tkm]m\w þ Hc-h-tem-I\w

{Iam\pK-X-amb ]cn-io-e-\-¯n-eqsS DZm-¯-amb e£yw t\SpI F¶-XmWv tkm]m\w F¶ ]Z-¯n-\m-kv]-Zw. ]c-¼-cm-K-X-amb ssien-bn Nn«-bmb ]T-\-¯n-eqsS hmZyIesb ]cn-t]m-jn-¸n-¡pI F¶-XmWv tkm]m\w kvIqÄ Hm^v ]©-hm-Zy-¯nsâ ]c-a-amb e£yw.

2009-þ hf-bw-Ipfw {io sImgn-Èyw-§m«v `K-hXn t£{Xm-¦-W-¯n sh¨mWv -hm-ZyIem ]T\-¯n\v am{X-ambn Hcp kvIqfn\v cq]w \ÂIpI F¶ Bibw kpIq-fnsâ Ub-d-IvSdpw H¸w Ahn-S-¯s¶ A[ym-]-I\pamb kt´mjv Be-t¦m-Snsâ a\-Ên DS-se-Sp-¡p-¶-Xv. kt´mjv Be-t¦mSv sNbÀam-\mbn dPn-ÌÀ sNbvX tkm]m\w IĨ-d Bâv FUyp-t¡-j-W {SÌnsâ Iogn-embn Hcp hmZy-Iem]T-\-tI{µw XpS-§pI F¶ Bi-b-¯n\v km£m-XvImcw e`n-¨Xv 2010 Unkw-_À 9\m-Wv. Cu Bi-b-km-£m-XvIm-c-¯n\v kÀÆm-ß\m kl-I-cn¨ hf-bw-Ipfw t£{X-¡-½n-än-bp-tSbpw hninjym ]t«¯v PtK-jv, hnPojv F¶n-h-cp-tSbpw {]hÀ¯\w {]iw-k-\o-b-am-Wv. IqSmsX \m«p-ImÀ¡v k½-X-\mb {io. ]n.-Sn. kp{_-Ò-Wy³, t£{Xw Ducm-f³ {io. \cn-¸-d¼v a\-¡Â hmkp-tZ-h³ \¼q-Xn-cn, tKmhn-µ-cm-P³ amÌÀ, ]n.-sI. t{]a³, {ioZpÀ¤ I½nän `mc-hm-ln-IÄ, A³hÀ hf-bw-Ipfw XpS-§nb \nc-h[n t]À Cu kwcw-`-¯n kvIqfnsâ A`yp-Z-b-Imw-£n-I-fm-bn-«p-v. c£m-[n-Im-cn-I-fmbpw D]-tZ-i-I-k-aXn AwK-§-fmbpw Be-t¦mSv eoem-Ir-jvW³, ]n.-Sn. kp{_-Ò-Wy³, AUz. ]n. cmP-tKm-]me tat\m³, taml³ Be-t¦m-Sv, Ipdp-§m«v hmkp-tZ-h³ \¼q-Xn-cn, D®n ipI-]pcw XpS-§n-b-hÀ ka-bm-k-a-b-§-fn th amÀ¤-\nÀt±-i-§Ä \ÂIn-h-cp-¶p.

Cu tkm]m-\-¯n\v `{Z-Zo]w sXfn-bn¨v XpS¡w Ipdn-¨Xv Be-t¦m-Snsâ \ma-t[bw Cu {]tZ-i-¯n\pw ]pdsa tIc-f-sam-«m-sI-bpw, ae-bm-fn-I-fpsS km¶n-[y-apÅ temI-¯nsâ \m\m-`m-K-§-fn-te¡pw F¯n¨ {]ikvX Ihn-bpw, kmln-Xy-Im-c-\pw, kmaq-ly-{]-hÀ¯-I-\pw, hmÜn-bpw, kÀtÆm-]cn kvIqfnsâ c£m-[n-Im-cnbpamb {io. Be-t¦mSv eoem-Ir-jvW-\m-Wv.

