IDAKKA
The idakka (Malayalam: ഇടയ്ക്ക), also spelt edaykka/edakka, is an
hourglass-shaped drum from Kerala in south India. This handy percussion
instrument is very similar to the pan-Indian damaru. While the damaru is
played by rattling knotted cords against the resonators, the idakka is
played with a stick. Like the damaru, the idakka's pitch may be bent by
squeezing the lacing in the middle. The idakka is slung over the left
shoulder and the right side of the instrument is gently beaten with a thin
curve-ended stick] It is played in temples and in performances such as
Kathakali and Mohiniattam classical dance. Similar to the talking drum, The
Idakka consists of two circular drum heads each of which is mounted within
a circular ring. The hourglass-shaped body is placed between the two heads
and lacing is used to pull the two rings towards each other, stretching
each drum head over an open end of the body. Snare-like strings made of
natural fiber are stretched across the open ends of the drum body, under
each drum head. It is not uncommon for the diameter of the drum heads to be
larger than the diameter of the body, with the result that the drum heads
are often seen mounted significantly off-center. Different pitches can be
obtained by squeezing the lacing around the instrument, which changes the
amount of tension in the skins.
A damaru (Sanskrit: डमरु, IAST: ḍamaru;. In Hinduism, the damaru is known
as the instrument of the deity Lord Shiva, associated with Tantric
traditions. It is said to be created by Lord Shiva to produce spiritual
sounds by which the whole universe has been created and regulated] In
Tibetan Buddhism, the damaru is used as an instrument in meditation
practices.. The strikers are typically beads fastened to the ends of
leather cords around the waist of the damaru. Knots in the leather can also
be used as strikers; crocheted material is also common. As the player waves
the drum using a twisting wrist motion, the strikers beat on the drumhead.
The damaru is very common throughout the Indian subcontinent. The damaru is
known as a power drum, and when played, it is believed to generate
spiritual energy. It is associated with the Hindu deity Shiva. It is
believed that Sanskrit language was recognized by the drumbeats of the
damaru (see Shiva Sutra for the sounds), and his performance of the cosmic
dance of tandava. The damaru is used by itinerant musicians of all stripes,
due to its small portable size. In the post-Mauryan period a tribal society
at Kosambi (modern Allahabad district) made cast copper coinage with and
without punchmarks. Their coinage resembles the damaru-drum. All such
coinage has been attributed to the Kosambi. Many Indian museums, such as
the National Museum, have these coins in their collections.
In the Tibetan Buddhist tradition, the damaru is part of a collection of
sacred implements and musical instrument was adopted from the tantric
practices of ancient India. These reached the Himalayas from the 8th to
12th century, persisting in Tibet as the practice of Vajrayana flourished
there, even as it vanished in the subcontinent of India.
he skull (thöpa) damaru is made from a male and female skull bone or
calvarium, cut well above the area of the ear, and joined at their apex.
Inside, male and female mantras are appropriately inscribed in gold. The
skins are traditionally cured by burying them with copper and other mineral
salts, and special herbal formulas for about two weeks. These are then
stretched and applied to the two sides, giving the skins their familiar
blue or green mottled appearance. A collar of simple brocade, or copper or
silver, has a hand-hold, and is the site of attachment of the beaters,
whose knit cover represents two eyeballs. The skulls are also carefully
chosen for their attributes and source. After the Tibetan diaspora in 1960,
they began to be manufactured in India and Nepal, with a continued
degradation of quality. Today, India is no longer a source, and their
creation and export from Nepal are banned, because of the acquiring of
human bone through illegal practices. One still does find occasionally
those with painted skins and without the proper mantras or other
characteristics.
The symbolism and energetic properties of the drums is extensive. These
human skull damaru or chang te'u are used in a wide range of Vajrayana
ritual, as a standard right-hand accompaniment to the bell, held in the
left hand. Usually used to together as an accent or punctuation during
various tantric practices, the drum can also keep time during entire
passages. For the solo practitioner, it is an essential tool, while in
larger assemblies, only the presiding Rinpoches and chant masters use them,
in concert with the long horns (radung), short horns (gyaling), large
cymbals (silnyen and rolmo) and large temple drums (lag-na).
Chöd damaru
The Chöd damaru (or chöda) is a specialized form of damaru. It is generally
larger in circumference and has a more round shape than its smaller
counterpart. The Chöd damaru is used in the tantric practice of Chod.
