Kerala Kalamandalam (Deemed-to-be-University) recently created history by selecting a non-Chakyar for its Fellowship in Koodiyattam. G. Venu, an accomplished performer, skillful choreographer, prolific writer and venerated guru is the chosen one.
While sea changes in society have been compelling the traditional performers or Chakyars to migrate to other vocations, Venu, a consummate performer of Kathakali, groomed by doyens such as Chengannur Raman Pillai and Guru Gopinath, plunged headlong into the world of Koodiyattam after watching a performance by maestro Ammannur Madhava Chakyar at Sree Vadakkunnathan Temple, Thrissur.
The theatrical potentialities of the centuries-old Sanskrit drama and the scope of abhinaya it offered left a profound influence on him. So much so, at the age of 37, Venu resigned his permanent job at the School of Drama and Fine Arts, University of Calicut, shifted his residence to Irinjalakuda and joined the Ammannur Kalari as the first non-Chakyar student of Ammannur Madhava Chakyar.
Since his initiation, he has been following his acharya like a shadow, taking care of his needs in the capacity of both a disciple and impresario. In turn, Madhava Chakyar groomed him as his protégé. The credit for starting Ammannur Chachu Chakyar Smaraka Gurukulam in 1982 also goes to Venu.
Koodiyattam exponent G. Venu. | Photo Credit: Thulasi Kakkat
An ardent advocate of the traditional system of training, he has produced quite a number of young outstanding artistes, an achievement that no other institution can boast of.
While he donned numerous veshams such as Ravana (Thoranayudham), Soorpanakha (Soorpanangham) and Bhima and Hanuman (Kalyanasaugandhikam), Kalidasa’s Sakuntalam, a 11-hour production is his magnum opus in choreography. This was staged at many international festivals . His other notable choreographies include Vikramorvaseeyam (First half –three Acts) and Oorubhangam.
The Ammanur Gurukulam, under the leadership of Madhava Chakyar, was instrumental in the revival of Nangiarkoothu, an exclusive preserve of women. Venu, who was also part of this endeavour, choreographed Narasimhavatharam, Sitaparithyagam and Soundaryalahari.
Little wonder Venu was nominated by UNESCO to the expert committee of its Asian Cultural Centre. One cannot ignore his contribution in the recognition of Koodiyattam by UNESCO as “the masterpiece of the oral and intangible heritage of humanity” in 2001.
Notations of hand gestures
Endowed with exceptional inclination for research, Venu has created an ingenious system of notations of hand gestures. This began during his days as a Kathakali student. In 1977, the Kerala Sangeetha Nataka Akademi published 373 mudras with the title Kathakaliyile Kai Mudras. In 1984, Venu’s institution Natanakairali published an English version — Mudras in Kathakali. In 1994, the Department of Cultural Publications of the Government of Kerala published a collection of 587 mudras titled Kathakali Mudra Nikhandu (dictionary), which was well-received by Kathakali artistes and researchers.
Koodiyattam exponent G Venu during a demonstration of ‘Parvathi Viraham’ at Irinjalakluda. | Photo Credit: THULASI KAKKAT
G. Venu devised a visual language for dance. | Photo Credit: THULASI KAKKAT
As for Koodiyattam, Venu’s mentor and guru Ammannur Madhava Chakyar had personally taught him the mudras of the attaprakaram (acting manual) of Ramayana Samkshepam (RS). In the class, Venu would record each mudra in notations. The manuscript took three years – December 1982 to April 1985 – to be completed. Interestingly, the attaprakaram embraced the entire corpus of mudras employed in Koodiyattam for plays based on the Ramayana. The historicallyimportant work was published in 2013 as a bilingual version. Perhaps, the crowning publication is MUDRA, an omnibus volume describing the language of Koodiyattam, Kathakali and Mohiniyattam, which was published in 2023.
Koodiyattam exponent G Venu during a demonstation of ‘Parvathi Viraham’. | Photo Credit: THULASI KAKKAT
It was from Madhava Chakyar that Venu came to know about ‘Rasa vaayu’, a singular technique of evoking emotions by controlling the breath. Madhava Chakyar had learnt this from Bhagavathar Kunjunni Thampuram of Kodungallore Palace, an acclaimed authority on the Natyasastra. Incidentally, Venu and his daughter Kapila had demonstrated this technique at Sri Krishna Gana Sabha, Chennai, as part of the recent Margazhi festival.
Koodiyattam exponent G. Venu. | Photo Credit: Thulasi Kakkat
Venu assiduously worked on this and evolved a unique method for developing abhinaya, which he introduced in the Navarasa Sadhana course a couple of years ago. Already, 106 batches, including celebrity artistes from across the globe, have completed the 15-day course. Venu has used the hitherto partly explored 33 Vyabhichari bhavas (Transitory emotions) and the tenets of the Natyasastra for designing the course.
The role of Kalamandalam in the propagation of Koodiyattam is praiseworthy. It introduced the department of Koodiyattam in 1966, opening its doors for all communities, irrespective of caste. And now, it reaffirms its commitment to the craft by awarding its highest honour to a non-Chakyar.
Unique abhinaya technique
“Kerala Kalamandalam’s recognition is priceless. When I was working in the Sweden-based project of ‘World Theatre’ I realised the beauty and depth of our technique of abhinaya. ‘Navarasa Sadhana’ is an outcome of this realisation. I taught this system for 17 years in the InterCultural Theatre Institute, Singapore, and for 15 years at the National School of Drama, Delhi. Thereafter, this was introduced in my institution of Natanakairali at Irinjalakuda. So far, more than 2,000 artistes have undergone this training.”
