During old times, it was common for parents who did not have sons to pray to the Lord of Guruvayur for sons and to offer at least one son to be enrolled in the Krishnanattam troupe as a dancer. I also became a dancer in this way. My father was a well known dancer of Krishnanattam during those days. After having three girls, my parents prayed to the Lord of Guruvayur for a son. Thus I was born on the new moon day, the 9th of the Malayalam month of Karkkitakam in ME 1083 (End July 1908), under the birth star of Puyam, as the son of Katukkavil Unnirarichchan Netungati and Totukattil Kunchukkutti Kovilamma. Then my uncle Ramachchan Netungati was also a member of the troupe. More than the thought of becoming a great artist, the devotion to the Lord of Guruvayur, the desire to lead a good life and the prayers of my parents made me a member of the Krishnanattam troupe.
I enrolled in the Krishnanattam troupe at the age of 8 (ME 1091, AD 1916) as a dancer. During the initial years, my teachers were Valiya Achutan Nair and Perunpatt Gopalan Nair. During those days, the training used to begin from the first of the Malayalam month of Karkkitakam (Mid July). The students have to wake up at 3.00 am in the morning. After the daily chores, the training began with paying obeisance. After completing meyyurapp pitikkal (physical exercises), kal sadhakam (dance steps including arm and hand movements), and performing kalashams (patterns of dance), the teachers massage the bodies of the students. By this time it becomes morning. The students brush teeth and have breakfast of rice porridge with ghee. The rice and ghee are issued from the store of Kovilakam. The learning of the plays begins after breakfast. Totayam, Krishna in Avataram, Vennakkal (scene in Avataram where gopa women give butter to little Krishna) and the jasmine garland dance are taught upto about 10.30 am. During those days the students were taught to drag the feet and take steps, roll over and to sit as if on a tip of a needle. Then the students take bath and have lunch at the dining hall of the Kovilakam. Then the students take rest for some time. The training is resumed at 2.00 pm in the afternoon. Keeping rhythm, moving the eyes and showing hand signs are taught along with the acting of plays. This is continued till 5.00 pm. The students wash their face, hands and feet, put on the sacred ashes on their forehead and sitting in the Kalari, chant the names of the Lord. Keeping rhythm and showing hand signs are continued. At 8.00 pm the students go to the dining hall for dinner. After dinner, the students go to sleep. Even though there are no major differences between the training methods of earlier days and today, the training of earlier years had more depth and dignity. The affection the teachers had for the students and the devotion and the respect the students had for their teachers were special. The real gurukulasampradayam was practiced during those days. The punishments were severe. The students were greatly confused when they entered the Kalari. They did not know what mistakes they committed or why they were beaten by the teachers. Due to the severe punishments, like other students, I had also run away from the Kalari more than once. Once the students reach home, the parents used to take the students back to the Kalari. Otherwise, the teachers will come home, searching for the missing students. There was no escape from both the places. But I believe that the training and discipline of those days had a great influence in my life afterwards.
We were not aware that there was something like salary. The art was considered as a life long penance. We had sumptuous food twice in a day and three oil baths in a week at the Kovilakam. During those days we never wanted anything more than these. Those days the most senior teacher and the first grade dancers received a maximum amount of 2 rupees a month. Sometimes they received lesser sums as well. New cloths were given during Onam and gift money was paid during Vishu.
Nine plays were played only at Guruvayur Temple and the Zamorin's Palace. All plays were played in sequence upto Svargarohanam and then Avataram was played again on the ninth day. At other places, it was customary to play Avataram upto the Vishvarupam on the same night immediately after concluding Svargarohanam. During those days, Avataram was played as a votive offering to have children and Svayamvaram was played to get daughters married.
