In a measured, cultivated unique style, the Chakyaar chants a Sanskrit verse from the original text, goes on to explain the meaning in simple Malayalam and embellishes his narratives by mono-acting the story. For example, now he may emote the gestures of a monkey labouring at building the sethu, then he may act as an old king desperately attempting to lift Shiva’s divine bow, and thereafter he may mime the scene of Jatayoo valiantly attacking Ravana to block his flight to Lanka.
By way of bringing the audience into the performance, he points his finger at anyone, picks on anyone, and compares him with the characters in his performance. Couched in sarcastic gibes peculiar to Koothu, he would scornfully compare the chosen to a monkey and gesticulate as one, he would mime a game of dice, boast and brag as a conceited king, piteously fake as a supplicant at the feet of a politician, piously ponder as a saint and many others.
He takes up current social evils including the uncompromising brutality of a politician perhaps present in the audience, highlight the deplorable treatment meted out to people belonging to the economically and socially backward castes in society, paint the picture of a crass politician, ridicule the vulgar display of opulence and so on. This unique feature well entrenched in Chakyaar Koothu is aimed at helping the society in cleansing undesirable behaviour and attitudes.
The Chakyaar does not spare even the high class Namboothiri Brahmins, members of the royal families, aristocrats and social elites. Yet, no one ever takes offence at his sardonic tirade.
In short, Chakyaar Koothu is a cultural and intellectual extravaganza. Figuratively put, it is a branch tenderly cut from the ancient Banyan tree of Natyashastra, and lovingly planted and nurtured in Kerala about two thousand years ago. This branch continues to grow and flourish enriching the culture, art and literature of this land.
Tradition demands that a Kooth performance is staged only in a specially constructed tiled structure known as Koothambalam. Strictly adhering to the elaborate mathematical calculations given in the ancient architectural texts – Vaasthu and Tachu Shasthra – building a Koothambalam is an art. The size, shape, building materials including laterite stones, timber and tiles are all chosen with meticulous care to build a structure of acoustic excellence. Even the pillars on which the roof rests are intricate pieces of art.
The prime lighting in a Koothambalam comes from a large traditional bell metal wick-lamp on the edge of the stage that stands tall up to the Chakyaar’s chest.
Before the Chakyaar steps on to the stage, a drummer plays on the mizhaavu by rhythmically slapping on the leather with both his palms. This ritualistic drumbeat serves as a formal announcement to the neighborhood that Chakyaar Kooth is just about to begin. The mizhaavu is a large pear-shaped copper vessel with a narrow open top covered tight with leather and it is held in position within a wooden frame. On one end of the frame the drummer sits behind the Chakyaar facing the audience. Normally he is a man who belongs to the Nambiar caste. On the floor to his right sits a Nangyaar woman and gently keeps time by playing two small hand-held cymbals.
There may not be any other story-telling style that is as simple, clear, interesting and diverse as Chakyaar Kooth. In varied ways, it continues to remain relevant to the present socio-cultural scenario.
(by S.R.A. Das)
