Dear Art Lovers,

The year 2014 marks the 22nd anniversary of Keli and its continuing pursuit of excellenoe the traditonal art forms of Kerala. To mark this joyous occasion Keli has organised three day festival of an ancient fascinating theatre tradition which emerged in the 15th century in Kerala Chavittu Naatakam. It was initiated by impulses originating abroad but was also powerfully influenced by the tradition indigenous to Kerala.

The influence of the sea had a profound effect on the history of India in general and Kerala in particular. Around the 15th century, the Portuguese began to dominate the eastern shipping trade culminating in Vasco Da Garna's arrival in Kozhikode in 1498. Following this visit Portuguese missionaries came to Kerala in the sixteenth century. These missionaries were instrumental in introducing Chavittu Naatakam in Kerala.

Human life is incomplete and impossible without cultural identity, which is the essence of human dignity.Chavittu Naatakam was an artistic attempt by the migrants to fill the vacuum in their cultural life by introducing new forms of an with which they were familiar. The original libretto was by Christian missionaries, most of them Europeans, who remembered the European operatic tradition and felt the urge to create something like it in their new milieu. Chavittu Naatakam has thus a significant place in the maritime art history of lndia. It is a pure maritime art in its origin, content, costumes, its performance space, life style of its practitioners, nature of the audience and the society which preserved these art forms for many centuries. However, this art form was not completely transplanted in its pure European form, but instead they merged with local performance modes. The result was a new native theatre form with stories drawn from Christian legend, western operatic costumes, all aesthetic elements of European opera, with the addition of facial expressions which is unique to the Indian tradition. The martial traditions of Kerala infiltrated powerfully into Chavittu Naatakam as indeed in Kerala's Kathakali. ln fact, Chavittu here means the rhythmic steps which accompany the recitation of the lines of the libretto, producing resonant sounds to accentuate dramatic situations. Foot- Stamping dance, fighting and fencing are essential parts of Chavittu Naatakam.

From ancient times, cultural arts have two forms: folk and classical. The classical arts were for the aristocrats, whereas folk art remains as the life-expressions of every community. Moreover, the classical arts are performed and enjoyed by only a select few, but in the folk art the whole community contributes and participates, hence they are more indigenous in nature. Chavittu Naatakam is more like a folk art form, in many of its social, aesthetic, and structural elements. it became popular in and around the coastal areas of Kochi. Fisher-folk of this region were the main performers, practitioners and protectors of this art form.

Chvittu Naatakam has lots of western influence in the costume and stage properties. Colour is achieved by the use of brilliant feathers on the helmets of the soldiers, whose armour is distinctly Roman. The costumes, typically for a play in the ,Chavittu Naatakam tradition, are usually made of velvet, silk, and kasavu (gold or silver lace), again with brilliant effect. The emperor enters in regal robes with a dazzling pearl-studded crown and sceptre, and is escorted by his soldiers in Roman helmets and armour. lt is an impressive sight.

Chavittu Naatakam is famous for Nrityabhinaya, a quality which denotes the manner in which the actors sing their words, move with strict dance, steps according to the music, convey the meanings of the song with hand gestures as in opera, and express the appropriate Bhaava (mental state) with facial expressions. Most of the gestures that are used seem at first not related to classical traditions, but on closer examination we find that they have strong similarities to some of the Mudraas of South Indian dance traditions

The rhythm involved in Chavittu Naatakam is derivedfrom the existing native traditional and classical art forms. Chavittu Naatakam as an art form derives its name from the emphasis placed on foot movements- Chavittu, foot stamping as in dance and Naatakam, dance drama.

Chavittu Naatakam attributes great importance to the performance manual(Chuvati) which codifies everything from the rituals performed from the beginning of rehearsals up to the actual performance. The plays were probably written originally in Chentamil (ancient Tamil), for the texts in circulation at present show a mixture of Tamil and Malayalam. The Chuvatis are considered by Aashaans (Masters) to be their personal property to be handed down orally through heredity, and hence they are never shared with others or printed. The performers consider the traditional performance manual (Chuvatis) as divine property and handle them with utmost reverence.

The most celebrated play in this genre is undoubtedly Kaaralmaan Naatakam. The drama focuses on the heroism of the Emperor Charlemagne the Great, his men and nephew, the legendary Roland. This story was popular in southern Europe up to the middle of the twentieth century.

Chavittu Naatakam has a significant place in the art history of the world. A pattern of culture that migrated from across the sea; a theatre form that was nurtured and developed by the coastal people; a tradition of drama written directed and enacted by the same coastal people; a theatre movement with performance spaces, created at the coastal villages from out of meagre donations collected from the villagers; an artistic emanation which draws its audiences from the same coastal people, Chavittu Naatakam is truly the most authentic ancient maritime theatre tradition in every sense of the term. It is the only existing ancient maritime theatre tradition in India which has survived for over five centuries. Yet, no serious research or academic studies on this fascinating art form have been undertaken by individual scholars or institutions. Neither the academies nor the state patrons have extended significant attention towards preserving, developing and propagating this tradition. The enthusiastic artists, passionate audience, the support and dedication of a very few art lovers still keep this art form vibrantly alive.

Keli's attempt is to propagate the artistic strength and historic significance of this unique Maritime art form to a wider audience in the country. This is for the first time this Theatre tradition is visiting Mumbai.

We cordially invite all art lovers of Mumbai to share the joy and excitement of this unique festival which presents in three parts, spread over three days, the valorous story of- Emperor Kaaralmaan (Charlemagne the Great) who ruled over France in the 8th century A.D. .

K. Subhaschandran
Artistic Director & Project Co- ordinator

Ramachandran. K
Festival Director
Cell: +919820835737
ramk.keli@gmail.com

KELI. 201, Baba Niwas, Plot No. 74,
Sector 19, Nerul, Navi Mumbai 400706
www: keliindia.org