Like the Nirvahanam of the chedi (maid/sakhi) in Kulasekhara’s play, Subhadradhananjayam , Nangiarkoothu bloomed alongside Koodiyattam in the latter half of the last century. Till then, its existence was confined to traditional koothambalams, mostly as a liturgical obligation.
Thanks to generous endeavours and intuitive compulsions of the late Painkulam Rama Chakyar and Ammannoor Madhava Chakyar, Nangiarkoothu could firmly establish its presence in the cultural landscape of Kerala. The task was realised through their distinguished disciples.
Usha Nangiar, groomed by Ammannoor Madhava Chakyar, has contributed considerably to the craft and content of Nangiarkoothu. She recently presented Kamsavadham at Government Sanskrit College, Tripunithura.
Usha began her recital with the customary rituals: ‘abhivadanam’ (salutation), ‘sabhanireekshanam’ (a view of the audience) and ‘kamalaparivarthanathil thozhuthu’. She then switched to the character of King Kamsa under whose order Akrura brings Balarama and Srikrishna to his court. Usha could fluently portray the heightened emotions of anger and fear the demon king was caught up in as he realised that the two boys had broken the bow and killed the mighty elephant Kuvalayapeetom.
The actor moved on to portray myriad expressions and reactions of those in the court as they watched Balarama and Srikrishna walking in. The faces of the mighty soldiers blazed with fury at the sight of the two impudent boys. Dignified courtiers who were expecting the arrival of two boys from the cowherd community found two princes instead, much to their surprise. Beautiful damsels became shy as they looked at the two with adoring eyes. Gopas accompanying Balarama and Krishna showed a streak of condescension as they watched those who could not take their eyes off the two youngsters. The subservient kings of Kamsa pondered over the two boys advancing towards them.
Mastery over expressions
Usha performed the multiple characterisations employing minimal movements coupled with intensive expressions. Of the upangas, her eyes alone communicated the rasas of raudra, veera, sringara and hasya evocatively.
Usha then presented the anxiety and anguish of Devaki and Vasudeva as their sons were about to confront the unassailable Kamsa. Some of those who had come to the court to witness a fierce battle felt that the boys were no match for the robust soldiers and hence they left with derision. The omniscient sages sat in meditation and eagerly awaited to have a glance of Krishna who was none other than Lord Vishnu himself. It was exciting to watch Usha’s expressions in transition: anguish, contempt, sublimity and devotion.
In the final segment, Balarama and Srikrishna encountered the Mallans (mighty soldiers), Mushtika and Chanoora, and killed them. Krishna then pushed Kamsa from the throne to the floor and strangled him to death. Usha presented the battle scene with elan and built up the climax.
Usha’s theatrical acumen and unparalleled dedication resulted in the resounding success of the performance. Her eye for detail and accuracy in portraying the subtle sentiments of each and every character were superb. Terse and compact were her discourses on stage and the symmetry between the angika and the satwikabhinayas was exemplary.
Kalamandalam Rajeevan and Manikandan on the mizhavu and Kalanilayam Unnikrishnan on the edakka invigorated the performance with their beats.
The programme was held under the joint auspices of the Kutiyatta Kendra, Thiruvananthapuram, of the Central Sangeet Natak Akademy and the International Center for Kutiyattam, Tripunithura.