Drum damaru – the Asia and Pacific Museum in Warsaw
With no known antecedent, the chod is traditionally made of acacia wood
(seng deng), though a variety of woods are acceptable, as long as the tree
is not toxic and does not possess thorns or other negative attributes. Made
as a one-piece, double-sided (two-headed) bell shape, size varies from 8
inches to 12 inches in diameter. Usually featuring only a thin veneer of
varnish, so that the grain of the wood shows, they come the common red
(marpo), black (nakpo) or rare yellow (serpo) type of acacia, and are very
occasionally painted with skulls, the eight charnel grounds, or other
symbols. The waist or belt is traditionally made of leather, though often
brocades are used. A set of mantras are traditionally painted on the
interior of the drum prior to its skinning.
The pitch of the drum varies, and the tone may vary depending on
conditions of dampness, temperature and so on. Played slowly, and
methodically, the droning of the damaru accompanies the haunting melodies
and chants of the chod ritual, as of which are accompaniments for the inner
meditations and visualizations that are at the heart of this spiritual
practice. The above applies to the ideal manufacture of the damaru, and as
still described in the definitive modern work, the "Mindroling Handbook of
Vajrayana Implements". Those manufactured in India and Nepal are made of
indeterminate and cheap woods, with painted skins, often no interior
mantras, and altogether deviating from the many other essentials, as
prescribed in technical literature such as the Mindroling Handbook. Such
copies are now widespread and in use by Eastern monastics and Western
students.
The edakka is a traditional drum used in various South Indian art
forms, particularly in Kerala. It's a cylindrical drum with a distinctive
shape and sound, and its physics involves a combination of acoustics and
material science.
Here’s a breakdown of the key physical principles behind how an edakka
works:
THE PHYSICS OF EDAKKA:
1. Shape and Construction
Shape: The edakka has a cylindrical shape with slightly tapered ends. The
drum’s shape helps produce a distinctive tonal quality and contributes to
its unique resonance.
Material: It’s usually made from wood, with different types of wood
affecting the sound. The drumhead is typically made from animal skin, which
is stretched over the drum’s frame.
2. Sound Production
Vibration: When the edakka is struck, the drumhead vibrates. The vibration
patterns of the drumhead produce sound waves. The nature of these
vibrations—how they spread and resonate—depends on the tension of the
drumhead and the material it’s made from.
Tension: The drumhead’s tension is crucial for sound production. In an
edakka, the skin is often tightened using strings or straps, which affects
the pitch and tone. Higher tension generally results in a higher pitch.
3. Resonance
Body Resonance: The wooden body of the edakka amplifies the sound produced
by the vibrating drumhead. The resonance of the drum body enhances certain
frequencies, which affects the overall sound quality.
Internal Air: The internal air space within the drum also plays a role in
resonance. The air column inside the drum can interact with the vibrating
drumhead, adding complexity to the sound.
4. Sound Quality
Overtones and Harmonics: The edakka produces a rich spectrum of overtones
and harmonics. These are additional frequencies that occur along with the
fundamental frequency. The drum’s shape and material influence which
overtones are emphasized.
Articulation: The way the edakka is played—using different techniques for
striking, damping, and muting—affects its sound. Skilled players can
produce a wide range of tonal qualities and dynamics.
5. Acoustic Environment
Room Acoustics: The acoustics of the performance space can greatly impact
the sound of the edakka. Hard surfaces can reflect sound and enhance
certain frequencies, while soft surfaces might absorb sound and alter the
overall acoustic experience.
The edakka’s distinctive sound is a result of these physical principles
interacting in a harmonious way, making it a unique and expressive
instrument in South Indian music.
What does M A Krishna das world famoud edakka player?
M.A. Krishna Das is a prominent figure in the field of Indian classical
music, particularly known for his contributions as a performer and teacher
of the edakka, a traditional drum from Kerala.
Key Points About M.A. Krishna Das:
Expertise in Edakka: M.A. Krishna Das is renowned for his mastery of the
edakka, a drum integral to the classical and folk music traditions of
Kerala. His performances are noted for their technical proficiency and deep
understanding of the instrument’s intricate rhythms.
Teaching and Influence: Apart from his performance career, M.A. Krishna Das
is also recognized for his role as a teacher. He has influenced many
students and aspiring musicians, passing on his extensive knowledge of the
edakka and its traditional playing techniques.
