It was in 2010 in Mumbai, during a cultural evening, the performance by an artist was cancelled for some unforeseen reasons and Rajeev Krishna Mankombu - a trained kathakali dancer was asked to perform something for the audience present there. With lot of apprehensions, Rajeev took to stage and performed an ashtapadi piece behind the musical backing of idakka. Using a fusion of natyam (expressions), nritham (dance) and nrithyam (enactment) from kathakali and the absence of the elaborate dressing of the dance form, Rajeev Krishna gave an hour long performance. Thus was born ‘Sopana Nritham’. “It was only during the second performance in Narayana Gurukul in Ooty while performing in a literary camp, the real need for a philosophical detailing during the presentation of this art form was understood. Tamil writer Jeyamohan was also present and he coined the term ‘Sopana Nritham’,” says Rajeev Krishna.
Ask the artist about the art form, he says, “It is a non-dancing art form. The meaning of the word ‘Sopana Nritham’ is reaching towards the audience with its perfection by mixing together the great suthras (Natyam and Bhakthi Varthanam) from our Bharathiya Natya Shastra.” The term ‘sopanam’ generally means the footsteps that lead to the ‘sreekovil’ of a temple. “Its origin is from the concept ‘Samyakkena upanayati sopanah’ in Sanskrit. The thing that leads one towards God in the best way,” explains Rajeev who has already performed this innovative style of art in more than 150 stages.
Ask him whether it has any relation to the famous ‘sopana sangeetam’, he says, “It is in no way related to ‘sopana sangeetham’. I would say the art as a spiritual discourse which uses the rasas, mudras and steps from kathakali.” Through ‘Sopana Nritham’, the artist discusses all the contemporary social issues prevalent in the society like gender equality, women empowerment, human relationships and other stories. Before the commencement of each ‘nrithya roopa’ the artist gives a small speech to the audience about the real philosophical meaning of the entire act that he is going to perform. While mentioning about God Vinayaka, Rajeev interlinks the story with the present day issues in a satirical way.
About the positives of the art form, he says, “In ‘Sopana Nritham’, I use kathakali padas, bhajans and keertans to perform. Usually kathakali is a complex dance form and audience keep away from it as they are unable to comprehend it and enjoy it in its true sense. It is in this context, the new art form ‘Sopana Nritham’ becomes relevant. I give more importance to the expressions.” Unlike kathakali, ‘Sopana Nritham’ can be performed for one or two hours with meagre expense. For the art form, the artist himself has designed the costumes taking cue from kathakali veshams.
Though watching ‘sopana nritham’, one might reminicense a chakyarkoothu performance, Rajeev says, “In chakyarkoothu, chakyar is the one who talks and performs on stage but ‘Sopana Nritham’ is more of an interactive performance in which the opinions from audience are welcomed too.”
Recently the artist performed in Edappally Chamgamppuzha Park, which marked the second year of the origin of ‘Sopana Nritham’.
Rajeev born and brought up in Allapuzha, learned kathakali under the tutelage of Champakkulam Mohanan Kutty Asaan, Nedumudi Nanu Nair and Mankombu Shivasankara Pillai. He gave his debut performance on ‘Poothana moksha’ at the Bhagavathi Temple, Mankombu. It was during his stay in Delhi, that he collaborated with the International Kathakali Centre for different projects.
In 1994, he reached Haridwar and received Mandhradeeksha from Swami Ganeshanandapuri. Later he enrolled in the educational institutions in Haridwar and Kashi for higher learning in Sanskrit. He has also learnt Sanskrit in the gurukula way under Ramakrishna Panikkar.
Besides ‘Sopana Nritham’ and kathakali performances, Rajeev writes articles and poems on the subjects related to Vedanta, and teaches the subject too.