Guest guest Posted October 14, 2005 Report Share Posted October 14, 2005 !! Sri Rama Jayam !! -------------------------- Krishnanattam - An Overview A. Harindranath and A. Purushothaman Among the performances, Krishnanattam is auspicious. If Ramanattam starts, defects will follow definitely - (Kunjan Nambiar, Krishnalila) -------------------------- Preamble Krishnanattam or Krishnattam is a temple art, now performed at Guruvayur Temple as a votive performance by a troupe under the management of Guruvayur Devaswom (Guruvayur- 680 101, Thrissur Dt, Kerala, India). The performance is based on Krishnagiti, a text of slokas and padams in Sanskrit, composed by Manaveda, the Zamorin King of Calicut, in 1654. Krishna's story as described in detail in the Tenth and Eleventh Cantos of Srimad Bhagavatha, Mahabharata and Harivamsa is presented as song, dance and acting in a cycle of eight plays in eight days. The plays are Avataram, Kaliyamardanam, Rasakrida, Kamsavadham, Swayamvaram, Banayuddham, Vividavadham and Swargarohanam (Akaraka Swabhaviswa is the mnemonic to remember the names in order). An excellent critical article concerning the various aspects of this temple art and its appreciation is 'Preparing for Krishna' by Dr. Rustom Bharucha [1]. Krishnanattam, the Malayalam commentary to Krishnagiti by Prof. P.C. Vasudevan Elayath [2] includes an excellent introduction Krishnattapravesakam. Krishnattam, a book by Dr. Martha Bush Ashton Sikora and Robert P. Sikora [3] summarises the historical development, training of the artists, description of performances, views of the artists as well as other aspects of Krishnanattam. -------------------------- Preliminary Rituals Kelikottu is the first event of the play. Kelikottu is carried out by playing drums (maddalams), gong (chengala) and cymbals (Elathalam) in the evening during daytime at the East Nada of the temple. This is to inform the people in the neighborhood about the performance scheduled in the night. A lamp is lit in the makeup room at dusk. Actors (all male) put on their make up, sitting on the floor, around another lamp lighted from the lamp in the makeup room. As soon as the daily rituals of the temple are completed and the Sanctum Sanctorum is closed for the day (about 10 to 10.30 p.m.), the Kali Vilakku (An Oil Lamp of the Play) is kept in front of performance space in the Temple on the North side of the Sanctum Sanctorum. The Kali Vilakku is lit by a Brahmin from the lamp in the make up room. Stage hands place the musical instruments (drums, gong and cymbals) on the ground behind the Kali Vilakku. The maddalam players touch them respectfully, lift them up, play a couple of beats on both sides to regulate the sound and hang the instruments around their waists. Then Kelikkayyu is performed using maddalams, chengala and elathalam. After kelikkayyu, a colourful rectangular screen is held behind Kali Vilakku by two stage hands. Then Totayam is performed behind the screen by the women characters appearing on that day's play. Totayam is a prayer dance performed by the dancers accompanied by music to invoke the blessings of the lord. Totayam is not for the spectators. For Totayam, the lines starting with Narayana Narakanthaka Narakaparayana in the fifth padam of the play Kaliyamardanam are sung. All performances begin with the recital of the sloka starting with Souvarnatbhuta as the mangala sloka (Auspicious Beginning). After Totayam it is time for Purappatu, a piece of pure dance choreography. Either Krishna or Balarama or both, or along with other characters, dance with gestures of hand and face and special steps. In Avataram, the first scene (Brahma and Bhoomidevi) is considered as purappatu. In other plays, the scene in which either Krishna or Balarama or both appear first on