Idakka
Encyclopedia
The idakka also spelt edaykka, 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 beaten with a stick. The left hand is used for tightening and loosening the tape wound round the middle. Varying the tension of the tape produces variations in tones. Simple melodies extending over one octave can be played in this instrument. The idakka is considered to be Devavadyam (a divine instrument) and is customarily played standalone during the puja at temples or as the accompaniment to the Sopanam
music just outside the sanctum sanctorum, customarily by the Ambalavasi
community Marar or Poduval. More popuarly, it is one of the five instruments that constitute the panchavadhyam ensemble of Kerala.
Kathakali
, the classical dance-drama from Kerala, also gives a slot to playing the idakka when a female character holds the stage (when the Chenda
is not played). In Koodiyattam
too, the Idakka gives good support to the mizhavu
(pot drum). The idakka is an indispensable accompaniment for other dance forms, most notably Mohiniyattam and Krishnanattam
. It has become an accepted member of several dance troupes outside Kerala. Idakka is also used to present the traditional concert called Thayambaka
.
Idakka is regarded as a difficult instrument to master, given that the rolls are produced from a single stick (not two unlike in the case of the chenda
) and that the practitioner should have a good sense of both rhythm and music. There are many institutions in Kerala where idakka is being taught, the most important among them being Kerala Kalamandalam
and Kshetra Kalapeetham in Vaikom
.
Of the current lot of Idakka artists, the most famous include Thiruvilvamala Hari, Tripunithura Krishnadas
, Chottanikara Subhash Marar, Tichur Mohanan, Chendamangalam Unni, Kakkayoor Appukuttan, Cherpulassery Krishnakumar Poduval, Payyavur Narayana Marar and Thiruvillwamala Jayan and Njeralath Harigovindan. The one name that is always synonymous with idakka and Sopana sangeetham in the second half of the 20th century has been the legendary Pallavur Appu Marar -- he, unlike many others, was an expert in using it both as a percussion and musical instrument.
1. The two faces of idakka are said to represent Sooryan (Sun) and Chandran (Moon). 2. The central stem (the cylindrical part) forms the shareeram (body). 3. The two strings at the edge are supposed to form the jeevatma and the paramatma. 4. The six holes through which the faces are knotted together stand for six Shastras(sciences) 5. The four jeevakkols (punched in between the chords) stand for the four Vedas. 6. The 64 podippu (blobs) symbolise the 64 Kala (art forms). 7. The Tholkachcha (the cloth used to hang the instrument from the presenter's left shoulder) refers to Sivanagam(The holy snake of Lord Shiva).
...
A musical instrument literally means a tool or piece of equipment which when played rhythmically produces musical tones. If this is agreeable, then Idaykka can and must be considered and classified as a musical instrument. The literal meaning of an instrument in Sanskrit is 'Vaadayathe Anena' or 'Vaadayithum Yogyam' - 'which can be played'. Idakka can be categorised under the instruments like the chenda and the mridangam. But in Kerala instead of stating that Idaykka is to be beaten rhythmically like as we do on the Chenda or the mridangam, it is said that idakka is to be played rhythmically. As for the origin of the name of idakka (or edakka), it is believed that it came from the sound 'Dakka'. It is well known to people who have an idea of Hinduism that this is the instrument which in tied on the 'Trishool' of Lord Shiva. The use of onomatopoeia by Keralites is also well known. Thus the 'Dakka' sound transformed in to words like 'Edakka' and 'Idaykka'.
According to Patanjali
and Pāṇini, the importance of 'Dakka' lies in the fact that the various consonants and vowels of our language is derived from this 'Dakka'.
It is also believed that once when Lord Shiva and Parvathi stopped their dance, the Dakka tied on to the Trishul of Lord Shiva produced 14 different sounds. According to Patanjali, it is these sounds which later became vowels and consonants of our language.
