I am Kudamaloor Muraleedhara Marar, a seasoned practitioner of Kerala’s traditional temple-based ritual art forms such as Sopana Sangeetham, Ashtapadi, Paani Vaadanam, Kalamezhuthu Pattu, Kriya Panchavadyam, Panchavadyam, and Chenda Mela Kalas. Deeply rooted in Tantric principles, these ritualistic performances are integral to temple worship in Kerala—indeed, they are inseparable from the rites themselves. Actually they are the two sides of the same coin.Today, these art forms are widely recognized as vital expressions of Kerala’s cultural heritage.

I belong to the Marar community, a temple-centered caste in Kerala that has preserved and passed down these ritualistic art forms  for many centuries. Copper plate inscriptions in many temples in Kerala  bear ample testimony to the hereditary role of the Marars as the exclusive custodians and performers of these sacred arts. Like many in my lineage, I began my journey with these traditions at the age of ten.

Over the past 47 years, I have mastered the use of a wide range of traditional percussion instruments—Edakka, Maram, Thimila, Maddalam, Chenda, Veekkan Chenda, Ilathalam, Chengila, and Shankha—all essential for temple performances. My expertise has primarily been honed through performances across southern Kerala.

But these art forms are more than just performance—they embody spiritual and philosophical dimensions unique to Indian culture. Unlike many globally celebrated performing arts, these carry within them profound metaphysical principles. With the support of scholarships and fellowships from both the Central and State Governments, I have pursued deep academic research in this field. This research has helped me collect valuable insights—both practical and theoretical—into these ancient traditions.