NāṭyācāryaPadma Śrī Mani Madhava Chakyar Vidūṣakaratnaṁ | |
|---|---|
 Mani Madhava Chakyar | |
| Born | (1899-02-15)15 February 1899 |
| Died | 14 January 1990(1990-01-14) (aged 90) Ottappalam,Kerala, India |
| Years active | 1910–1990 |
| Spouse | P. K. Kunjimalu Nangiaramma |
| Awards | 1964:Sangeet Natak Akademi Award 1964:Paderewski Foundation (New York) Certificate of Merit 1974:Padma Shri 1975:Kerala Sahitya Akademi Award 1976:Kerala Sangeetha Nataka Akademi Fellowship 1982:Sangeet Natak Akademi Fellowship 1982:Govt. of India Emeritus Fellowship 1982: Kalidasa Academy Fellowship 1983:Kerala Kalamandalam Fellowship 1987:Tulsi Samman 1991:Guruvayoorappan Sammanam |
GuruMani Madhava Chakyar (IAST:Māṇi Mādhava Cākyār) (15 February 1899 – 14 January 1990) was a celebrated master performance artist[1] andSanskrit scholar[2]fromKerala, India, considered to be the greatestChakyar Koothu andKoodiyattam (ancientSanskrit drama theatre tradition) artist and authority of modern times.[3][4] He was considered as the authority ofAbhinaya (the classical Indian acting style) andNātyaśāstra.
Known as "the Emperor ofRasa-Abhinaya",[5] he had an exceptional ability to performRasa-Abhinaya.[6] HisNetrābhinaya[7] was world-famous and he had the ability to act only with eyes. He was well versed in all the traditional Koodiyattams and all theprabandhas used inChakyar Koothu. He was able to explain the concepts, methods and practices ofKoodiyattam and Chakyar Koothu in a clear and authentic way. He had an in depth study ofNātyaśāstra ofBharata Muni, as well as ways of acting which were popular inKerala. His knowledge and mastery over both theory and practice of Koodiyattam were superb. He was a veteran teacher and practitioner of these art forms and Sanskrit.[8]
He was the first one to take Koodiyattam and Chakyar Koothu outside the precincts of the temples of Kerala to all over India and to impart training in Kudiyattam to non-Chakyar disciples including foreigners. He had produced many disciples inKutiyattam and other classical arts likeKathakali.[4] He was a Sanskrit scholar and was used to give lectures and talks in Sanskrit.
He is the author ofNātyakalpadrumam – an encyclopaedic treatise on all aspects of Koodiyattam. He was aFellow of national art academies includingSangeet Natak Akademi[9] and recipient of coveted titles like "Nātyāchārya", "Vidūshakaratnam" and awards includingPadma Shri andSangeet Natak Akademi Award.
Mani Madhava Chakyar was born on 15 February 1899, in his ancestral home at Thiruvangayoor near Karayad,nearPerambra ofKozhikode district of Kerala. His father was Vishnu Sarma and mother was Savithri Illotamma. He belonged to the Mani family ofChakyars of North Kerala, who for centuries have been the custodians of Koodiyattam – the traditional Sanskrit theatre - and Chakyar Koothu, another classical art form based on Sanskrit ChampuKavyas.[citation needed]
He trained in Chakyar Koothu and Koodiyattam in traditional way, under the direct guidance of his uncles who were great scholars and masters of these art forms. They were Guru Māni Parameswara Chakyar, Guru Māni Neelakandha Chakyar and Guru Māni Narayana Chakyar.[4] He belonged to the "Mani" tradition of Koodiyattam and Chakyar Koothu which gives importance to bothRasa-abhinaya andVachika-abhinaya.[citation needed]
Chakyar was aSanskrit scholar and gave lectures in Sanskrit. He studiedAlankarashastra,Nātyaśāstra,Vyakarana,Nyaya,Jyotisha, etc. in the traditional way, under scholars such asPanditaratnam Pazhedathu Sankaran Nampoothiripad. He was the student of Darsanakalanidhi Rama Varma Parikshith Thampuran (theMaharaja of Cochin). He had his higher studies inNyayashastra andNatya Shastra under him. Chakyar taught Sanskrit at Balakollasini Sanskrita Pathasala ofKillikkurussimangalam.[citation needed]
