Author: IKKF

Karthika Thirunal, the legendary King of Travancore known as Dharmaraja penned several plays. He is however an unfortunate author as most of his plays were superseded in Kathakali by works of other authors who dealt with identical themes. Subhadraharanam, Kalyanasaugandhikam and Bakvadham were three such plays. Subhadraharanam written by Mantredath Nampoothiri became much more popular on stage and eventually Karthika Thirunal’s version went out of use. IKKF would also stage the popular version of this classical play. In the first part, Arjuna the hero weds Subhadra. The wedding was arranged on the sly by Subhadra’s brother Shreekrishna without the consent…

The plot is congruent with and precedes Uthara Swayamvaram. Keechaka is a classical example of Kathakali’s fascination with anti-hero. A boorish character from Mahabharatha is transformed to a nuanced womaniser with many shades in this play. Sairandrhi, the consort of Pandavas in disguise is the object of Keechaka’s lust. While his misdemeanours are unpardonable, the character often endears himself by his all too human weaknesses. Bhima, disguised as Valala the cook comes to the rescue of Sairandhri. Kichaka’s attraction proves fatal. But so powerful is the impression he leaves that the play often appears as a tragedy to the connoisseur…

Karnashapadham is a Kathakali modern in origin (late twentieth century) though in spirit it belongs to the Travancore court and preserves much of the classicism and flair for melodrama. The plot is a subtext of Mahabharatha, and the protagonist is Karna the eldest son of Kunthi born out of wedlock. Circumstances force Kunthi to disown Karna as soon as he is born. Karna is fostered by a charioteer. He grows up to be a great warrior and is befriended by Duryodhana, the Kaurava prince. Karna is fiercely loyal to Duryodhana and Kunthi is caught in a dilemma when her sons…

Narakasuravadham, another play penned by Dharmaraja fared far better. The prominence enjoyed by the anti-heroes in Kathakali and the romantic interlude in slow tempo (Pathinja Padam) that is the norm for anti-heroes were contributions of Karthika Thirunal. Narakasuravadham is a typical example of this approach. The play begins with Nakrathundi, a demoness serving Narakasura visiting the abode of Gods in the form of Lalitha, a beautiful character concept in Kathakali. Lalitha usually is a demoness in the garb of a noble woman, and thus the portrayal calls for a nuanced treatment on stage. Nakrathundi is enamoured of Jayantha, the son…

Irayimman Thampi, another court poet of Travancore to flourish in the first half of nineteenth century composed three great Kathakali plays, Utharaswayamvaram, Keechakavadham and Dakshayagam. The first two of these are from the Virata Parva of Mahabharatha when Pandavas, the protagonists of the great epic are in exile. As per the rules of a dice game played by Pandavas and Kauravas, the former are staying in disguise in the kingdom of Virata. Kaurava prince Duryodhana, the antagonist, plots to uncover the identity of Pandavas in a bid to extend their time in exile. He sends his trusted lieutenant Thrigartha to…

The first day of IKKF would feature Rugmangadacharitham and Utharaswayamvaram. Rugmangadacharitham was penned in the latter half of eighteenth century by Travancore courtier Mandavappalli Ittirarissamenon. The play is a seamless amalgamation of the two popular medieval themes of Bhakti (devotion) and Sringara (Romance). Rugmangada, scion of the Sun dynasty, is enamoured of the enchantress Mohini. His lascivious pursuit aside, Rugmangada is steadfast about the observance of Ekadashi in which celibacy and fasting are important. In a bid to test Rugmangada, Mohini approaches him with amorous intent on the day of Ekadashi. The conflict that ensues and how Rugmangada’s wife and…

Kathakali Vesham Kalamandalam Gopi Vadakke Manalath Govindan Nair popularly known as Kalamandalam Gopi is an accomplished Kathakali artiste universally accepted as the personification of elegance, beauty and proficiency in acting. He is a disciple of the renowned Kalamandalam Ramankutty Nair, Kalamandalam Padmanabhan Nair and Keezhpadam Kumaran Nair, and was trained at Kerala Kalamandalam. He is the reigning king and epitome of pacha vesham in Kathakali. During his long forty years career in Kalamandalam, he has trained and perfected many a talents and brilliant disciples. As a torch-bearer of this exquisite Indian culture, he has enchanted the world with the magical…

Helping the audience learn the language of the arts The Lecture-Demonstration sessions provide a comprehensive introduction to the art enthusiast enabling them to enrich their understanding and appreciation of the art forms presented at the events. IKKF 2016 will feature two lec-demo sessions, one each on Mohiniyaattam and Kathakali. Stylization in Mohiniyattam Stylization defines the essence of any classical art form. Even as it evolves and transforms under temporal, regional and artistic influences, the core remains characteristic and lends identity to the classical art form. Mohiniyattam is no exception to this rule. Mohiniyattam was reborn in Kerala Kalamandalam towards the…

Thaayampaka draws from the rich percussion heritage of Kerala that has evolved a unique and delectable identity while conforming to the larger landscape of Indian rhythmic systems. Unlike Panchavadyam and Melam which brings together a larger ensemble of artistes, Thaayampaka is performed by one or two chenda artistes with a few accompanists. The progressively crisp yet intricate rhythm structure and improvisations galore transport connoisseurs and laymen alike to the realm of rapture. Mattannur Sankarankutty Marar ‘Mattannur’, as Sankarankutty Marar is affectionately called by the legion of art lovers in Kerala, has so shaped the tastes of Thayampaka enthusiasts in our…

Presented as solo recitals by woman, Mohiniyattam is a gracefully elegant classical dance form with lasya as the predominant element.  It has approximately 40 basic movements, known as atavukal. The dance follows the classical text of Hastha Lakshanadeepika, which has elaborate description of mudras (gestural expressions by the hand palm and fingers). The vocal music of Mohiniyattam involves variations in rhythmic structure known as chollu. The lyrics are in a mixture of Sanskrit and Malayalam. The dance is performed to this accompaniment by the subtle gestures and footwork of the danseuse. The performer uses the eyes in a very delicate…