The need to save the oldest Sanskrit theatre
The Hindu
With few practitioners and fewer resources Koodiyattam faces an uncertain future
Of all the ancient Sanskrit theatre forms, only Koodiyattam from Kerala has managed to survive. It lived within temple precincts, more specifically in the homes of the Chakyars and Nambiars, the two communities who were its sole practitioners. It is 70 years since Koodiyattam emerged from temples to occupy the public stage as an entertaining theatre form. And for the past roughly 50 years, members of all communities have been welcome to perform it. Despite this, the state of Koodiyattam seems uncertain. The more than 1,000-year-old theatre form has just around 100 practitioners , and there is a need for immediate support from the government and from society. The lack of full-length performance opportunities, a limited repertoire, the failure to attract new actors, and, most important, the lack of patronage are pressing issues Koodiyattam faces today. It is true that the number of performance venues and opportunities have gone up in recent times, but what we see today are mostly selected condensed versions, lasting just two to three hours. Such performances, though welcome, are not true to the spirit of Koodiyattam. What is lost in the short format is the deep and subtle acting, the long solo scenes that offer the actor freedom for unhurried digressions, the powerful eyes that bring out the spectrum of nuanced rasas, the detailed abhinaya techniques, and the depth of knowledge that needs to be acquired to perform the longer version.
A vacuum cleaner haunted by a ghost is the kind of one-liner which can draw in a festival audience looking for a little light-hearted fun to fill the time slots available between the “heavier” films which require much closer attention. A useful ghost, the debut feature of Thai filmmaker Ratchapoom Boonbunchachoke being screened in the world cinema category at the 30th International Film Festival of Kerala (IFFK), even appears so in the initial hour. Until, the film becomes something more, with strong undercurrents of Thailand’s contemporary political history.

Sustainability is not an add-on, but stamped firmly into the process: every piece is biodegradable, waste-free and unembellished, free from glitter or beads. “Products should be sustainable and biodegradable so that our planet is not harmed,” says Anu Elizabeth Alexander, a student of Sishya, Adyar. At a recent exhibition, the stars she made sold the fastest, followed by the small diamonds. “I would like people to know about the process, how it is created, and that it is sustainable,” says Anu. Infanta Leon from Kotturpuram developed an interest in crochet as a teenager. It was a hobbyhorse that evolved into a steed that would help her embark on a journey of identity-shaping creative engagement. She started making Christmas-themed decor two years ago, spurred by a desire to craft safe, eco-friendly toys for children. “With a toddler at home, and my elder child sensitive to synthetic materials, I wanted to create items that were gentle, durable and tactile,” she explains. Her earliest creations were small amigurumi toys which gradually evolved into ornaments that could adorn Christmas trees with warmth and charm.











