suthamathalam and mathalam

The Mathalam is a traditional Indian percussion instrument, primarily used in the southern states of Tamil Nadu, Kerala, Andhra Pradesh and Karnataka even in used in Sri Lanka, particularly in the Sinhalese culture. It is known for its deep, resonant tones and plays an essential role in classical, folk, and devotional music.Traditionally, the Mathalam is crafted from the wood of the jackfruit tree. It has two leather-covered sides, each producing distinct sounds. The instrument is notably heavy and is played while hung around the waist, requiring the performer to stand throughout the performance.

In general Mathalam is made from a single hollowed-out log of hardwood, often **jackfruit, teak, or red cedar. The drum is cylindrical or slightly barrel-shaped and the body is polished and treated to withstand tension and vibrations. Both ends of the Mathalam heads are covered with animal hide usually cow, buffalo, or goat skin. One side produces a bass sound (called the "Edanthalam), and the other side produces a higher-pitched sound (called the "Valanthalam). The skins are stretched and secured with leather straps or cords, allowing the tension to be adjusted.The pitch is adjusted by tightening or loosening the leather straps or ropes tied around the drum. In some cases, a small paste or dough (made of rice flour and ash) is applied to the drumhead to modify the tone. The Mathalam is played using both hands, producing a range of rhythmic patterns that complement temple music and processions.The drum is usually suspended around the player’s neck with a strap or supported horizontally on a stand. Complex rhythmic patterns are created through a combination of palm strikes, finger rolls, and muting techniques.

In kerala theater arts like kathakali, koodiaatam, theyyam often mathalam is played as part of a percussion ensemble, where it interacts with other instruments like the Chenda, Thimila, and Edakka. It is used in temple rituals and festivals to create a spiritual ambiances where as in Tamil Nadu and Karnataka, variations of the instrument are used in folk dances and classical performances. 

Among percussion instruments that produce resounding beats, the Mathalam stands unparalleled. There are numerous musical terms associated with the playing of the Mathalam. Some of these include "Tehka," "Paran," "Meetuch Sol," "Nadai," "Thisram," "Chathusram," "Kandam," "Misram," "Sankeernam," "Gathi," "Aruthi," "Theermanam," "Muthayippu Kovai," and "Mora." These terms are still in use today. The instrument produces a soft and resonant sound. The ancient Tamil epic Silappadikaram describes it as "Thaazh Kural Thannumai" (a deep-toned drum).

The history of Mathalam can be traced back to Nallār's era, post-1137 CE. However, Tamil literary history indicates that Mathalam existed even before Nallār's time, as early as the 12th century CE. It has been revered with titles like "Seermigu Mathalam" (Excellent Mathalam) and "Uththama Mathalam" (Noble Mathalam) by earlier scholars.The instrument was historically known by different names such as "Mathangam" and "Mathunguthal." The Tamil term "Inimayāthal Mathangam" (meaning "producing a melodious sound") was later transformed in Sanskrit to "Mridangam." In Tamil, the instrument is also referred to as "Thullal" or "Thullumam." Ancient Tamil literature and inscriptions mention various percussion instruments such as Muzhavu, Thannumai, Mathalam, Idakkai, Murasu, Parai, and Kudamuzha. Among these, Muzhavu, Thannumai, and Mathalam are extensively referenced in historical records as instruments used for both music and dance performances.

Mathalam is considered a successor instrument to the Thannumai, which is frequently mentioned in ancient Tamil literature. Some believe that Thannumai and Mathalam are the same, but Tamil music scholar V. P. K. Sundaram refutes this, stating that such a view is incorrect. 

In the commentary of Adiyarkku Nallar, the verse:  

"Seermigu Mathalam, Sallikai, Karadikai, Thamarugam, Thannumai, Thavil, Thadari"  

mentions Mathalam separately, indicating its distinct identity.  

Some mistakenly equate the Mathalam with the Mridangam, but scholars clarify that these are two different instruments. The Mridangam was originally a clay-based percussion instrument, as indicated by its Sanskrit root:  

"Mrid" – meaning clay "Sangrahanam"– meaning collection (i.e., gathering clay)  

Thus, while both are percussion instruments, the Mathalam and Mridangam are not the same. 

