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Folk Arts of Kerala
1.1.
Introduction
Kerala is the land of
arts. There were many castes and each
caste had its own art form. All these
arts reflect the life, faith, customs and profession of the respective people. Such art forms that reflect local
characteristics and living conditions are called folk arts. The cultural identity and signature of a
region can be seen in the folk arts popular in that land.
1.1.2. Classification of Arts
The arts are generally divided into
ritualistic and folk arts. Ritual arts
are divine in nature. They are
associated with temples and worship.
Once there was no opportunity for common people to enjoy temple
arts. Temple arts are accessible only to
those who are allowed to enter the temples.
During this period, the common people and the rural people began to
perform their profession, faith and prayers in their own huts, in the farm, at
the workplace or in front of the idols.
There was devotion and entertainment in it. It was an expression of a
people's vision of life.
1.1.2.1. Classification of Folk Arts
Our folk arts can be mainly
classified into two. For entertainment
and for worship. Mudiyate, Padayani,
Theiyam etc are part of deity worship.
But kummati, kambadi, vattakali and some art forms performed on
the occasion of Onam are related to entertainment. Recreational arts are designed to lighten the
rigors of labour. Such themes are found
in folk songs. But they also have hints
of worship and devotion.
1.1.3.
Brief Descriptions of folk arts
Theiyam
and Thira are the existing ritual art forms in Uttara Kerala. The living conditions, worship and culture of
the people of that region have been merged in these folk arts. Theiya also has a name of Kaliyattom;
thira is a category of it. The hero characters of Theya Kolams are
called Thira. Theiyakolam belongs to
groups like Vannan, Malayan, Velan and Mavilan.
It is the season of Theiyas in Uttara Kerala from thulam to idavam.
Padayani is an art form
present in South Kerala. Its theme is Darikasuravadham,
the slaying of Kali. This art form is
performed in Bhagavatikshetras. Kolams
of Bhadrakali, Bhairavan, Kaalan etc. are written on pala and danced on
their heads. Tappu Kotti sings padayani
songs.
Mudiyete is another folk-art form. It is also a ritual art form of central
Kerala. The aattaker are the Kurups
of Travancore and the Marans of Kochi. The story is about the battle between
Bhadrakali and Darikhan and Darikavadha.
It is done at night. This is a
kind of tandavam performed with Kali's heavy "mudi"
(crown) carved on plavinkathal. Kaali get into the mudiyettakaran
and he ran after the Darikasura for slaying his head, fills the audience with
devotion.
Kakarisshinatakam is an art
form popular in central Thiruvithamcoore.
Though there are mythological allusions in drama, it is an entertainment
art. It is entertaining with the Q&A
staged by Kakan, the Kakathis and Tampuran and the dialogue and song that make
Kakan seem interesting.
Arjuna dance is a ritual dance
performed by artists belonging to Aadivedan, Peruvannan and Velan castes of
Kannur district. Chenda and Kudamani are
the only instruments. It is a beautiful
folk art performed by wearing peacock feathers.
Oppana, Thiruvathira Kali,
Margamkali and Parichamutukali, which have a religious background,
belong to the category of folk arts. Oppana
is related with Muslim community and Maragamkali is related to the faith of the
Christian community. Similarly, the folk
art of Sanghakali belongs to the Namboothiri community.
Names like Andikali,
Kannyyarkali, Kurumarkali, Kothamooriyattam, Thalam Kali, Thitambunritham,
Thiyat, Nagachut, Naayadikali, Paavakali, Mala Makkali etc. should not be
forgotten. Mudiyattam, Poratkali, vedanthullal,
surppamthullal, chavittukali, bhoodhamkali, kalamezhuthu, kurathiyattam,
velakali etc. are all the pictures of our village life. In all these we can see the life breath of a
people connected with it. The
lifestyles, customs, history and culture of various peoples have been melted in
it.
1.1.4. Conclusion
It is not possible to summarize the folk arts of Kerala in a brief description. Statistics show that more than 250 folk art forms existed in Kerala. Some of these arts were also clan occupations of some sections. Pulluvanpat and Pananpat are examples. Many things have left us today. The main reason is that there was no situation to carry these arts for a lifetime or half. Government institutions like the Folklore Academy and other folk art societies and learning centres are keeping them intact today. Such art forms are the heritage and cultural heritage of a people. If they are not preserved, a culture is eroded.
1.2.
