Originating over 2000 years ago, Koodiyattam holds a unique place in Kerala’s rich artistic tradition.
This ancient form of Sanskrit theatre, designated by the UNESCO as a ‘Masterpiece of the Oral and Intangible Heritage of Humanity’, and its allied art forms, including the Chakyar Koothu and Nangiyar Koothu, were the exclusive preserve of members of the Ambalavasi community. Their performances, held within Kerala’s temple precincts, formed part of ritual ceremony. In 1949, they were first featured in programmes held at venues outside the temples. In 1965, the iconic institution, Kerala Kalmandalam, threw open the doors of opportunity to all persons interested in learning Nangiyar/Chakyar koothu through the course helmed by Koodiyattam maestro Painkulam Rama Chakyar.
Trained by faculty gurus Sivan Namboothiri, Rama Chakyar, Girija Devi, Sailaja and Sindhu, Kalamandalam Prasanthi belongs to the younger generation of Nangiyar Koothu exponents. Having specialised in this discipline for 10 years, she completed both graduation and post-graduation in Koodiyattam and is at present pursuing an integrated M.Phil and PhD. in the subject.
“The female artists on stage are known as Nangiyaramma. The traditional enactment is based on ‘Sri Krishna Charitam,’ a compilation of 217 slokas from sources that include the ‘Bhagavatham’ and ‘Gita Govindam’,” says Prasanthi, who holds the distinction of having performed the complete oeuvre over a one-year period.
In her presentation at the Central Lecture Hall, IIT Madras, under the auspices of Uthareeyam, Prasanthi was accompanied by Kalamandalam Sangeeta, also an accomplished Nangiyaramma, who marked tala with kuzhi talam (cymbals) and three percussionists - Kalamandalam Jayaraj and Kalamandalam Manikantan playing the mizhavu and Kalanilayam Rajan on the idakka and shankh (conch).
In a brief introduction, Sangeeta explained that ‘Jarasandha Yuddham’, the episode portrayed, was from Act II of ‘Subhadra Dhananjayam,’ which offers a dominant role for women. Here, Subhadra, sister of Lord Krishna, requests her confidante Kalpalathika to go to Prabhasa Tirtha to accomplish a two-fold task. En route, Kalpalathika’s thoughts and swayam vicharana (self-enquiry) centres round the life and exploits of Lord Krishna.
Sangeetha demonstrated the specific mudras signifying characters such as Krishna, Balarama, Jarasandha, Asthi, Prasthi, and those that illustrated abhisheka, bharya (wife), Mathura rajadhani ( kingdom), various weapons, plough and mountain. Seven talas were in use, with eka tala (4 matras) and triputa tala (7 matras) used most frequently. As this episode was a nirvahanam (retrospective), the slokas/prabhandams were articulated by the talam keeper, while the Nagyaramma emoted only through mudras, facial and body movements.
The programme detailed the events following the slaying of Kamsa by Lord Krishna. Peace prevails in the reign of the reinstated King Ugrasena. But when Kamsa’s wives, Asthi and Prasthi/Prapthi (daughters of Jarasandha), learn about how their husband was vanquished and killed by Krishna, they go to their father’s kingdom and inform him about the tragedy.
Grieved and enraged, Jarasandha gathers his vast army of 23 akshauhini to fight Krishna and lays siege to Mathura.
Excitement and palpable energy coloured the ‘padapurappadu’ (war preparations) illustrated in elaborate detail – the donning of armour, the readying of spears, swords, bows, arrows, mounting the chariot, the royal accoutrements including muthukkuda (royal umbrella) and venchamaram (fan), the sounding of thimila, maddalam, chenda, kombu and kurumkuzhal. The prodigious physical energy imbuing the purappadu alternating with the study of the king’s underlying emotions of sorrow, anger and valour, highlighted Prasanthi’s skill and deep involvement.
Replacing the spoken word, the mizhavu and edakka spoke a distinct language, now gentle, now electrifying, dramatically enhancing the Nangiyaramma’s moves.
Defeated by Krishna, Jarasandha retreats to his palace dispirited, but is consoled by his minister and returns to the battleground. This happens 16 times. The 17th time, Krishna and Balarama, in order to spare Mathura from destruction, draw the hostile army away from the city and hide within the Goman mountain.
The enemy soldiers light a fire around the mountain. Irritated by the smoke, Balarama urges Krishna to emerge and confront the army. In the ensuing battle, Balarama is about to kill Jarasandha, when an asariri (divine voice) announces that the latter is destined to die at the hands of Bhima. Hearing this, Balarama spares his life.A sturdy stool placed onstage served as the peetham, which the Nangiyaramma ascended for enacting specific portions of narrative.
The slightest lift and quiver of the eyebrows, emphasised by the elaborate make up, the use of mudras and body movements similar to those of Kathakali, the white, red and gold colours of the costume and ornamentation (aharya) that combined simplicity with splendour, the continual thrust and parry of the drums, the immersion of Nangiyaramma into the characters portrayed, all combined to create a one-of-a-kind experience that lingered long after the close of the two-and-a-half-hour performance.“Each artist’s conception of a character is unique. My interpretation of Jarasandha is shaped both by my gurukula abhyasam and personal insights gained from an intensive study of definitive texts.
Being a solo artist is very demanding in terms of both physical and mental preparation.
Physically, the stances and movements call for unflagging energy, while the constant switch from the emotions of one protagonist to another requires an equanimity that stems as much from rigorous practice as from exploring the psyche of the dramatis personae”, reveals Prasanthi, whose sources of encouragement include her father and brother, panchavadyam artists and her husband Jayaraj, mizhavu artist.