His first performance (Arangettam) of Koodiyattam was at the age of 14 atTrikkaikkunnu Temple of North Kottayam ofMalabar. He performed the huge number ofAtiyantara koothus of Mani family (the koothus which are assigned to the family from ancient times) in large number of temples stretching from Malabar to Thrissur. It consist of all devotional ritualisticKoothus andKudiyattams includingAnguliyanka,Mattavilasa Prahasana,Mantranka,Ezhamanka (seventh act ofAscharyachoodamani) about eight decades continuously in temples of Kerala. It includes ancient Kerala temples such as MatayikkavuBhagavathi Temple ofKannoor,TaliparambaRajarajeshwara Temple,Kottiyoor Perumal Temple,Lokanarkavu Temple ofVatakara, Thali (Tali)Siva Temple ofKozhikode,Thirunavaya Navamukunda temple,Thiruvegappura Sree Mahadeva Temple, PandamangalamKrishna temple ofKottakkal, Kotakkal Vishwambhara (Shiva) temple, Kallekkulagara Emoor Siva temple,TriprayarSri Rama temple, Peruvanam Shiva temple ofCherpu,Avittathur Shiva Temple etc. Chakyar won high renown for the artistry of his performance in these temples, as well as in many others.[citation needed]
He married P. K. Kunjimalu Nangiaramma, the daughter of his uncle, Mani Parameshwara Chakyar. She was an exponent in female characters of Kudiyattams andNangiǎr Kūthu and variousRagas andShlokas used for the art form. She used to accompany him in the performances.[10]
He is considered as the all-time great master ofRasa-abhinaya (enacting sentiments in their perfection) with special reference toNetrābhinaya (enacting sentiments, etc. through the beautiful and masterly movements of eyes only). He was exceptionally well in the field ofSatwika-Abhinaya. He is considered as "one of the most wonderful theatre actors of the last century".[11]
He was known for his roles (which has importance ofSatvika-Abhinaya in Koodiyattams) like Ravana (Katti vesha),Arjuna (Pacha vesha), Udayana (Pacha vesha), Jeemootavahana (Pazhukka vesha) etc.[12]
His abhinaya of Kailasoddhārana (lifting ofKailasa) and Pārvatī Viraha (separation ofPārvatī),[13][14] enriched with the Netrabinaya andPakarnnaattam – Abhinaya (actor playing the role of another or more than one character shifting constantly without changing costume), were widely acclaimed.
He was known for the abhinaya of the slokas like"sikhinishalabham.." of the playSubhadradhananjayam by playing it with mere eyes. He was able to act in detail theMoths falling in and out of the lamp fire by evoking his Netrabhinaya, with assigning different rasa's for female moth, male moth and the fire.[15] Guru's Abhinaya of the shlokasmaramyavandhyadhipateh sutayah (स्मराम्यवन्त्यािधपतेः सुतायाः) fromBhasa'sSwapnavasawadattam is also widely acclaimed one.[citation needed]
In 1949 he performed Chakyar Koothu forAll India Radio, which was the first time the art was performed outsideKoothambalam. In 1955, under his leadership, Kutiyattam was performed outside the temple for the first time[4] in his village at Killikkurussimangalam. For performing the art forms outside the temples he faced lot of objections from the Chakyar community.[17] In an interview, he remembered
My own people condemned my action (performing Koothu and Kutiyattam outside the precincts of the temples), Once, after I had given performances atVaikom, they even thought about excommunicating me. I desired that this art should survive the test of time. That was precisely why I ventured outside the temple.[18]
In 1962, under the leadership ofV. Raghavan- an art and Sanskrit scholar -Sanskrit Ranga ofMadras invited Chakyar to perform Kutiyattam there. This was the first time Kutiyattam was performed outside Kerala by his troupe.[19][20][21]They performed at Madras on three nights, showing Kutiyattam scenes from three plays: Abhiṣeka, Subhadrādhanañjaya and Nāgānanda.[22]Chakyar's performance made great impact on the people and art critics so that the artform and Chakyar himself became known outside Kerala.[12] He was then invited to perform Kutiyattam at various places in North India during 1964, such asNew Delhi andBanaras.[23]
