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.