Author: IKKF

Kalyanasaugandhikam Vyayogam is believed to have been written by the poet Nilakantha in 6th or 7th century CE. The poet, speculated to have been a Chakyar (actor) from North Kerala has adapted the original plot to enhance its dramatic quotient. The core premise of Bhima setting out for Saugandhikam flowers for his consort and meeting his brother Hanuman in the forest is well known. In his play, Nilakantha introduces a demon Krodhavasa and two celestial beings – Kalyanakan and Gunamanjari – to theatrically enhance the narrative. Taut and brief, Saugandhikam is a good illustration of how the underlying text can…

Kathakali Vesham Sadanam Krishnan Kutty Kalamandalam Krishnakumar Kalamandalam Kesavan Namboothiri Kalamandalam Sivadasan Kalamandalam Harinarayanan Kalamandalam Hari R Nair Kalamandalam Arun Warrier Pattu Kalamandalam Babu Namboothiri Kalamandalam Hareesh Vengeri Narayanan Kalamandalam Krishnakumar Chenda Kalamandalam Krishnadas Sadanam Jithin Maddalam Kottakkal Ravi Kalamandalam Vineeth RLV Sudhev Varma Aniyara Pallippuram Unnikrishnan …

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. Thaayampaka beleived to have flourished during the feudal era, spans an average of 90 minutes. It begins at a slow pace before scaling on to a medium tempo…

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. Koodiyattam is a timeless theater. Having a traceable history of nearly 2000 years, it is as contemporary as it is classical. In its narratives and theater, Koodiyattam never felt out of place in a classical, neo-classical, modern, post-modern or deconstructed world. In much the same vein, this art form was bold enough to set up a women…

Classical theater forms, like Kathakali, is about imaginative recreation. The author of the play usually starts with a well known narrative, mostly from Ramayana or Mahabharatha. It is only in terms of subtle emphasis and minor variations in the plot that the the stage adaptation then follows a highly structured form and syntax to deliver this narrative. What then attracts the connoisseur to be engrossed in a performance again and again? Once novelty as an attraction is precluded from the stage, nuances, improvisations and rediscovery are all that remains – for the performer and the connoisseur. Both Kathakali and Koodiyattam…