stage is considered as purappatu. In Kamsavadham, Purappatu is in the middle of the play. In Vividhavadham, there are two Purappatu, first in the beginning (Balarama and wives) and the other after some time (Krishna, Bhima and Arjuna). In Swargarohanam, there is no Purappatu. -------------------------- The characters performing Purappatu for the plays are as follows : Play - Characters in Purappatu Avataram - Brahma and Bhoomidevi Kaliyamardanam - Krishna, Balarama, Nanda and Upananda Rasakrida - Krishna Kamsavadham - Krishna and Balarama Swayamvaram - Krishna and Balarama Banayuddham - Krishna, Satyabhama and Garuda Vividavadham - 1. Balarama and wives 2. Krishna, Bhima and Arjuna Swargarohanam - Nil Concluding Rituals Except Swargarohanam, all plays end with Dhanasi. The characters in the last scene of the play perform Dhanasi by dancing in a particular way accompanied by singing the lines starting with Narayana Narakanthaka Narakaparayana in the fifth padam of the play Kaliyamardanam. The characters performing Dhanasi for the plays are as follows : -------------------------- Play - Characters performing Dhanasi Avataram - Krishna and Yasodha Kaliyamardanam - Krishna and Nandagopa Rasakrida - Krishna and Balarama Kamsavadham - Krishna and Balarama Swayamvaram - Krishna and Satyabhama Banayuddham - Krishna, Pradyumna and Aniruddha Vividhavadham - Krishna and Rukmini Swargarohanam - Nil -------------------------- After the characters exit from the stage, a sloka is sung as mangalam (Auspicious end) Play - Mangala Sloka Avataram - Kelilola ( last sloka in Avataram ) Kaliyamardanam - Kelilola ( last sloka in Avataram ) Rasakrida - Daivereva ( sloka in Rasakrida ) Kamsavadhom - Sandranantha ( sloka in Rasakrida ) Swayamvaram - Kelilola ( last sloka in Avataram ) Banayuddham - Kelilola ( last sloka in Avataram ) Vividavadham - Sandranantha ( sloka in Rasakrida ) Swargarohanam - Kelilola ( last sloka in Avataram ) -------------------------- The play is concluded by playing a couple of beats on the maddalam just as in the beginning. Some Features about the Performance The actors dance and act behind the Kali Vilakku while the singers sing standing behind - this is the general nature of the play. The lead singer sings, playing the gong, the second singer repeats playing the cymbals. Accompanied by suddha maddalam, toppi maddalam and edakka, both singers sing the slokas and padams of Krishnagiti one by one, once. Some padams and slokas are sung more than once. For example, slokas starting with Atha thou datha thou, Ghora thara kopa bhara (Swayamvaram) , Dharani Ramaneeya (Vividavadham). All the slokas and padams of Krishnagiti are not used for the play. By tradition many are omitted. In the performance space, between the singers and Kali Vilakku, the actors dance and act wearing multicoloured costumes. Dancing and acting in general, do not confirm to the 'text' being sung, but are according to ragas (tunes) and talas (beats). In Krishnanattam, five types of facial make ups, Paccha (Green), Pazhuppu (Orange), Kathi (Knife), Minukku and Kari (Black) and masks are used. A Paccha facial make up is used for Krishna, Vasudeva, Kamsa, Nandgopa, Uddhava, Muchukunda, Dandavakthra, Rukmi, Arjuna, Jarasandha etc. A Kathi facial make up is used for bad but kingly characters ( Sankhachuda in Rasakrida, Sisupala in Vividavadham, Bana in Banayudhham ). Incidentally, in Swayamvaram, Sisupala appears as Paccha. Pazhuppu is for Balarama, Siva and Bhima. Minukku is for all women, Narada, Sandipani, Yavana, Kucela, etc. There is no facial make up fory Tapper and Kucela ( Vividavadham ). For Yasoda, Bhoomidevi, Radha and Satyabhama green colour is applied on the face and a chutti is provided. In earlier days, Devaki and Rukmini used to have chutti on their