XpSÀ¶v Hcp hÀjs¯ ]cn-io-e-\-¯n\v tijw 2011 Unkw-_À 24\v 101 hnZymÀ°n-I-fpsS Ac-t§-ä-t¯msS Cu hnZym-ebw AXnsâ BZy tkm]m\w Ib-dn. Cu 101 hnZymÀ°n-I-fpsS IqsS 100 hmZy Iem-Im-c-·msc IqSn DÄs¸-Sp¯n Ncn-{X-¯n A¶p-hsc \S-¡m¯ 201 t]À AWn-\n-c¶ "hmZy-{]-Whw' F¶ ]©-hm-Zy-a-lm-alw \S-¶p. Cu Ncn-{X-ap-lqÀ¯w enwI _pIv Hm^v sdt¡mÀUvkn CSw t\Sp-Ibpw sNbvXp.

C¶v 450 e[nIw hnZymÀ°n-Ifpw hf-bw-Ip-f-¯n\v ]pdsa Xh-\q-À, ]gn-ªn, Xnew Ac-bm-en-¡Â, t]m¯-\qÀ, shÅm-fqÀ, Ipa-c-\-ÃqÀ, FS-¸mÄ F¶nhn-S-§fn Øncw ¢mkp-I-fp-ambn tkm]m\w AXnsâ k]cy XpS-cp-I-bm-Wv. Cu hnZym-e-b-¯n 15 Hmfw s]¬Ip-«n-Ifpw hmZy-Ie A`y-kn-¡p-¶p-v. Ignª Hcp hÀj-¯ne-[nIambn ]©-hm-Zy-¯n\p ]pdsa sN-bnepw ]cn-io-e\w \S-¯p-¶p-v. hf-bw-Ip-f-¯pw, Xnew Ac-bm-en-¡-en-ep-ambn 20 Hmfw hnZymÀ°n-IÄ Xmb-¼I Ac-t§dn Ign-ªp.

tkm]m-\-¯n imkv{Xo-b-amb coXn-bn hmZy-Ie A`y-kn-¡m³ FÃm PmXn-þ-a-X-ØÀ¡pw Ah-k-c-ap-v. {]mb-t`-Z-at\y kvIqfnsâ Nn«-Ifpw hmZy-I-e-bpsS alXzhpw AwKo-I-cn-¡p-¶ BÀ¡pw hnZym-e-b-¯n {]th-i\w e`n-¡p-¶-Xm-Wv.

tIc-fob hmZy-I-esb tIc-f-¯n\p ]pd-t¯bv¡v {]N-cn-¸n-¡pI F¶ Bi-b-hp-ambn, tkm]m\w \nc-´cw At\z-j-W-§Ä \S-¯n-s¡m-n-cn-¡p-I-bm-Wv. CXn\v klm-b-I-amb, ]gb hmZy-I-em-Im-c-·msc Ipdn-¨pÅ hnh-c-§Ä, t^mt«m-IÄ XpS-§n-bh Cu sh_vssk-än-te¡v Ab-¨p-X-c-W-sa¶pw R§Ä A`yÀ°n-¡p-¶p.

tkm]m-\-¯nsâ BXy-´nI e£yw tIc-fob hmZy-I-e-I-fpsS Hcp A¡m-Z-anbpw AXnsâ ]ptcm-K-a-\-¯n-\m-bpÅ Hcp dnkÀ¨v skâdpw Øm]n-¡pI F¶-Xm-Wv. AXn-te¡v klm-b-I-amb FÃm-hn-h-c-§fpw X¶v kl-I-cn-¡-W-sa¶pIqSn A`yÀ°n-¡p-¶p.

Kpcp-\m-Y-·mÀ :

Xnane : 45 hÀj-¯n-e-[nIw ]©-hmZy cwK¯v \nd-km-¶n-[y-ambn \n¡p¶ Xnane hnZ-Kv[³

{io. amb-¶qÀ aWn Bim³.

tkm]m\w kvIqÄ Hm^v ]©-hm-Zy-¯nsâ Ub-d-IvSÀ {io. kt´mjv Be-t¦mSv

A[ym-]-I³ {io. kp[ojv Be-t¦mSv

a±fw : {io. Nmen-tÈcn kpµ-c³ \mbÀ

{io. IS-h-ÃqÀ _m_p

{io. IS-h-ÃqÀ _nPp

CSbv¡: {io. IS-h-ÃqÀ iymw

sIm¼v : {io. IS-h-ÃqÀ them-bp-[³

Xmfw : {io. Be-t¦mSv thWp

{io. Be-t¦mSv aWn

sN: {io. Be-t¦mSv aWn-I-WvT³

{io. Be-t¦mSv D®n-Ir-jvW³

{io. Be-t¦mSv Kncojv ( 32 aWn-¡qÀ XpSÀ¨-bmbn Xmb-¼I \S¯n

enwI _pIv Hm^v dnt¡mÀUv t\Snb hmZy-I-em-Im-c³)

tImgvkp-IÄ :

