with rhythm enthusiasts from morning itself. Designed as a unique blend of melody and rhythm, a soulful Idakka performance led by Peringode Subrahmanian and team opened the three-day festival. Beginning with the resonant call of the conch, the performance evoked a range of emotions and expressions, captivating the hall. When rhythm beats from the heart, its energy moves the entire body—and that was precisely the experience of Melappadam performed by Kalamandalam Unnikrishnan and team. Melappadam brought together melodic instruments and percussion in perfect synergy. More than just a percussion performance, Melappadam became an immersive musical experience that left the audience moved and inspired. In an electrifying celebration of rhythm, the performance Double Thayambaka on Mizhavu captured the hearts of percussion lovers. Every beat reached the hearts of the audience, offering a rare chance to witness the intricate beauty and power of Kerala's percussion heritage up close. The afternoon sessions featured Sinkari Melam by the Kollannur Aattam Kala Samiti followed by presentations and explanations of rhythmic patterns in Arjuna Nritham and Garudanthookkam. Tribal percussion performances by Malappulaya tribe of Idukki and Irular tribe of Attappady were a different experience. It was followed by the traditional Muttum Viliyum art form led by Ustad Muhammed and team. The festival was formally inaugurated by Akademi Chairman Mattannur Sankarankutty by performing 'Thappu', a traditional percussion instrument. Akademi governing committee member T.R. Ajayan presided. Poet and lyricist B.K. Harinarayanan delivered a remembrance speech on Ustad Zakir Hussain. Festival curator Keli Ramachandran outlined the vision of the event. Sangeetha Natka Akademi secretary Karivellur Murali, Lalithakala Akademi chairman Murali Cheeroth, percussion maestro Pervanam Kuttan Marar also spoke. Thappattam, a folk dance from Tamil Nadu, performed by Thirunangai Tamilini followed the inaugural function. Kartal, the desert rhythm, by Muhammad Rafiq and Shaheer Khan and Kombupattu by Odakkali Murali and team followed. The first day programme culminated in a specially choreographed percussion performance by Mattannur Sankarankutty and group. A short film on Ustad Zakir Hussain was also screened.