The words "Mathalam" and "Ekkamaththali" appear in Nalayira Divya Prabandham and Thirumurai(sacred Tamil Shaivite and Vaishnavite texts). For instance, Andal's Tamil hymn describes temple rituals as:  

"Mathalam Kotta, Vari Sangam Nindru Ootha"  

(As the Mathalam drums played, the conch shells were blown in unison.)  

In Thirumurai 10.189 vers thirumoolar describes as " Mathali onruḷa thaalam iranduḷa,  

Aththulle vaazhum arasanum ankulaan,  

Aththulle vaazhum arasan purappattaal,  

Mathali mannai mayaṅkiya vaarē. "

( This verse metaphorically describes the Mathalam drum, emphasizing its dual nature and symbolic significance. It suggests that just as the drum produces two distinct rhythms, life too holds contrasts—royalty and servitude, existence and demise. When the essence (the king) departs, the drum (body) becomes lifeless, akin to dust.)

Musicians who played the Mathalam, Kalam, and other temple instruments were known as Uvacchars. Chola-era inscriptions contain numerous references to Uvacchars. The records describe their profession as "Uvacchu" or "Uvacchu Pani" (temple music service) for this they were granted land by temples as a form of patronage for their musical services.  

The Suthamathalam is a type of Mathalam primarily used in Shaivite temple rituals and religious ceremonies in Tamil Nadu. It holds a special place in temple music ensembles, often accompanying the Nadaswaram and Thavil. The Mathalam is not merely a musical instrument but also a symbol of spirituality and heritage. Its deep, rhythmic sounds are believed to connect performers and listeners to a divine realm. The term Suthamathalam refers to a highly refined and sacred version of the traditional Mathalam, primarily played in temple worship and processions. It is considered auspicious and is used to enhance the spiritual atmosphere during pujas, processions, and temple rituals. The Suthamathalam is considered divine and sacred and cannot be played casually. It is believed to purify the surroundings, invoking spiritual energy in the temple. In Shaivism, Lord Shiva as Nataraja is worshipped through rhythm, making Suthamathalam an integral part of Shiva temples. It represents harmony between sound and devotion, reinforcing the spiritual experience for devotees. To experience Suthamathalam performances, one can attend daily rituals and annual festivals at prominent Shiva temples such as Brihadeeswarar Temple in Thanjavur, Meenakshi Amman Temple in Madurai, and Kapaleeshwarar Temple in Chennai. Suthamathalam, also known as Nandi Vaathiyam, holds a significant place in Tamil Nadu's temple traditions. Numerous sculptures and paintings depict Nandi Devar playing the Suthamathalam in various temples across the state. In ancient Tamil Nadu, the Nattu Mattu tradition was widely practiced. In this system, Nattuvanar dance masters performed temple dance rituals, while Muttukkarar drummers played the Suthamathalam as part of worship ceremonies. At the Thyagaraja Temple in Thiruvarur, the Parasaiyar community continues to play the Suthamathalam. In recent times, Sivathiru Sumathi Ammaiyar has been performing this art in the temple. During the Chandrashekarar Utsavam at this temple’s grand festival, when the deity circumambulates the temple and reaches the Isaniya northeastern direction, a special event called Bhootha Nrithyam takes place, during which the Suthamathalam is played. This instrument is also performed daily during Thiruvaradhanam ritual offerings and Deepa Aradhana lamp worship ceremonies. At the Meenakshi Amman Temple in Madurai, the Suthamathalam was traditionally played during the grand festival, though this practice has now declined. In the Chidambaram Nataraja Temple, the Tandava Jathis dance rhythms are performed using the Suthamathalam during Swami Purappadu processions. During the Aani and Margazhi festivals, a special puja is conducted for the Suthamathalam before it is played as part of the Kodiyetram flag-hoisting rituals. In northern Tamil Nadu, the Therukoothu street theatre tradition includes the Mathalam, which closely resembles the Suthamathalam but is distinct from the Mridangam. In western Tamil Nadu's folk theatre traditions, the Mathalam is played as a secondary percussion instrument. Beyond Tamil Nadu, the Mathalam is also found in the Eelam Tamil regions, particularly in Batticaloa, Sri Lanka, where it is used in Southern-style Koothu and other folk performances. This version of the instrument closely resembles the Suthamathalam. The Annavimar community is renowned for their expertise in playing this traditional instrument, carrying forward the legacy of this ancient percussion art.

