5766 KB - Kerala

A Legacy
unique
4 KERALA CALLING
December 2007
M.A. Baby
There might be difference of opinion with
regard to the ways and tones of reformations that
enriched Koodiyattam. But it is a proven fact that
here is perhaps no Indian state the subsequently evolved art forms such as
other than Kerala where a host of highly Krishnanattam, Ramanattam and Kathakali drew
evolved art forms harmoniously co-exist tremendous inspiration from Koodiyattam. As
with innumerable folk and ritual source material, it has had definite impacts even on
forms. It is a sad truth that many a known and the contemporary theatre culture.
unknown art forms became totally extinct in the
Mohiniyattam, literally the dance of the
past, unable to withstand the test of time. Yet enchantress, is a profoundly fascinating tradition
Kerala could ensure the continued existence of of female dance in Kerala. Based on the lyrics of
some of the distinctive art traditions against all the Swathy Thirunal, Irayimman Thampi and the like,
odds.
the dancers recreate a world of love in all its distinct
manifestations. Similar to the aforementioned
stylised arts, Mohiniyattam too uses the language
of hand gestures, body
movements
and
facial
expressions to convey the myriad
moods of the heroine viz. pangs
of separation from the lover,
anticipation of his arrival,
pleasure of reunion and so on.
The undulating movements of
the Mohiniyattam dancer, the
mellifluous music and the simple
yet elegant costumes have been
interpreted as typical of
Malayalee identity.
From the Gurukula system
Koodiyattam, Kathakali, Krishnanattam and of training and performance
Mohiniyattam, besides different genres of under feudal patronage, Kerala’s
indigenous percussionaesthetically terse
ensembles, have for centuries
performing arts
The legacy of our
been considered the living
have travelled a
artistic heritage
tradition of performing arts in
long way over the
is no longer the
Kerala. Of these, Koodiyattam
centuries to the public sphere. Since
wealth of the
is said to be a two thousand
the institutionalisation of the classical
privileged class
year old tradition of Sanskrit
arts their esoteric nature has given way
alone. There has
theatre. To go with the
to democratisation. The legacy of our
historical records, this sole
recently been
artistic heritage is no longer the wealth
surviving Sanskrit theatre
considerable
of the privileged class alone. There
tradition in India must have
has recently been considerable
cultural
originated at least by 11th
cultural awakening in Kerala cutting
awakening in
century. King Kulasekhara
across religion, non-governmental
Kerala
cutting
who wrote two Sanskrit plays,
organisations, media and the cultural
across religion,
Subhadra-dhananjayam and
think tanks.
nonTapati-samvaranam is believed
The progressive movements too
governmental
to be the one who made
are engaged in the promotion of the
substantial reforms in the stage
organisations,
traditional arts, realising the intrinsic
presentation of Koodiyattam.
media and the
values they uphold. While revivalism
Vidushaka who mediates
has started raising its ugly head in
cultural think
between the audience and the
the different parts of the country, the
tanks.
protagonists in the plays by
indigenous arts and culture need to
using the local dialect was the
exercise clear prudence. Kerala, I can
invention of Kulasekhara probably to widen the confidently claim, has set an excellent example.„
viewership of Sanskrit plays.
Minister for Education & Culture
T
December 2007
KERALA CALLING
5
The classical theatre of
Kerala has evinced its
traditional vibrance in
the art of Koodiyattam
which has to be
understood in
the Indian context of
classicism. This is more
defined and structured
and it can even embrace
the romantic thought
within its fold.
Evolution
Empirical
Kavalam Narayana Panikkar
S
tudents of literature think of
classicism in comparison with
romanticism especially as these
terms suggest in the Western
context. They usually arrive at the
conclusion that classicism stands for
regimentation as it lays down its basic
regulations and demands to stick to
them. When it is compared to romantic
ideal, it is characterised by reason or
common sense. There is a restraint in style.
One has to design the proportion, order
and balance. In the case of romantic style,
the literary genre will claim that there is
imagination in the formation of ideas for
which there is no restraint imposed. It is
simple, but at the same time grant,
passionate, picturesque and subjective.
6 KERALA CALLING
December 2007
Classicism is said to subordinate ideas to
form. On the other hand, romanticism
subordinates form to ideas. The above
mentioned parameters strictly refer to
poetry while the difference which they
maintain in the case of visual poetry
(Drishya Kavya) has to be understood in
the context of Indian aesthetics.
Natyasastra plays a significant role in
moulding the Indian mind covering a
large gamut of artistic endeavour. Its basic
difference from its Western counterpart,
the Poetics of Aristotle, is that it never
envisages the distinction between
tragedy and comedy. The world view it
presents is one of supreme optimism.
Although Indian legends and epics have
many a tragic character, there is a perfect
mixture of the tragic and the comic
elements. As life itself is a representation
of the blending of these two aspects, there
cannot be an absolute tragedy or absolute
comedy.
The Indian theory of Rasa as it is laid
down in Natyasastra and subsequent
commentaries and also as it is envisaged
in the written drisya kavyas of Bhasa,
Kalidasa, Bhavabhuti and a host of other
poets, presumes that the meaning
conveyed to the spectator is the
Sthayibhava; i.e. the pervading emotion.
This is what the poet intends to transmit.
The purpose of the poet or director of a
Drisya Kavya is completed when it
reaches the minds of the audience.
Bharata in Natyasastra speaks about
Daivika Sidhi inherent in him. Theatre
becomes classical only when the
spectators could rise to this aesthetic level.
The classical theatre of Kerala has
evinced its traditional vibrance in the art
of Koodiyattam which has to be
understood in the Indian context of
classicism. This is more defined and
structured and it can even embrace the
romantic thought within its fold.
Natyasastra being a pan- Indian text,
based on the empirical experience of an
age long culture, provides the beacon
light for classicism. India is known for its
tremendous variety of performance
forms, region wise as well as ethniccentred. Such regional and ethnic
refinement which annotates the key note
of classicism is very important. This
thought comes to the fore when you look
at the Kerala scenario.
Koodiyattam happens to be the high
watermark of classical tradition and
growth supplemented by a variety of
performance forms having a pervading
'Sidhi' which happens in the Prekshaka's
mind as fulfillment. This is of two types,
'Manushi' and 'Daiviki'. 'Manushi' only
means ordinary reaction in the Prekshaka,
whereas 'Daiviki' is a very calm and
collected, thoughtful and discerning
reaction of a very high order. This
happens in the case of such rasika who
would imbibe the Sthayibhava and relish
the same as rasa in his mind. This is
possible only when the spectator has the
presence justifying the tenets of classicism
and their functioning. It is often felt that
classical art is contradictory to the folk
art. It is only an acceptance of truism to
say that the dichotomy which is created
between 'classical' and 'folk' is literary
and academic. This affirms the qualitative
evolution of the techniques of the art of
representation, a progression in the
degree of the art of communication
December 2007
Contd. on page 45
KERALA CALLING
7
Contd. from page 7
Contd. from page 13
Evolution Empirical
Kathakali
PHOTO : VENICEXPRESS
through 'abhinaya'. Thus in a folk form
like'Patayani', a horse is presented by the
actor, tying at his waist a long coconut
leaf, making the edge of it in front of
him which resembles the face of a horse.
While the real horse is used in the worldly
way for riding which is 'loukik', the
patayani horse is the representation of a
horse by the use of a property which
makes the 'lokdharmi' way of acting.
Now we enact the 'horseness' of the horse
(state of being a horse), without any
property; but only through movements
suggesting the riding of the horse. What
happens is the willing suspension of a
disbelief. That there is no horse or no
property to represent a horse is a disbelief.
This is being suspended willingly, or
rather it is agreed upon to believe that
there is a horse. The principle involved
herein is 'Natyadharmi'.
We find a variety of theatre practices
in our traditional forms like the ritualistic
presentation of Theyyam with its
rudimentary theatre elements,
Mudiyettu a full fledged dramatic form
and the like. We come across a number
of interesting theatre practices having the
characteristics of Natyadharmi ways of
acting and establishing their
verisimilitude to the classical mould. At
the same time we find that in a highly
classical form like Koodiyattam, there
occurs at times very refreshing journey
towards folk origins which would never
lay the form devoid of its classical fervor.
The traditional arts of Kathakali and
Krishnattam also can legitimately claim
in their own way, their classical identity.
Among the stylised characters
ofKathakali adorned with their colourful
and spectacular Natyadharmi outfits,
when we happen to come across an
ordinary character straight form life, like
the 'mahout' in the play Kamsavadham,
we take this change with an interesting
jerk and try to balance it with the 'larger
than life' portrayal. But we have to accept
the fact that the 'mahout' here behaves
in a way, which is away from his original
model in life. In short he is not the exactly
'loukik' one, but a recreated one, a
reborn version of the realistic 'mahout'.
Ordinary 'mahout' in life never makes a
dance unless he is in a joyful mood under
the influence of liquor; but the
'lokdharmi' mahout engages himself in
dance in a systematic way accompanied
to the rhythm in chenda, madhalam,
etc. The classic quality of the form never
gets disrupted or even diluted. Such
instances are found in Krishnattam also
to some extent as in the appearance of a
character like 'Yavana' in his robe-like
attire having a foreign look in the play
'Muchukunda Moksham'.
There are many interesting
sequences in the lesser known tribal-folk
forms like Chimmanam Kali,
Kothamuri, etc in which we see vivacious
dramatic thrusts, similar to those in highly
classical forms. This proves the fact that
the folk and tribal artistic milieu had been
the essential fore runner of the
subsequent arts of refinement which
ultimately culminates into the classical
format and we have to be cautious when
we strike out a distinction between folk
and classical arts.„
setting the pace, activating the dance
movements etc. This is activated by using
Ilathalam, a pair of brass cymbals, which
keeps the rhythm in combination, by the
second singer. Idakka drum is also used
for female roles occasionally. The conch
is used as the opening note (herald) as
also on other momentous occasions.
Five talas (rhythm patterns) are
generally employed in Kathakali. They
are champa, chempata, atantha, panchari
and thriputa. Other rarely employed
thalas are muriyatantha and eka. These
patterns are set to vilambitha (slow gait),
madhya (medium), drutha (fast) and
athidrutha (very fast). These variations
corresponds to the characters, situations,
moods etc.
The plays generally staged on the
Kathakali stage belongs to two types. The
first is the highly structured having kalari
(academic) precision. Eg. plays of
Kottayathu Thampuran or Irayimman
Thampi etc. The second type have
acquired a reasonable precise but elegant
performance format by constant
enactments on stage. The best example
is Nalacharitham play written by Unnayi
Varrier, which ranks as an all-time great
among Kathakali plays.
‘Based on the literary text of Kathakali
and dependent on the auditory art of
Kathakali music and expression, it is recreated into a visual art through the
imagination, skill and the genius of the
actor and aesthetically transmuted into
Rasa, rapture in the mind of the
sahrdayan, or connoisseur.
The writer is Editor, Dept of Malayalam
Lexicon, University of Kerala
Kerala Calling desires to include
appreciation on Malayalam films in
the ensuing issues.
Critics and writers working in the
area can contribute articles, limiting
to 300 words, with relevant
photographs, if any, to the Editor,
Kerala Calling, First Floor,
Information and Public Relations
Department, Secretariat Annexe,
Thiruvananthapuram - 1.
December 2007
KERALA CALLING
45
Maryse Noiseux from
Canada loves Kathakali and
the rich tradition of Kerala.
She got opportunity to learn
different classical art forms and
perform them in Kerala and abroad.
Now she is teaching Kathakali at the
centres in Thiruvananthapuram and
in Florence, Italy
Italy.. Sunil Hassan had
a conversation with Maryse Noiseux
for Kerala Calling.
Fascination
From afar
K
athakali is one of the most
interesting and intricate art
forms for performing artist
especially for an actor. Since
my passion was theatre I found it vital
because it is not a psychological drama
like in Europe. The actor gets wider
dimension to express not only with
words but also with movement of all his
body. While I was coming to India for
my Anthropological research on tribes of
Afghanistan and Rajastan, I met the
famous Argentinean writer and theatre
director Mr. Gregorio Manzur who lived
in Paris. After understanding my search
on artistic and spiritual longing he told
me about Kathakali and advised to come
to Kerala and study Kathakali under the
guidance of master Kudamaloor
Karunakaran Nair, according to him he
was one of the greatest artiste and a
beautiful spiritual being.
8 KERALA CALLING
December 2007
Meeting the Guru
I came to Kerala and met
Kudamaloor. I got an opportunity to be
trained by him for a long sixteen years.
For a few years I lived in the Thekkedath
Mana, the house of EMS
Nampoothirippad’s wife at Kudamaloor
where my Guru grew up. It was an
extraordinary experience for me to live
like a Brahmin woman of the olden time.
No doubt that I had a strong Karmic
connection not only with Kathakali but
also with Nampoothiris. In the 150 years
of history of the house no one from other
caste had ever entered into the premises
of the Mana.
Training
My training was very intense, six to
eight hours of practice a day. I lived there
studying Kathakali practically, learning
Malayalam and Sanskrit since I had no
choice because my Guru didn’t speak
English. When I came to him he told me
that he knew only two words in English;
‘good and very good’.
In those years I lived completely in
the world of mythological stories, playing
characters of the great Hindu epics. That
changed my whole being and gave me a
new vision. Then an inner
transformation occurred in me and I
became a part of Kerala.
I came here in 1980 with the aim of
studying Kathakali in the traditional way,
which meant staying here for six years to
complete the full course. It seemed to me
an ambitious and difficult project since
it needed a very long time out of my
country and culture. Now I have ended
up spending 27 years that went by in a
moment. Through Kathakali I learned
not only dance but also the spirit of
Kerala and it makes me feel myself one
among the Malayalis.
The fortunate
I have always been interested in
tradition. That is why I chose
anthropology. I was most blessed to
encounter Kathakali in 1980’s because I
could see the performance of the few
remaining great masters of the olden
school, which is no more. It was the end
of an epoch. At that time only the great
actors and musicians would perform
together the whole stories, which we can’t
see any more. Just like the saying in the
famous song.
Uthara Swayamvaram kathakali
kaanuvaan Uthrada rathriyil
poyirunnu………… Kudamaloor
Sairandhriyai; Mankulam
Brihandalayai; Harippattu
Ramakrishnan Valalanayi. Duryodhana
veshamittu Guru Chengannooru vannu;
Varanasi than chenda unarnnuyarnnu.
It was so divine and inspiring to see
those transcendent performances in
which they really lived their characters
and we could feel their devotion to God.
As a disciple of Kudamaloor who was
the mother in Kathakali I imbibed these
qualities to me.
A Centre formed
I lived in Kudamaloor upto 1989
and shifted to Thiruvananthapuram
with the aim of opening a gurukulam.
The Satsangam gurukalam became a
reality in a short span of time. My master
lived with us here and taught to the
children of the village including girls.
Then we opened up the
Centre to the foreign
artists to study and live
here along with
Kudamaloor Asan.
Along the years we
have created different
exchange projects that
gave opportunities to
artists from Kerala to
perform in Europe and
foreign artists to present
their work in Kerala.
Appreciation of the
West
Kathakali is very well
appreciated in the west
even though they don’t
understand the stories
and the Mudras. I was
always surprised by the
extraordinary attention
and interest they
manifested. Once in
south
Italy
we
performed Rugmini
Swayamvara in a remote
village where an
My training was
very intense, six to
eight hours of
practice a day
day..
I lived there studying
K athakali practically
practically,,
learning Malayalam
and Sanskrit since
I had no choice
because my Guru
didn
’t speak English.
didn’t
New venture
My new project is to open a Sunday
Art School for children to learn different
classical art forms of Kerala and integrate
them into a creation and perform it. It
will become a small Troup where the
children could manifest their talent and
creativity.
unexpected huge crowd came to see the
programme. After the show one young
rocker ran into the green room to see the
master and asked him how he could get
peace in his mind. That incident made
me realise how much the public could
understand and appreciate the spiritual
level of the artist.
In the course of the years we started
to teach Kathakali, music,
Bharatanatyam, Mohiniyattam,
Kalarippayattu and Yoga and organised
classes and workshops on Ayurveda.
A wish
I feel a little bit sorry that the younger
generation in Kerala do not get
opportunity in their school to know their
culture and tradition. I think it would
be wonderful if they could get a few
hours in a week to learn Kathakali, at
least the mudras and stories.
Unfortunately only in certain schools
they get opportunity to learn a little
Bharathanatyam and some folk dances
but never get any class on Kathakali,
Koodiyattam or Ottanthullal, which are
the great heritage of Kerala.„
December 2007
KERALA CALLING
9
Prof V.S. Sharma
K
unchan Nambiar (1705 –
1770) hailed from Killikurissi
Mangalam in Palakkad
district and brought up in
the erstwhile Travancore State was the
most popular poet of Malayalam
literature. Poetic genius, scholarship and
artistic brilliance blended in the creative
personality of Nambiar. Kunchan
founded the semi-classical dance form
Thullal in the mid-eighteenth centuary.