After Chakyar's first tour to New Delhi, he was awarded theSangeet Natak Akademi Award in 1964 for his contributions to Chakyar Koothu and Kutiyattam. This was his first national recognition.[citation needed]
He performed Kudiyattam all over India and popularised the same. He along with his troop did Koodiyattam performance in places likeMadras (1962, 1973 & 1977),Madhura (1962), New Delhi (1964, 1966, 1974, 1979 & 1983),Varanasi (1964 & 1979),Bombay (1973 & 1977),Ujjain (1982),Bhopal (1987) etc.[citation needed]
ThePresident of India,Sarvepalli Radhakrishnan, invited him to perform Kutiyattam atRashtrapati Bhavan in 1964 and was impressed by his exceptional acting skill. His Kutiyattam performances, lectures and demonstrations at well-known centres such as the Madras Music Academy, the International Centre for Kathakali in New Delhi, the Experimental Theatre in New Delhi and Bombay and theNational Centre for the Performing Arts in Bombay brought him wide popularity and recognition.[citation needed]
He choreographed and directed acts of the plays likeKalidasa'sAbhijñānaśākuntala,Vikramorvaśīya andMālavikāgnimitra;Bhasa'sSwapnavāsavadatta[24] andPancharātra;Harsha'sNagananda for the first time in the history of Koodiyattam. He along with his troupe performed these Kutiyattams all over India.[25]
When his guru, Rama Varma Parikshith Thampuran, wrote a new Sanskritchampu prabandha calledPrahlādacharita and requested senior artists to study and perform the same on the Chakyar Koothu stage, they said it was impossible for them to stage such a newprabandha. Then Thampuran asked Chakyar, who was then a comparatively young artist, to try. He agreed and studied a part of theprabandha within one night and performed the same on the next day atTripunithura – the then capital ofCochin state (1962). The incident made the scholars to accept his mastery over both Sanskrit and the classical art form. After some months, he performed entirePrahlādacharita at the same stage.[citation needed]
He performed Chakyar Koothu and Koodiyattam forAll India Radio andDoordarshan for the first time, which helped to attract thousands of listeners to these traditional art forms. It was he who starteddemonstrations in Kudiyattam to popularise the same.[citation needed]
He is considered the greatest guru of Kutiyattam of the modern times, producing many accomplished disciples.[4] He taught Koodiyattam for the first time to a non-Chakyar –Nambiar caste member. He was a Polish student named Maria Christopher Byrski[26] (currently at Department ofIndology,Warsaw University), who was then a research student atBanaras Hindu University, came to study the only surviving ancientSanskrit drama Koodiyattam, from Guru around the early 1960s. He stayed at Guru Mani Madhava Chakyar's home and studied Koodiyattam in its traditionalGurukula way. Lot of research scholars came to study theSanskrit drama from the ultimate exponent of Kutiyattam and Abhinaya Mani Madhava Cakyar. Dr. Farley Richmond (University of Georgia, USA), noted Sanskrit drama scholar also studied about the ancient Sanskrit art form under Mani Madhava Chakyar by staying at his home atKillikkurussimangalam. He had filmed Rasa Abhinaya and Kutiyattam of the maestro.[27]Kamaladevi Chattopadhyay of All-India Handicrafts Board came to Guru Maani Madhava Cakyar's home to do research about the costumes used in Kutiyattam (Ahāryābhinaya) (1967). Indian theatre scholar Goverdhan Panjal (National School of Drama) studied about Koothambalams and Kutiyattam under the Guru (1975).[28]
WhenKerala Kalamandalam (a school for the performing arts) was founded byVallathol Narayana Menon, he invited authority ofRasa-abhinaya, Mani Madhava Chakyar as the master trainer forRasa-abhinaya to theKathakali students. Later Kathakali Yogam- Katathandu, Kerala Kalamandalam, PSV Natyasangham-Kottakkal andGandhi Seva Sadanam Kathakali Academy- Perur used his services as visiting professor ofRasa-abhinaya and taught advanced students in Kathakali and Kutiyattam.[29][30][31]
