It is an art form that has its roots in the hamlet of Payyanur. The rhythm of Payyanur kolkali is embedded deep in souls of the people and they do not miss a beat. A folk art of yore, Payyanur Kolkali is not entirely lost. Tracing its centuries-long lineage is Suresh Poduval, a scriptwriter and TV personality, through his documentary ‘Oru Deshathinte Kala’.
His quest to document the evolution, history and influence of Payyanur Kolkali had Suresh delving deep into the psyche of those who practice it, as well as folklore experts who studied its trajectory and artistic depth.
“Kolkali is an intense emotion for people at Payyanur. No child, who is brought up there, lives without knowing it. But, despite having firm roots, nobody has documented it and that’s why I wanted to do this documentary,” says Suresh.
The documentary opens with a Kolkali performance. Dancers, who are wielding short sticks, move around in circles while rhythmically striking their sticks. They dance, sing and break away to form different patterns, but without missing a beat.
As folklore expert M V Vishnu Namboothiri elucidates in the documentary,
Kolkali is said to have originated during ancient times when man, burdened with physically-taxing work, used his tools (stick or stones) to create sounds. This later evolved into kolkali.
“Kolkali has underwent a lot of transition. Today it is a political tool and a weapon for awareness campaigns. Various political parties, including the LDF, use kolkali during political campaigns. They hold performances, based on the folk songs they compose and this is an indication of the foothold this folk art has,” says Suresh.
As someone who learnt and practices it, Suresh spent years tracing its social, cultural, political and traditional impact, its lively practice and performances, inferences from doyens, the woman factor, as well as the fight for existence.
“I took almost two years,” he says. “Every minute detail is covered. I have even touched upon the various types of Kolkali, including charadukuthikali, an extreme art form which demands intense practice and precision.”
He has also touched upon the bleak future of the folk art, even though, at one time, kolkali was a steady presence at youth festivals. The documentary, that is orginally one-and-half hours long, has been edited down to 35 minutes for festival viewing.
“There is no profit motive behind the venture. One reason why the documentary was realised was because of its producer Sudakaran Kandoth, a Middle-East based businessman. It was our passion that helped in its making,” says Suresh.
