How trend and tradition make Koothu vibrant
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The two-day event organised by Prakriti Foundation was an attempt to put Koothu in the right perspective. The seminar was stimulating and the plays were well-enacted, writes KAUSALYA SANTHANAM.
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A slice from the two-day event organised by the Prakriti Foundation.
THE TWO-DAY event organised by Prakriti Foundation on ``Tamil Koothu: Reassessing tradition and modernity" at Sundar Mahal had much to offer both to the cognoscenti and the uninitiated about this performing art form. Academic discussions, performances, demonstrations and films aimed to provide an understanding and appreciation of this robust form that is a ritualistic theatre tradition of an agrarian society. Though it is vigorous, of the soil and combines song, dance, theatre and social commentary in a highly entertaining fashion, its `folk' nomenclature has precluded it from its rightful place in the arts.
The seminar sought to place the form in a correct perspective, discussed the changes that are needed to ensure its good health, how it can be taken to the urban areas and to the youth, and concluded that in its present state, Koothu has a vibrancy that assures its future as long as the element of ritual integral to its prosperity remains strong in the village communities.
Ranvir Shah and V. R. Devika, curators of the event, set out to answer the question whether we can look at the freedom and flexibility this form provides to reassess the paradigms of tradition and modernity for Koothu has the elements of the contemporary as well as the qualities of humour and celebration. Talking about the poor response to the documentary films, Ranvir said ``We organised this event as we felt Prakriti was becoming too elitist. We are trying to create a space in the urban set up to a rural form. One can only be a cultural catalyst not a cultural policeman. People come and go... it's like Theru-k- koothu."
The framework was set on December 11 through presentations by Koothu scholars Hanne de Bruin, ethnomusicologist, S. A. K. Durga and historian Sundar Kali. The nomenclature was discussed the first day — whether the term Therukoothu is a misnomer. The discussion that followed was moderated by theatre personality Bhagirathi Narayanan.
Hanne who is the co-founder of the Kattaikoothu Sangam at Kanchipuram has researched the Kattaikkoothu tradition. Hanne said the form is shaped by the social, economic and cultural conditions of the rural society from which it has sprung and which nourishes it.
Kattaikoothu is the theatre of the common people in the northern parts of Tamil Nadu. Though labelled ``folk," it does not fall into this straitjacket. It is a highly complex, multi-medial, interactive form of theatre that uses song compositions, acting, dance intricate make up and costumes to present narratives during all-night performances.
Neither does it use an elevated stage nor is acted out at random spaces in or along the streets, as Therukoothu the name suggests. A ground level performance area often adjacent to the temple is employed. The principal characters wear ornaments made out of lightwood (which gives it its name). It usually uses scenes from the Mahabharata and is supported by the village communities. Hanne traced its origins and history and how it faced competition from the ``natakam" in the second half of the 19th century.
The scholar dwelt on how it is a medium through which sacral powers are invoked and contained and stressed its ritual quality as it is generally performed during the Draupadi Amman temple festivals.
Common man idiom
Dr. Durga said tradition and modernity intermingle in the Koothu of Tamil Nadu. Music, dance and the spoken word are taken from the classical tradition but in an idiom understood by the common man. Classical ragas are sung here in a dramatic way. Many songs have long charanas and the pitch employed by the singers is very high. The human body is used to create abstract expression in space. She described the percussion instruments used and enumerated the changes that have taken place such as the shortening of length. She suggested that textbooks could be written on Koothu so that it can be taught in universities.
Dr. Sundar Kali of American College, Madurai, spoke of the ``Isai natakam" in Thanjavur district and how it differs from the Koothu in other areas in terms of style, structure, presentation and attire. He dealt in detail about the staging of ``Hiranya vilasam."
He described the active role played by the spectators — the community — and how the stage space expands to become ritual space to accommodate them. Through the means of a cloth barrier the spectators keep Narasimha and Hiranya from attacking each other physically. Society here acts as mediator to impose order and establish the triumph of good over evil and therefore it is the real hero of the Koothu.
In the afternoon, documentaries were screened on the rituals of Koothu. The first was on ``Arjunan Tapas" and the second on ``Padukalam" in Purisai made by the Kattaikoothu Sangam and Koothu-p-pattarai respectively.
Hardly a handful of viewers was present to watch the films which provided a good introduction to the performances that followed that evening and the next. Though the films were very informative, it needed great patience to watch them as they were constantly fast forwarded... one expects better from Prakriti. A feature film ``Avataram" directed by Nasser was also screened later.
The films were followed by a highly well enacted portion from ``Pathinettam Por," a Koothu in the Perungattur style by the Kattaikoothu Sangam . Music helped vault the language barrier. The garden of the Sundar Mahal provided an intimate setting. As Duryodhana seeks refuge in the pool from Bhima's wrath on the 18th day of the war, he chides himself about why he started the war. As he tries to hide in the battlefield among the corpses to escape from Bhima and later remembers his meeting with Krishna who persuaded him to desist from war, the interchanges with the common man and Lord Krishna were lively and humorous.
