I was honoured and privileged to accompany a wonderful group of artists during the past few days. The project was close to my heart because it was a warm invitation from a group of artists that I have known since my childhood. Located in the heart of Irinjalakuda, Chachu Chakyar Smaraka Gurukulam is the cradle that nourished Koodiyattam to its present day glory. The epic rise to glory of this ancient art form could be attributed to selfless dedication and struggle undertook by the artists mentored by Dr. Ammannur Madhava Chakyar. In 2001, Koodiyattam was officially recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. The recognition had elevated the status of the art form and helped the artists to gain a global platform. As I followed the ensemble it was clear to me that I have noticed a treasure of cultural heritage through the view finder. 

Koodiyattam is one of the earliest living theatre traditions in the world. The initial form of the art is estimated to be 2000 years old. The performance takes place in Sanskrit language or an early form of Prakrit, which predates Sanskrit. This itself is an indicator that this could be a predecessor of most forms of theatre existing in the modern world. The art form have significantly influenced other forms of theatre from different parts of the world. For instance Kathakali, that emphasized symbolism, dance and music which predominantly uses Malayalam rather than Sanskrit has its origins from Koodiyattam. The characters, narration and representation in Kathakali have strong resemblance to that of Koodiyattam. While I was discussing about my latest project to a group of friends, one of them who was a professional wrestler was eager to point of some aspects which were really interesting. He pointed out the striking resemblance of this art form with modern day professional wrestling in terms of character development, improvising the story line by the performer, use of stage, narratives and the interaction of 'Vidooshaka' with the audience (fourth wall). Koodiyattam have contributed more than just aesthetics and theatrics to the modern world.

The venue of the performance or the 'koothambalam' is an elaborately decorated zone with plantain trees, bunches of tender coconut and coconut leaves. This is one of the first models of a stage designed to engage the audience. The basis of construction of a Koothambalam is according to Natyasastra, which is renowned as the fifth Veda. Many aspects of the performance is meticulously followed for centuries with a little or no alteration. The salient aspect of the theatre halls are that they effectively highlight the illumination and acoustics to enhance the performance. The theatrics include use of props and fire to increase the artistic value and signify the thematic representation.

However there exists neither the required number of academic research nor proper funding for this Masterpiece of the Oral and Intangible Heritage of Humanity. This art form requires immense dedication and practice for years to master and to perform. It was only in the recent past, the Government of India took measures to ensure scholarships to deserving students. Though the art form have received international acclaim, in a regional front the art form is still suffering from negligence by the regional bodies and the state government. Most artists who I came across during this project nurtured their passion for this art after spending years of dedicated training. Since there is less scope of earning a livelihood from this art form, most artists work on various professions to fund their passion for this art. Like a Samurai who is lost in modern day Tokyo, they exist among us, disciplined and unwavered by the changes that passed by. According to many of the artists, the times are changing after their revered art form won the recognition from UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. Dr. Ammannur Madhava Chakyar (May 13, 1917 – July 2, 2008) became one of the first Koodiyattam performers to present to an international audience. He had visited France, England, Switzerland, Netherlands and Japan to promote and to perform the art. In 2001, he was awarded - Padma Bhushan by the Government of India. Along with more international attention, there is a widened scope of audience and higher scope for research.

As a rule of nature, art cannot be negated or erased. As long as passion remains, world will keep the spark within their hearts and let it glow to become a flame that shines through the darkness. Fortunately Koodiyattam is safe from the tentacles of marketing and business oriented consumerism at the moment. All I hope is that the art will remain immaculate in the safe hands of a group of dedicated artists who had repeatedly proved that they could overcome the tides of time. Let them set sail into a bright future with the intangible heritage of humanity safe in their hearts.