Author: IKKF

Kathakali originated as Ramanattam in the royal court of Kottarakkara in South Central Kerala. The transformation from Ramanattam to the stylized classical art form of Kathakali was consummated in the Northern kingdom of Kottayam. The southernmost kingdom of Travancore (Venad) was in ascendancy from the beginning of 18th century. Reflecting Kathakali’s pan-Kerala appeal, and the cultural ascendancy of Travancore much of the further development of art form till twenteeth century took place in the royal court of Travancore. For the tenth edition of IKKF, Traditions Live brings some of the celebrated plays from the Travancore court to art lovers of…

 Panchavadyam (literally a recital of five instruments) is an ensemble percussion art form that has graced almost all major traditional festivals of Kerala. Though historical references to ‘Panchavadyam’ are available at least from ninth century CE (including copper plates and rock inscriptions), historians are of the opinion that it would most likely have been a very different ensemble than what we have today. In its present form, Panchavadyam was formulated in the first half of twentieth century in central Kerala and has since enthralled audiences across the state and beyond. While Panchavadyam adheres closely to the structure and approach of…

The Lecture-Demonstration would focus on “Kottayam Kathakal (Kottayam Stories)”. These plays which completely capture (even define) the form and substance of Kathakali provide an ideal basis for an introduction on Kathakali. The lec-dem would have three parts. (a) The first part named “Form and Substance of Kathakali in Kottayam Kathakal” would cover the text, enactment and their synthesis of the four plays. This part is intended to provide an integral view of Kottayam Kathakal. (b) The second part titled “Kalyanasaugandhikam – Text and On Stage” is an attempt to explore the most popular of Kottayam Kathakal in some depth.  (c)…

Padhakam or Prabandham is the great narrative tradition of Kerala. This art of story telling is fast dwindling in the onslaught of modern media.  The art form can be considered as typical Keralite model of narratology and interpretational technique.  The very essence of the composition is explained in detail, almost like an eloquent lecturer to his students.  The section being covered here by Srihari Chakyar would be the destruction of Ashoka Gardens of Lanka by Hanuman (Udyaana Bhanjanam).  The write up for the same is taken from “Ramayanam Prabandha”.  Hanuman commencing the destruction, the guards getting killed, Hanuman killing the…

Recognised by UNESCO as one among the “Masterpieces of the Oral and Intangible Heritage of Humanity”, it is the only surviving Sanskrit theatre in the world. Extant over 2000 years, it is arguably the oldest existing classical theatre form in the entire world. Subhadradhananjayam Koodiyaattam In Shailooshakam, the first Act of the play Subhadra Dhananjayam written by the Cheraman King Kulashekaran nearly ten centuries ago would be enacted across three days of the event. The first Act depicts the hero Arjuna setting out from his palace for an year of penance with his friend Kaundinya. The heroic exploits of Arjuna…

Nangiarkoothu is a women only theatre that closely follows the contours of Koodiyattam. In Shailooshakam, Akrooragamanam (The visit by Akroora), an episode from the Sreekrishna Charitham by the Cheraman King Kulashekaran would be enacted. The act depicts Akroora, benign servant of the cruel King Kamsa biding his time for an opportunity to meet Sreekrishna. Luck favaours him when Kamsa orders him on a mission to bring Krishna and his brother from Vrindavana to his palace. The elation of Akrura and his reminiscence as he travels to Vrindavan would be portrayed by the Nangiar (actress) on stage. Sreekrishna Charitham Akrooragamanam (The…

Click to open Keleeravam 2015

Utsavam IKKF 2015 – A VIEWER’S OVERVIEW -by Dileep Kumar Here is an account of the just-concluded IKKF extravaganza, being one of the spectators almost throughout the 4-odd days. It is a usual practice that the performances are evaluated before anything else. In this years’ Utsavam two things most impressed this author instantaneously, so much so, that he is prompted to comment on them first. a) Kathakali Artist Management vis-à-vis Characters to be represented Presenting all the four Kottayam plays with just 8 actors was really appealing – especially in Bakavadham and Kirmeeravadham, which were presented almost in full, without…

തായമ്പക (ലേഖകൻ: ഇരിങ്ങപ്പുറം ബാബു) താളത്തിൽ വകകൾ കൊട്ടി നിറയ്ക്കുക എന്ന അവതരണധർമ്മത്തിന്റെ അടിസ്ഥാനത്തിലാണ് തായമ്പക എന്ന കലാരൂപത്തിന് പ്രസ്തുതനാമകരണം ചെയ്തിരിക്കുന്നത്. കുറച്ചുകൂടി നാടൻ ഭാഷയിലേയ്ക്ക് വിവർത്തനം ചെയ്യുകയാണെങ്കിൽ തായം + വക = ഏകതാളം + വകയാണ് തായമ്പക എന്ന് വ്യാഖ്യാനിക്കാം. ഒരു അവതാരകനും രണ്ട് വീതം വലംതല വട്ടക്കാരും, ഇടംതലവട്ടക്കാരും, ഇലത്താളക്കാരുമാണ് ഒരു തായമ്പക അരങ്ങേറുവാൻ ആവശ്യമായിട്ടുള്ളത്. അവതരണവേദിയിൽ രംഗവിളക്ക് കത്തിച്ചതിനുശേഷം സദസ്സിനഭിമുഖമായി വിളക്കിന് മുൻപിലായി, അവതാരകനും, അദ്ദേഹത്തിന്റെ ഇടത്തും വലത്തുമായി, വിളക്കിന് അഭിമുഖമായി ഇടംതല വട്ടക്കാരും, അവതാരകന് പുറകിലായി വലംതല വട്ടക്കാരും ഇലത്താളക്കാരും അർദ്ധവൃത്താകൃതിയിലും നിലയുറപ്പിച്ച ശേഷമാണ് തായമ്പക ആരംഭിക്കുന്നത്. ഒന്ന്, രണ്ട്, മൂന്ന്, അഞ്ച് എന്ന ക്രമത്തിൽ പ്രധാന അവതാരകന്മാരുടെ എണ്ണത്തിൽ വർദ്ധനവ്‌ വരുത്തി സിംഗിൾ, ഡബിൾ, ട്രിബിൾ, പഞ്ച തായമ്പകകൾ അവതരിപ്പിക്കാറുണ്ട്. പ്രധാന അവതാരകരുടെ എണ്ണത്തിനനുസരിച്ച് വലംതല, ഇലത്താളം എന്നിവയുടെ എണ്ണത്തിനും വർദ്ധനവ്‌ ആവശ്യമെങ്കിലും ഇടംതല വട്ടക്കാർ രണ്ടു തന്നെയേ പതിവുള്ളു. വലതുകൈയിൽ കോലുപയോഗിച്ചും,…

Click to open Utsavam 2015 Invitation