There is a popular legend that Kunchan
formulated this dance form to make a
vengeance against Chakyar who
ridiculed Kunchan for playing Mizhav
in the Koothu performance in a wrong
way. The incident was at Ambalappuzha
when Chempakasseri Devanarayana Raja
ruled and patronised poets and artists to
a large extent. Kunchan left the stage of
Koothu and in the same night he
Saugandhika by one night it is a Sitankan
Thullal and not Ottan Thullal. Without
any clean evidence it cannot be said
whether he framed Thullal poetry and
dance within a short period or not and if
at all it is correct which Thullal he
composed first.
Kunchan composed more than 45
Thullal poems and more than ten nonThullal works of great importance in the
history of Malayalam poetic literature.
There are Ottan, Sithankan and Parayan
thullal forms framed by Kunchan
Nambiar. The Dravidian word ‘thullal’
means up and down movements. There
were other thullal forms like Padayani
Thullal, Bharatam Thullal, Komaram
Thullal etc. Kunchan used the technique
of Chakyarkoothu and certain folk
performances existed in the Middle
Travancore area. Out of the three thullal
forms, Ottan is the most sophisticated
and refined one compared to Paraya and
Thullal
Satire and S
composed a poem
and performed it
in the Thullal
Dance form the
very next day in the
temple premises. It
attracted
the
audience and the
Chakyar lost his
regular audience. The
Chakyar complained
the misdoing of
Kunchan and the
King ordered not to
perform Thullal in the temples
thereafter. This story is only a
legend and belief. But if Kunchan
Nambiar
composed
Kalyana
PHOTO : VENICEXPRESS
10 KERALA CALLING
December 2007
Sitankan. ‘Krishnarjuna Yudham’
Pampan Thullal is supposed to be a
Thullal work of pre-Kunchan Nambiar
period. But there is no evidence for its
performance.
Angika, Vachika, Aharya and
Sathvika Abhinayas are beautifully
combined in Thullal dance. Except the
Vachika, all the other three aspects are
minimised very much so that the
ordinary people can enjoy the
performance well. More importance is
given to Vachika abhinaya. It is based on
some puranic story taken from Ramayana,
Bharata, Bhagavata etc. and it is rendered
in thullal metres like Tarangini, Vaktran,
Mallika etc. and sung with different ragas
or tunes.
l
d Sarcasm
The dancer has to sing, remembering
the whole story poem in definite tunes
and rhythms. The orchestra men, the
Maddala (Mridanga) player and the
person who plays cymbals have to repeat
and continue every couplet of the poem.
The performance usually prolong for one
to two hours.
All the story poems used for Thullal
dance whether it is of Ottan, Sithankan
or Parayan are full of humour, satire and
sarcasm.
The poet does not leave anybody
from his humorous criticism – Gods,
brahmins, kings – all are victims of the
artist. Sense of humour also is necessary
for the artist.
Reginald Massery and Rina Singha
remarked, “This dance lies somewhere
“Narayanaya Jaya; Narayanaya Jaya;
between a folkdance and a classical
Narayanaya Jaya; Narayanaya Jaya;”
dance. Its roots are certainly the same
Among the thullal songs, Ottan –
as those of Kathakali and broadly Ghoshayatra, Kiratham, Nalacharitham,
speaking, it follows the same principles. Santhanagopalam, Syamanthakam etc,
At the same time it is very closely Sitankan – Kalyana Saugandhikam,
connected with the people. It has played Sundopa Sundopakhyanam, Ganapathi
a large part in those relations and Prathal, Poundraka Vadham etc., Parayan
entertainments, for it directly sets out to – Pulinthudi Moksham, Thripura
be non-academic.”
Dahanam, Sabha Pravesam etc. are very
All dance forms have popular on the stage.
Angika, Aharya, Vachika and
Out of the 45 and odd Thullal poems
Sathvika Abhinayas. In of Kunchan, more than 20 are regularly
Thullal all these aspects performed and the Kalyana
are very simple and Saugandhikam Sithankan Thullal is very
inexpensive. The talent popular on the youth festival stages also.
and sense of
In the post Kunchan period, more
humour of than 100 Thullal poems have been
the artist composed by various poets but none of
are the these has gained popularity that of
m a j o r Kunchan’s poetry.
aspects,
A few academic studies on Thullal
which
have been made by scholars and among
m a k e
them that of Sahithya Panchananan P.K.
thullal closest
Narayana Pillai is worth mentioned here.
to the public. In
The present writer’s two research treatises
K e r a l a ,
and references made in history of
Hastalakshana Deepika is
Malayalam literature also deserve
the basis of the hastabhinaya and in
particular attention. In Germany, by the
thullal where minimum mudras are
Harianu Harshita studied Thullal. In
employed also is based on Hastalakshana
recent years there are many Thullal artists
Deepika. The Rasabhinaya is according
have taken interest in performance and
to the canons of the Natyasastra. Aharya
institutions like Kerala Kala
of Thullal is a mixture of
Mandalam and Kunchan
classical and folk style of
memorials provide coaching
Kerala dance and is very
There are
in Thullal dance. A German,
simple also.
Ottan,
Harianu Harshita, studied
The Vachika is the
Sithankan and Thullal, translated Kalyana
major aspect and Kunchan
Saugandhikam Sithankan
P arayan
created Thullal Poetry with
Thullal into German
thullal
unique distinction and
language and performed in
forms framed
perfection, leaving the
Germany.
by Kunchan
performances to observe
Thullal is the most
the principles in the best
Nambiar
Nambiar.. The
popular semi-classical art
way possible by every
Dravidian
form of Kerala and the artist
artist.
word ‘thullal’
who performs Thullal has to
Previously, only man
gain very disciplined
means
alone used to perform
training in the art and he or
up and down
Thullal. Recently, girls also
she must be proficient to
movements.
practise the Thullal dance.
sing the poem, make
Thullal demands musical
ethereal moments on the
ability, literary competence
stage and present the story
and artistic merit.
in a humorous style as the great poet
Ganapathy, Patvattan, Munnarangu, designed and performed it. Kunchan was
Kalasam etc. are the formalities a unique personality in Malayalam poetry
performed by the artist before entering as well as in the art history of Kerala.„
the play of the story. Gods are invoked at
The writer is former Head, Dept of
Malayalam and Dean, University of Kerala.
the beginning and at the closure:
December 2007
KERALA CALLING
11
Kathakali
receives world’s
acclaim
Dr P. Venugopalan
PHOTOS : VENICEXPRESS
A
mong the various performing
arts of India, and perhaps, even
in the world, Kathakali is
unique so far as it is the farthest
from earthily reality and humanism.
There is no attempt at representing the
mundane world in any manner whether by imitation or otherwise. Only
epical, non-human beings are chosen for
the re-creation of a story for presentation
on the stage. At the same time Kathakali
portrays human emotions of high
intensity with the help of facial
expression, hand gestures and body
kinetics. The great epics of our land like
Ramayana, Mahabharatha and Puranas
like Bhagavatha are the fountain sources
of Attakkathas, the verbal texts of
Kathakali. This art is believed to be
originated about 400 years ago, when, a
ruler of a principality of the erstwhile
Travancore State named Kottarakkara is
credited to have given shape to it. This
great scholar choreographed eight plays,
drawn from the epic Ramayana for stage
presentation in the name of Ramanattam,
Kathakali is believed to be originated about
400 years ago, when, a ruler of a principality
of the erstwhile TTravancore
ravancore State named
Kottarakkara is credited to have given shape
to it. This great scholar choreographed eight
plays, drawn from the epic Ramayana for
stage presentation in the name of
Ramanattam, the precursor of the present
fully developed Kathakali.
12 KERALA CALLING
December 2007
the precursor of the present fully
developed Kathakali.
Even before the days of Ramanattam,
Kerala had a fully developed and ancient
theatre genre viz. the Koodiyattam
Sanskrit theatre. There is no other highly
stylised, structured and sophisticated
theatre art like Koodiyattam, anywhere
else in India, which employs the tenets
of the Natyasastra, and the exalted
principles of Natyadharmi. The four fold
modes of stage enactment viz. Angika
(gestural or body kinetics), Vachika (oral),
Aharya (Sartorial : makeup and costume),
Satvika (pertaining to the mind) which
the Koodiyattam Sanskrit theatre
abounds on, are also seen to be fully
adopted and built into Ramanattam also.
At the same time one more dimension,
not found in Koodiyattam viz. Geetham
or music in the Sapthasvara (seven notes)
gamut, finds expression in Ramanattam.
The Vachika (oral rendition by the actor)
in Koodiyattam confined to a narrow
range of notes, whereas in Kathakali,
finds fully developed expression in the
form of lyrics or libretto rendered in
sophisticated musical modes (Ragas) by
two singers behind the actor on the stage.
This background lyric presentation
(instead of the oral rendition by the actor)
must have been adapted in Ramanattam
from Krishnanattam, another genre of
Kerala’s dance-drama theatre. This reform
ensured the three dimensional appeal of
Kathakali otherwise known as
Thouryathrikam viz. Geetham (music),
Nritham (Dance) and Vadyam
(percussion ensemble). Relieved of the
burden of speaking /intonating on the
stage, the Kathakali actor could traverse
greater heights in emoting Angika
(gestural) and Satvika (mental) modes.
The gestures of Kathakali, whether of
the hand, face or of the body are
spontaneously linked with rhythm; even
the sub-organs of the face move in subtle
micro-rhythms, giving a symbolic,
indicative visible manifestation of ideas
and objects. This expression through
body kinetics developed a unique body
language, which is a great achievement
of the art of Kathakali.
The aharya (facial make-up and
costumes) of Kathakali is unique that it
has been conceived and designed to
subserve the characters that are portrayed
- which are non-worldly and nonhuman. Such a wonderful, beautiful,
colourful concept has helped to rivet
world attention to this art. These stages
have been reached through centuries of
evolution - thanks to the contributions
of successive generations of playwrights,
performers and maestros (natyacharyas).
The plays of Kottayathu
Thampuran, based on another great epic
Mahabharatha which followed
Ramanattam are the supreme examples
of natyadharmi, particularly through the
four fold acting modes which may be
held to have found their ultimate
consummation, culminating in stage
aesthetics of a very high order. Others
that followed like Unnayi Varrier,
Irayimman Thampi have also enriched
the repertory.
The music in Kathakali started on
the basic sopanam, a purely Kerala style,
which employs all the seven notes, but
does not indulge in excessive fineries
(gamakas) employed in classical Carnatic
music. The Ragas (modes) are however
the same seven note based musical
system. The libretto which itself is by
great poets/composers/choreographers is
rendered in such musical modes as are
appropriate to the bhava or mood. Two
singers - the lead singer called ponnani
and the second singer called sankidi render the libretto to well set rhythm
patterns called talas. The effect of this is
heightened by the play of the percussion
drums like Chenda, Maddalam etc. The
librettos are listed under three types of
verses - sloka, pada and dandaka. The
slokas introduces the tenor and context
rendered behind the curtain. The stage
acting is to the accompaniment of padas,
whereas the slokas, in effect, announce
the purport of the story. The pada form
is employed for interaction (dialogue)
between characters. This kind of acting
to the lines is called ‘cholliyattam’ or
‘acting to sung lines’ as opposed to
‘ilakiyattam’ or ‘acting extempore by
lingering on and developing an
important event or situation without the
aid of the sung lines. There are also dance
movements of great beauty named
kalasam, chuzhippu, iratti etc. which
embellish the stage actions.
The percussion ensemble of
Kathakali is unique and vastly enhances
the effect of the acting on the stage. The
main instruments are Chenda (a vertical
drum) and Maddalam (a horizontal
drum). The latter alone is played when
female characters are enacting. ‘Chengala’
wielded by the head singer corresponds
to the baton of a conductor in western
symphony. This thick brass plate struck
with a stick, regulates the entire stage
acting in terms of
Contd. on page 45
December 2007
KERALA CALLING
13
Contd. from page 7
Contd. from page 13
Evolution Empirical
Kathakali
PHOTO : VENICEXPRESS
through 'abhinaya'. Thus in a folk form
like'Patayani', a horse is presented by the
actor, tying at his waist a long coconut
leaf, making the edge of it in front of
him which resembles the face of a horse.
While the real horse is used in the worldly
way for riding which is 'loukik', the
patayani horse is the representation of a
horse by the use of a property which
makes the 'lokdharmi' way of acting.
Now we enact the 'horseness' of the horse
(state of being a horse), without any
property; but only through movements
suggesting the riding of the horse. What
happens is the willing suspension of a
disbelief. That there is no horse or no
property to represent a horse is a disbelief.
This is being suspended willingly, or
rather it is agreed upon to believe that
there is a horse. The principle involved
herein is 'Natyadharmi'.
We find a variety of theatre practices
in our traditional forms like the ritualistic
presentation of Theyyam with its
rudimentary theatre elements,
Mudiyettu a full fledged dramatic form
and the like. We come across a number
of interesting theatre practices having the
characteristics of Natyadharmi ways of
acting and establishing their
verisimilitude to the classical mould. At
the same time we find that in a highly
classical form like Koodiyattam, there
occurs at times very refreshing journey
towards folk origins which would never
lay the form devoid of its classical fervor.
The traditional arts of Kathakali and
Krishnattam also can legitimately claim
in their own way, their classical identity.
Among the stylised characters
ofKathakali adorned with their colourful
and spectacular Natyadharmi outfits,
when we happen to come across an
ordinary character straight form life, like
the 'mahout' in the play Kamsavadham,
we take this change with an interesting
jerk and try to balance it with the 'larger
than life' portrayal. But we have to accept
the fact that the 'mahout' here behaves
in a way, which is away from his original
model in life. In short he is not the exactly
'loukik' one, but a recreated one, a
reborn version of the realistic 'mahout'.
Ordinary 'mahout' in life never makes a
dance unless he is in a joyful mood under
the influence of liquor; but the
'lokdharmi' mahout engages himself in
dance in a systematic way accompanied
to the rhythm in chenda, madhalam,
etc. The classic quality of the form never
gets disrupted or even diluted. Such
instances are found in Krishnattam also
to some extent as in the appearance of a
character like 'Yavana' in his robe-like
attire having a foreign look in the play
'Muchukunda Moksham'.
There are many interesting
sequences in the lesser known tribal-folk
forms like Chimmanam Kali,
Kothamuri, etc in which we see vivacious
dramatic thrusts, similar to those in highly
classical forms. This proves the fact that
the folk and tribal artistic milieu had been
the essential fore runner of the
subsequent arts of refinement which
ultimately culminates into the classical
format and we have to be cautious when
we strike out a distinction between folk
and classical arts.„
setting the pace, activating the dance
movements etc. This is activated by using
Ilathalam, a pair of brass cymbals, which
keeps the rhythm in combination, by the
second singer. Idakka drum is also used
for female roles occasionally. The conch
is used as the opening note (herald) as
also on other momentous occasions.
Five talas (rhythm patterns) are
generally employed in Kathakali. They
are champa, chempata, atantha, panchari
and thriputa. Other rarely employed
thalas are muriyatantha and eka. These
patterns are set to vilambitha (slow gait),
madhya (medium), drutha (fast) and
athidrutha (very fast). These variations
corresponds to the characters, situations,
moods etc.
The plays generally staged on the
Kathakali stage belongs to two types. The
first is the highly structured having kalari
(academic) precision. Eg. plays of
Kottayathu Thampuran or Irayimman
Thampi etc. The second type have
acquired a reasonable precise but elegant
performance format by constant
enactments on stage. The best example
is Nalacharitham play written by Unnayi
Varrier, which ranks as an all-time great
among Kathakali plays.
‘Based on the literary text of Kathakali
and dependent on the auditory art of
Kathakali music and expression, it is recreated into a visual art through the
imagination, skill and the genius of the
actor and aesthetically transmuted into
Rasa, rapture in the mind of the
sahrdayan, or connoisseur.
The writer is Editor, Dept of Malayalam
Lexicon, University of Kerala
Kerala Calling desires to include
appreciation on Malayalam films in
the ensuing issues.
Critics and writers working in the
area can contribute articles, limiting
to 300 words, with relevant
photographs, if any, to the Editor,
Kerala Calling, First Floor,
Information and Public Relations
Department, Secretariat Annexe,
Thiruvananthapuram - 1.
December 2007
KERALA CALLING
45
Ciladels of
Culture
I
n our country’s changing image
these days, culture has a prime role.
Our identity and perception by the
world depends on our cultural
halo. Fortunately, India is one of the
BRIC countries (Brazil, Russia, India and
China), a top group at the world level in
terms of culture, though we lag behind
in other areas.
Within India, Kerala occupies a preeminent status; this is not chauvinism
on the part of a Keralite, but an objective
appraisal. “God’s own Country” is not a
mere patriotic refrain by Keralites.