The audience enjoyed itself hugely and the rural urban divide was nowhere to be seen. An all-night Koothu ``Draupadi Vastiraharanam" by the Purisai Duraiswamy Kannappa Thambiran Therukkoothu manram that followed at the Corporation Playground nearby also attracted a very good turn out.
The next day's panel discussion by Koothu artiste Sambandan of Purisai, P. Rajagopal of Kanchipuram, Theatre Director Na. Muthuswamy and teacher Rajarathinam of Dharmapuri also threw up interesting questions.
Theatre person Pravin who moderated concluded that Koothu was alive and well and its future was quite bright.
The events dovetailed neatly but Prakriti tends to cram too much into any thematic event it organises which leads to a thinning of attendance during certain sessions and to a feeling of weariness even among the enthusiastic. It becomes too much of a good thing though the passion of the organisers has to be appreciated.
Also the same groups are seen again and again which leads to a kind of monotony. But Prakriti does its homework well and the pamphlets distributed during any event it organises shows how well prepared and researched its programmes are.
Young torchbearers
IF ONE had any doubts about the future of Kothu, he or she had only to attend the splendid show ``Veriattam" put up by the young members of the Kattaikkoothu school, Kanchipuram, to feel their spirits soar. Bright as a button, the children of Koothu artistes showed that they were the torchbearers of a wonderful tradition, Trained by the dedicated couple Rajagopal and Hanne, they did their mentors proud in costumes as fresh as their attractive faces. The audience was entranced as the pint sized and the teenage performers enunciated their dialogue with clarity, sang their songs tunefully and went through their paces with a clear understanding of their roles. The sepoy in his suit of red who twirled his baton with such elan and the little sutradhars (especially the girl in a black tinselled paavadai) spoke their lines with such a sense of timing that the audience's heart was won. Even an occasional actor forgetting the words added a natural touch. The children were from underprivileged families and ``this was the first time that girls had participated in professional Kattaikoothu training."
``Veriattam," written by Rajagopal was on the theme of possession. Greed and power turn Kaliyugasuran into a monster king. The oppressed subjects are helped by the good and valiant queen Vempuli who is advised by a wise Kurathi (gypsy). The moods of sorrow, remorse and triumph were built up both through the acting and the music. The introduction of Pulivesham, a theru-k-koothu within the koothu and a temple festival gave the show a rich look. But the scene with the flaming torches with huge embers falling off was a hazard that could have been avoided.
Modern overtones
``PADUKULAM" IS one of Koothu-p-pattarai's best productions. Brilliantly conceived, written and directed by Na. Muthuswamy, it relates the strife in the Mahabharata to present times. Extremely strong in its theatre elements, the play weaves the real happenings in the village and the Koothu that is being staged there in the most fascinating fashion to present a colourful tapestry of actions and emotions.
Taking off from the Padukulam (the battlefield) ritual practised on the last day of the Bharata Koothu in villages, the play seamlessly braids together the enactment and the real life enmity between two cousins. The cousins play the principal characters of Bhima (Babu) and Duryodhana (Jaya Rao) in the Koothu. There is no let up in the ferocity of their combat from the very beginning as they have deep rooted differences regarding a piece of land. And when the play ends, the epic combat is enacted with all the anger and the enmity of the original and real life imitates art with all its tragic tones. .
The blowing of the conch in the darkness sets the sombre mood of war and combat. The rituals of the Koothu artistes being offered new garments and the appearance of the sutradhar bring in the Koothu aspect.
The story of Aravan, Sanjaya's narration of the progress of the war to Drithirashtra and Gandhari, Duryodhana's flight from Bhima, his recitation of the Sanjeevimantra while hiding in the pool, Krishna's arrival with bhima, Aswathama bringing in the heads of the Upapandavas under the impression they are the Pandavas, are interspersed with scenes of the Sutradhar talking of the arousing of passions through the sacrifice of a cock for the performance, the woman artistes donning their make up ...The constant juxtaposing shows a mastery of script writing , heightening the drama without losing sight of the plot. The scene of the men lusting after the women performers diluted tension and was too grotesque in its parody. Another irritant was the scanty costumes of the cannibals and Lord Siva.
Strange that Koothu-p-pattarai sometimes avoids realism totally and at others introduces it to detriment effect. Clay masks to depict the beheaded ``Pandavas" and also the Panchabhootas, the white masked faces to depict the foxes and the huge figure of Duryodhana constructed with the use of sacks were skilfully employed in the design and created a strong impact. All the actors gave of their best. The lighting (M. Siva) and the music (Jaya Rao and D. Prakash) were other elements that made the play a spectacular one, even outdoing the maiden performance at the Gandhi Mandapam. A sensitive, appreciative audience and a suitable ambience lent the evening a certain magic. ``Padukalam" was a fitting finale to an event that dealt with the traditional and the modern in koothu.
K. S.
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