face. These were converted to Minukku during the time of A.C.G. Raja. Kari is for Putana ( mask - Avataram ) and the hunter Jara (Swargarohanam ). In some plays, the same actor appears in different roles. For example, in Swayamvaram the same actor appears as Sandipani and Rukmini. The roles of Dhantavakthra and Satrajit are played by the same actor. The roles of Uddhava, Muchukunda, Sisupala and Rukmi are also played by one actor. -------------------------- Colourful masks are used in Krishnanattam. Play - Masks Avataram- Brahma ( 4 face ) , Putana ( Black ) Kaliyamardanam - Bakasura ( Bird ) , Brahma ( 4 face ) Rasakrida - No mask Kamsavadham - No mask Swayamvaram - Dharmaraja (Green ), Jambavan (white monkey face) Banayudham - Murasura ( 5 faces, all different ), Narakasura ( Red Beard ), Ghantakarna ( two different black ), Sivabhutas ( Black ) Vividavadham - Vividha ( Black ) Swargarohanam- Brahma ( 4 face ) -------------------------- Props Besides bow, arrow, mace, sword, shield, lance and chakra, Krishnanattam uses many items and props for the performance. To beat the child Krishna, Yasoda takes a real stick! A blue doll for the new born baby (Avataram, Swargarohanam), Kaliya in Kaliyamardanam (doll of snake), Anantha of Swargarohanam (doll of seven hooded snake), branch of a real tree (Kaliyamardanam, Vividavadham and Swargarohanam) are some of the props. Brahma, Vishnu, Siva and Bana have artificial arms. Bakasura and Garuda have painted wings. Jambavan, tired by fighting with Krishna, uses a walking stick! Kucela carries a palm leaf umbrella and walks using a walking stick. In Vividavadham, Yudhishtira washes the feet of Krishna actually with water! Later, Krishna washes the feet of Kucela. In Swayamvaram, Jambavan and Krishna fight using branches of trees. In Vividhavadham, Vivida and Balarama does the same. In Vividavadham, the toddy tapper brings a pot of toddy and packet of pickles to Balarama. Krishna gives a signal to Bhima to kill Jarasandha by tearing a leaf in two halves. Tableaus In Krishnanattam, there are some beautiful tableau. As the play Banayuddham begins with lowering of screen halfway, a three level tableau is revealed, showing Garuda with green face, red beaks and wings on the ground level. Above Garuda, on middle level Satyabhama is seen with green face bordered with chutti. On top level, Krishna is seen holding a conch. Alavattoms are held at the back of Krishna's head. This spectacular scene depicts Krishna riding on Garuda with Satyabhama on his way to Pragjyotishapura, the city of Narakasura. Kailasa in Banayuddham is another beautiful scene. Krishna goes to Kailasa to meet Siva. As the screen is removed, Siva, Parvati, Subrahmanya and Ganapathi are seen. Two tiny Sivabhootas sit on the floor. In Swargarohanam, there are two breathtaking scenes of Vaikunta. In the first scene, Krishna and Arjuna visit Vaikunta. Vishnu stands with the seven hooded Anantha hovering over his crown, along with Sri Devi, Bhoomi Devi, Siva, Brahma and Narada. -------------------------- Special Dance Compositions Mullappoo Chuttal (Adorning garland of Jasmine) is the most famous special dance composition of Krishnanattam [2]. This is performed in Avataram by Krishna, Balarama, Yashoda and Rohini and in Rasakrida by Krishna and gopis. Kutti Etuttu Attam (dance holding the baby) in Avataram by Krishna, Balarama, Yashoda and Rohini and Kuvalayapida dance in Kamsavadham by Krishna and Balarama, are other dance forms special to Krishnanattam [4]. Use of Screen (Curtain) In the words of L.S. Rajagopalan [4], the half curtain is integral to the stage mechanism employed by Krishnanattam in its attempt to represent Krishna's divinity. In Krishnanattam, the curtain has specific and subtle functions that are often imbued with metaphysical