[Slonopotam845]

KOOTIYATTAM:-
It is a unique temple art of Kerala and is the only surviving form of Sanskrit drama. The performance is confined to temple theatres known as koothambalams. The performers belong to the communities of chakkyars and nambiars. The chakkiars are the actors and the female members of the nambiar community undertake the female roles. Mizhavu is the accompanying instrument besides edakka, and kuzhithalam.
The plays:-
They belong to the Sanskrit series of Thiruvananthapuram-namely, those of Bhasa, kulasekhara Varman, sree harshan, Mahendra Vikrama Pallavan, Bodhayanan, apart from Aschary choodamani by Sakthi Bhadran.
Presentation:-
The Kootiyattam presented today was choreographed ten centuries ago by King Kulasekhara Varman with the assistance of Tholan. The presentation was highly stylized in Aharya Abhinaya (make-up, costume, and scenic spectacle) Angika Abhinaya (gesture) and Vachika Abhinaya (oral rendering).
In angika abhinaya the haasthamudras are liberally used, which are not totally or faithfully adapted from Natysastra or other texts in Hindu dramaturgy. The mudras are adapted from Hasthalakshanadeepika which draws from the Tantric mudras prevalent in Kerala. The charis, gatis and the movements of the angas and the upangas also do not follow Natyasastra.
In aharya the make up and costume do not copy the external features of the characters. It is symbolic. There is no typifying of characters as in Kathakali.
In Vachika ABHINAYA, THE TEXT OF THE SANSKRIT drama is rendered by the actor in intonations reminding us of the Yajur vedic chantings of the Nampoothiri brahmins. There is no attempt at making the speeches naturalistic. Even the ragas (they are called swaras in kootiyattam) do not have the solfa symbols of music.
Kootiyattam are never presented in full. It is elaborate and time consuming. It is played in parts. Swapana vasava datha is played as six different performances-each one called an anka. In Prathinga Nataka there is one anka called Mantrankam which requires 41 days to perform. There will be an oral exposition of the vidhushaka. Anguliyankam of Ascharya chudamani lasts for 12 full days. It tells the story of Ramayana including Vanarolpathi, by Hanuman by hand gestures alone.
Since one anka is performed at one time there a prelude to the performance called Nirvahana. Here one of the characters sums up the story presented in earlier acts. This takes many days and if this nirvahana is rendered by vidhushaka, it is an oral exposition. Other characters use only hand gestures for this.

There are plays in which Vidhushaka palys a dominant role-first act of subhadradhananjayam and Tapatisanvaranam. Here the emphasis is on the Vachika Abhinaya.
The slokas are enacted in such a way that the hidden meanings of the slokas are explained. For example, in Abhishekanataka, in Thorana Yudha, there is a sloka in which Ravana speculates that the reason for the attack of monkeys is due to the disrespect shown to him to Nandikeswara. The actor describes in detail the war between Ravana and Devas. Then the preparations of the war, the triumphant journey, description of Lanka, the blocking of pushpaka vimana by mount kailas, the features of the mount, the fight between Parvathi and Siva. The angika abhinaya takes three to four hours.
This seems tedious to an indifferent audience. For entertainment the vidhushaka spices it with humor and vulgarity. He expounds the four purusharthas (the four ultimate attainments in human life)-Rajaseva, aSanam(greedy enjoyment of food)Vinodam (sexual enjoyment with prostitute) and Vanchanam (betrayal). It is interpreted in place of Dharma, Artha, Kama and Moksha.
(To be continued)
The Nangiars:-
The female members of the Nambiars are the nangiars, who have chosen the profession of dancing, acting and singing. Their spouses accompanied them on the mizhavu or edakka. The contribution of nangiars and nambiars to Kutiyattam is immense.

As said earlier, kootu and kootiyattam are practiced by chakkyars of Kerala. It was Kulasekhara Perumal who laid a strong foundation to this art form. He was a great connoisseur and one of the scholars of his court, a manual explaining the presentational aspects of his plays. Thus vyngya vakhya was composed.
Perumal introduced Nangiar into kootiyattam. They essayed the female roles along with the Nambiars and later solo performances of nangiars too developed which is called Nangiarkoothu. It is always the Nambiar who played the mizhavu. Thus the nangiars performed the female roles, with the chakkiyars (kootiyattam), performed nangiarkoothu and rendered songs and maintained tala with cymbals (kuzhithalam).
The chakkyars, wear upanayanam and they perform sandya while the nambiars don’t. If any nampoothiri woman is made an outcaste, her sons cane be made into chakkyars, and her daughters nangiars.
Duties of Nambiars:--. They play mizhavu. They help in the green room. He has to recite “arangu thaLi” just before the play. Certain plays are tough language wise. Nambiars translate them in the vernacular language (which was then Tamil) and it is called Nambiar Tamil.
Yet another role of Nambiars is the performance of Padhakam. They narrate stories on the basis of Chambu-s in Malayalam. He wears a special head gear called mudi. In olden days the nambiars is asked to perform Padhakam in the temple of ThaLi in calicut. If he passed the test he is entitled to wear the mudi.
Padhakam is different from Chakkyar koothu (Prabhanda koothu). Mizhavu is essential for the prabhanda koothu. The chakkyar has the liberty to make sarcastic remarks on anything under the sun. He passes comments at the audience. This liberty is not provided for the Nambiars while performing Padhakam.

One who recited Padhakam is a Padhakan. The Nambiars who play mizhavu are called Panivadan. Kunchan Nambiar the legendary poet who invented Thullal, was a panivadhan.

(To be continued)

[HedgeYourBets]

Kalamandalam Kshemavathi:
Mohiniyattam which was patronized by Maharaja Swati Tirunal almost 175 years ago regained its favor since its incorporation in the curriculum of Kerala Kalamandalam established by Mahakavi Vallathol. The poet managed to employ the services of Chinnammu, and Kalyanikutti Amma the exponents of Mohiniyattam.


The untiring efforts of the duo and their disciples like Kalamandalam Kshemavathi have brought out the perfect style of Lasya from the corridors of temples and palaces to auditoriums. Kshemavathi was in city recently. The dancer in an interview explains her contributions to Mohiniyattam and her new ventures.


“I joined Kalamandalam in 1958. It was Chinnammu who taught the cholkettu two padams, and a varnam in Yadukulakambodhi. The repertoire was limited. The artistes wore half white saree, and blouse. The hair style was that of Bharatanatyam. I and Satybhama decided to set a dress code for Mohiniyattam-and that is what we see today. This dance form originated in Kerala and should our culture” said Kshemavathi.
It was Kshemavathi who tried the present hair style on Kalamandalam Sugandi. It is a large chignon on top of the head but to one side is decorated with a circlet of Jasmine. This elegant knot matched with the archaic costumes and jewelry suitably.
Her attempts to deviate from tradition are always subjected to criticism. She has choreographed gazals like “Jab raat kee thanhwa..” I was concerned about the audience reactions. I think if you present gazals through Mohiniyattam in north India, it would have greater impact. Any verse embellished with visual details, can be used for Mohiniyattam she opined. She had set a precedence for the future generations to experiment boldly.
The unique technique of Mohiniyattam lies between the Dasiyattam and the Lasya aspect of Kathakali. Most of the songs deal with situations with love.

