Ambili Ajith stepped into the role of Bhima without any qualms. What challenged her was the heavy costume and accessories worn by Kathakali artistes. “First of all, the crown used by Kathakali artistes playing heroes is very heavy. Although I had rehearsed a lot to play the mighty Pandava prince, once I wore the full costume it was not easy to maintain the right posture,” recalls Ambili.
One of the members of a troupe of women Kathakali artistes, Ambili is aware that she and the group are scripting a new chapter in the history of contemporary Kathakali. A member of Kalamandalam Krishnan Nair Smaraka Vanitha Kathakali Yogam, the Kathakali artistes were trained under the aegis of Noopura Institute of Classical Dance and Music, Poojappura. It is the second such team after the acclaimed Vanitha Kathakali Sangham in Tripunithura.
Fourteen of them performed at the launch. The women, comprising students, working women, professional dancers, and dance teachers, are being trained by Pathanapuram Biju, an alumnus of FACT Kathakali School and Kerala Kalamandalam.
Classes in Kathakali are not a novelty in Noopura. The institution started Kathakali classes in the mid-70s, with veteran Kalamandalam Krishnan Nair as the first teacher. He was followed by Changarappally Anujan Namboothiri. “After the latter’s death, there was a break. We resumed classes three years ago when some students evinced interest in learning Kathakali and Biju sir came forward to teach them. We didn’t plan for an all-women troupe, but when the number of students increased, we decided to do so,” says KR Kurup, director of the institution.
The team staged Thodayam, Purappad and excerpts from Nalacharitham , Utharaswayamvaram and Kalyanasougandhikam at the launch.
Kathakali continues to be a male-dominated domain and Tripunithura Vanitha Sangham has been the lone all-women team for over four decades now.
“Women artistes are as talented as the men and we have some brilliant performers,” says Biju. But he adds that donning the costume is not an easy task for many of the women. Uduthukettu, the technique of draping the elaborate, bulky skirt worn by Kathakali artistes, is mainly done by men and it takes time for women artistes to get used to the garb and the technique. Many women also tend to withdraw from the stage due to domestic responsibilities.
Enthusiastic batch
However Biju has only good things to say about his students, especially a group of mothers in the troupe — Ambili, Soumya Sukumaran, Gopika Arun, Anuja Ajithkumar, and Lavanya Devi.
Ambili, a Mohiniyattam dancer and mother of a 13-year-old boy, started learning dance at the age of 12 and has been teaching at Noopura for several years now. “My family has always encouraged me. It’s my 23rd year at Noopura. Learning Kathakali is a passion,” says Ambili, who had her arangetam as Sita last year.
Tough lessons
Being classical dancers has helped them in learning the moves of Kathakali, the dancers say. But that doesn’t make it a smooth process. “Kathakali is an art form that calls for stamina, physical strength, nuanced acting skills, and utmost dedication,” says Ambili.
For example, the kaalsadhakam , which has exercises for footwork, is a test of endurance, concentration and dancing skills. There are separate sessions to learn mudras, and exercises for the eyes and face. Full-day classes are held twice or thrice a week, with sessions also covering Thodayam and Purappadu.
Krishna VA and Gayathri Nair, who are in classes eight and nine, respectively, are the youngest in the troupe. Pournami P is fulfilling her father’s wish to see her perform Kathakali. “He is an ardent fan of Kathakali and that’s why I joined the classes. I have been learning dance from childhood. This is a totally refreshing experience. Kathakali gives a lot of stress to abhinaya and that helps me while performing other dance forms,” says Pournami, an engineering graduate.
Noopura hopes to stage more performances of the troupe. It has started adding to its collection of Kathakali costumes. “We are taking one step at a time and will gradually have our own set of accessories for the dancers,” Kurup adds.