SLOKA
Read in Sanskrit Language
"Nrithaavasane Nataraaja Raajo
Nanaada Dakkaam Navapancha Vaaran
Udhdhartha Kaamo Sanakaadi Sidhdhaan
Ethath Vimarsho Shiva Soothra Jaalam"
This is what Pāṇini has stated in this sloka (stanza). The 14 different sounds produced are as follows:
1.Ayi Un
2.Riluk
3.E On
4.Ay Auch
5. Hayavarat
6.Lann
7.Njamangana Namm
8.Jabhanj
9.Ghadadhash
10.Jabagadadhash
11.Khafakshadadharchtathav
12.Kafapay
13.Sshashasar
14.Hal
With reference to this assumption, it is assumed that the instrument idakka or edakka has the ability to produce all the sounds in a language. Accordingly, it is assumed that idakka like every other instruments can produce every musical tones.
It is quite interesting to note that the Idaykka is a developed from the "thudi", an instrument used by the ancient tribesmen who lived in the forest and that of the "Pootham" artisans. Hence, it is no wonder that idakka was given a pivotal position in the Trishul of Lord Shiva. Lord Shiva is also interpreted to be the lord of the aboriginals. And thus it is quite clear that Idakkya has a profound relationship with the gods.
In the musical gems of Lord Vishnu there is a mention about 3 types of instruments - Huduka, Dakka and Madhidkkya, which are similar to each other in structure. It is assumed and some insights reveal that the Idaykka is developed from Mandidakkya.
Once this instrument, which belonged to Lord Vishnu, was stolen by the disciples (Bhootaganam) of Lord Shiva and was used during the dance performance of Lord Shiva. When Lord Shiva came to know abouth this theft, he ordered to return it back to Lord Vishnu. But when the Bhootaganas approached Lord Vishnu, he turned down their apologies and cursed them by saying "if you keep this instrument on the ground, that place will be destroyed". This is another version of the story regarding idakka that still find place among the traditional instrumentalists.
Goddess Baghavati "the goddess of knowledge and learning "is considered as the goddess of Idaykka in the musical gems of Lord Vishnu. A mention has been made about Idakkya being used while reciting the customary songs named "charyagaanam" for worshipping goddess Bhagavathi. Mention of this kind has been made in many other books.
Even Kunchan Nambiar, the legendary Malayalam poet, has mentioned about idakka in his "Ghoshayathra" (procession). Idakka finds place in most of the literary works that has close links with the Dravidian culture.
Even though this may be the case Idaykka is still used and popularised as an instrument of and for the gods and goddess. Idakka was not seen or used, even in the court of Travancore
king Swati Tirunal, a connoisseur and patron of music. It was not seen to be used by revered Carnatic music
composer Saint Thyagaraja, when he was visited by classical musician, Shadkala Govinda Marar
. This clearly shows that the Idakka before being used on a stage along with the accompaniment of other instruments, was confined strictly to the cultural and customary rites and rituals.
The two reeds at the face of the 'Kuttyi' denote the universal soul and the individual soul. It is commonly assumed and believed that the relationship between Radha and Lord Krishna is like the same relationship that exists between the individual soul and universal soul-Jeevaathma and Paramaathma. It is also believed that the reverberation of 'OM' is the result or the culmination of their two souls.
2) The six holes in the valayam (ring)
The two rings are held on to the Kuttyi placed in the center by cotton strings. It is compulsory that there should be only 6 holes at equal distance on each ring. These six holes represents the six ancient Indian scientific principles- saakyam, Yogam, Vaiveshikam, Nyaayam, Poorvameemamsa and Utharameemamsa (Vedanta).
3) Jeevakkolukal
Once the strings are tied on to both the rings, the four Jeevakkolukal in inserted in between these strings. These 4 Jeevakkolukkal represents the 4 Vedas- Saamam, Rig, Yajur and Atharava.
4) Poduppukal (the woolen balls for decoration)
The 64 colorful woolen balls or Poduppukal represents the 64 different traditional art forms. The 64 woolen balls may not be of different colors but may have different colors in one ball itself.