They are conveyed with the gesture of the eyes and the hands, expressions of the face and body poses.
The padams are soaked in Madhurabhakti. The heroine describes the torment and anguish she suffers as a result of her devotion to the Lord. Sometimes it deals with the confession of her love to her sakhi.
The Mohiniyattam padams are slow as it is exclusively abhinaya interpetting in detail, the words of a song through expressions and gestures. The phrases are repeated many times in order to interpret every shade of the meaning. The greater the understanding of the dancer, the richer the color she is able to give it any phrase.

Visual portrayal of Omana thingal kidavo and kuchelavrutham are her master pieces. She has choreographed Karuna, Meghadootham, and Ashtapadi.
She has formulated steps and adavus of Mohiniyattam and would like to produce a visual document of this art form for posterity.

[9mm_fan]

Hues on the floor at VETTAKKORUMAKAN TEMPLE - An article by Padmanabha

It is a picturesque sight, at the VETTAKKORUMAKAN TEMPLE, near the west fort. Eyes fixed on the floor; Gopakumar is colorfully decorating a medium kaLam, of Devi. Neat and quaint, with small earthen pots with natural color powder, Gopakumar usually starts his work at the temple around 7 am. He is here after finishing a KaLam at the Chenthitta devi temple. By 9 am he will move to Palkulangara temple.

Once he starts his work, Gopakumar’s attention focused on the details of Ornaments and divine weapons.

“Basically I am a thimila (a musical instrument) artiste. I was deeply impressed by AYYAPPA PANIKKER a kaLamezhuthu Asaan, who regularly prepared the KaLams at the Palkulangara temple, where I worked. I joined him as a helper” says Gopakumar, a native of VILAPPILSAALA.
Like murals the portrayals are based on Dyana slokams. “I learnt them from AYYAPPA PANIKKER. I underwent ONE YEAR TRAINING AT THE Vaikkom Kalapeedom.”

What are the colors used?

We use only white, black, yellow, green and red. THEY together called Panchavarnam represent panchabhootha.
Raw rice powder for white, charred paddy husk for black,
Turmeric powder for yellow, finely powdered leaves of NEN MAENI VAAKA for green, chunnambu mixed with wet turmeric powder for red, are used. For hues we add rice flour.

To begin with an out line is made with rice flour. Once it is started one has to continue till finish. Once finished it is time for “VECHORUKKUKA”. That is an oil lit lamps, for Ganapathi, and ASHTADIGPALAKAS, A HANDFUL OF PADDY, rice topped with betel and areca nut, and coconut halves.

Kalamezhuthu is prevalent in Bhadrakaali, Sastha, and Vettakorumakan temples. The largest Kalam is made at the Vaikkom siva temple. The Bhadrakali has 64 hands and is in the standing pose on the Vethala. It is estimated that 50 kg of each color and five paRa of paddy and rice are required.

After the pooja the KaLam is wiped using Kamukin pookkula (inflorescence of Areca nut palm). ‘Few people come to learn this art form. They with draw realizing the strain, involved. You cannot make out a living with this” said Gopakaumar, adding that making KaLams in the month of VrUchikam (November15-December 15) is considered auspicious. (THE INDIAN EXPRESS-18-12 2004)

[Fegasderty]

Article by Padmanabha

[tscii]Kamsa sent his emissary Akrura to Vrindavan. Akrura a true devotee discloses Krishna and Balarama his mission of visit thus:
“Kamsa has bad intention in getting Krishna and Balarama, in Mathura. He has come to know that you are (Krishna) the eighth son of Devaki and hence his enemy. He has arranged a bow festival and has ordered a tusker KUVALAYAPEEDOM (to crush you to death) to be stationed at the entrance of the venue. ….You can reject the invitation of Kamsa” pleaded Akrura.
They are no cowards. They accepted the invitation. Accompanied by Akrura they reached Mathura. As arranged the venue was blocked by Kuvalayapeedom. The mahout signaled to the elephant. Krishna the incarnation of Lord Vishnu, showered blows on it and killed it. The boys pulled out the tusk and marched towards the Palace, and what follows is the slaying of KAMSA.

“Kamsa vadham”, as it is popularly known in histrionics was staged by Krishnendu at Fort Margi recently. Accompanying on the Mizhavu was her husband Dhanaraj.

In a brief interview the couple shared their passion for kootiyattom, the advantages of being in the same field, and how Margi became a turning point in their carrier.

“We do not represent a family of artistes. I was interested in mrudangam. I discontinued the class for my parents could not provide the fee. I joined Kalamandalam and I got admission not for mrudangam but for mizhavu” said Dhanaraj, a native of Ottappalam.
Krishnedu’s father insisted that she should learn Kathakali. “I was interested in bharatanatyam and mohiniyattom. I joined Kalamandalam but was admitted in Kutiyattom” said Krishnendu.
The duo however has no regret and now they feel that destiny have taken them to the right field and the apt centre-Margi.

“The exposure we get here is amazing. The opportunity to stage shows is frequent. The process of learning never stops at Margi. We can devote more time for Choliiyattom. Kalamandalam is time table oriented. We have to concentrate on academic lessons besides our subject of specialization. Kalamanadalam has a syllabus and you cannot overstep the frame work. Margi provides freedom for experimentation. The masters are highly encouraging” they say.

As we all know in Kutiyattom the position of the mizhavu artiste is behind the performer and hence he cannot view the gestures of the artiste, but has to accompany her. This requires tremendous understanding between the performers. It is acquired by practice. “In our case we are free to discuss, share and improvise our performances” they said.

“I would like to perform kaliya mardanam in Nangiarkoothu. We need only few lines from the epics upon which we can build the entire show. Great connoisseurs of kootiyattom some times provide the thread and we work and improvise on it. Our project is Jaydeva’s Ashtapadhi” disclosed Krishendu.

[Slonopotam845]

This thread is devoted to the glorious contributions of Kerala and her people to Indian History and Culture.

Click here for a Table of Contents

[MannoFr]

Article by Padmanabha

[tscii]When epigraphists took the estampage of the rock inscription at the Parthivapuram Vishnu temple in erstwhile Vilavancode taluk of Nachinadu, much surprise was in store for them.

This particular inscription was the first ever evidence which revealed that a famous University called Kanthallur Salai akin to Nalanda and the Taxila had existed in Thiruvananthapuram 1200 years ago. Further research led them to the conclusion that the University was functioning on the premises of Valiasalai Mahadevar temple. Surprised

Kanthalur Salai widely known as the Nalanda of the South was looked upon as a model by the people of that time. It was modeled on the educational institution of the Buddhists and the Jains.

So goes the reference in the Ananthapura Varnanam, “KANTHIYUM CHELVAMUM MIKKA KANTHALLUR SALAI KANALAAM, MOONRU KOILUMEN MUNNIL THONDRUM THANTRA MADANGALUM.”