The traditional arts in Kerala have a
longer cultural history than that of other
parts of India. One reason is that the
South was insulated from violent military
incursions and political upheavals that
have taken place in the North
throughout history. This made way to
ensure a safe haven for traditional arts to
flourish and evolve in the South. As a
result, the average Keralite remains
relatively more tradition-bound than
other Indians.
This preservation of tradition is best
exemplified by the status that Kerala art
forms enjoy the world over. Kerala is
identified as the Land of Kathakali in
tourism brochures. More emphatic is the
case of the Koodiyattam, a Sanskrit theatre
with a hoary tradition of two millennia.
Thanks to the Keralite’s passionate
endearment to tradition, this esoteric art
form has been preserved assiduously
through thousands of years by a handful
of traditional Chakiar (actor) families. But
for this, it would have been impossible
to resurrect this tradition and present it
to the world. UNESCO has even
proclaimed Koodiyattam as one of the
‘Masterpieces of the Oral and Intangible
Heritage of Humanity (2001). It would
only be natural to enquire to whom we
14 KERALA CALLING
are indebted for the preservation of
traditional arts.
First, we have the written treatises on
dance, dramaturgy, Vastu (traditional
architecture) etc. with a Kerala bias – and
in several cases, a further refinement of
the PAN Indian norms. Next come the
practitioners of the tradition.
Kathakali was preserved in ancient
days by individual practitioners against
heavy odds. Then came the Kaliyogams
(small performing groups), which were
sustained by the patronage of feudal
landlords, and then came a more lasting
solution in the form of institutional
support.
in arts and letters thanks to the patronage
of the Maharajas of Travancore, somehow
tell behind the times in the visual theatre
arts. Even in late sixties, this gateway to
tourists from all over the world did not
have a centre for Kathakali, and Margi
was formed to fill this deficiency. The
role of Margi in starting a Koodiyattam
centre in 1981, at a time when this
tradition was little known even in Kerala,
needs special mention. It was Margi that
played the lead role in securing
UNESCO’s citation for Koodiyattam in
2001.
The Unnayi Wariar Smaraka
Kalanilayam at Irijalakkuda, the Gandhi
The traditional arts in
Kerala have a longer
cultural history than that of
other parts of India. One
reason is that the South
was insulated from violent
military incursions and
political upheavals that
have taken place in the
North throughout history
history..
Kerala’s leading citadel of culture, the
Kerala Kalamandalam comes into sharp
focus in this context. Conceived and
founded by the great poet Mahakavi
Vallathol in the 1920’s it still serves as a
beacon of Kerala’s cultural halo. More
specifically, the ancient Koodiyattam
tradition already referred to, would have
unceremoniously perished had it not
been for Kerala Kalamandalam, which
started institutional training in this art
amidst great apprehension and
opposition from diehards.
Among other institutions in the field,
Margi, Thiruvananthapuram - with a
standing of about 40 years - deserves
mention. Kerala’s capital city, enlightened
December 2007
PHOTOS : VENICEXPRESS
P. Rama Iyer
Deva Sadanam Kathakali centre at
Palghat, the PSV Natya Sanghom,
Kottakkal are all institutions of long
standing and have produced several
Kathakali artistes (actors, singers and
percussionists) of high calibre, serving the
cause of Kathakali with commitment and
dedication.
It is again in Koodiyattam that several
new centres have sprung into action in
the wake of support programmes
formulated by the Ministry of Culture,
Government of India and the SangeetNatak Akademi, New Delhi.
The fillip given to the art by the
UNESCO citation is finding fulfillment
in several ways. A new Koodiyattam
Kendra of the Sangeet Natak Akademi,
New Delhi has been set up in
Thiruvananthapuram to oversee the
Koodiyattam programme. This is due to
the initiative of Sri. Kavalam Narayana
Panicker, the well-known theatre scholar
and presently the Vice Chairman of
Sangeet Natak Akademi.
The constituent units of the SNA
Koodiyattam Kendra are Margi,
Thiruvananthapuram, the Chachu
Chakiar Smaraka Gurukulam,
Irinjalakkuda and the Mani Madhava
Chakiar Smaraka Gurukulam at
Killikkurissimangalam. Several other
newly-formed institutions like Nepatya
at Moozhikkulam, Paimkulam Rama
Chakiar Kalapeedam at Thrissur,
Chathakudam Krishnan Nambiar
demonstrations etc. aimed at
disseminating knowledge about the
intricacies of the art and recruits
appreciators of all age groups.
Other institutions engaged in such
promotional efforts include Kathakali
clubs at Kollam, Ernakulam, Thrissur
etc. Some of them have also instituted
Smaraka Kalari at Thrissur are all overseen
by the SNA Koodiyattam Kendra.
The Sopanam institute of Kavalam
Narayana Panicker is a unique institution
for theatre in our state. With a standing
of about 50 years, novel ideas like
expanding theatre, total theatre etc. are
propagated by this institution.
Today, though the basic lifeline of
support to theatre arts is institutional,
which provides the resource material,
another important function, viz. creating
and meeting the demand for these
sophisticated arts have been voluntarily
and assiduously taken over by a group of
theatre enthusiasts. In a set-up where
these highly structured arts do not pay
their way by sale of tickets, their role
assumes great importance. Many of them
work individually; but important urban
centre clubs have been established to
present arts like Kathakali, Koodiyattam,
Ottamthullal, Mudiyattu, Theeyattu etc.
In the capital city ‘Drisyavedi’ deserves
special mention. Founded and run by a
devoted group of theatre scholars and
ardent appreciators, this organisation not
only stages regular programmes but also
conducts
seminars,
lecture
awards, citations etc. for outstanding
artistes in their respective fields.
The temples of Kerala have the
unique distinction of nurturing the
culture of the traditional theatre arts,
notably Kathakali, Koodiyattam,
Ottamthullal, Theyyam etc. The South
Kerala temples sponsor the largest
number of Kathakali performances. (The
temple administration of the State viz.
Travancore Devaswom Board aids this
process by paying subsidies for staging
such performances). Koodiyattam has
also entered the South Kerala temple
festival repertory during the last two
decades, perceptibly after the opening
of the Koodiyattam centre at
Thiruvananthapuram.
The visual media have not lagged
behind when it comes to promotion of
traditional arts. Most channels have
regular art programmes. Providing
explanations and subtitles greatly
contribute to not only a greater outreach,
but also an informed awareness of their
unique aesthetics.„
The writer is Programme Chief, Margi,
Thiruvananthapuram
December 2007
KERALA CALLING
15
Koodiyattam and K
Passing t
Gopal Venu
O
f all ancient forms of
classical
dramatic
performances (natya) in
India, Koodiyattam is the
only surviving one. Koodiyattam presents
plays that are written solely in Sanskrit.
It may be surmised that Koodiyattam,
which took shape in the cultural
environment of Kerala, came to be used
as a vehicle exclusively for Sanskrit drama
at some time in the remote past. In this
context, it is rather surprising that the
entire terminology--right from the names
Koothu and Koodiyattam to the various
16 KERALA CALLING
technical terms of this art form--is in the
language of the region, viz., Malayalam.
Equally important is the fact that
costumes used in Koodiyattam closely
resemble those used in famous ritual
December 2007
dance forms like Theyyam and
Tirayattam. By and large, Koodiyattam
adheres to the acting technique
elaborately described in Bharata’s
Natyasastra, the basic book of Indian
The art of acting had been developed on
scientific lines centuries before. This is
evident from the methodical classification of
human emotions found in another ancient work,
Tolkappiyam, an encyclopaedia. If K
oothu and
Koothu
Koodiyattam are still alive in spite of adverse
circumstances, it is only because of the roots
they have in the inexhaustible vigour of folk
-arts.
folk-arts.
nd Koothu
g test of Time
dramaturgy. However, a closer look will reveal significant
deviations and divergences in all techniques involving
physical movements, hand gestures, ocular acting,
costumes, choreography etc. Bharata had developed his
concept of theatre by selecting and synthesizing elements
from the various regional theatre forms of the country. It is
possible that Koodiyattam preserved a South Indian
theatre, a full-fledged form that was in existence even before
Natyasastra. As early as in Chilappatikaram, one of the five
great ancient Tamil epics, there is mention of the “Chakyan”
(Chakyar). Prince Ilango Adigal had composed this epic
in 2nd century AD. The art of acting had been developed
on scientific lines centuries before this. This is evident
from the methodical classification of human emotions
found in another ancient work, Tolkappiyam, an
December 2007
KERALA CALLING
17
encyclopaedia. If Koothu and
Koodiyattam are still alive in spite of
adverse circumstances, it is only because
of the roots they have in the inexhaustible
vigour of folk-arts.
It is said that Koodiyattam is the
exclusive art of the upper class in its
opulence and is beyond the aesthetic
sensibility of the common people. The
acting technique of the Chakyar had
reached its pinnacle even at the time of
Chilapatikkaram. In those days it was not
confined to the precincts of the temple.
The upper class reserved this art for
themselves when they confined it to the
Koothambalam. The spectators are
usually limited to a small circle that does
not distinguish between the scholar and
the layman. It is a gross misunderstanding
to think that one should know Sanskrit
to appreciate Koodiyattam. The main
audience for Koodiyattam for the past
three decades has been the ordinary
people, irrespective of caste or creed.
Audiences outside Kerala have accepted
Koodiyattam wholeheartedly as they
approach it without any pre-conceived
notions.
When declared recently as “a
masterpiece of the oral and intangible
heritage of humanity”, this art form
attracted attention the world over. The
Department of Culture of the
Government of India and UNESCO
18 KERALA CALLING
have also initiated projects to conserve
Koodiyattam.
Though not many young people are
active in Koodiyattam today, most of
them have genuine dexterity and get solid
training. Only through a conservation
effort that brings together training,
performance opportunities, research and
innovations, can an ancient art form like
Koodiyattam survive. In these matters,
the valuable advice of those who have
practical experience in the theatre has to
be accepted to envisage and implement
programmes. In olden days this art form
was a means of livelihood, and as such
was, for many families, only an
adiyinthiram (annual routine) to be
performed on special occasions.
For those who have taken up
Koodiyattam today, it is no longer the
context of those who sustained it earlier
that defines the tradition. As it has come
out of the temple, confining
Koodiyattam to orthodoxy cannot
diminish its artistic value and aesthetic
potential. Ways have to be found to
enable growth while preserving all the
aesthetic value enshrined in
Koodiyattam.
Arrangements should be made to
nurture young people who are genuinely
interested and responsive, and those who
make Koodiyattam their profession
should be encouraged. Through such
‘Koothu’ which is a solo performance.
When the Chakyar, in the guise of the
Vidushaka (jester) relates puranic stories
in a manner replete with interest and
humour, the performance is called
Prabandha Koothu. Mostly, stories from
the Ramayana or the Mahabharata are
used. When relating the story the
Chakyar plays the part of the characters
he is describing. During his discourse the
Chakyar makes witty and satirical thrusts
at people in the audience; usually by
treating them as characters in the story
that he is narrating Often he directs his
satire not at individuals but at some social
problem or evil, ingeniously connecting
it with some event in the story.
Nangiar Koothu
Chakyar koothu
Koodiyattam is one of those rare art
forms that had women’s active
participation. Nangiar Koothu is
performed solely by women. The solo
performances of Nangiar Koothu and
Chakyar Koothu evolved as a means to
express the ability and talent of the
performers. It was only two decades ago
that it was discovered that Nangiar
Koothu was confined to the four walls
of the temple, and its acting manual
(Attaprakaram) still exists.
When the Kerala Kalamandalam
started a Koodiyattam department in
1965, Painkulam Rama Chakyar showed
great interest in training girls for female
roles. It was Rama Chakyar and makeup expert Govinda Warrier who
modified the costumes, ornaments and
headgear of the female role and made it
attractive.
When a complete Attaprakaram
became available, Ammannur Madhava
Chakyar started working to regenerate
Sree Krishna Charitam Nangiar Koothu.
He rewrote the Attaparakaram that
describes Sree Krishna’s story in 208
slokas, in which he described acting
potential in exhaustive detail.
The publication in 1984 of Sree
Krishna Charitam Attaprakaram in its
entirety, which was compiled by
P.K.Narayanan Nambiar, contributed
immensely to the revival of Nangiar
Koothu. It became an important subject
of study both at the Ammannur
Gurukulam, Kerala Kalamandalam and
Margi, Thiruvanathapuram.„
In addition to Koodiyattam, the
Chakyars have also been practicing
The writer is Director, Natanakairali,
Irinjalakkuda
Koodiyattam is one of
those rare art forms
that had women
’s
women’s
active participation.
Nangiar Koothu is
performed solely by
women. The solo
performances of
Nangiar Koothu and
Chakyar Koothu
evolved as a means to
express the ability and
talent of the
performers.
endeavours this theatre must be actively
conserved.
December 2007
Emotions
Ethereal
Dr Neena Prasad
PHOTO : VENICEXPRESS
A
rt is the expression of the vitality and
depth of a culture, a manifestation of
man’s desire for perfection, a vehicle
for prayer, and a stylised depiction of
the aspirations and moral values of the people.
In the environment of a rich and varied heritage
and culture of a country like India, it is only
natural that different art forms took birth and
flourished, leading to a bewilderingly rich mosaic
that we see today. Through a process that took
hundreds of years, many art forms acquired a
structure with sets of principles and rules that
defined them, which led to an establishment of
a strong scientific foundation and helped students
to take a disciplined approach to the form. The
framework was further expanded through many
practitioners and the art forms developed and
evolved through centuries to a more distinctive
form.
The post-independence period, when the
country was divided on the basis of language
and customs, principles pertaining to art practices
underwent many modifications; but again the
structure became more delineated; by reidentifying and linking to its regional roots. Thus
separate art forms developed their own respective
bodies of guiding directives, teaching
methodology and techniques. In the field of
classical dance, this evolutionary process is well
etched out. Different dance forms flourished at
the same time, drew sustenance and inspiration
from common texts and legends; yet these ‘desi’
forms became more and more distinct and
reflected the cultural values, social ethos and
practices of regional societies. Contemporary
concerns, or socio political situations have always
influenced the art practitioners and art.
Indian classical dance is also a form of theatre,
where one can visualise a macro-universe within
micro-universe. In Natyasastra, sage Bharatha
says, “No art, no craft, no action, no device, no
wise maxim that is not found in Natya”.
December 2007
KERALA CALLING
19
“Na tat gnanam; na tat silpam
na sa vidya; na sa kala
na sa yogo; na tat karma
natyesmin anadrisyate…”
Dance as a form of art has a
quality of this adaptability or
interpretative flexibility. Dance has
traditionally been the principle that
has been affected by and has
reflected the societal problems.
Even while devotional themes
dominated the content,
contemporary issues found their
way into narratives and
compositions. Or in other words,
the socio-political situation
imposed and determined the type
and treatment of solo dance forms.
In the field of Mohiniyattam, the
upper class had a strangle hold on
art and this resulted in
Mohiniyattam depicting themes
that entertained the patrons of the
age. Mohiniyattam became obsessed
with themes, almost entirely
concentrating on the sringara rasa,
where the captivating and
essentially erotic beauty of the woman
became the mainstay of all performances.
There were also instances when the dance
form deviated substantially from its
classical standards basically to fulfil the
requirements of the affluent and
debauched audience.
The post-independence period
witnessed a sea change in the treatment
and content of all dance forms. Many
came forward, learnt and practised
classical dance forms and started trying
new themes. The serious problems and
issues the nation confronted: poverty,
caste hatred, the low position of woman
in family and society, peasant uprisings
etc. have been effectively handled in
literature and other forms of art by artists
as responsible citizens to their society.
This had captured the imaginations of
the dancer community also and the result
was an outpouring of creative works that
redefined classical dance. The idea of a
traditional recital or sampradaya was
crossed over by adding up new themebased items, which sometimes challenged
the conventional idea of classical dance
patterns. In Mohiniyattam, though this
movement was slow (which had its own
reasons), the dancers who handled the
form tried themes which raised questions
20 KERALA CALLING
about unhealthy tendencies of the
society. ‘Chandalabhikshuki’ on caste
dilemma, Magdalana Mariam (dealing
with a non-Hindu theme) were the early
attempts, which brought this art form
closer to the common man. After the
eighties, more effective dance themes like
the futility of war and power,
degradation of moral values, national
integration and unity, feminism, women
with substance, communal violence,
alcoholism… etc were featured by
Mohiniyattam dancers. This does not
mean that a particular performance or
recital of a Mohiniyattam dancer is not
successful if she doesn’t venture to do
any novel themes, or a traditional
repertoire is inferior. On the other hand,
the fact was that almost all dancers liked
to venture into these themes, which
influenced them; or these ideas which
When one thinks
about artistic
expression on
contemporary themes
or presentations in
dance, two approaches
can be seen.
