G Venu tells Utpal K Banerjee that his book Ramayana Samkshepa is about the history of Kutiyattam and will serve as a manual for followers of the dance-theatre form
When Kutiyattam dance form was recognised by the UNESCO among “masterpieces of oral and intangible heritage of humanity” in 2001, many in India — along with the international community — sat up and took notice of the tradition that provided the best surviving example of Sanskrit theatre in the world: as an outstanding example of human creativity. The UNESCO recognition ensured that this highly sophisticated artform — with its humour and pathos, its intricacies and multiple interpretations on words and meanings — could be shared by audience around the globe.
Within the Kutiyattam tradition of Kerala, the practice of writing texts was prevalent in the Middle Ages. These texts provide a valuable source of information on constructing the stage within temple complexes of Kerala, the acting techniques, musical instruments (mizhavu, erekka and cymbals) and even the social status of the actors within the community. Ramayana Samkshepa — An Attaprakaram (acting manual) for Depicting the Story of Ramayana through Mudras in Kutiyattam Theatre, written by G Venu, the founder of Natana Kairali — the enterprising teaching and research organisation of Kerala — follows in this tradition: as a manual for future generations of followers of Kutiyattam.
In a recent glittering ceremony at National Museum for releasing the book, it was bought out by Venu — a disciple of Ammannur Madhava Chakyar — how, in his book, he developed an innovative notational system — akin to laban’s notations for dance developed in his famous institute in the West — for the eyes, eyebrows, facial muscles, torso and hand gestures that form the unique and elaborate vocabulary of Kutiyattam. Funded liberally by National Culture Fund, under Ministry of Culture, the book would admirably serve this rare art form, that has been in danger of extinction, to survive beyond the disciplined practice of a few Chakyar families in Kerala, who have preserved so far its content, structure and performance style.
On the occasion , there was a resplendent Kutiyattam performance of Sita, by the author’s gifted daughter, Kapila Vanu, In this solo performance of Ekaharya Abhinaya (single dancer’s depiction of multiple chracters), Kapila brought out Sita’s post-lanka predicament of life, namely, her unjust exile into the forest (even though pregnant); her stay at sage Valmiki’s hermitage, her bringing up the sons luv and Kush, her meeting Rama and being asked again to undergo fire-ordeal and her ultimate surrender to Mother Earth, Kaplila impersonated Rama, Sita, lakshmana, Valmiki and the boys luv and Kush. As a departure, the dance-theatre was not based on Ramayana, but Kalidasa’s Raghuvamsha, and Kapila most admirably demonstrated her choreographic prowess, while reciting Kalidasa’s exquisite poetry from time to time.
Excerpts from an interview with G Venu:
What’s Ramayana SamkshepamIJ
It’s a performance piece that lasts for a few hours. It combines three plays: Ashcharya Churamani, Pratima and Abhishekham. The entire story of Ramayana is told in minimum words possible because this is basically Atta Prakaram (acting manual) for expressing the Ramayana story through mudras (gestures). The words of the text are arranged along with mudras in their exact sequence. Within the frame of the story, Atta Prakaram has tried to bring together most of the mudras — a total of 260 — used in Kutiyattam. All the acting techniques and methods are, in fact, evolved as storytelling.
How did you learn Ramayana SamkshepamIJ
It was from guru Ammanur Madhava Chakyar, the maestro who worked untiringly to safeguard the acting techniques of Kutiyattam in the 20th century. Today his disciples are following his path and, through them, Kutiyattam is being transferred to the new generation.
You learnt through the gurukul (teacher-disciple) system...
For learning Ramayana Samkshepam under guru everyday, I used to practise sitting at guru’s home around 7 in the evening — after taking a bath and applying ghee around my eyes. Madhava Chakyar would reach there after his customary oil-bath — taken in the pond — still in his wet clothes, after smearing bhasma (ashes from dried cow-dung) on his body. He would sit on the floor, because he had not finished saying his prayers and believed it was polluting to himself to take a proper seat. Afterwards, he would recite Ramayana Samkshepam, which he knew by heart. I would show him the mudras and, from time to time, he would stop reciting to give me the needed instructions. This time was allotted exclusively for me.
Who performed KutiyattamIJ
Traditionally the performers were known as Chakyar (the male actors), Nangiyar (the female actors) and Nambiar (percussionists and stage assistants) .This was essentially a work division. Temples and local rulers used to grant them permanent remunerations and provided other entitlements.
How did the writing of Ramayana Samkshepa occur to youIJ
When I was teaching the acting techniques of Kutiyattam at NSD, Delhi and at International Theatre Institute, Singapore, I often felt it would be nice to prepare this as a reference manual so that students are able to grasp the meaning of the mudras easily. This has later inspired me to prepare this book as bi-lingual: in English and Malayalam and it took me three years to complete.