]©-hmZyw (Xn-an-e, a±-fw, CS-bv¡, sIm¼v, Ce-¯m-fw)

sN (Xm-b-¼-I, tafw, tIfn)

tkm]m\ kwKoXw (C-S-bv¡, hmbv]m-«v)

Ipdp-¦p-g (IpgÂ]-äv)

{]tXyI tImgvkp-IÄ :

tPmen-bp-Å-hÀ¡pw, hntZ-in-IÄ apX-em-b-hÀ¡pw 3 amks¯ {]tXyI ]cn-io-e-\w.

tÌPv t{]m{Km-ap-IÄ :

]©-hmZyw

(Np-cp-§n-bXv 10 t]cpsS kwL-hpw, 16, 23, 33, 51, 101, 201 XpS§n kwL-§-fmbn Ah-X-cn-¸n-¡p-¶p)

Xmb-¼I (kn-¦nÄ Xmb-¼I bv¡v 8 t]cpw, U_nÄ Xmb-¼-Ibv¡v 11 t]cp-a-S-§p¶ kwLw)

tafw (Np-cp-§n-bXv 11 t]À apX 101 t]À hsc-bpÅ kwLw) CXn IqSp-X t]À thW-sa-¦nepw kwL-Sn-¸n-¡m-hp-¶-Xm-Wv.

tIfn (Np-cp-§n-bXv 4 t]À)

]©-a-±f tIfn (5 a±-fw, 5 Xmfw, 3 sN þ 13 t]À)

sIm¼v ]äv, IpgÂ]äv

{]tXyI ]cn-]m-Sn-IÄ :

hmZy-k-Ãm]w (hn-hn[ hmtZym]-I-c-W-§-fpsS ^yqj³)

Xnane Xmb-¼I

eIvNÀ Utam¬kvt{S-j³ (hn-hn[ hmtZym-]-I-c-W-§-sf-¡p-dn¨v hnh-c-W-t¯m-sS-bpÅ ¢mkv)

_Ô-s¸-SpI

]T-\-¯n\p tNcp-¶-Xn\pw, DÕ-h-§Ä¡pw aäpw ]cn-]m-Sn-IÄ _p¡p sN¿p-¶-Xn\pw, hmZy-I-e-sb-¡p-dn-¨pÅ GXp hnh-c-§Ä¡pw _Ô-s¸-SpI

kt´mjv Be-t¦mSv

tkm]m\w kvIqÄ Hm^v ]©-hmZyw

sImgn-Èy-§m«v t£{X-]-cn-kcw

hf-bw-Ip-fw, ]n.-H. tIm¡qÀ

ae-¸pdw Pnà þ 679 591

tIc-f.

Mob : 8086351794 (Santhosh Alankode, Director)

Mob : 8086044262 (Murali Satheesh, Secretary)

Website : www.sopanam.info

Email : sopanamschool@gmail.com

Fb : sopanamschool of panchavadyam

]©-hmZyw

t£t{XmÕh-§-fn Fgp-s¶-Ån-¸n\v hmbn-¡p¶ hmZy-ta-f-amWv ]©-hm-Zyw. t]cp kqNn-¸n-¡p¶Xp-t]mse CXn A©p-hm-Zy-§Ä AS-§n-bn-«p-v. Xnan-e, a±-fw, CS-bv¡, sIm¼v, Ce-¯mfw F¶n-h. iwJp-hn-fn-tbmsS Bcw-`n-¡p¶ Cu hmZy-ta-f-¯n iwJpw Hcp `mK-ambn IW-¡m-¡p-¶p.

896 A£-c-Im-e-apÅ (1 sk¡âv ssZÀLy-apÅ 1 A£-c-Im-ewþ1 am{X) ]Xn-Im-e-¯n XpS§n cmw Imew (448 A£-Im-ew) aq¶mw Imew (224 A£-c-Im-ew) \memw Imew (112 A£-c-Im-ew) A©mw Imew 56 A£-c-Im-ew) {Xn]pS (28 A£-c-Im-ew) C§ns\ 14, 7, 3½ F¶o am{X-I-fn-embn GI-Xm-f-¯n hmbn¨p \nÀ¯-¶p. CXn\p tijw Xnane CS-¨n s]mXp-hmbn sN¼S Xmf-¯n sIm«n¡em-in-¡p-¶p.

