Krishnanattam - Then and Now

K. Velayudhan Nair

Translation of the article published in Bhaktapriya (Publication of Guruvayur Devaswom) - November 2001

The scene of waiting for an opportunity to meet King Zamorin, holding the right hand of the teacher Palakkal Achyuthan Nair, in 1939 is still clear in my memory. Yes, Palakkal Achyuthan Nair, who was literally by all means the unchallenged master of Krishnanattam who dominated the stage even at the age of 80, the captain of Krishnanattam troupe, which existed in the Kovilakam, in the traditional ancient Gurukula System. I felt his hands to be a safety shield. In the Kovilakam which is able to provide sufficient food and clothing to the members of the Krishnanattam troupe, when I prostrated in front of the teacher, offering arecanut and betel leaf, he placed four fresh loin clothes, a mat and four bathing towels in my hands. I took possession of these with pleasure and started my training in the acting section of the Krishnanattam troupe.

The kacha kettu exercise conducted annually at the Kovilakam of Zamorin is quite different from today in the organization and duration. The training begins in the atmosphere which has become quite chilly with plenty of showers, i.e., on the 15th of the Malayalam month Mithunam (15th June to 15th July). The training that begins in this way is ended on the day of Atham, in the Malayalam month of Chingam (15th August to 15th September) for Onam celebrations. Later cholliyattam starts from Vijayadasami (about the middle of October). This means about two months of kacha kettu exercise and from Vijayadasami day to the end of Malayalam month of Vrischikam (15th December) - about two months of cholliyattam. Each play (The plays Avataram, Kaliyamardanam and Rasakreeda completely and other plays as needed) is performed with recitation.

Tradition of Uzhichil:
For small children - 2 cycles ( 28 days )
Actors of intermediate age - 1 cycle ( 14 days )
Principal and Secondary actors - 7 days

Sumptous food is served for lunch and dinner during these days. Thus, every year, the play begins only after imparting extensive training for almost four months. But after coming under the Guruvayur Devaswom, as Krishnanattam was included as a votive offering, changes had to be made in the sequence of training. At present, a child receives significant kacha kettu training for 41 days. Since children are needed unavoidably for plays in the temple on a daily basis, there was no way other than making changes in the training. Hence today, the deficiency of an impeccable and prolonged training is indicated in the performance of the children. Training is aimed at increasing the beauty of the body of the artist and to make the limbs suitable for performance. But, due to lack of attention, on the children, and lack of time, the training received by the children is very little. The kacha kettu which begins at 3 a.m in the morning lasts till 9 p.m. in the night. The expert teachers, namely Perumpath Raman Nair. Revunni Karthav, Kunhikrishnan Nair, Viswanathan Nair (acting section ), Ukkandu Warrier, Kuttikrishna Warrier, Narayana Pisharody (singing), Pathiyil Raman Nair, Sekhara Panikkar, Nellikkot Raman Nair (suddha maddalam ), Kunchu Nambiar, Echu Nair, Viswanathan Nair (toppi maddalam ), Krishnan Nair (chutti) were always present in the Kalari to conduct the training of their respective sections efficiently. The teachers of the acting section deputes the senior artists to train the children. Thus today, full respect is given to the expert teachers by the skilled artists who trained in the art of Krishnanattam through the meticulous scheme of exercises.

During the time of kacha kettu, when the training is over, the children are served rice porridge. Otherwise they are given a meal of rice, offered to the God. Nowadays, the kacha kettu exercise begins in the month of July for 41 days and the performance of plays of votive offerings starts in the month of September. This system should be changed. Kacha kettu should start in the month of July and continue till the beginning of Vidyarambham (October) so as to get more time for kacha kettu training. After the 9 days of Arangetam plays sponsored by Devaswom which starts with Vijayadasami, the plays of votive offerings can be performed. Since there is a system of having any number of offerings for a days play, the Devaswom will not suffer any financial loss, due to the decrease in number of days of play. In this manner, the members can receive training for almost three months.

The Devaswom authorities should pay attention to this matter.