This collage showcases the usage of Mathalam in different regions, highlighting its historical and cultural significance. One of the sculptural references of the Mathalam comes from the Puthumandapam at Meenakshi Amman Temple in Madurai, dating back to the 17th century. On the other hand, the collage also features a Asthana Mathalam Vidwan J Balasubramaniam has been serving at the six kaalam pooja at the Kapaleeswarar Temple for over two decades following in the footsteps of his appa Jayachandran who was at the Saint Poets praised Mylapore Temple, chennai, representing its continued role in temple music traditions. Despite its traditional roots, the Mathalam continues to be used in modern settings, including fusion music and experimental compositions, preserving its relevance across generations.

https://youtu.be/B-nSzrKGMX0?si=Lc4ifMDaKzkf5JRz Maddalam, Drum, percussion instrument, Traditional, training, Kalamandalam, Kerala, India

https://youtu.be/ykNMtua7zWU?si=H9hMksUrqoioue5F   Suthamathalam playing after the Kodiyetram flag-hoisting rituals 

-- Ramu. Rm N

Reference 

Tamil Music Encyclopedia, Volume 2 – Dr. V. P. K. Sundaram, Bharathidasan University

Ve. Neelakandan – Vanishing Rural Musical Instruments

A. Dorai Rangaswamy Chapter 4.3 - ( Technical terms used by Arurar in relation to Dance and Music Volume 2 - Nampi Arurar and Mythology

S. Karthick Raj KMoundinya - Music in Temple Rituals 

Pakku Surul and Betel Leaf Holders

Pakku surul is a traditional practice in South Asia, referring to the method of rolling or wrapping betel leaves (known as pakku) with ingredients such as betel nuts, lime paste, and spices. The word surul means "roll" in Tamil. This preparation, commonly consumed as a chewable treat, is a significant part of social and ceremonial gatherings, especially in India and Southeast Asia. Its variations depend on regional preferences and cultural significance. Pakku surul is often presented to guests as a symbol of hospitality, respect, and status, particularly in royal or traditional settings.

Betel leaf holders, often used in royal or traditional ceremonies, are ornate trays or containers designed to hold the betel leaves and associated ingredients. These holders are not just practical but also symbolic, representing refinement, hospitality, and status. They were often crafted from precious materials like gold, silver, or bronze and were part of larger ceremonial sets that included items such as betel nut cutters and lime paste containers. Intricate designs and fine craftsmanship are central to these items, making them both functional and works of art. Some royal betel leaf holders were adorned with gemstones like rubies, emeralds, or diamonds to signify wealth.

Thailakappu Utsavam in Madurai

The Thailakappu Utsavam at the Meenakshi Amman Temple in Madurai is celebrated during the auspicious month of Margazhi, typically from mid-December to mid-January. This festival occurs nine days before Thiruvathirai day in the Margazhi month, an important period in Tamil tradition. The central event is the ritual oil bath or head massage given to the processional deity of Goddess Meenakshi, using special oils prepared with herbs, flowers, and sacred ingredients. The deity is then adorned with a crown, and a procession takes place around the temple. On the ninth day, a silver chariot procession is held, followed by a palanquin procession on the tenth day.

The Thailakappu Utsavam is deeply rooted in the region's spiritual and cultural traditions, and it may have influences from the Srivilliputhur Andal Temple's Margazhi Neeratu Utsavam, which was celebrated during the rule of the Madurai Nayakas.

Cultural Significance in Art and Rituals

The sculptures in the top left and bottom left sections likely represent figures from the Madurai Meenakshi Amman Temple's Puthu Mandapam. These stone carvings, depicting men and women, are likely tied to royal traditions. The hand gestures and poses of these figures may suggest they are holding or offering items like betel leaves, symbolizing hospitality and ritual.

In the right section of the collage, the ceremonial aspect of the Thailakappu Utsavam is depicted, showing individuals in traditional attire handling a betel leaf holder. The green sarees, flowers, and offerings highlight the spiritual significance of the event. The silver betel leaf holder, with its intricate engravings peacock mottiff ), reflects traditional craftsmanship. Another gold case adorned with gemstones and there is magarapakshi mottiff from the 17th century is displayed at the Singapore Museum, further showcasing the artistry of these royal items. The collage blends historical, artistic, and living traditions of paku surul culture, highlighting its importance in both royal and spiritual contexts.

--Ramu. Rm N