DANCE

I knew that dance and music are manifestations of culture. In the ‘Vedapathasala’ and later ‘Kudipallikudam’ attached to the Siva Temple, there were teachers in these faculties also to teach the interested students. ‘Kathakali’, exponents who stayed in Kutarappilly Mana used to conduct classes in that ‘Kudipallikudam’. These dance forms helped the students to broaden their horizon and demonstrate a desire to portray things, ideas and people. A dance student who could facially express ’Navarasa’, nine tastes or sentiments in aesthetics, like -‘Sringar’, love, attractiveness (Presiding deity -Vishnu); ‘Hasya’ laughter, mirth comedy (Presiding deity-Pramata); ‘Karuna’ compassion (Presiding deity - Yama); ‘Raudra’,  fury (Presiding deity -Rudra); ‘Vira’ heroic mood (Presiding deity Indra); ‘Bhayanaka’ horror, terror (Presiding deity - Kala); ‘Bibhalsa’ odious, disgust (Presiding deity - Mahakal); ‘Adbhuta’ wonder, amazement (Presiding deity -Brahma) and ‘Shanta’ peace, serenity (Presiding deity - Narayana), was considered a great achievement. ‘Mohiniyattom’ is one of the most impressive dance forms of Kerala. ‘Bharatha-Natyam’ is another popular dance form.

Artist Madhava Menon, Thekkinezhath at Panangad, was a veteran dancer during the 1950s and 60s.  It was fascinating to note his facial expressions especially his eye movements; his lips were always red due to the constant chewing of betel pan. His curly hair was always grown to shoulder length. The rythmatic movements of his body, even while walking, portrayed the artist in him. He was the drawing cum dance master of St. Mary’s L.P. School. He had a lot of disciples to his credit. He used to perform classical dance forms and ballet. “Puthana Moksham” was one of his ballets, from a popular epic story, “Bhagavatham” in dance form accompanied by the music of a veteran musician, “Kumbalam Baburaj”. The story is as follows: -

“King Kamsan is aware that he is predestined to be killed by his nephew, Sree Krisha. Despite that he wants to kill the child, Sree Krishna, at Ambadi and deputes the demoness “Puthana” to achieve his goal. Puthana disguises as  a beautiful woman by name Lalitha and  enters the landscape of Ambadi, describes the beautiful girls and their dances, looks around with surprise at the  grandeur  of Mount Govardhan, the cows grazing in the meadows, the Gopikas churning butter out of curd,  and finally she enters the house of Lord Sree Krishna, unnoticed by anyone. On viewing the divine child, Puthana suddenly is confronted with conflicting emotions. To attempt to return to Kamsan is to invite certain death, and any attempt to tamper with the life of Lord Krshna will also end her life. She chooses the latter, for in the event of ending her life at the hands of the Lord will get her Moksha, salvation. She feeds Baby Krishna her poisoned breast.  But, Baby Krishna draws out the last drop of life-blood out of her. She tries to separate him but in vain. Before she falls dead; she reveals her identity. Sree Krishna is pleased; Puthana then attains Moksha, salvation.”

This ballet used to be one of his masterpieces which he performed in connection with temple festivals. Madhava Menon acted the character of Puthana. His favourite student, Baby Chakkalackal, was one of the female artists. I was fortunate to witness this spectacular stage performance at Kumbalam Girls High School; ‘Appachan’ took me for the show when I was eight years old. Shri. Sreedhara Kaimal Ollarikkat-Mynapilly told me the story and that helped a lot to understand and to enjoy the ballet, in the company of my friend, Govindankutty Chakkanat.

Unfortunately, the ancient Vedic schools in Kumbalam which spawned great masters of music and dance closed down about hundred and fifty years ago due to lack of patronage and financial support.

Excerpts from

MEMOIRS

An autobiography

by

Joseph J. Thayamkeril

Lawyer, Kochi, Kerala, India.

josephjthayamkeril.blogspot.com