In the Kovilakam of Zamorin at Kozhikode, the annual cycle of plays used to begin on the 30th day of Malayalam month of Vrischikam (About 15th December), considering an auspicious day, which is free from any Pula. During the previous day of Arangetam, the actors, wearing white dhoti and bhasmam marks, anklets and waist bands perform the play, Avataram with the accompaniment of drums, musical instruments and singing. This is called Melam Kotti Sadhippu, After this, nine plays are performed continuously in front of King Zamorin. Later the troupe begins the trip for performing the plays at the 32 Cherikkals, 28 Devaswoms and Guruvayur Devaswom under King Zamorin, the Brahmin households of Poomulli Mana, Naneri Mana and other households of people belonging to the Ambalavasi castes.

The salaries sanctioned were as follows: Rupees three and half for the senior Asans, Rupees two for other categories and Rupees one and a half for children. The charges for a days play were fixed as Rupees seven and a half. The money given to the children was kept by the Asan with him safely and was handed over to them on returning to the Kovilakam after the play.

After the performance at the Kovilakam, people carrying the boxes containing items required for the play and the Brahmin cook, who prepares the food, leave early to the next place of performance. After the performance at Zamorin's Kovilakam, the next performance is at Nerumkaithakkota (Katalundi). Zamorin's manager must have gone to the place of performance much earlier and made arrangements for the play. At each location, a washerman is engaged to wash the clothes of the troupe members and a barber is engaged for hair cutting and shaving. After the performances at Vallikkunnu, Keraladheeswaram and Thrukkavu, the troupe travel to Kozhikulangara temple, Chavakkad by boat. From there they proceed to Guruvayur. Residing at Zamorin's Kovilakam, they perform for 9 days at a stretch at the Guruvayur temple. Thereafter, performances are held at the houses of junior priests, located near Guruvayur. A performance of Banayuddham is held, marking the end of performances at Guruvayur. This performance, known as Petti Vecchu Kali, (performance with closing the box) is held, facing south towards the Samadhi of Manaveda located near the Zamorin's Kovilakam. Only on this day, performance is held facing the south. After this, performances are held at Nareri and Kothara. Thereafter, it is time to perform at Pattambi, Thirumittakkode, Salueri Mana. After performing eight plays at Manjaloor, the troupe return to Kozhikode. Then performances are held at Thiruvilayanadu Kavu, eight plays at Mankavu and a last performance, (performance with closing the box) in front of the Zamorin King. The performances for the year end with this last performance.

Even in those days, the custom of granting pension to the Asans who retire from the troupe was followed. The Zamorin King used to sanction so many measures of paddy per year as pension.

In the year 1952, King Zamorin, sent the Krishnanattam troupe to Guruvayur Devaswom. When considerable loss was incurred in the salary and other expenditures, the troupe returned to Zamorin's Kovilakam in the year 1954. When due to the land ceiling act, the income of the Kovilakam from levies ceased, the Zamorin King had no way other than surrendering the Kovilakam at Guruvayur along with some cherikkals to the Guruvayur Devaswom on 17th January 1958. since then, a department with the name Kalanilayam was set up to manage all affairs related to Krishnanattam. A salary system came into existence for the artists. Krishnanattam became a votive offering at the Guruvayur Temple. I am an individual who tasted the sweetness of the subsequent unprecedented growth of Krishnanattam.

When Krishnanattam troupe was with the Zamorin King, performances were held only in the Malabar province. When it came under Guruvayur Devaswom, the troupe could go anywhere. Hence the troupe started touring Kerala, India and even foreign countries gradually.

Not only this. Under the Zamorin King, no one could criticize Krishnanattam. With the publication of the Malayalam translation and study of Krishnagiti by the art connoisseur Prof. P.C.Vasudevan Elayath in 1965, people who appreciate art realized the importance of this art form and started coming forward to encourage it. The critics found that signs, acting with expressions, singing and costumes were not up to the standard. They requested the Devaswom to take appropriate steps to improve the situation.

It should be noted that some of the subsequent actions had been helpful in increasing the aesthetics of Krishnanattam. Even then, it is to be doubted that some of the elements adopted have weakened the individuality of Krishnanattam, due to over enthusiasm or erroneous views.

Let me consider the clothing first. Kottarakkara Thampuran got an opportunity to formulate Ramanattam due to the inspiration attained because of the formation of Krishnanattam. The world famous Kathakali was formed from Ramanattam. But using the high rise and elaborate clothing like those of Kathakali for the characters in Krishnanattam is definitely out of tune. The proportion between the head gear, chutti and the clothing is non-existent in Krishnanattam today. The head gear lacking glitter and the customized chutti with medium size never go along with the present mode of clothing. I have heard some expert spectators commenting 'it looks as though a pot is kept inverted on a haystack!'

