From Moinkutty to Malabari Gang: Malabar has a thing for wordplays!

### Malabar, and Malappuram in particular, is famous for its obsession with combining words for ease of conversation. This practice arises from the eagerness to speak the next word. Rooted in its culture, this tendency can be seen in the growth of rap culture here. This journey explores why we love wordplay and how it has produced songs that have made an impact on the Spotify charts!

*ശഹീദിന് വാപ്പാടെ തലമ്മൽ കജ്ജ്, [on my death, dad is having the breakdown]*
*പെര നെറഞ്ഞത് കണ്ടിട്ട് പള്ളിക്കെ കുജ്ജ്, [they starterd digging my grave]*
*വിട്ടേര്ക് കാലെക്കാന് അവ്ടെല്ല ഒരിഞ്ച്, [home is getting crowded]*
*എടേല്ക്കൂടെ പായുണ് മാനൂന്റെ പജ്ജ് ! [and the calf of Manu is playing around]*
…
*എറക്കിക്കോ മരിക്കുമ്പോ ഒടുക്കത്തി കൂലി, [take me to grave and charge for it]*
*വെച്ചോളിൻ കുടുംബത്തു ഏഴിന് മൂരി, [serve beef on my requiems]*
*ഇവിടില്ല എനിക്കിനി ബാക്കിയെച്ച പൂതി. [I don’t have anything left unfulfilled]*

*- PADACHATTA*, The Baby Jean

History

The regions of Eranad and Ponnani in Malabar have long been recognized for their rich tradition of folklore, which is often expressed through oral narratives. These folklores, deeply ingrained in the cultural fabric of the area, are known for their vivid storytelling and melodic structure. The oral tradition in these regions has a significant focus on wordplay, much like the Mappilappattu, which often involves clever use of language and metaphors to convey deeper meanings.

In addition to the rich tradition of folklore and Mappilappattu in the regions of Eranad and Ponnani, there exists a notable subgenre known as Njanappana. Njanappana, which translates to “song of the self,” is a form of devotional poetry within the broader category of Mappilappattu in Malayalam literature. It is renowned for its intricate wordplay, profound metaphors, and themes of devotion and spirituality.

Njanappana songs, much like other folk songs of the region, employ clever linguistic devices and symbolic imagery to convey layers of meaning, making them a cherished part of Kerala’s cultural heritage. Alongside other forms of folklore and Mappilappattu, Njanappana stands as a testament to the region’s enduring tradition of vibrant oral storytelling and poetic expression.

Cult Classic Vaidyar Effect

In the field of Mappilappattu, renowned poet Moinkutty Vaidyar (1852–1892) was a key figure. Kerala’s traditional Muslim folk songs, or mappilappattu, are distinguished by their intricate rhythms and beautiful lyrics.

Often hailed as the best Mappilappattu poet, Moinkutty Vaidyar skillfully blended Arabic, Urdu, and Malayalam in his poetry. His poetry were full of social commentary, spiritual themes, and historical storylines in addition to being very artistic. Vaidyar’s skill at wordplay—using alliterations, puns, and metaphors—made his writing distinctive and had a long-lasting influence. Generation after generation of lyricists has carried on this elaborate lyrical composing heritage, inspiring modern musicians to push the limits of language and rhythm.

Cultural Variants in the region

  1. Poorakkali: Practiced in northern Malabar during the Pooram festival, Poorakkali is a temple art form involving storytelling through fast-paced songs and circular dancing. The verses draw heavily from epics like the Ramayana and Mahabharata, with a penchant for internal rhymes and linguistic flair that mirrors the traits of modern-day Malayalam rap and poetry.

  2. Vattappaattu: A distinct narrative tradition of northern Kerala, especially in the Malappuram and Kasaragod belt, Vattappaattu is a form of Islamic devotional storytelling often performed in homes or mosques. The term itself refers to the “round song” format—a reference to the cyclical structure of its stanzas. These compositions often delve into religious history and social issues but are laced with sophisticated linguistic techniques. Performers typically rely on rhyme schemes, verbal repetitions, and phonetic patterns that showcase their command over both form and content. The art lies in spinning long narratives with minimal breaks, where each line seems eager to blend into the next—very much in line with Malabar’s trademark haste to “get to the next word.”

  3. Vattakali: Especially popular among tribal communities, this form carries oral histories and social messages. Here too, language adapts to the beat, often using word shortening, rhyme stacking, and repetitive phrasings—showing that even grassroots music traditions are not immune to the Malabari obsession with wordplay.

  4. Aravana Pattu, another folk tradition from northern Kerala, shares Malabar’s deep affinity for rhythmic storytelling and linguistic improvisation. Performed during festivals in sacred groves (Kavus), these songs use repetition, rhyme, and call-response to invoke deities and ancestral spirits. Like Mappilappattu, they’re living proof that for Malabar, playing with words is both a sacred ritual and a cultural habit.

Attempts

In recent years, Malabar has seen an exciting rise in homegrown rap and hip-hop, echoing its long-standing tradition of wordplay. Artists from Street Academics, MHR, Dabzee, TBJ and many others have been making waves, blending local dialects, punchy rhymes, and cultural references into fresh sounds.

This movement isn’t just about music — it’s a reflection of Malabar’s evolving identity. The same linguistic sharpness seen in folk forms like Mappilappattu and Vattappaattu is now flipping bars and verses in underground cyphers, Spotify charts, and viral reels.

One such effort from MHR, called “Vattam”: