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Home > Kerala Temples > Ritualistic Arts > Panchaari melam Panchaari melam Ritualistic Art in Kerala TemplesPanchaari melam Ritualistic Art in Kerala TemplesPanchaari melam is mainly confined to the temple. The origin of this melam is not known but it is ascribed to a member belonging to Mazhamangalam mana,(near Cherppu, Thrissur), who lived about four centuries back or still earlier. Except some slight changes introduced by Pandarathil Rama Marar (1724-1794) of Oorakath Amma Thiruvati temple no other change has been made. The main instruments used are chenta, komb, kurumkuzhal and ilatthaalam. Chenta of both types valam-thala (Veek) and itam-thala (wuttu) are separately taken into account in deter¬mining the number of instruments. Thus for a complete performance the minimum requirements are 33 valam-thala (veek)-chenta, 33 ilatthaalams 11 each of kombs, kurumkuzhal and itam-thala (uruttu) chenta. More uruttu-chentas can be added ie, upto 15 'provided corresponding increase in the number of other instruments is also made. Similar to pancha-vaadya it has also six different kaalas. Thaala-vattas also vary as compared to pancha-vaadya. Almost similar to panchaari-mela five other different types of melas also exist. They are known as chembata, atantha, dhruva, anchatantha and thamba. Generally a festival in a temple may last for eight or ten days. Leaving the kotiyettu (flag hoisting) and aaraat days six days are available for melas. The seventh day is set apart for valia-vilakku and on this day the panchaari-melam is considered a must. The remaining five days (ie second to sixth days of the uthsava), different smaller types of melas are conducted along with the sree-bali in the order druva (Second day), atantha (Third day), anchatantha (Fourth day), chembata (Fifth day) and thamba (sixth day).
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