significance. In Avataram, when Gods praise Krishna, while still in Devaki's womb, the stage hands hold the curtain at a lower level hiding the actor's legs, making them manifest figures! Religious traditions hold that the gods, even when they reveal themselves do not touch the earth with their feet. In Kaliyamardanam. Curtain is held at a lower level behind Krishna, suggesting the representation of the water surface and facilitating the occasional introduction of Kaliya. In the scene where Krishna steals the clothes of Gopis, the curtain is held at a lower level suggesting the Gopis standing in water upto their waist. The curtain also facilitates impressive thiranottam for Kamsa, Sankhachuda, Murasura and Narakasura. In Swargarohanam, in the scene of Balarama's departure to heaven, the curtain is held half way suggesting two distinct spaces, earth and heaven. When Jara the hunter approaches Krishna, the curtain is held full to divide the stage in two parts. The front side depicts the forest where Jara wanders and the back side where Krishna sits under a tree. After Jara shoots an arrow hitting Krishna's toes projecting below the curtain, the curtain is lowered revealing Krishna in sitting posture. -------------------------- Music Krishnagiti has 62 padas and 93 padyageethams (musical verses) with specific raga and tala. In addition, there are 321 verses and 2 Dhandakas to be rendered in ragas [2, 4]. Play - Slokas - Padams - Padyageethams Avataram - 64 - 14 - Nil Kaliyamardanam - 49 - 10 - 4 Rasakrida - 57 * - 10 - 27 Kamsavadham - 46 - 7 - 17 Swayamvaram - 30 - 5 - 15 Banayuddham - 28 - 7 - 7 Vividavadham - 23 - 3 - 15 Swargarohanam - 24 - 6 - 8 Total - 321 - 62 - 93 * two Dhandakas Krishnagiti is the earliest (1654) composition in Kerala in which the composer prescribed both raga and tala. Venkatamakhin formulated the scheme of 72 melakartas around the same time. Thus Krishnagiti predates the trinity of Karnatic music [4, 5]. Manaveda is a noteworthy figure among the pre-Swati Tirunal composers of classical music. Manaveda brought several unfamiliar ragas like Kanakurunji, Indisa, Pantayiri and Kedarapantu into vogue in Krishnagiti [6]. L.S. Rajagopalan in his essay Krishnattathile Pattu [5] notes that about 30 padams are now sung in ragas different from those specified by Manaveda. Some of the ragas such as Indisa, Kedarapantu, Pantayiri, Samantamalahari and Ghandara Malavi are lost now. The ragas used now in Krishnanattam are Ahari, Anantabhairavi, Kanakurunji, Kambhoji, Kalyani, Kedaragowlam, Ghantaram, Todi, Devagandaram, Dwijavanthi, Natta, Nattakurunji, Navarasam, Neelambari, Pantuvarali, Pati, Puraneer, Bilahari, Bowli, Bhoopalam, Bhairavi, Madhyamavati, Mayamalavagowlam, Mukhari, Mohanam, Ragamalika, Yadukula Kambhoji, Varali, Sankarabharanam, Saveri, Sarangam and Saurashtram. The talas used now in Krishnanattam are Adanta, Chempa, Chempata and Panchari. The ragas and talas used now for each padam and padyageetham are listed in [7] separately. The mode of singing in Krishnanattam adheres to the sopana style practiced in Kerala and Tamil Nadu. Kavalam Narayana Panikker [8] notes that two line structure of Thyani in Kottipadi Seva is basic to the singing in Krishnanattam and Kathakali. Hand and facial gestures are most important in Kathakali for acting the meaning of the words of the text in detail. Thus each line has to be sung by the singer several times to allow the actor to express the meaning through Bhavibhinaya. Since this kind of acting is almost absent in Krishnanattam, the text needs to be sung only once by the lead singer and then repeated by the second singer. Devotion is the essence of Krishnanattam and the Sopana style suits it best. -------------------------- Legends According to a legend, Manaveda