December 2007
they wanted to experiment or experience
through their dance idioms. This brave
approach continues and it naturally
widened the possibilities of the form.
Modern dancers enjoy this freedom to
decide what their Mohiniyattam should
say to the modern art connoisseurs and
common man. While adhering to the
principles and aesthetics, they are aware
of the fast-moving world and a
cosmopolitan audience they face as artists
representing an age old form of dance.
When one thinks about artistic
expression on contemporary themes or
presentations in classical dance, two
approaches can be seen. One is the direct
method of handling the theme; where
there can be more or less a complete
departure from the constraints and
principles of a classical tradition. Here the
creative attempt will fulfil its destination
while communicating frontally with the
audience. The second method will be
indirect where the modern theme will
be interwoven with the traditional ones
and the classical discipline with all its
finesse would be kept intact. Some artists
adopted the activist line of the former
and dispensed with tradition and text.
To them, the old principles were far too
constricting, preventing theme from
giving full expression to their intentions.
In the latter approach, the emphasis can
be reinterpretation of traditional
characters or incidents, cleverly
interweaving the messages of
contemporary society into age-old stories.
Here the artistic licence that is available
in old texts is exploited to the maximum
by intelligently interpreting the
situations to give a powerful message to
the modern audience.
These artistic expressions enable both
the artists and the art form
simultaneously to expand their potential.
Fortunately in Mohiniyattam, most
dancers have chosen the second way,
where the themes deal with common
human problems with universal appeal
and spoke of larger issues concerning
societies, provoking deep understanding
and informed discussion in the larger
audience. Let us discuss some fine
examples:Kanak Rele, a senior dancer in
Mohiniyattam talks about a teenager in
orumakal,.who elopes with a boy at an
immature age. Here the mother’s lament
becomes any person’s concern in this
society where such cases are not
run away from the eternal or cruel realities
of life. Another dancer as Sakuntala, the
lovely hapless maiden who is used and
discarded by the king, does not want to
live as a slave in his palace, nor to pine
with eternal hopes and hang around him,
but decides to face life as it comes.
Amrapali the courtesan, gives a strong
message about the futility of war. All these
are instances of imaginative and creative
interpretations of traditional characters
within the ambit of Mohiniyattam.
Unniyarcha, Draupadi, Yasodhara,
Seetha are all strong female personalities
who have faced unfortunate situations
uncommon. In her another presentation
‘Gandhari’, the mother of the Kouravas
says as a strong and defiant person that
she preferred to be blind folded rather
than seeing the ‘adharma’ of her children
around. Another dancer in the famous
poem of G. Sankara Kurup, ‘Ente Veli’
describing the day of her marriage also
contrasts the eternal marriage to death,
the inevitable end of every human being
born on earth. An art form, which had
been conceived to deal with the gentle
emotions of a seductive Mohini, does not
in life, interpreted by leading dancers in
the field. All these presentations crossed
the barriers of language and region and
won the applause of art critics and rasikas
across the world.
However, there are many challenges
and difficulties the dancers face to
produce a presentation of this manner.
As classical dance forms can never be
detached from the principles and
aesthetics governing them, it is the
responsibility of every artiste to honour
this ancestry and ensure that her own
As a responsible
practitioner of
classical arts,
one should
understand the
constraints
and possibilities of
the form and should
differentiate it clearly
from a street play
play..
experimentation in the process of
introducing novel ideas and themes does
not endanger the purity of the form.
Hence the creative challenge before every
artist to present a contemporary matter
into an idiom of an ancient form does
not become an easy task. Adopting
present social themes into a text or
literature that conforms to classical
requirements is the biggest bottleneck.
The music accompanying should not
compromise the seriousness and depth
of the literature or issue, yet should keep
the classical ethos and satisfy a traditional
rasika as well. Further, the dance
technique should also be explored in
different dimensions so that one can give
best expressions through new and
thoughtful hand gestures with scientific
reasoning, appropriate angika and satvika
abhinaya sometimes suggestive and
sometimes loud, with appropriate stage
craft. And also aharaya or the costumes
designing should fit the choreography
while not superimposing the gentleness
of the form by going overboard.
No artist can remain immune to the
changes that churn society. The manner
in which every artiste interacts with the
pulls of the society and the extent to
which these social problems are adopted
in her creative spaces depends not only
on the person, but also the form. An
artistic endeavour should be the
consequence of a genuine urge from a
creative mind. As a responsible
practitioner of classical arts, one should
understand the constraints and
possibilities of the form and should be
able to differentiate it clearly from a street
play. The educated dance practitioner
may stay far from the madding crowd,
yet should not be silent in recognising
her artistic responsibility. She should not
fail to understand that the relevant space
occupied by her creative endeavours has
to protect the cultural and moral values
of society.
Only then, the best of creative talents
would come forth positively influencing
the thoughts of the society even while
enriching the dance form.
(Reference: Post colonial identity
construction by Dr. Neena Prasad; Post
Doctoral Research study at AHRB
Centre, Department of Dance,
University of Surrey, UK).„
The writer is a renowned dancer
December 2007
KERALA CALLING
21
dancer’s stamina and emotional
resources.
Today Bharatanatyam is widely
performed dance style and is practiced
by male and female dancers all over India.
This is a classical dance of India composed
by ‘Bharathamuni’, vocal along with
Mridangam, Tabalas, Violin etc are played
in background.
Degree, postgraduate and even
doctoral level programmes in Indian
Classical
dances
including
Bharatanatyam available at some major
universities and institutes in India.
Mohiniyattam
It is one of the major classical dance
form of Kerala. In the 19th century
Maharaja Swati Tirunal encouraged this
art form. ‘Mohini’ means maiden who
excites desire and her dance is known as
Mohiniyattam. The dominant emotion
Foot own
Bharatanatyam is the most popular and
the purest form of Indian Classical Dance
originated from TTamil
amil Nadu. It is mainly
a solo dance which is devotional in spirit.
Gopakumar Karakonam
I
ndian Classical Dance is an art
requiring skills, hard wok and
discipline. Indian dance is
originated from ‘Natyashastra’.
The two main divisions of dance are
classical and folk forms. The various
classical dance forms are Bharatanatyam,
Kuchupudi, Mohiniyattam, Kathakali,
Odissi, Kathak, Manipuri etc.
Bharathanatyam
It is the most popular and the purest
form of Indian Classical Dance originated
from Tamil Nadu. It is mainly a solo
dance which is devotional in spirit. Three
22 KERALA CALLING
concepts come into play in
Bahratanatyam are Bhava, Raga, Thaala.
The music of Bharatanatyam is based
on Carnatic classical music and
mridangam is the chief musical
instrument being used. Bharatanatyam
is evenly divided between nritha -pure
dance and nritya - expressional
compositions. The dancer’s skill at both
pure dance and in expressional
compositions, seen elsewhere in items
like Jatiwaram and Tillana and in mime
compositions like Shabdam and Padam,
finds its acme in varnam. This is the
central piece of a Bharatanatayam recital
and makes the greatest demands on the
December 2007
PHOTO : VENICEXPRESS
Feet
in Mohiniyattam is also ‘Shringaram’ or
love. It is accompanied with vocal music
as well an orchestra comprising of violion,
mrindangam, idakka, veena etc.
Kathakali
It is one of the most colourful art
form of Kerala and is heroic, majestic and
epic in character. Kathakali is presumed
to be evolved out of the various ancient
theatre traditions like Krishnanattam,
Ramanattam, Koodiyattam and
Theyyam. Chenda, Maddalam,
Chengila etc. are accompanying
instruments of Kathakali.
Colleges, universities and institutes that offer courses in
different classical dances
z
z
z
z
z
z
z
z
Sree Swathi Thirunal College of Music, Thycaud,
Thiruvananthapuram (Bachelor of performing Arts - BPA
& MPA in Dance)
Kerala Kalamandalam, Cheruthuruthy, Thrissur (Courses
on Kathakali, Mohiniyattam, Koodiyattam etc)
Sree Sankaracharya University of Sanskrit, Kaladay,
Ernakulam, BA- Dance.
Annamalai University, Annamali Nagar- M.Mus.- Dance.
University of Mysore, Mysore- BFA- Dance.
University of Mumbai, Mumbai –BFA & MFA Dance
(Bharathnatyam, Mohiniyattam, Kathakali).
Indirakala Sangeethvishwavidyalaya, Khairangarh (MP).
Courses on Kathak., Bharatanatyam, Chhau, Oddissi
Bharathiyar University, Coimbatore- BA Bharatanatyam
z
z
z
z
z
z
z
University of Hyderabad, Hyderabad- MPA Dance.
School of Fine Arts, Potti Sreeramulu Telugu University,
Hyderabad- BA/ MA – Kuchupudi dance.
Manipuri University, Imphal- BA, Manipuri Dance .
Banaras Hindu University, Varanasi, Bharatanatya &
Kathak.
Darpana Academy of Performing Arts, Ahammedabad Bharatanatyam, Kuchupudi, Kathakali, Mohniyattam,
Folk & Tribal dance.
Kalakshetra College of Fine Arts, Thiruvanmiyur, Chennai
- Bharathanatyam.
Noopura Institute of Dance, Poojappura,
Thiruvananthapuram – Training on performing Arts –
Mohiniyattam, Bharatanatayam, Kuchupudi, Odissi.
dance. Matriculate can enrole for
certificate course in dance. For admission
to postgraduate level courses in dance
require graduation in the same discipline.
University level Degree and postgraduate
course are being offered in the dance
discipline.
Aspirants should have talent,
versatility, dedication sense of rhythm,
grace, expressive facial and good body
language attractive appearance, physical
stamina and creativity.
Exceptional talent and professional skills
needed for choreography
choreography.. The choreographer
shall design and compose dance sequences and
co-ordinate the stage settings, music, costumes and
supervise rehearsals.
Mahakavi Vallathol contributed
greatly in the revival of the art by forming
Kerala Kalamandalam, the famous
teaching institute which is set up in the
thirties. The institute is going to be a
deemed university status. Now it is a
centre for learning Indian Performing
Arts. It is situated in the village of
Cheruthuruthy in Thrissur District.
At present Kalamandalam imparts
training in Kathakali, Mohiniyattam,
Koodiyattam and Ottamthullal.
Kathakali is mostly based on
mythology and themes of
Ramayana and Mahabharata and
its performance open with the
thunder of drums which attracts
the audience. As a form of art,
Kathakali is a sophisticated
spectacle of supernatural.
Kerala developed by Kunchan Nambiar
and mainly performed at temple
premises. Mridangam and Harmonium
are the main instruments used for it.
Koothu, Koodiyattam, Krishnanattam etc are some other classical dances
of Kerala.
Job Prospects
Study facilities
Study or training facilities are
available for major Indian Classical
dances. Plus Two holders are eligible for
admission to the degree level course in
Kerala has rich variety of folk
dances such as padayani,
Thiruvathirakkali, Kolamthullal,
Poorakkali,
Kaliyattom,
Thappukali and so on. Religious
colouring is seen in almost all of
these folk dances, even those
performed in connection with
harvest, sowing seeds festivals etc.
Ottanthullal
It is a traditional art form of
PHOTO : VENICEXPRESS
Folk Dances
Those who obtaining higher
qualification in Dance or got professional
training in various dance disciplines
could find job in academic field, Dance
troupes, visual media or TV Channels,
etc. Career options are available mainly
in the areas of teaching and
choreography.
For a career in teaching field one
should have an aptitude to teach and
must have thorough knowledge of
practical and theoretical aspects of dance,
perfect sense of rhythm and proficiency
in music. Qualified Dancers could take
up teaching as a profession in colleges,
universities and dance schools.
Exceptional talent and professional
skills are needed for choreography. The
choreographer shall design and compose
dance sequences and co-ordinate the
stage settings, music, costumes and
supervise rehearsals. Choreographer can
find job in film field also. Performing
artists can form their own dance troupes
or may start dance school as self
employment venture.„
December 2007
KERALA CALLING
23
Luminous
the Days
V. Kaladharan
I
“
f I have another life on this Earth,
I would never become a Kathakali
actor. Enough is enough.” This is a
strikingly unanticipated comment
by none other than the legendary
thespian, Thakazhi Kunju Kurup on
whom the Films Division made a
documentary in the 1950’s. During his
lifetime, Kunju Kurup was the most
eminent artist in the field. Yet, he led an
impecunious life despite his top-ranking
status as an actor. The telling revelation
of Kurup speaks volumes about the
plight of artists attached to the traditional
performing arts of Kerala.
We have unfortunately little
information on the socio-cultural
circumstances that enveloped the life of
traditional artists till the early 20th
century. But the very fact that the artists
were at the mercy of their feudal chieftains
and the provincial satraps do underline
their economic and cultural bondage.
Hence my attempt here is to examine
the social, cultural and economic
transformations in the sphere of
traditional arts within the last century,
based on the experiences of artists and
on my own observations of Kerala’s
artistic scenario.
Feudalistic patronage
All the temple-centred art forms of
Kerala were invariably wedded to the
feudal hegemony exercised by the
brahmins. Krishnanattam, the traditional
dance form presenting the life story of
Lord Krishna, and Ramanattam, the
dance-theater depicting the life story of
26 KERALA CALLING
Sri Rama in eight episodes originated in
the 17th century. Manaveda, the
Zamorin of Calicut, and the King of
Kottarakkara (south Travancore)
composed the plays Krishnanattam and
Ramanattam respectively. Though the
brahmins were the virtual authorities of
the temples and did not have any
involvement in the evolution of these and
similar performing arts like Koodiyattam
and Kathakali, they started exercising
tremendous social and cultural control
over all the traditional arts. Mohiniyattam,
Scores of western dancers
and theater
-artistes who
theater-artistes
could scarcely withstand
the cut-throat competition
in the field of arts in their
homelands flew down to
Kerala, learnt its
traditional arts and
returned to market them.
the traditional female dance form of
Kerala, was perhaps the only art that was
least patronised by the brahmins for
reasons yet to be explored.
Inextricably linked to the Hindu
temples, the viewers of the traditional/
stylised art forms were restricted to highcaste brahmins, the kshatriyas and select
nayars till the temple entry proclamation
in the first half of the last century. It is
therefore hardly surprising that the
hardships that traditional artists
underwent for centuries remained under
a cloud. By the end of the 19th century,
December 2007
feudalism registered a steady decline and
the English-educated elites began
distancing themselves from their cultural
and artistic heritage. The victorian
morality implemented subtly by the
British administration sounded the death
knell of Dasiyattam and its distant
reflection, Mohiniyattam, the dance of
the enchantress, in South India. The elite
among the middle-class developed a
notion of sin in relation to public
performances of sensuousness by the
temple-dancers. By and large, the rich
tapestry of Kerala’s artistic heritage lost
its glory. The already impoverished artists
had nothing to fall back upon. It seemed
as if the protagonists of the nocturnal
events were engulfed in eternal darkness.
Institutionalisation
The visionary poet and irresistible
Kathakali buff, Vallathol Narayana
Menon, could foresee the imminent
death of Kerala’s artistic legacy. He along
with his close associate Manakkulam
Mukundaraja felt the dire necessity of
setting up a public institution to save
Kathakali and such other art forms from
total extinction. Their unflinching
determination and perseverance resulted
in the founding of Kerala Kalamandalam
in 1930. After several venue shifts,
Kalamandalam was finally established at
the Cheruthuruthy village of Thrissur,
bordering the Nila River. The founders
as well as the students underwent
innumerable hardships in the formative
years of Kalamandalam.
Vallathol represented the nationalistic
inspirations and the cultural renaissance
Entertainment Culture
By the end of the 19th century,
Kathakali, of all the stylised art forms,
had caught the attention of the western
rasikas. Ever since the institutionalisation
of the performing arts, these art forms
have been an ‘outsider’s delight’.
Kathakali characters having facial makeup and costuming in myriad hues are an
enduring attraction to everyone. In other
words, this artistic tradition is vulnerable
to casual entertainment owing to its
instantly impressive form. Precisely for
this reason, Kathakali was the first
entertainment item amongst the
traditional arts of Kerala to get enlisted as
a tourism product by the mid 20th
century.
The
countless
tours
of
Kalamandalam Kathakali troupe in the
western countries for workshops, lecturedemonstrations and performances have
indirectly contributed to the tourism
industry. In course of time, the
advertisement industry, the hotel
industry, the multinational corporate
houses, the film industry and the like
began exploring the commercial
prospects of Kerala’s traditional arts,
Kathakali and Mohiniyattam.
Koodiyattam, the sole surviving form of
Sanskrit theater in India, is a relatively
recent entry to this ever-widening
phenomenon. Scores of western dancers
and theater-artists who could scarcely
withstand the cutthroat competition in
the field of arts in their homelands flew
down to Kerala, learnt its traditional arts
and returned to market them. A few
among them also genuinely acted as
ambassadors for fruitful cultural
interactions between India and the West.
