[Paul Bunyan]

Sankara Warrier: - Some lives are like that. He is brave struggling against poverty and neglect. His rhythmic notes on the maddalam are breathtaking, in their magnificent conception. The sweet notes that emerge from it are unsurpassed. He is Sankara Warrier the finest and the rarest figure that has graced Melapaddam and Panchavadyam. He was in the capital city, last week to receive the honors conferred by Drisyavedi.

“I chose to learn maddalam to earn a livelihood. I was doing menial jobs in hotels, temples, and in markets. I have even served as a cleaner of automobiles. I worked as a helper at the residence Kottayathu PKS Varma, a disciple of Chembai. He plays more or less all instruments, and was an excellent vocalist. I could not learn anything from him, but could familiarize with musical notes” he said.


While serving a temple in Karnataka, I received a packet of jaggery wrapped in a Malayalam news paper. Thrilled to see a Malayalam paper after a long time I read it. That was a notification from Kerala Kalamandalam inviting aspiring students. Our family was too poor to afford. Still I applied. I was informed when short listed. I never knew that. I was at that time employed in a different place. My illiterate mother had kept the communication safely. It reached my hand on the eve of the joining date. How to go? Who will bear the expense? I burrowed money from so many people to reach Kalamanadalam” recollected Sankara Warrier.
He managed to learn maddalam with devotion and today maddalam and Sankara Warrier has become synonyms. Many called him Maddala Warrier. Mild-mannered Sankara Warrier, becomes agitated when he talks about maddalam and the way the instrument and the artiste are sidelined.

Sanakra warrier was of the opinion that initially only maddalam was the accompanying instrument for kathakali. It was Kottayathu THAMPURAN who introduced Chenda in Kathakali.
“Now in Kathakali, the instruments used are Chenda, Maddalam, Chengila, and elathalam. Maddalam is permitted to accompany only sthree veshams. The attitude is “maddalam can join the back ground if desired.” Amidst the loudness of other instruments mainly chenda, the soft notes of maddalam remains unheard” he explained.

“It was Appukkuti Poduval Asan and Kalamanadalam Nambeesan Asan who trained me in maddalam. The latter punishes severely. But according to me the teacher should study the student first, while taking lessons. I am against punishments.”


“Arangettam of students were arranged. Parents reached the venue to witness their children’s’ performances. But no body came from my house. With five rupees I could manage so many things. But I was too poor. On the eve of arangetram, I had fever. Nambeesan provided the timely help” he reminisced.

Sankara Warrier is working at FACT since 1981. He was recently presented Veera srungala, by the Kochi Maharaja.

[tgs]

Sankara Warrier: - Some lives are like that. He is brave struggling against poverty and neglect. His rhythmic notes on the maddalam are breathtaking, in their magnificent conception. The sweet notes that emerge from it are unsurpassed. He is Sankara Warrier the finest and the rarest figure that has graced Melapaddam and Panchavadyam. He was in the capital city, last week to receive the honors conferred by Drisyavedi.

“I chose to learn maddalam to earn a livelihood. I was doing menial jobs in hotels, temples, and in markets. I have even served as a cleaner of automobiles. I worked as a helper at the residence Kottayathu PKS Varma, a disciple of Chembai. He plays more or less all instruments, and was an excellent vocalist. I could not learn anything from him, but could familiarize with musical notes” he said.


While serving a temple in Karnataka, I received a packet of jaggery wrapped in a Malayalam news paper. Thrilled to see a Malayalam paper after a long time I read it. That was a notification from Kerala Kalamandalam inviting aspiring students. Our family was too poor to afford. Still I applied. I was informed when short listed. I never knew that. I was at that time employed in a different place. My illiterate mother had kept the communication safely. It reached my hand on the eve of the joining date. How to go? Who will bear the expense? I burrowed money from so many people to reach Kalamanadalam” recollected Sankara Warrier.
He managed to learn maddalam with devotion and today maddalam and Sankara Warrier has become synonyms. Many called him Maddala Warrier. Mild-mannered Sankara Warrier, becomes agitated when he talks about maddalam and the way the instrument and the artiste are sidelined.

Sanakra warrier was of the opinion that initially only maddalam was the accompanying instrument for kathakali. It was Kottayathu THAMPURAN who introduced Chenda in Kathakali.
“Now in Kathakali, the instruments used are Chenda, Maddalam, Chengila, and elathalam. Maddalam is permitted to accompany only sthree veshams. The attitude is “maddalam can join the back ground if desired.” Amidst the loudness of other instruments mainly chenda, the soft notes of maddalam remains unheard” he explained.

“It was Appukkuti Poduval Asan and Kalamanadalam Nambeesan Asan who trained me in maddalam. The latter punishes severely. But according to me the teacher should study the student first, while taking lessons. I am against punishments.”


“Arangettam of students were arranged. Parents reached the venue to witness their children’s’ performances. But no body came from my house. With five rupees I could manage so many things. But I was too poor. On the eve of arangetram, I had fever. Nambeesan provided the timely help” he reminisced.

Sankara Warrier is working at FACT since 1981. He was recently presented Veera srungala, by the Kochi Maharaja.

[Raj_Copi_Jin]

Thaadaka vadham:

Was Rama in love with Thaadaka? Why it was not fulfilled then? That was a different approach to “Thaadaka Vadham” attakkatha penned by Prof. V Kkrishanan Thampi. It was staged today by Sandarsan Kathakali Vidyalayam Ambalapuzha, at Karthika Tirunal Theatre. The show was organized by Drisyavedi in connection Prof. Krishanan Thampi Day. Thampi had portrayed this story in the backdrop of Aryan-Dravidian conflict.
Thaadaka the Dravidian Queen was seated with pride when a messenger conveys what he had seen at Aryadesam. Thaadakam had already vowed to eradicate Aryans. This news delivered by the messenger makes her unrest. She at once engages her men to bring those Aryans who performs rituals by force.
In the next scene, Dasaradhan refuses to send Rama with Viswamitran for participating in a yagam and they argue over this issue. When irritated Viswamitran was about to curse Dasaradhan, Vasishtan reaches there and prevents the act of cursing. He advises Dasaradhan to sent Rama with Viswamitran. The sages say that an ogress is troubling them and seeks Rama’s help. However Rama had taken the vow that he would never slay woman. They reach Thaadakavaanam. Rama was desperate. He was awe struck with the silence of the forest. He realizes the power of Thaadaka. Out of fear all living creatures had under cover. Gradually he slips into deep sleep.