Kanthalur and Parthivapura Salai were established by the Ay King Karunandadakkan in 850 AD and 857 AD respectively.

Each salai provided boarding to 95 chattar(students). The Huzur office inscriptions specify the rules and regulations of the Salai.

Vyakarana, Mimamsa and Paurohitya were the important subjects. The mode of reciting the Vedas was specified in copper plates. Fine and fasting were imposed on students who used abusive language and fought each other. Gambling was considered an offence. Students from 26 Aryan countries came to Kanthalur Salai for higher studies.

The phrase “KANTHALUR SALAI KALAM ARUTHARULI” found in various inscriptions were given different interpretations. The accepted version is that the King is pleased to make an endowment and fix the number of Kalams that is the dinner plates that is number of Brahmins to be fed in the institution.

A decorated elephant was let loose and its route back to the temple formed the terrootyr of Parthivapuram. “Along with Vizhinjam Kanthallur too functioned as an army camp. Srivallabha Perum Panaikal Aviyalandradakkan records say designed arms for Ko Karunandadakkan. Though the Ay kings were Saivites they constructed Vishnu temples a proof for their tolerance.

Kanthallur was destroyed followed by the attacks of Rajendra Chola(1019) Rajadirajan (1046) and Kulothungan (1070)

It was Kavi Mamani Desivinayakam Pillai who established the Kanthallur Salai and Valaiasali Mahadevar temple are one and the same.

The beautiful sculptures in the temple have been white washed. Decorative motifs on the pillar and outer walls of the sanctum sanctorum have been unfinished coat of color to the effect that the craftsmanship is beyond recognition.

The latter day administrators are unaware of even that fact that inscriptions of Rajendra Chola and Ravi Varma are present in a mutilated state in the temple which bear eloquent testimony to its antiquity.

[Drugmachine]

Bhima assuming the form of Raudra, revels madly in Dushasana’s blood. He devours his entrails and smearing with the remains, dances victoriously. He fulfils his vow and binds up his wife Draupadi’s hair with his gory hands.
The drum beats in the back ground echoed the terrible wrath of Bhima. The spectators who witnessed the bloody combat felt a sigh of relief when Dushasana was inexorably killed.
Ettumanoor Kannan enacting the role of Bhima interpreted every Padam through mime and gestures overflowing with rasa and bhava to the effect that the audience felt contented at the victory of good over the evil.

“Initially my parents stood against my wish to learn Kathakali. They thought that it would affect my studies” says Kannan who is at present a doctorate holder researching on Kerala Theatre at the International Centre of Kerala Studies, University of Kerala.

Kannan was trained by Vasu Pisharadi and Mani Madhava Chakyar. Though initially he took up the Pachcha Veshams (hero), he has also donned the role of Ravanan, Narakasuran and Keechakan.

Kannan has staged Macbeth at Pittsburgh blending the western theatre techniques and Kathakali. “It was a fusion of iambic parameter and the mudras” explained Kannan.
The Kathakali actor conveys the dialogue through the mudras and the Shakespearean plays are known for the powerful dialogues and soliloquies delivered by the actor. But Kannan donned the role of Macbeth without dialogue. Behind the stage it was delivered by an actor.

And what about the costumes?

“Though I did not use colorful costumes of Kathakali, the show has tremendous visual impact” he said.

According to him there is no short cuts and comprmise regarding practice. Power and perfection can be achieved only through daily practice.

Kannan has enacted PROF. Madusoodanan Nair’s Agasthya hrudayam in the Kathakali format, for Asianet. He is concerned about the dwindling number of genuine audience for Kathakali. “This is mainly because the lay person is unfamiliar with the mudras. He does not know what is being conveyed. Naturally he chooses some other form of instant entertainment. To create sensible audience I am conducting mudra classes for those who are interested in Kathakali.” He said.

ICKS is regularly conducting appreciation course on performing arts of Kerala. Kannan is one among the Faculty.
He recently staged Govardanoddaranam, effectively employing Natyadarmi. All the characters were performed through Pakarnattam (one actor playing multiple roles).

Kannan has attempted a few post modern performances. “It never gives satisfaction. They all lack depth. That is why I have stopped performing Oedipus. That was a great revelation. In future I will always concentrate only on Kathakali” he said.

[Big A]

[tscii]Sree Padmanabhaswami Temple

Sree Padmanabhaswami Temple is the main architectural landmark of Thiruvananthapuram. The city is named after the presiding deity, Lord Padmanabha who reclines on the Anantha in a conscious slumber.
The name of this temple is mentioned in four Puranas, namely -Padma, Vayu, Brahmanda, and Varaha. The Brahmanda purana devotes a whole chapter to Ananthapura Mahathmyam. The Holy Bhagavatham says that Balarama has visited this temple, bathed in the holy pond and donated 10000 cows to the Brahmins. According to the Kanyakumari edict, Paranthaka Pandyan a contemporary of Kulothunga Chola had gifted 10 golden lamps to this temple.
This temple is of hoary antiquity and has many legends attached to it. Anantha sayana Mahathmya, says that a Tulu Brahmin Sage- Diwakara Muni set up the temple. One day Lord Vishnu appeared before him in the form of a loving child. The sage requested the child to stay with him. The sage gave him all love and cares and tolerated his pranks. One day the child made such nuisance of himself that the sage was greatly annoyed and chastised him. The child vanished at once saying that if the sage wanted to see him, he would have to come to Ananthankad. After a futile search, he reached a forest area near the seacoast and caught the glimpse of the child disappearing into a huge Illuppa tree. The tree fell on the ground and assumed the shape of Mahavishnu, with the head at Thiruvallam and feet at Thrippappur. Over awed the sage pleaded the Lord to condense, in size. The image shrunk to a size three times the length of the sage’s yoga dand. Another Legend is that Lord Vishnu appeared before the saint Vilwamangalam, as a small child. While performing pooja the child put the Saligrama in its mouth. The saint out of rage pushed the child which at once vanished. A divine voice said: “Search, I will be in the Anathankadu.”
The Saint tired after a futile search of this unknown place heard a pulaya woman threatening her child: “Stop crying or else I will throw you at the Ananthankad.” He found the Child and had the vision of the God in all serenity and splendor. The saint plucked a raw mango, and offered it to the Lord. Even today raw mango is the main offering at this temple.
Legends never tally with recorded evidence. The available records include nearly 30 millions palm leaf scrolls, inscriptions and the likes. This is one among the ten qualifications, which enhances the greatness of any temple. One of the palm leaf scrolls shows that the Abhisravana Mandapam was built by the king Kotha Marthanda, after the demise of King Pareekshith.[Admn-:3102- 3042 BC]

Pareekshith ruled his kingdom when the seven planets were in conjunction in Capricorn- a celestial event that takes place only once in 2700 years. The planetary position continues for a century. The next conjunction will take place in 2223 AD and therefore the earlier occurrences were in the years-477Bc and 3177BC. The time frame is correct and by this time, Sree Pamanabha temple has already become an old temple.