Youngsters’ euphoria
For nearly a quarter century, the
practitioners of traditional arts especially
the young bloods, excepting a few, have
been hugely successful in their profession.
The selfless devotion of the past
generation of artists has given way to a
sort of professionalism, which is nothing
but a contract between the artists and
the patrons of mega and middle-level
festivities. Package programs consisting
of different art forms trimmed to half an
hour each have replaced nightlong
Kathakali, Theyyam and Padayani
presentations.
The feudal sense of time is now only
a relic of the past. Chronic consumerism
has cast a definite shadow on the
modernism of this ‘God’s own country’.
While literacy at the grassroots level
became almost comprehensive, its onceglorious literary heritage is almost
etiolated. When the literature deteriorates,
the traditional arts based on them tend
to get distanced from the audience. Visà-vis the tasteless extravaganza of
cinematic-dance and
music programs and
reality shows, how do the
traditional performing
artists and arts survive?
Idealism and ethical
reasoning should not be
a concern at all while
appraising the stark
realities. The young
generation of artists in the various
performing arts has truncated texts of
plays, lyrics of dance items and musical
segments to suit the tastes of modernday viewers and listeners. They have
tackled the challenges posed to the
presentation of traditional arts in
proscenium theaters. They are no more
‘an ancient tribe revelling in some esoteric
movements and recitations’. They have
modernised themselves in form and
content through extensive interactions
with people around the world.
Once during an informal
conversation, the prima donna of
Bharatnatyam,
Dr.
Padma
Subrahmanyam, pointed out the
inevitability of a spiritual orientation for
the young-generation artists. While
watching their skill, smartness and
competitive spirit on stage, a discerning
rasika might feel a spiritual vacuum in
their recitals. Is this the price they pay for
their incredible gifts and fortunes?„
The writer is Publicity and Research
Officer, Kerala Kalamandalam, Trichur
December 2007
PHOTOS : VENICEXPRESS
the Malayalees aspired for in the early
20th century. He could therefore
mobilise adequate economic, social and
cultural resources to reaffirm the identity
of Kalamandalam as a hub of art and
culture. The celebrated artiste-teachers in
Kathakali like Pattikkamthodi Ravunni
Menon and his disciples like
Kalamandalam Krishnan Nair found an
appropriate platform to reinvent their
identities. The institutional support
instilled in the teachers and students a
deep sense of pride and confidence. The
democratisation of performing arts
taught them lessons of self-reliance and
dignity. With steady income and
preoccupation with training in daytime
and performances at night, their prestige
grew. Simultaneously the audience grew
in numbers too. Through creative
interactions, the classical arts redefined
their aesthetic concerns and effected
considerable improvements in form and
treatment. For a quarter of a century from
1960, Kathakali, Mohiniyattam and
Thullal, the semi-classical dance-theater
narrative, had their hey-day.
KERALA CALLING
27
P
S
U
K.N Srikumar
K
erala Industrial Infrastructure
Development Corporation
(KINFRA) was set up in
February 1993, for
accelerating the industrial development
of the State, by providing infrastructure
facilities to industries. The Industrial
Parks developed by KINFRA have
facilities like built-up space, dedicated
power, continuous water supply, roundthe-clock security and communication
facilities, providing a ready-made
environment for starting industrial units
with minimum time and cost.
KINFRA has completed 20 theme
based industrial parks in Kerala in areas
such as garments, infotainment, marine/
seafood, rubber, electronics, textiles,
biotechnology, food processing and
small-scale industries over the past 14
years. Notable achievements are the
completion of India’s first International
Apparel Park and Kinfra Film & Video
There is a Single Window Clearance
mechanism inside KINFRA PParks
arks which has
been constituted for prompt issue of licenses,
clearances and certificates required for setting
up units in the parks without hassles.
KINFRA
Park in Thiruvananthapuram, Export
Promotion Industrial Park and Hi-tech
Park in Ernakulam, Infotainment Park
and Food Processing Industrial Park at
Malappuram.
KINFRA has developed joint venture
projects like India’s first Rubber Park (JVC
with Rubber Board) in Kochi, a seafoodprocessing park (JVC with MPEDA) in
Alappuzha and Western India KINFRA
Ltd. (WISE Park) in Palakkad and ICICIKINFRA (I-KIN) JV with ICICI
Limited.
KINFRA developed Small Industries
Parks in Thiruvananthapuram,
Ernakulam, Thrissur, Wayanad, Kannur
and Kasargod under the Integrated
Infrastructure Development Centre
(IIDC) Scheme of the Department of
Small Scale Industries, Government of
India, in which a large number of units
have established their manufacturing
activities.
Treading New Highs
Kinfra Export Industrial Promotion Park, Kakkanad, Kochi
28 KERALA CALLING
December 2007
KINFRA is the nodal agency for the
Ministry of Food Processing Industries
and the Ministry of Commerce &
Industry, Government of India; and is
responsible for implementing “Assistance
to States for Infrastructure Development
of Exports and Allied Activities”
(ASIDE). It is also the nodal agency for
the development of Kannur
International Airport.
KINFRA acquires land at strategic
locations for developing industries by
BT Park is being developed with a
financial assistance of Rs.11.32 crores
from the Department of Biotechnology,
Government of India.
An Integrated Infrastructure
Development Centre & Food Processing
Park at Adoor, Pathanamthitta is being
developed with financial assistance from
the Central Government, for developing
infrastructure facilities. The project cost
is estimated to be Rs.1730 lakh, to which
the Department of Food Processing
Kalamassery that will be leased out to
private developers for 90 years for
developing the International Exhibition
and Trade Centre. KINFRA has selected
Zoom Developers Pvt. Ltd., Mumbai as
the developer for the project.
An International Animation School
is proposed at KINFRA Film & Video
Park, Thiruvananthapuram. This Rs.21crore proposal received Rs.686 lakh
under ASIDE and a private partner is
being identified.
Aaren Gold Souk has been selected
through a transparent selection process
to set up an Industrial Park & Special
Economic Zone for Gold Jewellery at
KINFRA Hi-tech Park, Kalamasserry.
New Projects
The Integrated Textile Park is in
advanced stages of planning and
implantation at Palakkad. KINFRA
proposes to develop a Print Village
adjacent to KINFRA Small Industries
Park at Koratty, Thrissur. Land for the
Mega Food Park in Wayanad and the
Spices Park in Idukki are under
acquisition. Both are being planned with
the assistance of the Central
Government. KINFRA has identified
over 200 acres of land in Ranni,
Pathanamthitta for the proposed second
Rubber Park. Proposals for Knowledge
Parks in Kozhikode, Palakkad and
Thrissur are being finalised.„
Kinfra Film and Video Park
balancing social, cultural, regional and
ecological requirements. KINFRA’s
achievements cater to industry-specific
infrastructure requirements, by setting
up a number of Industrial Parks/
Townships/Zones across Kerala.
There is also a Single Window
Clearance mechanism inside KINFRA
parks which has been constituted for
prompt issue of licenses, clearances, and
certificates required for setting up units
in the parks without any hassles.
Ongoing Projects
A Biotechnology Park is being
developed at Kalamasserry, Ernakulam.
TCG Urban Infrastructure Holdings
Ltd. has been selected as developer for
the Biotechnology Park. The buildings
for the Technology Incubation Centre
and Pilot Plant have been completed.
The Technology Incubation Centre at
The writer is Senior Advisor, Media
Relations, KINFRA
Industries is expected to contribute
Rs.400 lakh.
A Textile Centre is being set up in
Taliparamba at Kannur with an
estimated project cost of Rs.3015 lakh.
The Ministry of Textiles has sanctioned
Rs.2000 lakh under Textile Centre
Infrastructure Development Scheme
(TCIDS).
KINFRA is undertaking the
expansion of KINFRA International
Apparel Park, Thiruvananthapuram
under the Apparel Parks for Exports
Scheme (APES) of the Ministry of
Textiles, Government of India, which
has sanctioned Rs.17 crores.
The 7th Small Industries Park, being
developed at Kunnamthanam in
Pathanamthitta, will cater exclusively to
small-scale industry sectors.
KINFRA has earmarked land at
December 2007
Kerala Calling proposes to
include book reviews in its
pages.
Authors who wish to publish
write ups on their books may
kindly forward two copies of
the book by courier to the
Editor
Kerala Calling,
Information and Public
Relations Department,
First Floor, Secretariat Annexe,
Thiruvananthapuram - 1.
Book review by eminent
personalities will also be
accepted.
KERALA CALLING
29
L I V E S T O C K
Livestock Free W
C. Divakaran
Minister for Food, Civil Supplies &
Animal Husbandry
K
erala economy is largely based
on agriculture, animal
husbandry and allied
activities. Agricultural
operations had been confined to paddy,
but paddy cultivation has shrunk by
0.70 million hectare in five decades.
Kerala is not a frontline dairy state;
but programmes for cattle breeding,
together with the advent of dairy cooperatives and veterinary service, raised
the milk production from two lakh
tonnes/year in 1970 to 2.5 million metric
tonnes/year by 2003, replacing over 80
per cent of low-yielding cows by highyielding crossbreds.
Livestock is livelihood-intensive in
Kerala. Marginal farmers constitute the
core livestock producers, with 50 lakh
farmers engaged in animal husbandry.
30 KERALA CALLING
December 2007
Over 95 per cent of livestock are owned
by them, and they produce the majority
of livestock products.
Livestock Sector Present Scenario
Livestock is one of the fastest growing
sectors in our economy. It is a major
contributor to the Gross State Domestic
Product, comprising 40 per cent of the
agriculture GSDP. Kerala witnessed
growth in the dairy sector from the 6th
to 10th plan periods. After that, this
sector saw a decline in productive animal
and poultry population. Milk
production went down by16.3 per cent
and egg production by 47 per cent
during 2003-2005. Despite a 25 per cent
decline in goat production, meat output
increased by 12 per cent, on account of
increased import of animals for meat.
Major Concerns and Remedies
The declining cattle population
could be due to increase in price of feed,
e Wheeling the Target
widening gap in demand-supply of
fodder and increased slaughter of
crossbred cattle for meat. There is marked
reduction in the number of marginal
farmers who own crossbred cows - a major
reason for the decline in the population
of crossbred cows and shrinking milk
production.
Attempts are being made in the 11th
five-year plan for the development of
livestock sector. The objective is
developing a sustainable system using
livestock for overall development.
Support from the Planning Commission
is essential to implement these strategies.
New breeding policies to enhance
production are necessary. For this, the G
overnment has appointed a committee
comprising experts from universities and
NDDB. Farmers who can afford to
maintain high-yielding animals will be
provided with purebred semen. The
Government has also decided to import
high-quality semen, embryos and bulls
from abroad. The KLDB is producing
and distributing high-value semen,
namely Premium Bull Semen under the
Ksheeradhara package. The state is
implementing programmes for
conserving indigenous varieties like the
Vechur cow.
To increase internal milk production,
the Government is implementing two
schemes namely Pasugramam and
Milkshed Scheme. Last year, 5000
crossbreds were brought from
neighbouring states. Another 3000 will
be brought in under the Vidharbha
Package in Kasaragod, Wayanad and
Palakkad.
Goat-rearing, pig-rearing, chicken
production, duck and turkey farming
have to be propagated. Kerala has two
breeds of goat - Malabari and Attapadi
Black. The Department of Animal
Husbandry and KLDB are running
farms for producing and distributing
kids.
The risk to public health from badly
handled meat is enormous. For this,
animal slaughter facilities are to be
improved. To ensure supply of
wholesome meat, the Government is
considering a programme to procure
meat animals, along with culled
unproductive milch animals. This will
be done by Meat Products of India which
will also process, pack and supply it.
About 400-crore eggs are required
by the state annually, but the production
is only about 110 crores. The rest is
imported from neighbouring states,
resulting in financial losses. Internal
production has to be improved. For this
the Government has implemented
programmes like Step I, Step II, Step III
December 2007
KERALA CALLING
31
C I N E M A
through the KSPDC. The
programmes envisage supply of chicks,
poultry feed and cages for housing birds.
Enhancing feed-and-fodder supply
is another area that needs consideration.
The Department of Animal Husbandry
and the Dairy Cooperative and Milk
Federation require support for fodder
campaigns. The quality of veterinary
service will also be improved and
standards for ensuring public health and
food safety will be created. Disease
Diagnostic Labs and Biological
Production Units will be upgraded.
Kerala has a network of veterinary
hospitals and AI Centres, with qualified
veterinarians and para-veterinarians
manning them. It has been decided to
improve the scope of these institutions
to provide veterinary services to livestock
owners.
To enable farmers to invest in the mass
dairy industry, livestock insurance is
necessary. Last year, the Government
implemented a livestock insurance
scheme in Palakkad and Alappuzha,
which will be followed in the entire state.
The calf-feed subsidy programme
wherein the crossbred female calves are
provided with support for feeding,
management, veterinary assistance and
insurance have helped develop highyielding cows. This has resulted in
reducing the age of maturity of cows and
the inter-calving period. Though two
lakh female crossbred calves are produced
annually, only 20,000 calves could be
covered each year. The entire calf
population needs to be covered under
this scheme.
Public Sector Undertakings
Livestock and poultry development
programmes in the state are undertaken
by the Department of Animal
Husbandry, KLDB, KCMMF, KSPDC,
MPI and Kerala Feeds. The Animal
Husbandry Department is vested with
managing the State Veterinary Service.
Its domain encompasses breeding,
selection, production, management,
nutrition, applied research and disease
control. The Dairy Development
Department undertakes programmes for
fodder development, starting mini-dairy
farms and managing dairy co-operatives.
KLDB provides inbreeding inputs
like semen for cattle and goats. KSPDC
is providing chicks, feed and guidelines
32 KERALA CALLING
to poultry farmers. Kerala Feeds is the
only cattle-feed manufacturing unit in
the public sector. There are 300 milk
societies and KCMMF is their apex body
that deals with the procurement and
delivery of milk. Attaining self-sufficiency
in milk, egg and meat, tapping the export
potential of produce and ensuring food
safety are the objectives of these agencies.
Future Programmes
The Government proposes to launch
several innovative programmes for the
development of the livestock sector.
Formulation of a modified breeding
policy for the state in order to improve
the productivity of crossbred cattle is one
such programme. Along with
crossbreeding activities, conservation of
indigenous germ plasm will also be given
importance.
To meet the increasing demand for
milk, it is proposed to start hi-tech dairy
farms in potential areas. Programmes for
goat, pig, rabbit and turkey production
will be undertaken to increase the supply
of meat. For quality meat production,
scientific slaughterhouses will be
established.
For minimising the cost of
production and ensuring adequate
nutritional support for livestock,
programmes for mass production of
fodder and enrichment of paddy straw
will be initiated.
The departmental poultry farms and
those under KSPDC will be modernised
to maintain sufficient numbers of parent
flock birds required for producing
poultry to enhance internal egg
production. It is also hoped that the
establishment of a Veterinary and Animal
Sciences University will be able to address
the core issues.
It is the mandate of this Government,
to make the state self-sufficient in milk,
meat and egg production, and to ensure
nutritious food to the people during the
11th plan period. If the Central
Government would give special
emphasis to the sector and provide
adequate budgetary support, we could
achieve what we have envisaged. I am
confident that with the support of the
Central Government, our state will
witness a revolution in this sector
rendering self-sufficiency, boost in
economy and clean, nutritious food to
our entire population.„
December 2007
K.K.Chandran
J
iri Menzel (The Children of Marx
and Kafka) is one of the
revolutionary leaders of the Czech
New Wave cinema and theatre.
Filmmaking and stage were neither a
livelihood nor a hobby to him. His
seven films are being screened in the
Retrospective Session of IFFK 2007.
As a student of cinema in the FTII,
I had to study Jiri and his films.
Naseeruddin Shah, one of the
most talented actors in India
and a jury member of IFFK this
year, was my colleague in the
FTII and we used to discuss
about Jiri’s unique techniques
and tactics in the matter of
realization of the mis-en-scenes
and his incredible flexibility in
the matter of handling the Jiri Menzel
actors.
In those days we all used to like
him as the one living with us in the
campus. Cinematography students
always talked about the black & white
quality of his debut film Closely
Guarded Trains which won the Oscar
for the best foreign film. The
visualisations of Jiri were really fantastic
which gave the opportunity to his
cameraman Jaromír Šofr to prove
himself as one of the world’s top
cinematographers.
Actually one of
the reasons for our
e m o t i o n a l
attachment to Jiri, at
that time in the
mid-seventies, was
that, he was only 27
Naseeruddin Shah
when he made his
C I N E M A
through the KSPDC. The
programmes envisage supply of chicks,
poultry feed and cages for housing birds.
Enhancing feed-and-fodder supply
is another area that needs consideration.
