A Very Special Folk Dance – Chavittunadakam

Chavittu Nadakam is a folklore art practiced by Christians in some parts of Kerala state of south India.

Offshoot of theatre, this form of play was prevalent among the Christian community spanning from Kodungallur to Ambalappuzha. Training is provided to performers before staging the play. The master is known as Annavi. The whole play is performed through musicals.

The main characters sport broached dress, headdress and crowns. The soldiers sport hats fitted with quills. The bell and drum are two instruments used as back ground score. Most of the times the stories related to Christianity or Western history or Biblical stories are played.

Chavittunatakam was introduced during the time of the Portuguese in Kerala in the16th century A.D. ‘Chavittu’ means the rhythmic steps which accompanies the recitation of lines in the drama.

In the beginning this theatre was practiced by Latin Christians. This concept of the western opera type of theatre was inspired from the miracle plays of the west. The themes presented were also western. The texts were written in old Tamil. The acting techniques, stage structure and treatment of the plot were all western. The influence of Kathakali can be seen in the use of curtains and in certain elements of the costumes. The influence of Kalaripayattu is evident from the vivacious fighting scenes.

The characters used to sing their dialogues. Male actors does the roles of women.The adventurous themes selected for Chavittunatakam, like ‘Charlemangne’, ‘St. George’ etc gave immense opportunity to use the local martial art form, Kalaripayattu both for the fighting scenes and the total kinetic design. The participants of the play used to be very militant in their real life as they were sometimes used for fighting trespassers on private land. Kalaripayattu has immensely influenced the form. The forceful stamping of the foot by the actors is most dramatic and it effectively communicates the basic heroic mood in most of the themes. Being an opera, gestures are not used in Chavittunatakam to communicate ideas. The steps, the stamping and the locomotion of the body sharply coincide with the vocal singing and the accompanying rhythm on the instrument chenda creating a very vibrant dramatic effect.

The stage for the performance used to be a low platform of the strongest wood, about twenty yards long, eight yards broad and half a yard high. The performance was deemed a failure if, by the time the play ended, the platform had not been completely wrecked by the tremendous pounding of the actors feet.

The training in the art was given by the chief Guru known as ‘Annavi’ or ‘Asan’. He used to give basic martial training to the actors before introducing them to the text. The texts were preserved either in palm leaf or paper and they were known as ‘Chuvati’. The Annavi was well versed in Tamil which was the language in which the texts were written. The number of performers and troupes in this discipline has come down as the art was not getting adequate encouragement from the public. But recently there has been a revival of traditional art forms all over, including this dance drama.

Training centers in kerala

KRIPASANAM PAVARNIKA RANGA KALAPEEDOM
Near Block Junction Kalavoor P.O.
Alappuzha 688022
Phone : ++91-477-2252230
Contact Person Fr. V . P. Joseph
Area of Training Performing Arts Training
Course Name Chavittunadakam
Academic month for Admission June
Duration of the Course 6 years
No. of Seats 12
About the Institution
The centre for folk arts offers course in Chavittunadakam. The centre is managed by a Trust. Established in 1989, the centre is affiliated with the Kerala Sangeetha Nataka Academy.

ONAM

Onam the birthday of Sage Vamana is an annual harvest festival, celebrated mainly in the south Indian state of Kerala. It is a popular festival among the cultural repertoire of Malayalees, and falls during the month of Chingam (August/September as per the Gregorian calendar), the first month of the Malayalam calendar, and lasts for ten days. Traditionally celebrated as a harvest festival, mythologically it is linked to Malayalee-Hindu folktales; but Onam is celebrated by people of all religions . The onam is observed when the moon is in Sravana nakshatra in the month of solar Bhadrapada (Simha Surya) as a madhyahana vyapini purvaviddha.

Significance of onam

Onam has been part of Malayalee psyche for centuries. There are records of Onam being celebrated during the Sangam Age. The earliest record of Onam is found during the time of Kulasekhara Perumals around AD 800.
Onam has two specific significances. First it is the communal memory and celebration of past history as enunciated in the Mahabali legend – a story of how paradise was lost. Second it is the celebration of the harvest, tied with the memory of the golden age of prosperity. It is believed that during those days the whole of Chingam was celebrated as Onam season. After the rain-drenched month of Karkidakam, with its privations, Chingam is a welcome month for people in the state of Kerala. The festival is the harbinger of spring – signalling the start of the harvest season. Onam epitomises the newfound vigour and enthusiasm of the season, and is celebrated with traditional fervour with visits to temples, family get-togethers, gifting of clothes called Onakkodi and lots of merrymaking.