Contributions to Music: His work extends beyond performance and teaching;
he has likely contributed to the preservation and evolution of edakka
playing techniques, ensuring that this traditional art form continues to
thrive in contemporary settings.
Cultural Impact: Through his performances and teachings, M.A. Krishna Das
has played a significant role in promoting and preserving the cultural
heritage of Kerala, particularly the musical traditions associated with the
edakka.
His contributions help maintain the rich tradition of Indian classical
music and ensure that the edakka remains a vital part of Kerala's cultural
landscape.
Among a plethora of Kerala’s percussion instruments, the edakka is
exceptional in many respects. Shaped like an hour-glass, the colourful
threads that pass through its leathersurface, four jeevakkol and 64 four
podippus (cotton-balls hanging beneath the wooden frame) provide the
instrument a striking appearance. Acharyas of yore have attributed the four
jeevakkol to the four Vedas and the sixty-four podippus to the 64 art
forms. While the slender stick with which the Marar/Poduval plays it weaves
inexplicably sweet koorus (elegantly composed phrases), the manoeuvring of
the frame with his other hand brings in minute modulations in sound. The
history of Kerala’s percussion music speaks only about a couple of icons
whose command over the edakka was astounding. Pattarath Sankara Marar and
his son, Pallavoor Appu Marar, were undoubtedly a cut above the rest when
it came to playing the edakka at the Sopanam or in the Panchavadyam.
Krishnadas inherited the taste for music and talas from his illustrious
family – Mundempilly Marath at Tripunithura. Born in 1955 as the son of
Cherukkaraparambu Madathil Ananthan Embranthiri and Mundempilly Marath
Karthyayani marasyar. Krishnadas was inducted into this field since the age
of five under the tutorship of Late Ramamangalam Rama Marar. Since then he
has been in this field of art and music. Krishnadas had his first stage
performance at Tripunithura Sree Poornathrayesa Temple in the age of eight.
He has been accompanying world-renowned singers and dancers since then.
M A Krishnadas was the first person to make edaykkya this simple to public
and the first to introduce the instrument in the western field of music at
a time when it was considered a taboo. He can play the instrument in any
genres of music including classical, jazz, pop, western, etc. He is
associated with the western troupes like Atma, Kochi and "The Banned",
Chennai and has performed in their albums and various stage shows, apart
from the humongous number of other classical and non-classical troupes or
bands.
“It might not be off-beamed if I say Tripunithura Krishnadas is the single
most Edaykkya player who plays the instrument in the most melodious and
heart touching manner of all the players in this world", are the words of
Padma Bhushan Dr. K. J. Yesudas who in the early 80s discovered the talent
in this gifted artist and mentored him all along. It might not come as a
surprise that if the singer is Dr. Yesudas, then the sound of edaykkya will
be from Krishnadas. Some of the notable films in which Krishnadas rendered
his Scores of edaykkya: Ashtapathi Devasuram Mayamayooram Kalyana Raman
Vasanthiyum Laksmiyum Pinne Njanum More recently in Urumi.... Krishnadas is
a highly gifted artist, and perhaps the only artist who can play edaykkya
with any genre of music, Carnatic classical, Hindustani, Pop, western, Jazz
I have not spoken about Manipur and Tibet ho contribute to this music. Also
Damaru Siva playing and the on-light of HIS dance is another puranic tale.
K Rajaram IRS 7924
---------- Forwarded message ---------
From: 'gopala krishnan' via iyer123 <[email protected]>
Date: Fri, 6 Sept 2024 at 12:31
Subject: [iyer123] EDAKKA -PERCUSSION INSTRUMENT -COMPILED
To: Iyer <[email protected]>
EDAKKA -PERCUSSION INSTRUMENT -COMPILED
Dear friends,
Yesterday I came across a video in You-tube about a lady playing edakka.
She has learnt the playing from a guru from Irinjalakkuda. After playing in
the sopanam of a temple she was describing the meaning of various parts of
the percussion instrument.
Whereas other percussion instruments or drums can be placed on floor,
edakka should never be placed on floor, only it has to be suspended. Hence
the name edakka- suspended between sky and earth.
I thought I may gather more information from websites. I am sharing the
information gathered. Hope this could be informative reading.
