Women take centre stage in Koodiyattam

Women seem to be taking over the once male-dominated Koodiyattam stage as they reclaim traditional roles and choreograph new productions

There is a new creative energy flowing on the male-centric Koodiyattam stage. And ironically, almost all of it is being led by women. Usha Nangiar is performing the entire  Sreekrishnacharitam and recording the 30-plus episodes for archives. Kalamandalam Sangeetha has choreographed a new play based on Amba and staged its first part a few months ago. Kalamandalam Sindhu is on a mission to perform the entire  Sreeramacharitam with about 40 episodes. Kalamandalam Krishnendu recently performed a segment from a new play on Parvathi in New Delhi. Kapila Venu has premiered a new production based on  Devi Mahatmyam. Dr. Indu G is on course to complete  Gita Govinda in about 20 parts.

Till about 40 years ago there were only three or four women characters in Koodiyattam plays; and even they had only a symbolic presence, sparse dialogues and hardly any scope for detailed abhinaya. They were retained only because these characters were essential for the progress of the story. Today the repertoire is rich both in Nangiarkoothu, a standalone solo act for women, and in Koodiyattam plays.

This resurgence is by no means an accident. It is the result of a lot of efforts by many women performers to regain their place in the Koodiyattam arena. Historically women characters in Koodiyattam were always performed by women even a thousand years ago, a practice not seen anywhere else in the world. But over time their roles were cut, and their importance reduced to mere temple rituals.

The foundation for today’s strong female presence was laid by Kalamandalam Girija and Kalamandalam Sailaja, disciples of the late Painkulam Rama Chakyar, who brought this art form out of the temple precincts. This initial impetus was further strengthened by Usha Nangiar and the late Margi Sathi. They not only reclaimed lost territory but contributed new pieces to expand the Nangiarkoothu and Koodiyattam repertoire for women. Today the field is rich with several Nangiarkoothu artistes.

The most important section in Koodiyattam is the nirvahanam or retrospective segment where the actor describes the events of the past in a solo act, which is a potent vehicle to showcase one’s histrionic talent and imagination. But there were no nirvahanam segments in practice for women till the year 2000.

In the preface of her book  Abhinetri, Usha Nangiar explains her frustration as a student: “Many a time I have stood transfixed, a painful longing to consume myself in the fever of performance as I beheld the Koodiyattam stages set ablaze by the regal Bali, haughty yet majestic Ravana, or Laksmana and Sugriva, the embodiments of sibling bonding. The anguish of being a woman who couldn’t get such roles was eating me.”

According to Usha, who is largely instrumental in reclaiming lost roles and bringing new female characters to the stage, a new era for women started in 1980 when her guru expressed his willingness to teach women. Many came forward to learn after Kerala Kalamandalam started offering Koodiyattam courses in 1965. Koodiyattam, which hitherto belonged exclusively to the Chakyar and Nambiar communities, discovered a new pool of talent.