This Mahakshetra, is one of the 108 divya kshetrams in the country. The 18 feet idol of Sree Padmanabha is made of 12008 Saligrams (sacred stones) collected from the Gandaki River in Nepal. The Saligrams are bound together using Kadusarkara yogam. A Lotus emerges from HIS navel hence the name Padmanabha. The consecration was conducted by Tarananallur Padmanabharu Parameswararu in 1739 AD, during the reign of Anizham Thirunal Marthanda Varma. The sanctum has the images of 33crore celestials in conceptualized form, besides Brahma, Siva Lakshmi Devi, Bhoomi Devi, sages Markandeya and Bhrigu.
The seven acre temple complex has other shrines of Ganapathi, Hanuman, Garuda, Narasimha, Vysa, Rama-Lakshmana-Sita, Viswaksenan, Sastha, Kshetrapalaka, and Sree Krishna.

Nammalvar, a 9th century poet has composed many hymns in praise of the deity. The copper plate inscription of Mamapalli, (149 ME) refers to Kannan Karupozhan. On the wall of the Sree Krishna shrine is an inscription in Vattezhuthu which says that Kannan Karupozhan has donated land for setting the shrine.
The temple was destroyed in a fire 1686. In 1729 Marthanda Varma reconstructed it. In 1750, he shifted the capital from Padmanabhapuram to Thiruvananthapuram and built a palace near the temple. He dedicated himself and his possessions to the deity (Trupaddidanam) and assumed the title of Padmanabhadasa. Accordingly, the deity owns the kingdom, and the king was the mere executor of the trust.

The Temple overlooks the greenish pond –Padmatheertham. On the east entrance is seen a seven storey tower- the gopuram that pierces the skyline. The entrance beneath the tower leads to the Natakasala, built in the Vijayanagara style of architecture. Walk past this corridor supported by elaborately carved balustrade of pillars, would lead to oblong seevelipura through which, the idols on special conveyances are taken for circumambulations. Built in the Dravidian, Pallava and the Pandya styles, 365 equitably carved granite pillars support this corridor. The rows of granite and stone ceiling above are decorated with sculptures. Every pillar has the figure of a girl bearing a lamp in the palms of her hands joined together and raised above the waist.

The Kulasekhara Mandapam carries a wealth of intricate granite sculptures. It is here that, Sanskrit scholars and priests chant Vedas during Murajapam, held once in every six years. The ottakkal mandapam facing the main idol is a single slab of granite, which is 2.5 ft thick and 20 ft square. 4000stone artisans, 8000 laborers and 100 elephants worked for a period of 6 months to construct the seevelipura. Amazing!!

The April showers were severe. The festival had to be conducted. There was no corridor, to take the procession without getting wet. The then Maharaja, Anizham Tirunal Marthanda Varma, decided to construct a corridor before the next festival, which is hardly six months away. He had the plans drawn by the architect Thycaud Vishnu Tharathan Nampoothiri. Meanwhile, sculptors were brought from Tirunelveli, Thanjavur and other parts of Kerala and Tamil Nadu. Then king deployed 1000 sculptors 1500 helpers on each side. Imagine there was no machinery available during those days. Thousands were appointed to provide food and water. Before the next festival the corridor was erected.

But, the temple premises were littered with stones and debris. The Maharaja was informed that it was not pragmatic to remove the debris within two days. He observed the spot. He pulled his uthareeyam, spread it, the collected the debris, bundled it, and carried it on his shoulders and unloaded it at a spot outside the temple, setting an example. The laborers and the public, in a joint effort cleared the temple premises within two days.


The major festivals are in March-April and in October–November, each of which concludes with the procession, Aaraatu. Every six years the temple is adorned with one million lamps, in connection with the ceremony called Laksha Deepam.

His Highness’ daily visit to the temple, as Sree Padmanabhadasa, takes him through the salutations of his people, across the main extent of the main city.

[Fegasderty]

[tscii]Article by Padmanabha

FAST and festivals are an intrinsic part of India’s cultural fabric. Over centuries women observed many fasts to propitiate destiny and gods. The Malayalam month Dhanu witnesses a significant that women follow for their marital bliss. This festival called Thiruvathira falls on January 3 next year. Very Happy

It always coincides with the full moon in Dhanu. The celebration is as old as Sangam AGE. Stanza eleven of Paripaadal by Nallanduvanar describes the wading damsels in Vaigai on the full moon day in Dhanu. The poet also describes how the women propitiate the gods for a loving husband.

The legend of Thiruvathira is related to Lord Siva and the consequences of Dakshayagam. Another legend is connected with Parvathi Parinayam. People generally believe that Dhanu is an inauspicious month may be of bleak weather but many women do observe penance for Thiruvathira.

The entire worship signifies the desire that the husband live a long and healthy life. The women abstain from food as an offering in exchange for their prayers being granted says Narayani Amma, an octogenarian. This festival is recreated in plenty of Malayalam films and is portrayed as an extremely romantic ritual that strengthens the bond between husband and wife.

“IN Dhanu, the climate is cool. Instead of resting in the arms of Morpheus, women devotees in groups take a dip in still water” said Santhamma.

On the eve of Thiruvathira a suitable place in the fore court is cleaned and smeared with cow dung. Paddy husk is heaped and lit. Chena, cheru kizhangu, and kaya (raw banana) are roasted till soft. They are mashed and mixed with jaggery and grated coconut, sliced sugar cane diced plantains, and kalkandum candies) This mixture called ettengadi is offered before serving to the women who have assembled to paint their hands and feet with mayilanji (mehandi) she said.

This assemblage provides an opportunity to escape from the chores that binds them down to everyday routine. It offers a forum to sing dance and to gossip.

In a tray traditional attire (need not be new) vaal kannadi, kum kum dasapushpangal and collyrium are displayed. Women decorate themselves and stage Thiruvathirakali.

Next day after the ritualistic bath at dawn, they get themselves dressed in the traditional attire, emphasize eyes and brows with collyrium, deck with jewels and visit the temple of Siva. Of course they fast. To celebrate without food, might not be conducive for enjoyment. Still they engage in singing and dancing.” Santhamma remembers.

Swati Tirunal. Irayimmen Thampi, and his daughter Kutti kunju thankachi have composed plenty of thiuvathira pattu.

[Raj_Copi_Jin]

In the journey from tablets to tabloids, cave dwellings to computer screens written words have traversed diverse mediums and has brought to life countless stories-factual and fictitious.

The Orient Research Institute and Manuscript Library in the Kerala University Campus, in Karaivattom is a treasure house of many such stories, chronicled on palm leaves on agartuk, on bhujapatra, and on copper plates.

The Maharajas of Travancore were great patrons of art and literature and they themselves were experts in some field or other-Kulasekhara Alwar, Kulasekhara Varma, Dharma Raja, Swati TIRUNAL AND Ayilyam Tirunal for instance.

