Sopanam Style

Each region of the South Penninsular India has its individual and unique culture. Kerala has its own indigenous music system, known as Sopanam Sangeetam, which consists of step-by-step version of raga-based songs. Its fundamental characteristics form a blend of the Vedic, the tribal and folk music of Kerala. The music was heard along with its distinctive beat instruments in the temple rituals, religious festivals, traditional and theatrical performance of Kerala temples.

Sopana Music or Sopana Sangeetam was influenced by the Kerala Bhakti Cult Movement and most of the lyrics (asthapathi) are rooted in the immortal work, 'Geeta Govinda' of the famed poet of the thirteenth century Jayadeva.

These songs are sung in the bhakti (loving devotion to God in the form of music and poetry) tradition in front of sopana (steps in front of the holy place) and are dedicated to the deity of a temple. The songs (dyani) that are sung praising the deities are generally dedicated to Krishna, Vishnu, Shiva, and the goddess Baghavathi. The musician is inspired by the specific time and according to that time selects special ragas when the offering is made to the deity .Such ragas are known as Samaya (time) ragas as time is the crucial factor in singing.

Musicians normally stand on the left side of the steps or sopana and and sing devotional songs with the accompaniment of musical instruments like edakka drum (a typical Kerala percussion instrument), and chengila. Thus the name Sopanam Sangeetam or music has been derived from the term Sopana or Sopanam meaning 'Sanctum Sanctorum' of the temple.

The essential features of this style of Sopana music comprise of simple structure and unusual forms of expression. In this style, music was believed to be only a medium for the words of the composition and its function was to facilitate the expression of bhavams (different moods and feelings) by the actor. So the employment of gamakas (a technique used in Carnatic music) was not used. However the manipulation of the Carnatic Music in the later years made this style almost extinct.

Another distict feature of Sopana Sangeetam is that the steady rising and falling of laya (speed) is employed in a poetic manner. Singing which is usually slow with the notes going higher and higher and rising in pitch and loudness as they continue generating sweet strains of music. The rhythm accompaniment repetitive beats or talam of Chengila and the drums add a special lilt and swing to the music. The traditional Kathakali music is the perfect instance of the uniqueness of Sopana sangeetam. The Kathakalipadams' are songs that are sung in the Sopanam style of music and are exclusive to Kathakali performances.

There are a few leading schools of this Sopanam Style associated with the temples like Guruvayoor, Pazhoor, Ramamangalam and Tiumandhamkunnu. In these temples, this music had been practiced by temple singers on hereditary basis. Damodara Marar of the Mudiyettu bant of Pazhoor Janardhanan Nedungadi of Guruvayoor and Neralattu Rama Poduval of Tirumandhamkunnu bani are some of the eminent singers of this genre.

However from the sanctum sanctorum, this music has undergone many cultural shifts and has developed as dance music in Ashtapadiyattam, devotional music in Kalam pattu and dramatic music in Kathakali and Mudiyettu.