He is known as"the master who gave eyes to Kathakali". His influence on the classical performing arts of Kerala is famous. Many Koodiyattam,Kathakali,Bharatanatyam andMohiniyattam artists were trained by this great master.[32][33][34][35][36][37][38][39]Kathakali artists including legendaryKalamandalam Krishnan Nair,Guru Kelu Nair, GuruAnand Shivram, Guru Kalamandalam Madhavan,Guru Gopinath,Sadanam Krishnankutty are his disciples.[40][41][42][43][44]
Guru, who was an eminent teacher and performer opened aGurukulam (training centre) in 1982 for teaching Kutiyattam, Chakyar Koothu, Nangyar Koothu and related art forms at Killikkurussimangalam (Lakkidi).[45][46] After Guru's death it was named asPadmasree Mani Madhava Chakyar Smaraka Gurukulam in memory of the Guru. This institution still keeps its tradition and plays a major role in Kutiyattam teaching, revival and performance.[25]
Guru, who had dedicated his life to Kutiyattam was concerned about the fate of this classical art form. Māni Mādhava Chākyār's conversation with famous Bharatanatyam dancerRukmini Devi Arundale, when she visited Guru at his residence a year before his death, reflects his anxiety[47]
At least Bharatanatyam is now world famous, with thousands of new votaries. What about Koodiyattam?.....I have done what I can. It has not been easy. One has to sacrifice a lot to learn Koodiyattam. How many persons will be ready for it these days? Will there be an audience capable of imbibing it?
Mani Madhava Chakyar received many titles, awards and degrees. He is one of the most felicitated artist from Kerala. His first major recognition came from HH Bhattan Thampuran[48] (BhattaRaja) ofKodungallur Kovilakam himself at the age of 22. Bhattan Thampuran awarded him with aMudramothiram (signed ring) (1921). Mani Madhava Chakyar considered this Mudramothiram as the prestigious award that he ever got.[49]
He received the most prestigious sacredVīrasringhala orVeerashringhala (It's a kind of Golden Bracelet, given to the greatest artist/scholar of that era) fromTaliparambaRajarajeshwara Temple (1923). He is the youngest one to receive this award, which is being given to the scholars of the supreme rank, only by the unanimous approval of a special body of temple consisting of eminent scholars. Till date no one else has received a Veerashringhala from there after Mani Madhava Chakyar.[50] Another major Vīrasringhalas that he received are; from Valiya Thampuran ofKottakkalKovilakam (1952), from Urpassikkavu ofThalassery, fromJagadguru ShriShankaracharya ofKanchi Kamakoti Peetham (1961), fromSamoothiri Raja of Kozhikode, given at the eve of Koodiyattam performance atGuruvayur Sree Krishna Temple (1964) and fromTripunithura Kovilakam (1989).
He was honoured withponnada (a kind of silk cloth given as a gesture of honour and respect) from Maharani (Queen) OfTravancore, presented throughMahakaviUlloor S. Parameswara Iyer at Vaikom Mahadeva Temple. He was honoured by HH. Rajah of Palakkad with aKeshabharam Kireetam[51] at Hemambika Temple of Kallekkulangara (1962). He has received Gold Medals from Valiya Raja of Katathanadu,Pallikkunnu Bhagavathy Temple ofKannoor,Avittathur (1962), DelhiExperimental theatre (1964) etc.
In 1930, he was awarded the titleNātyāchārya (Guru ofNatya) by Kadathanadu Valiya Thampuran (Raja ofKadathanadu). He received the titleVidūshakaratna, again from the Taliparamba Rajarajeshwara Temple (1954) for his excellence in performing "vidūshaka" in Koodiyattams. He was honoured byFine Arts Society ofKochi by giving the titleAnushtanakalapravina.
Government of India conferredPadma Shri (1974) andEmeritusFellowship (1982) on him. He was conferred by an honorary degree fromBanaras Hindu University in 1964.
He has received major National and International Awards and Fellowships such as
He was the first Chakyar Koothu and Koodiyattam artist to receive these.