Wandering Thaadaka saw a handsome young man. She was attracted towards him. That was love at first sight. She suddenly realizes her vow when she tries to kiss him. “IT is against the dharma. He is my enemy. I should not develop any soft corner for him” she says and slowly walks back.
Rama wakens and sees a charming lady. But she had vanished in no time. Who can that be? How dare she is to wander in this forest dominated by the ogress and her men.

Rama again bumps with her. She introduces her as vanadevatha. Rama discloses his mission warns her about Thaadaka.

She suggests Rama to go for a compromise with Thaadaka to which Rama turns a deaf ear. They depart. Viswamitran conducts yaga and armed Rama protects the yagasala. But he curses his faith to slain a woman. He makes a final attempt and pleads Viswamitran that he wanted to decline fro the act of slaying a woman.
The Sage insists and directs him to kill her. Rama had no other way. He tells his arrows that he is unable to aim at a woman and but pleads them strike her. He hears the roaring of the ogress and aims his arrows in the direction of the sound.
The arrows pierce Thaadaka’s body. Rama reaches the spot to find that the Vanadevatha was injured badly. She reveals her true identity. HE consoles her. Thaadaka prophesies that their love would be fulfilled in their next births when Rama would be born as a cow herd (Krishna) and herself as Radha. Kalamandalam Shanmughan (Thaadaka) and Kalamandalam mukundan (RAMA) and Kalamandalam Hari S Nair (Thaadaka –kari vesham) were the main perfomers.

[Beerinkol]

Nala is inflamed with love and eager to see Damayanthi. They had never met each other, but nevertheless have fallen in love. Nala wonders how he can seek and win her. He asks the moon, the passing cloud, and the cool breeze to carry this message of love to his beloved. Kalamandalam Shanmughan was at his expressive best while enacting the Nalacharitham first day at Vyloppilli Samskriti Bhavan.

The connoisseurs were astounded to see Shanmughan as Nala since he is known for his sthree veshams. Earlier he had performed the role of Damayanthi many times, even with stalwarts like Kalamandalam Gopi. Shanmughan had already proved his dexterity in both male and female roles.

Says Shanmughan: “This is not my debut male role. I have portrayed the role of Krishna, which has definite Kalarichitta. The role of Nala, is different in that it has no kalarichitta and entirely on the manodarmam. I never say that my portrayal of Nala is perfect. Precision comes only with practice. It also remains a fact that only a few can do female roles with consummate ease.
The actor requires the twin attributes of a charming appearance and flexible physique. Actors twice blessed like shanmughan are few and far between.

For him taking up a female role is a matter of survival. Being relatively junior, he has to bide his time to get a good male role. He feels that doing both can do more harm than good. THE FEMALE CHARACTERS ARE LASYA ORIENTED. The male ones are the thandava type.
Enacting the role of Nala in Nalacharitham day one is no cake walk. The rasa/emotion is vipralamba sringara or separated love. There is less scope for angika abhinaya. The movements are lasya as the poetic and romantic text and are best conveyed through gentle lyrical movements. It demands satwika abhinaya. His experience in doing female roles has definitely come in handy. Forlorn love is immaculately captured in his female gestures.

He has devoted considerable time for mukha abhinayam. One could read a heart felt emotion even at the tip of his nose. That was an emotional experience for the audience.
Shnamughan is a native of Pullangiri in Chempakulam known for Kathakali tradition. The village has produced great masters like Kunjupilla panicker, chempakkulam pachchu pilla, and Guru Gopinath. A product of Kerala Kalamandalam he is still undergoing training under Vasu Pisharadi.

[brraverishhh]

This interview was taken in 2004

His last visit to the city was to receive the prestigious Raja Ravi Varma Puraskaram and this time A Ramachandran and his wife Tan Chameli were in this city to spend their holidays.
A native of Attingal, Ramachandran after his post graduation in Malayalam worked for AIR, as a staff artiste for sometime. He later joined Jamia Islamia as a lecturer and retired as a Professor.
“Since my child hood I nurtured a fascination for art” says the artist. In the initial stages his works were large with powerful figuration.
He joined Santiniketan and took a Diploma in fine arts. Born to Tan Yun Shan and Chen Nai-wei his Tan Chameli is also a product of Santiniketan. Spiritually, a Buddhist her father was a close associate of Mao Tse Tung. ‘My father met Tagore, in Malayasia and was highly influenced by him. That was how he visited Santiniketan. My father took it as MISSION to spread the message of Tagore through inter civilization cooperation” she says. It was her father who established Cheena Bhavan at Viswa Bharati, Sino-Indian society at Nanking, and the world Buddhist Academy at Bodh Gaya. “It was Rabindranath Tagore who christened me” she says. Her association with Ramachandran culminated in their marriage.

Ramachandran’s work underwent a sea change in the 80 s. Influenced by the tribal community in Rajasthan, its vibrant ethos gripped his imagination. Tan but prefers to paint nature. Swaying coconut palms, in Chinese ink, leaves and branches of climbers, different hues, of lotus flowers, are a few of Tan Chameli’s impressive works.
Ramachandran’s sculptures are more intriguing in formal terms than his paintings. His command over lines, colors and forms, creates a visual play. They are vibrant teeming with burgeoning life. In one of his works, one can find the presence of the artist in the form of a butterfly, or a snail. “It is like me becoming the part of the work” he remarked and added
‘It is a fantasy like our myths. We as a civilization have evolved a highly imaginative culture unlike the European one” and for him Ramkinkar is his guru.

