The ancient art of Kutiyattam travelled all the way from the Koothambalam (temple theatre) of Kerala, for the very first time, to the Namghar (a place for offering congregational prayers) in a busy city of Guwahati and also a Sattra (monastery) in Barpeta of Assam. The efforts of the artistes from Kerala trying to communicate with the organisers from Assam never failed to amuse an onlooker with both struggling with their own distinctive accents and turns of the English language. But on stage, the scenario was entirely different — the Kerala artists effortlessly made in-ways deep into the hearts of the Assamese spectators. There was not an iota of a communication gap in the universal language of art.
The Kutiyattam Kendra (Centre for Kutiyattam) of the Sangeet Natak Akademi Delhi mounted a three-day festival of Kutiyattam in Assam from March 31 to April 2. The first of its kind, it drew audiences in good numbers. The Namghar of Srimanta Sankar Krishti Bikash Samiti at Paltan Bazar, Guwahati and at Barpeta Sattra, Barpeta, about 85 km away from Guwahati witnessed a lot of excitement with the other-worldly characters taking stage to exhibit the most powerful of histrionic expression ( abhinaya ), a total contrast to the more devotional Sattriya, the classical dance which originated in the Sattras of Assam, with an understated histrionic element.
The Epics are a great integrating factor in a country like India with its multitude of cultures, languages and dance forms. The unity in diversity of a country was never more evident than during this festival which took Kerala’s art to Assam.
Margi Sajeev Narayana Chakyar as Surpanakha, Margi Raman Chakyar as Rama, Margi Sindhu as Sita, Margi Usha as Lalitha, and Margi Akhil as Lakshmana set the stage for a riveting performance of ‘Surppanakhankam’ which required no explanation for the audiences to connect, though well designed programme notes in English and Assamese were supplied. Surpanakha evoked most interest with the character unfolding as the most endearing despite the jet black make-up and costumes, and a crude demeanour and dialogue delivery. Sajeev portrayed the character with great finesse never transgressing the thin line separating the vulgar from the comic and the odious. Margi Usha Ratnam portrayed with great expertise the sensitive side of Surpanakha disguised as Lalita, the enchantress. The use of archaic Prakrit by Lalita points out to the antiquity of Kutiyattam.
Ammannur Kuttan Chakyar as Ravana and Potiyil Ranjit Chakyar as Jatayu built up the popular episode of the valiant fight put up by Jatayu in a bid to save Sita from Ravana who kidnaps her in Jatayuvadhamkam.
Usha Nangiyar expressed her delight at having performed Draupadi in front of a 700 strong gathering and narrated how she could give her very best to the enthusiastic audience. For an artist, there is no manna greater than the interest and appreciation of the spectators.
This pioneering effort to disseminate Kutiyattam, the ancient Sanskrit theatre tradition of Kerala, in the north eastern areas of the country is most welcome as a tool of national integration and respectful cultural exchange. Much against the popular notion that regional forms are less understood in regions other than the ones of their origin, an artiste and the art are bound to evoke the aesthetic pleasure irrespective of any barriers of language or culture. This was demonstratively proved during this festival.
However, beyond the function of showcasing the art form in an alien region, and beyond catching the eyeballs and footfalls, the organisers should aim for greater goals and pay attention to the logistics of audience seating so that all have a unhindered view of the intense facial expression and body language of the characters to maximise the aesthetic connect of the performance. A suitable venue and audience seating is the most important factor in presenting classical arts.
One hopes that the festival grows in its format and serves the purpose of disseminating the art of Kutiyattam in the coming years.
This was definitely a successful beginning, agreed K. K. Gopalakrishnan, Director, Kutiyattam Kendra.