Gopalakrishnan 06-09-2024
1 INTRODUCTION
Edakka is a percussion instrument made of cotton and wood. This traditional
instrument is found in Kerala. Majorly used as a part of the instrumental
ensemble, in the rituals conducted in the temples of Kerala. Also as an
accompaniment to Kathakali and Mohiniattam classical dances.
The idakka (Malayalam: ഇടയ്ക്ക), also spelt edaykka/edakka, is an
hourglass-shaped drum from Kerala in south India. This handy percussion
instrument is played with a thin stick.
The idakka's pitch may be bent by squeezing the lacing in the middle. The
idakka is slung over the left shoulder and the right side of the instrument
is gently beaten with a thin curve-ended stick. It is played in sopanam of
temples during Deeparadhana and in performances such as Kathakali and
Mohiniattam classical dance.
2 ETYMOLOGY
The Malayalam name idaykka or idakka is originated from the Sanskrit word
श्रीढक्का (Śrīḍhakkā). In Sanskrit, a ḍhakkā is described as a double drum
which makes ḍhak sound. ढक् इति गम्भीरशब्देन कायतीति (ḍhak iti
gambhīraśabdēna kāyatīti). The sacred prefix Śrī is used to denote the
auspiciousness of the instrument.
3 CONSTRUCTION
Similar to the talking drum, The Idakka consists of two circular drum heads
each of which is mounted within a circular ring. The hourglass-shaped body
is placed between the two heads and lacing is used to pull the two rings
towards each other, stretching each drum head over an open end of the body.
Snare-like strings made of natural fiber are stretched across the open ends
of the drum body, under each drum head. It is not uncommon for the diameter
of the drum heads to be larger than the diameter of the body, with the
result that the drum heads are often seen mounted significantly off-center.
4 ACOUSTICS
The Idakka is a small, high pitched drum with definite pitch. The snares
running under the drum heads have been found to interact with the vibrating
membrane in a way that causes the pitch of the instrument to be
determinate. Different pitches can be obtained by squeezing the lacing
around the instrument, which changes the amount of tension in the skins.
5 PANCHAVADYAM
The Edakka- the unavoidable percussion instrument played at all Kerala
temples and one among the popular five of the God’s Own State’s very own
Panchavadyam- a harmonious ensemble of five musical instruments, almost
looks like a big hour-glass and is indeed a little beauty. The percussion
instrument produces very distinct ethereal beats that resonates a certain
indefinable divine feel in the air.
The Edakka means something that is mid-way and like every other musical
instrument there is, the meaning and the origin have a distinctive
connection.
The delightful yet heavenly musical instrument is said to have originated
from the Damaru that is hung on Lord Shiva’s Trident. And since the divine
musical drum is always on the Trident and never down, the Edakka too is
never kept on the ground but hung on the wall.
According to Chovaloor Sudhakaran- a veteran Edakka player and a maker of
the instrument, the quality of the sound is greatly affected even if the
backside of the instrument touches the wall while playing the instrument. “It
is the quality of the sound that matters the most in an Edakka. And because
of this, it is not an easy instrument to learn.
There are so many little facts to understand and learn in order to get that
perfect divine sound from the instrument. The sound quality is again hugely
affected, if you unknowingly press on the backside of the instrument. The
same goes for the making of the instrument too” explains Sudhakaran, who
also takes Edakka classes for children and adults.
The Two Round Heads Of The Edakka- The Sun Face And The Moon Face
“You need to know about the different parts of the Edakka and its
importance before learning about its making. The Edakkaas we all know is
said to have evolved from the small wooden drum tied on the neck of the
Trident of Lord Shiva. And because of this reason it’s considered a very
divine instrument and every part of it is closely associated to Hindu
scriptures, our body and arts in general” says Sudhakaran.
According to Sudhakaran, every part of the instrument is unique. The
Edakka, consists of the following parts…
The two round heads on the drum are called the Sun and the Moon
respectively. The drum is played using a stick that is beat on the Sun face
in a particular rhythm while holding the lacing tied in the middle of the
wooden body in a certain manner to get the perfect pitch.
The wooden body or the Edakka Kutti that is shaped like an hour glass is
called the Shareeram, or the body.
The six holes on the two faces or the round heads depict the six facets of
science or the six Sastras. The two faces are connected together with
chords through these holes.
The four oblong wooden bars inserted between the chords that connect the
two faces are called the Jeevakolsor Deepakols and they represent the four
Vedas of the Hindu religion.