For him art is an extension of visual culture. Our temples, festivals, palaces, are examples of visual culture. With the onslaught of western style we have lost our traditional touch and hence the visual culture is getting fragmented.

Our Maharajas had a broad outlook. The king may not be an artist or a musician. But he patronized them. Raja Ravi VARMA HAD A LANGUAGE AND THAT PERIOS IS OVER. There was literally stagnation after him. K C S Panicker had a different style. Ramachnadran had his doctoral thesis on Mural paintings of Kerala.
Yellow space, moving bodies, peep hole, metamorphosis, last supper, grave diggers, end of Yadhavas, and Kalinga war were his popular works.

Ramachandran designs stamps. His children literatures were published in Japan England, and the USA, besides in India. HE HAS organized dozens of one man shows and two retrospectives.
A traveling exhibition of his works, in oil, line drawings and water colors were displayed at all major cities under the title “Reality in search of Myth”
The diversity of his art and his craftsmanship over a number of media is breath taking. “I have done a number of political works. I realized that its life span is short. I was an angry young man then. Now I am old and happy. The artist’s world is large. When I realize it I became old” he confessed. Two volumes of his works RAMACHANDRAN A RETROSPECTIVE by R. Shivakumar, will be released shortly. The work deals with the life and 40 years of his works.

[LottiFurmann]

Margi Vijayakumar:_ Maestro in drag

Poothana, the ogress was sent to poison infant Krishna. She assumes the form of a beautiful maiden plays with him, and gains his confidence. She then picks him up and suckles him at her poisoned breast. The child turns the tables on her. Once she realizes that she had been done for Poothana reveals her real hideous form and desperately tries to tear the baby away from her breast but in vain. She writhes in pain till her breath is sucked our.

It was impossible to enact Poothana Moksham sans the doll that represented Krishna. Or so it was thought until Margi Vijayakumar staged a performance at the Natyagramam at Thonnaikkal.

Connoisseurs were astounded. The effect he conjured without the doll was stunning, to say the least. The evocation of the rasa is the key to his success, for he effectively makes the audience feel the presence of Krishna.

Other artistes consider this abandonment a sacrilege. My performance has invited much criticism. BUT I LIKE TO PURSUE this style says Margi Vijayakumar who had always excelled in female roles.

He was initiated into the world of Kathakali through the Kathakali School set up in Thonnakkal by Thonnakkal Peethambaran, his father’s student. Later he chanced upon an ad by Margi, and in 1975, he joined there. Mankulam Vishnu Nampoothiri and Enchakad Ramachandran Pillai were his masters then. He cherishes the fact that he coluld learn under Kalamandalam Krishnan kutti Nair whi joined Margi in 1980. Now he has established a Natyagram in Thonnakkal to create awareness, among the people regarding the performing arts of Kerala.

Initially he was not keen on sthree veshams. It later dawned on me that only very few can enact female roles. The physical make of the artiste should fit in with the female costumes and make up” he says.

The basic color is a sort of pale beige. The eyes are outlined in black and eyebrows emphasized with graceful curves. The lips are given lovely shape in red. Cheeks are adorned with a wavy line of white dots. These are repeated on the forehead and chin. FINELY powdered mica dust imparts a soft glow to the skin. Once the artiste is accustomed to this type of roles, it is tough to portray male characters. If you concentrate on both none would reach perfection. The disadvantage of sticking on to female minukku is that after a certain period you cannot continue. Age is a major factor. However I am not all inclined to do male characters as of now.

Vijayakumar says that portraying Urvashi is the most challenging. It has a strict frame work and the artiste has to evoke controlled emotions. The foot work and the tempo of the music are very slow. Silmilarly Lalitha in Kirmeera Vadham is a split personality. According to him female characters have less significance. When a female appears on stage with male she stands as a mere onlooker. “While I perform I always express facial gestures to his dialogues” he said.
There is a school of thought that the female characters should be executed only by female artistes so that they can bring female emotions correctly. But this is precisely the challenge Vijayakumar has taken up. JUNE 25, 2005 INDIAN EXPRESS

[MannoFr]

He was only 14 while staging “Ganapathiprathal” at the Elamkunnu Subramaniaswami Temple for Makarasankranthi. Exponents of Kootiyattam recognized a spark in him that would grow into a floodlight of reform. He grew beyond that and became the beacon light of Kootiyattam. Moozhikkulam Kochukuttan Chakkiyar was in the city recently to receive the honor bestowed on him by Margi and Drisyavedi. In an interview this octogenarian talks about Adiyantharakoothu, his masters, the gurukaula system and his renowned disciples like Margi Sathi. It was he who introduced Nirvahanam by female characters.
His vachikabhinaya, was an exquisite allegory of Indian life, narrated in simple, forceful, direct, seasoned with racing humor.

