While the main focus of Urumee Melam lies in the mastery of the instruments, the attire of the performers also plays a crucial role in preserving the authenticity of traditional performances, especially during religious ceremonies and cultural celebrations. In Malaysia, Urumee Melam musicians typically wear traditional South Indian male attire, which includes the following:

Jippa – A traditional long tunic with either long or short sleeves, usually made of cotton or silk depending on the formality of the event. The color can range from vibrant tones to plain white, based on the context of the performance.

Veshti – A long white cloth wrapped and tied around the waist, reaching down to the ankles. It resembles a sarong or dhoti in its structure and style.

Tunde / Angavastram – A long cloth draped over the shoulder or tied around the waist, often used as a mark of respect and ritual significance.

This style of dressing not only provides comfort during high-energy performances but also reflects the values of modesty and spiritual cleanliness, which align with the sacred nature of Urumee Melam. Performers may also wear accessories such as copper or silver bangles, religious marks like bindis or vibhuti on the forehead, necklaces, or anklets, particularly during full-scale performances that incorporate dance.

Although male musicians typically do not wear cosmetic makeup like dancers, religious markings such as vibhuti (sacred ash lines) or kumkum (a red dot) on the forehead are commonly applied. These markings not only signify respect for Hindu traditions but also serve as a sign of spiritual preparedness for what is considered a sacred and devotional performance.

The urumee is a double-headed drum with a distinctive hourglass shape. This design enables performers to play both drumheads simultaneously using their hands or sticks, creating layered, energetic rhythms. The drum body is traditionally made from jackwood, a hardwood favored for its durability and excellent acoustic resonance. This same wood is often used in crafting other classical Indian instruments, such as the mridangam, making it a preferred material for both its strength and tonal quality.

Both drumheads, left and right—are covered with tightly stretched animal skin. While cowhide is commonly used in India, Malaysian versions often feature goatskin, which is appreciated for its tone and flexibility. Traditionally, the skins are secured using leather straps woven in a V-shaped pattern around the drum body. However, in modern adaptations, nylon cords have replaced leather straps due to their weather resistance, ease of maintenance, and the convenience they offer in adjusting the drum’s tension for optimal sound quality.

In Malaysia, the urumee drums are classified into three different pitch ranges: high, medium, and bass. The medium-sized drum typically serves as the lead instrument in both the urumee section and the entire ensemble. The high and lowpitched drums act as supportive instruments, creating a rich and layered rhythm.

Before a performance begins, the urumee drum is strapped over the player’s shoulder using a cloth sling, allowing it to be played while standing or walking—especially during religious processions such as Thaipusam. Urumee players use two types of sticks: a small rattan stick called Ahdi Kucci for striking the left side of the drum, and two curved rattan sticks called Ellukucci for playing the right side. This combination of striking and rubbing techniques produces a distinctive range of dynamic, resonant sounds, including the signature ‘moaning’ tone associated with trance states and spiritual experiences in Hindu rituals.

Performances usually involve multiple urumee players using drums of various pitches with the medium-sized drum leading the rhythm, and the high and lowpitched drums providing supporting rhythmic layers. Traditional instruments such as the Thavil and Nadaswaram are often included, adding intensity and brilliance to the performance. The full ensemble of sounds not only enhances the atmosphere but also strengthens communal spirit, reflecting cultural unity and religious devotion.

Among the songs typically played in Urumee Melam performances are:

Hindu Devotional Songs

Chants and hymns of worship performed during rituals or trance episodes, including:

 Shobanbabu a/l Munian