Heir to a proud, artistic tradition
G.S. PAUL
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Ammannur Kuttan Chakyar has been awarded the `Rama Chakyar Smaraka Puraskaram' for 2006.
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DOING HIS FAMILY PROUD: Ammannur Kuttan Chakyar.
The prestigious `Rama Chakyar Smaraka Puraskaram' for 2006 has been awarded to Ammannur Kuttan Chakyar of Irinjalakuda. Instituted by Paimkulam Rama Chakyar Smaraka Kalapeedhom in 2003, the award is a recognition of his scholarship and artistry.
Kuttan Chakyar is the worthy successor of a hoary tradition. He comes in the lineage of Ammannur Chachu Chakyar, Ammannur Parameswara Chakyar and the living legend Ammannur Madhava Chakyar.
Kuttan Chakyar has been faithfully continuing this legacy.
Unlike his predecessors, Kuttan Chakyar has had the privilege of a school education. He began his training as a Chakyar only after completing his SSLC. But fortunately for him, there was an array of stalwarts to groom him. Although his uncle Madhava Chakyar was in charge of his training, Chachu Chakyar, Madhava Chakyar's uncle, kept an eagle eye on the youngster's grooming. Kuttan still remembers that he was the only student in the Kalari in those days.
Those were the days when Kuttan's uncle Madhava Chakyar was at the zenith of his career. The nephew was duty-bound to escort and assist him in all performances. The exposure to his uncle's artistry was a rare privilege that substantially helped the up-and-coming-artiste. The interaction moulded the performer in him. Kuttan's mastery over vaak (for which he is widely known) and also the versatility of veshams could be ascribed to this exposure.
Although he is acclaimed for his role of the `vidushaka,' Kuttan's Bali, Sugriva, Surpanakha, Srirama and Ravana have also been praiseworthy. A master choreographer, the vidushaka in the much-hyped modern play `Sakuntalam' has been his creation. `Mayasirassu,' the fifth act of `Abhisheka Nataka,' was directed by him.
Traditionalist at heart
Kuttan is a traditionalist at heart. He has stiffly opposed the tendency to reduce the duration of Koodiyattom presentations.
"Editing has to be carefully executed so that relevant techniques are not sacrificed; staging of only those excerpts that are rich in theatrical potential will reduce Koodiyattom to a ballet," he pointed out. He is a staunch critic of those who look down upon Purusharthas in Koothu dubbings as platitudinous and irrelevant to contemporary times. In this connection, Kuttan explained that appreciation of Koothu demanded an understanding of the art form in its entirety; it was regrettable that this was on the wane nowadays. The opposition to such conventions stemmed from the lack of this culture, he added.
Asked about the UNESCO's intervention, Kuttan hoped that meaningful steps would be taken to popularise the art form. He feels that instead of confining steps to popularise the art form to seminars and presentation of papers, more shows must be staged to attract people to Koodiyattom. This would benefit the artiste community to hone their skills, he said.
Now that Ammannur Madhava Chakyar has retired from the stage, the onus of carrying forward the unbroken tradition of the family is on his shoulders. He has already assumed the post of the president of the Ammannur Chachu Chakyar Smaraka Gurukulam that has been successful in grooming young artistes like Usha Nangiar, Suraj Nambiar, Ammannur Rajneesh, Kapila and Ranjith Ramachandran.
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