Moozhikkulam Kochukuttan Chakkiyar (Parameswarn) was born in the traditional family of Kootiyattam performers. He had his initial lessons from the family members and had advanced lessons from Kidangoor Chakkiars. Kallangara Ksharathu Narayana Pisharodi taught him Sanskrit.
“In those days Adiyanthira Koothu was more. It really helped to revive the art form”
How?
We have Adiyanthira Koothu, Kazhcha Koothu, and Vazhipadu Koothu. The last two were meant for the public. But Adiyanthira Koothu provides absolute freedom to the artistes. Vadakkumnathan temple, Irinjalakkuda Koodal Manikkam temple, Annamanada Mahadeva temple, Kottiyur Mahadeva temple had regular Adiyanthira Koothu. I had performed in all these temples and gained experience. As the chakyar family of Irinjalakkuda belongs to the charcha I stayed there and performed in all temples where they have the right to do so” he said. If he had bothered to list out the number of stages, we would find him in the Guinness book of records!
His mission was different. In his childhood days Kootiyattam was on the verge of extinction. He wanted to revive it. That was a period when the then kootiyattam artistes thought twice to impart knowledge of Kootiyattam to their children. Kochukuttan Chakiar initiated his children Madhu and Narayanan into Kootiyattam. A bold step indeed!!
It was Painkulam Rama Chakkiar who staged Kootiyattam out side Koothambalam for the first time in 1948. Kootiyattam was never staged full. It is so elaborate that it would take days-Mantarnakam for instance-it would take 41 days! Nirvahanam is the prelude to Kootiyattam. Here one of the characters sums up the story presented. This would take many days. It is done by Vidhooshaka. He explains the inner multiple meanings to the audience which demands lengthy abhinaya. He expounds the famous purushartha the four ultimate attainments in human life peppered with satires on follies and foibles of human life. He talks in local parleys which increased viewership. Later Sanskrit poets composed exclusive prabhandama for the Vidhhoshaka known as Prabhandakoothu. The chakkiars executed the role of the media men. None can question their criticism. (That is why Ammannur family left Pattambikulam and settled in Thirumoozhikkulam.) He had staged Ramayanam Prabhnadam koothu for three mandalams that is 123 days. Kochukuttan chakkair was a Vidhooshaka exponent. He never hesitates to essay minor roles.

Kochukuttan Chakkiyar joined Margi in 1981. Ammannur Madhava Chakkiyar was the tutor. He composed attaprakarams for certain portions of Acharyachudamani. It was Kochukuttan Chakkiyar who trained his students and staged them. He staged chudamani till EZHAMANGAM Bharatavakyam. “I was paid Rs.250/. We were five. I never complained” he said. He trained Margi Sathi and Usha who have staged maximum number of female characters. He choreographed Parnasalangam, Mayaseethangam, and Agnipravesangam of the Achryachoodamani. What he had learned can be staged continuously for 180 days!

Nirvahanam of Chedi Kalpalathika (Subhadradhananjayam) is spread over 237 slokams. Kochu Kuttan Chakkiyar, made it into 30 chapters. It requires 30 days (3 hours per day) and trained Sathi.
That genius is akin to madness. His mission was to revive Kutiyattam, and he could redeem this art form, into the popular one as we see today through nishkamakarma. He was conferred with Kendra Snaggetha Nataka Academy Award and Kalaratnam title by Keralakalamandalam.

[Raj_Copi_Jin]

Kalamandalam Gangadharan:_
He is the first Kathakali musician to win the Kendra Sangeetha Nataka Akademy Award. His presence with chengila adds confidence to the actors on stage. Meet Kalamandalam Gangadharan, who was in the city recently.
Gangadharan a native of Oyyur near Kottarakkara, was initiated into music by uncle under Kadakkavur Velukkutti Nair.
“We had financial problems and so I joined Kerala Kalamandalam, where you need not pay any fee” said Gangadharan. Kalamandalam Neelakantan Nambeesan was his Guru. “If we have fairly good knowledge of classical music, it is an added advantage for learning Kathakali songs” he opined. “When I was doing my seventh year, Hyderali and Embranthiri joined Kalamandalam. I started taking classes when I was doing my final year. After completing the course I joined Kalamandalam as a tutor and served the institution for 30 years” he said.
Besides a good voice what qualities are expected from the Kathakali musician?
He has to be thorough with the stories, the various sambrathayams, the veshams, and you have to involve intimately with the kalari. You must be capable of bringing out the right bhava in the tone. Kottayam Kathakal has a strict kalarichitta. The tempo is slow. The music is highly technical. The term of the course for the veshakkaran and Kathakali musician are the same.
Has the singer freedom to change the tune of the padams?
Yes. Karnasapadam and Nalacharitham are examples. We never adhere to the ragas mentioned in the text. We propagated what Venkitakrishna Bhagavathar and Nambeesan Aasan had taught us. But I am sorry to say that one can identify a filmy touch in the Kathakali padams” he was concerned. He has served Margi as the visiting professor for years.

[9mm_fan]

Abandoned by her beloved, Sita sends are two sons Lava and Kusha, to reunite with his father. She reminisce her eventful life_ her wedding, her years in the Dandakaranya, how she insulted Lakshmana, how she was kidnapped by Ravana, her hardships at Asokavanam, Rama’s coronation and how Rama abandoned her based on spy report, was asked to undergo a public test.

“I am willing to undergo the test. Yet you have never tried to understand the woman Sita for a moment who is till a stranger to you” she laments.
Here commences “Sitayanam” the journey of Sita, by Mohiniyattam danseuse Dr. Neena Prasad at the Senate Hall last week.

Rama’s martial prowess first appeared to advantage barely at 12 when he dared to attempt to wield and string up the bow of Shiva. It was made a condition by Janaka for the bestowal of his daughter Sita.

She followed Rama to forest. At the forest Maricha as an enchanting deer began to dance and prance in front of their hermitage. She was so struck with its beauty and demanded to possess the rare animal. . Lakshmana had suspicions about the reality of the animal. Rama entrusts Lakshmana to protect Sita till he arrives. For Rama the animal played wily tricks. When he shot an arrow the death pangs had the voice of Rama. Sita was shocked to hear that. But Lakshmana remained unmoved. He had full confidence in Rama’s prowess. This behavior of Lakshamana excited her so much that she used abusively vicious language. She attributed to him sinister motives. Lakshmana was stung to the quick by this insult and prepared to leave in search of Rama.
What provoked her insult to Lakshmana? Just as the moth is fatally attracted to the flame so is the mind of a woman. It jumps into conclusions as wrongly as this.

Rama’s victorious return to Ayodhya, with sita and after the grand coronation, Rama asked his spies to speak out to him the people’s talk. The spy told him in an outspoken manner that the people in open markets or in nooks and corners, spoke highly of Rama. But also talk ill of him for accepting Sita not minding her having been in the house of Ravana. It was like a bolt from blue for Rama. Rama immediately made up his mind to discard her. He very well knew that sita was absolutely pure and sinless. People condemn my acceptance of sita as a bad precedence. Sita was shocked to realize that she was being abandoned by Rama.


