Chavittu Nadakam

It came into existence after the advent of the Portuguese to the Malabar shores coast for trade and missionary work. As per the history, Portuguese felt a vacuum in the cultural arena. What they needed is a vehicle to spread the myths and legends they held in reverence. They were impressed with the sway of Kathakali but obviously felt that it would be unwise to graft their legends on to the Kathakali dance drama. The solution was to create a distinctive dance drama of their own. So most of the times the stories related to Christianity or Western history or Biblical stories are played.

Inspiration of the western opera type of theatre was can be seen in Chavittu Nadakam. The texts were written in old Tamil. The acting techniques, stage structure and treatment of the plot were all western. The influence of Kathakali can be seen in the use of curtains and in certain elements of the costumes. The influence of Kalaripayattu is evident from the vivacious fighting scenes.

Chavittu Nadakam is usually performed on open stages. Sometimes the interior of a church is also a location. Training is provided to performers before staging the play. The master is known as Annavi. The whole play is performed through musicals. The performers wear glittering Greco-Roman costumes. The bell and drum are two instruments used as background score. The language used is a colloquial blend of Tamil and Malayalam.

A peculiar feature of this drama art is the actors stamping the dance floor to emphasize the dramatic situations. Hence literally Chavittu Nadakam means ‘Stamping Drama’. The play is considered a success if at the end, the platform collapses from pressure of all the kicking and stamping.

In Kalaripayattu, the importance is for defending techniques rather than attacking. To gain expertise in kalaripayyattu, one must have concentration, good understanding, and the ability to perform action with skill.

In a simple sense, the term Kalari  can be described as the training centre for physical exercise and use of weapons. The training that was given at the Kalari is known as Kalaripayattu.  Kalaripayattu originated in Kerala after 12^th century. One of the oldest fighting systems in existence and Kalaripayattu  was necessary for the training of the warriors or Chekavars.

Kalaripayattu were the by product of the decentralized political structure of Kerala. We get the information of Chekavars and Kalari from northern ballads. Thacholi Tharavad and Puthooram tharavad were the two famous Chekavar families of Northern Kerala. The Chekavars like  Thacholi Othenan and Aromal Unni are mentioned in the northern ballads or Vadakkan Pattukal. Apart from this, Nair, Ezhavas, Muslims and Christians had their own Kalari. The youth of Kerala, irrespective of sex, were given in the training  in the Kalari at a very early age. Thus we get references about heroines like Unniarcha and Kudamala Kungi in the northern Ballads.

Kalaripayattu has existed all over Kerala with local variations. Training was given in the Kalari for the usage of stick,sword,dagger and spear. Kalari were treated as the sacred palces  like that of the temples and in course of time ,special rituals were started in the Kalari. The students of Kalari worshipped Bhagawati, goddess of Kalari. The Kalari buildings were constructed in a peculiar manner with specific area and the presence of the God confirmed at a specific area. The whole process of training to be done in the presence of Kalari god. The art of Kalari payattu was learnt under the guidance of master or Gurukal. He was also referred as Asan or Kurup. Each village in Malabar had its own Kalari.

The mural tradition evolved universally as a complement to her unique architectural style. Painting in India in ancient days was made on walls. The popular saying ‘No walls and no painting’ corroborates it. Famous examples of classical murals are those at Ajanta, Bagh, Badami Sittannavasal, while the medievals style is seen at Ellora, the Brihadiswara temple in Thanjavur and Virabhadra temple at Lepakshi. Numerous temples and palaces in regions as diverse as Himalayas, Punjab, Tamil Nadu and Kerala have murals of a later period.

In India, painted walls have always been the usual form of decoration both in sacred and secular building. Extensive literary records of ancient murals exist in Indian literature. The interiors of ancient Indian temples and palatial buildings were plain compared to the exterior and offered an obvious ground for painting. Frames or mouldings did generally not circumscribe this. It continued to cover the entire surface and flowed from one wall on to another in an organic way undivided by harsh barriers. The large surfaces were used for the depiction of epic themes, myths and beliefs known and loved. This made the mural as on art form to be an expression of a comparatively homogeneous society.