D]-I-c-W-§Ä

Xnane

]©-hm-Zy-¯nse {][m-\-s¸« Hcp D]-I-c-W-amWv Xnan-e. ¹mmhn³ ImX IS-sª-Sp¯v DÅp s]mÅ-bm-b-Xpw, \Sp-hiw Ipgn-ªn-cn-¡p-¶-Xp-amb "Ipän'bpw, c-ä-¯p-ambn aqcn-¡p-«n-bpsS tXm s]mXnª Nnäp-I-fpw DÅ-XmWv Cu D]-I-c-Ww. Cu Nnäp-IÄ (h-«w) X½n _Ôn-¸n-¡p-¶Xv tXmÂhmdp (I-bÀ) sIm-m-Wv. Cu Ib-dp-I-fn-emWv h«§sf apdp¡n i_vZ-\n-b-{´-Ww \S-¯p-¶-Xv. ]©-hm-Zy-¯n\p ]pdsa {io_-en, {io`q-X-_en XpS-§nb t£{X ]qPm IÀ½-§-fnepw Xnane D]-tbm-Kn-¡m-dp-v.

a±fw

¹mhnsâ Ipän-bn XoÀ¯ Hcp D]-I-c-W-amWv a±-fw. CXv cp hi-§-fnepw hmbn-¡p¶ Hcp D]-I-c-W-am-Wv. a±-f-¯n-sâbpw cp-h-i-§-fnepw tXmensâ Nnäp-Ifpw Ah X½n _Ôn-¸n-¡p¶ tXmÂhm-dp-I-fp-ap-v. CXv Ac-bn sI«n hmbn-¡p¶ `mc-ta-dnb Hcp D]-I-c-W-am-Wv.

]©-hm-Zy-¯n\p ]pd-sI, tIfn¡pw IY-I-fn-bnepw a±fw Hcp {][m\ D]-I-c-W-am-Wv. CXv Hcp tZh-hm-Zy-ambn Icp-X-s¸-Sp-¶p. CXnsâ he-Xp-`mKw inh-\mbpw CS-Xp-`mKw iàn-bmbpw k¦Â]n¨v Hcp inh-iàn kzcq-]-ambn hniz-kn-¡p-¶p.

CSbv¡

CSbv¡ Hcp tZh-hm-Zy-am-Wv. ]qPm-th-f-I-fn tkm]m-\-¯n \n¶p hmbn-¡p¶ CS-bv¡-s¡m¸w AjvS-]Zn ]mSp-¶Xv {][m-\-t£-{X-§-fn ]Xn-hm-Wv. \S-b-S¨p ]qPn-¡p¶ ka-b¯v CS-bv¡-tbm-sSm¸w AjvS-]Zn ]mSp-t¼mÄ `àn-km-{µ-amb Hc-´-co£w krjvSn-¡-s¸-Sp-¶p.

DSp-¡nsâ kmZr-iy-apÅ CXnsâ Ipän ¹mhn IS-sª-Sp-¯-Xm-Wv. cp-h-i¯pw tXmen s]mXnª Nnäp-Ifpw Ahsb _Ôn-¸n-¡p¶ tXmÂhm-dp-I-fp-ap-v.

CS-bv¡-bpsS Hcp hiw kqcy-\mbpw adp-hiw N{µ-\mbpw Ipän ico-c-ambpw k¦Â¸n-¡-s¸-Sp-¶p. Ipän-bpsS Hcp-hiw _Ôn-¸n-¨n-cn-¡p¶ cp I¼n-Isf Pohm-ßm-sh¶pw ]c-am-ßm-sh¶pw ]d-bp-¶p. Nnäp-I-Ä X½n _Ôn-¸n-¡p¶ 6 Xpf-Isf Bdp imkv{X-§-fm-bpw, tXmÂhm-dp-IÄ¡n-S-bn i_vZ-\n-b-{´-W-¯n-\m-bp-]-tbm-Kn-¡p¶ 4 tImep-Isf Poh-t¡m F¶p-]-dbpw Ch 4 thZ-§sf {]Xn-\n-[m\w sN¿p-¶p. Poh-t¡m-ep-I-fn Xq¡n-bn-«n-cn-¡p¶ s]mSn-¸p-IÄ 64 F®-amWv Ch 64 Ie-Isf kqNn-¸n-¡p-¶p. CSbv¡ Xq¡n-bn-Sp¶ I¨ inhmwK F¶p hnti-jn-¸n-¡-s¸-Sp¶p CXv inhsâ ico-c-¯nse kÀ¸s¯ {]Xn-\n-[m\w sN¿p¶p F¶v k¦-ev]w.