The Department of Animal Husbandry
and the Dairy Cooperative and Milk
Federation require support for fodder
campaigns. The quality of veterinary
service will also be improved and
standards for ensuring public health and
food safety will be created. Disease
Diagnostic Labs and Biological
Production Units will be upgraded.
Kerala has a network of veterinary
hospitals and AI Centres, with qualified
veterinarians and para-veterinarians
manning them. It has been decided to
improve the scope of these institutions
to provide veterinary services to livestock
owners.
To enable farmers to invest in the mass
dairy industry, livestock insurance is
necessary. Last year, the Government
implemented a livestock insurance
scheme in Palakkad and Alappuzha,
which will be followed in the entire state.
The calf-feed subsidy programme
wherein the crossbred female calves are
provided with support for feeding,
management, veterinary assistance and
insurance have helped develop highyielding cows. This has resulted in
reducing the age of maturity of cows and
the inter-calving period. Though two
lakh female crossbred calves are produced
annually, only 20,000 calves could be
covered each year. The entire calf
population needs to be covered under
this scheme.
Public Sector Undertakings
Livestock and poultry development
programmes in the state are undertaken
by the Department of Animal
Husbandry, KLDB, KCMMF, KSPDC,
MPI and Kerala Feeds. The Animal
Husbandry Department is vested with
managing the State Veterinary Service.
Its domain encompasses breeding,
selection, production, management,
nutrition, applied research and disease
control. The Dairy Development
Department undertakes programmes for
fodder development, starting mini-dairy
farms and managing dairy co-operatives.
KLDB provides inbreeding inputs
like semen for cattle and goats. KSPDC
is providing chicks, feed and guidelines
32 KERALA CALLING
to poultry farmers. Kerala Feeds is the
only cattle-feed manufacturing unit in
the public sector. There are 300 milk
societies and KCMMF is their apex body
that deals with the procurement and
delivery of milk. Attaining self-sufficiency
in milk, egg and meat, tapping the export
potential of produce and ensuring food
safety are the objectives of these agencies.
Future Programmes
The Government proposes to launch
several innovative programmes for the
development of the livestock sector.
Formulation of a modified breeding
policy for the state in order to improve
the productivity of crossbred cattle is one
such programme. Along with
crossbreeding activities, conservation of
indigenous germ plasm will also be given
importance.
To meet the increasing demand for
milk, it is proposed to start hi-tech dairy
farms in potential areas. Programmes for
goat, pig, rabbit and turkey production
will be undertaken to increase the supply
of meat. For quality meat production,
scientific slaughterhouses will be
established.
For minimising the cost of
production and ensuring adequate
nutritional support for livestock,
programmes for mass production of
fodder and enrichment of paddy straw
will be initiated.
The departmental poultry farms and
those under KSPDC will be modernised
to maintain sufficient numbers of parent
flock birds required for producing
poultry to enhance internal egg
production. It is also hoped that the
establishment of a Veterinary and Animal
Sciences University will be able to address
the core issues.
It is the mandate of this Government,
to make the state self-sufficient in milk,
meat and egg production, and to ensure
nutritious food to the people during the
11th plan period. If the Central
Government would give special
emphasis to the sector and provide
adequate budgetary support, we could
achieve what we have envisaged. I am
confident that with the support of the
Central Government, our state will
witness a revolution in this sector
rendering self-sufficiency, boost in
economy and clean, nutritious food to
our entire population.„
December 2007
K.K.Chandran
J
iri Menzel (The Children of Marx
and Kafka) is one of the
revolutionary leaders of the Czech
New Wave cinema and theatre.
Filmmaking and stage were neither a
livelihood nor a hobby to him. His
seven films are being screened in the
Retrospective Session of IFFK 2007.
As a student of cinema in the FTII,
I had to study Jiri and his films.
Naseeruddin Shah, one of the
most talented actors in India
and a jury member of IFFK this
year, was my colleague in the
FTII and we used to discuss
about Jiri’s unique techniques
and tactics in the matter of
realization of the mis-en-scenes
and his incredible flexibility in
the matter of handling the Jiri Menzel
actors.
In those days we all used to like
him as the one living with us in the
campus. Cinematography students
always talked about the black & white
quality of his debut film Closely
Guarded Trains which won the Oscar
for the best foreign film. The
visualisations of Jiri were really fantastic
which gave the opportunity to his
cameraman Jaromír Šofr to prove
himself as one of the world’s top
cinematographers.
Actually one of
the reasons for our
e m o t i o n a l
attachment to Jiri, at
that time in the
mid-seventies, was
that, he was only 27
Naseeruddin Shah
when he made his
Jiri Menzel in
IFFK 2007
Jafar
first film Closely Guarded Trains
based on a story by Bohumil Hrabal,
which won the Oscar. ‘Capricious
Summer’ was another film we saw at
that time in which Jiri Menzel appears
and handles one of the key roles.
Capricious Summer was different
Panahi from other films of the Czech New
Wave, which focused on middle age
abnormality. Set during the turn of the
century, Capricious Summer camps out
with a group of vacationers who feel they
are rapidly aging. Things get worse--and
slightly chaotic-- when a magician,
tightrope walker (played by director Jiri
Menzel) joins the group, wearing his pink
tights and toting along his young blonde
assistant.
Today Jiri Menzel is the Czech New
Wave’s most respected director. His films
to be screened in Retrospective session
invasion films are adaptations of
Festival, where the hero
novels and short stories by Czech
sacrifices his life for a pot of
authors, either modern classics
tripe soup. Menzel's recent,
(Capricious Summer from a novella
very amusing comedy, My
by Vladislav Vancura), or of his
Sweet Little Village, and
contemporaries (Bohumil Hrabal's
another adaptation of
Closely Watched Trains, The Death
Vancura, The End of Old
of Mr. Baltisberger, and Larks on a Ousmane
Times, though largely
Sembene
String, and Skvorecký's Crime at a
apolitical, shows him as the
Girls' School). Except for Capricious supreme craftsman of contemporary
Summer, all those films were banned; Czech cinema. The survival of Menzel
Larks on a String even before release. After and Chytilová in national cinema
three hesitant efforts following his inspires the growth of world cinema, and
recantation, all developed from original shows that with perseverance,
ideas, Menzel found himself in another intelligence, and courage, art can
adaptation of Hrabal, Short Cut. An even occasionally triumph over censorship.
less subliminal anti-establishment
The writer is a famous film maker
message is contained in The Snowdrop
Shoaib Mansoor with sharmila Tagore
are Closely Watched Trains, Larks on a
String, Snowdrop Festival, My Sweet
Little Village, The End of Old Time,
Capricious Summer and I Served the
King of England.
Like Milos Forman, Menzel was
influenced by Czech novelists rather
than by Western or other European
filmmakers. Except for Crime in a Night
Club, which was based on an original
idea by novelist Josef Skvorecký, his pre-
December 2007
KERALA CALLING
33
H O R T I C U LT U R E
Decorate with
Malabar Spinach
Dr T.E. George
M
alabar spinach, also
known as Indian
spinach,
Ceylon
spinach, Vine spinach,
Basella or Malabar nightshade is an
attractive perennial plant, mostly
cultivated annually as a leaf vegetable.
There are two common species of
Malabar spinach, one with red stem, redveined dark green leaves and pink flowers
(Basella rubra L.), and the other with
yellowish green stem, green leaves and
white flowers (Basella alba L.). The
colourful heart-shaped textured leaves,
shiny stems, white-tinged pink flowers
and diminutive dark purple berries add
an ornamental aura to this climbing
plant, making it an ideal choice for
trailing over gateways and archways. The
34 KERALA CALLING
large, thick, succulent leaves of this plant
have a flavour and taste almost similar to
spinach (Spinacia oleracea L.), a highly
rated leaf vegetable the world over. The
leaves and stem tips of Malabar
spinach-rich
i n
vitamins
A and C, iron
and calcium--are eaten raw as salad or
boiled, steamed or stir-fried and also used
in soups and stews. The intensely purple
juice obtained from the berries of this
December 2007
plant is rich in anthocyanin and is used
as a natural food colorant and dye.
This easily grown vegetable excels in
warm, humid tropical conditions like
that of Kerala. The best time for planting
is June-July or September-October.
Though it can be grown from seeds,
rooted stem cuttings of 20–25 cm length
with three to four internodes are normally
used for planting. The spacing
recommended is one metre between rows
and 60 cm between plants within the
rows. Malabar spinach can thrive under
conditions of moderate soil fertility, but
is quite responsive to application of
organic manure and nitrogen fertilizer.
The nutritional requirement for this crop
is 180 g nitrogen, 150 g phosphorus and
140 g potash for one cent of land apart
from 80 kg farmyard manure. The plant
requires plenty of water because of its
high succulence. During dry spells, the
crop is to be irrigated copiously at least
once a week. Inadequate soil moisture
may lead to wiry stems and small leaves.
Weeding and mulching are other
operations to be undertaken. Since
Malabar spinach is a climber, the vines
have to be allowed to trail over trellis or
other similar structures.
Malabar spinach is usually ready for
harvest 40–50 days after planting.
Harvesting at weekly intervals is preferred
as frequent harvests delay flowering and
stimulate growth of side shoots. Young
shoots of 15–25 cm length alongwith
leaves are cut, washed, and tied in
bundles. Harvesting is to be done during
the cooler time of day, such as early
morning or late afternoon and the
harvested produce is to be kept in a cool
shaded place. No serious pests are noticed
in this crop except minor foliage pests
like leaf miners and cut worms which
can be controlled mechanically or
by using organic pesticides. Few
diseases like leaf spot caused by
Cercospora and Colletotrichum
affect this crop and can be kept
under check by maintaining
field hygiene, following crop
rotation, providing adequate plant
spacing and avoiding overhead
irrigation.„
The writer is Professor & Head,
Department of Olericulture, College of
Horticulture, Kerala Agricultural University,
Thrissur.
C U R R E N T
Ready for
International Shopping
The Grand Kerala
Shopping FFestival
estival
offers good deals to the
customers with prizes
worth upto Rs.10 crores,
which include foreign
luxury cars, holiday
packages and apartments.
Minister for Tourism, Kodiyeri Balakrishnan inaugurating
Grand Kerala Shopping Festival
A
46-day long shopping festival
has been started in all 14
districts in the State on
December 1st. The mega fest,
the Grand Kerala Shopping Festival
(GKSF) will last till
January 15, 2008. The main goal of the
event is to create demand for traditional
products like kaithari, coir and aranmula
mirror in the world market and to make
them available at reasonable rates, besides
other commodities. This would also help
to promote tourism and to make Kerala
as a major international trade centre.
Several trade and commercial
organizations and traditional
industries that provide high quality
products and services are
participating in the shopping
festival. More than 1,000 shops
have already registered for the event.
A spice fair in Idukki and Wayanad,
cashew fair in Kollam, coir fair in
Alappuzha and handloom fair in
Kannur have also been planned
in connection with the festival.
The GKSF would also include
products like decorative items,
handicrafts, jewellery, textiles
and consumer durables among
other things.
This fest also offers good
deals to the customers with
prizes worth upto Rs. 10
crores, which include foreign
luxury cars, holiday packages
and apartments. In addition
to this, consumers can use coupons as
free passes for programmes being held as
part of the fest, such as cultural events,
exhibitions and performances by various
Bollywood and Kollywood artistes.
In addition to products like electronic
gadgets, clothes, gold and diamonds,
services of ayurvedic resorts are being
made available during the shopping
festival. Rather than being confined to
one particular area, this fest aims at
increasing sales in existing shops all over
Kerala by providing good quality stuff
at lesser prices and introducing special
offers.
The Grand Kerala Shopping Festival
also promises to be a whole new
experience for customers and that too
without straining their budgets. The
Departments of Commercial Taxes,
Revenue, Industries and Commerce,
Culture and Tourism and the local bodies
are making efforts to organise the festival.
Promotions for the fest are also being
done through the Internet to give it a
wider reach.
The Grand Kerala Shopping Festival
is envisaged as an annual event and will
become full fledged within a period of
five years. The Government hopes that
this shopping festival will bring much
pride to Malayalis all over the world.„
December 2007
KERALA CALLING
35
C U L T U R E
Dr M.V. Vishnu Namboodiri
F
rom ancient times, the deity Sastha or Ayyappan has
been worshipped in Kerala. It is believed that it was
Parasurama who brought Sastha and Bhadrakali for
the protection of the land and the people. Hence the
presence of numerous temples dedicated to Sastha and
Bhadrakali.
Certain places with dense growth of trees are considered
sacred, and are the domiciles of deities. Those places where
deities like Naga, Sastha, Kali, Vettakkorumakan, Ganapathi
etc. are present are designed as Kavus. Legend says that
Parasurama has constructed 108 Sasthakavus and 108 Durga
temples.
Worship of Ayyappa
Sastha, Bhoothanathan, and other names of Ayyappan are
worshipped in Vedic and non-Vedic lines. Ayyan is the god of
hunting. We can find references of 'Ayyan' in many folk songs.
Sastha has got a place among the Saptadevas worshipped in
the Thanthric system. There are varieties of worship connected
with the rituals and performance of Ayyappan. The
Sasthampattu of Kallatta Kurups and Theyyampadi Nambiars
are the ritualistic performances for the propitiation of Sastha.
The Ayyappan pattu and Ayyappan Vilakku performed by
devotees are also a form of worship of Ayyappa. Ayyappan
Theeyattu is an entirely different form of ritualistic
performance. It is performed by Theeyati Nambiars. Normally
it is prevalent in the Malabar area. But these performing arts
have wider range.
Basic Concepts
The deity meant for Ayyappan Theeyattu is Sastha, the
son of Hari and Hara. The main item of Kalampattu/
Thottampattu and the acting of the story of the origin and
bravado of Ayyappan are the basis for this ritualistic
performance. From the Thottam, we get the information that
Sastha, the deity who is in the acme of knowledge in heaven
came down to the earth to be the god of Malanadu under the
instruction of Siva. Together with Sastha, it is said that deities
like Andimahakalan, Kokkot Bhrandan, Neelan, Neelakattari,
Arayilamme, Bhadrakali, Maladevatas and twelve thousand
Bhoothas also came here.
Ayyappan is adored as a hunting god in the Theeyattu
Pattu. Songs in which he is designated as the General of Pandi
Raja is also sung in Theeyattu. In several places Ayyappan is
called Ayyan, which is a word older than the other one.
Theeyattu Performance
In Theeyattu, a lot of separate performances like decoration
Ayyappan Theeyattu
Performance Ritualistic
36 KERALA CALLING
December 2007
of pandal, Uchapattu, Kalamezhuthu, Sandhyakkottu,
Ezhunnallippu, Kalampooja, Kalampattu, Kalathilattam, Theeyattu
and Thirayuzhichil. A few differences in the order are the differences
in the varieties of Ayyappan Theeyattu.
In Ayyappan Kaavus there are permanent
places in front of the Sreekovil for Theeyattu.
Otherwise temporary sheds are to be made
for drawing the kalam and enacting the
Theeyattu. The place should also be cleaned
by cow dung. Ceiling of the pandal is
decorated before Poojas. After performing
pooja in favour of Sastha and Ganapathi the
Theeyadi Nambiar begins to sing the song
with the accompaniment of instruments like
Para and Kuzhithalam. It is called
Uchappattu. For Theeyattu, preparation of
Kalam is very important. After this function
drawing of Roopakkalam is begun. For this
five colours are used - red, black, yellow,
white and green. Different figures of Sastha
are illustrated. After preparing the Kalam,
pooja will be conducted by the Brahmin.
After that Theeyati Nambiars themselves sing
the KaIampattu sitting beside the Kalam. All
these songs are extolling the life and bravado
of Ayyappa. Similarly songs praising the
huntings of Ayyappa are also sung.
Theeyattu (Way of Ayyappan Koothu)
In certain areas Ayyappan Theeyattu is called Ayyappan Koothu.
The name is given, taking into consideration the dominance of the
acting part of it. Theeyati Nambiar decorates himself sitting in front
of the sanctum. In Ayyappan Theeyattu, the face will not be decorated.
A costume (most often red) similar to Kathakali is put on. A small
crown called pathiyam is also worn. There will be a pleated white
dress and additional clothes bound round the waist. While dressing
and wearing the jewels, the Nambiars sing songs in praise of Ayyappan.
Then he turns to the sanctum and begins his acting. This is really
Ayyappankoothu. The dress of Ayyappankoothu is representative
and symbolic of Nandikeswara dialogue. It is in the model of a
storytelling by Nandikeswara to Ayyappa, the story of Ayyappa.
Kalathilattam
An important rite associated with
Ayyappan Theeyattu is Kalathilattam.
Theeyati Nambiars come
to the kalam in a dress
suitable for the komaram.
Wearing white cloth,
tying red cloth around his
waist, covering his body
and hand with sandal
paste, putting on the
garland that he gets from
the sanctum, and getting
the sword, he moves
about as komaram. It is a
type of sword dance.
