The Hindu
Features Friday Review
Mastering the mizhavu
G. S. Paul
Kalamandalam Rajeev. Photo: K.K.Najeeb
Introduction of Koodiyattam as a discipline in Kerala
Kalamandalam in 1965 threw overboard the caste-basedrestrictions on
the practitioners of this age-old Sanskrit theatre. An epochal
event, it witnessed during later years asurge not only in the
number of Koodiyattam performers but also in the number of
performers of the mizhavu, the soledrum employed in the art form.
The mizhavu, unique to Kerala, came to the spotlight at the
national level recentlywhen Kalamandalam Rajeev was selected for
the Ustad Bismilla Khan Yuva Puraskar, awarded to young artistes by
theSangeet Natak Akademi, Delhi. The recognition is singular since
the award is being given to a mizhavu artiste for thefirst time
since it was introduced in 2006. Widely acclaimed as an ingenious
drummer noted for his disciplineddemeanour, Rajeev had the
privilege of accompanying all the stalwarts of his time ever since
he graduated fromKalamandalam. Moreover, he is endowed with a rare
creativity that is reflected in the numerous
contemporaryproductions anchored on the mizhavu. He isthe secretary
of Ammannur Chachu Chakyar Smaraka Gurukulam,Irinjalakuda. Rajeev
shares with FridayReview how a boy like him, with no artistic
traits, was transformed into a muchsought-after drummer in the
world of Koodiyattam over the years. Excerpts...
The accidental entry
After my fathers death, my family returned to Cheruthuruthy from
Andhra Pradesh, where he was a contractor. Beingthe only son, the
onus of earning a living fell on my shoulder, Fortunately for me
the mizhavu maestro KalamandalamEswaran Unni was our neighbour and
he persuaded me to join Kalamandalam in his class. That was in
1985. I wastotally ignorant of any art form except Harikatha to
which I was exposed while in Andhra. So I simply followed mygurus,
including P.K. Narayanan Nambiar and V.K.K. Hariharan, mechanically
learning the preliminaries. Thearangettam was during the second
year. Notwithstanding my lack of interest, I completed the
four-year coursesuccessfully. It was again my guru Eswaran Unni who
secured me a scholarship that enabled me to do two years ofhigher
training.
A God-given opportunity
A turning point in my life occurred in 1989 when I got a chance
to perform at Ammannur Gurukulam by coincidence.This was an
eye-opener. Slowly I began to realise the potential of the
instrument that I had been handling so far. In1992 I was absorbed
as a regular staff of the Gurukulam. The Gurukulam provided an
unprecedented experience andthe ever-going rehearsals helped me
comprehend the varied styles of drumming in accordance with the
performance ofthe character on the stage. I realised that I was
being properly groomed for plays.
With the legend
During the Diamond Jubilee celebrations of Kalamandalam in 1990,
Madhavamman (Ammannur Madhava Chakyar)was invited to present
Balivadham. There were many mizhavu artistes, including me, in the
institution. I had longedto accompany him, but was not allowed.
But, later, when I joined the Gurukulam, I was thrilled to play for
him for
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hours on end. This was the greatest achievement in my life.
Further, Madhavamman took special care about thepercussion section
and instructed us how to play for different occasions. Learning
from such a great master hadprofound influence on my artistry. It
was the heyday of the gurukulam with a series of performances
across the countryin programmes organised by SPIC-Macay and
festivals such as Khajuraho, Bharath Rang Mahotsav, etc. My joy
knewno bounds when Madhavamman insisted that I along with my junior
Hariharan play for him at UNESCO in 2001during the historic
announcement of Koodiyattam as an Oral and intangible heritage of
mankind. I was the principaldrummer for him until he retired owing
to poor memory.
Learning at the Gurukulam
Production of Natanakairalis magnum opus Shakuntalam itself was
a great training as, we all sat together andprepared the
aattaprakaaram (acting manual), an exercise hitherto unheard of in
the history of Koodiyattam. Venuchettan (G. Venu) helped us to look
at Koodiyattam as a theatre form. We also benefitted highly from
the WorldTheatre Project in which apart from us, artistes from
Sweden, China and Africa collaborated. The interaction with themand
the joint production East of the Moon, West of the Sun enriched our
experience beyond description.
Role of Sangeet Natak Akademi
Sangeet Natak Akademis support from 1990 has been pivotal in
sustaining this art form. As of now, we have a wealthof young
talents, which would have been impossible to produce but for their
help. But only with enhanced assistancewill we be able to scale new
heights.
Keywords: Kalamandalam Rajeev, Koodiyattam, Kerala Kalamandalam,
mizhavu, Sangeet Natak Akademi, Keralaperforming arts
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