Kuttiyattam

It is characteristic of Indian cultural traditions that a movement, form

or style, originating in one part of India at a given historical period, finds its
finest and mature flowering in a totally different distant part. There are
sufficient evidences of this phenomenon, covering the fields of literature and
the plastic and performing arts, throughout history, particularly since the 10 th
centaury.
If we take the example of Kerala, it is well known that apart from
Kathakali, the tradition of chanting, recitation and singing of the Gita-
Govinda are considered outstanding forms there. However, an analysis of
both reveals that while the final resultant form is certainly regional in
character, the origins have to be traced back to sources outside Kerala. Also,
these two forms, like some others in Kerala and outside, provide examples
of a theatrical spectacle planes and therefore containing within it the
dimensions of eternity and at the same time in a preoccupation with ‘Time”
here and now – in a word, with contemporaneity.
Koodiyattam is easily the most prominent survivor among the forms
containing some essential elements of content and structural features of the
Sanskrit theater. It is, however, also the precursor and pioneer of traditions
of the Indian theater which developed in different parts of India since the
10th century, roughly coinciding with the break down of the unity provided
by Sanskrit and the growth of regional languages and literature. Into its
making went many elements, some drawn faithfully from the conventions of
Sanskrit theatre, both in content and form, and others which were totally
regional with tribal or ritualistic roots unique to Kerala. While scholars are
correct in often calling Koodiyattam the only surviving tradition of Sanskrit
theatre, it is must be remembered that Koodiyattam has also unmistaken
links with and elements from traditions which have little or nothing to do
with the Sanskrit theatre.
King Kulasekhara Varman of the second Cera is considered the
author of Koodiyattam. The political history of Kerala must be
supplemented by its social and cultural history, especially as it continues to
condition artistic traditions and performance.
It may not be possible here to go into the complex structure of the Kerala
society. However, it is necessary to point out those developments of forms
like the Koodiyattam are directly related as much to the rigid caste structure
of the society as to the inbuilt channels of mobility and change within the
seemingly hierarchical and isolative groupings. At this point only one fact
needs to be mentioned and that is about the relationship between the Cakyars
and Nambudiris on the other. Brahmin groups, immigrants into Kerala,
assumed authority early. The ruling princesses were transformed as
Ksatriyas, the incessant wars with the Cholas led to the emergence of the
military class known as the Nayars or Nairs. However, there was
considerable social communication among the Nambudiris, the Brahmins,
the Nairs and Ksatriyas: except the eldest son, the other sons of the
Nambudiris could marry Nair women. The hereditary Cakyars belong to this
social structure and their origins can also be traced back to early Kerala
history. It is interesting to note that the Cakyars belongs to the Ambalavasi
(temple-dwellers) caste, an intermediate group between the Brahmins and
the Nairs. While the Ambalavasis work as servants in the temple, the
Cakyars are a special sub-caste. The beginnings of the Cakyars go back to
these social practices, which illustrates the maxim of Bharatha that the
theatre breaks social barriers and that is a fifth Veda open to all, irrespective
of caste and creed. This sociological fact casts considerable interesting light
on the role of the arts in cutting across caste barriers and becoming
instruments of communication in an otherwise rigid social structure.
The origin of Cakyars can perhaps be traced back to pre- Sanskrit
days, or to the period of Silappadikaram, the Tamil classic. The writing of
the first plays of Koodiyattam and the development of Cakyarkoothu thus
has obvious link with a social structure which recognized a certain class of
persona as professionals with theatre as ‘Vocation’. The brief structure can
be further reinforced by references to other aspects of social and economic
life of Kerala, which have no doubt left an imprint on the development of
Koodiyattam, particularly the role of vidusaka, but this we shall examine
when we analyse the structure of Koodiyattam.
The Koodiyattam is the evolved dramatic form where both men
and women take part. The auditorium of the stage area is clearly
demarcated. The stage is normally a square on a raised platform. It is made
of hollow stone base, which is filled with earth and rubble and plastered
with cow- dung. At the back of the stage is the wall of the Nepathya or
dressing room.
The whole ensemble constitutes the orchestra called the
Pancavadya. The performance begins with the lightning of the lamp, with
two wicks facing the actor and one facing the audience. The eight
auspicious offerings, called the astamangala, consist of different gains,
fruits, flowers, etc and are also placed close by. The Mizhavu drum is
tuned and the Nambiyar plays on it accompanied by cymbals and the song
sung by the Nayanar. The song invokes deities like Ganapathi, Saraswati
and Shiva. The invocation to Ganapathi or Saraswathi and sometimes Siva
 are also common to preliminaries of other dance forms in almost all parts
of India.
Two persons enter holding a curtain covering the main character
from public view to keep the suspense element intact.