During his dance he
completely destroys the
kalam. This is perhaps the
most
interesting,
dramatic, and spectacular
scene in the Theeyattu.
When the komaram
dances in the kalam, other
Theeyati Nambiars sing
songs.
During Kalathilattam, komaram
speaks in an oracular manner. These
words are believed to be the words of
God; people present their sorrows and
desires in front of komaram; komaram
proclaim solutions for their problems.
The end of the scene is the return of the
sword to the sanctum.
Ayyappan Theeyattu is a performing
ritual that has not yet lost its originality.
A lot of people gather together in the
worship of this village god. Some believe
that the performance will keep away the
worries, troubles and diseases prevalent
in the community. In the
perspective of performing
theory of Ayyappan
Theeyattu, undoubtedly it
is an excellent art form of
supreme quality.„
December 2007
December 2007
KERALA CALLING
37
T E C H N O L O G Y
Ayurveda
the Cyber World
Dr K.T. George MD (Ay)
A
yurveda, the ancient and
glorious Indian therapeutic
method, is renowned as one
of the major systems of
alternative and complementary
medicine. Like other herbal therapies, a
greater part of its medicaments is based
purely on safe, remedial herbal drugs.
Today, there is a new awareness among
people regarding the efficacy of
Ayurvedic drugs, and a large number of
patients from different parts of the world
seek Ayurvedic treatment.
A thorough and comprehensive
knowledge about medicinal plants is
mandatory for those working in the field
of Ayurveda, in order to identify and
select the appropriate remedy for a
specific disease. Recently, interest in
medicinal plants has increased a great
deal. Apart from this, scientists in the
West have also been conducting various
researches on plant-based medicines.
However, an extensive website on
Ayurvedic medicinal plants did not exist,
till the establishment of the website
www.ayurvedicmedicinalplants.com.
This website is mainly concerned
with the morphology and therapeutic
properties of Indian medicinal herbs. The
findings of the researchers who have been
studying medicinal plants will be
incorporated in the near future. It also
includes relevant information on almost
all varieties of medicinal plants, especially
those grown in Kerala.
Visitors to the site can view highresolution digital pictures of Ayurvedic
medicinal plants, and read about their
morphology, therapeutic properties, the
principle behind the selection of a plant
as a medicine etc. Moreover, this site is
38 KERALA CALLING
December 2007
BIRDSANCTURY
regularly updated to deliver fresh content
to visitors.
Over 500 photographs of Ayurvedic
medicinal plants are available on the site
for easy identification. In addition to this,
the botanical name, family name,
Sanskrit, Hindi, English and Malayalam
names and synonyms of each plant are
displayed in a categorised multi-language
index. A search function is also
incorporated. In addition, visitors can
download Medical and Ayurvedic ebooks, screensavers, articles etc. A forum
for discussing matters pertaining to
Ayurveda is also present here.
According to Dr. Abraham, one of
the moderators of the site, some more
facilities will also be included, like an
active discussion forum headed by
eminent scholars for sharing information
and clarifying doubts about Ayurveda.
A page for home remedies, a feature for
the publication of research works in
Ayurveda and online sale of seedlings,
seeds, Ayurvedic raw drugs, prepared
drugs, extracts etc. will be available soon.
This website is maintained by a group
of Ayurvedic physicians in Kerala,
working both in the academic field and
general practice. This site is indeed a great
benefit, especially for students and those
interested in Ayurveda.„
The writer is Principal, Govt. Ayurveda
Medical College, Pariyaram, Kannur
It is decided to increase the
subscription
rate
of
Kerala Calling from January,
2008.
Annual subscription charge
willbe Rs 80. Subscription
charge for five years will be Rs
300. Amount can be remitted
by cash in the District
Information Office at Civil
Stations
or at the
Directorate of Information and
Public Relations, Thiru
vananthapuram. Single copy of
the issue costs Rs 8.
The amount may also be
sent by money order to the
Director, Information and
Public Relations Department,
First Floor, Secretariat Annexe,
Thiruvananthapuram - 1.
Budgerigars
the Australian Beauty
Dr D. Shine Kumar
T
hough it may sound incredible,
these cute native birds of Australia
were once upon a time a delicacy for
Australian aborigines. But today budgerigars
are internationally favoured pet birds. They are
commonly known as love birds; though in fact
the true love birds are a different species.
Hue, hue pattern
and its shapely figure
make these birds
outstanding. The
basic hue are green
and
blue
depending upon
genetic intensity. The
shade of green differ
light, dark and olive green.
The blue hue has also a
similar variation into
blue, cobalt and mauve.
The three pair of beauty
spots on either side above the
breast are the budgerigar
identity markings. The male is
distinguished from its blue markings
in the cere (Upper part of nostril).
The budgerigars that don’t have it are females.
The birds attain reproductive maturity at the age of
nine months. The female lay five to eight eggs in a clutch on alternative
days. 17 to 18 days is the incubation period.
Those rearing the birds should note that there should be separate
breeding and flight cages. The male and female should be separated for
four-five days before mating. For the first five days, mother will feed the
chicks with crop milk. Millet is the main food. Shelled egg, soyabean cake
sprouted wheat, carrot and sunflower seed, honey, bread are the soft food
alternatives.
Budgerigars have been subjected to genetic mutations for beauty
competitions. Some of the results are pied, crested and spangled and they
are real beauty queens. This ‘value addition’ pushes the price of a pair
from Rs.80 to Rs.1500. That makes it a great bird as a hobby and
commercial activity. The ‘budgees’ is simply conquering the world of
avian pets.
December 2007
KERALA CALLING
39
BIRDSANCTURY
regularly updated to deliver fresh content
to visitors.
Over 500 photographs of Ayurvedic
medicinal plants are available on the site
for easy identification. In addition to this,
the botanical name, family name,
Sanskrit, Hindi, English and Malayalam
names and synonyms of each plant are
displayed in a categorised multi-language
index. A search function is also
incorporated. In addition, visitors can
download Medical and Ayurvedic ebooks, screensavers, articles etc. A forum
for discussing matters pertaining to
Ayurveda is also present here.
According to Dr. Abraham, one of
the moderators of the site, some more
facilities will also be included, like an
active discussion forum headed by
eminent scholars for sharing information
and clarifying doubts about Ayurveda.
A page for home remedies, a feature for
the publication of research works in
Ayurveda and online sale of seedlings,
seeds, Ayurvedic raw drugs, prepared
drugs, extracts etc. will be available soon.
This website is maintained by a group
of Ayurvedic physicians in Kerala,
working both in the academic field and
general practice. This site is indeed a great
benefit, especially for students and those
interested in Ayurveda.„
The writer is Principal, Govt. Ayurveda
Medical College, Pariyaram, Kannur
It is decided to increase the
subscription
rate
of
Kerala Calling from January,
2008.
Annual subscription charge
willbe Rs 80. Subscription
charge for five years will be Rs
300. Amount can be remitted
by cash in the District
Information Office at Civil
Stations
or at the
Directorate of Information and
Public Relations, Thiru
vananthapuram. Single copy of
the issue costs Rs 8.
The amount may also be
sent by money order to the
Director, Information and
Public Relations Department,
First Floor, Secretariat Annexe,
Thiruvananthapuram - 1.
Budgerigars
the Australian Beauty
Dr D. Shine Kumar
T
hough it may sound incredible,
these cute native birds of Australia
were once upon a time a delicacy for
Australian aborigines. But today budgerigars
are internationally favoured pet birds. They are
commonly known as love birds; though in fact
the true love birds are a different species.
Hue, hue pattern
and its shapely figure
make these birds
outstanding. The
basic hue are green
and
blue
depending upon
genetic intensity. The
shade of green differ
light, dark and olive green.
The blue hue has also a
similar variation into
blue, cobalt and mauve.
The three pair of beauty
spots on either side above the
breast are the budgerigar
identity markings. The male is
distinguished from its blue markings
in the cere (Upper part of nostril).
The budgerigars that don’t have it are females.
The birds attain reproductive maturity at the age of
nine months. The female lay five to eight eggs in a clutch on alternative
days. 17 to 18 days is the incubation period.
Those rearing the birds should note that there should be separate
breeding and flight cages. The male and female should be separated for
four-five days before mating. For the first five days, mother will feed the
chicks with crop milk. Millet is the main food. Shelled egg, soyabean cake
sprouted wheat, carrot and sunflower seed, honey, bread are the soft food
alternatives.
Budgerigars have been subjected to genetic mutations for beauty
competitions. Some of the results are pied, crested and spangled and they
are real beauty queens. This ‘value addition’ pushes the price of a pair
from Rs.80 to Rs.1500. That makes it a great bird as a hobby and
commercial activity. The ‘budgees’ is simply conquering the world of
avian pets.
December 2007
KERALA CALLING
39
N
A
T
U
R
E
And quiet flows the
Meenachil
Meenachil river is the part and parcel of the
lives of rural areas as it is the source of
water in wells and for vegetation on the banks.
It is the source of water supply to the urban
centers in K
ottayam TTaluk
aluk also.
Kottayam
Dr C.Vijayalakshmi
T
he enchanting greenery and
natural scenario of Kerala are
linked with the gift of God
in the form of rivers. Periyar,
originating from the Shivani Hills,
Bharathapuzha, Pampa the river of
pilgrims, Chaliyar which originates from
Illam Thalavi Hills are major rivers. In
central Kerala in the districts of Idukki,
Kottayam and Alappuzha, Meenachil
which is 78 miles in length is a major
river. It has the network of numerous rills,
runnels, beeks, brooks, creeks, streams
and tributaries.
The river flows through Alappuzha
and Kottayam districts. It also flows in
Idukki district which is the western
40 KERALA CALLING
boundary of the river. Vaikom and
Meenachil taluks in Kottayam district are
also bounded by the river. The Meenachil
river originates from an altitude of about
1156 meters from the sea level.The
Meenachil river has the total area of
1208.11sq.km and the river covers an
area of 52 villages, 51 panchayats and
18 block panchayats. Chaganacherry and
Kanjirappally taluks form the eastern
December 2007
boundary of the river. Meenachil river is
formed by the Western GhatsKadampuzha from Annakunnumudi,
the Thikovil from the Kurisumala,
Marmalayar from Poonjar, the Chittoor
river, river from Kolahalamedu, create the
Meenachil river. She merges in the
Vempand lake, the largest backwater of
Kerala. Thus the river flows through a
broad landscape which has meadows,
F L O R I C U LT U R E
hills, isolated hillocks, narrow waterways, swamps, marshes and
reclaimed lands.
Actually there is no region in Kottayam which is not linked
to the Meenachil river through its tributories. The presence of
Meenachil is sensed through floods in the monsoon and
draught in the summer. The people of villages on the banks of
rivers claim that they have lost lands through soil erosion. It is
found out during the last 70 years at least 40 per cent of the
land in riverbank is lost through soil erosion. There is a great
increase in the width of the river. Sand mining is pointed out as
one of the major causes behind this transformation. Elder
generations reveal how scarcity of water was unknown in the
It is curious to note that the river
from Kidangoor to Kottayam is
very suitable for water transportation
for most part of the year with
the exception of monsoon seasons.
summer. They used to collect water by digging pits in the
sands. As sand was abundant water was clear and there occurred
three or four floods during monsoon. They point out how the
river became filthy and is becoming unsuitable for bathing.
The river changed its direction for the last 50 years. Most of
the brooklets and rivulets have disappeared. The elder
generation recollects that the river was also a source of
transportation. Boats used to bring fish. Similarly petty traders
used to come in boats with bangles, flowers and other cosmetic
items in the rural areas. It is curious to note that the river from
Kidangoor to Kottayam (25 km) is very suitable for water
transportation for most part of the year with the exception of
monsoon seasons. There is tremendous possibility for eco
tourism through water rides with lush greenery and calm river.
Like any other river, the Meenachil river also has profane
space. In the Kottayam Taluk there are eight major temples of
Travancore Devaswom Board. Most of the annual festivals are
associated with river as Aarattu (ceremonial bath of the lord
accompanied by Poojas on the river bank) takes place on the
last day of the festival. The Aarattu and ceremonial journey of
the lord in boat (Palliyodam) in the river are rooted in many
legends. The places in the river, adjoining temples
(Aarattukadavu), become sacred places during the festival. Most
of the temples also have boat races as part of the rituals.
Thus the Meenachil river is the part and parcel of the life
of the rural areas as it is the source of water in wells and for
vegetation on the banks. It is the source of water supply to the
urban centres in Kottayam Taluk also. In November and
December rural people from Karnataka region come and settle
here for a few days. They have traditional system of preparing
net on a large scale which is merged in the river. They usually
get big catch and will sell it in the markets. Thus the Meenachil
River literally means “river of meen”[fish]. There are 78 varieties
of fish in the river. Further, for the last 20 years the river has
become the source of sand, which attracts many to sand mining,
both legally and illegally.„
Lollypop
the Golden Candle
Suresh Muthukulam
T
he golden yellow tubular flowers displayed above
the foliage which contrast nicely with the dark
green canopy, resembles sweet lollypops fascinated
by kids; hence the name lollypop plant. The lollypop plant
which is an evergreen upright shrub growing upto 3 m
height and 1.5 m width. The dark green leaves are ovate
and opposite. A native of Peru, the flowers of the plant
resembles shrimp, we eat, thus giving it another nickname
‘Golden shrimp plant’; yet another name is ‘Golden
Candle’.
Since it posses the characteristics of a summer annual,
the lollypop plant is much suited to our garden climate
also. It can be grown in containers as an indoor house plant.
When grown in the ground, the plant needs a moist,
organically rich, well-drained soil in full sun. But it tolerates
partial shade too.
The plant sends out underground runners; hence with
a few plants and a few years, the lollypop plant will spread
itself to fill any space. It needs regular watering.
The narrow, tubular, two-lipped white flowers are
partially covered by and protrude from showy, overlapping
golden yellow bracts which provide the predominant
structure and colour to the 4-sided inflorescence. It blooms
throughout the year, especially from late spring to early
summer. The plant has to be pruned back to produce
compact growth, after a heavy flowering. Organic foods
like farmyard manure, dried cow dung, leaf manure, bone
meal etc. can be given occasionally for luxuriant growth.
Lollypop is propagated by cuttings. There are no serious
insect or disease problems. ‘More sun, more blooms’ is the
basic biological principle of Lollypop flowering.
Lollypop is much suited as a hedge, foundation, border
and mass planting annual.
The writer is Lecturer, B.K. College for Women, Amalagiri, Kottayam
December 2007
KERALA CALLING
41
E T H N I C F O O D
Indu Narayanan
Chocolate Fudge Cake
Meat and Egg Kabab
Mincemeat- ½ kg
eggs- 12
sour curd- 2 tablespoons
onion- one (chopped)
turmeric powder- ¼ teaspoon
chilli powder- 1 ¼ teaspoon
garam masala- one teaspoon
ginger garlic paste- one teaspoon
besan (channa dal powder)- 4 tablespoon
salt- to taste
Flour- 250 gms
butter- 130 gms
castor sugar- 130 gms
melted chocolate- half bar
cocoa powder- 30 gms
coffee powder- 2 teaspoon
baking powder- one teaspoon
For frosting:
milk- one cup
melted chocolate- one bar
Mix coffee powder and cocoa
powder in a little water and leave
aside. Cream the butter and sugar.
Beat in the eggs till light and fluffy.
To this add cocoa and
coffee powder mix. Sift
flour and baking
powder. Pour in the
egg mixture. Mix
thoroughly. Pour into a
greased baking tray. Bake in a pre-heated oven
at 180 degree C. for 40-45 minutes. Invert
and cool. Cut the cake in half horizontally
through the middle. Beat the milk and melted
chocolate together to form the frosting. Use
some to sandwich the cake layers together.
Spread out the rest on the top. Smoothen
with a knife. Top with grated chocolate.
Fish Cutlets
Fish- ½ kg (boiled and
mashed)
potatoes- ½ kg
green chilli paste- one
teaspoon
ginger garlic paste- one
teaspoon
onion- one (chopped)
egg- one
breadcrumbs- one
cup
salt- to taste
Mix all ingredients
except the egg and
breadcrumbs.
Form into cutlets
(in desired shape).
Dip in egg white
and roll in breadcrumbs. Fry till golden
brown.
Chocolate Butter Cake
Method: Boil the mincemeat with salt.
Add the masala and onion, and cook on
low heat for 30 minutes. Add besan and
simmer for 20 minutes. When the water
dries up knead the meat like dough. Add
the curd and 1/4 portion of a beaten egg
to this. Knead well. Hard-boil the rest
of the eggs. Take a little of the meat
mixture and coat it around the egg so
that it is totally embedded in the meat.
Dip in beaten egg and deep-fry till golden
brown. Repeat for all eggs. Serve hot.