A mural is an orchestration of aesthetic sensibilities put to work in balance with the dramas immediately brings to mind.The caves at Ajanta give relevance to this art form’s function as a social and environmental entity. Primitive man’s depiction of fantasies, decoration and magic symbols was quite consciously undertaken.

Reality of the Wall

The State of Kerala holds the second place in having the largest collection of archeologically important mural sites, the first being Rajasthan. The mural traditional of Kerala evolved as a complement to her unique architectural style.The Kerala School of painting represents the final and fading phase of Indian traditional painting. These wall paintings are characterized by their liner accuracy, the adherence to colour symbolism, elaborate ornamentations and sensitive portrayal of emotions.

The Kerala mural style could  trace its roots to the ancient Dravidian art of Kalamezhuthu or pigment art. Subject for the murals were derived from religious text. Palace and temple murals were peopled with ‘highly styled pictures of Gods and Goddesses of the Hindu pantheon. Flora and fauna are picturized as backdrop. Impact of dotted shading and effect of beaded outlines in murals are most important.

From Thirunandikkara in the south till Kumpazha in the north there are about 150 centres where murals are found. Here we have four distinct styles, viz, the ancient Ajantha style, The Old Kerala style, The Guruvayur style and the modern style.

Generally the frescos are painted on the walls of granite or laterite after they are suitably prepared. The unique feature of the mural painting is that only natural colours are used. The natural colours and the brushes needed are made out of materials easily available locally in Kerala.

In mural painting, only five colours namely Yellow ocher, Indian red, Indigo, Sab green, and lamp-black are generally used. The pigments in solutions are generally prepared and kept in the lower halves of coconut shells. As there is no special white color, possibility of other colors encroaching that area should be avoided by taking meticulous precautions.No colors should be used after drawing black lines.

The abundance of lines is a feature of Kerala murals. The linear rhythms of Indian art are retained zealously like a ritual by the contemporary artists. The black lines bring the colors to life. Their application is called Karuppezhuthu.

The C V N Kalari is built in an East-West direction about 4 ft below ground level. It is an enclosure closed on all sides except for a small door to the East. This cocoon-like Kalari architecture is developed after taking the tropical, humid climate of Kerala into consideration. It is very dark inside the Kalari and the only light there is of the traditional wick lamps, Nilavilakku. Certain deities are placed in the Kalari and rituals are performed before every session. Paradevata, or the Goddess of Kalari, is the main deity. Idols of Ganapathy, Naga and Bhadrakali and others are also placed. The rites of worship are of the Kalari tradition followed since ancient inception.

The Kalari warrior has to undergo rigorous training. Dependability solely rests on the warrior’s alertness and agility. Various postures and swift movements are used for attack and defence. A Kalari warrior has to undergo years of rigorous training that will help him to perfect his reflexes. Kalarippayattu also helps in cultivating and improving concentration, confidence and courage. The training begins at the age of seven for boys and girls. As the training begins at a very young age, it becomes a way of life for all exponents. Kalari training also includes meditation and Ayurvedic massages which condition and keep the body supple. These tasks are performed by the Gurukkal, or the Master Trainer.

Training consists of four different stages.

Chuvadu- means stance. This is followed by Vadivu, or body postures. These body postures are- Gaja (Elephant), Simha (Lion), Ashwa (Horse), Varaha (Pig), Sarpa (Serpent), Marjjara (Cat), Kukkuda (Rooster) and Matsya (Fish). The next segment that comes after perfection in the above stances and postures is the Meyppayattu (use of body in fighting). This perfects Neuro-muscular coordination. The next phase is training with weapons. The trainee begins with a cane and than gradually upgrades to the Cheruvadi (small stick), Ottakkol (pole), Gada (mace) and Kadtaram (dagger). The most glamorous of all combats is the combat with sword and shield. It combines the sheer beauty of agility and speed

Another special and unique weapon is the Urumi, a long, springy, double-edged, coiled sword which can recoil and hurt the user if not careful. The last in the training is the spears. Kuntham as they are known are long poles made of cane, bamboo or wood with a sharp double edged metal tip.

