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Epic heroes: Sooraj Nambiar as Arjuna in ‘Subhadradhananjayam’

The 12-day Koodiyattom festival conducted by Ammanur Gurukulam, Irinjalakuda, concluded with Bhaasas’ play ‘Oorubhangam.’ The annual fete is being organised for the 21st year.

The festival started with ‘Kamasavadham’ Nangiarkoothu performed by Aparna Nangiar. ‘Kalyanasougandhikam,’ ‘Vikramorvaseeyam,’ ‘Balivadham,’ ‘Soorpanakhangam,’ ‘Subhadradhananjayam’ and ‘Jatayuvadham’ were the plays enacted on the succeeding days. In addition, there were Nangiarkoothu performances by Kapila and Tomoe Tara Irino, based on ‘Kaliyamardhanam’ and ‘Kamsajananam’ respectively.

This year, the play ‘Subhadradhananjayam’ was performed for three days with the customary purappad and Nirvahanam.

The third phase comprised the enactment of the sloka ‘Sikhinisalabham’ by Sooraj Nambiar. His superb depiction of the sloka, first through facial expressions and then through hand gestures, was proof of his meticulous training and dedication towards the art form. Renjith Chakyar’s performance as Ravana in ‘Jatayuvadham,’ and his performance as Hanuman in ‘Kalyanasougandhikam’ were noteworthy. Rajaneesh Chakyar handled the roles of Bhimasena in ‘Kalyanasougandhikam,’ Sri Rama in ‘Soorpanakhangam,’ and Jatayu in ‘Jatyuvadham’ well. His dance as Jataayu in ‘Lakshmi thaalam’ was a treat to the eye.

Seasoned artiste Ammannur Kuttanchakyar effectively enacted the death scene of Bali. He also played the role of Soorpanakha. Up-and-coming artiste Ammanur Madhav played Lakshmana in ‘Balivadham’ and ‘Soorpanakhangam.’

Other performers included Kalamandalam Sangeeth Chakyar and Kalamandalam Divya.

Rajaneesh Chakyar as Aswathama in ‘Ooorubhangam.’

Bhasas’ play ‘Ooorubhangam’ was produced as part of the silver jubilee of the Gurukulam. Termed as the first anti-war play in Sanskrit literature, it is still relevant today. The play revolves around three characters – Balarama (Renjith Chakyar), Duryodhana (Sooraj Nambiar) and Aswathama (Rajaneesh Chakyar). Infuriated by Bhimasenan’s fatal blow to Duryodhana’s thigh, which was against the laws of war, Balarama ventures to do away with the Pandavas. But a penitent Duryodhana calms him by saying that he was reaping the fruits of his own misdeeds.

Aswathama arrives on the scene and on seeing Duryodhana, he is reminded of the way his father, Dronacharya, met his end at the hands of the Pandavas. The play ends with Aswathama vowing to kill the Pandavas.

Kalamandalam Rajeev, Hariharan, Narayanan Nambiar, Ravikumar, Vineesh and Jayaraj accompanied on the mizhavu. Kalanilayam Unnikrishnan and P. Nandakumar played the edakka. Kalanilayan Sankaran and Haridas handled the make-up. Aparna, Kapila, Divya and Sneha handled the thalam.

A bamboo orchestra, performed by a cultural delegation from Japan, was one of the highlights of the Koodiyattom festival at Ammannur Gurukulam, Irinjalakuda.

The instruments were made of natural bamboo of varying lengths and diameters that were arranged in a horizontal panel, akin to a xylophone.

Founded in Japan in 1993, the bamboo orchestra has two branches – the bamboo orchestra in Tokyo, Japan, and the other in Marseille, France. They also use traditional Japanese bamboo instruments such as the Shakuhachi, the Shinobue, the Shou and the Indonesian bamboo instrument Ankloong.

The musicians were Kenji Ashimoto (composer), Miyoko Ashimoto (percussionist) and Tomoe Tara Irino, who is also a student of Koodiyattam and the edakka.

The group started with a piece that resembled the raga Natta. Other pieces resembled ragas Mohanam, Revathi and Sankarabharanam; some rhythmic beats also were played. Edakka player P.Nandakumar joined the group midway and they interacted, almost like the thaniavarthanam in a Carnatic music concert. The rhythmmic exchanges captivated the audience.

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