Similarly, acting with signs and expressions were used only to a very limited extent in Krishnanattam. In this art form where dance steps are controlled by rhythms and lasya and thandava war dances dominate to a large extent, only minor occasions are given for others. But when signs are universally employed in Krishnanattam, it appears as though beautiful dance steps are harmed. When Balarama consumes liquor, the descriptions of scenes are irrelevant. Similarly, when wrestlers fight, acting with signs is irrelevant. There are certain occasions dedicated to acting with signs. There the performance should be presented staying within its own framework. There are certain rules for the presentation of Krishnanattam such as, eight measures of oil, eight units of time, eight children etc. King Manaveda has scheduled the scenes so that the performance do not exceed more than eight units of time. Artists should specially remember this.

Now about singing. The present style of singing was organized by the late Kalamandalam Neelakantan Nambisan. Paying respects to his directional skill, here I note certain comments.

In Kathakali, verse by verse singing and acting is followed. Hence the padams give ample time and occasion for the actor to form the expressions by traveling in the natural style of Ragas. Since the presentation of Krishnanattam is controlled by time and rhythm, the actor gets only limited time for acting with expressions. Hence as per the new method of direction of singing, in its completeness, adequate time is not available for acting with signs or Rasa. Hence there is a widespread criticism about incompleteness reflecting in certain sections. Thus greater excellance can be achieved if the singers understand the essence of acting and perform with more involvement on stage. The stage direction in Krishnanattam is fast, with gaps filled and hence dense. If the songs are sung in a way as to solidify the density, the singing will become better, but the identity of krishnanattam will vanish.

In the same manner, the chutti should be suitable for the internal essence of the character, the face of the actor and the head gear and clothing. Since in Krishnanattam, the scope of acting with expression is quite limited, there is no necessity of an elaborate spreading of face. If the face is expanded more, the deficiencies of acting with expressions will become more prominent. If acting with expressions is incorporated more, the style of Krishnanattam will be lost. Hence attention should be paid more in the case of chutti.

Just as for all other arts, there is a discipline of training and a discipline of stage for Krishnanattam as well. Only those artists who have mastered the skills of the training completely, can present the acts on stage without any defects. The trainees of Krishnanattam should study and present all the dance steps and scenes completely during the study period. It is dangerous to cut short the items as per one's own liking. The items such as Thodayam and Keli should be presented on stage at least on every alternate day.

Only an artist who maintains the purity of heart in his daily chores, studies and training exercises can excel in his sphere of art. The Krishnanattam artists of today who have much better standard of living compared with old days, should perform the art received from their teachers without any dilution. Thus, they should try to realize the prayer, Kavyam Mama Khyapayet (let my poem be famous) of Manaveda, the author of Krishnagiti.

Shri Kollangat Velayudhan Nair, who retired from the post of Kaliyogam Asan (Troupe Teacher) after fifty three years of service with the troupe, winner of Tulasi Samman of Government of Madhya Pradesh (1995) and Fellowship awarded by the Human Resources Department, Government of India (1999-2000), presents an overview on the classical and modern trends in Krishnanattam.

Shri K . Velayudhan Nair,
Aparna,
P.O.Puthanpalli 680 103,
Thrissur Dt., Kerala, India.

Glossary

Arangetam: The first performance of the full cycle of plays in the play season.
Bhasmam: Sacred Ash.
Cherikkal: A special house for collecting Zamorin's share of the agricultural products raised by the tenants of his lands.
Cholliyattam: Training in the particular dance sequence for a particular play as it is to be in the performance.
Chutti: Made of lime (made from sea-shells) and rice paste, it is the white outline which extends from ear to ear along jaw and chin line of the actor's face.
Keli: A specific musical sequence played to announce to all within hearing distance that Krishnanattam will be performed that night.
Kacha Kettu: Literal meaning "the tying of the cloth", in this text refers to training in the various roles.
Pula: Social restrictions imposed for a specific number of days due to birth or death in the family.
Thodayam: An invocation dance.
Uzhichil: Body massage.

Most of the items in the glossary are taken from the book
Krishnattam , Martha Bush Ashton-Sikora and Robert P. Sikora Oxford and IBH Publishing Co. Pvt. Ltd., New Delhi (1993).