At a time when several traditional art forms in Tamil Nadu are dying a slow death, a handful of urban theatre groups are trying to revive them.
One such group is Chennai-based Koothu-P-Pattarai, started in 1977, which is trying to promote traditional art forms, especially theru koothu, which is a unique combination of dance, drama and music.
According to V R Devika, managing trustee of Aseema, (a performing arts institute) people often mistook theru koothu for street plays, but that was not just about it.
One of the founders of Koothu-P-Pattarai, N Muthuswamy, says that earlier there was little encouragement for promoting theru koothu.
He recalls an incident at the Natya Kala Conference, where he was mocked at when he sought to know the difference between kathakali and theru koothu.
Muthuswamy then took it up as a challenge and started reading more about the art form and came to the conclusion that it had all the elements of Indian theatre.
He recalls that when they started, people living in the city were not interested in joining them and as such, they had to bring artistes from the villages to perform.
He says, “Although we were a contemporary theatre group, we used to and still perform the traditional forms, just to save them from dying.” It was one of the founders, Veeraswamy, who christened the group and through his efforts, they had received a grant from the Ford Foundation, which helped them bring theru koothu artistes to perform in the city.
These art forms gained popularity when the government, decades ago, started a ‘Young Director’s Scheme’ under which young theatre directors who employed traditional elements, were helped financially. But the enthusiasm was shortlived as the scheme.
Muthuswamy says that some forms are still in vogue, but are limited only to temples. Television, Internet, contemporary theatre and music shows have made people lose interest in folk art forms. “We do shows at our workshop for free and it is open to all, but hardly people visit them even if they are invited,” he rues.
Years ago, in villages, people sold firewood and with that money, they organised plays. But that is not the case anymore, he adds.
However, Muthuswamy also acknowledges the positive aspect, wherein a few people across India, take up folk art forms and try to promote them.
He says: “Our actors voluntarily go to the villages and learn these art forms from traditional actors and also perform in the villages before performing in the city.”
Another group Buddhar Kalai Kuzhu founded by Manimaran (a folk artiste) is trying to promote an ancient art form called Thappaattam or Parai Aattam. This art form involves drumming and dancing, and is performed at funerals, births, marriages, engagements and so on.
However, Manimaran dispels the notion that this art form is performed only at funerals or when the performers are drunk.
“Tthe artistes, while performing at funerals, need a lot of energy. Hence, they drink,” he adds.
Manimaran, who has been performing for 25 years now, and his wife have hosted lectures and workshops in schools and universities across India to promote the art form.
He feels that this art form should be encouraged with awards and recognitions, so that it does not fade away.
Apart from these two art forms, there are a few other art forms that are vanishing, like Devarattam, Oyilettam, Koodiyattam, Puliyattam and so on.
Devarattam, a folk dance form, is restricted to the Kambalanayakar community.
Devika says, “I decided to bring it to the mainstream and have taught around 50,000 children till now. Surprisingly, youngsters began to show interest after that.”
Oyilattam is also a traditional dance form that rarely finds any takers. Koodiyattam, a Sanskrit theatrical form, has been declared as a ‘world heritage art form’ by the UNESCO.
The late Ammannur Madhava Chakyar (a Padma Bhushan awardee) was a veteran Koodiyattam artiste, while Kapila Venu is an artiste who now specialises in this art form.
Pulliyattam is a street performance where the dancers paint their bodies with stripes like a ‘tiger’. This too has very few takers.
Devika also recalls another art form called Kattai Koothu, where the performers wear wooden crowns. She claims that many students practise this form nowadays.
Devika does not quite agree with the term ‘extinct’ when she says, “Even if very few people are performing the art, it is alive. The question is how long?”