5) Knotting the thread before placing the Jeeva kkol
The two rings are tied onto each other with the Kuttyi in the centre with a string, which is thinner than a pencil. Once the Kuttyi is placed in the exact position the strings are tightened. A knot is made at the place from where the string in tightened. This knot, which is used to tighten or loosen the strings, is known as the 'Pavithrakettu' or the 'Holy knot'. This knot has the same shape of the rings that is made before performing the last traditional rites to a person after death, using a grass named 'Darbha'. Once the strings are tightened, the strings that is hanging loosely is fastened five times as made into a knot. This denotes the 'Shivapanjakshari Manthra' or the 'Five mantras or holy recitals praising Lord Shiva'. It is also believed to be the five words 'Na Ma Shi Vaa Ya' thereby leading this to an acumination of Lord Vishnu and Lord Shiva.
The beginners of idakka are usually given a block of wood called "Kayyatha" or a block of wood which suits the hand and a stick made from tamarind tree. They have to stand while practising and are made to practice different rhythmic oral tunes like "Thakuku", "Themkuku", "Thathakuku", "Them Them kuku", "Thakida Thakida", "Thathakida" at different speeds. The rest of the tunes must be formulated with ones own imagination.
People who have mastered the chenda will be able to play Idaykka with a little bit of practice. In any case, it is only through rigorous practice and devotion that one can master the idakka.
See also=
Hourglass
An hourglass measures the passage of a few minutes or an hour of time. It has two connected vertical glass bulbs allowing a regulated trickle of material from the top to the bottom. Once the top bulb is empty, it can be inverted to begin timing again. The name hourglass comes from historically...
-shaped drum from Kerala
Kerala
or Keralam is an Indian state located on the Malabar coast of south-west India. It was created on 1 November 1956 by the States Reorganisation Act by combining various Malayalam speaking regions....
in south India. This handy percussion instrument is very similar to the pan-Indian damaru
Damaru
A damaru or damru is a small two-headed drum shaped like an hourglass. The drum is typically made of wood, with leather drum heads at both ends; the damaru might also be made entirely out of human skulls...
. 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 beaten with a stick. The left hand is used for tightening and loosening the tape wound round the middle. Varying the tension of the tape produces variations in tones. Simple melodies extending over one octave can be played in this instrument. The idakka is considered to be Devavadyam (a divine instrument) and is customarily played standalone during the puja at temples or as the accompaniment to the Sopanam
Sopanam
Sopana Sangeetham is a form of Indian classical music that developed in the temples of Kerala in south India in the wake of the increasing popularity of Jayadeva's Gita Govinda or Ashtapadis.-Etymology:...
music just outside the sanctum sanctorum, customarily by the Ambalavasi
Ambalavasi
Ambalavasi is a generic name for a collection of castes among Hindus in Kerala who render temple services.-Etymology:The term Ambalavasi is derived from two Malayalam words, being Ambalam and Vasi...
community Marar or Poduval. More popuarly, it is one of the five instruments that constitute the panchavadhyam ensemble of Kerala.
Kathakali
Kathakali
Kathakali is a highly stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion...
, the classical dance-drama from Kerala, also gives a slot to playing the idakka when a female character holds the stage (when the Chenda
Chenda
The Chenda is a cylindrical percussion instrument used widely in the state of Kerala, and Tulu Nadu of Karnataka State in India. In Tulu Nadu it is known as Chande....
is not played). In Koodiyattam
Koodiyattam
Koodiyattam or Kutiyattam is a form of Sanskrit theatre traditionally performed in the state of Kerala, India. Performed in the Sanskrit language in Hindu temples, it is believed to be 2,000 years old...
too, the Idakka gives good support to the mizhavu
Mizhavu
A mizhav or mizhavu is a big copper drum played as an accompanying percussion instrument in the Koodiyattam and Koothu, performing arts of Kerala . It is played by the Ambalavasi Nambiar community.The drum is played only with hands...