It was Ayilyam Tirunal who ordered the collection of Palm leaves, and other manuscripts. The attempt brought to light Swapnavasavadatta, a play penned by Bhasa unearthed from Manalikkara Madom in Padmanabhapuram. The 13 plays of Bhasa were given up as lost. Sree Moolam Tirunal was responsible for the spread of Oriental Literature. Bhaktimanjari, by Swati Tirunal was published in 1903 and was popular in Germany by 1907! Thanks to T. Ganapathi Sastry.

A visit to the ORI & ML provides a visual feast of time honored manuscripts and illustrations. Here are a few highlights:
Devi Mahatmyam:
It is a garland of palm leaves- a rich tribute to the dexterity of our ancestors. It consists of a string of fifteen beads, each made of inseparable palm leaves pressed against two ingeniously worked out knots. It has a beautiful wooden case too.

Ragarthadeepika:
A bundle of 191 leaves is done on exceptionally long palm leaves (30”).
SKANDAPURANAM: (TAMIL)
It has 611 leaves, AND IT MEASURES 2X2 ft. The name of the author is unknown.
Devi mahatmyam 11th chapter: it is the smallest manuscript, known (2”x1”).
Arthasastra Bhasahvakya: a commentary on Arthasastra, in Malayalam and is 600 years old.

Makaraprakarna: a manuscript on black magic has 40 lines crammed in single folio. This could be a deliberate attempt to make it illegible, to the lay man.
Arya Manju sree moola kalpam: is a tantric work on Buddhism, unearthed from Manalikkara Madom. The script is in Devanagiri, written with special resinous ink. It consists of 307 palm leaves. Professor Sylvain Levi of Sorbonne was entrusted with the task of correcting grammatical errors. Levi had come across, only the Chinese version of it and requested Dr.Ganapathi Sastri, to publish the original version of it. Pandit K P Jayasval, the famous historian extols the publication. It helped to reconstruct a period of Indian Imperial history from 600 BC TO 700 AD.

Chitra Ramayana & Chitra Mahabharata: is a rare and prestigious possession. A former Indian Ambassador to Indonesia donated two valuable illustrated manuscripts to the library. They are more than 500 years old. The former is the representation of Ramayana in 359 condensed sequences. Each folio is 13.5” long and 3” wide. Battle scenes occupy 50 percent of the work. These illustrations effectively communicate the ideas of the artist. The artist has differentiated Rama from Lakshmana, by adorning his head gear with a peacock feather. The apparel and the ornaments resemble that of kutiyattam. Ravana smiles with an air of vengeance while chopping off the wings of Jatayu. The anger in the eyes of the bird is beyond description. The effect of the forest is brought out through a few bold strokes. Wild animals and bird are found in “the dense forest”.
The author is unknown. In the concluding stanza the author says that he is the disciple of a Brahmin, called Balakavi, and did this work as per the direction of the preceptor.

“Most of the manuscripts are in Grantha, Nandinagiri, Vattezhuthu, and Malayanma. Grantha is the oldest South Indian script” says DR. Visalakshi Director of ORI & ML. Most of the manuscripts are supported by/strengthened by wooden planks. Ramayana scrolls are supported by ivory planks, with exquisite carvings of Anathasayanam as seen in the temples of Sree Padmanabha(Trivandrum) and Adi kesava Perumal (Thiruvattar). “The institute has 65,000 manuscripts, out of which 56,000 works in 30,000 codices are catalogued. 35060 Sanskrit manuscripts are catalogued in seven volumes” informs the Director.

[tgs]

Balaramapuram is a small township 13 kms from Thiruvananthapuram, which is known for its kasavu work on off white sarees and dhotis.
This town was founded in the year 1810 AD by the Travancore Royalty with the idea of developing it into a commercial centre. MERCHANTS, weavers, and craftsmen were invited to settle in this place. At present a colony of traditional weavers numbering about 1000 flourishes here.

Entering the town, a steady rat-a-tat of the shuttle moving to and fro on the looms greets the ears. Inside the large asbestos roofed shed, weavers stand waist deep in pits dug in the ground which is the specialty of Balaramapuram. You will find different weaves ranging from thin shimmering gold borders to exquisite brocades, with mango, peacock, parrot and floral motifs.

The kasavu design saree ranges from 1000 to 25,000, depending on the quality and quantity of the zari that has gone into its making. Kasavu is brought from Jaipur. The cost of genuine one is rupees 800 for 500 yards. A pure kasavu is made from silk thread on which 24 carrot gold is plated. Thus these materials have resale value.

The design takes about ten days to be woven on the fabric by hand. A wooden seal with the required design is used to mark the warp of the saree, with a dye. Then it is woven around leaving the design blank. The design is then hand woven separately using kasavu.

Unfortunately for various reasons, this rich weaving tradition is on the decline. According to Satyan, who runs a loom, the co-operative movement is not strong enough to run the loom. Also non-availability of quality yarns exploitation of middlemen, competition from power looms and paltry wages force the weavers to dilute the quality of the produce.

The youngsters here have drifted away from the profession to unskilled and lucrative jobs. Supporting the trend, the elders say, “Whatever happens I won’t let my children take up weaving. It is a profession that has no future. Our generation was force to satisfy themselves with the available resources. There was no other option and we are too old to learn new skills now.”
Viswanathan bagged the Presidents award for the best weave. The award winning saree he says took 15 days to weave. “These works demands patience” he said.

As part of diversification they weave bed spreads, pillow covers, towels, besides the traditional saree and dhoti.

[9mm_fan]

KOYIKKAL PALACE: Centuries old koyikkal palace in Nedumangad near Thiruvananthapuram houses Kerala’s first numismatic study centre and folk lore museum.

History: The palace is believed to be the HQ of the perakathaivazhi, one of the branches of the Thruppappur the rulers of Travancore. Udayamarthanda Varma the ruler of Venad was adopted from Perakathaivazhi.

It was in this palace that Umayammarani took refugee when her son Aditya Varma was poisoned and the confederates suffocated the other princes. (There are other versions to this incident as well.) As there was no male member, Umayammarani became the Regent.
Finding the palace unsafe she moved to Koyikkal Palace. She invited Kerala Varma from Kottayam, and related to the Travancore royal family.
When her only son attained 16, the new sovereign had no new difficulty in governing. The family adopted two male and two females from Kolathunad.

Numismatic museum:_
In 1979, the Archaeology department, took over the palace, and was in a dilapidated condition. It was converted into a numismatic museum in 1990.

The collections:- Due to inadequate safety measures the visitors finds only the photographs of very old coins. Few Roman coins displayed here reveal, the socio cultural history of our ancestors.
From the third century BC onwards, brisk trade was carried out between India and the West. As a result of heavy inflow of Roman coins, they found way to all parts of the country. Roman Denarius(SILVER) and Aureus (GOLD) were circulated in Kerala. As gold was rare and costly people hoarded them.

