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Dance Drama > Yatrakali

Yatrakali is differently known as Samghakkali, Chattira Ankam, Sastramkam, Kshatramkam, Panemkali. It is an art of the Nambootiris which had socio-political aspects at the time when it was conceived and later evolved as a performance form. It is believed that the formation of the art was related to a period when the Nambootiris were persecuted under the rule of one of the Cheraman Perumals who accepted the Buddhist faith.

This art had been conceived as a loosely knit dramatic form in which many dance, music and dramatic pieces were woven together. It was a mirror held against the artistic and social sense of the region and the times. Elements of many popular forms of dance and music were incorporated into this art either in their transformed or real forms. The boat songs, Tiruvathira songs and dance, Kurathiattam, Mohinipurappadu are some of the musical and dance pieces adapted for this.

There are many rituals in this ritualistic pseudo dramatic form like 'Kottichakam pookal' (the arrival of the participants), 'Kazhchakkottu' (playing of percussion instruments during the meals at noon), 'Nalupadam' (a song consisting of four sections or stanzas) sung in the performance space in front of an oil lamp with four lighted wicks (its purpose being the success of the performance), 'Pana' (a ritual reminiscent of the wide defence preparations in the country against enemies by establishing many Kalaris in which martial training was imported) and 'Ayudhameduppu' (a performance showing the preparation for war to instigate the people to join the militia).

Pana, the most important event is the dramatic entry of a character named 'Ittikkandappan'. He is supposed to be a sycophant of the ruler responsible for giving all wrong advice. This character is a butt of ridicule in the play and is portrayed as a feudal chief of notoriety and wickedness. He makes his entry by singing and dancing as in the case of any traditional Indian folk play. Then the musicians ask questions and he replies. The lengthy opening dialogues reveal the feudal arrogance of the character and the popular contempt for his demeanour.

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The talented Nambootiris were the artists who enacted this play and it is used to be performed in feudal household ceremonies like marriage, death anniversary etc. The most significant aspect of the art is its reference to the emergence of the Nambootiris as a military community at least for some time in the cultural scene of Kerala.

Yatrakali represents the victory of the Nambootiris. The word Yatra probably signifies this march. The name Chattira Ankam also was attributed to this art only due to its relation to the Ankam or fight. The fight was displayed as part of the performance of Yatrakali and this part was the Ayudhameduppu or assuming of weapons. The Sangham or group also signifies according to the scholars, the warrior group of the feudal period. 'Kali' or the play came in only when the old ankam was re-enacted as a mock performance.

It is held at a place called Ochira in Alleppey district. The kali (play) in which a large number of people participate is held as a part of an annual festival to commemorate a battle fought between the kings of two feudal principalities, Kayamkulam and Ambalapuzha. The festival falls around 15^th June and it lasts for two days. The mock show of the fight is done on both days. The fight takes place in front of the Ochira temple. A very special feature of this temple is that it has no temple building or any image of god or goddess. There are many pipal trees which are all worshipped by the devotees. There are no official pujaris. The main deity is known as Parabrahmam. The festivals are conducted by a  committee consisting of representatives of 52 villages around this area. The large and open space known as Patanilam in front of the place of worship is the ground where the mock fight take place. The participants in the fight hold a sword in the right hand and a shield in other hand and are dressed as warriors. Only members of the Nair community used to participate in the kali. But now it has assumed the character of a festival in which members of all communities take active part. Women do not participate in the fight. There are no duel combats, only group fights. Two groups fight each other, each group advancing in offence and retreating in defence. The movement start slowly and gain momentum, attaining fast tempo. There are a number of forward and backward movements which exhibit the physical prowess of the groups involved.

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Chavittunatakam is a Christian dramatic form which was introduced during the time of the Portuguese in Kerala in the16^th century A.D. 'Chavittu' means the rhythmic steps which accompanied the recitation of lines.

In the beginning this theatre was practiced by Latin Christians. This concept of the western opera type of theatre was inspired from the miracle plays of the west. The themes presented were also western. The texts were written in old Tamil. The acting techniques, stage structure and treatment of the plot were all western. The influence of Kathakali can be seen in the use of curtains and in certain elements of the costumes. The influence of Kalaripayattu is evident from the vivacious fighting scenes. The characters used to sing their dialogues. The adventurous themes selected for Chavittunatakam, like Charlemangne, St. George etc gave immense opportunity to use the local Kalaripayattu both for the fighting scenes and total kinetic design. The  participants of the play used to be very militant in their real life as they were sometimes used for fighting trespassers on private land. Kalaripayattu had immensely influenced the form. The forceful stamping of the foot by the actors is most dramatic and it effectively communicates the basic heroic mood in most of the themes. Being an opera, gestures are not used in Chavittunatakam to communicate ideas. The steps, the stamping and the locomotion of the body sharply coincide with the vocal singing and the accompanying rhythm on the instrument chenda creating a very vibrant dramatic effect. Male actors does the roles of women. The stage was a low platform of the strongest wood, about twenty yards long, eight yards broad and half a yard high. The performance was deemed a failure if, by the time the play ended, the platform had not been completely wrecked by the tremendous pounding of the actors feet.

The training in the art was given by the chief Guru known as Annavi or Asan. He used to give the basic martial training to the actors before introducing them to the text. The texts were preserved either in palm leaf or paper and they were known as Chuvati. The Annavi was well versed in Tamil which was the language in which the texts were written. The number of performers and troupes in this discipline is now coming down and the art is not getting adequate encouragement from the public.

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