Pioneer and traditionalist
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Keezhpadam Kumaran Nair, a legend in his lifetime, widened the horizons of Kathakali and enriched the art form he practised for 85 years. K.K. Gopalakrishnan
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Perfectionist and visionary: Keezhpadam Kumaran Nair.
With the demise of Keezhpadam Kumaran Nair, Kathakali has lost one of its towering pillars.
The nonagenarian master was the only surviving disciple of Pattikkamthodi Ravunni Menon. Known for his highly creative expositions, Kumaran Nair was hailed for his technical perfection and artistic aesthetics that came to fore in snippets of manodharma, often impromptu, that he unveiled on stage.
The maestro as Kuchelan in ‘Kuchelavritham,’
For a discerning audience, familiar with the epics and the intricacies of the art, his performance was invariably a feast for both the mind and the intellect. He was a trailblazer and a traditionalist, a perfectionist and a visionary.
Once, replying to a question on his interest in Kathakali, the maestro had said, “As I was born in Vellinezhi village, the home of Kalluvazhi chitta, right from my childhood I was attracted towards Kathakali. Even though I did not understand much of the art form in those days, it was an unusual experience to move around the green room and the stage along with a few others of my age group. On our way back home I used to imitate what I saw.” Born on May 30, 1915, Kumaran Nair began learning Kathakali at the age of seven.
“It must be a turn of fate. From the village school I got promoted to the second standard. However, as my teacher of class one, with whom I had developed a very deep attachment, was not promoted with me, I began playing truant.
“It was during that time that a Kathakali kalari was started at nearby Kanthalloore with gurunadhan as the chieftain. I used to skip school to watch the Kathakali training, which was more interesting to me,” the maestr
o had said.
He became a student of Kathakali in June 1922 and the training continued for 15 years under Pattikkamthodi Ravunni Menon, whom he used to address only as gurunadhan.
During a brief period at Varanakkot Kathakaliyogam in Kannur district, Kumaran Nair received training under gurus Chandu Panicker and Ambu Panicker.
Mythical characters
Mythical characters, especially in kathi and vellathadi roles, attained a new dimension in his hands. However, his favourite was the technically demanding Dharmaputhra of ‘Kirmeeravadham’ in pacha role. Each of his performances was the outcome of the creative impulsions of a genius who incessantly went on distilling the artistry in him.
For instance, in ‘Ravanotbhavam,’ his Ravana interpreted the lyrics as ‘while sleeping on the lap of my mother, her tears became a garland of pearls for me’ instead of the usual ‘my mother’s tears fell on my face’ and thus progressed the ‘tantedattam,’ an arrogant soliloquy prescribed for kathi and tadi characters. In ‘Keechakavadham,’ his Keechaka began flirting with Sairandhri, by showering flowers on her to the accompaniment of the padam ‘Malini ruchiraguna Shalini …’
“Which woman on earth does not appreciate a romance embellished in a shower of flowers?” was his explanation for the improvisation.
It was Kumaran Nair, who, in consultation with Vazhengada Kunju Nair, introduced four kalashams of the ashtakalasham for the Hanuman in ‘Kalyanasougandhikam’ in the Kalluvazhi style. While performing as Hanuman in ‘Lavanasuravadham,’ for the anupallavi ‘Anilasuthan ahamennu dharicheeduvin balare…,’ he used to initiate ashtakalasham along with Kusha and Lava, which created captivating visuals on stage.
As a teacher, Kumaran Nair was a traditionalist who adhered strictly to the chitta. He firmly believed that a Kathakali student should adhere to the tradition and set choreography at the kalari and during his formative years. However he had maintained, “I am still a student” all through the 85 years of his artistic life.
Hanuman in ‘Kalyanasougandhikam.’ He is accompanied by Kalamandalam Ramankutty Nair.
An autobiography, ‘Kalivilakku’ (1999), is the only book he had authored, in addition to a few articles on Kathakali. The book is held in high esteem for the brilliant narration on the three Hanumans of Kathakali, portrayed in ‘Thoranayudham,’ ‘Lavanasuravadham’ and ‘Kalyanasougandhigam.’ It spoke volumes about the vast knowledge the unassuming master possessed about Kathakali and its characters and portrayals.
When American danseuse Ragini Devi (Esther Luella Sherman), who was trained in Kathakali for a couple of months under Pattikkamthodi, ended her dance partnership with Guru Gopinath in 1937, she invited Keezhpadam Kumaran Nair to her dance company and went on a performance tour to Europe and Sri Lanka.
Dance choreographer
Subsequently, he migrated to Chennai as the dance master of Tamil film star Ranjan and soon became an accomplished dance choreographer. During this period, he obtained proficiency in Bharatanatyam, Kathak and Manipuri. He was the dance and Kalaripayattu guru of M.G.R and a host of other reputed actors.
Kumaran Nair also taught at Kottakkal P.S.V. Natya Sangham (1940-42), Kerala Kalamandalam (1955), Gandhi Seva Sadanam (1960-1969) and at Delhi International Kathakali Centre (1970-79). Considering his virtuosity as a dancer, when Vallathol suggested that he take care of the dance department, Kumaran Nair resigned from the Kalamandalam in protest.
“If employed at the Kalamandalam, it must be as a Kathakali artist only,” was his firm decision. He had acted as the asan in Shaji N. Karun’s film ‘Vanaprastham.’
He was honoured with the Kerala Sangeet Natak Akademi award (1976) and the central Sangeet Nataka Akademi award (1988). He was also honoured with the Padmasri (2004) at the fag end of his illustrious artistic life.
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