Valmiki sent Lava kusha to recite in their cadence voice a certain portion of his composition the Ramayana. He realizes that they were his sons, and expressed his willingness to accept Sita back on Sita’s giving a publicly satisfying demonstration before the large audience of her perfect innocence.
Sita with her head and eyes turned down to the ground. What is the purpose of life? Was this life limited to the slaying of Ravana and to bring forth Rama’s progenies? Why should I live? She says “I do not think any other male than Raghava. If this statement is true may the earth goddess offers me an opening.” The Goddess took her up and disappeared under the ground, leaving Rama to rue for his obstinacy.

“Sitayana is a collaborative work. Sampoorna Adyatmaramayana, Kamba Ramayana and Chintavishtayaya Sita were the primary sources. The lyrics were composed by Prof. Madhusudanan Nair, Dr. Maheswaran Nair, and Sreepadam Eswaran Nampoothiri. We have incorporated folk music, and ritual music heritage of Kerala, including Thiruvathira. Music was scored by Changanasseri Madhavan Nampoothiri. It was choreographed by me”

Why such a theme?
I have felt that there was much more to be explored. For me she is not the angry woman and the suffering icon of Indian womanhood. It is an attempt to essay her life’s journey in its complexity and intensity.” She said. (646 words)
Born to Bhaskara Prasad and Lalitha Prasad, Neena had her training in Bharatanatyam from Adayar K Lekshmanan, Kuchupidi from Vembatti Chinna Satyam, Mohiniyattam from Kalamandalam Sugandhi and Kathakali from Vembayam Appukkuttan Nair.
She realized that Mohiniyattam was her forte and for the past 12 years she has been focusing on it. Her nayikas are bold, and not romantic, sensuous timid and pining for nayakas.

[MannoFr]

Kaladi in Kerala is the birth place of the great Saivaite reformer and powerful advaitic exponent Sankarachraya.
Unlike many other places KALADI is not so popular. No big festivals attract pilgrims. Kaladi on account of remoteness and the absence of legendary associations is a place of pilgrimage only for the educated ones who knew the greatness of Sankaracharya and his contribution to Sanskrit literature and Hindu Philosophy.
Scholars and devotees gather at Kaladi on the day of Sankara Jayanthi.
The idyllic and solemn place can be reached from Angamaly. Coconut groves, areca nut fields, stretches of paddy fields, canals with innumerable meanders offer visual feast.
The conical tower of the temple is visible from afar. They –one for Sankara and the other for Saradadevi, are unique. The tower is over the shrine itself and there are no architectural features. The house of Sanakra and the school he attended have all disappeared. The spot where the mother of Sankara was cremated reminds us of how Sankara took to sanyasa at the age of 12, and reached her mother’s side in her last hours and how he fulfilled her desire to see him.
Sarada was a learned woman who defeated even SANKARA in an argument. He had great veneration for her that he dedicated a temple to her at Srungeri.
The Peritar River is mind-boggling. Coconut palms and bushes hang down to the water’s edge. What over power us is the silence that prevails there.

[Beerinkol]

Buddha and Jaina relics in Kerala show that Kerala too came under the influence of Jainism and Buddhism. They remind us of the far off days when these faiths were practiced by men and women.
Here let us have a study of such relics confined to southern parts of present day Kerala and Tamilnadu which was known as Travancore. KARUMADI is a small village near Alappuzha. There is a mutilated image of three ft high set on an ordinary pedestal and the people call it Karumadikuttan on the banks of the backwater, and people go ashore to make offerings. Archeologists believe that Karumadikuttan is an image of Buddha seated in the yogasana posture. Traces of the upper cloth passing over the chest is a distinguishing feature of Buddhist iconography.
The department of Archeology had excavated four more images of BUDDHA. They are,
1. At Mavelikkara: It was found in the premises of a house. People lit lamps and offer coconuts.
2. At Bharanikkavu: located five miles north-west of Mavelikkara, the images excavated was elegantly carved.
3. At Pallikkal: seven miles from Adoor, this image was head less.
4. At Karunagapalli: in a temple tank, this image is the best ever found.
Last two images are exhibited in the Museum.

All these images were found in the central Travancore. When exactly Buddhism faded cannot be said. There are many temples which are of Jaina origin.

The famous Jaina temple is Chitharal. There is a cave temple atop a craggy hill.

Chitharal is a tiny unpretentious village located 4 miles north east of Kuzhithurai. This antique and historically significant rock shrine was in days of yore a place of pilgrimage sacred to the Jains. It was converted into Hindu temple in 1250AD, and an image of Bhagavathy was installed.
At the summit of Tirucharanathu Malai a craggy hill in Chitharal is a natural cave formed by an overhanging rock resting upon another. The imposing ruins of this temple perched atop the hill evoke sacred and austere memories.
On the northern side of the overhanging rock is sculpted many exquisite images which are avowedly Jainistic in origin, distinguished by hanging earlobes, a tier of three umbrellas over the tonsured head, in the sitting and standing postures. The images have broad shoulders and thin waists with contemplative expressions. Between these images of Jain Theerthankaras are inscriptions in Vattezhuthu. Most of them are seemed to be the replica of the Jain Theerthankaras, namely Parsvanatha and Mahavira, inside the central shrine. The Hindus however consider this as the image of Mahavishnu.
The central shrine is divided into three chambers-one for the Goddess another for Mahavira and the third one for Parsuanatha which is in the standing posture and nude as required by the manasara.
The term Thirucharanathu malai means the hill holy to the charanas. The chudamani nighantu says that charanas are the eight class of samanas who have attained the siddhi of concealing themselves in flowers, water or sky. It also means a place where Jains lived in large groups.
On the top of the overhanging rock just above the central shrine is a brick gopuram. The three storied pagoda had images of Mahaviras. It was destroyed in lightning in 1908.
Jainism declined in the 11th century during the Chola dynasty. It is said that when Chandra Gupta Maurya along with a Jain ascetic Badrabhahu reached Sravanabalgola in 298 BC their disciples reached here to spread Jainism and chose this hillock for meditation.
Inscription on a huge rock exposed to the elements hence badly damaged throw light on the religious and cultural history of the State. There is a pond in front of the shrine down a flight of steps.
On ascending the Chitharal rock one can enjoy the charming landscape around. At a distance the jagged outline of the Western Ghats enveloped by clouds can be seen .Below gleaming pale green lakes, fields, winding rivers, clusters of pretty villages nestling amidst coconut and Palmyra plantations, the tall spires of churches, the lofty gopurams enchant us.
This spot a confluence of history and religion is an ideal place for enjoying a quiet holiday. The most greatly prized amenity granted exclusively by nature here is peacefulness.
The Nagaraja temple at Nagercoil also is of Jaina origin. It continued to do so till 1522. Six Jaina images, three of which are -seated figure of Mahavira Tirthankara, one seated figure of Parswanatha, and another of the same in the standing posture. One of the Maharavira image is carved on a pillar in the Mandapa, in front of the central shrine and two others in the central shrine itself. The images of Parsvanatha and Padmavathidevi are seen on the pillars in the same mandapa.
Kallil Bhagavathi temple at Perumpavur, too is of Jaina origin. The shrine is a huge overhanging rock. Inside on the back wall of the cave is sculpted in half relief, the image of Mahavira, and to its left is the Padmavathidevi, now worshipped as Bhagavathi

