IDAYKKA / EDAKKA / IDAKKA
The Royal Grandeur among Musical Instruments of Kerala
 
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'. Idaykka can be categorized under the instruments like Chenda, Mridangham etc. But in Kerala instead of stating that Idaykka is to be beaten rhythmically like as we do on Chenda or Mridangham, it is said that Idaykka is to be played rhythmically. As for the origin of the name of Idaykka (Edakka, Idakka), 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',Idakka and 'Idaykka'. According to Pathanjali and Panini 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 Pathanjali it is these sounds which later became vowels and consonants of our language.
 
"Nrithaavasane Nataraaja Raajo
Nanaada Dakkaam Navapancha Vaaran
Udhdhartha Kaamo Sanakaadi Sidhdhaan
Ethath Vimarsho Shiva Soothra Jaalam"
 
This is what Panini has stated in this Sloka. The 14 different sounds produced is as follows:
 
1.   Ayi Un
2.   E On
3.   Riluk
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 Idaykka has the ability to produce all the sounds in a language. Accordingly, it is assumed that Dakka or Idaykka like every other instrument can produce every musical tones. It is quite interesting to note that the Idaykka is a developed from of the Thudi' an instrument used by the ancient tribesmen who lived in the forest and that of the Pootham artisans and it is no wonder why Idaykka 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 gods.

In the Musical gems of lord Vishnu there is 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 Idaykka is the developed from of Mandidakkya. Once this instrument which belonged to lord Vishnu, was stolen by the disciples (Bhoothaganam) of lord Shiva and used during the dance performance of lord Shiva. When this was known by lord Shiva, he ordered them to return it back to lord Vishnu. But when they approached him lord Vishnu 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 Idakkya that still find place among the traditional instrumentalists.

Goddess Baghavathi the goddess of knowledge and learning is considered as the goddess of Idaykka in the musical gems of lord Vishnu. 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 Kunjan Nambiar, the famous Malayalam poet mentioned about Idakkya in his Ghoshayathra (procession). Idaykka finds place in most of the literary works that has close links with Dravidian culture. Even though this may be the case Idaykka is still used and popularized as an instrument of and for the gods and goddess. Idaykka was not seen or used even in the court of king Swathitirunal the most coveted connoisseur and patron of music. It was not seen to be used by the musician and Karnatic song maestro Thyagaraja, when he was visited by classical musician Shadkala Govindamarar. This means that Idaykka before being used on a stage along with the accompaniment of other instruments was confined to the cultural and customary rites and rituals.

It is seen that Idaykka and its mellifluous sound is used in temple during ceremonial offering and during special festivals. The instrumentalists belonging to Marar and Pothuval community has the privilege of using Idaykka during special customary festivals like Vilakkacharam, Idaykka  Pradhaskhinam in the temples of Kerala (it’s a blind belive too). Idaykka is famous for its use as an instrument to be played with a devotional song praising gods and goddesses, by the Idaykka artist himself when the inner sanctum sanctorum of the temple is closed for ceremonial offering. It is also used in accompaniment with an instrument named Mizhavu, which is the principle instrument for Koodiyattam a traditional dance form of Kerala.

Apart from this it is used during the performance of traditional dance forms like Mohiniyattam, Thiruvathirakali, Ottamthullal and in Kadhakali (only when the female rules are enacted). It is also used in a musical performance like Sopaana Sangheetham (performed when the inner sanctum sanctorum of the temple in closed for customary offerings). Idaykka is being used for Devotional musical concerts, recital of Kadhakali songs and in modern musical composition like light music by the modern music composers.

 
Different Parts of Idaykka
1. 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 8-8 1/2 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 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.
 
2. 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.
 
3. 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.
 
4. 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 4 Jeevakkolukal (16 woolen balls x 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 Ramapothuval, these balls were created from the clothes discarded by the tailors.
 
5. Tholkacha: (Sholder 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.
 
6. Idaykka kol (Stick used for Playing Idaykka)
The stick used for playing an Idaykka is almost 4 times smaller than the one used for playing a Chenda. 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 are the different part of Idaykka denote ?
1) The Reeds of Palmyra at the End or Face of Kuttyi
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 there 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 represent 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 Jeevakkol
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 string 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 and Ya thereby leading this to an acumination of Lord Vishnu and Lord Shiva.
 
Peculiarity of Idaykka
 
Idaykka is the only traditional musical instrument of Kerala, the component of which can be assembled and dissembled conveniently. An assembled Idaykka is usually hung on the wall. In some temples it is being outside the door of the inner sanctum sanctorum, which adds to its beauty. It is now commonly used for ornamentation in the houses not only by Keralites but also by foreigners. Ananda Shivaraaman, the son of Late Njeralathu Raama Pothuval and the only person who have mastered the Artisanship of making an Idaykka in Kerala, also shares this opinion.
 
Learning to Play an Idaykka
The main peculiarity in learning most of the traditional musical instruments of Kerala like the Chenda, Idaykka etc. 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 practicing on a similar shaped object made of wood or stone. It is the farsightedness of the great teachers of there 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. For the beginners of Idaykka, they 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 practicing 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 one’s own imagination. There are no schools in which Idaykka is being taught except the school run by Njeralathu Hari Govindan. People who have mastered 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 "Idaykka".
 
Order an Idaykka
Njeralathu Hari Govindan
" Raamalakshmi'
Valamboor P.O.
Malappuram Dt.
Kerala State - PIN: 679 325,
South India.
  
Phone:
 
Residence: +91 4933 223390,
+91 4933 220210.
Mobile: +91 99479 10706
+91 9388011633
E-mail: njeralath@yahoo.com
 
For Buying Idaykka

Aananda Shivaraman
'Aananda Bhavan'
Valamboor P.O.
Malappuram Dt.
Kerala State - 679 325,
South India.
 


 
Phone:  
Residence: +91 4933 223390,
+91 4933 220210
Mobile: +91 9947910706
+91 9388011633
E-mail: njeralath@yahoo.com
 
 
 

 
   
 
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