Patronage+and+Connoisseurship



=__**Receiving the Royal Treatment: The Evolution of Kathakali Connoisseurship and Patronage**__= By: J.D. Brandon

**History of Patronage and Connoisseurship:**
Kathakali stems from the small region of Kerala, located in the map above. Since it's creation, Kathakali has expanded the world over, becoming a national art form of the country of India, and is performed on stages all over the world. "Kathakali can trace it's origin to the Krisnattam which was authored by Manaveda ruler of Kozhikode from 1655-1658." ( Phillip Zarrilli, pg. 18) Although Krisnattam itself stemmed from centuries of South Indian drama, written in Sanskrit, Krisnattam is the immediate forefather of Kathakali. "Krisnattam was the dance-drama on the life and activities of Lord Krishna created by the Zamorin of Calicut." ( Avinash Pandeya, pg. 35) It was first staged in 1657. It became extremely popular among the people of the region, and therefore this lead to the neighboring chief of Travancore, the Raja of Kottarakkara, to make a request of the Zamorin for the loan of a troupe of performers on the eve of a festive occasion in his court. Due to internal feuds and political rivalry between the two leaders "the Zamorin, besides refusing to send the performers, insulted and humiliated the Raja of Kattarakkara with the remark: 'It is useless to depute the troupe, because your court would be neither able to appreciate nor understand anything of the highly artistic Krisnattam and the high standard of the performance.'" (Pandeya, pg. 35) Kottarakkara Thampuram initiated a parallel form of entertainment called Ramanattam, whose name changed to Attakatha, then to Kathakali. Kathakali then began to become more popular then Krisnattam And thus the great patrons of Kathakali came into being.

A History of Patrons and Connoisseurs
As the art form of Kathakali developed and the patrons changed from the kings of courts, to other numerous figures, so to did the audiences and location of Kathakali change as well. These periods of patronage and connoisseurship can be classified into three different categories: Royal Patronage, Decline, and Revitalization. During these periods the connoisseurs changed from royalty to everyday people, who became the great teachers, and saviors of the art which has allowed it to grow and flourish, becoming the brilliant art form that it is today.


 * __**Royal Patronage**__ - Krishnattam, Ramanattam, and then Kathakali could never have come into existence without royal patronage." ( Zarrilli, pg. 18) For it was these great men who created these art forms and popularized it throughout their realms. (PG 32-44 Art of the Non Worldly For Both Patrons and Connoisseurship )
 * **Ramanattom Kottarakkara Tampuram Vettom Tampuran (1650-1700)**
 * The first real patron of Kathakali was Kottarakkara Tampuram who hailed from a small kingdom in Kerala called Elayidattu Swaroopam, he introduced a performing art called Ramanattom. It was set in eight parts on the model of Krishnanattom.These eight plays were the Putrakameshti, Sitaswayamvaram, Vicchinnabhishekam, Kharavadhom, Balidvadhom, Thoranayddhom, Setubandhanam, and Yuddhom.
 * //**Connoisseurs**//- Spread over Kerala over a period of three decades where local traveling performing troupes were established and known as kaliyogams. They traveled all over Kerala performing in various places and for various groups.
 * **Govina Deekshitar, Kottayam Tampuran, Kalladikkodan (1700-1750)**
 * Kottayam Tampuran expanded the Ramanattom style to stage his four Mahabharata-based plays. These were the Bajavadhom, Kalyanasougandhikam, Kirmiravadhom, and Nivatakavacha Kalakeyavadhom.
 * //**Connoisseurs**// - Vallattu Chattunni Paniker and Naanu Menon, were the two notable performers of this age of Kathakali and it was Paniker, who helped prince Kottayam Tampuran to develop his four Mahabharata-based plays. Notable kaliyogams were Kottayam, Kadattanad, Pulappatta, Perumpadappu, Palakkad, Vadakkumkoor, Chempakassery, and Thekkumkoor.
 * **Kaplingadan Nambudiri, Kartika Tirunal Maharaja, Veera Kerala Varma (1750-1800)**
 * Kathakali came of age during this period because of the royal patronage of Kartika Tirunal of Travancore and Veera Kerala Varma of Cochin. The dance-form was further enriched by the innovations of the great preceptor, performer, and reformer Kaplingadan Nambudiri. Notable plays included Narakasuravadhom and Rajasuyam by Kartika Tirunal, Rugminisqayamvaram, Pootanamosksham, Ambarishacharitam, and Paundrawkavadhom by Aswati Tirunal, Ravonolbhavam, Balivijayam, Kiratam, Kamsavadhom, Banayuddhom, Kartaviryarjunavijayam, Rugmangadachiartiam, and Santanagopalam.
 * **//Connoisseurs -//** Besides those noted above the great performers of the time were Unniri Paniker, Ittiri Paniker, and Krishna Paniker.
 * **Utram Tirunal, Kalluvazhi Kidangoor, Takazhi, Karipuzha styles (1830-1860)**
 * Utram Tirunal, of the Travancore royal family, showered lavish patronage on Kathakali artistes and kaliyogams, starting in the 1820s. The Kalluvazhi style was introduced in 1850 under the patronage of Olappamanna Mana. And in south Kerala, the Kaplingadan style, a fusion of Ramanattom and Kalladikkodan formed the Kathakali style, influenced by Kydiyattom. Nalanunni evolved the Kidangoor style. Other styles were created, making this the golden age of Kathakali patronage, and it was not uncommon for it to take four or five days to perform one of these plays.
 * **//Connoisseurs//-** Utram Tirunal was an actor who had his hand in evolving different styles of Kathakali, and Eachara Pillai was so well thought of that he earned a high position in a royal court. Kandiyoor Pappu Pillai, evolved the Karipuzha stle, while Takazhi Velu Pillai laid the foundation for the Takazhi style. Ittirarissa Menon, piloted the Kalluvazhi style.


