When Kuruchi Nadesan Palamoottil takes his 10-member troupe to their chariot, he could be mistaken by a neophyte dance critic for a Kathakali artist by half, considering his makeup and costume. Nadesan is a proponent of Arjuna Nritham, or mayilpeelithookam, as it is colloquially called because of the unique peacock feather skirt the dancers wear on stage. “The feathers in my costume and the absence of chutti (white makeup) differentiate Arjuna Nritham from Kathakali,” he explains.
Nadesan’s costume is different indeed an arched golden crown on a face painted turquoise with accouterments such as kollaram, kazhutaaram, vala, tholpoottu and paratikkamani. Arjun Nritham is an all-male dance performed only in Bhagavathi temples. The artists arrive on chaadus (chariots), bow to the goddess and proceed to take their steps. From a popular divine dance form thriving in Southern Kerala centuries ago, it is now performed mainly at temples in Kottayam and Alappuzha. Its movements borrow from Kalaripayattu techniques and there are around 108 rhythmic patterns or thalams.
The legend behind Arjun Nritham is dramatic and colourful. Kunti prays to the Goddess Kali to give her sons the strength to bear their tribulations in exile and promises a human sacrifice in return. Once the Pandavas regain power, Kunti forgets her oath. The goddess sends Narada to remind Yudhisthira. Arjuna offers to be the sacrifice. The gods shower him with gifts peacock feathers from Subramaniyan, a crown from Indra—as he goes in a chariot to submit himself to Kali. Pleased with Arjuna’s appearance, the goddess spares his life. In tribute, the warrior prince dances for her. Should a devotee wish to propitiate Kali, he or she will host a dancer at home, arrange food and materials and set up a marquee.
The 60-year-old Nadesan’s debut was at 15. His father Kuruchi Kumaran was his guru. Says Nadesan, “The dance form began to decline over the last 40 years. Only three temples in Kerala practice this ritual at present. The artists get to perform only when the devotees cast the art form as an offering to the deity. As the number of people who gave the art form as an offering reduced, Arjuna Nritham began to deteriorate.” For the artists and the art form’s survival, Kuruchi Nadesan’s father brought out Arjuna Nritham from the confinements of the temple.
“My father realised that Arjuna Nritham had to fit the entertainment mould to survive. This gave the artists more platforms,” says Nadesan. His academy, Nirtha Kalalayam, is based in Kurichi. The dance guru regrets that Arjuna Nritham, which attracted large audiences once, is seeing declining numbers. “I fear the Nritham will become extinct within the next decade,” he laments.
Besides it is not an easy art to master and the money is poor. ‘ULSAVAM’, a six-month-long traditional folk dance festival organised by the Kerala government that provided a stage for artists from all districts, is now down to a week. The dance maestro is seeking bailout from the state Sangeetha Nataka Akademi and Folklore Akademi in the form of a special budget to preserve traditional folk art. Hopefully the goddess is listening.