Preparation of Interview
For local folk artist interview, I met
Ms. Nandhana K.V, demonstrated proficiency in Ottamthullal, the student of
Sankaracharya Sanskrit University college, Kalady. For knowing more about Ottamthullal
I plan to contact her and make an interview. As a preparation, I made a
questionnaire. From her, I could know about Ottamthullal.
1.2.1.
Interview Schedule
1.
When did you start learning Ottamthullal?
2.
Where was this art practiced?
3.
What is the background that led you to choose this art form?
4.
In which century did Ottamthullal start?
Can you tell me its history?
5.
It is performed only during festivals.
Is it you presented in temples?
6. What stories are used for this?
7.
Can you describe what is special about Ottamthullal costumes?
8.
Are there any special type of ceremonies like kathakali in Ottamthullal?
9.
Do you feel that the importance of this art form is limited to the school youth
festival venues today?
10.
Did the financial costs seem to be an obstacle to introduce this folk-art form?
11.
Girls generally practice this art form less.
But many girls are seen in youth festival venues what is your opinion?
12. Can you introduce some rhythms and mudras?
1.2.2. Profile of the Local Folk Artist
Age: 21
Place: Payyannur
District: Kannur
Folk art: Ottamthullal
Debut: 12th age
Experience: 9 years
Achievements: Winner of Kerala govt. vajra jubilee fellowship for youth
Other art forms: Bharathanatyam, Thullal, Karnatic sangeetham
1.3. Field Interview Schedule
1.
When did you start learning Ottamthullal?
Ans.
I start my learning of Ottamthullal at the age of 9
2.
Where was this art practiced?
Ans.
My basic learning from Payyannur Krishnankutty Master. He taught me for 3 years
and I made my debut at the age of 12. Then, I studied in Kerala Kalamandalam from
class 8th to +2 with Ottamthullal as main subject. Currently doing
BA in Bharathanatyam in this University.
3.
What is the background that led you to choose this art form?
Ans.
My sister plays it when she was young. Seeing that, I also wanted to learn.
4.
In which century did Ottamthullal start?
Can you tell me its history?
Ans.
It is a dance-drama performing art form
created by Kunchan Nambiar, as an alternative
to the Chakyar koothu in 18th Century. The story goes that Nambiar, who was playing
the mizhavu for a Chakyar Koothu show,
dozed off in the middle of the performance, thus inviting ridicule from the
Chakyar. A humiliated Nambiar vowed to come up with an alternative art form to
Chakyar koothu, and conjured up an Ottamthullal show. Kunchan Nambiar used it as a medium to protest
against the prevalent socio-political structure and prejudices of the
society in his time. It went on to become the most popular folk art presented
in Kerala temples. Ottamthullal is one of the three varieties Thullal, the
other two thullals are Seethangan thullal and Parayan thullal, but Ottamthullal
dominates out of these.
5.
It is performed only during festivals.
Is it you presented in temple festivals?
Ans.
Yes. I presented it not only in temples but also in school and college
festivals.
6. What stories are used for this?
Ans.
Kiratham, santhanagopalam, ramanujacharitham etc.
7.
Can you describe what is special about Ottamthullal costumes?
Ans.
The cloths include red and white coloured knee
length skirt and tied around the waist. There is also a colourful headgear. The
face is painted with green colour, lips with red and eyes with black. The
accompanying instruments for Ottanthullal are Mridangam, kuzhithalam, Idakka
and sruthypetty.
8.
Are there any special type of ceremonies like kathakali in Ottamthullal?
Ans.
No, but there is Aranguthalam as an introduction.
9.
Do you feel that the importance of this art form is limited to the school youth
festival venues today?
Ans.
Can’t say that. I am going to play festivals. And it is some true to say that
children come forward to learn this because of getting this grace mark.
10.
Did the financial costs seem to be an obstacle to introduce this folk-art form?
Ans.
Financial hardship is a problem for those who take it as a means of livelihood.
11.
Girls generally practice this art form less.
But many girls are seen in youth festival venues what is your opinion?
Ans.
It is not true because girls are more in teaching centres. It may be because of
grace mark. But, the number of girls who take this alone as a means of
livelihood is very few.
12.
Can you introduce some rhythms and mudras?
Ans. Sure. (She showed some portion, it was amazing)
1.3.1. A brief on Ottamthullal
Ottamthullal is a dance-drama performing art
form of Kerala, created by Kunchan Nambiar, as an alternative
to the Chakyar koothu in 18th Century. The story goes that Nambiar, who was playing
the mizhavu for a Chakyar Koothu show,
dozed off in the middle of the performance, thus inviting ridicule from the
Chakyar. A humiliated Nambiar vowed to come up with an alternative art form to
Chakyar koothu, and conjured up an Ottamthullal show. Kunchan Nambiar used it as a medium to protest
against the prevalent socio-political structure and prejudices of the
society in his time. It went on to become the most popular folk art presented
in Kerala temples.