[doctorzlo]

That was a sarcastic smile. Experts say in Kutiyattam this is a challenging one for any artiste. Margi Sathi renowned Kutiyattam artiste performed with perfection at Fort Margi while staging “Agnipravesankam.”
“Why is she laughing like that”- wondered Sugrivan? Is it because she had spent such a long period in the custody of Ravana and had gained audacity? Or is it because she is a chaste woman?
Earlier the show began with the purappd of Sita who is in a dilemma. She was kidnapped by Ravana and airlifted to Lanka. She was concerned about the people’s opinion and Rama’s attitude towards her. In deep sorrow she approaches Rama. When she presents herself before Rama she looked elegant. That was the result of the boon by Ausuya, which Rama was unaware of. So he suspects her, and remarks of the people add his suspicion. Agni pravesam was suggested. She escapes unhurt.

People call her “pumchali.” She could not tolerate the insult. Suddenly she gains mental strength and laughs sarcastically, which has many connotations.
Margi Sathi-now working as a tutor at Kerala Kalamandalam was in the city recently, to perform Kutiyattam (“Agnipravesam” from Aschraya chudamani) at Fort Margi.
She was thrilled for she was invited by Kamala Surayya before the latter left for Pune.
“I love Kamala Surayya for she resembled my mother, who passed away nine years ago. I have not met Kamala Surayya before. When she expressed her desire to meet me, I was so thrilled. When she passionately held my hands together, I could feel the invisible presence of my mother. Though the writer intended to finish our meeting with in half an hour it went on for four hours. The past two years had been a bad time for me. In those days I desired the proximity of my loving mother. When I met Kamala I could feel it” said Sathi.
“She gifted this chain of beads (presented to her by Sandeep Chaitanya) and a kasavu set mundu. I have nothing to give her except for the book Sree Rama Charitham authored by me. She held that book close to her bosom and wept” reminisce Sathi.

How is the new role of teaching at Kalamandalam?
“I am a product of Kalamandalam. It was Margi that made me what I am today and I became Margi Sathi. The problem is we seldom get opportunities to perform-which is essential for any artiste to develop the talents and exploit the potentials. I have to abide the rules of Kalamandalam. It is the best place for doing research. Plenty of materials are available. I have to make use of those facilities” she said.

[Raj_Copi_Jin]

Meet Surendra designer of a different kind-he has been designing “wardrobe” for the Pancha Pandavas (No less) for the several years. Come the Painkuni festival in the Padmanabha Swami temple, it is hectic time for Surendran who stitches the costume for the Pandavas. They are no ultra-modern costumes-but a simple paavada and chatta. It is the quantity of clothes required for making these costumes that makes one wonder struck!

Says Surendran, “I am an employee of Ananthasree Arts and Crafts near the flight of steps in the eastern entrance of the temple. Here I design nettipattam and thidambu for elephants carved in wood. But basically I am a tailor and our family runs a tailoring unit in Pravachambalam. That is how I happened to design costumes for the Pandavas.”

Could you tell us about the quantity of cloth used for these effigies?
“Though Bhima is very tall, the effigy of Dharmaputra in the sitting posture demands 60 mts of cloth. Bhima requires 45 mts, Arjuna 20 mts Nakula 18 mts and Sahadeva 15 mts. Red polyester cloth is used. Yellow satin bands are used on the waist, on the sleeves and in the seams of the paavada. 25 spools of red and 6 spools of yellow thread were employed. (The biggest spools available in the market). Cuttings were required for the neck and arm whole. First I made pieces of the dimension 45”x2.5 mts. These pieces were joined later. 12 such pieces were used for the Bhiman paavada. For Nakulan and Sahadevan there is no separate paavada and chatta. It is a single piece, costume from top to bottom with joints at the waist akin to petticoats. The sleeves of the chatta are fastened to the effigy with knots, and buttons, hooks, Velcro, or zips are not used” explained Surendran.

How are these giants erected?
“Before installation paalpayasam for Sree Padmanabha and vadamala for the Hanuman are offered. Once Chandran a worker had a fall while installing the effigy of Bhima and since then he is called Bhiman Chnadran. The workers then decided to make some offerings to the deities to prevent untoward incidents as this. We had the statue of Gaurda Jadayu and Sree Krishna and Gopikas beneath a fig” they are damaged and hence are not displayed” said Satheesh, the owner of Anathasree Crafts work.

