Kerala - Its Contribution to Indian History & Culture

[Badri]

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.

[Badri]

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)

[sundararaj]

Informative thread. Thank you.

[padmanabha]

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

[padmanabha]

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.

[padmanabha]

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.

[padmanabha]

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.

[padmanabha]

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.

[padmanabha]

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.

[padmanabha]

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.