KOLLAM: The state Kalolsavam has always been a platform where vibrant art forms engage in spirited competition. Parichamuttu is one such art form, beloved among the Syrian Christian community and traditionally performed by males during church feasts. But concerns are, as raised by both trainers and contestants in the latest edition of the arts festival, the prominence of the art form is fast fading.
Artists lament Parichamuttu, now confined mainly to the state and university-level festivals, is gradually disappearing from broader society. At the same time, they emphasise the inclusion of the art form in these festivals has prevented it from complete disappearance.
“Parichamuttu is featured in the competitive category of the state festival and the university festivals of Kannur and Calicut. Unfortunately, the numbers of participants has been decreasing annually,” says Sarath Arathur, a Parichamuttu artist and trainer. While a Parichamuttu performance during church feasts was a cherished tradition, even that practice has ceased to exist, he points out. “A few churches in Kottayam district used to host Parichamuttu performances, but that too has stopped.”
As the art form loses popularity, there is a scarcity of teachers and training in schools for Parichamuttu, the artists say. “Fewer students mean that only those who reach the state or university level in Parichamuttu become trainers themselves,” says Mohammad Aslim, a contestant at the state festival in Kollam.
Despite the decline in the art form’s traditional presentation in society, the popularity of the state and university festivals remains the big hope for Parichamuttu to rejuvenate its standing. However, as it is confined to the festival competition category, many trainers find themselves modifying traditional elements of the art form to cater to a competitive environment.