Medicine and treatment are also as important to Kalarippayattu as the training. An entire system of medicine revolves round the art of Kalari Chikitsa, or Kalari treatment. It is a part of the ancient tradition of Kalarippayattu.

This treatment is used to treat sprains, fractures, wounds and other injuries that are a part of the training. Performers of other traditional arts also undergo the Kalari Chikitsa for better body suppleness. The Kalari masters are trained healers. Their expertise lies in curing physical ailments with Ayurvedic massages with liberal use of medicinal herbs.

Kalari performances are organized on request, in India and abroad, Lecture demonstrations are presented at the Kalaris at Thiruvananthapuram and Kozhikode.

Padayani Introductory Steps - Padayani is the combination of music, dance , painting, satire etc. Chamayam or Padayani costume and make-up is the painted Paala mask and Kuruthola. Kolam leaf sheaths number 9,16,51,64,84,101, etc., the larger ones not being used as a head dress, but only carried on the shoulders. Colours and dyes are made from natural materials like brick, ash, tumeric, etc.

Padayani’s essential elements comprise of Kolamezhuthu, Kolamthullal, Malayootu and Choottuveyppu. Kolamezhuthu refers to the drawing of kolams or images of deities on green arecanut leaf sheaths using natural colours;Kolappattu are the devotional prayers to deities; Thappumelam is the rendering of the percussion instrument called Thappu.  Kolamthullal refers to the rhythmic footsteps in tune with Kolappattu and Thappumelam; Malayootu involves creating a forest like ambience and Chootuveyppu, lighting the choottu (bundle of dried coconut fronds).

Every Padayani Karappuram (Padayani venue) has its own rituals and kolams, but they are all performed in a similar sequence. The first one is usually the Ganapathi or Pisachu Kolam. The second day performance is Panchakolam which includes Ganapathi, Marutha, Yakshi, Pakshi and Madan.Next is the Kalan Kolam, Bhairavi, etc. Bhairavi Kolam is made up of 16-1001 arecanut leaf sheaths. Chattathekkolam (made on a chattam or frame) of the largest, with 1001 leaf sheaths.

Kanjiramala(garland made up of flowers of strychnos nuxvomica) is a special feature of the Bhairavi Kolam which is performed at the Mundankavu Temple in Chengannur,Kerala. There are mainly 18 types of Yakshi, Sundara Yakshi, Ambara Yakshi, Maya Yakshi, Kolina Yakshi, etc. Pakshi Kolams are believed to cure diseases that afflict children.

Padayani instruments include Thappu, Kaimani, Thudi, Para, Thakil, Maddalam, Chenda etc. Padayanimusic has different Thalam or rhythms like Adantha, Muriyadantha, Otta, Murukkam, etc.

Padayani – beginning and conclusion of rituals - Padayani is celebrated during the Malayalam months of Kumbham, Meenam, Medam ( February, March and April) Padayani at each region has special feature when moving from one village to another.“The basic old Padayani is the Markandeya Puranam, especially for Kalankolam which has five faces (also called Kalarikolam or Sivakolam). It is believed that devotees who conduct or make an offering of a Padayani will be blessed by the gods and granted their wishes”, said Mr. Sydarsan, an expert of Kolamezhuthu and Thullal.

Essential parts of Padayani are Kolamezhuthu, Kollamthullal, Kollappattu, Thappumelam, Vinodam.  Just before padayani begins, the performers create a forest-like ambience called ‘Malayoottu’,which is said to be favourable for welcoming the deity. The first step of Padayani is choottuveyppu for which a bundle of Choottu is lighted and handed over to the Padayani Ashan (Master) by the head priest of the temple amidst kurava and arppuvili (peculiar vocal sounds produced by the attending womenfolk to signal the auspicious occasion). After Pradakshinam (circling the temple), the lighted choottu are placed at the southwestern corner of the temple. The Ashan perform  at a time of day favourable to Goddess Paravathi.

The concluding sequence in Padayani is a prayer to Bhagavati for salvation from sins and a plea for protection against all contagious diseases. Spectators from different parts of Kerala come to have a glimpse of  Padayani – the rare ritualistic form.