]©-hm-Zy-¯n\p ]pdsa IY-I-fn-bn sN hmbn-¡m¯ ka-b¯v kv{Xoth-j-§Ä¡v AI-¼Sn hmZy-ambn CSbv¡ hmbn-¡m-dp-v. AXp-t]mse IqSn-bm-«-¯n\v angm-hn-t\m-sSm¸hpw hmbn-¡m-dp-v. tamln-\n-bm-«w, IrjvW-\m«w XpS-§nb \r¯-cq-]-§-fn CSbv¡ Hgn-¨p-Iq-Sm-\m-hm¯ Hcp D]-I-c-W-am-Wv. CS-bv¡sb Ct¸mÄ Xmb-¼-I-cq-]-¯nepw Ah-X-cn-¸n-¡m-dp-v.

sIm¼v

sIm¼v Hcp kpjn-c-hm-Zy-amWv henb Hcp sIm¼nsâ amXr-I-bn-emWv. HmSp-sImv \nÀ½n-¡p¶ Cu D]-I-cWw aq¶v IjvW-§-fmbn \nÀ½n¨v X½n tbmPn-¸n-¨mWv hmbn-¡p-¶-Xv.

Ce-¯mfw

Ce-¯mfw HmSn hmÀ¯ cp ]c¶v hr¯m-Ir-Xn-bn-epÅ \Sp-`mKw AÂ]w Ipgnªv Hcp sNdnb Zzmc-t¯m-Sp-Iq-Snb Ch-bneqsS NcSv D]-tbm-Kn¨v _Ôn-¡p-¶p. cv

`mKhpw cp ssII-fn-ep-ambn ]nSn¨v X½n-e-Sn-¸n-¨mWv hmbn-¡p-¶-Xv. ]©-hm-Zy-¯n\p ]pd-sa, Xmb-¼I, tafw, IY-Ifn XpS-§n-b-h-bnepw Ce-¯mfw D]-tbm-Kn-¡p-¶p. Hcp {][m\ D]-I-c-W-a-sÃ-¦nepw Ch-bn-seÃmw {][m-\-amb Hcp ]¦p-h-ln-¡p-¶Xv Ce-¯m-f-am-Wv. Ce-¯m-f-¯n ]ng-¨m _m¡n FÃm-hÀ¡pw ]ng-¡pw.

Xmbw-hI AYhm Xmb-¼I

sN-bn hnkvX-cn-¨pÅ eb-hn-\ym-k-amWv "Xmb-¼I'. kwKo-X-im-kv{X-¯n Tmbw F¶Xp Hcp {]tXyI Xc-¯n-epÅ kzc-hn-\ym-ks¯ Ipdn-¡p-¶p. AXns\ NneÀ Xmf-hn-\ym-ks¯ Ipdn-¡p-¶-Xn\pw D]-tbm-Kn-¨n-cn-¡p-¶p. Tmbw ae-bm-f-¯n Xmbw F¶m-bn, Xmbw-hI Xmb-¼-I-bp-am-bn. CXmWv Xmb-¼-I-sb¶ ]Z-s¯-¸-än-bpÅ A`n-PvR-a-Xw. Xmb-¼I kÔy-I-gnªp A¼-e-§-fn Nne {]tXyI kµÀ`-§-fn sIm«p-¶p. CXn\p PXn-IÄ¡mbn Hcp Dcp-«p-sN-bpw AI-¼-Sn-¡mbn thsd \mep sN-Ifpw ImWpw. Ch-bn cs-®-¯n CSw-X-e-bnepw atä cs-®-¯n hew-X-e-bnepw Xmfmw-K-§Ä ImWn-¨p-sIm-n-cn-¡pw. ctm aqt¶m Ce-¯m-fhpw ImWpw. sN¼-S-Xm-f-amWv Xmb-¼-I-bv¡v. ]Xn-Im-ew, Iqdv, CS-h-«w, CS-\n-e, Ccn-InS F¶n-§s\ A©w-K-§Ä Xmb-¼-I-bn-ep-v. ]Xn-Im-e-sa¶Xp NXp-c{i KXn-bn-epÅ hn\ym-k-am-Wv. CXn Aev]m-ev]-ambn Imew apdp-¡p-¶p. XpSÀ¶v Iqdphmbn-¡-em-Wv. ]©m-cn, N¼, AS´ F¶o Iqdp-I-fmWv km[m-cW kzoI-cn-¡p-¶-Xv. Ch bYm-{Iaw Xn{iw, JWvUw, an{iw F¶o KXn-Isf Ipdn-¡p-¶p. ]n¶o-SpÅ aq¶w-K-§fpw Imew apdp-¡-en-t\-bmWv kqNn-¸n-¡p-¶-Xv. CS-h«w GXmp A©p an\n«pw CS-\n-ebpw Ccn-In-Sbpw Hmtcm¶pw GXmp ]¯p an\n-t«m-fhpw hmbn-¡p-¶p. Ccn-InS kzm`m-hn-I-ambpw AXn-{Zp-X-Im-e-¯n-em-bn-cn-¡pw. KXn-t`-Z-a-\p-k-cn¨p Xmfw ]nSn-¡p¶ coXn-bnepw t`Z-ap-v.

