Two brothers take charge of a percussion legacy

Arattupuzha Pooram

# Ajayan | This year, the legendary Peruvanam-Arattupuzha Poorams will witness a historic transition as two brothers step into the limelight. Peruvanam Sateeshan Marar, taking over from the illustrious Peruvanam Kuttan Marar after being in lead for 25 years, will head the panchari melam at the grand Devamela of Arattupuzha on April 9. At the Peruvanam Pooram on April 6, his younger brother, Peruvanam Prakashan, will take over the reins of the Chathakudam melam, marking a seamless continuation of their family's rich percussive heritage.

Another highlight will be the magnificent showcasing of the Chakkamkulam style. Though melam has flourished across Kerala, the Peruvanam style, performed during the grand poorams of Peruvanam and Arattupuzha, retains its singular charm and authenticity. Within this tradition lies the distinctive Chakkamkulam style, a rhythmic marvel now championed by two devoted brothers. Rooted in the legacy of Chakkamkulam Appu Marar and his illustrious forebears, this tradition finds its ardent custodians in his sons - Sateeshan and Prakashan - ensuring its pulse resonates across generations.

Peruvanam Sateeshan Marar

Peruvanam Sateeshan Marar

 This year, the responsibility of leading the Arattupuzha Pooram melam has fallen on the seasoned shoulders of Peruvanam Sateeshan Marar, a stalwart in the realm of percussion for nearly 45 years. Having been an integral part of the Pooram’s electrifying rhythms for over 39 years, Sateeshan now stands at the pinnacle of his illustrious journey, spearheading the Pooram as well as the Tiruvathira Vilakku melams of Arattupuzha. For him, this moment is not just a personal milestone but a deeply fulfilling tribute to the art form he has passionately upheld for decades.

Rhythm runs deep in Sateeshan Marar’s veins, a legacy inherited from both his maternal and paternal lineage. For the 60-year-old maestro, the journey into the world of percussion began as early as Class 5, when he made a mark with his stellar performance at the School Youth Festival. With characteristic humility, he attributes every success in his musical odyssey to the boundless grace of three towering figures - his revered guru, Kumarapuram Appu Marar, his father Chakkamkulam Appu Marar and his uncle Peruvanam Appu Marar.

It was an unwavering family tradition to be part of the ritualistic percussion (adiyanthiram) at the Karlam Kumaranchira Bhagavati Temple, where Sateeshan would accompany his uncle and other stalwarts for the Bharani festival. Fate, however, had its own design. One year, his uncle fell unwell and on the way back home, he instructed Sateeshan to take over from the following year. And so, at the tender age of 21, he stepped into the role of pramani, leading the melam for the first time.

His second major milestone came soon after at the Vyloor Temple festival, where the temple trustee insisted that he take the helm, a wish that resonated with his father’s aspirations for him. With humility, Sateeshan recalls that his first experience as pramani was accompanied by a deep sense of fear, a feeling that lingers to this day. Peruvanam, the birthplace of Panchari melam, is a sacred stage, and performing there ignites an insatiable yearning for excellence, he says. Every time he stands before a vast sea of spectators, he feels the weight of his lineage, a profound reverence that humbles him, awe transforming into a quiet fear - one born of respect, legacy and an unyielding commitment to tradition.

In 1999, Sateeshan took the helm of the Chathakudam melam for the first time, leading the ensemble that plays a pivotal role in the legendary Arattupuzha and Peruvanam Poorams. For 26 years, he upheld the tradition with unwavering dedication. Now, the mantle passes to his younger brother Prakashan.

With deep reverence, Sateeshan acknowledges the blessings of his guru and ancestors, which have guided his journey through the rhythmic grandeur of Kerala’s temple festivals. Having led melams at several prestigious festivals across Kerala, he has not only upheld the Peruvanam-Chakkamkulam tradition but has also carved a distinctive identity within it. His artistry seamlessly blends tradition with individuality, ensuring that the soul of this style continues to resonate with unmatched brilliance.

Dr AN Krishnan, a retired professor from NSS College Ottappalam and a distinguished subject expert at Kerala Kalamandalam, describes Sateeshan as a devoted torchbearer of the revered Chakkamkulam style. With unwavering dedication, Sateeshan breathes life into this rhythmic tradition, embodying its essence in every beat. To Dr. Krishnan, every melam of Sateeshan is nothing short of a sublime reincarnation of the grandeur that Appu Marar once championed—an unbroken, pulsating legacy.