(pot drum). The idakka is an indispensable accompaniment for other dance forms, most notably Mohiniyattam and Krishnanattam
Krishnanattam
Krishnanattam or Krishnattam is a temple art in Kerala, India. It is a dance drama and presents the story of Krishna in a series of eight plays and was created by Manaveda , the then Zamorin Raja of Calicut in northern Kerala .The eight plays are : Avataram, Kaliyamardanam, Rasakrida, Kamsavadham,...
. It has become an accepted member of several dance troupes outside Kerala. Idakka is also used to present the traditional concert called Thayambaka
Thayambaka
Thayambaka or tayambaka is a type of solo chenda performance that developed in the south Indian state of Kerala, in which the main player at the centre improvises rhythmically on the beats of half-a-dozen or a few more chenda and ilathalam players around.A thayambaka performance on the chenda has...
.
Idakka is regarded as a difficult instrument to master, given that the rolls are produced from a single stick (not two unlike in the case of the chenda
Chenda
The Chenda is a cylindrical percussion instrument used widely in the state of Kerala, and Tulu Nadu of Karnataka State in India. In Tulu Nadu it is known as Chande....
) and that the practitioner should have a good sense of both rhythm and music. There are many institutions in Kerala where idakka is being taught, the most important among them being Kerala Kalamandalam
Kerala Kalamandalam
Kerala Kalamandalam , lately renamed as Kalamandalam Deemed University of Art and Culture, is a major centre for learning Indian performing arts, especially those that developed in the southern state of India, with the special emphasis on Kerala. It is situated in the village of Cheruthuruthy in...
and Kshetra Kalapeetham in Vaikom
Vaikom
Vaikom is a taluk and also its capital town, situated in the North-West of Kottayam in Kerala, India. Its western border is the Lake Vembanad, and is crossed by various estuaries of the River Muvattupuzha. It lies between Ernakulam and Kottayam...
.
Of the current lot of Idakka artists, the most famous include Thiruvilvamala Hari, Tripunithura Krishnadas
Tripunithura Krishnadas
M A Krishnadas, also known as Tripunithura Krishnadas among his fans, is an Indian musician. He is a well-known edaykkya and chenda artist from Kerala- Music career :...
, Chottanikara Subhash Marar, Tichur Mohanan, Chendamangalam Unni, Kakkayoor Appukuttan, Cherpulassery Krishnakumar Poduval, Payyavur Narayana Marar and Thiruvillwamala Jayan and Njeralath Harigovindan. The one name that is always synonymous with idakka and Sopana sangeetham in the second half of the 20th century has been the legendary Pallavur Appu Marar -- he, unlike many others, was an expert in using it both as a percussion and musical instrument.
Divinity of idakka
Idakka is considered as a divine instrument, especially when it is presented at Sopanam, the holy steps leading to the sanctum sanctorum of a temple, during puja sessions. It is performed either solely or accompanied with Sopanam music during the closed-door puja time, thus leaving enough scope for creating a mood of bhakti around.1. The two faces of idakka are said to represent Sooryan (Sun) and Chandran (Moon). 2. The central stem (the cylindrical part) forms the shareeram (body). 3. The two strings at the edge are supposed to form the jeevatma and the paramatma. 4. The six holes through which the faces are knotted together stand for six Shastras(sciences) 5. The four jeevakkols (punched in between the chords) stand for the four Vedas. 6. The 64 podippu (blobs) symbolise the 64 Kala (art forms). 7. The Tholkachcha (the cloth used to hang the instrument from the presenter's left shoulder) refers to Sivanagam(The holy snake of Lord Shiva).
The two facets in Idakka
Idakka is a kottu vadyam (band-based) as well as a geeta vadyam(music-based). It acts as in former the classification in case of Panchavadyam or Idakka Thayambaka, and as in the latter during Mohiniyattam or fusion sessions. There are very few such instruments in the world with such distinct and diversified application levels. Performers like Thiruvilwamala Hari, Tichur Mohanan and Thiruvilwamala Jayan have specialised in the first aspect, while exponents like Nandakumar and Tripunithura Krishnadas have carved their niche in the second one. Thiruvilwamala Jayan is one among very few artists who performs thayambaka on idakka....
