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Redefining a folk art form

Folk art: Women are being trained in Porattunatakams like Dasi and Cheruman-Cherumi for the first time.

In keeping with the changing times, Porattunatakam (or Porattukali), the folk art form seen in Palakkad district, is also going through a period of transition. The induction of women in the art form, which has, so far, been considered a male domain, is a step in that direction. With the programme to train girls in the art form expected to be completed shortly, male members of the folk art troupes will not have to don female roles such as Kuratti, Mannathi, Cherumi, Chakkilichi and Pookkari.

It was the Kendra Sangeet Natak Academy vice-chairman Kavalam Narayana Paniker who, at a festival of folk arts held at Palazhi, near Chittur, in 2005, suggested that introduction of female artistes would brighten the prospects and reach of the folk art that is mostly confined to Palakkad, Alathur, Chittur and Ottappalam taluks.

Fifty-two-year-old Mannoor Chandran, who has been staging the folk art for the last four decades, says, “There were demands from different quarters for effecting changes in the art form so as to make it more appealing to the audience.” Adds Chandran, who is also the main instructor of the Porattukali Training Centre at Mannoor, and president of the Peruvembu-based Nadodi Nataka Nrutta Sangeeta Kendram, “There was some initial reluctance on the part of girls to come forward. But we encouraged them. Now, six of them, including my daughter Sarita who plays the role of Cherumi, have already learnt Porattunatakam. ”

“Porattukali’s literal meaning is ‘art form performed by those outside the mainstream of society.’ The artistes, barring a few exceptions, are drawn mainly from the Pana caste. On account of the colloquial language, the more sophisticated sections in society used to look down upon the art form,” says Viswam, a folklorist who has devoted 45 years to the study of Porattukali and other folk art forms of Palakkad. According to Viswam, who is also secretary of the Nadodi Nataka Nrutta Sangeeta Kendram, the purpose of the training programme is to win a bigger audience for Porattukali through themes that would also be appealing to spectators who have not been exposed to the art form so far.

The trainees at Mannoor are given orientation in two new Porattunatakams scripted by Viswam –‘Gurusandesam’ and ‘Kaalippattu.’

“As of now, the story line in the Porattukali – a combination of 10 to 12 Porattus performed throughout the whole night – centres round the reunion of a couple who are separated at the venue of a Pooram festival. Besides the duo, there is a ‘Chodyakkaran’ (one who asks questions) who, through his fun-filled remarks, takes the story to its logical conclusion,” says Viswam.

Although there are different Porattunatakams like Dasi, Mannan-Mannathi, Cheruman-Cherumi, Chakkilian-Chakkilichi, Kuravan-Kurathi, Pookkari, Mathuchi, Mappila, Kusava et al, the story is invariably the same. At present, the costumes of the artistes are simple. Minor changes are likely in this regard. The duration of a Porattunatakam ranges from 45 minutes to three hours. As the new generation of art lovers prefer abridged versions of classical art forms, efforts are directed towards preparing the young artistes to stage Porattukali for 45 minutes to three hours at a stretch. The instruments used are the chenda, the harmonium and the mridangam and the cymbals.

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