KOCHI: The dedication of the many gathered at the kathakali training centre in Tripunithura is palpable. Pupils — as young as seven and as old as 63, most of them women — stand in disciplined rows. A sprightly veteran guides them with each step, demonstrating each Mudra with practised ease and precision.
A gamut of dramatic emotions, from grief to joy, flickers on his face. The disciples follow him step for step, going the extra mile to bend their backs to make the stance text-book perfect. Graceful.
At the centre, renowned kathakali maestro FACT Padmanabhan is passing on the rich heritage of this dance-drama tradition to eager learners.
Recognised for its intricate make-up and costumes, kathakali, the traditional dance of Kerala, generally showcases the artistry of male actor-dancers, with men often doing the roles of women characters. The maestro himself is known for his stunning performances of ‘Stree Vesham’ during his prime.
However, he is now happy that the gender barrier is slowly fading. More women are coming forward to master one of the oldest surviving theatrical arts. “I’ve disciples across all ages. A majority of them are women,” beams the maestro.
“They are ready to make the effort and often come to practice after school, college or office hours. It’s the pure dedication to the art form that motivates them to learn kathakali. After all, it requires a minimum of six years to master the ‘Balapadam’ (basics),” says Padmanabhan.
The master of bhava has been teaching Kathakali for nearly 55 years. “While once my disciples comprised almost entirely male students, the interest for the art form is on the rise among the women. This is a welcome change,” he says.
They’ve been training under him for the past several years and many have started performing on stages and adorning all ‘veshams’, including ‘Kathi’, ‘Kari’, and ‘Paccha’ (heroic male roles). “Be it the 63-year-old Lalitha Mukundan or seven-year-old disciple Vedasree, they are entirely driven by passion and dedication, which made it possible for them to come this far,” he adds.
The physically rigorous art form requires a body that is flexible and easy to handle various movements. “Students have to undergo a strict training programme daily to render their bodies flexible. My routine in my prime days would start at 4am and go on till 8am, before the actual learning begins. But in the case of women, they don’t require this ‘Uzhchil (body massage) as they are physically flexible by nature. But the men, though, have to rigorously follow the routines from around 11 years to loosen their muscles and improve flexibility,” he adds.
Shyama Rajagopal, a media personnel, started taking kathakali lessons when she was 45, showing that age is just a number if you are guided by passion. A disciple of Padmanabhan for the past eight years, she has now started performing roles including Krishna, Krishna Doothan (Duryodhana Vadham Attakatha) and the Hamsam in Nalacharitham.
“My father was an avid kathakali enthusiast and used to take me to watch performances during my childhood when we were residing in Delhi. Often, we would go to the International Kathakali Centre there. So, an inbuilt passion was there. And when my cousin’s wife asked whether I would accompany her to study kathakali, I jumped at the opportunity,” explains Shyama.
The rise of a teacher
Padmanabhan’s journey in kathakali spans over 55 years, during which he has performed an impressive array of roles, from Sthree Vesham to the more sinister Kathi roles. His unique style and deep understanding of the art have earned him a special place in the hearts of audiences in Kerala and beyond. Joining the FACT Kathakali School in 1965, Padmanabhan trained under masters like Vaikom Karunkaran and Kudamaloor Karunakaran Nair. His association with the FACT School is so profound that he, like a select few, prefixes his name with FACT, a tribute to his alma mater.
“At this age, I’ve limited my stage performances to supporting roles,” Padmanabhan explains. “My focus is now on teaching the next generation. Each student gets an average of three classes a week.” His commitment to teaching is as strong as his passion for performing, ensuring that kathakali’s legacy continues on.
Born in Thiruvalla, Padmanabhan’s early life was marked by hardship. His father, Narayana Pillai, was a labourer who struggled to make ends meet. Despite their financial constraints, Narayana Pillai’s love for kathakali was unwavering. He would often take his son to the temple to watch performances, a practice that sowed the seeds of Padmanabhan’s future.
“I don’t know if I truly enjoyed those performances at first,” Padmanabhan recalls. “But on those rare days when my father bought me a glass of steaming black tea and a parippuvada, I found some motivation,” he laughs. “Gradually, my interest grew. Realising my seriousness, my father placed me under two esteemed gurus.”
Padmanabhan began his formal training at the age of 11. Then started the rigorous training days that began at 4 am with oil massages and exercises, followed by theory and Sanskrit classes, extending late into the evening. This disciplined regimen was essential for mastering the art.
His arangettam, or debut performance, was at the Thiruvalla temple, where he played Rukmini in ‘Rukmini Swayamvaram’ and Aniruddha in ‘Bana Yuddham.’
These roles marked the start of a career that showcased his versatility in both Stree Vesham and Paccha Vesham. His dedication was recognised with a scholarship from the Union government, allowing him to further train under Guru Kalamandalam Krishnan Nair.
“Kathakali is a complete art form. It combines music, rhythm, storytelling, vivid makeup, and performance. It’s an art that anyone can appreciate and engage with,” he says.
Kathakali has taken Padmanabhan around the globe. He toured Iran in 1968 with the Kerala Kalamandalam Troupe and performed in Europe and the US in the early 1970s. He even graced the stage at the prestigious Edinburgh Festival in 1970, one of the few kathakali artists to do so.
Reflecting on the current state of kathakali, Padmanabhan notes an increased interest in the art form but feels that true appreciation requires deeper, continuous engagement. “People are more interested in understanding kathakali, but they lack the depth to fully appreciate it. This depth can only be achieved through continuous exposure,” he asserts.