The world of Kathakali enthusiasts fondly remembers the great artist, Kalamandalam Krishnankutty Poduval — a legend whose life and art left an indelible mark on Kerala’s cultural heritage.

Excelling in every dimension of Kathakali’s rhythmic tradition, he transformed the performance of the mela (percussion ensemble) with his mastery and innovative style.

Krishnankutty Poduval’s unparalleled skill on the chenda (drum) was only one facet of his genius. He was also a gifted musician, a maddalam player, an actor who performed in numerous roles, and even a playwright who wrote aattakkathas (Kathakali play) marked by creative brilliance. With philosophical conviction, he helped modernize many traditions and sequences within Kathakali without compromising its soul.

Poduval, along with Kalamandalam Raman Kutty Nair and Kalamandalam Appu Kutty Poduval, formed the legendary trio known as 'Kuttitrayam'. Raman Kutty Nair’s powerful portrayals (especially of kathi or villainous roles) combined with the Poduvals’ resonant rhythms to create an awe-inspiring stage experience. The harmony between them was beyond description — a divine convergence of rhythm and emotion.

On stage, Krishnankutty Poduval’s chenda thundered with the energy of Shiva’s tandava dance, while Appukutty Poduval’s maddalam sang with Parvati’s grace. Together, they symbolized the Shiva–Parvati union in Kathakali’s rhythmic realm.

Though the chenda performer traditionally occupied the third position in the Kathakali hierarchy, Krishnankutty Poduval’s brilliance earned him an immortal place among the greats. Even today, percussionists and connoisseurs of Kerala’s rhythmic arts revere him as one of Kathakali’s finest chenda masters.

Musicologist Dr. T. N. Vasudevan once remarked that while melam and thayambaka are often ranked higher than the Kathakali chenda, its imaginative power truly shines within the theatre of Kathakali — something Krishnankutty Poduval understood deeply.

A Kathakali critic once said : “For Poduval, the chenda was never just a drum. It was a voice that made him reflect on the very essence of Kathakali — the contrast between characters, the balance between song and emotion, between sound and silence. He analyzed them all relentlessly.”

The Pattikkamthodi Kalari at Kerala Kalamandalam played a key role in shaping his discipline, knowledge, and aesthetic sensitivity — the strengths that enabled him to express the subtlest shades of Kathakali through rhythm.

Born on May 28, 1924, at Vellinezhii Kavil Poduvatil, Palakkad, he began chenda training at the age of seven under his uncle, Govinda Poduval. In 1940, he joined Kerala Kalamandalam, where his gurus included Chithali Appu Marar (chenda) and Maddalacharya Venkicha Swami (maddalam). His mentors were Pattikkamthodi Ramunni Menon and Moothaman Kesavan Namboothiri. His classmates included Raman Kutty Nair and Appukutty Poduval.

After completing his studies, he became a teacher at Kalamandalam. Despite occasional disagreements with the administration leading to temporary dismissals, he was appointed as a professor in 1978 and retired in 1986 at the age of 63.

Krishnankutty Poduval was also a respected writer and scholar on Kathakali and Kerala’s traditional arts, and one of the first performers to lecture authoritatively on these subjects. He directed Mahakavi Vallathol’s “Amba” as a Kathakali play, and authored aattakkathas like Bhishma Pratignya and Mriga Sevanacharitam (featuring animal characters). He also wrote attaprakarams (performance manuals) for Nalacharitham and Rajasuyam and created an unique art form titled Ashtapadiyattam.

He received numerous honours, including awards and fellowships from the Central and Kerala Sangeetha Nataka Akademis, and the Kerala Kalamandalam. A compilation of his works, Melaperukkam, was published by Kerala Kalamandalam.

Filmmaker K. R. Mohanan directed a documentary on him, while K. P. Babu Das wrote his acclaimed biography Shaurya Gunam.  Together, they present a comprehensive study of Krishnankutty Poduval as both a person and an artist.

He passed away on October 14, 1992, yet his rhythm and spirit continue to resonate in the hearts of art lovers. When we remember him, what we hear is not just the beat of the chenda — it is the pulse of a heart that redefined an art form. His memory remains a luminous inspiration, like a lamp that continues to brighten the world of Kathakali.