Nangiarkoothu, a solo female performance, is a derivative of the age-old Sanskrit theatre of Koodiyattam. Its leitmotif is ‘Sree Krishna Charitam’, presented as Nirvahanam (pre-story recital) by Kalpalathika, the maid-companion of Subhadra in the second act of the play ‘Subhadra Dhananjayam’ authored by Kulasekhara.
The art form shot into prominence only during the last 25 years, thanks to the relentless effort of doyens Ammannur Madhava Chakyar and Painkulam Rama Chakyar. The popularity it enjoys today could be attributed to quite a few outstanding artistes groomed in institutions such as Ammannur Gurukulam, Irinjalakuda, Kerala Kalamandalam and Margi in Thiruvananthapuram,
But Sarojini Nangiar, who turned 77 last week, is a notable exception in that she learnt it in the traditional way as part of kuladharma . When Sangeet Natak Akademi, New Delhi, selected her for its award this year, she was making history since she would be the first Nangiar to receive this national honour. This is in recognition of her dedication to the art form, notwithstanding myriad constraints.
Born in Edanad Nambiar Madhom, Chowara, near Aluva, Sarojini was trained by her mother, as it was done traditionally. Her arangettam was at the age of seven in the nearby temple. Ravunni Nambiar, her father, was well known in the Koodiyattam circles and had associated with the stalwarts of his days.
“Those were days of scarcity owing to World War II and my father had to struggle to procure even the necessary clothes for my arangettam,” reminisced the septuagenarian artiste who still can’t believe she was chosen for the honour.
Nangiarkoothu apart, the presence of a Nangiar is considered a must for Prabhandham Koothu as well as Koodiyattam. Seated on the floor on the left side of the stage, she keeps rhythm on the kuzhithalam (small cymbals) and recites slokas. Although customarily Sarojini’s family used to accompany performances of the Mani family, she has associated with all Chakyars including the young ones on the stage, except Ammannur Chachu Chakyar.
Moreover, Sarojini is the only Nangiar who had had the privilege of performing in temples across Kerala, either for accompaniment or as a Nangiarkoothu artiste.
Sarojini Nangiar in the traditional Nangiarkoothu costume Photo: K. K. Najeeb
A stickler to tradition, Sarojini performs in temples only. Perhaps the only occasion when she performed outside the premises of a temple was during the first three years of Tourism Week celebrations of the government from 1980.
Confining herself to the temples where only the traditional play ‘Sree Krishna Charitam’ is staged has prevented her from attempting new choreography. But she has no regrets and nothing against innovative attempts by other artistes.
Costumes of Nangiarkoothu have undergone a sea change over the years but only the traditional simple ones are used by her even today. Sarojini said that there had been invitations from senior Chakyars to accompany them at venues outside the temples that could fetch her a handsome remuneration, but she never obliged them.
Over the years, the number of temples promoting Nangiarkoothu has dwindled considerably. As of now only those at Chottanikkara, Tripunithura, Vadakkunnathan, Angadippuram and Pazhayannur have been organising the performances regularly.
At present, many temples shower gifts and renumeration on all other artistes except those of Koodiyattam especially during the annual festivities. This is really discouraging, she pointed out. “But I am particular that the tradition shall never be broken. It is this commitment that compels me to perform even at this age,” she added.
What inspires her to train her grandchildren for their arangettam is this determination. “But I am wonder how many of them will take it up as a profession as they are educated and can get other jobs,” she admits. However, her sons Kalamandalam Narayanan Nambiar and Edanad Ramachandran Nambiar are professional mizhavu artistes.
True, it has been a life full of hardships. To eke out her meagre income from performances, Sarojini took to weaving at the age of 16 and worked for Khadi Board until she was 64.
Incidentally, the Sangeet Natak Akademi award is the only honour Sarojini has won during the seven decades of her continuous stint as an artiste.
She is sore that neither the Kerala Sangeetha Nataka Akademi or other cultural institutions of the Kerala government have never taken note of her service.
She received the award on October 2 and will perform today at the Akademi in Delhi.