The History of Idakka
According to Patanjali
Patañjali
Patañjali is the compiler of the Yoga Sūtras, an important collection of aphorisms on Yoga practice. According to tradition, the same Patañjali was also the author of the Mahābhāṣya, a commentary on Kātyāyana's vārttikas on Pāṇini's Aṣṭādhyāyī as well as an unspecified work of medicine .In...
and Pāṇini, the importance of 'Dakka' lies in the fact that the various consonants and vowels of our language is derived from this 'Dakka'.
It is also believed that once when Lord Shiva and Parvathi stopped their dance, the Dakka tied on to the Trishul of Lord Shiva produced 14 different sounds. According to Patanjali, it is these sounds which later became vowels and consonants of our language.
SLOKA
Read in Sanskrit Language
"Nrithaavasane Nataraaja Raajo
Nanaada Dakkaam Navapancha Vaaran
Udhdhartha Kaamo Sanakaadi Sidhdhaan
Ethath Vimarsho Shiva Soothra Jaalam"
This is what Pāṇini has stated in this sloka (stanza). The 14 different sounds produced are as follows:
1.Ayi Un
2.Riluk
3.E On
4.Ay Auch
5. Hayavarat
6.Lann
7.Njamangana Namm
8.Jabhanj
9.Ghadadhash
10.Jabagadadhash
11.Khafakshadadharchtathav
12.Kafapay
13.Sshashasar
14.Hal
With reference to this assumption, it is assumed that the instrument idakka or edakka has the ability to produce all the sounds in a language. Accordingly, it is assumed that idakka like every other instruments can produce every musical tones.
It is quite interesting to note that the Idaykka is a developed from the "thudi", an instrument used by the ancient tribesmen who lived in the forest and that of the "Pootham" artisans. Hence, it is no wonder that idakka was given a pivotal position in the Trishul of Lord Shiva. Lord Shiva is also interpreted to be the lord of the aboriginals. And thus it is quite clear that Idakkya has a profound relationship with the gods.
In the musical gems of Lord Vishnu there is a mention about 3 types of instruments - Huduka, Dakka and Madhidkkya, which are similar to each other in structure. It is assumed and some insights reveal that the Idaykka is developed from Mandidakkya.
Once this instrument, which belonged to Lord Vishnu, was stolen by the disciples (Bhootaganam) of Lord Shiva and was used during the dance performance of Lord Shiva. When Lord Shiva came to know abouth this theft, he ordered to return it back to Lord Vishnu. But when the Bhootaganas approached Lord Vishnu, he turned down their apologies and cursed them by saying "if you keep this instrument on the ground, that place will be destroyed". This is another version of the story regarding idakka that still find place among the traditional instrumentalists.
Goddess Baghavati "the goddess of knowledge and learning "is considered as the goddess of Idaykka in the musical gems of Lord Vishnu. A mention has been made about Idakkya being used while reciting the customary songs named "charyagaanam" for worshipping goddess Bhagavathi. Mention of this kind has been made in many other books.
Even Kunchan Nambiar, the legendary Malayalam poet, has mentioned about idakka in his "Ghoshayathra" (procession). Idakka finds place in most of the literary works that has close links with the Dravidian culture.
Even though this may be the case Idaykka is still used and popularised as an instrument of and for the gods and goddess. Idakka was not seen or used, even in the court of Travancore
Travancore
Kingdom of Travancore was a former Hindu feudal kingdom and Indian Princely State with its capital at Padmanabhapuram or Trivandrum ruled by the Travancore Royal Family. The Kingdom of Travancore comprised most of modern day southern Kerala, Kanyakumari district, and the southernmost parts of...
king Swati Tirunal, a connoisseur and patron of music. It was not seen to be used by revered Carnatic music
Carnatic music
Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu...
composer Saint Thyagaraja, when he was visited by classical musician, Shadkala Govinda Marar
Shadkala Govinda Marar
, or was a Carnatic Musician from Kerala, India. He was a contemporary of Saint Tyāgarāja and Swathi Thirunal Rama Varma. He was also adept in playing musical instruments like Chenda, Edakka and Thimila...