He has received numerous Honours and Certificates from distinguished institutions and individuals such asAkhila Bharata Sanskrit Sammelan (World Sanskrit Conference) – New Delhi, Samskrita Ranga – Chennai, Fifth World Sanskrit Conference –Banaras,Dr.S. Radhakrishnan,Dr. Vibhuti Narayan Singh (Maharaja of Kasi), Satyanarayana Sinha, Bishnu Ram Medhi (Chief Minister of Assam),Sir C.P. Ramaswami Iyer, Maharaja ofKollengode,Vallathol Narayana Menon, Dr. V. Raghavan,Rukmini Devi Arundale, Dr. V.K Narayana Menon,Dr.Kapila Vatsyayan etc. etc.
Even though Guru Mani Madhava Chakkiyar received lot of national recognitions art critics widely believe that he truly deserved a lot more and recognitions came very late.[63][64] RKG (Editor,The Illustrated Weekly, Columnist forTimes of India) observes,[65]
..I felt angry when I learnt that a great artist like Mani Madhava Chakyar was awarded a mere Padma Shri. A man of his artistic genius and erudition deserved to be decorated with the highest state honour (Bharat Ratna)
He has written an authoritative, award-winning book (inMalayalam) on Koodiyattam calledNātyakalpadrumam (1975).[66] This work is being used as a reference by scholars and students.Natyakalpadrumam deals with all aspects of Koodiyattam in a scientific and critical manner. This book is considered the encyclopaedia of Koodiyattam.[21] It won the prestigiousKerala Sahitya Akademi Award (1976).[67] This book is translated intoHindi by Sangeet Natak Akademi of New Delhi.[68][69][70]
One of his other book isMatha Vilasam (Mattavilasam 1968), the choreography and play part (actor's manual –Attaprakara) used inMattavilasaprahasana Kudiyattam.[71] He wrote theAttaprakaras of Abhijñānaśākuntala, Swapnavāsavadatta, Vikramorvaśīya, Mālavikāgnimitra, Pancharātra andNagananda (Not published).
His biography (in Malayalam),Mani Madhaveeyam (1999) was published by Department of Cultural Affairs Publications of theGovernment of Kerala.[72][73] The book gives the picture of astonishing accomplishing and momentous life of the Guru. It gives an excellent account of his struggles and his lifelong devotion towards the art form. The book includes Guru's memoirs of his illustrious stage life spanning about 80 golden years. Book contains a lot of rare photos giving us an insight to maestro's both personal and theatre life.
Guru has written articles in various journals[74][75] and presented number of papers in conferences on various aspects of Koodiyattam, Abhinaya,Raagas, Natyasastra, Chakyar Koothu, Rasābhinaya in Kathakali etc.
There are several films and documentaries featuring Chakyar's Rasa-Abhinaya, Koodiyattam performances and life.
Many of his Koodiyattam, Chakyar Koothu performances, demonstrations, interviews etc. were documented byDoordarshan centres of New Delhi,Bombay,Bhopal,Madras,Thiruvananthapuram etc. andAll India Radio and is still being broadcast all over India. Documentation of Guru's Kutiyattam performance by Doordarshan Centre Bombai with English commentary of art critic and scholarV. K Narayana Menon is widely acclaimed.[citation needed]
Chakyar died at the age of 90 on 14 January 1990 in a private hospital atOttappalam due to natural causes. His body was cremated with full honours at his Killikkurussimangalam residence. There is a memorial at the spot of his cremation.[citation needed]
His birth and death anniversaries are celebrated by various cultural programmes, commemorative sessions and Kutiyattam festivals by various cultural organisations and institutes.[25][88][89][90]
He is one of the most felicitated artist from Kerala and was the first recipient of all major awards for Chakyar Koothu and Koodiyattam.Kerala Sangeetha Nataka Akademi's annual Koodiyattam Award is known asMaani Madhava Puraskaram[91] as a tribute to him.
Many of Chakyar's films are still screened regularly at art theatres across and outside India.[92][93][94] His Kutiyattam and Chakyar Koothu performances and other documentaries are broadcast from majorDoordarshan andAll India Radio stations regularly (Guru himself had initiated performance of these art forms for these media for the first time).[citation needed]
Art and cultural festivals are organised by various associations as a dedication to Chakyar regularly.[95]
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