The sixteen balls on each Jeevakol with eight balls tied to each end of the
rod are called the Podippu. There are totally 64 Podippu altogether for the
four Jeevakols and they signify the 64 art forms
The making of the instrument takes about two days to a week, depending on
the number of hours spent in making it. Chovaloor Sudhakaran, who also made
the smallest Edakka in the world, explains to Team Saalabhanjika, about the
making of the instrument...
“We use the wood of the jackfruit tree or the marigold tree to make the
wooden structure of the Edakka called the Kutti. We scrap the wood from the
inside of the drum until we get the right sound. For the two round faces,
we use the outer skin on the intestine of animals like cows, which is
called Othalli or Ulluri in Malayalam.
The normal animal skin is not used as it is much thicker than the outer
intestinal skin and that again affects the quality of sound. We cut out the
round faces on wood first to get the definite shape and later we use these
wooden structures to shape the animal skin. The round heads are then stuck
on either side of the wooden body or Kutti of the Edakka using gum. Before
we stick the round heads we tie two string chords made of plastic on either
side of the two round faces of the Kutti. We do this to enhance the sound
quality.”
The process of making the Edakka is definitely very tough because of the
amount of precision involved in every step. For Sudhakaran, Edakka making
is a source of livelihood too. According to him every Edakka maker is very
honest to his job and wants to give their customers the best sounding drum
there is.
“Edakka making is a wholesome process and precision is required in every
step” says Sudhakaran. He continues to explain more on the making of the
Edakka. “The 4 Jeevakol are again made of wood. Each Jeevakol is 6 or 8
inches in length and about 1.5 inches in breath. We tie 16 balls on each
Jeevakol that is, 8 each on the two necks of the Jeevakol. These balls are
made of wool. These woolen balls add to the cuteness of the instrument.
The thickness of the Edakka stick- the stick that is used to beat on the
drum, should not be more than 0.5 inches and the length of it is either 13
or 14 inches. We use thick padded belt made of cloth to hang the Edakka
from the left shoulder. This belt is tied to the Edakka chords.”
Edakka is not just unavoidable in Kerala temples but is also part of major
dance forms of the state like the Mohiniyattom and Kathakali. In Kathakali,
Edakka is played as an accompaniment instrument for the female characters
on stage, which is basically because of the lasya or feminine sounds that
reverberate from the instrument.
Idakka, the instrument that is indispensable in Kerala’s temple music. The
rhythmic beats of Idakka puts one into a trance as the music follows its
beat pattern
6 IDAKKA-DEVA VADYAM
Idakka is one of the most revered percussion instruments in Kerala
temples. They
call it as Deva Vadyam. Before it was part of most temples, but today the
number is significantly less. In the temple rituals, usually performed
during the daily pujas or as an accompaniment to Sopanam music. The artist
or performer renders it outside the sanctum sanctorum of various temples in
Kerala, and during the Athazha puja in temples. The artist stands near the
steps leading to the sanctum sanctorum and sings Sopanam to the
accompaniment of idakka.
7 SONG SUNG
Usually the first song is in praise of the presiding deity of the temple.
After this other kirtanas and ashtapadis will follow.
6 THE MATERIAL AND THE SOUND
The main body is Kuttyi, which is about half-an-inch thick. Its thin in the
center and wide towards the end. Small nails connects to both the faces of
the idakka and strings holds on to these nails. And the stick that we play
Idakka is made out of bamboo, tamarind wood or chappanga.
You normally play this instrument only in a standing posture. The
instrument is hung on the left shoulder and the stick is held in the right
hand. The artist tightens and loosens the cloth tied around the instrument
in order to increase or decrease the pitch. Idakka is a rare combination of
melody and rhythm. It allows the artist to come up with rhythmic patterns
and tonal variations.
9 IDAKKA-KACHERI
Some of the dance forms which uses Idakka for their music involve
Koodiyattam, Kathakali, Mohiniyattam, Krishnanattam etc.
10 SUMMARY
According to research ‘The Role of Music in the Temples of Northern Kerala’
Idakka has a divine connection. Its two faces represent the sun and the
moon, while the two strings at the edge represent jeevatma and paramatma,
the four jeevakols — the Vedas, the Tholkachcha refers to Nagaraja, the six
holes depict the six Sastras and the 64 Podipukkals represent the 64 art
forms.
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