Peruvanam Sateeshan Marar

Sateeshan does more than merely adopt his father’s all-encompassing style—he embodies its very essence. The intricate grammar of melam, particularly Panchari, unfolds seamlessly under his command, from the very first strike that sets the rhythm to the majestic crescendo of the fifth cycle (kaalam). Every beat, from the resonant nerkolu at the onset to the final reverberation, stays true to tradition, weaving a performance that is both precise and exhilarating. This meticulously structured melam, bound by its disciplined cadence, enthralls connoisseurs and casual listeners alike, says Dr Krishnan.

"There is an unwavering precision in Sateeshan’s melams, whether in the exact number of thaalavattams or the kalashams," observes Dr. Krishnan. "This meticulous adherence to structure makes his performances feel safe, secure and deeply rooted in tradition, ensuring that every rhythmic cycle unfolds with measured perfection."

Melam enthusiast TM Narayanan, an LIC professional in Thrissur, holds Sateeshan’s melam in the highest regard, describing it as a flawless blend of precision and melody. According to him, the perfection of the melam and its intended trajectory become evident from the very first beat. The grandeur of rhythm, seamlessly interwoven with an inherent simplicity, is not just a hallmark of Sateeshan’s performance but also a reflection of his character, making his melam both profound and deeply resonant, Narayanan adds.

Peruvanam Prakashan Marar

Prakashan: The younger powerhouse of percussion

From standing in the shadows of the legendary Peruvanam Kuttan Marar and his elder brother Sateeshan, Prakashan has steadily carved a niche for himself, emerging as a master of the art in his own right. His performances at some of Kerala’s most prestigious temple festivals have garnered him a devoted following. At Tripunithura, where the organizers initially hesitated to entrust him with the lead, he left them in awe, dispelling all doubts with a stellar performance. Likewise, at the  renowned Irinjalakuda Utsavam, he showcased his prowess with such command and brilliance that he firmly established his place among the greats. Today, Prakashan stands tall in the world of percussion.

Alongside his early successes in school youth festivals for melam and panchavadyam, and a brief stint at a medical shop near home after two years in college, Prakashan’s true calling lay in the rhythms of percussion. Determined to master the art, he chose to train in thayambaka under the legendary Kumarapuram Appu Marar, sharing his learning days with none other than his batchmate, the renowned Cherusseri Kuttan Marar. At the same time, he imbibed the intricate nuances of melam from his father, Chakkamkulam Appu Marar, and his uncle, the illustrious Peruvanam Appu Marar. And thus began a journey that would see him rise through the ranks.

At the tender age of 20, Prakashan made his grand debut (arangettam) at the Tiruvalakkavu Temple, just a stone’s throw from Peruvanam. From that moment, there was no looking back. He soon found himself amidst the rhythmic brilliance of Peruvanam Kuttan Marar and other stalwarts, playing alongside them in the grand melams of Chathakudam, Urakam, Peruvanam, and Cherpu. Now, as he steps into his 27th year at Chathakudam, the occasion holds special significance, he is set to take charge as the pramani (leader) of the melam, marking a defining moment in his musical journey.

Prakashan’s first opportunity to lead a melam came in 2000 at the Kodakara Karur Temple, a moment that set the stage for his journey as a frontman in percussion. From then on, he has been fortunate to receive the blessings of his gurus and ancestors, which he believes have guided him every step of the way.

He fondly recalls the words of his maternal grandfather, spoken after his arangettam - a firm assurance that there was no hesitation in his rhythm and that he was destined to become a remarkable percussionist. That encouragement became his pillar of strength. Since then, whether leading a melam or playing alongside veterans, he has never felt fear or doubt, only the unwavering confidence that comes with deep-rooted tradition and relentless passion.

Many who have witnessed Prakashan’s performances have spread the word about his mastery, and as a result, invitations have been pouring in from across the state for him to lead melams at various temple festivals.

Peruvanam Prakashan Marar

Prakashan admits that addressing a gathering is not his forte; his chenda speaks for him. Perhaps it is this unshakable confidence in his art that prompted Harish K, a melam enthusiast from Chathakudam, to affirm that after 26 years under Sateeshan, the Chakkamkulam style will continue to thrive under Prakashan’s leadership. The tradition of precision in beats and rhythm, Harish believes, will be impeccably upheld during the Peruvanam Pooram Nadavazhi Panchari. From the very first pathikaalam beat, the melam will flow with grace, free from the chaotic exuberance of jumping and dancing, offering a performance that devotees and enthusiasts will cherish till the very last beat.

Sankaranarayanan of Pambumekkattu Mana, an ardent melam enthusiast, admires Prakashan’s unparalleled command over the art. He notes that Prakashan’s pathikaalam is distinct, setting the tone for a mesmerizing performance. Over the years, he has evolved into one of the finest melam artistes, carrying forward a grand tradition with precision, grace, and unwavering dedication. Like him, melam enthusiasts feel that Prakashan will soon be a much sought-after pramani who will ensure that the beats continue to resonate far and wide.