Chakyar Kootu

The staging of Sanskrit plays following ancient theatrical technique is

still prevalent in Kerala. The actors who enact the plays are called Chakyars.
They belong to the caste of Ambalavasi (temple dwellers); it is a class
between the Brahmins and the Nayar. The services of the Ambalavasis are
dedicated to the temple. The Chakyars form a separate sub-caste within this
fold. They are the temple artistes. Their social status is next to the Brahmins.
They did not have to study the Vedas, but could study the Natya veda and
their vocation was Natya or Kootu- the theatrical art.

The Tamil epic ‘Silappadikaram’ refers to Chakyar Kootu. According

to late Dr.K.R. Pisharoti Chakyar is a corrupt form of the word ‘Slagyar’, a
man of respectability gained through his erudition and wisdom. It is said to
be ‘Slaghya Vakkukar’(those gifted with excellence in words and speech) or
‘Slaghya kulakkar’ (men of respectability). It is also said that Chakyars are
descendents of the Suta or story teller. Dr. Pisharoti says according to the
traditional account a particular Suta came to Kerala with his family with one
of the Perumal kings, as his courtier. When his family was almost going to
become extinct, it was allowed to adopt into it the children of Brahmin
women born of criminal intimacy. Such children, if invested with the sacred
thread become Chakyars, if not they Nambyars. The girls are taken into
either section.

The Chakyars are assisted in their performance by the Panivada-s,

Nambyar-s, their women members –the Nanyars,in vocal and instrumental
music. The Nambyars play on the Milavu- a sclose-neck metal jar with a
leather piece stretched covering its mouth. The Nanyars act as actresses, and
also keep rhythm with the cymbals and sing the verses which the actor
enacts.

The Kootu is of religious character. The actors observe a fast till the
play is over. It is performed only in the temples. Only the Hindus were
allowed to witness the play. It is considered as a visual sacrifice to please the
deity. Nowadays it has been brought to the proscenium stage and performed
in full stage light unlike the huge oil lamp in the temple premises.

There were certain innovations made in the stage presentation in the 9 th

century A.D. which have come to stay till today. Kulashekhara Perumal
(about 900 A.D.), who was a good playwright and actor wrote two plays
Tapatisamvarana and Subhadra-Dhananjaya. Tolan his Brahmin minister,
wrote Aattaprakaara, a guide to Natya, designed to help actors. Many
innovations were introduced to make the play more realistic and popular.
Chakyars enjoyed total freedom of speech on stage. Tolan used this as a
powerful weapon of social reform through the role of Vidushaka criticizing
anybody whether it be the king or the common man, using Sanskrit with
Malayalam giving rise to the Manipravalam style of language popular even
today.
 There are three varieties of Koottu. In Prabandha Koottu the Chakyar
has the dress and make-up of the Vidushaka. In this Vacika abhinaya is most
prominent. The Nambyar plays on the Milavu and Nanyar sounds the
cymbals. The Chakyar recites the verse from a prabhandam (composition),
dealing with a story from Ramayana or Mahabharata, and thereafter
proceeds to expound it. There are many apt analogies introduced, anecdotes
told, and references to present situations made. The Chakyar should be a
great ready-witted scholar to do this effectively. Prabhandam Koottu is
generally acted in the afternoon. In Nanyar Koottu the Nanyar performs
instead of the Chakyar. It is pure acting and no scope for satire is possible.
Accompaniment is given by the Milavu and Cymbals. The Nanyar is dressed
in a costume like the ‘stree vesham’ of Kathakali of today. She first recites a
verse and then mimes it with appropriate angika abhinaya. This Koottu is
generally acted after nightfall. Nanyar Koottu which had become quite rare
in the last century is gaining ground again as a solo performance. Third
variety of Koottu is the Koodiattam. ‘Koodi’ literally means ‘coming
together’ or congregation and ‘attam’ means play-performance. Koodiattam
is the goup of Chakyars coming together to assume various roles to enact a
play. Hence it is considered a total play involving the four abhinayas namely
Angika, Vacika , Aharya and Satvika.