. This clearly shows that the Idakka before being used on a stage along with the accompaniment of other instruments, was confined strictly to the cultural and customary rites and rituals.
Different parts of Idaykka
- Kuttyi, the core of the tree yielding superior jackfruit or its roots, black wood, catechu, the Indian laburnum, red sandal wood etc.. are the trees used for making the kuttyi of Idaykka .The trees that does not sleep at night and have grown on the banks of a constantly following river are the most preferred. The Kuttyi is a comparatively wide hollow stick with a length of 8–8½ inches and a diameter of 4-4 ? inches. After making the wood hollow, the end or face of the Kuttyi will be ? inch wide. Even though both the ends of the Kuttyi are of the same width, the center part of the stick will be comparatively thin. Exactly at the center of the stick, there is a hole, which is known as the air hole. This hole, which is two millimeter in diameter, is known as the navel of the Kuttyi. It is believed that, when the end part or the face of Kuttyi made in this manner is brought close to the ear, we can hear the 'Om' reverberations. It is through the navel of the kuttyi that the air produced because of the pressure while the idayakka is played passes out. Two reeds of Palmyra are tied on to the small nails on both the end and sides of the 'Kuttyi'. It is these reeds that produce the vibration when Idaykka is played. In order to get a grip on the stick, a cloth or 'edakacha' is wound around the Kuttyi.
- Valayangal (Rings), two rings each of 1-inch thickness are made from the plank of wood of a mango tree or a jackfruit tree and which is similar to the rings used by children to play. Each ring will have a diameter of about 8-8 ? inches. Six holes are made in these rings for tying the strings. Once the holes are made the skin should be stuck on the rings in such a manner that it covers and reaches out of the circumference of the rings. This skin, which is known as 'ulloori' or 'chavvu', is made from the outer wall of the cow's intestine. This thin layer of skin in cleaned and purified by members of a community named 'chakliar' This skin is stuck on to the rings with a paste made from a special kind of boiled rice mixed with ash obtained by burning dried cow dung. It is the boiled rice that we get from the temple after the ceremonial offering to gods and goddess which is used for the purpose. Even though 'Idaykka' has two sides or face, only one face is used to play. The face that we use to play is known as the 'kottuvattam' (front side) and the other in the 'mootuvattam' (backside). In order to understand the face that is used to play, a 'poduppu' or a colorful woolen ball is tied on to the end.
- Jeevakkolukal, it is the four perfectly rounded sticks, which are 7 inches long and 1 inch in diameter. Several types of wood of lightweight are used for making this 'Jeevakkolukal'
- Poduppukal, it is a bunch of colorful woolen balls tied on to the 4 perfectly rounded sticks named Jeevakkolukal. One bunch will consist of 16 different colorful woolen balls, which is tied on to a Jeevakkol using cotton thread that is ? inch thick. 'Poduppu' means 'decoration'. Each jeevakkol consists of 16 different colorful woolen balls and altogether there will be 64 woolen balls on the four jeevakkolukal (16 woolen balls × 4 Jeevakkolukal). Usually the woolen threads for making the woolen balls are brought from places like Kashmir, Banglore and Assam where it is commonly available. But in ancient times, according to Lakshmikutty Amma w/o late Njeralathu Rama Pothuval, these balls were created from the clothes discarded by the tailors.
- Tholkacha (Shoulder band), Thol means shoulder and Kacha means cloth. The peculiarity of some of the traditional musical instruments of Kerala is that the instrumentalists have to stand while playing it. And so these instruments have to be carried by the instrumentalists. To make it easier for them to carry the instrument, they have a shoulder band which will be tied on to both sides of the instrument. This shoulder band is usually made of cloth.
