Of all ancient forms of classical dramatic performances (natya) in India, Koodiyattam is the only surviving one. Koodiyattam presents plays that are written solely in Sanskrit. It may be surmised that Koodiyattam, which took shape in the cultural environment of Kerala, came to be used as a vehicle exclusively for Sanskrit drama at some time in the remote past.

In this context, it is rather surprising that the entire terminology--right from the names Koothu and Koodiyattam to the various technical terms of this art form--is in the language of the region, viz., Malayalam. Equally important is the fact that costumes used in Koodiyattam closely resemble those used in famous ritual dance forms like Theyyam and Tirayattam.

By and large, Koodiyattam adheres to the acting technique elaborately described in Bharata’s Natyasastra, the basic book of Indian dramaturgy. However, a closer look will reveal significant deviations and divergences in all techniques involving physical movements, hand gestures, ocular acting, costumes, choreography etc.

Bharata had developed his concept of theatre by selecting and synthesizing elements from the various regional theatre forms of the country. It is possible that Koodiyattam preserved a South Indian theatre, a full-fledged form that was in existence even before Natyasastra. As early as in Chilappatikaram, one of the five great ancient Tamil epics, there is mention of the “Chakyan” (Chakyar). Prince Ilango Adigal had composed this epic in 2nd century AD. The art of acting had been developed on scientific lines centuries before this. This is evident from the methodical classification of human emotions found in another ancient work, Tolkappiyam, an encyclopaedia.

If Koothu and Koodiyattam are still alive in spite of adverse circumstances, it is only because of the roots they have in the inexhaustible vigour of folk-arts. It is said that Koodiyattam is the exclusive art of the upper class in its opulence and is beyond the aesthetic sensibility of the common people.

The acting technique of the Chakyar had reached its pinnacle even at the time of Chilapatikkaram. In those days it was not confined to the precincts of the temple. The upper class reserved this art for themselves when they confined it to the Koothambalam. The spectators are usually limited to a small circle that does not distinguish between the scholar and the layman. It is a gross misunderstanding to think that one should know Sanskrit to appreciate Koodiyattam.

The main audience for Koodiyattam for the past three decades has been the ordinary people, irrespective of caste or creed. Audiences outside Kerala have accepted Koodiyattam wholeheartedly as they approach it without any pre-conceived notions. When declared recently as “a masterpiece of the oral and intangible heritage of humanity”, this art form attracted attention the world over.

The Department of Culture of the Government of India and UNESCO have also initiated projects to conserve Koodiyattam. Though not many young people are active in Koodiyattam today, most of them have genuine dexterity and get solid training. Only through a conservation effort that brings together training, performance opportunities, research and innovations, can an ancient art form like Koodiyattam survive. In these matters, the valuable advice of those who have practical experience in the theatre has to be accepted to envisage and implement programmes.

In olden days this art form was a means of livelihood, and as such was, for many families, only an adiyinthiram (annual routine) to be performed on special occasions. For those who have taken up Koodiyattam today, it is no longer the context of those who sustained it earlier that defines the tradition. As it has come out of the temple, confining Koodiyattam to orthodoxy cannot diminish its artistic value and aesthetic potential. Ways have to be found to enable growth while preserving all the aesthetic value enshrined in Koodiyattam. Arrangements should be made to nurture young people who are genuinely interested and responsive, and those who make Koodiyattam their profession should be encouraged. Through such endeavours this theatre must be actively conserved.

Chakyar koothu

In addition to Koodiyattam, the Chakyars have also been practicing ‘Koothu’ which is a solo performance. When the Chakyar, in the guise of the Vidushaka (jester) relates puranic stories in a manner replete with interest and humour, the performance is called Prabandha Koothu. Mostly, stories from the Ramayana or the Mahabharata are used. When relating the story the Chakyar plays the part of the characters he is describing. During his discourse the Chakyar makes witty and satirical thrusts at people in the audience; usually by treating them as characters in the story that he is narrating Often he directs his satire not at individuals but at some social problem or evil, ingeniously connecting it with some event in the story.

Nangiar Koothu
Nangiar Koothu
Koodiyattam is one of those rare art forms that had women’s active participation. Nangiar Koothu is performed solely by women. The solo performances of Nangiar Koothu and Chakyar Koothu evolved as a means to express the ability and talent of the performers. It was only two decades ago that it was discovered that Nangiar Koothu was confined to the four walls of the temple, and its acting manual (Attaprakaram) still exists. When the Kerala Kalamandalam started a Koodiyattam department in 1965, Painkulam Rama Chakyar showed great interest in training girls for female roles. It was Rama Chakyar and makeup expert Govinda Warrier who modified the costumes, ornaments and headgear of the female role and made it attractive.

When a complete Attaprakaram became available, Ammannur Madhava Chakyar started working to regenerate Sree Krishna Charitam Nangiar Koothu. He rewrote the Attaparakaram that describes Sree Krishna’s story in 208 slokas, in which he described acting potential in exhaustive detail.

The publication in 1984 of Sree Krishna Charitam Attaprakaram in its entirety, which was compiled by P.K.Narayanan Nambiar, contributed immensely to the revival of Nangiar Koothu. It became an important subject of study both at the Ammannur Gurukulam, Kerala Kalamandalam and Margi, Thiruvanathapuram...

By Gopal Venu
The writer is Director, Natanakairali, Irinjalakkuda

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