Ottamthullal is one of the three varieties Thullal,
the other two thullals are Seethangan thullal and Parayan thullal, but
Ottamthullal dominates out of these. These thullals are conducted during Temple
festivals from the temple premises. It involves music and the themes for the
play are obtained from myths. The themes
or stories of the ottamthullal are kiratham, santhanagopalam, ramanujacharitham
etc. The songs are very fast and written in Malayalam and involve humor and
wit. The performer is called as the thullalkaran. This dance form has been
influenced by ancient dances like Chakyarkoothu, koodiyattam, patayani and
kathakali.
The distinguishing factor of Ottanthullal is
the performer himself singing and playing the story, which is a tedious
task. Another person will recite the same verses. The accompanying instruments
for Ottanthullal are Mridangam, kuzhithalam, Idakka and sruthypetty. The makeup
is similar to that of Kathakali. The face is painted with green colour, lips
with red and eyes with black. The cloths include red and white coloured knee
length skirt and tied around the waist. There is also a colourful headgear. The
costumes for all the three types of thullals vary.
The art form still retains its satirical touch, and lends the artiste the freedom to improvise, more so on humour. Its incidental satire makes this art form more popular among the common man. Unlike in the case of Kathakali, the language is pretty Malayalam and the lyrics are set to rhythms that range from simple to rare and complicated. The art form has of late found practitioners from among women too.
1.4.
Report on Interview
As a part of B.Ed curriculum, I made
an interview with folk artist Nandhana K.V., demonstrated proficiency in
Ottamthullal, the student of Sankaracharya Sanskrit University college, Kalady.
For knowing more about Ottamthullal I planned to visit her and make an
interview. It was scheduled on 14th September, 2022 at 5pm at
Sanskrit University Kalady. For this, I had prepared a questionnaire.
I
reached there in time and we go to know each other and after that each question
in the questionnaire was asked and she answered. It took about an hour. She started telling from her, her passion and
dreams; then led to Ottamthullal. She also showed some postures and mudras, and
sung the song of ottamthullal
From that one-hour meeting time, I could tell that Nandana was a very talented artist. Along with Ottamthullal, she also demonstrates her talent in Bharatanatyam. Also practices Carnatic music. Indeed, it was a great fortune to meet this artist, which made me want to know and research more about this art. It was a good experience.
2.0. Report on local community art form
Art forms of Kerala reflect the customs and traditions that are indigenous to Kerala. the state has innumerable number of art forms which are represents rich repertoire of performing arts reflecting man's intense relationship with nature and his constant desire for communication with the unknown. Margomkali and thiruvathira are two famous community art forms of Kerala
2.1. Margamkali
Margamkali is an ancient Indian round dance of the Saint Thomas Christians community-based in Kerala state. The dance retells the life and missionary work of Saint Thomas the apostle, based on the 3rd Century apocryphal acts of Thomas.
The margamkali describes the arrival of Saint Thomas in Malabar, the miracle performed, the friendship as well as the hostility of the people among whom he worked, the persecution he suffered, the churches and crosses he put up in various places etc. The details are incorporated in the various stanzas of the margamkali songs. Kerala's margamkali is an important element in the age-old and hallowed tradition of St Thomas among the Syrian Christians of Malabar Coast.
Typically, a dozen dancers sing and dance clapping around bearing that traditional window the lamb represents Christ and the performance his disciples the performance is usually held in two parts and begins with songs and dances narrating the life of St Thomas. Margamkali does not use any instruments other than true small farm size symbols played by the same person who sings the song in the youth festival as a competitive item in the four tyre-system of school sub district revenue and state level Youth Festival now mainly by women in cultural shows and students in youth festivals.
2.2. Thiruvathira
Thiruvathirakali is a dance form performed by women on the day of
Thiruvathira to the accompaniment of Thiruvathira paattu, folk songs telling
tales of lovesick Parvati, her longing and penance for Lord Shiva's affection
and Shiva's might and power. The sinuous movements executed by the group of
dancers around a nilavilakku embody lasya or the amorous charm and grace of the
feminine. The dance follows a circular, pirouetting pattern accompanied by
clapping of the hands and singing.
Thiruvathira kali is a typical dance form of
Kerala. Today,
Thiruvathirakali has become a popular dance form for all seasons. It is a
competitive item in school Kalolsavam.
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