sN

h«-¯q-Wnsâ BIr-Xn-bn-epÅ 2 ASn Db-chpw 1 ASn hr¯-hp-apÅ {][m\ Ipänbpw (h-cn-¡-¹m-hn IS-sª-Sp-¯-Xv) cp-h-ihpw ]ip-hn³ tXm ]\-bpsS hf-bn s]mXnª sN-h-«hpw X½n _Ôn-¸n-¡p-¶-Xn-\mbn ¹mÌnIv Ib-dp-Ifpw D]-tbm-Kn-¡p-¶p. i_vZ-{I-ao-I-c-W-¯n-\mbn sNdnb hf-b-§Ä (Ip-Sp-¡v) Cu Ib-dp-I-fn D]-tbm-Kn-¡p-¶p. cp-h-i-§sf hew-Xe F¶pw CSw-Xe F¶pw ]d-bp-¶p. CXn km[m-c-W-bmbn CSw-X-e-bn-emWv hmbn-¡p-¶-Xv. CXn hew-Xe ]qPm-IÀ½-§Ä¡pw Xmb-¼-I-bpsS h«w ]Sn-¡p-¶-Xn-\p-ambn D]-tbm-Kn-¡p-¶p.

Xmb-¼-Ibv¡p ]pd-sa, tafw, tIfn, IY-Ifn XpS§n an¡-hmdpw FÃm t£{X NS-§p-I-fnepw sN Hcp {][m\ hmZy-am-Wv.

The Profile

'Sopanam' the word meant that with constant practice to reach a noble aim. With traditional way of practice and study, to bring and improve 'Panchavadyam' and allow one and all to learn its nuances under one roof is the prime motto of Sopanam school of Panchavadyam.

The idea to start a school for teaching Panchavadyam has come to the mind of Santhosh Alankode, who is the Director of Sopanam and Instructor, during 2009 at the devine temple of Sri Kozhissiamgattu Bhagavathi. The fulfilment of this idea could materialise after several discussions with the temple committee on 9th December 2010 with the whole hearted support of the people surrounded the temple especially Sri. Jagesh Patteth and Sri. Vijeesh Patteth. The other names to be remembered are Sri. P.T. Subrahmanian, Temple Trustee Sri. Naripparambu Manakal Vasudevan Namboodiri, Sri. Govindarajan Master, Sri. P.K. Preman, the Sreedurga Committee members, Sri. Anvar Valayamkulam and many other well wishers around the temple. Apart from this there is an advisory committee includes Sir Dr. K.V. Krishnan, Sri. Alankode Leelakrishnan, Sri. P.T. Subrahmanian, Adv. P. Rajagopala Menon, Sri.Mohan Alankode who are giving timely advises and instructions for the improvement of the school.

The 'Sopanam' had inaugurated by lighting the lamp by the famous poet, social and cultural figure and famous speeker who took the name of 'Alankode' across the border of this village and state to every place of the world where keralites are living.