Earlier effigies were made of wood and were too heavy to lift. But they had finely decorated faces with bulging eyes, and colorful head gear. Their long red robes are decked with chains of beads. They all have long tresses and nails. Yudhishtira alone is installed in the sitting posture with his right leg on his left thigh. The giant Bhima holds an ornamental mace and the others with a medium sized clubs. Time had its effect on them. So the trust decided to make effigies in fiber glass. They weigh less and are easy to install. Installation is executed at dawn and is continued till 10 am and is restarted in the evening” said Parameswaran Nair…..Installation begins from the youngest member. However the effigy of Bhima is erected only towards the end. In those days Bhiman Kanji was prepared and distributed as soon as the installation is complete. Another striking feature is that once the effigy is taken out and installed nature pays its respect and there will be a drizzle” recollects Satheesh.

In front these effigies the unique war dance of Kerala –velakali was performed twice daily after the seeveli. More than a hundred men symbolically enact the battle of kurushetra, and accept defeat and fly in disorder. Their colorful make up is akin to the battle uniform of ancient Kerala. They wear a loin up to the ankles which is held in position by a strip of white cloth. Their bare chest is adorned with colorful beads and shells and the performer cover their heads with laced red turbans with a protruding knot at the left. They hold a shield and a stick.

They march along with rhythmic movements. A band of drums and bugles lead the battalion. Spectators gather at the flight of steps at the eastern entrance of the temple, and watch the Kaurava pada attacking their enemies.


Though the ten days long impressive temple festival and the installation of the effigies of the Pandavas continue Velakali remains as a colorful memory in the minds of the old timers.
Box III The ulsavam which lasts for ten days begins with the kodiyettu-the hoisting of the God’s Flag and concludes with Aarat procession. During these days the Gods are escorted by His Highness Uthradom Tirunal Marthanda Varma with the entire paraphernalia of the temple and the State.

The ulsava vigrahams of Sree Padmanabha, Sree Krishna, and Sree Narasimha are elaborately decorated and seated in vahanams made of gold and silver. Their marvelous intricacy and design are an eloquent testimony to the art and craftsmanship, of an ancient era. The idols are lavishly decorated with colorful silk fresh flowers.


The procession is lead by an elegantly caparisoned elephant, followed by men carrying the God’s flags, umbrellas, and other emblems of divinity. Clad in traditional temple costume His Highness with drawn sword comes next followed by the heir apparent and other male members of the family. The idols are carried by the temple in the rear. Immediately ahead of the idols walk the temple musicians playing melodiously on the thimiri nagaswaram. A group of vocalist accompanied by violin and mridangam rendering ulsava prabandam follow the vahanams.

[HedgeYourBets]

Dear Friends,

Most of coastal Kerala was below Sea till around 750CE.


Literature Former Professor of Chennai University Head of the Department of Archeaology Professor-Dr.K.V.Raman in Tamil says

கொடுங்கல்லூர் நகருக்குத் தெற்கில் பல இடங்களில், வடக்கில் பழமையானவை என்று கருத்ப்ப்ட்ட சில இடங்களிலும் அகழ்வாய்வுகள் மேற்கொள்ளப்பட்டது....
கேரளாவில் நடைபெற்ற இந்த அகழ்வாய்வுகளை நடுநிலை நின்று பார்த்தால் கீழ்கண்ட, தற்காலிகமான முடிவிற்கு வரலாம்.

கொடுங்கல்லூருக்கு உள்ளும் புறமுமாக, பல முக்கிய இடங்களிலும் நடத்தப்பட்ட அகழ்வாய்வுஅள் எல்லாவற்றிலும் கிடைத்த மிகப் பழைமையான படிவுகள் கி.பி.8 அல்லது 9-ஆம் நூற்றாண்டைச் செர்ந்த்ததாகத்தான் உள்ளன. ஆக, ஓரே சீரான பண்பாட்டுக் கூறுகள் எல்லா இடங்களிலும் வெளிப்பட்டுள்ளன என்பது தெளிவாகிறது.
கொடுங்கல்லூர் பகுதியில், மனித சமுதாயத்தில் முதல் குடியிருப்புகள் 8,9-ஆம் நூற்றாண்டுகளில் தான் ஏற்பட்டிருக்க வேண்டும். குலசேகர மரபினர், கண்ணனூர்ப் பகுதியில் குடியேறி, அதைத் தங்களுடைய தலைநகராக கொண்ட பொழுது இந்தப் பகுதி முழுவதும் முக்கியத்துவம் பெற்றிருக்க வேண்டும். குலசேகர மரபினர்களைப் பற்றிய நல்ல காலக் கணிப்புகள் நமக்குக் கிடைத்திருக்கின்றன. ஆனால் அதற்கு முற்பட்ட காலத்தைச் சேர்ந்த எந்த விதமான ஆதாரமும் கிடைக்கவில்லை.. ..

திருவஞ்சிக்களம் இங்கே ந்டந்த அகழ்வாய்வு கலவையான(M) பல ஆதாரங்களை வெளிப்படுத்தியது. அவை மிகவும் பழைமையானவை10 அல்லது 9ம் நுற்றாண்டுக்கு முற்பட்டதாக இல்லை.

திருவஞ்சிக்களம், கருப்பதானா அல்லது மதிலகம் போன்றவற்றின் பெயர்களை மட்டும் கொண்டு, அவைகள் பழைய வஞ்சியாகவோ கருராகவோ இருக்கலாம் என்று கருதப்பட்டது. ஆனால் இங்கு நடந்த அகழ்வாய்வுகள் கி.பி 8-ஆம் நூற்றாண்டைச் சேர்ந்த இரண்டாம் சேரப் பேரரசுக் காலத்து ஆதாரங்களைத் தான் வெளிப்படுத்தி உள்ளனவே அல்லாமல் பழங்காலச் சேரர்களை பற்றிய எந்தவிதமமன ஆதாரத்தையும் வில்லை. ஆகவே, இந்த இடங்களில் தான், பழைய வங்சியோ, கருரோ இருந்தது என்று சொல்ல முடிய வெளிப்படுத்தவில்லை.