Numerous coins were unearthed from Kottaym in 1842, Iyyal near Vadakkancherry in 1945, kumbalam in 1974, and valluvally in 1983. The first Indian metal currency that came into circulation after the end of the barter system was part of the Iyyal hoard.
The Roman Gold coins cover the periods of Emperors, who Ruled Rome, from AD14 TO AD 180-NAMELY-Tibenius, Claudius, Nero, Vespanian, Titus, Dominitier, Nerva, Trojan, Hadrianus, Antonius Pius, and Marcus Aurilius.


Muziris :_it is one of the ancient sea ports of Malabar. Pliny described it as the Premium Emporium India. Exports from this port were pepper, pearls, and ivory, silk, spikenard, precious stones, pottery, and glass wares.

The first reference of a minted coin called Rasi was minted and circulated through out the kingdom that spanned from capecomorin to gokarnam.

According to Sarojini Amma, the numismatist, the half chukram which was circulated in Kerala is the smallest coin in the world. Here the numismatics does not get the significance it deserves and hence a lot of information regarding history remains unknown she added.

The earliest silver coinage of ancient India is named as punch marked coins. These coins have uneven edges. It is for adjusting the actual weight the edges was clipped. It is believed that these coins dates posterior to Indo-Scythic dynasties in Bactira.
The chamun huzuri hoard in Kabul clarified that these punch marked coins were actually in currency in the 5th century BC.Buddhist literatures and Jataka tales refer to these coins. All the imperial coins conform to one weight. The coins that appear in fresh in mint conditions and bear no wear and tear weighs 51 to 54 grains.

The Lekshmi Varaha Panam and Parvathi Rupah too are displayed here. These tow coins were issued by Rani PARVATHI Bayi aunt of Swati Tirunal (1815-1829). As per the agreement the Travancore rulers were could issue only half rupee. Parvathi rupah was of one rupee denomination and hence banned. Rama Varma coin issued by Ayilyam Tirunal the first machine mint coin too finds a place in this palace.

The palace has in its display the weights and measures, namely the tholas, and different types of balances. Utensils of different shapes sizes belonging to different periods offer interesting viewing. Hurricane lamps, tholppava, kummatti, jewel boxes, life size images of thullal forms. Musical instruments like chandravalayam used in Ramakatha pattu, nanthuni, potters wheel, carts, antiques from Vellanad temple the anklet of the oracle reveal the customs, beliefs, life styles, and entertainment aspects of our ancestors.

[Ifroham4]

An Article by Padmanabha: KARNABHARAM

“My best generals Bhishma and Drona have been killed in the battle. Take their place, for I believe you are stronger than them” said Duryodana, to Karna.

Karna appeared in the centre of the battle field-Kurushetra. He blew the conch and his charioteer Shalya proceeded with confidence.

Karna, the mighty warrior was suddenly disturbed. Why?

Chandradasan the director of the play Karnabharam analyzes the reason for the crest fallen face of Karna, and has successfully related it to a man who has lost his identity. The futile inner search makes him more miserable.

“What business a charioteer’s son has in the court?” Kripacharya’s words of insult echoed in his mind. This humiliation literally shook Karna. Duryodana his bosom friend immediately crowned him as the King of Anga. On the 16th day of the battle, the question of being a non-Kshatriya and the once raised question of his social status creates raging waves.

He is the son of the Pandava’s mother Kunthi, born to the Sun. Kunthi employs a mantra and the Sun robbed Kunthi of her virgin. Ashamed she put the child in a box and floated in the stream of Aswa. It reached the hands of Radha of the charioteer clan.

Who am I-son of Kunthi and the Sun or Radha and Suta? This question squeezes his heart. His throat choked. Karna is worried of his birth, his caste and the sarcasm he experienced due to this. Shalyar notices Karna’s angst. With the charisma of a tragic hero, Karna shares his agony with Shalya.
The incident of Parasurama comes to his mind. “How can a non Ksathriya learn archery?” asked the Rama with the axe. He frankly discloses that he is a suta putra. When Parasurama came to know of his birth he curses him saying that the astra he gave would be useless in times of dire need.
When his real mother pleads him to join the Pandavas he refuses. This act of disobeying mother too haunts him. He becomes energetic for a moment. But the thought of his father warning him the plot of Indira, flashes in. When born he had his ears shine with ornaments besides an armor of gold. “Your ornaments are like elixir and you will have deathless years. Hence do not spare them” warned his father, the Sun.

Undeterred by the persistent pleadings, he donates his ornaments to Indira, the father of Arjuna, his adversary and stood on his principle of charity ignoring its consequence.
Then he refuses to accept a weapon which can destroy one of the Pandavas. That was his magnanimity.
“This story written long ago has its relevance even today. It was staged in 1990, when Mandal commission report and its consequences were national issues. Dalit consciousness was at its peak then. This play thus enjoys contemporary relevance” said Chandrasan the director.

“Lokadarmi our theatre based at Kochi had staged plenty of Malayalam plays and English plays like the Tempest and Macbeth. I wanted to do a Sanskrit play. I read many plays, and Karnaharam by Bhasa influenced me. It is the 302nd stage” he said.
Stanislavsky and his method of acting have influenced me a lot. Accordingly I have given the freedom to the actor to imagine certain incidents that had tormented him, while performing, to bring out his emotion.”
“The great quality of charity becomes his terminator. The Sun is the first God worshipped by man, hence tribal God. Karna is the brilliant son of the ruby rayed Sun. How can he discard the element of the Sun in him? It is this energy that keeps him pulsating. This image of burning sun is the life of this play. Karna holds the effigy representing the Sun, and towards the end he burns and performs the guruthi. He tears the kavacha & kundala, and his emotions ebb and rise. He had no other way but to accept the harsh reality.

A team of Brahmins are always positioned on the stage watching and plotting strategies, to defeat Karna.

The director has wisely incorporated classical and folk forms. While essaying Karna to give more emphasis, red light and tribal instruments were used. On the contrary for Indira, blue color and classical instruments were employed.

Karnabharam, an adaptation of Bhasa’s Sanskrit play was recently staged in connection with National Theatre festival -2006, organized by Sarang. (733 WORDS)

[PhillipHer]

An article by Padmanabha: Draupadi

Draupadi is a play performed in connection with the theatre festival yesterday.

Draupadi, unlike sita is not silent. She is not docile like Damayanti, and not sacrificing like Savithri. When she was asked to ensconce on Duryodanan’s thigh in the Assembly, she asked, “What legal right Yudhishtira has in staking me? He has already lost himself. He had no right to claim any thing as his own.” When her humiliation, barred all limits, Draupadi lifts her both arms in prayer and lets go her dress. She appeals to Krishna to save her modesty. Krishna provides unending swirl of cloth. Miraculous!!