- Idaykka kol (stick used for playing the idakka), the stick used for playing an idakka is almost 4 times smaller than the one used for playing a ChendaChendaThe Chenda is a cylindrical percussion instrument used widely in the state of Kerala, and Tulu Nadu of Karnataka State in India. In Tulu Nadu it is known as Chande....
. It is made from the branches of trees like red madder or a tree locally known as Chapangam. The shape of the stick is similar to that of an elephants tusk. The one end which we hold is broader and the other end will be curved and slightly pointed. Sometimes the stick is also made from the broken or damaged stick used for playing Chenda.
What the different part of Idakka denote
1) The reeds of palmyra at the end or face of KuttyiThe two reeds at the face of the 'Kuttyi' denote the universal soul and the individual soul. It is commonly assumed and believed that the relationship between Radha and Lord Krishna is like the same relationship that exists between the individual soul and universal soul-Jeevaathma and Paramaathma. It is also believed that the reverberation of 'OM' is the result or the culmination of their two souls.
2) The six holes in the valayam (ring)
The two rings are held on to the Kuttyi placed in the center by cotton strings. It is compulsory that there should be only 6 holes at equal distance on each ring. These six holes represents the six ancient Indian scientific principles- saakyam, Yogam, Vaiveshikam, Nyaayam, Poorvameemamsa and Utharameemamsa (Vedanta).
3) Jeevakkolukal
Once the strings are tied on to both the rings, the four Jeevakkolukal in inserted in between these strings. These 4 Jeevakkolukkal represents the 4 Vedas- Saamam, Rig, Yajur and Atharava.
4) Poduppukal (the woolen balls for decoration)
The 64 colorful woolen balls or Poduppukal represents the 64 different traditional art forms. The 64 woolen balls may not be of different colors but may have different colors in one ball itself.
5) Knotting the thread before placing the Jeeva kkol
The two rings are tied onto each other with the Kuttyi in the centre with a string, which is thinner than a pencil. Once the Kuttyi is placed in the exact position the strings are tightened. A knot is made at the place from where the string in tightened. This knot, which is used to tighten or loosen the strings, is known as the 'Pavithrakettu' or the 'Holy knot'. This knot has the same shape of the rings that is made before performing the last traditional rites to a person after death, using a grass named 'Darbha'. Once the strings are tightened, the strings that is hanging loosely is fastened five times as made into a knot. This denotes the 'Shivapanjakshari Manthra' or the 'Five mantras or holy recitals praising Lord Shiva'. It is also believed to be the five words 'Na Ma Shi Vaa Ya' thereby leading this to an acumination of Lord Vishnu and Lord Shiva.
Peculiarity of Idakka
Idakka is the only traditional Kerala musical instrument which permits easy and convenient assembling and dissembling of its components. An assembled idakka is usually hung on the wall. In some temples it is being outside the door of the inner sanctum sanctorum, which add to its beauty. It is now commonly used for ornamentation in the houses not only by Keralites but also by foreigners. Ananda Sivaraman, the son of Late Njeralathu Rama Pothuval and the only person who have mastered the artisanship of making an Idaykka in Kerala, also shares this opinion.Learning to play the Idakka
The main peculiarity in learning most of the traditional musical instruments of Kerala like the chenda and idakka is that the beginners will not be taught the instrument using that particular instrument. Instead they will have to master the art of playing it by practising on a similar shaped object made of wood or stone. It is the farsightedness of the great teachers of their musical instruments who have coined this idea. They may have wanted the students to master it with great difficulty until there is proper hand and mind co-ordination to attain rhythm.The beginners of idakka are usually given a block of wood called "Kayyatha" or a block of wood which suits the hand and a stick made from tamarind tree. They have to stand while practising and are made to practice different rhythmic oral tunes like "Thakuku", "Themkuku", "Thathakuku", "Them Them kuku", "Thakida Thakida", "Thathakida" at different speeds. The rest of the tunes must be formulated with ones own imagination.
People who have mastered the chenda will be able to play Idaykka with a little bit of practice. In any case, it is only through rigorous practice and devotion that one can master the idakka.
See also=
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