பழைய முசிறித் துறைமுகம் இருந்த இடத்தைக் கண்டுபிடிக்க வேண்டிய அவசியம் ஏற்பட்டிருக்கின்றது. அது நிச்சயமாக கொடுங்கல்லூராக இருக்க முடியாது. பக்-68-70 கே.வி..ராமன், தொல்லியல் ஆய்வுகள் and this article was earlier published in Araichi, 170, under the Heading “Archaeological Investigations in Kerala”

I summarise it in English, Professor refers to the Archaeological research work done under Mr.Anu John Achhan and after analyzing all the findings says First Occupation of Humankind in Kodungallore Belt and surroundings happened in 8 or 9th Century AD, as Virgin Soil without Any Human Occupation came then, all researches in the surrounding areas took us to the Second Chera period of and certainly Kodungallore is not the Musiri the famous Port referred in Sangam Literature.

PLEASE REMEMBER THIS
Devapriya

[Drugmachine]

The sky in the city is overcast. Monsoon would commence within a few days. Many centuries ago traders waited this season to set sail to this amazing land. They came along with advancing monsoon and returned with the retreating monsoon. Their journey took 40 days each way. They brought wine, fish and olive oil in huge amphora, with big handles on either side. There is very chance of these containers breaking in transit. Once emptied, they were disposed. Many years later they were discovered by archaeologists.

A team of Archeologists spent two months near Pattanam near Kodungallur. “We could not afford to spare even an inch. It was rich with remnants for the past” said Jenee Peter research assistant of the Pattanam excavation project. THE findings are displayed at the Vyloppilli Samskriti Bhawan organized by KCHR.
Most of the artifacts are discovered from three meters underground. Roman pottery west Asian ceramics, Chinese pottery, roulette ware, innumerable varieties of beads, bits and pieces of bones, chera coins-all indicating the rich maritime heritage and urban character of the site.

There is a broken piece of neck ornament made of pure gold. The design is so intricate that it created awe among the viewers. A number of semi precious stones glass beads were also recovered.
Five trenches covering an area of 120 sq.m were dug in the north eastern part of PATTANAM. “The site seems to have occupied by the indigenous megalithic (Iron Age) PEOPLE followed by Roman and west Asian contacts in the early historic phase till the early medieval period.” said K C Cherian the director of KCHR.
The excavations shows layers and layers of construction strengthen with local materials and Welsh bonding bricks. Though our ancestors lead a simple life they lead organized and planned life. The extensive brick work shows that this site could have been a township and a trading centre. This was the first ever multidisciplinary archaeological excavation in the state with technical support from various disciplines like geo archaeology, archaeo-zoology, paleobotany, archaeo-chemistry and metallurgy. Many materials recovered from the now land locked site at chittattukara village have been sent for carbon dating. In due course this site would become the State’s first site museum with all artifacts preserved right at the site.

[softy54534]

Ilango Adikal and Silappathikaram came from Chera country/Kerala

[Slonopotam845]

It was intuition that guided them. On 8th April, they delved the cupboard and the wooden box at the Mannur Madam Palace Mavelikkara which housed heaps of cadjan leafs. The team was on the look-out for some valuable treasures on early Travancore history in the form of rich and valuable literature.
Towards evening, they could trace the "syanandura pura varnanaprabandham", one of the precious works of Maharaja Swati Tirunal.

Sasidharan Varma of Mannur Madam Palace is a descendant of historian and research scholar-M Raja Raja Varma. His father T Raja Raja Varma of Paliyekkara Palace had prepared the family chart of Paliyekkara. Inspired by this work, Sasi decided to draw up the family tree of Mavelikkara Kottaram. "It took six years. The period covered was from 1788 to 1999. Diaries and notes of M. Raja Raja Varma were extremely useful in collating the available information. When I was elected as the treasurer of Mannur Madam Palace Trust, I had the opportunity and access to go through the available cadjan leafs. But I had no idea about its contents, but always had a hunch that it would contain precious records. So I preserved all I could. Knowing this, Dr R.P. Raja, the author of "New Light on Swati Tirunal" approached us. That was a turning point."
What made Dr Raja search for Swati Tirunal compositions at Mavelikara? "Historian late Kizhakkemadam Govindan Nair had recorded that Swati Tirunal had sent a copy of all his works to Mavelikkara."
But, Why? "Swati Tirunal's mother's mother Bharani Tirunal Parvathi Bayi a member of Mavelikkara Kottaram was adopted to Travancore on 13th Thulam 964 ME. Her mother Chathayam Tirunal Mahaprabha Amma Tampuran and five children fled from Chirakkal as Tippu Sulthan invaded Malabar Coast. Karthika Tirunal Dharmaraja gave them asylum and accordingly they settled in Mavelikkara. She outlived her daughter and had the fortune to witness the coronation of Maharaja Swati Tirunal. Mavelikkara being the root family, Swati Tirunal made it a point to send a copy of all his works. Now that we could retrieve a few cadjan leaves of Swati compositions, we know the lead was apt," explains Dr. R P Raja.
What is the significance of the present discovery? It is the Syanadurapura varnana Prabandham, a Sanskrit Champu penned by Swati Tirunal. The work has 83 leafs. We could retrieve only 67 of them. The only copy of this magnificent work is available at the Padmanabhaswamy Temple. It is recited to this day when the Maharaja visits the temple. The present discovery is significant in the sense that it furnishes the date of completion of the work as 15th Midhunam, 1014 ME which corresponds to 27th June 1839.
"We were assisted by P L Shaji, Manuscript assistant of the Oriental Research Institute and Manuscript Library of the Kerala University. Our search began at 10 in the morning. Most of the cadjan leafs were on Ayurveda Puranas and Jyothisha. Around 5 pm, Shaji traced this leaf and we were elated and retrieval of 67 cadjan leaves added to our excitement. We are planning to pursue the work which might bring valuable works of Swati Tirunal and other documents” said Dr. Raja, hopefully.