requested Vilwamangalam Swamiyar to enable him to see Krishna in person. Swamiyar facilitated this request and Manaveda was able to see Krishna playing under an elanji tree. When Manaveda tried to embrace Krishna, the lord disappeared leaving behind a peacock feather in Manaveda's hand. An idol of Krishna was made using the wood of the elanji tree. (The elanji tree stood at the place where now, the Kuttambalam stands, on the south-east side of the sanctum sanctorum of the Guruvayur Temple). According to the advice of Vilwamangalam, Manaveda composed Krishnagiti sitting before the idol. The peacock feather was incorporated in the headgear of Krishna. The headgear was found to suit the heads of all actors performing as Krishna. The actor also used to get 'possessed' on wearing this headgear. It is said that this headgear perished during the attack of the Kodungallur fort by the Dutch. Another version is that the headgear perished in the fire which engulfed the Zamorin Palace in 1766 [3]. In 1766, the Zamorin, attacked by Haider, burned himself and the fort palace at Calicut. It is said that all wooden ornaments, crowns and masks used for Krishnanattam were destroyed in the fire [3]. (Dr. Sikora [3] states that a Bronze image of Krishna is available at the Zamorin Temple of Tali, Calicut. The crown, ear ornaments and decorations such as the circular and floral patterns on the breast plate and hurdle of this image resembles those worn by Krishna in contemporary Krishnanattam. However, Dr. Sikora notes two major differences: (1) Absence of the figure's costume of skirt, side panels and long shawl with mirrors at each end. Instead of these, the figure's costume is a simple dhoti. (2) Absence of chutti on the figure's face). There is a story [10, 11] about the troupe performing Krishnanattam at Tripunithura. The King of Cochin ordered the troupe to play Kamsavadham. An elephant was brought to the stage to enact the role of Kuvalayapeedam. The actor performing as Krishna killed the elephant and went after the King. The King managed to escape somehow. It is said that after this incident, Krishnanattam was never performed South of Guruvayur. The History of Krishnanattam Dr. Sikora [3] divides Krishnanattam history into four eras: The time of Zamorins, The time of Transition, The time at Guruvayur Temple under the Management of A.C.G. Raja and recent times. Dr. Sikora notes that evidence is available for the existence of Krishnanattam in some form at least by 1694 and it included dance by 1780. No details are available on the creators of this art, no audiovisual concept of its first production and no details of how the art developed. Under the Management of A.C.G. Raja, the troupe, for the first time performed outside Kerala and abroad (Europe and U.S.A.). During the third era, many changes took place in various aspects of Krishnanattam. These are documented in the book by Sikora [3]. A documentary film was made on Krishnanattam by Adoor Gopalakrishnan. Mankada Ravi Varma was the cinematographer. P.C.C. Elayath took charge as the Superintendent of Kalanilayam in 1983. He introduced a microphone for the singers. An excellent portrayal of Krishnanattam then and now is provided by retired Krishnanattam Asan, K. Velayudhan Nair [16]. -------------------------- Krishnagiti Day Every year, 30th of Malayalam month Thulam is celebrated as Krishnagiti day at Guruvayur. This is the day on which Manaveda completed composing Krishnagiti as indicated by the words Grahya Sththirgathakai in the last sloka of Swargarohanam. More information is provided at <http://www.geocities.com/krishnadas_a2000/krishna/krishdinam.html>. Acknowledgements We thank our Malayalam teacher P . Radhakrishnan Nair and retired Krishnanattam Asan P. Parameswara Panikkkar for