The four-day Kathakali festival organized by "Keli" in Mumbai was a unique experience for many dance lovers. Susheela Misra, now back in Lucknow after savouring the recitals, writes…

By being in Bombay (Mumbai) in time for a unique four-day Kathakali festival organized by "keli" in four different venues, as a tribute to 50 years of India's Independence (from Deccember 9 to 12), I was able to witness a rare Kathakali performance by some celebrated veterans of the Kerala Kala Mandalam, and a few bright young actor-dancers and musicians who have won wide praise.
This was an experience one has never had in Lucknow except for a single occasion when the Central Academy Awards function was held in 1989 presided over by the then President, Mr. R. Venkataraman. On that occasion the Kathakali Award winner "Keezhpadam" Kumaran Nair had given an unforgettable performance as Ravana in the Ravindralaya auditorium which had been specially spruced up for the occasion.
"Keli" of Mumbai is an important organization dedicated to the preservation and propagation of the traditional classical forms of art. A whole lot of serious art-loving organization (like the National Centre for Performing Arts, Prithvi Theatre, Bharatiya Vidya Bhavan) and individuals extended their cooperation to Keli to organize this unique classical theatre festival in four different venues - the Y.B. Chavan Centre (Nariman Point), Birla Kreeda Kendra (Chowpatty), Bharatiya Vidya Bhavan (Chowpatty), and Karnatak Sangh Hall (Matunga).The inaugural session on December 9 at the Y.B. Chavan Centre included the presentation of a "Veerasrinkhala" (a thick gold bracelet). One of the highest honours for an artiste, to the celebrated 83-year-old "Keezhpadam" Kumaran Nair by Shashi Kapoor. Other artistes who were felicitated included the senior maddalam artiste Appukutty Poduval, Kathakali dancer Sadanam Krishnankutty, and promising chenda player Kalamandalam Unnikrishnan.

The festival was devoted exclusively to four plays known as "Kottayam plays", all four being written by the distinguished royal poet and composer Kottayam Thampuran who ruled over Kottayam between 1665 and 1743 A.D. He blazed a trial of progress for Kathakali by redefining and refining the art. He wrote four plays (Attakkathas) specially suited for Kathakali presentations involving all the detailed nuances of the Kathakali traditions. "Vadhams" (slaying) of wicked demons and evil-doers being a popular theme, three of the plays were based on the destruction of three demoniac characters -Baka, Kalakeya, and Kirmeera, but my choice was easily the fascinating story of "kalyanasaugandhikam" in which one of the greatest attractions was the incredibly powerful and impressive performance of 83-year-old "Keezhpadam" as the aged, post Ramayana Hanuman whose meeting with his mighty half-brother Bhima in the Kadalivana forest provided many mirthful, amusing episodes. The opening act picturising a scene between Yudhishtira and Bhima was quite unnecessary and perhaps inserted in order to provide a chance to young Kalamandalam Haridas and Kumari Kala Vikraman (girls being still rare in this field).
The second scene was extremely interesting in which Sadanam Krishnankutty danced as Bhima and Kalanilayam Mukundan enacted a charming Panchali (Draupadi) in a scene of dignified love and sringara. As the curtain is drawn, we see them in a pose of tender embrace "adorning each other with garlands of loving glances". No props are needed. Through eloquent abhinaya, they presented vivid pictures of the beautiful garden full of fragrant flowers, overhanging creepers, songs of koels, bees buzzing around honey-laden blossoms, and so on - until the divinely scented " Saugandhika" flower falls into Draupdi's hand and she begs her devoted Bhima to get her some more of these flowers.

The love-scenes in Kathakali are enacted in a specially slow tempo - what is known as Pathinjaattam (slow dance). For instance, It takes Bhima five to 10 minutes to address Panchali lovingly as "panchala raja thanaye. Kamalanayane!" (oh Lotus-eyed daughter of the King of Panchala). The movements of Bhima are of "Tandava" variety and his abhinaya gestures are marked by masculine vigour, strength. "tension, and an imperious elemental force", while Draupadi's gently smiling face, lasya movements and gestures reflect feminine grace, gentility and a sense of womanly dignity and restraint. In order to fulfill her desire, Bhima readily and confidently sets out in search of "Sougandhika" flowers crossing mountains and forests abounding in wild animals. The actor through his mime and gestures vividly creates for the audience dramatic scenes of high mountains, rivers, and forests inhabited by majestic elephants, awesome pythons and hungry lions-pictures of wild life in all its savage glory- until he reaches the divine Kadalivana forest.
The most eloquent and gripping scene commences with the appearance (first behind a half-concealing curtain) of the ageing but still mighty Hanuman doing penance with Rama-bhakti filling his heart. Keezhpadam Kumaran Nair as Hanuman has hypnotic stage presence-larger than life, looking like some superhuman from another world!

Groomed under legendary Kathakali gurus like P.Ravunni Menon, Chandu and Ambu Panikkars and Karunakara Menon, "Keezhpadam" has been an outstanding performer and teacher and the recipient of numerous high awards. Even at 83, he exuded a compelling stage presence - his stepping and gaits full of vigour and his facial abhinaya and hand-mudras eloquent as ever! Bhima's entry in the forest disturbs Hanuman's penance because the former's noisy arrival scares away all birds and animals. Instantly recognizing his powerful and proud half-brother Bhimsen, Hanuman decides to test his prowess, curb his pride and tease him a bit before revealing his own identity. He transforms himself into a doddering old monkey and lies blocking Bhima's path. When Bhima arrogantly tries to remove his tail with his mace and falls, he suddenly realises that this is some superbeing with divine powers. And then there is the climactic scenes when Hanuman reveals his cosmic form, reveals his identity and the brothers embrace with great affection.