Koodiyattam is the sole surviving classical Sanskrit theatre of Kerala. It is a two thousand year old theatre-tradition. Recently, the United Nations Educational, Scientific and Cultural Organisation (UNESCO) declared it a masterpiece of human heritage to be preserved and protected. Kulasekhara Varma Cheraman Perumal, an ancient king of Kerala was known as the creator of Koodiyattam. Attaprakaram authored by him is said to be the most authoritative book on Koodiyattam. It clearly describes the manner of acting. The acting is based on Natyasasthram which is the most authentic book on almost all Indian dance forms.
According to UNESCO , intangible heritage might be defined as embracing all forms of traditional and popular or folk culture, i.e., collective works originating in a given community and based on tradition. These creations are transmitted orally or by gesture, and are modified over a period of time through a process of collective recreation. They include oral traditions, customs, languages, music, dance, rituals, festivities, traditional medicine and pharmacopoeia, the culinary arts and all kinds of special skills connected with the material aspects of culture, such as tools and the habitat. For many populations (especially minority groups and indigenous populations), the intangible heritage is the vital source of an identity that is deeply rooted in history. The philosophy, values, moral code and ways of thinking transmitted by oral traditions, languages and the various forms taken by its culture constitute the foundation of a community’s life. Traditionally, Koothu and Koodiyattam are the privilege of the templecastes Chakyars and Nambiars. Chakyars enact the male-characters and the Nangiars (the women of the Nambiars) enact the female-characters. The Nambiars play Mizhavu, the major percussion-instrument in Koodiyattam. The plays of Kulasekhara, Sakthibhadra, Bhasa Kalidasa and Bodhayana are performed act by act in Koodiyattam. The four-fold concept of acting dealt with in the Natyasastra, sage Bharata’s ancient dramaturgy, find its due significance in Koodiyattam. Angika (hand gestures and body movements), Vachika (verbal acting), Aharya (make-up and costuming) and Satwika (facial expressions) in Koodiyattam are highly stylised. One finds in Koodiyattam more of Natyadharmi (stylised acting) compared to other classical art forms.
Since Koodiyattam performances were proffered as offerings to the deity, they were enacted only in temples. Many temples have beautiful pavilions within their precincts which are known as Koothambalam with high sloping roofs covered with metal sheetings. A Koodiyattam performance is a long drawn-out affair, taking place at night and lasting for days. Politics, philosophy and social behaviour are covered in the comments. The pivotal role in these performances belong to the jester as he is the only one who speaks and the language is Malayalam. He translates the Sanskrit version with a touch of humour and also acts as a bridge between the actor and the audience.
According to UNESCO , intangible heritage might be defined as embracing all forms of traditional and popular or folk culture, i.e., collective works originating in a given community and based on tradition. These creations are transmitted orally or by gesture, and are modified over a period of time through a process of collective recreation. They include oral traditions, customs, languages, music, dance, rituals, festivities, traditional medicine and pharmacopoeia, the culinary arts and all kinds of special skills connected with the material aspects of culture, such as tools and the habitat. For many populations (especially minority groups and indigenous populations), the intangible heritage is the vital source of an identity that is deeply rooted in history. The philosophy, values, moral code and ways of thinking transmitted by oral traditions, languages and the various forms taken by its culture constitute the foundation of a community’s life. Traditionally, Koothu and Koodiyattam are the privilege of the templecastes Chakyars and Nambiars. Chakyars enact the male-characters and the Nangiars (the women of the Nambiars) enact the female-characters. The Nambiars play Mizhavu, the major percussion-instrument in Koodiyattam. The plays of Kulasekhara, Sakthibhadra, Bhasa Kalidasa and Bodhayana are performed act by act in Koodiyattam. The four-fold concept of acting dealt with in the Natyasastra, sage Bharata’s ancient dramaturgy, find its due significance in Koodiyattam. Angika (hand gestures and body movements), Vachika (verbal acting), Aharya (make-up and costuming) and Satwika (facial expressions) in Koodiyattam are highly stylised. One finds in Koodiyattam more of Natyadharmi (stylised acting) compared to other classical art forms.
Since Koodiyattam performances were proffered as offerings to the deity, they were enacted only in temples. Many temples have beautiful pavilions within their precincts which are known as Koothambalam with high sloping roofs covered with metal sheetings. A Koodiyattam performance is a long drawn-out affair, taking place at night and lasting for days. Politics, philosophy and social behaviour are covered in the comments. The pivotal role in these performances belong to the jester as he is the only one who speaks and the language is Malayalam. He translates the Sanskrit version with a touch of humour and also acts as a bridge between the actor and the audience.
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