After a rigorous training and practice on 24th December 2011, the first bach of 101 students have performed their first public function. This has also turned out to be the first ever performance of Panchavadyam with 201 members which also become the first ever record and school won a place in the Limca Book of Records. The distribution of Limca certificates and the second anniversary has planned to be functioned during January second week of 2013.

Today, approximately 450 students are studying in the school with classes at Tavanur, Pazhanji and Thandilam Arayalikkal, Pothanur, Vellalur, Kumaranallur, Edapal apart from Valayamkulam. Approximately 15 girls have also started learning the nuances of Panchavadyam at the school. From this year, apart from Panchavadyam, school also started teaching 'Chenda' at Valayalamkulam, Thandilam Araylikkal, Vellalur and 20 studentsa have already done their first performance.

There is no restriction on Religion-caste to accept the students at the school. All those who agree and abide by the rules and regulations of the school can join Sopanam for study of these art forms.

Since our aim is to spread the knowledge of these temple art forms outside Kerala, we would request you all to provide us as much as possible information/pictures of the erstwhile artists in this field. Sopanam's aim is to form a Universtity for these temple art forms of Kerala and a Research Centre. To aid this pursuit of us, we request all help from all of you.

Faculties :

Thimila : Sri. Mayannur Mani Asan (having 45 years of experience this field)

Sri. Santhosh Alankode (Director of Sopanam School of Panhavadyam)

Sri. Sudheesh Alankode

Madhalam : Sri. Chalisseri Sundaran Nair (More than 40 years of experience in this filed)

Sri. Kadavallur Babu

Sri. Kadavallur Biju

Idakka : Sri. Kadavallur Shyam

Kombu : Sri. Kadavallur Velauyudhan

Thalam : Sri. Alankode Venu

Sri. Alankode Mani

Chenda : Sri. Alankode Manikandan

Sri. Alankode Unnikrishnan

Sri. Alankode Gireesh (Limca Book of Record holder for his continuous

performance for 32 hours of Thayambaka)

Courses :

Panchavadhyam (Thimila, Madhalam, Idakka, Kombu, Ilathalam)

Chenda : Thayambaka, Melam, Keli

Sopana Sangeetham (Idakka, Vocal)

Kurunkuzhal :(Kuzhalpattu)

Special Courses :

3 Months special course for those who are in abroad and are in jobs.

Satge Programmes :

Panchavadyam : This is perfromed with minimum 10 persons and with 16, 23, 33, 51, 101, 201 members combination.

Thayambaka : 8 persons for Single Thayambaka and 11 persons for Double Thayambaka

Melam : Can be arranged with minimum 11 and upto 101 perons

Keli : Minimum 4 persons

Panchamadhala Keli : Madhalam -5, Thalam -5, Chenda - 3 = 13 persons

Kombu Pattu, Kuzhal Pattu

Special Programmes:

Vadyasallapam : Fusion with different musical instruments

Thimila Thayambaka

Lecture Demonstration : A detailed class on all instruments used in Panchavadyam, Thayambaka etc.

Contact for more details :

Please contact Safor studying these temple art forms as well as booking programes for Temple festivals and stage programmes at the following address :

SANTHOSH ALANKODE

Direcotr

Sopanam School of Panchavadhyam

Kozhissamgatt Temple premises

Valayamkulam, P.O. Kokkur

Malappuram Dist.

Kerala - 679 591.

Mob: 8086351794 (Santhosh Alankode, Director)

Mob: 8086044262 (Murali Satheesh, Secretary)

Website : www.sopanam.info

Email: sopanamschool@gmail.com

Fb:sopanamschool of panchavadyam

Panchavadyam

Panchavadyam, as the name suggests, literally meaning an orchestra of five instruments, is basically a temple art form that has evolved in Kerala. Out of these five instruments Thimila, Madhalam, Idakka are percussion category, while the fouth one Kombu is a wind instrument. Ilathalam is a metallic disc like instrument which provides/controls the 'Thalam' or the beat in particular intervals.

Panchavadyam is characterised by a pyramid-like rhythmic structure - with constantly increasing tempo coupled with a proportional decrease in the number of beats in cycles. Panchavadyam is not related very closely to any temple ritual and most importantlypermits a lot of personal improvisaion while filling up the rhythmic beats on the thimila, madhalam and idakka.