The Keralites perform the Mohiniattam Dance, dedicated to the female form of Vishnu Mohini. There is also the Krishnanaattam dance. Many Keralites also worship Narayani. Sri Narayani Peedam and Sri Bangaru Adigalar of Kerala and their followers claim that these two figures are a forms or avatars of the goddess Sri Narayani. Thiruvathira kali is another dance form performed at the time of onam.

Legend

Kashyapa had two wives, Diti and Aditi, who were the parents of demons and demigods (Asuras and Devas) respectively. Indra, the king of demigods, went to war with the king of Asuras. Mahabali, the King of Asuras, defeated Indra and proceeded to occupy Indra’s territory. Kashyapa, who had gone to the Himalayas to do penance, on his return found Aditi weeping over the defeat of her son, Indra. By divine insight, Kashyapa recognised the cause of grief. Kashyapa tried to console Aditi who was wailing in grief, saying that nothing happens in the world without God’s will and people should go on doing their duties. Kashyapa asked Aditi to pray to Lord Narayana and taught her Payovrata, a ritual that has to be observed from the 12th day of the bright half of Karthika (Sukla-paksha Dwaadasi). Since Aditi carried out the Vrata with a pious heart, Lord Narayana appeared before her and informed her that he would himself place a child in her womb and help Indra. Later, on the 12th day of the bright half of the month of Bhadrapada, Aditi gave birth to a son of uncommon effulgence. That child, “Vamana-murti“, demonstrated his divine powers by doing marvellous deeds even when he was a child.

Balichakravarthi (Bali, The Emperor) or Mahabali, was the grandson of Prahlad (son of Hiranya Kashyapu) who met Vishnu in his Vamana Avatar. Prahalad, despite being an Asura, had great faith in Vishnu. One cannot miss the series of warfare between Vishnu and the Asuras – those born of the breath of God. Bali Maharaj, sat in Prahlad’s lap as a child and learnt love and devotion of Lord Vishnu from Prahlad.

Mahabali’s rule was considered as the golden era of Kerala. The celebration of Onam resounds and chants the following song all over Kerala:

‘ When Maveli, our King, ruled the land,
All the people were as One.
And people live joyful and merry;
They were all free from harm.
There was neither anxiety nor sickness,
Death of the children were never even heard of,
There were no lies,
There is neither theft nor deceit,
And no one is false in speech either.
Measures and weights were right;
No one cheated or wronged their neighbor.
When Maveli, our King, ruled the land,
All the peoples formed one casteless race.’

The gods were very annoyed as Bali became the ruler of all the three worlds having defeated the Devas. Violence was inflicted upon the Devas.[1] The gods approached Vishnu and asked for his help them. Mahabali, who was performing the sacrificial rite of Viswajith Yagna or Aswamedha Yagna[2] on the banks of Narmada River, declared that he would give anything that anyone sought from him during this Yagna. He Vishnu, incarnated in the form of Vamana, a dwarf to defeat the Daityas.

Vamana came to the Yaga-shala. As he was approaching them, the sages assembled there perceived the extraordinary effulgence form of the young lad. Mahabali went forth to receive the Brahmin boy with all traditional honours and gave him an eminent seat befitting the status of a holy person. Bali with the usual courtesy given to the people who come to ask for help told him Master! It is my good fortune that you have chosen to honour me with your presence. Whatever you desire, I am here ready to fulfill the same. Vamana smiled and said: “You need not give me anything great. It is enough if you give me that extend of land covered by three footsteps of mine”.

On hearing him, Bali’s preceptor, the Brahmin Shukracharya (a Daitya priest) who had vision of the future told Bali that the one, who had come to take alms from Bali was not an ordinary Brahmin but Lord Narayana Himself who had assumed this form. He advised Bali not to promise the lad anything. But Bali was a king who would never go back on his word. He told his Guru that he would never break his promise as it was a sin. Shukracharya insisted that he should not fulfill the demand of Vamana as he had come to deprive Bali of all his possessions.

Bali, however, was determined to honour the word given to Vamana, begged pardon of his Guru for disregarding his advice. Earlier, while Bali was embarking on the war with Indra, he had prostrated at the feet of his preceptor, Shukracharya, and on his advice he performed the Vishwajit Yagna from which he secured very powerful weapons. It was only because of Shukracharya’s help that he was able to conquer Indra. On this occasion, Bali was not prepared to heed the advice of the same preceptor. Shukracharya cursed Bali, saying: ‘As you have not heeded your Guru’s words, you will be reduced to ashes’. Bali was firm and replied: ‘I am prepared to face any consequence but will not go back on my word’.