checking and suggesting changes in the preliminary Malayalam version of the sections of this article from 'Preamble' to 'Tableaus'. We also thank Dr. Rustom Bharucha, Kavalam Narayana Panikkar and retired Krishnanattam Asan K. Velayudhan Nair for allowing us to translate their excellent articles on Krishnanattam, L. S. Rajagopalan and P.K.S. Raja (Zamorin of Calicut) for allowing us to utilise their writings on Krishnanattam and Krishnanattam Musician M. Vasudevan Namboodiri for providing a list of the ragas and talas used for the padams and padyageethams of Krishnagiti today. We also thank Dr. P.N. Ganesh for many hepful communications. References [1] Preparing for Krishna, Chapter 10, The Theatre and the World - The Performance and Politics of Culture, Dr. Rustom Bharucha, Routledge, London (1993). This essay was first published in the Journal of Arts and Ideas, November 16, (1988). Malayalam translation, Krishnanu Venti Orungal, available at <http://www.geocities.com/krishnadas_a2000/krishna/orungal.pdf> [2] Krishnanattam, commentary in Malayalam, Prof. P.C. Vasudevan Elayath, Guruvayur Deveswom, Guruvayur, Kerala, India (1985). [3] Krishnattam, Dr. Martha Bush Ashton Sikora and Robert P. Sikora, Oxford and IBH Publishing Pvt. Ltd, New Delhi, India (1993). [4] Review of Krishnagiti of Manaveda, (edited and translated by C.R.Swaminathan and Sudha Gopalakrisnan, Motilal Banarsidass (1997)) by L.S. Rajagopalan, Sangeet Natak Nos. 131-132, pp.44-50, (1999). [5] Krishnattathile Pattu, L.S. Rajagopalan, Essay presented in the seminar held in Guruvayur on Krishnagiti day, 13th November 1989; Bhaktapriya, Guruvayur Devaswom, pp. 19-20, November 2001; Keli, Sangeet Natak Academy, Thrissur, August- September 2004. Available on-line at <http://www.geocities.com/krishnadas_a2000/krishna/articles/lsr1.pdf> English translation, Song in Krishnattam available on-line at <http://www.geocities.com/prasanna_avaroth/krish/lsr-song.pdf> [6] Composers of Kerala, Dr. S. Venkitasubramonia Iyer, Journal of Music Academy, Madras, Vol LV, (1984). Available on-line at <http://www.sruti.com/sepoct2k/sepspot.htm> [7] Krishnattathile Padangal, Ragavum Talavum, compiled by M. Vasudevan Namboodiri, 2004. Available on-line at <http://www.geocities.com/krishnadas_a2000/krishna/articles/kml.pdf> [8] Bhaktiyute Kala, Kavalam Narayana Panikker, Bhaktapriya, Guruvayur Devaswom, pp. 26-28, November 2001. English Translation available on-line at <http://www.geocities.com/krishnadas_a2000/krishna/aod.html> [9] The Zamorins of Calicut, K.V. Krishna Iyer, quoted in [3]. [10] Kerala Sahitya Charitram, Chapter 33, Ulloor S. Parameswara Iyer. [11] Mohana Tejas Athava Sri Guruvayurappan, Thekkootu Matathil Sankaran Nambidi, (1955). [12] On Krishnanattam - P.K.S. Raja, Zamorin of Calicut. Available on-line at http://www.geocities.com/krishnadas_a2000/krishna/articles/ pksraja1.html <http://www.geocities.com/krishnadas_a2000/krishna/articles/pksraja1.html> [13 Preface, N.V.Krishna Varrier, Kottayathu Thampurante Attakkathakal, commentary by Desamangalattu Rama Varrier, National Book Stall, Kottayam, (1976). [14] Manaveda, A Historical Perspective - web article available at <http://www.geocities.com/purushothaman_avaroth/krish/manaveda.html> [15] Krishnagiti Mahatmyam - P.C. Ettanunni Raja. Available on-line at <http://www.geocities.com/krishnadas_a2000/krishna/mahatmyam.pdf> [16] Krishnanattam - Then and Now , K. Velayudhan Nair, published in Bhaktapriya (Publication of Guruvayur Devaswom) - November 2001. English translation available on-line at <http://www.geocities.com/krishnadas_a2000/krishna/ktn_kvn.html> -------------------------- Hare Krishna Hare Rama Quote Link to comment Share on other sites More sharing options...
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