Previously, Nirmala Paniker discussed her 1970s research linking Mohiniyattam with Kerala’s female traditions, particularly Nangiarkoothu, her collaborations with G. Venu, and ties to Ammannur Madhava Chakyar’s lineage. Here, she explores her research on hastabhinaya, netrabhinaya, and segments like Vanavarnana and Puthana Moksham.
How did the revival of Nangiarkoothu progress further at the Ammannur Gurukulam?
In 1984, with our research materials and Venuji’s encouragement, a beginning was made to recompose Nangiarkoothu at Ammannur Gurukulam. With two available attaprakaram-s and the addition of a few more compositions, Ammannur Asan wrote a new attaprakaram and started training a new generation of artists. Usha Nangiar, Kapila Venu, and Sarita were his disciples, who trained under his direct tutoring and guidance. By 1986, Ammannur Asan had trained a handful of practitioners who could present all 217 verses. This is how the revival of Nangiarkoothu commenced in Irinjalakkuda.
At this stage, I focused my studies on research work, concentrating more on the hastabhinaya (hand gestures) and netrabhinaya (eye expressions) as well as portions like Vanavarnana, Panthattam, Mayilattam, and Puthana Moksham. These studies helped me immensely to understand the relationship between eyes and hands and other nuances of acting. In the first edition of my book, I included acting details and the attaprakaram of only the first 59 sloka-s. In the revised version, the complete attaprakaram of Guru Ammannur Madhava Chakyar has been added.
I presume similar attempts were being made in other institutions like Margi and Kalamandalam for the revival of Nangiarkoothu?
Yes, you are right. In June 1979, I visited Adyar Kalakshetra, Chennai, to collect information about the mudra-s of Bharatanatyam. That day, D. Appukuttan Nair, who was providing suggestions for the natyagriha (theatre) at Kalakshetra, which was under construction then, happened to be there. When someone told him that a Malayali girl had come for research, he sent for me and asked what I was doing.
I explained that my main focus was Mohiniyattam and that I was there to collect information on Bharatanatyam. I also mentioned that I was researching Nangiarkoothu and Tiruvathirakali in Kerala. He paid special attention when I mentioned Nangiarkoothu.
He asked me what Nangiarkoothu was. I described to him what I knew about this female acting tradition, based on conversations with Guru Mani Madhava Chakyar and Kochukutty Nangiaramma. He greatly enjoyed hearing about Nangiarkoothu. “I am closely associated with Koothu and Kudiyattam and have been for many years, but I did not know it had an important aspect called Nangiarkoothu,” he told me.
He added, “I had heard that in Subhadradhananjayam Kudiyattam, there is a portion to be presented as a mono act by Nangiaramma-s. However, it is not performed these days. I was under the impression that it just remains as an attaprakaram. What you say sounds interesting, and you are the first person to tell me about this art form. Please carry on, and when you gather more information, do let me know.”
Later, when Onakkur Gopinathan Nambiar brought an attaprakaram and gave it to Venuji, we informed Appukuttan Nair. At that time, Nair, who was overseeing the Kudiyattam section at Margi, had conducted an extensive study of Balaleela, part of Srikrishna Charitam Nangiarkoothu, which was presented by Margi Sathi.
During my research, I visited Kerala Kalamandalam twice, but Nangiarkoothu was not yet included in the syllabus there. They informed me that they were concentrating more on Kudiyattam plays and female characters. As I mentioned earlier, Painkulam Rama Chakyar was leading efforts to improve the female characters in Nangiarkoothu at that time.
The old repertoire of Nangiarkoothu was focused largely on Sreekrishna Charitam. However, nowadays, other themes also feature in modern Nangiarkoothu performances. Could you please talk about this evolution?
Yes, Nangiarkoothu was traditionally a solo, ritualistic performance staged in temples, with its leitmotif being Sreekrishna Charitam or the story of Krishna. The only occasion when it was presented outside temple precincts was beside the chutala or cremation grounds of an akkithirippad (a person performing yagas). These performances were called Chutala Koothu.
Even after the revival of the art form during the 1980s, only traditional practices continued. It was Margi Sathi who broke new ground by creating the play Sree Rama Charitam in Nangiarkoothu. She choreographed it as the nirvahanam (pre-story recital) of Sita in Uttara Rama Charitam, beginning with Sita’s purappad (stage entry) in the third act of the play. Sathi also produced Kannaki Charitam, based on the heroine of Chilappathikaram, the ancient Tamil treatise believed to have been composed in Kerala.
Another milestone in the growth of Nangiarkoothu was the contribution of Natanakairali, already engaged in the resurgence of the art form. Venuji choreographed the first sloka of the hymnal poem Soundarya Lahari by Sree Sankaracharya, elaborating the story of Shiva and Parvati. The expressiveness inherent in the hymn that begins with the words Siva Sakthya states: “If Shiva is united with Shakti, he becomes able to manifest; otherwise, this God does not even pulsate.”
This hymn conveys the profound truth that the survival and welfare of existence depend on the harmony between man and woman. Kalidasa’s Kumarasambhavam, which Aurobindo described as the greatest work composed on the drama of human life, was chosen to depict this truth in the performance. Performed by Kapila, it emphasised abhinaya (expression). Similar productions of Kalidasa’s Abhijnana Sakuntalam and Vikramorvasheeyam, directed by Venuji, created new opportunities for female roles in Kudiyattam.
Productions by Usha Nangiar in recent years have also been instrumental in restoring the prominence of female characters in Kudiyattam. These include the nirvahanam of Mandodari (fifth act of Ascharyachoodamani), Lalitha (second act of Ascharyachoodamani), and Subhadra (fifth act of Subhadradhananjayam); the purappad of Karthyayani and Tapati (Samvarayanam, act 2); as well as the purappad and nirvahanam of Menaka, Rambha, and Draupadi (Veni Samharam).
Needless to say, Nangiarkoothu is the only surviving solo performance exclusive to women, rich in antiquity and acting techniques. It has immense potential for growth and flourishing. Many talented new artists are emerging today.
I shall be gratified if my humble studies contribute to the recognition and popularisation of Nangiarkoothu, which, without doubt, is on a path of growth and glory.