Saying so, he asked Vamana to measure the three feet of land as desired by him. All attempts of Shukracharya to dissuade Bali from offering the land desired by Vamana proved futile. Bali considered everyone who came to him as god himself and never refused anyone anything that they have asked. Bali told his Guru: “Prana (life) and Maana (honour) are like the two eyes of a person. Even if life goes, honour should be protected. Knowing that the person that has come now is the Lord Himself, I should be the most fortunate one as the Lord, who gives everything to mankind, is seeking something from me.” Bali boasted that even in Vishnu himself were to come to his sacrifice and ask for anything, Bali would deliver it.

Vamana grew in size until he towered above the heavens. With one foot, he measured all of the earth. With the other, he claimed all of the heaven. There was still one foot of territory that Bali owed him. Bali asked to place the final step on his head as the third step of land which Lord Vamana had asked for as alms. Vamana placed the third step on the head of Bali and suppressed him to Patala, the underworld. For the devotion of this Daitya Mahabali, Lord Vishnu (Vamana) granted him rule over Patala. Vamana aka Vishnu granted Bali the boon that he would hold the position of Indra for one Manvantara , thus fulfilling his devotee’s desire ( the office of Indra being a rotating position , changing every Manvantara ) .

As a last wish Mahabali was granted the permission to visit his subjects once a year. Thus, Keralites celebrate Onam festival to commemorate the memory of a Great King Mahabali who would keep his promise. Mahabali fulfilled his name as the great martyr for the sake of Truth (“Satya”). The name “Mahabali” itself means Great Sacrifice.

During Onam, the feast and festive mood of the people, dressed in their best, is considered reminiscent of the prosperous and truthful life of the subjects during Bali’s flawless reign. People wear new clothes (Vastra) during Onam. The ‘Vastra’ also stands for heart. Thus the significance of wearing new clothes is about making the heart new by removing all bad thoughts and feelings. People forgetting their sectarian outlooks, join together to welcome the auspicious ‘Thiruvonam’ day.

Attractions of Onam

One of the main attractions of Onam, is the ‘Vallamkali’ or boat races of Karuvatta, Payippad, Aranmula and Kottayam. Hundreds of oarsmen row traditional boats to the rhythm of drums and cymbals. These long graceful Snake Boats called ‘Chundans’ are named after their exceedingly long hulls and high sterns that resemble the raised hood of a cobra.

Then there are ‘Odis’, the small and swift raiding crafts adorned with gold tasseled silk umbrellas, the ‘Churulans’ with their elaborately curled prows and sterns, and the ‘Veppus’, a kind of cook-boat. This traditional village rivalry on watercrafts reminds one of ancient naval warfare.

Thousands throng the banks to cheer and watch the breathtaking show of muscle power, rowing skills and rapid rhythm. These boats – all pitted against their own kind – rip through the backwaters of Kerala in a tussle of speed.

Onam Special Recipes

‘Onasadhya’ is the grand feast served during the celebration of Onam in Kerala. It is served in Banana leafs. There is a way of placing the leaf and an order of serving the dishes.

* Parippu Curry
* Sambar
* Avial
* Kalan
* Olan
* Thoran
* Puliinji
* Injithair
* Pineapple Pachhady

* Erissery
* Kootucurry
* Naranga Pickle
* Manga Curry
* Banana Chips
* Sarkarapuratty
* Payasam
* Prathaman
* Lady’s Finger Kichadi

Rice is the main course. With rice, various kinds of dishes are served… curries, ‘upperies’ (things fried in oil), ‘pappadams’ (round crisp flour paste cakes of peculiar make), ‘achchars’ (pickles of various kinds), ‘payasams’ and ‘prathamans’ (Desserts). Fruits are also served, mainly plantain.

Athapookalam(Flower mats)

The ten-day celebrations of Onam start on Atham day. Earthen mounds, which look somewhat like square pyramids, representing Mahabali and Vishnu are placed in the dung-plastered courtyards in front of the house and beautifully decorated with flowers. Known as ‘Onapookkalam’, it is a carpet made out of the gathered blossoms with one or two varieties of foliage of differing tints pinched up into little pieces to serve the decorator’s purpose. It is a beautiful work of art accomplished with a delicate touch and a highly artistic sense of tone and blending. (In a similar manner North Indians make something called “Rangoli” which is made of powders of various colors.) When completed, a miniature pandal, hung with little festoons is erected over it.

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