After concluding the nine days plays at the Zamorin’s Palace, the troupe proceeded to Nerumkaitakkotta, Keraladhishvarapuram, the temple belonging to Vettuvancheri Nair house, Thrikkandiyur, Hanumankavu, Ponnani Trikkavu. Then the troupe proceeded to Guruvayur by boat. During those days, the travel was not by bus or train. Once the play at one place is concluded, the boxes were packed and loaded on the heads of the porters (pettikkar) and all members proceeded by walking to the next location. After completing the nine days play at Guruvayur Temple, and the petti vechchu kali (concluding play of the season), the troupe returned to Kozhikkode. During alternate years, plays were performed at cherikkals belonging to Palakkad Kovilakam. The petti vechchu kali was performed at Guruvayur Kovilakam. It was performed facing the south considering that it is played for the composer of Krishnagiti (King Manaveda) to see. After returning to Kozhikkode, plays were performed at Kovilakam. It was customary to play at Tiruvalayanatt Kavu as well. Once in eight years, the troupe went to North Kerala up to Katattanatt. Eight plays were performed there. Considering one play per year, eight plays were performed in sequence every eight years. During those days, play was performed only in temples, kovilakams (royal houses), houses of Ambalavasis and cherikkals of Zamorins. The fee per play was Rupees 6/- for Kovilakam and Rs. 10/- for other places. A share equal to what was given for the first grade player was also given to the Zamorin. Among the teachers of those days, I remember my principal teachers, Valiya Achutan Nair and Perunpatt Gopalan Nair. The prominent dancers included Perunpatt Govindan Nair, Perunpatt Raman Nair, Ramankutty Menon, Revunni Karthavu, Unnirarichchan Netungati (my father) and Ramachchan Netungati (my uncle). Jarasandha played by Ramankutty Menon was a topic of discussion among the fans of Krishnanattam. There is a scene in Vividavadham in which Jarasandha sits on a seat and looks at Krishna, Bhima and Arjuna who are supposed to be in disguise. It can be said there is no other dancer who can play the role of Jarasandha in this scene so convincingly. There may be none in future as well. The Krishnanattam troupe then had Patiyil Raman Nair, Patiyil Gopalan Nair, Maddalam Chami Nair, Chinnappan Netungati, Shekhara Panikkar, Kavil Ambalavasi (Maddalam Players), Unninambi Erati, Sundaran Bhagavatar, Paramesvaran Bhagavatar (singers) and Kunhan Panikkar and Keshavan Nair (Chutti). There are other members as well. Only the names I could remember quickly are mentioned here.
I joined the Krishnanattam troupe in the month of Karkkitakam (July - August) of ME 1091 (AD 1916). I was with the troupe till the age of 28, for about 20 years (AD 1936). The needs were increasing and income was highly inadequate. Like many others, I had no way other than leave the troupe. But at the age of 36, all of a sudden, I had a nervous disease. Praying that if I am cured, I will play the role of Krishna as a votive offering, I offered worship to the Lord of Guruvayur for 12 days. On the 6th day of worship I had severe shivering and fever. Neglecting this, I bathed and went to the temple as usual. I became tired. After circumambulation, I came to the Eastern entrance of the temple and prayed to the Lord. I decided to cut short my worship and return home. I prayed that I will resume my worship after I am free from fever. Then I felt that someone was asking me not to break the worship. I returned to my room for taking rest. I slept off immediately. When I woke up, I found myself sweating all over. I did not feel any shivering or fever. I did not feel tired. I completed my worship of 12 days and returned home. Afterwards I started seeing the Lord’s Headgear whenever I closed my eyes. I had played for many years keeping the headgear on my head. Whatever it may be, I am worshipping a headgear of the Lord in my prayer room. I fulfilled my offering till the age of 60 (AD 1968). From the age of 56 years, I started to play the role of Mahavishnu in Svargarohanam also as an offering. I am not playing any role since last fourteen years or so (since AD 1970).
The role I like most is that of Krishna in Svayamvaram. I also like the roles of Yashoda and Kamsa in Avataram and the role of Kamsa in Kamsavadham. I have played all the roles except Yavana and Vivida. After I was convinced that I have the expertise to play the role of Krishna in Svayamvaram, I had the desire to marry. Bhagavatar Ikkanda Variyar also encouraged me. At last I married Kocha Kovilamma, the second daughter of Kochchoth Kalathil Kelu Netungati. Financially I was quite backward and my in-laws also were not better off. After my marriage, along with additional responsibilities, my financial difficulties also increased. Those days I had firm mental determination to face all difficulties. Believing that the Lord will not abandon me who played his role and the Lord will find a solution for all problems, I decided to get the performance of one play done each year at my home and to perform all plays in sequence and to play all eight plays in the eighth year. The lord has made all these possible till last year. During these years all eight plays were played four times. Today if I have something to be proud of, all that is given by the Lord as is blessings - This is my belief.
The occasions during which I was presented with gifts and clothes are not rare. When Tiruvambati Devasvam (Thrishshur) organized all the eight plays, they presented a medal to me for performing as Krishna in Svayamvaram in front of Lord Krishna of Tiruvambati. On that day, really, tears of joy fell from eyes! Long ago, once my role was that of Krishna in the play Kamsavadham at Mantretatt Mana. As soon as I left the stage after the scene of killing the elephant Kuvalayapidam, the seniormost member of the family presented a cloth to me. He touched my headdress and bowed. Then he blessed me. All these images are very clear in my mind as if these happened only yesterday.
I firmly believe that there shall not be any modernization in Krishnanattam. There can be some renovation if required. Krishnanattam is based on devotion. This should remain as it is. My opinion is that Krishnanattam which was born out of devotion and developed due to devotion should progress based on devotion. Then only the inner meaning of Krishnanattam can be realized. It is certain that Krishnanattam will remain as one of the best performance art of the world if it advances further without the craze for modernization. Let that be an eternal monument for Manaveda, the great holy soul of the composer of Krishnagiti, whose fourth birth centenary is being celebrated now.
Translated by A.Purushothaman on 11th February 2014.