 * **__Decline__** - As the Age of Indian kings and shahs began to be replaced by modern systems of government and an Indian democracy, Kathakali as an art form began to decline, due to the lack of royal patronage that it had seen for hundreds of years. Yet there were those who continued the traditions originally established in Kathakali, and the number of patrons, kaliyogams, and performers grew, as standards fell. This period should be broken down into two different parts to note two very different periods of Kathakali performance and patronage.
 * **1860-1900**
 * During this time period as royalty concentrated on other dances, or art forms, several aristocratic Nambudiri and Nair families set up their own kaliyogams due to the popularity of the art during their childhoods. Because of this the art became diluted, and several short lived kaliyogams were founded and disbanded throughout this time period. Over twenty five kaliyogams were founded the most important and long last being: the Toppil kaliyogam, lasting nearly ninety years, and Olappamanna kaliyogam, lasting sixy. Also nearly fifty attakkathas (literary texts) were written during this time, but only four lasted and these were: Kuchelavrttam, Duryodhanavadhom, Vadakkan Rajasuyam, and Devayanicharitam.
 * **1900-1930**
 * No worthy additions were made to the attakkathas or the kaliyogams at this time. A rebellious generation of Nambudiri and Nari youth refused to take up the call of their parents, and finally in 1920 the families were permanently disbanded, throwing the aristocracy into a craze, and Kathakali onto the street.


 * __**Revitalization (1930-Present)**__ **-** After 1930, and to retrieve Kathakali, Vallattol Narayana Menon, with Mukunda Raja established the premier institution of Kathakali, the Kerala Kalamandalam, which is still in existence today. With this revitalization of Kathakali as a high art form, Kathakali once again began to flourish and improve it's standards, which has allowed it to spread all over the world.
 * **Kerala Kalmandalam**
 * The Kerala Kalmandalam was founded by Vallattol Narayana Menon, with the help of Mukunda Raja and others, in 1930. It was permanently established in 1937 at Cheruturutti, where it continues to function.
 * Some of the Connoisseurs who helped establish the Kalamandalam were famous actors like "Pattikkantodi Ramunni Menon, Kunchu Kurup, and Kavalappara Narayanan Nair (actors), Samikutty Bhagavatar, Venkicchan and Madhava Varrier (singers) for the maddalam. It has not truly adhered to the Gurukulam style except for the fact that the teachers and pupils live on the same campus.
 * It was Pattikkantodi Ramunni Menon who reigned supreme by virtue of his devotion to duty and remarkable capacity for teaching.
 * Unfortunately the Kalmandalam has been debased by popular governments giving awards to the institute and awarding the institute with gifts and publicity, making it hard to remain its ties with the cultural standards of yesteryear.
 * **Unnayi Varrier Kalanilayam, Irinjalakkuda**
 * Founded in 1955, the Unnayi Varrier Kalanilayam runs on the same lines as the Kerala Kalamandalam with distinction. Paliippuram Gopalan Nair was the first preceptor with supporting staff to teach music, the chenda, the maddalam, and makeup.
 * **P.S.V. Natyasangham, Kottakkal**
 * Started in 1909 as a musical drama troupe, it was introduced as a Kathakali troupe in 1939 with Pattikkantodi Ramunni Menon as preceptor. Known patrons were Guru Kunchu Kurup and Kavalappara Narayanan Nair (acting teachers), and Poomulli Kesavana Nair and Vasu Nedungadi (music), Venkicchan and Manjeri Sankunni Nair the maddalam, and Moottamana and Kuttan Marar the chenda.
 * After being disbanded in 1944, Vazhenkada Kunchu Nair revived it in 1960. After leaving Krishnankutti Nair was head of teaching. At the time of the mid 90s, the troupe has nearly twenty-five artistes. The groups greatest patron is the ayurvedic institute, who supports the troupe well. It has been noted for introducing the plays of "Sampurna Ramayanam,Viswamitran, Kumarasambhavam, and Sithaparityagam."

