In a series of episodes titled ‘Pandavayanam’ drawn from each of the classic ‘Big Four’ plays of Kathakali, collectively known as the Kottayam kathas, a segment from the kali ‘Nivathakavacha Kalakeyavadam’ was featured as the introductory piece by Uthareeyam, a cultural organisation dedicated to the promotion of the traditional art forms of Kerala.
Based on the Aranyaparva of the Mahabharata, this play, written by the iconic Kottayam Thampuran, centres on Arjuna, the Pandava. The episode staged at the Ayyappa Temple, K.K. Nagar, spotlighted Arjuna’s meeting with his father Indra, in the latter’s heavenly abode.
The story begins with Indra (Kalamandalam Vipin) telling his charioteer Matali (R.L.V.Pramod) to convey his son Arjuna to swarga (heaven) as he wishes to meet him. Vipin’s mudras and kalasams had clarity and precision. Indra extols the peerless valour of Arjuna who has obtained the Pasupathasthra from Lord Siva.
Executed with dexterity and economy of gesture by Pramod, the assemblage of the divine chariot was an elaborate sequence. The exactitude involved in depicting the fitting of the base, four wheels and pillars, roof, flag-post and harnessing of horses painted a remarkably vivid picture.
Matali descends to the valley of Kailasa, meets Arjuna (Kalamandalam Shanmukha Das) and praises his extraordinary achievements as a warrior. Arjuna replies that he is embarrassed by the accolades. He emphasises the importance of remaining unmoved by praise and maintaining equipoise.
Vocalists Kalanilayam Rajeevan and Kalamandalam Viswas were in their element during the accompanying padam, ‘Salajjoham’ (Sankarabharanam), their singing soothing and stirring in turns. This padam alone was delineated for nearly an hour, yet did not pall, as the musicians expertly steered listeners through emotive highs and lows woven into the subtleties of melody and prosody.
The ‘attam’ segment, in which Arjuna enquires about the well-being of his parents, was accompanied solely by percussion, the drums speaking as eloquently as voices in the capable hands of Kalamandalam Nandakumaran (chenda) and Kalamandalam Aneesh (maddalam). There was a mesmeric quality to the serenity with which each slow circular movement and delicate mudra was inscribed by Shanmukha Das.
Reaching heaven, Arjuna receives the blessings of Indra and Indrani (Kalamandalam Praveen), his joyousness conveyed through the pure nritta segment (ashtakalasam). Indra accords Arjuna the rare honour of offering half his throne.
Viewing the delights of heaven, Arjuna marvels at their exquisite beauty even as he bows to them in respect. The swargavarnana (description of heaven) detailed wonders such as the jewelled mansions, divine garden, Uchchaihshravas (Indra’s horse), Amruth (nectar), Akashaganga and Kamadhenu. Arjuna is enchanted by the gandharva ganam issuing from Vishwavasu’s veena and by the sight of apsaras at play (pandu kali). Returning to Indra’s palace, he hears thunderous noises, witnesses the devas being suddenly attacked by the asuras and rushes out to rout the enemy.
The meticulous make-up (chutti) by Kalamandalam Rajeev and costuming by Kotakkal Kunjiraman who recently won the prestigious Srichakra Gowrisam puraskaram, Rajan, Kuttan and Mohanan, accentuated the imposing stature of the protagonists.
If the response of the rapt audience could be taken as a touchstone, Kathakali performances are well on their way to gathering a wider rasika base. Curious passers-by attracted by the vibrant ‘keli’ and devotees at the temple who stopped by, intending to spend a few minutes, ended up staying for over an hour, lined up against the walls and crowding the doorways of the auditorium. That they were touched by the near-tangible energy radiating from the artists was evident, the connect strengthened by the proximity of the viewers to the stage, that allowed for movements and subtle nuances in expression to be viewed up close.
The series was inaugurated by V.P.Dhananjayan who dwelt on the uniqueness of the art form.