42 KERALA CALLING
December 2007
Flour- one cup
castor sugar- ½ cup
butter- 100 gms
milk- four tablespoons
egg- one
vanilla essence- ¾ teaspoon
cocoa powder- 1 ½ tablespoon
Sift the dry ingredients together. Beat the
sugar and butter till creamy. Add the egg
and beat till fluffy. Add vanilla essence. Pour
in milk and egg mixture into the flour. Beat
lightly till smooth. Pour the batter into a
greased baking tray. Bake at 180 0 C, till a
knife put in comes out clean.
F L O R I C U LT U R E
hills, isolated hillocks, narrow waterways, swamps, marshes and
reclaimed lands.
Actually there is no region in Kottayam which is not linked
to the Meenachil river through its tributories. The presence of
Meenachil is sensed through floods in the monsoon and
draught in the summer. The people of villages on the banks of
rivers claim that they have lost lands through soil erosion. It is
found out during the last 70 years at least 40 per cent of the
land in riverbank is lost through soil erosion. There is a great
increase in the width of the river. Sand mining is pointed out as
one of the major causes behind this transformation. Elder
generations reveal how scarcity of water was unknown in the
It is curious to note that the river
from Kidangoor to Kottayam is
very suitable for water transportation
for most part of the year with
the exception of monsoon seasons.
summer. They used to collect water by digging pits in the
sands. As sand was abundant water was clear and there occurred
three or four floods during monsoon. They point out how the
river became filthy and is becoming unsuitable for bathing.
The river changed its direction for the last 50 years. Most of
the brooklets and rivulets have disappeared. The elder
generation recollects that the river was also a source of
transportation. Boats used to bring fish. Similarly petty traders
used to come in boats with bangles, flowers and other cosmetic
items in the rural areas. It is curious to note that the river from
Kidangoor to Kottayam (25 km) is very suitable for water
transportation for most part of the year with the exception of
monsoon seasons. There is tremendous possibility for eco
tourism through water rides with lush greenery and calm river.
Like any other river, the Meenachil river also has profane
space. In the Kottayam Taluk there are eight major temples of
Travancore Devaswom Board. Most of the annual festivals are
associated with river as Aarattu (ceremonial bath of the lord
accompanied by Poojas on the river bank) takes place on the
last day of the festival. The Aarattu and ceremonial journey of
the lord in boat (Palliyodam) in the river are rooted in many
legends. The places in the river, adjoining temples
(Aarattukadavu), become sacred places during the festival. Most
of the temples also have boat races as part of the rituals.
Thus the Meenachil river is the part and parcel of the life
of the rural areas as it is the source of water in wells and for
vegetation on the banks. It is the source of water supply to the
urban centres in Kottayam Taluk also. In November and
December rural people from Karnataka region come and settle
here for a few days. They have traditional system of preparing
net on a large scale which is merged in the river. They usually
get big catch and will sell it in the markets. Thus the Meenachil
River literally means “river of meen”[fish]. There are 78 varieties
of fish in the river. Further, for the last 20 years the river has
become the source of sand, which attracts many to sand mining,
both legally and illegally.„
Lollypop
the Golden Candle
Suresh Muthukulam
T
he golden yellow tubular flowers displayed above
the foliage which contrast nicely with the dark
green canopy, resembles sweet lollypops fascinated
by kids; hence the name lollypop plant. The lollypop plant
which is an evergreen upright shrub growing upto 3 m
height and 1.5 m width. The dark green leaves are ovate
and opposite. A native of Peru, the flowers of the plant
resembles shrimp, we eat, thus giving it another nickname
‘Golden shrimp plant’; yet another name is ‘Golden
Candle’.
Since it posses the characteristics of a summer annual,
the lollypop plant is much suited to our garden climate
also. It can be grown in containers as an indoor house plant.
When grown in the ground, the plant needs a moist,
organically rich, well-drained soil in full sun. But it tolerates
partial shade too.
The plant sends out underground runners; hence with
a few plants and a few years, the lollypop plant will spread
itself to fill any space. It needs regular watering.
The narrow, tubular, two-lipped white flowers are
partially covered by and protrude from showy, overlapping
golden yellow bracts which provide the predominant
structure and colour to the 4-sided inflorescence. It blooms
throughout the year, especially from late spring to early
summer. The plant has to be pruned back to produce
compact growth, after a heavy flowering. Organic foods
like farmyard manure, dried cow dung, leaf manure, bone
meal etc. can be given occasionally for luxuriant growth.
Lollypop is propagated by cuttings. There are no serious
insect or disease problems. ‘More sun, more blooms’ is the
basic biological principle of Lollypop flowering.
Lollypop is much suited as a hedge, foundation, border
and mass planting annual.
The writer is Lecturer, B.K. College for Women, Amalagiri, Kottayam
December 2007
KERALA CALLING
41
M O N U M E N T
Dr. S. Hemachandran
K
ottayilkovilakom on the bank
of the river Periyar, is a village
of religious harmony with
many historical monuments
like the ruins of a fortified palace
(Kottayilkovilakom) a Christian
Seminary and a Church, a Synagogue, a
Jewish Street and Symmetry, a Mosque
and a temple in the top of the hill.
Kottayilkovilakom was the seat of the
chieftain known as Villarvattathu
Swaroopam which had become extinct
around 12th century AD. Later the area
was assigned to the Paliam family who
were the traditional ministers of the
erstwhile Cochin State.
The Jews in Kerala, now few in
Jew’s
Kovilakom
The Jews in Kerala generally believe that
their ancestors reached Kerala after
the destruction of their second temple at
Jerusalem, around 70 AD
AD..
number, generally believe that their
ancestors reached Kerala after the
destruction of their second temple at
Jerusalem, around 70 AD. They were well
received in this country and were
encouraged by the rulers concerned. In
course of time they evidently attained a
considerable measure of natural
prosperity which is proved by the
copperplate charter granted to them by
King Bhaskara Ravi Varma, one of the
Perumals of Mahodayapuram who is
believed to have been ruled in the end of
the 10th century AD. The charter
conferred valuable privileges upon them
and raised the head of the Jewish
community virtually to a position of
equality with the ‘Naduvazhi’ chiefs.
They continued the enjoyment of this
high standing till the arrival of the
Portuguese, who not only persecuted
them but also compelled them to leave
their ancient settlement of Kodungallur
in 1565. Their compact colony thus
became scattered and they finally settled
themselves in Mattancheri, Ernakulam,
Chennamangalam, Parur and Mala.
The Synagogues known in
Hebrew as (‘Bed eke nesset’ –
house of god) in Kerala are
simple in architectural style
with high slope roof, thick walls,
large windows and doors
balcony etc. The inside of the
Synagogues are enriched with
wood carvings and paintings on
the ceilings on the altar known
as ‘eahal’ in Hebrew (where
‘torah’, the holy book of the Jews
are kept) and on the ‘thevai’ in
the centre of the hall where torah
is read. There is a balcony which
is divided into two portions one
for men and the other for ladies.
The most important prayer of
the week on Saturday’s known
as ‘Sahabath’ is conducted in
the front portion of the balcony.
Men used the staircase to the
balcony from the main hall
while the ladies were provided
with a separate staircase from a
staircase room outside the main
hall. Generally the staircase is a
spiral one, made of wood.
The Synagogue at
Kottayilkovilakom near
December 2007
KERALA CALLING
43
Chennamangalam was built for the Black
Jews (Black Jews are those who came from
the Asian region and the White Jews are
those who have came from the European
region) who had been thrown out from
Kodungallur by the Portuguese in the
17th century. As the evidence of their
plight they had brought inscribed grave
stones from Kodungallur and buried
near the Synagogue. One of these grave
stone is exhibited in front of the
Synagogue. The Synagogue was provided
with a large property and a place for this
symmetry on the valley of the hillock
where there is a temple. The Jewish street
in front of the Synagogue was a trade
centre until late 1960s when all Jews of
this street have left for Israel. The two
storeyed houses which are aligned to face
the street on both the sides were all sold
out to local people who have altered the
unique houses to suit their purposes.
Owing to negligence the Synagogue
was in a dilapidated condition when the
Department of Archaeology taken over
the building in 2003. Now after the
scientific structural conservation the
Synagogue is as good as the original. The
Jewish community who had left this
Synagogue appreciated the efforts of the
department and in collaboration has
arranged a beautiful photographic
display in the Synagogue in the “Jewish
Synagogues in Kerala”.„
44 KERALA CALLING
December 2007
P H O TO F E AT U R E
Big Catch
for a Bear Life
The fisher folk has
no other go,
but going for fishing.
Samson P. Samuel
makes his catch from
the lifes of the
coastal folk.
Kerala is ready for any type of
talk to solve the Mullapperiyar
issue, says
N.K. Prema
chandran, Minister for Water
Resources. He was inaugurating
an investigation sub division
office to prepare project for
the construction of a new dam
at Mullapperiyar.
Office for
New Dam
Inaugurated
Recent studies have shown that
the maintenance work done at
Mullapperiyar in 1979 is
insufficient for its existence.
Kerala has decided to construct
a new dam on the basis of a
report submitted by an expert
committee that the dam is not
safe.
E.S. Bijimole MLA presided over
the function, while K. Francis
George MP was the chief guest.
V.S Achuthanandan, Chief Minister,
inaugurating the Kollam - Kottappuram
National Waterway
Kollam - Kochi Kottappuram
Waterway
Opened
V.S. Achuthanandan, Chief
Minister, inaugurated the longawaited Kollam-Kochi-Kottapuram
national waterway for goods and
passenger
services.
This
waterway, known as National
Waterway-III, is expected to give
a big boost to the State’s
economy. This waterway is the
first phase of the project and is
205 km long and 32 metre wide.
Its depth has also been increased
to 2.2metre. This will make it
easy for even 500-ton barges to
pass through.
N.K Premachandran, Minis
for Water Resources visiti
Mullapperiyar Dam.
First School Health
Clinic Opened
The first school health clinic in the State was opened by Health Minister
P.K. Sreemathi Teacher at Cotton Hill Girls HSS,Thiruvananthapuram. Around
5000 students and 2000 parents and teachers are expected to benefit
from the clinic, which is an initiative under the School Health Programme
of the National Rural Health Mission.
The clinic will have a doctor and a nurse throughout the school hours.
The services of a gynaecologist and a clinical psychologist will also be
available. The staff and medicines have been provided by the NRHM.
It is hoped that this facility would help convey public health messages like
environmental sanitation and personal hygiene to children.
With eleven cargo terminals, the
waterway will facilitate the
movement of 100 lakh tons of
cargo each year, which will help
lessen road traffic. About Rs 85
crore was spent for the
development of this waterway.
The 12th Finance Commission had
allotted Rs 225 crores for the
renovation of the State’s
waterways and the whole project
will be completed in four years.
46 KERALA CALLING
P.K Sreemathi Teacher, Minister for Health, inaugurating School Health Clinic at
Cotton Hill Girls HSS, Thiruvananthapuram
December 2007
Coconut
Procurement
Programme Begins
or
am
ated
Mullakkara Ratnakaran, Minister for Agriculture,
has inaugurated a State-level coconut
procurement programme at the KERAFED regional
office at Elathur, Kozhikode. The scheme,
expected to benefit farmers affected by the drop
in prices of coconut, is the first of its kind.
Coconuts will be collected at Rs.4.40 each under
the supervision of KERAFED. It is proposed to
procure about four crore coconuts this season.
Co-operative societies, farmers’ clusters and
Kudumbashree will help to achieving the goal. This
programme has been started in Kozhikode,
Malappuram, Kannur, Alappuzha and Kollam and
will soon be extended to other districts.
ran, Minister
urces visiting
am.
Minister holds
Conference with
Entrepreneurs
Kerala bags
Gold Medal
P. Venugopal, Director, Information and Public Relations, Govt. of Kerala
receiving the gold medal for the best State Pavilion at IITF 2007 from Tejindar
Khanna, Lt Governor, Delhi.
Kerala won the gold medal for the
best state pavilion at the India
International Trade Fair held in
Pragati Maidan, New Delhi. After
receiving the gold medal from Delhi
Lt. Governor Thejinder Khanna,
P. Venugopal,Director of Infor
mation and Public Relations, said
that the success reflected the
excellence Kerala sustains in all
sectors, including development
and health.
The theme of the Fair this time
was ‘Agriculture Industry and Food
processing.’ Kerala pavilion
symbolically presented the State
tradition and its possibilities in this
field.
Various government agencies,
including the Department of
Forests, Farm Information Bureau,
Kudumbashree etc. had stalls in
the Kerala pavilion.
This is the 12th time in the history
of the Trade Fair that the State is
winning the gold medal. Last year
also Kerala won gold medal.
The pavilion was designed by artist
C.B. Jinan.
Minister for Industries, Elamaram
Karim, held a conference with 50
prominent industrialists who are the
brand ambassadors of Kerala in
Kochi, with the aim of creating more
job opportunities in the industrial
sector of Kerala.
The industrialists had a positive
reaction towards Government’s
interest to start 50 new industrial
units during the Golden Jubilee
period and commented that the
present scenario of the State is
investor-friendly.
In his introductory speech, the
minister said that the present
Government took stringent action
against the unhealthy tendencies
that existed in the industrial sector.
Many public sectors, which had
been suffering from loss, have
become profitable. Further, for the
very first time in the history, the
Central Government have put
forward a joint venture of 20000
crore with the State, the minister
said.
He added that the private sector
should also come forward to support
the Government’s venture in
manufacturing defence equipments
and infrastructure development.
December 2007
KERALA CALLING
47
Everything Smart
The Smart City project, on which Kerala has pinned its hopes
of becoming a global IT destination, is finally under way. The
foundation stone for the mega IT park has been laid at the
project site at Edachira, Kochi jointly by V.S. Achuthanandan,
Chief Minister, and Fareed Abdul Rahman, Executive Director
of Dubai Technology and Media Zone Authority (TECOM).
The Government had signed an agreement with TECOM for
establishing the Smart City on May 13 this year. This has set a
standard for all future multinational ventures in the State. It is
estimated to generate about 90,000 jobs in the first stage and
around five lakh jobs directly and indirectly in the last stage.
Of the 246 acres of land promised for the project, 234.5 acres
has already been handed over to TECOM on a 99-year lease.
The most important aspect of the new agreement is that out
of the total area, over 70 per cent is reserved for IT.
The project will create ideal infrastructure, environment and
support systems required for knowledge-based industries. Based
on the models of Dubai Internet City and Dubai Knowledge
Village, it will be one of the largest IT parks in India, having 88lakh square feet built-up space.
The project is proposed to be completed in ten years, with an
outlay of Rs 1700 crores. The Smart City will provide Keralites
trained in IT and related fields an opportunity to work in their
home state. It will also boost the image of the State as investorfriendly and progressive.
-Sharon G & Ruby Angel
LIFE & LINE
Deepak Mouthatil
The erotic sentiment
(Sringaram)
The comic sentiment
(Hasyam)
The pathetic sentiment
(Karunam)
The furious sentiment
(Roudram)
The heroic sentiment
(Veeram)
The terrible sentiment
(Bhayanakam)
The odious sentiment
(Beebhalsam)
48 KERALA CALLING
The marvellous sentiment
(Albutham)
December 2007
The peaceful sentiment
(Santham)
Everything Smart
The Smart City project, on which Kerala has pinned its hopes
of becoming a global IT destination, is finally under way. The
foundation stone for the mega IT park has been laid at the
project site at Edachira, Kochi jointly by V.S. Achuthanandan,
Chief Minister, and Fareed Abdul Rahman, Executive Director
of Dubai Technology and Media Zone Authority (TECOM).
The Government had signed an agreement with TECOM for
establishing the Smart City on May 13 this year. This has set a
standard for all future multinational ventures in the State. It is
estimated to generate about 90,000 jobs in the first stage and
around five lakh jobs directly and indirectly in the last stage.
Of the 246 acres of land promised for the project, 234.5 acres
has already been handed over to TECOM on a 99-year lease.
The most important aspect of the new agreement is that out
of the total area, over 70 per cent is reserved for IT.
The project will create ideal infrastructure, environment and
support systems required for knowledge-based industries. Based
on the models of Dubai Internet City and Dubai Knowledge
Village, it will be one of the largest IT parks in India, having 88lakh square feet built-up space.
The project is proposed to be completed in ten years, with an
outlay of Rs 1700 crores. The Smart City will provide Keralites
trained in IT and related fields an opportunity to work in their
home state. It will also boost the image of the State as investorfriendly and progressive.
-Sharon G & Ruby Angel
LIFE & LINE
Deepak Mouthatil
The erotic sentiment
(Sringaram)
The comic sentiment
(Hasyam)
The pathetic sentiment
(Karunam)
The furious sentiment
(Roudram)
The heroic sentiment
(Veeram)
The terrible sentiment
(Bhayanakam)
The odious sentiment
(Beebhalsam)
48 KERALA CALLING
The marvellous sentiment
(Albutham)
December 2007
The peaceful sentiment
(Santham)