Now let us come to reality. Every other day we come across abuse against women. And no savior like Krishna comes to save her modesty. Kanhailal, a playwright from Manipur conceived Mahaswetha Devi’s “Drapudi” and has successfully related it to the contemporary plight of women. Here Draupadi represents the marginalized people of rural India constantly oppressed by the muscle power of the rulers. She voices against the atrocities against women. Dopadi (Draupadi) and her husband Dulna, set out to fight for their community, namely Santhals. The police search them for the killing of the master. The couple goes under cover. Finally Dulna was killed by the police and Dopadi, falls in the trap, of the police. Unlike Draupadi in the epic Dopadi is not infinitely clad. No savior like the Lord reaches in time. She claims her body as her own, and, more importantly, claims control over the symbolic potential of her body. She makes it mean what she wants it to mean, turning male lust on its head and making the obscure object of desire/violence into a potentially disruptive object of horror. But she demands her right over her own ‘body language’, in the face of the most grueling odds. She strips her clothes, screams her protest out to the men who are her rapists. She subverts the system of oppression with the very thing that is its primary object, turns her ostensible weakness into her source of power.
“You may remember a similar incident occurred in Manipur in 2004. A group of Manipuri women stripped naked in front of the Western Gate of Kangla, where the 9 Sector Assam Rifles and 17 Sector Assam Rifles are housed. The 17 Assam Rifles personnel had picked up old Thangjam Manorama from her house and shot her dead on July 11. The possibility of rape was acknowledged. The district administration of the two districts of Imphal acted swiftly and imposed an indefinite curfew. The women folk started gathering in front of the Western Gate of Kangla and stripped off their clothing and raised slogans to lodge their protest. They also challenged the security personnel to come out and outrage their modesty, if they wished. Policemen who rushed to the site found themselves in an awkward position. “Our sons and daughters are being trampled, tortured, raped and killed by the security personnel”-they shouted” Heisnam Kanhailal, the director recollected and added, “I do not know how many of them have heard of Mahaswetha Devi and her work Draupadi” and continued:

“I was in Delhi then. A friend of mine informed me, how the climax of the play became a reality” “After the performance many women came to the green room, and prostrated before us. Still others wept. The shock of this protest affected both the violators of Draupadi and the audience, alike” he said.
Draupadi’s nakedness on stage had the same impact as in the text. The audience remained spell bound, at this gesture of Dopadi.
Dopadi’s scream would definitely haunt us. If it could create an attitudinal change in men and inculcate respect for women, it is the success of Draupadi.

[tgs]

Informative thread. Thank you.

[LottiFurmann]

DRISHYA VEDI IS ORGANIZING IRAYIMMEN KATHAKALI MELA FROM 24 TO 30 OF THIS MONTH
AT KARTHIKA TIRUNAL THEATRE AND THEERTHAPADAMANDAPAM.

ADOOR GOPALAKRISHANAN WILL INAUGURATE THE FESTIVAL.

KEECHAKAVADAM(TWO DAYS) UTHARA SWAYAMVARAM (THREE DAYS) AND dAKSHA YAGAM (OVERNIGHT) WILL BE STAGED.

Kalamandalam gopi and kalamandalam sankara warrier will be felicitated in connection with this occasion

[LottiFurmann]

How can one forget the immortal lullaby Omana thingal kidavo….? Nalla komala thamara poovo…? specially composed for the garbhasreeman Swati Tirunal by Irayimmen Thampi? Born to Parvathipilla Thankachi and Kerala Varma Thampan of Cherthala Naduvilae Kovilakam, in 958 M E Thampi was trained by his father. He never concealed his urge for writing and once he composed a verse and submitted to the Maharaja, Dharmaraja. He underwent advanced training in Sanskrit from Moothattu Sankaranilayathu. It is said that Thampi composed Keechakavadham and Uttaraswayamvaram before the demise of Dharmaraja. Thampi married Kalipila Thankachi, and the couple had seven children and among them Kuttikunju Thankachi followed his foot steps and she is the first lady to compose Attakatha. In 990 M E he became the court musician. He has composed many eulogies on Rani Gauri Pparvathi Bayi, Princess Rukmini Bayi, Swati Tirunal and Uthram Tirunal. Murajapam (1004 M E), investiture of Maharaja Swati Tirunal (1004 M E), and similar events connected with the royal family formed the subjects. He was the only Poet Laureate.
He has penned three attakathas, namely, Kkeechakavadham, Uttaraswayamvaram, and Dakshayagam; Subhadra haranam kaikottipattu, murajapappana, Vaasishtam kilipattu, Rasa kreeda, Rajasevakramam manipravalam, and slokams in Sanskrit and Malayalam. His works are rich in poetic beauty, and alliterations. In most of his works, there is a verse –mudra either in the beginning or towards the end. It is written in such a way that the first letter of the first line, second letter of the second line and similar constructions in the lines that follow would produce the word “Ravivarmanthampikavanam.” Thampi’s kummi “veera virada kumara vibho” for instance are equally popular. 29 Sanskrit Kirtanams, 27 maniparvalam, 5 varnam, are his other works. Some of his padams like prana nadhan enikku nalkiya …, oru naal nisi chaitha leelakal…., are highly erotic. He went to the other extreme and composed “Karunachaivan enthu thamasam Krishna…”He passed away in 1031 in the month of Karkitakom. This is his 150th death anniversary.

[radikal]

KEECHAKA VADAM the popular attakatha by Irayimmen Thampi will be staged on Sunday, at Karthika Tirunal Theatre.
The story:
Having spent 12 years in exile in the forest, the Pandavas had to live fro one year in disguise. If they were identified they had to spend another 12 years in forest.

After 12 years of hardships in the forest, they decide to live in Viratapuri, in the Matsya Kingdom. The king Virata was a virtuous man. The Pandavas in disguise reached Virata and sought employment. Dharmaputra in the garb of Sanyasi called Kanka, Bhima as VALALA the cook, Arjuna as eunch Bruhanala, Nakula as Damagrandi the stable man, Sahadeva as Tandripala to tend cows and Draupadi as Sairendri in the court of Virata’s Queen Sudheshma (as Malini) were living the palace of Virata.

The queens brother Kichaka the commander-in –chief of Virata’s forces was smitten with Malini’s beauty. His disgraceful behavior towards her enrages Bhima, that he crushed him to death. He also kills Kichaka’s brother Uapkichaka.

Cast:

Kottakkal ravikumar: viratan,
Margi harivalsan : sairendri
,, Sukumaran : sudekshana
Attingal Pitambaran : Kankan
Sadanam bhasi : valalan
Kalamandalam rajivan:bruhanala
,, prasanth:damagrandi
,, kesavan :mallan
natyasala suresh : tantripalan
Vishnu nelliyode: doothan

In Kathakali:
It is performed in tow days.
Scene one_Begins with a srungara padam King Virata and his wife sudhekshana

Scene two_the pandavas along with drupadi reaches the palace. The King welcomes them and exchanges pleasantries.



Scene three Sudhekshana appoints Sairendri in her Anthapuram as Malini.

Scene three_Virata and Kanka in conversation. A messenger informs the king that a wrestler has arrived and challenges to defeat him. Kankan advises the king to send Valalan to face him.

Scene five_ the wrestler boasts. Valalan accepts the challenge the wrestling begins. Bhima –valalan defeats the wrestler.

Day two:

Scene one: kichaka meets sairendri. Performs the srungara padam-“MALINI RUCHIRA GUNA SALINI” She explains to kichaka that his uncontrolled passion is not advisable and warns him that he would have the end of Ravana who kidnapped Sita.

