Recently Delhi audiences had the rare opportunity to see a performance of Ottan Thullal, a theatre art relatively less known outside its native Kerala. Kalamandalam Suresh Kaliyath, a versatile artist who has given his heart to Ottan Thullal, regaled a predominantly North Indian audience with his energetic appeal. Associated with the late Veenapani Chawla, whom he calls an “inspirational figure”, for 17 years as a performer and instructor at Adishakti Laboratory for Theatre Art Research, Puducherry, he is currently a faculty member in the Department of Thullal at his alma mater, the Kerala Kalamandalam in Thrissur, while simultaneously pursuing his Ph.D there. He also runs a training institution in his village, Killimangalam, in partnership with his wife, Deepa Suresh, a trained Mohinattam and Bharatanatyam dancer.
Suresh feels Ottan Thullal, developed in the 18th Century by the celebrated poet Kunchan Nambiar, has great scope for being popularised among the youth of today. His ten-year-old daughter has already started training in the art, besides Bharatanatyam and music. Sometimes referred to as a “semi-classical” form, Ottan Thullal was famously described by Jawaharlal Nehru as the “poor man’s Kathakali”. The word thullal in Malayalam translates to “leap about” or “caper” and the high spirited Thullal performer does live up to this idea, particularly with the emphasis on humour and satire. However, there is more to it than leaping about. The rhythms and footwork are demanding, and the Thullal performer is a dancer, actor, singer and improvisational stand-up artist rolled into one. Two related forms are Seethangan Thullal and Parayan Thullal, which differ in essential elements like poetic metre, pace, costume and make-up. The poetry of Thullal, in simple Malayalam, unlike the Sanskrit of Koodiyattam or the Manipravalam of Kathakali, is more easily understood by the masses. This factor, along with the humour inherent in the texts, which often satirise the upper classes of society, made Thullal a popular medium. Additionally, the Thullal artist takes liberties with the audience, occasionally using his stylised gestures and voice to poke fun at anyone who draws his attention during the performance.
In this interview, the 1976-born Suresh, a recipient of numerous awards, shares his views on popularising Thullal in the 21st Century.
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Edited excerpts:
How did you become interested in Ottan Thullal?
I was fortunate to see my guru, Kalamandalam Mohanakrishnan’s Thullal performance in 1992, which led me to train in Ottan Thullal. Before this, I was fortunate to learn Bharatanatyam, Kuchipudi and the folk-martial dance Parichamuttukali. (I also trained as a mechanical engineer and became a performing artist by choice.) In 1997, I was selected for the scholarship in Ottan Thullal from the Government of India’s Department of Culture, and joined Kalamandalam to pursue my higher studies.
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How difficult was it to use a recorded soundtrack for your recent performance?
Actually it is very difficult to adjust with recorded music, because there are lots of on-the-spot improvisations. In Kerala, usually we perform with live music (four musicians – mridangam, edakya, thalam and vocal) but outside the State sometimes when the situation demands we use recorded music. As a professional performer you need to adjust to every situation and it’s our duty to spread this wonderful art to other parts of India and abroad.
Is language a hurdle when performing for non-Malayalam speaking audiences?
I never felt this. Language is not a strong barrier or hurdle to appreciate the performance. Of course, if you know the language, it’s easy to understand! Whenever I perform in front of a non-Malayali audience, I describe the story or situation in the beginning, and through the expression, music, rhythm and gestures, any layman can understand and appreciate Thullal. I am fortunate to have performed in more than 12 countries (the U.S., the Netherlands, Belgium, Germany, France, Spain, Malaysia, Singapore, Malta, the U.K., etc.) and never felt language a barrier. Sometimes the kids and others of the younger generation in these countries became devoted audiences!
What is the training process for Ottan Thullal and what is the ideal starting age?
The age to start is between 10 and12 years. Kerala Kalamandalam has an eight-year training, from the 8th standard up to graduation. Now students can also continue with PG, M. Phil and Ph.D. in Thullal. It’s a residential course from 4.30 a.m. to 6 p.m. daily. It includes body exercises, massage and Kalari training (Cholliyattam). School education is also incorporated in it. The trainee has to study subjects like literature and history of Thullal, languages (Malayalam, Sanskrit and English) and music along with practical training. The basic training is somewhat similar to that of Kathakali and Koodiyattam.
Does Thullal have a good audience and social support in Kerala? How can it acquire limelight, more performers and patrons?
It has still a very good audience in Kerala. The support system is inefficient. There are performance opportunities but not many youngsters are taking it up as a profession. In that way, it’s slowly fading out. In the current system, the State and Central governments should provide grants, fellowships, stipends and other kinds of support like production and tour opportunities, and support for creative collaboration. Local governing bodies can also play a crucial role to find and support the true artists. It’s true that the existing schemes are not fully benefiting the artists. We need a clear, truthful system and continuous monitoring. But we are doing our best to take it to as many venues as possible, give lec-dems and workshops and collaborate with other art forms. We need to take it to the next generation. It is actually a rare form where you can see the four kinds of abhinaya (vachikam, angikam, aharyam and satvikam) in one performer at a time. Since it is hybrid in nature, we can collaborate, exchange and use new choreography techniques with other art forms and music cultures and keep working to widen the horizons of this art form.
Something about your collaborative productions...
With Veenapanij’s creative support, I created, directed and performed a play, “Hanuman Ramayana”, which went to the Bharat Rang Mahotsav, New Delhi, the Janabheri Theatre festival of Kerala Sangeetha Nataka Akademi, Ninasam in Heggodu, Karnataka, and other venues. Also I was part of Adishakti’s productions directed by Veenapani, such as “Impressions of Bhima”, “Brhannala”, “Ganapathi”, “The Hare and the Tortoise” and “The Tenth Head”. In 2015, for the Aseema Trust, Chennai, I co-directed and performed two plays, “Siriyamma...Siri...” and “Ulvili” with Dr. V.R. Devika and Sangeetha Iswaran, which premiered at the Kuala Lampur International Arts Festival-2015.