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Photos: K.K. Gopalakrishnan

Inimitable style: Kavungal Chathunni Panicker.

The artistes of the Kavungal kalari (style) were predominantly known for the extremely physical quality of their artistry. It is believed that the Kavungal kalari was earlier linked with the Kaplingadan Kathakali heritage, initiated by Kaplingadan Namboodiri (1729-1792) of Nedumpura, Thrissur.

Kavungal Unniri Panicker (1750-1830), a actor-vocalist-percussionist in the Kaplingadan troupe, was the first Kathakali artiste in the Kavungal family. His nephew, the renowned Kavungal Ramunni Panicker (1809-1880), is regarded as the first reputed Kathakali actor of the kalari.

One of the icons of Kathakali, Kavungal Sankara Panicker (1872-1935), was declared an outcaste at the peak of his career for having a relationship with Kuriyedath Tathrikutty, who belonged to a Namboodiri family. Kavungal Narayana Panicker (1890-1920), who died prematurely, too belonged to this heritage. His disciple and nephew Kavungal Sankarankutty Panicker (1908-1990) and cousin Kavungal Chathunni Panicker (1923-2007) were the subsequent links to this heritage

After his formative training under Sankarankutty Panicker, Chathunni Panicker trained under Kadamboor Gopalan Nair. Panicker’s skill lay in portraying heroic characters and his cholliyattam (acting of librettos) was charismatic. He also managed a captivating transformation in costumes (aharaya). He stuck to the traditional choreography of technically demanding and grammatically intricate stories, but created a grammar of his own and presented it in his inimitable way. For instance, his Hanuman in penance in “Kalyanasougandhigam “was distinctive. The monkey god’s three responses to the sudden noise as Bhima moves through the forest searching the Soughandika flowers were brilliant. The sound of birds and animals in panic disturbing his meditation, the enactment of the line “why this unusual panic in this deep forest where I meditate…” and the subsequent description of Bhima were memorable.

Panicker brought an aura of innocence to the role of Kattalan (forest-dweller) in “Kiratam” and “Nalacharitam”. Though trained in Bharatanatyam under Pandanallur Meenakshisundaram Pillai, Panicker stayed with the Kathakali format for the lines “eduthu villum ambum valum…”. His execution of kalashas (pure dance segments) and natya (expository dance) elements were brilliant and always went with the context. “I invariably maintain the feeling that underlies each libretto and the definitions of the playwright,” he would say.

“The moment we are on stage, some energy passes through us that forces us to forget everything else, let alone our physical limitations,” he said soon after a performance a few years ago. “The moment you people say my art is not worthy enough I will stop performing. I never wanted to be a joker on stage who is tolerated because of his seniority.” This was accompanied by his characteristic, infectious laugh.

The late Kathakali critic and historian K.P.S. Menon, in his magnum opus Kathakalirangam, reminisces about Panicker’s performances as secondary characters during his seminal years. “though these characters were criticised often by Kathakali scholars, they attained the significance of perfected lead roles when Chathunni Panicker handled them”.

He was one of Jawaharlal Nehru’s favourite artistes. In 1955 while performing “Kiratam” in Delhi, “I noticed Nehru in the front row, along with the then Minister Panambilly Govinda Menon as interpreter. In the manodharma allowed while depicting Kattalan sharpening his weapons and lighting a fire in the forest, I used the mirror in my uthariyam (the long ornate scarf worn around the neck) to reflect the light of the lamp on Nehru’s face. For a few seconds he thought it was a real fire. He appreciated this and spoke about it after the performance.”

Panicker analysed the context and even the minute emotions embodied in the librettos but also read between the lines. For manodharma he used his limbs, eyes and face, in fact his entire body, very convincingly. His performance in Ooty in 1947, at the age of 24, under the initiative of the then Home Secretary V.P. Menon was a turning point in his life. After the performance, he was introduced to Vikram Sarabhai and his wife Mrinalini Sarabhai. The following year he was invited to Darpana, Mrinalini’s dance institution in Ahmedabad. He became Principal in which post he continued till his retirement in 1985. Though this migration earned him a reputation the world over as an outstanding dancer and choreographer, the art of Kathakali was denied his full time presence. His long stint (1947-1985) at Darpana Academy in Ahmedabad did not affect his reputation as a Kathakali exponent.

Panicker’s art created space for itself even though his contemporaries included great artistes such as Vazhengada Kunju Nair, late Kalamandalam Krishnan Nair and Kalamandalam Ramankutty Nair. It was Panicker who first demanded that organisers provide Kathakali artistes taxi fare to the performance venue. He also sought better lodging and green room facilities for travelling artistes. Along with Krishnan Nair, he ensured that Kathakali actors were treated and paid better. “Artistes too are human and need to earn a living. Once an Indian artiste is bed-ridden neither the patrons nor the government bother about him/her,” he would say.

Panicker was a recipient of Padmashree (2005) at the end of his life. He also received the Central and State Sangeet Natak Akademi Awards and the Kerala Government’s award for Kathakali, among others.

In 1991 Panicker initiated an endeavour to revive the Kavungal heritage in his ancestral village but gave up the effort after five years because of ill-health and financial problems.

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