Scene two:
Kichaka discloses to Sudhekshana his love for Sairendri. She too advises him, but in vain. Finally she agrees to send Sairendri to his chamber in the night.

Scene three: sudhekshana send malini to kichaka’s chamber. She refuses and finally concedes.

Scene four:_kichaka is excited to see sairendri. He invites sairendri to his bed side. HE tries to outrage her modesty. But the Lord surya helps her. HE SENDS madolkadan and weakens Kichakan.

Scene five:-Sairendri, informs Valalan what had happened. He advises Sairendri, to invite him to his chamber.

SCENE six: as per her invitation she invites him. He sees a feminine figure, in the room. Excited approaches her. Valalan kills kichaka.

Scene seven:- upakichaka approaches Sairendri to take revenge. Valalan kills him too.

[HedgeYourBets]

Duryodana sent his spies to discover the hiding place of the Pandavas. One of the spies reported that during his wandering, he had heard that Keechaka had been killed. This aroused suspicion in Duryodana. He knew that only Bhima could kill Keechaka. Therefore Pandava must be hiding in the Matsya Kingdom he concluded. Duryodana instructed Trigarta to capture Virata’s cattle. In the battle that ensued, Virata was made the prisoner. Bhima ( as Valalan, the cook) rescued Virata while Duryodana made fresh attack on Virata’s Kingdom. Uttaran son of Virata boasted that he could recapture if some one like Arjuna would drive the Chariot. Malini(Draupadi) knew that he was a coward. She persuaded Bruhanala (Arjuna), to act as his charioteer. In the battle, Uttaran was totally demoralized, Bruhanala revealed the true identity. The secret of Pandava’s disguise was thus broken. Arjuna defeats Duryodana. Performing the role of Arjuna in Uttaraswayamvaram second day organized by Drisyavedi was Kottakkal Chandrasekharan. He was selected for the Kendra Sangeeth Nataka Academy Award. Chandrasekhara has been performing since four decades. In an interview the artiste shares experiences, new attakathas and choreography.

Chandrasekharan is a descendent of the Naranathu Brandan. His father Kumaraswami Bhattathirippad was a great connoisseur of Kathakali and wanted his son Chandrasekharan to become a Kathakali actor. He started learning Kathakali in 1957 under the tutelage of Kuttan Panicker. In 1959, he joined Kottakkal P S Natyasangham. Vaidyaratnam P S Warrier established Kottakkal Aryvaidyasala in 1902. Paramasivam dramatic troupe was the art wing of the Vaidyasala. In 1967, Chandrasekharan was appointed as the tutor here. “Karunakara Panicker, Pattikkamthodi Ravunni Menon, Guru Kunju Kurup, Vazhenkada Kunju NAIR, Manjeri Sankunni, and T P Rama Pisharody were the instructors. WE need more patronage. In those days we had Valiakottaram Kaliyogam. The rulers of Travancore were great composers and patrons of Kathakali.

“Government and other private institutions churn out a number of students annually. We are not in a position to place them” he remarked.

“New attakathas lack the solemn nature which is the salient feature of Kathakali. The more literary value it has the less impressive it will be on stage. That is why out of hundreds of attakathas only a handful became popular. Unnai warrier’s Nalacharitham faced a similar situation initially. It is one of the best literary productions” he explained.

Regarding Choreography he said, it demands wealth of imagination. Once, the institute decided to stage Ayyappa charitham. C V Warrier penned and choreographed simultaneously. On the ninth day it was staged- a sort of world record.

[brraverishhh]

KALADHARAN: _ His entry into theatre was quite unexpected. His experiences with the doyen Kaavalam molded him. His association with the Footsbarn theatre, his relentless effort to produce something new, and his enthusiasm to acquire the immense possibilities of world theatre made him perennially evolving. Meet K Kaladharan, who was conferred with the Kendra Sangeetha Nataka Academy Award last week.

Like any other active student his mind too was bubbling with creativity. He wanted to become a musician, then a footballer and even a wrestler!
He often took part in plays in his school and college days. While residing at Sasthamangalam, he staged drama in connection with the annual temple festival. When the spirit of theatre bugged him, he formed Bhavana theatres.
“Meeting Kaavalam was the first turning point in my life” Kaladharan reminisced. “It was Krishnankutti Nair the cine actor who introduced me to Kaavalam. It was a different atmosphere. There I had the opportunity to interact with G Aravindan, Nedumudi Venu, Bharat Gopi, and Janardanan who later opted for the silver screen. There I was exposed to the performing art of Kerala like, Kathakali, Kootiyattom, Mudiyettu, Padeni and benefited a lot. I liked it. It incorporated the thouratriya prayagam (geetham, nruthyam and vadyam) and based on natyadharmi it explored the possibilities of acting. I got the junior and senior fellowships, which helped me to learn more on folk arts and their relevance in modern theatre.”

He participated in National and International Theatre festivals held in Russia, Japan and Greece. It was in 1986 that he established Rasika Arts and Cultural Society, his own theatre group. Kaalanetheeni and Kaikuttappadu were directed by him for Sangeeth Nataka Academy under the scheme “Assistance to young theatre workers”. He had penned many lays for radio and television.

It was in 1984, that he first enacted the role of Karna in Karnabharam (Sanskrit), presented by Sopanam. On in depth study I developed an affinity for Karnan’s character. It demands immense caliber to essay that role. My experiences with the Footsbarn theatre France provided the confidence to enact the role of Karna in Malayalam. It was done in Ekaharya (single actor). It was challenging indeed. I incorporated elements from Kathakali, Kootiyattom, Theyyam Padeni, Kalripayattu and Ottanthullal.
With Footsbarn traveling theatre we did Odyssee` by Homer. I essayed the character of Odysseus at International Theatre Festivals conducted all over France, England, Ireland, Costa Rica, Colombia, Spain and India. The specialty of Footsbarn is that it has no director. Every one should do all the roles. It was a great revelation-language has nothing to do if the body language is powerful.
Another noteworthy production is Durabhangam, which narrates the end of Duryodana. It is adapted from Bhasa’s OORUBHANGAM. In Durabhangam, Duryodana in his minds eye visualizes the chain of wicked deeds that leads to his downfall. The great greedy warrior who is ever ready for a fight finally says:”No more war.” It has great relevance in today’s context.
Mathilukal,Marattam, Rishivamsam, Aswaroodam, Sari, Johnny, and Theerthadanam, are the films in which he has acted.
It is tough to maintain a theatre. Initially Rasika had 22 actors. I gave them basic training in Kalaripayittu, and padeni. I feel it is a must for he actors to learn Kalaripayattu, as mei sadakam is essential. Now we are only eight. Many of them work purely to keep their enthusiasm kindle. Competition from other instant entertainment forums, unemployment of trained pupils, and lack of patronage are the main problems. I suggest that the government should build a permanent venue for the theatre groups to stage their plays. Interested people can come and watch the play.