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Yatrakali
Yatrakali is differently known as
Samghakkali, Chattira Ankam, Sastramkam, Kshatramkam, Panemkali. It is an art of the Nambootiris which had socio-political
aspects at the time when it was conceived and later evolved as a performance form.
It is believed that the formation of the art was related to a period when the
Nambootiris were persecuted under the rule of one of the Cheraman Perumals who
accepted the Buddhist faith.
This art had been conceived as a loosely knit dramatic form in which many
dance, music and dramatic pieces were woven together. It was a mirror held
against the artistic and social sense of the region and the times. Elements of
many popular forms of dance and music were incorporated into this art either in
their transformed or real forms. The boat songs, Tiruvathira songs and dance,
Kurathiattam, Mohinipurappadu are some of the musical and dance pieces adapted
for this.
There are many rituals in this ritualistic pseudo dramatic form like
'Kottichakam pookal' (the arrival of the participants), 'Kazhchakkottu' (playing
of percussion instruments during the meals at noon), 'Nalupadam' (a song
consisting of four sections or stanzas) sung in the performance space in front
of an oil lamp with four lighted wicks (its purpose being the success of the
performance), 'Pana' (a ritual reminiscent of the wide defence preparations in
the country against enemies by establishing many Kalaris in which martial
training was imported) and 'Ayudhameduppu' (a performance showing the
preparation for war to instigate the people to join the militia).
Pana, the most
important event is the dramatic entry of a character named 'Ittikkandappan'. He
is supposed to be a sycophant of the ruler responsible for giving all wrong
advice. This character is a butt of ridicule in the play and is portrayed as a
feudal chief of notoriety and wickedness. He makes his entry by singing and
dancing as in the case of any traditional Indian folk play. Then the musicians
ask questions and he replies. The lengthy opening dialogues reveal the feudal
arrogance of the character and the popular contempt for his demeanour.
The talented Nambootiris were the artists who enacted this play and it is
used to be performed in feudal household ceremonies like marriage, death
anniversary etc. The most significant aspect of the art is its reference to the
emergence of the Nambootiris as a military community at least for some time in
the cultural scene of Kerala.
Yatrakali represents
the victory of the Nambootiris. The word
Yatra probably signifies this march. The name Chattira Ankam also was attributed
to this art only due to its relation to the Ankam or fight. The fight was
displayed as part of the performance of Yatrakali and this part was the
Ayudhameduppu or assuming of weapons. The Sangham or group also signifies
according to the scholars, the warrior group of the feudal period. 'Kali' or the
play came in only when the old ankam was re-enacted as a mock performance.
Ochirakali
It is held at a place called Ochira in Alleppey district. The kali (play) in
which a large number of people participate is held as a part of an annual
festival to commemorate a battle fought between the kings of two feudal
principalities, Kayamkulam and Ambalapuzha. The festival falls around 15th June
and it lasts for two days. The mock show of the fight is done on both days. The
fight takes place in front of the Ochira temple. A very special feature of this
temple is that it has no temple building or any image of god or goddess. There
are many pipal trees which are all worshipped by the devotees. There are no
official pujaris. The main deity is known as Parabrahmam. The festivals are
conducted by a committee consisting of representatives of 52 villages around this
area. The large and open space known as Patanilam in front of the place of
worship is the ground where the mock fight take place. The participants in the fight
hold a sword in the right hand and a shield in other hand and are dressed as
warriors. Only members of the Nair community used to participate in the kali.
But now it has assumed the character of a festival in which members of all
communities take active part. Women do not participate in the fight. There are
no duel combats, only group fights. Two groups fight each other, each group
advancing in offence and retreating in defence. The movement start slowly and
gain momentum, attaining fast tempo. There are a number of forward and backward
movements which exhibit the physical prowess of the groups involved.
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