A strong personality who has made his native land known to the world through his talents; a passionate percussionist where talent meets excellence, Padmasree Mattannur Sankarankutty. He owned the 5th Golden FOKE Award. Being born and brought up in a Marar family in a small village, named Mattannur in Kannur District of North Kerala, Sri. Sankarankutty spent his childhood in an atmosphere closely related to the percussion tradition of Mattannur Mahadeva Temple. His father was his first ‘Guru’ who made him capable of first ‘Thayambaka’ performance at the age of eight. He foresaw the inherent talent in this small boy to create magic with the traditional percussion instrument, Chenda.

Sri. Mattannur Sankarankutty joined Gandhi Seva Sadanam, at the age of twelve for Kathakali Chenda and completed the four year course. He agreed to join Sadanam as an elope from the daily routine at home where he could not even find time to play with his friends. At Sadanam they followed Gurukulam system of learning where formal education and different aspects of Kathakali were taught simultaneously. Sri. Sadanam Chandra Mannadiyar was his first teacher there and afterwards he was taken over by Sri. Sadanam Vasudevan. There he completed the formal education and at the same time was gradually moulded as a perfect percussionist.

IIK: Even after having a formal Kathakali Chenda course, why you concentrated on Thayambaka.

Every artist has the wish to create an own stamp in his/her field. Kathakali Chenda is performed as a support to the Kathakali artist. Even though it is challenging, the main attraction will go to the Kathakali artist performing on stage, whereas, ‘thayambaka’ is an exclusive performance of a Chenda artist. There he enjoys the freedom to explore the potentials of Chenda. Thayambaka can be performed as single, double, triple or even five as new addition to the field. As far as you provide what is expected and demanded by the viewers, they will accept you. Thayambaka with more than one artist is performed in such a way that the viewers will feel it as a competition while the artists perform with complete mutual understanding and harmony. Sometimes it takes form of a healthy competition which offers a splendid experience for the viewers.

IIK: Tell us about your acquaintances with the eminence Sri. Pattarath Sankara Marar.

After the course it was the Sadanam secetary Sri.K.Kumaran suggested to assist Kathakali class at Sadanam along with an arrangement to learn Idaykka from Sri. Pattarath Sankaran Marar, father of famous percussionist of the era, late Sri.Pallavur Appu Marar. He was 78 when I joined him and the training and experience he gave me during those two years bestowed the confidence to be in this field. I obeyed him word by word without any hesitation. He decided the time for practicing Idaykka, which can even be at midnight. It was he who introduced me to the famous ‘Trissur Pooram’ which boosted my confidence and afterwards got the chance to lead ‘Thiruvambadi Melam’ for long 36 years.

IIK: What was the influence and support by people of Vellinezhi to a Mattannur native?

Vellinezhi is a small village where almost all forms of art flourished, especially Kathakali. It is the place where the Kalluvazhi style of Kathakali was developed and Sri. Pattikkamthodi Ravunni Menon conducted Kathakali Kalari. At present Vellinezhi Government High School is one among the only two schools offering Kathakali course in Kerala. I went there as teacher for Kathakali Chenda. It is a place where any artists would like to be associated with. Moreover I live very near to the famous Olappamanna Mana which is still preserved with proper maintenance. The yearly camp organized by us is held at this Mana.

IIK: Originally Chenda is not from Kerala and you have seen and experienced the variety of Chenda and other percussion instruments worldwide. What was your experience?

I have travelled to many foreign countries France, Italy, Spain, Brazil, USA etc and got chances to perform with their percussion instruments including their Chenda. What I understood is we are blessed with those instruments which can blend with any other instruments in this world, whether it is Tabla, Thimila or even Western Drums. It is the style of learning which lays the strong foundation on which we can do magic.

As regards Chenda, the style that we use, beating by rolling the stick which is named as ‘Uruttikottu’, is unique. It belongs only to our traditional system developed by eminences years before. By varying the force with which you play, variations can be made in the sound of Chenda. This can be gained only by thorough practice.

The crowd also varies. In gulf countries, majority of the crowd will be from our own nation and they just enjoy it to the core with a feel of possessiveness whether they understand it or not; whereas in European countries the major portion comprises the natives rather than expats. They are more curious to know the in and out of the percussion item performed.

IIK: You have faced many criticisms by introducing your own style in Thayambaka. What was its influence in your life?

My first Thayambaka itself was well-liked by the public. But the attempt to think differently from the set traditional format of a Thayambaka invited many criticisms. But according to me we have to get appreciation from a quality crowd. There is no point in worrying about the negative comments made by those who are not worth of it. Consider only those comments which we need for our betterment, develop a mind set to recognize those sincere comments and that will lead you to success.

IIK: Tell us about your cultural blending experience with Flamenco Dance

Bettina Castano is a Swedish lady who is internationally famous for the Spanish dance form, Flamenco. It was on her request we accompanied her on Chenda at Thiruvananthapuram. She did this dance on a wooden surface and that was a thrilling experience because during the first stages of Chenda lessons we use wood instead of real Chenda. The beats we do on Chenda with hands were reproduced by her on that wooden floor with feet. She also liked it and we made many performances worldwide including Germany and Spain and was well accepted by them.

IIK: Similar to your interest in many innovative ideas in Chenda, have you come across any such interest anywhere else. How you ended up in an association with Zakir Hussain?

Actually I have not done a live Jugalbandi with Zakir Hussain. When he came for the music composition of the film ‘Vanaprastham’, where I played the role of a Kathakali Chenda artist, he heard about me and wanted to hear my Thayambaka. He recorded that performance and took with him. Later I saw him performing the ‘ennams’ of Thayambaka in Tabla at an award function in Mumbai. This explains the efforts he has made to create a new addition in his field of expertise which in turn can make me think the other way round. Even the present generation artists like Balabhaskar and Stephen Devassi are also talented and they too are trying for such blends with their instruments, which is a positive note.

IIK: Now-a-days you are seen mostly performing Triple Thayambaka with your two sons.