Panchavadyam bases itself on the 14 beat adanta (also spelt atanta) thaalam (taal), but amusingly sticks to the pattern of the eight-beat chempata thaalam - at least until its last parts. Its pendulum beats in the first stage total `,792, and halves itself with each stage, making it 896 in the second, 448 in the third, 224 in the fourth and 112 in the fifth. After this, panchavadyam has a relatively loose second half with as many stages, the pendulum beats of which would now scale down to 56, 28, 14, 7 and three-and-a-half.

A Panchavadyam is anchored and led by the thimila artist at the centre of his band of instrumentalists, behind whom line up the ilathalam players. Opposite to them stand the madhalam players in a row, and behind them are the kompu players. Idakka players, usually totalling two, stand on both sides of the aisle separating the timila an dmadhalam line-up. A major panchavadyam will have artists totalling around 60.

Instruments :

THIMILA

Thimila or paani, is an hour-glass shaped percussion instrument used in Kerala. It is made of polished jackwood, and the drumheads made of calfskin (preferebly taken from 1-2 years old calf) are held together by leather braces which are also twined round the waist of the drum. This mechanism helps in adjusting the tension and controlling the

sound mainly two: 'tha' and 'thom'. It is also used in sree-bali, sree-bhootha-bali and related temple rites.

MADHALAM

The madhalam is a drum made out of the wood of the jackfruit tree. It has two sides for playing, made out of leather, and has different kind of sound s on each side. The madhalam is a heavy instrument which is hung around the waist of the person playing, and the player stands all the while to perform.

Madhalam is considered as a Deva Vadyam as it resembles Lord Shiva and Lord Parvathi by its sound. It is believed that, Madhalam by its structure, really resembles the "Shiva Sakthi" swaroopa, in which the right hand side of the Madhalam resembles SHiva and the left hand side resembles Parvathi.

Idakka

The Idakka also spelet edaykka is an hourglass shaped drum from Kerala. 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 would 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 cusotomarily played standalone during the puja at temples or as the accompaniment to the Sopanam music just outside the sanctum sanctorum.

This instrument also used in the classical dance and also in Kathakali, when a female character holds the stage (when the Chenda is not played). In Koodiyattam too, the idakka gives good support to the mizhavu.

Kombu

Kombu is a wind instrument (kind of trumpet) usually played along with Panchavadyam, Pandimelam, Panchari melam etc. This musical instrument is usually seen in Kerala state. The insruments is like a long horn (Kombu in Malayalam language).

Ilathalam

Elathalam or Ilathalam is a metallic musical instrument which resembles a miniature pair of cymbals. This insturment is completely made out of bronze and has two pieces in it.

Elathalam is played by keeping one part of the cymbal in left hand banging the other cymbal to the one in left hand. Even though this instrument is small by size, it does have more thickness than the common cymbal, and thus gives a distinct chime. Elathalam is used in other percussion ensembles like Chenda melam and Thayambaka besides by second singer on a Kathakali stage besides providing the beat in Kuzhal Pattu and Kombu Pattu.

Thayambaka

Thayambaka, believed to have flourished during the feudal era spans an average of 90 minutes. It begins at a slow pace before scaling on toa medium tempo and eventually culminating in high, frenzied speed. It has a skeletal pattern on which the performance progresses, but the main performer has the liberty to improvise and innovate to showcase his grip of rhythm, finesse of techniques and cerebral brilliance. In fact, thayambaka is one chenda concert that allows maximum individual freedom to the main player.

Thayambaka, like panchavadyam or most chenda melams, is primarily a temple art, but it is also performed outside shrineslike on proscenium stages, open fields or pagentry grouns. As a ritual temple art, thayambaka is performed mostly at the annual festivals soon after the sunset ritual of deeparadhana inside the sanctum sanctorum, following which the deity is brought to the nadappura (open hall inside the temple precincts). In such cases too, artful exhibition of skills remain prominent, yet the performance is regarded as an offering to the presiding god/goddess.

Chenda

It is a round pillar shape instrument made out of jackwood, drilled and made hollow inside to make it like a drum, about 2 feet height and 1 feet dia this part is know as 'kutti'. Both sides are covered with cow skin covered in the strong rings made out of palm tree, these rings are tied with plastic ropes. In this connecting ropes small rings are put to adjust the tension and controlling the sound. Thayambaka played with stick and palm on the itantala (treble) of the cheanda, while the rhythm is laid by his fellow instrumentalists on the valanthala (bass) chendas.

Apart from Thayambaka Chenda also played in Melam, Keli and Kathakali etc.