Critique of society
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‘Kakkarassi Natakam’ is an ancient art form, but it strikes a chord with the audience as the performers relate the play to contemporary issues. Manu Remakant
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satire: The mythological story of Shiva and Parvati serves as a framework for turning the dance-drama into a reflection of society.
The small air-conditioned hall on the premises of Vyloppilli Samskriti Bhavan reverberated with the rhythms and sounds of Kakkarassi performers.
As the artistes danced to the frenzied percussion, the audience could not help falling into the rhythm of an ancient art form – ‘Kakkarassi Natakam,’ which was performed by the Thiruvananthapuram-based troupe of Kodunganoor Saraswathy. They performed select parts from the Kakkarassi play ‘Sree Sankaraleela.’ What was presented was an abridged version of the three-and-a-half-hour drama.
According to Saraswathy, Kakkarassi Natakam was a satirical dance-drama popular in Tamil Nadu. Later, it became popular in Kuttanad, where it found favour among people who worked in the fields. After a day’s work, they used to gather in the village to perform the dance drama.
Puranic legends
‘Kakkarassi natakam’ is based on Puranic stories of Lord Siva and his consort Parvati when they assumed the forms of Kakkalan and Kakkathi – a nomadic group of fortune tellers. The mythological story serves as as framework for turning the artistic exercise into a critique of contemporary society.
‘Sree Sankaraleela’ began with an invocation performed by the artistes, who were draped in black and saffron. Soon the story began to unfold through song and dance.
The first scene showed the Kakkan and his wives. The Kakkathis’ colourful attire, complete with multi-coloured bangles, pearl necklaces and flowers in their hair, caught the attention of the viewers. As is usual in Kakkarassi plays, the Kakkan was confronted by the voice of a Thampuran who began to probe him with questions.
To please his lord, the Kakkan danced, along with his wives. But the playful mood changed as a quarrel broke out among them. Behind the veneer of the amusing incidents that happen in the Kakkan family was a cleverly concealed message that became evident to the viewers as the play progressed. The story underlines the importance of harmony in every family. Humour and satire are cleverly used to drive home a point in most of the Kakkarassi plays.
The final scene also pleased the viewers with its mix of humorous dialogues and dances. The actor who donned the role of the Kakkan in the first scene appeared as the king of the land, attended by a ‘sevakan.’ The king left the place after instructing the ‘sevakan’ to take care of the palace. Meanwhile, a Kakkathi’s arrival and the ensuing dialogues between the servant and the Kakkathi evoked laughter.
After the king returned, he asked the servant to bring back the Kakkathi who had already left. What followed was the most entertaining scene in the whole drama. The lively dance and songs in that scene had the audience in splits. How the Kakkathis relate themselves to problems that confront modern society was the key issue in the concluding scene.
Saraswathy, who leads the troupe, says that even though the traditional art form easily adapts itself to suit modern times, there are few takers for Kakkarassi Natakam now.
“We usually perform during temple festivals, but are underpaid. With all this attires and ornaments, this is an expensive affair. I don’t see any future for it now,” she adds.
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