Kaakkaarissi Naatakam   Kaakkaarissi Naatakam is a popular entertainment among the backward communities of Kerala. This art can still be seen in its original flavour and style in the village of Nedumangadu in Trivandrum district. In the south-central region of Kerala, it is found in Kurumpala, Karakkat, Karunagapally, Panthalam, Cheruvally, Ambalapuzha, Mankombu etc. Here it is presented by the Paanar and Kummaalar communities. In Kilimanoor and Nedumangadu it is presented by Kurava and Ezhavas.   Though there is a community called Kaakkaalas, they never take part in the performance or presentation of the play. Begging is considered as their legitimate profession with palmistry and lizardology – predictiing the future by interpreting a lizard’s movements and sounds.   This art form is spread all over the state, but they differ in certain respects from place to place. The main object of Kaakkaarissi Naatakam is to make the public aware of the poverty, misery and suffering of the communities.   Legends about Kaakkaalas   There are many legends about the origin of the Kaakkaala tribe. One of them traces their beginnings to Garuda, the king of birds and the divine vehicle of Vishnu. Once Garuda, furious with mankind, gobbled up the entire human race, including all Brahmins. But later when his mother, Vinata, explained to him the sin involved in killing and eating up the Brahmins, he was filled with remorse. As a penance, he regurgitated what he had swallowed and threw up the Brahmins. Thus they were brought back to life. These Brahmins were called Kaakkaalas, from Kaakkuka – to regurgitate – in Malayalam. Another legend links this nomadic tribe with Siva and Paarvathy – the parents of the world – who came on earth in order to redress the complaints of the suffering among the human race. They manifest as Kaakkaalan and Kaakkaalathy, the male and female respectively of the Kaakkaakan community. The present – day Kaakkaalas are believed to be their descendants.   The northern variation of Kaakkaarissi Naatakam is called Paanarkali, became it is performed by members of the Paanar community.   Performance of Kaakkaarissi Naatakam   According to tradition the performer starts with the chief character named SundarakKaakkaan entering the arena and exchanging conversation with the audience. He invites the female players named Kaakkaathimaar, and when they enter, the play begins. Besides there characters, Vedan, Thampuraan, Kuravan, Kurathy, wild tiger, etc, also figure in the enactment. Usually, the play takes place on a raised platform.   The performance starts with Naarada, the celestial sage, informing Siva and Paarvathy about the suffering humanity on earth. The Kaakkaathimaar, female characters, dance and invoke the presence of Kaakaan, the male character. He emerges from the crowd carrying a naked torch and enters the area with vigorous, rhythmic steps. He is accompanied by Thampuraan, representing an upper caste man, who shoots a volley of questions at the Kaakkaan who,through his crisp replies, tells the story and, at the same time, sarcastically comments on the arrogance of the higher castes. The Kaakkaan, who is wholly absorbed in the rhythm of his steps, is interrupted by the Thampuraan who reminds him that he should first offer praises to Lord Ganapati. After the eulogy in accordance with the Thampuraan’s request, the Kaakkaan invites the two Kaakkaattis to the stage. The women quarrel and the Kaakkaan is totally lost. Through the dire helplessness of the Kaakkaan, the pitiable plight of a husband with two wives is humorously portrayed.   In the second act, the Kaakkaan makes his reappearance as the Sundara Kaakkaan, a snake charmer. He goes snake – hunting into the deep jungle, blowing on and swaying his pipe to the rhythm of the snake’s movements. Unfortunately the snake bites him, and he falls down unconscious.   Meanwhile, the Kaakkaattis anxiously await the return of their Kaakkaan. Alarmed at the delay, they go searching for him with Alakësan, their brother. After they have travelled many a weary day through the thick woods, they find him at last, lying unconscious, and the Kaakkaan is saved. The mastery of the staging lies in the fact that without any sets, the jungle, the Kaakkaan’s abode, and the search are all conjured up through the performer’s words and movements.   The most important element in the next scene is the appearance of a velichapaadu, an oracle, and his prophetic pronouncements under divine dispensation. A band of professional thieves pray to their tutelary goddess before setting out on one of their nocturnal exploits. The spirit of the goddess enters the body of one of the thieves and thus he becomes a velichapaadu. In that movement of divine enlightenment, he knows the truth about all the thefts that may have taken place in the near part. He reveals these secrets to the other thieves in the course of his inspired utterances. The aim of this episode in to warn the public of the doings of professional thieves haunting the area. During earlier days, these plays were enacted in the centre of a large level ground lighted with petromax lamps. In many scenes, the actors went into the midst of the spectators thus giving them a feel and thrill of actual participation.   Costumes of Kaakkaarissi Naatakam   Costumes are rustic, with the females wearing colourful clothes and the Kaakkaan in simple black. Vedan and Kuravan smear charcoal over their bodies. In the southern region, the Kaakkaan is painted jetblack and designs in white dots are executed on the surface. Turmeric and rice powder are also employed for makeup.   Harmonium, ganjira, elathaalam and mrudangam are the musical instruments used. Stage props are not used in the performing stage. There is no regular script for the performance of Kaakkaarissi Naatakam.   Though essentially a ritual entertainment, its performance is not limited to rustic audiences. Puranic stories form the main themes of this drama but in presenting these stories, current problems are skillfully incorporated into the narration.   Till 30 years ago, Kaakkaarissi Naatakam enjoyed considerable popularity. Then followed a period of gradual degeneration. Of late however the art form is being revived and is slowly regaining its place in the rural society.   References   1. Bhargavan Pillai, Kaakkaarissi Naatakam, NBS, Kottayam, 1976. 2. Vargese, P.J., Ramachandran, K.R., Kurian,P.S., (compilers), Festivals of Kerala. Tourist Desk, Cochin, 1993. 3. Mallika Sarabhai (ed), Performing Arts of Kerala, Mapin Publishing Pvt – Ltd , Ahmedabad.