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| Chaakyaar
koothu |
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| Chaakyaar
koothu is one of the plays performed in temples. This is enacted
in the special dance hall called Koothambalam, connected to
the temples. It is performed by people belonging to the Chaakyaar
community. The word koothu is derived from the Sanskrit term,
Koordanam which means ‘dance’. |
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| The
Chaakyaar community is a group which earns its livelihood by
performing Chaakyaar koothu and Koodiyaattam. There
are many versions regarding the origin of the term Chaakyaar,
The Chaakyaars are believed to be people who have been ostracized
from the Namboodiri Brahmin Community. The women of the community
are called Illottamma. |
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| The
Chaakyaar koothu consists of two parts of which one is action
and the other narration . In the earlier days, the action part of
it was known as koothu. There are different types of koothu,
known by different names like Mantraangam koothu, Anguliiyaangam
koothu, Parakkum koothu, Matta Vilaasam koothu etc.
When more than one actor performs on the stage, it is called Koodiyaattam.
If the actors are not more than one, it is called Chaakyaar koothu.
Chaakyaar koothu, is the narrration of Puranic stories by the
Chaakyaars who wear the attire of a joker and tell the story
humourously. |
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| Nobody
knows how ancient this art form is. It is however clear from Chilappatikaaram
that even during the reign of Chenkuttava Perumaal, Chaakyaar
koothu was performed. |
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| The
Koothambalam constructed for the perfomance are edifices built
according to Bharata Muni’s Natyasaastra. It mentions three
types of theatres which are rectangular,quadrangular and triangular.
The Koothambalam of Kerala has a green room inside at one end.
Just in front of the green room is the stage. The remaining portion
is left for the audience to sit. |
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| The
musical instruments used for Chaakyaar koothu are Mizhaavu,
Kuzhittaalam,Itaykka and Sankhu. Of this Mizhaavu
is the most important. It is said that Mizhaavu can be made
from copper, bell-metal, or granite. Nowadays only Mizhaavu
made of copper can be seen. Mizhaavu is a huge pot upto one’s
waist. Its mouth is tied firmly with animal skin. The sound of the
Mizhaavu is more majestic as its size increases. |
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| The
Chaakyaar adorns his face with the usual caste mark on the
forehead (pottu), In addition soot and turmeric too are smeared
on the face. There is a huge earring called Kundalam on one
ear. On the other ear, he wears betel leaves and geranium flowers
as earrings. A pleated costume is worn. He wears girdle and bangles.
The head is tied with a red cloth. |
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| koothu
is a combination of dance and humour. As soon as the Chaakyaar
comes to the stage and offers his salutations, a dance known as Chaari,
starts. This dance is an offering. Hence there should be no mistakes
in it. Later, prose and verse are recited and meanings given. Initially,
Chaakyaar koothu was only story-telling. Each word is pronounced
very slowly and in a special tune which is called Bharu Method. This
special kind of pronunciation is found only in the speech of the Chaakyaars
on stage. This special sound and clarity of speech are efficient to
attract the attention of the distracted among the audience. It is
audible, and the meaning can be grasped by the hearer. |
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| In
the Sanskrit Dramas enacted in Malayalam, not only Sanskrit and its
Prakrit are used but also Malayalam and its Prakrit. In plays where
there is the clown (Viduushaka) the Viduushaka speaks
in Malayalam. He first pronounces the Prakrit sounds, which he is
supposed to utter, and later speaks similarly in Sanskrit and again
explains it in Malayalam. One can hear old Malayalam forms from the
Viduushaka. |
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| The
actor enlivens his narration with Thaandava dance, gestures
and bodily postures derived from Naatya Saastra. Combined with
mime and gestures and interspersed with occasional dances, the narrative
is made dramatic. The actor never misses an oppurtunity to make humourous
and witty statements about political and social situations. He has
the license to ridicule the audience according to his own imagination
or discretion. Nobody could object or protest.Criticisms of contemporary
events or personalities also figure in the narration. |
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| References |
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| 1.
Narayana Pisharoti. P, Kalaalo'kam, Kerala Sahitya Academy
Trichur 1989. |
| 2.
Vishnu Namboodiri M.V,Folklore Nighantu. State Institute of
Languages, Trivandrum;2000. |
| 3.
Festivals of Kerala Tourist Desk, Cochin 1993 |
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