Title: CASE ON NATANAKAIRALI
Author (s): Ms. ANU SUBRAMANIAN
Ms. ANJITHA LAKSHMI
Ms. MEERA ANTONY
Ms. NEETHU E.S.
Faculty Guide: Prof. NARAYAN KRISHNA PRABHU
NATANAKAIRALI
Kerala has a very rich theatrical tradition. Though forms such as Kathakali, Krishnanaattam and Kutiyattam have become internationally famous; there still remain many interesting forms which are not much known beyond the state. Infact the classical forms are very much related to these primary theatrical forms which are deeply rooted in rituals, temple festivals and religious observances of the people. These are performed with a purpose which may be appeasement of Gods and Spirits, welfare of the society, carrying forward of the tradition, or giving explanation of the ritual of which they form a part. The primary theatrical forms are generally sacred forms, which incidentally have aesthetic appeal.
Venuji’s father Chittur Gopalan Nair was addicted to the arts. He had studied portraiture for 18 years in the style of Raja Ravi Varma and learnt to play the Harmonium and the Mridhangam. He saw Udayashankar dance at the Gemini studio in Madras and fell in love with the dance theatre. Back home at Nedumangad near Trivandrum he built a theatre for Kathakali; a permanent thatched house in which even small family events like birthdays were always celebrated with a performance.
In 1963, Venu met the great Kathakali guru Gopinath who wanted to establish the southern style of dancing. Venu joined his troupe but wanted to do something concrete, he did a detailed study of Kathakali hand gestures and compiled the first such manual ever. Later he joined Thrissur College in the Drama Department.
In 1975 he saw Ammanur Madhava Chakyar perform Kutiyattam (world’s oldest, most highly codified theatre form, performed by hereditary families of Chakyar). He became the disciple of Chakyar, resigned his job and shifted his residence to Irinjalakuda in the vicinity of Ammanur Chakyar. It was a historic day when a non-chakyar was accepted as a student of Gurukulam.
Founded by G Venu in 1975, Natanakairali, a research and performing centre for traditional arts runs a training program in Kutiyattam, and has a repertory company made of artists trained at Ammanur Chachu Chakyar Smaraka Gurukulam under the guidance of Guru Ammanur Madhava Chakyar the Kutiyattam master.Motto of Natanakairali is “parisheelanam , paripalanam , pariposhanam” of various art forms.
Natanakairali conducts special short term and long term courses focussing the mode of acting of Kutiyattam and Mohiniyattam. Dancers, theatre practitioners and research scholars can avail of this opportunity. This training programme gives particular attention to the Netra Abhinayam (eye execise and expressions), Mukha Abhinayam (facial expressions), Hastha abhinayam (telling a story through hand gestures) and choreography. Mohiniyattam and Nangiar Koothu the classical solo dance theatre forms exclusively of women are also included in the programme.
A Research and Performing Centre for traditional art forms of Kerala was founded by Sri. G. Venu in 1975. Sri G.Venu is a Kutiyattam artist and scholar who has done extensive research on the performing arts of Kerala like Kaakkarissi Natakam, Mudiyettu, Tolapava Koothu, Pavakathakali, Mohiniyattam and Kutiyattam and has also authored several books based on his research.
KUTIYATTAM
The Kutiyattam dance form of Kerala which was declared on May18th 2001 as “A Masterpiece of the Oral and Intangible Heritage of Humanity” by the UNESCO is the oldest surviving Sanskrit theatre tradition in India, with a rich repertoire of Sanskrit plays and a highly stylized and complex theatre language replete with traditional hand gestures and facial expressions.
According to Venuji four modes of Abhinaya – Vachika (verbal), Angika (gestural), Acharya (makeup and costumes) and Satvika (psychic) appear in Kutiyattam in a proportion that was unseen in any other dance form.
GLOVE PUPPETRY
It is very popular in South India or at least it was. Sadly this art form is being neglected, as our creativity finds expression in the more modern media of films and television. This form of glove – puppet play evolved in the 18th century and was later heavily influenced by the popularity of Kathakali. Earlier this art form was confined to the Palakkad district and its neighboring areas, but it is now being revived and spread by associations like the Natanakairali. Pavakathakali, another dance form had almost died out a decade or so ago but only because of the determination of G Venu to save it and the help provided by the Sangeet Natak Academy in Delhi, the troupe has become popular and is regularly invited to perform all over the world.
MOHINIYATTAM:
Mohiniyattam is one of the classical dance forms of India which originated and developed in Kerala. Nirmala Panicker undertook research to rewrite the forgotten chapters on the techniques in the Mohiniyattam repertoire. She sought to find a common link between Mohiniyattam, Nangiar Koothu and Thiruvathirakali. She developed a systematic methodology for teaching of Mohiniyattam. She has done research on the Hastalakshna Deepika. She has introduced several hand gestures into Mohiniyattam using this text. It is also included in the training program.
Venuji had also spent several years delineating the mudras of Kathakali, Mohiniyattam and Kutiyattam and other (theatre) forms through a system of notation devised by him. Venu has authored 15 books on the performing arts of Kerala. He has also received several honours and awards for his contributions in the multiple roles as a performer, choreographer and scholar. Some of the awards which he won to include Kerala Sangeetha Nataka Academy Award and Kerala Kalamandalam Award,2007 Nikkei Asia Prize.
Mr Venu G and Nirmala Panicker fear that these art forms may die in near future; those who have learnt too don’t have in-depth knowledge to train the future generations. Natanakairali undertakes an extensive research programme on performing arts of Kerala. They have written many books based on this research. Many have come to know about Natanakairali through these books and also about the popularity they received by their performance in foreign countries.
Venu.G and Nirmala Panickar feel that a new subject “Art education” should be included in the academic curriculum which will help the future generations to know more about the richness of our culture and art forms. They feel that if no steps are taken to protect our art and culture we may loose it. They also suggest that there should be a theatre(s) for performing all these art forms.
Sincere Gratitude:
Mr. Venu. G, Ms. Nirmala Panicker
Natanakairali,
Ammanur Chakyar Madhom,
Irinjalakuda,
Thrissur, Kerala
Pin Code-680 121
Phone: +91 480 2825559
e-mail : natanakairali@gmail.com