Modern Connoisseurship and Patronage:

 * ===**India**===


 * The growth of Kathakali in the modern times has led to an explosion of Kathakali as a national art form. From the courts of Kings to the streets of India, Kathakali has now become a popular art form, performed in various places and for various people, all over India. Yet, it is important to note, the places and people that are preferred in modern times, and the patrons of Kathakali presently. Preferably, the place that might be best to perform Kathakali would be the temples, and only for a select group of people. But this idea has changed. With the extreme popularity of Kathakali, various troupes have popped up all over India and are performing in whatever theater space they can get. Yet, what can be agreed upon are the ideal methods of training, which would occur at the Karamundalum (spelling) and other schools scattered across the country. For the patron of Kathakali has changed once again, to this time the greatest one is the government, as it is recognized as a cultural art, and it has been flourishing under the funds granted by the Indian government.
 * Currently some of the notable performers and teachers of Kathakali are mentioned above.

Western Theater
(A Kathakali Workshop at a local High School)
 * Kathakali has spread to Western Nations mostly through educational venues, where traveling companies or teachers of Kathakali have been able to share their art with others. Students and teachers have been able to witness Kathakali by traveling to India and have brought back performers and methods. This has been accomplished through a revitalization of Kathakali in India, through its sponsorship by the government, and the influx of foreigners at this time over the past several decades. Experts are now available in Western Nations, who have gone to the Kathakali schools in India, and have come back to teach students in the U.S. and other European countries.
 * ===Global===

(A Kathakali Performance Space in New York City)
 * Kathakali as a performance art has spread all over the world. It is studied in a wide variety of countries, and it is recognized by the Indian government as a valuable cultural art. Yet, Kathakali has not become a popular art form in other countries, and Kathakali plays are rare in the U.S. and other countries. Shown in the picture above a Kathakali performance is getting ready to take place in New York City.

**Act 4 of Nalacharita Attakatha**

 * Concerning the Fourth Act of the Nalacharita Attakatha by Unnayi Varirer
 * The greatest patron of Act 4 would have been it's creator, Unnayi Varirer. Today the play is performed all over India by institutes such as the Kathakali Kerala Kalmandalam and other troupes. It is well supported by the government, and is considered a play that is quite famous.
 * The Connoisseurship of this Act would be the greats of modern day Kathakali, and include some of Kathakali's greatest actors and teachers.

The Future of Connoisseurship and Patronage of Kathakali

 * "The Broadening of Kathakali's audience base is another change that has brought the form to national and international attention. The venues have consequently changed from temple premises and courtyards of houses to modern proscenium theatres. (Sadanam Balakrishnan, pg. 270 ) Yet, the future of Kathakali is uncertain. Although several other countries have studied Kathakali and learned its various styles and plays, it has not become a popular art form outside of India, or Indian communities. Even now, as India continues to industrialize, the question of the future of Kathakali is called into question. When the days of Bollywood and new kinds of media are advertised, and more and more people can afford these luxuries, the question that needs to be asked is, "Will Kathakali be left behind?"

Bibliography:
1. http://en.wikipedia.org/wiki/Kathakali 2. http://www.skyscrapercity.com/showthread.php?t=737314 3. Kathakali: A Practioners Perspective by: Sadanam P V Balakrishnan 4. Kathakali Dance Drama: Where Gods and Demons Come to Play by: Phillip B. Zarrilli) 5. The Art of Kathakali by: Gayanacharya Avinash C. Pandeya