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Kathakali, Koodiyattam: Watch Kerala art forms take on new life in Dubai

As a festival of Kerala’s art forms gets underway in Dubai, two celebrated artistes, Peesapilly Rajeevan and Sooraj Nambiar, are reimagining classical art forms for a global audience

The flickering wicks of a large traditional oil lamp cast a pool of bright orange light in one area of the stage, a space where epic Indian stories are coming alive. As the brilliantly colourful curtain held up by two bare-torsoed men comes down, a Kathakali artist steps forward, his resplendent costume awash with bright colours, the rich hues of his intricate face paint revealing a spectrum of emotions, even as his long slender fingers, with silver talon-like accessories dance in the air mesmerising the audience. Every gesture, from the gentle movement of his fingertips to the hypnotic sweep of his eyes, the firm steps that his feet take to the subtle nods of his head, narrates the timeless epics of India.

As the air in the hall reverberates with the resonant beats of the chenda (a percussion instrument popular in Kerala) and the haunting notes of the vocalist, the audience is drawn into the realm of a fantastic, fabulous and fascinating world of legends from the past that are still relevant in the present.

Amid this world of colour, drama, and tradition stand two torchbearers of Kerala’s classical arts: Peesapilly Rajeevan, a Kathakali maestro, and Sooraj Nambiar, a dedicated Koodiyattam artist. They embody the dual spirit of preservation and innovation, infusing new vitality into these ancient forms.

For Rajeevan, Kathakali is more than an art form; it’s a living dialogue between the past and present. Trained under luminaries like Cheruvally Raman Namboothiri and Kottakkal Krishnankutty Nair, he has navigated a career marked by relentless dedication. His journey, like the arc of the characters he portrays, is layered with perseverance, evolution, and triumph.

“Kathakali is rooted in tradition,” Rajeevan shares. “But I believe its survival hinges on relevance. In my performances, I weave contemporary ideas into classical narratives, often exploring themes that emerge subtly in the attakatha (play texts). This makes the art resonate with today’s audiences.”

Rajeevan’s interpretation of classical characters, be it the defiant Ravana in Ravanolbhavam or the tormented Karnan in Karnashapadham, blends theatrical depth with modern sensibilities. His acclaimed play Kaliyachan, based on the Malayalam poem by P. Kunhiraman Nair, exemplifies this approach. The narrative delves into the intricate relationship between a Kathakali artist and his guru, addressing themes of mentorship, rebellion, and reconciliation.

Reflecting on his own guru-disciple bond, Rajeevan who will be performing at the ‘Utsavam-IKKF’ in Dubai on November 30, and December 1 and 2, notes, “My guru didn’t just teach me Kathakali; he expanded my worldview. While Kaliyachan portrays a strained relationship, my experience was one of enrichment and discovery.”

Beyond the stage, Rajeevan’s lecture-demonstrations are a bridge for those unfamiliar with the art form. “Introducing Kathakali in a language that people understand is crucial,” he emphasises. “Once audiences grasp its nuances, they connect deeply, irrespective of cultural background.”

While Rajeevan breathes life into Kathakali, Sooraj Nambiar is one of the more talented performers of Koodiyattam, Kerala’s 2,000-year-old theatre tradition. Trained under the legendary Ammannur Chachu Chakyar and Ammannur Kuttan Chakyar, Sooraj embodies the art’s ancient essence while ensuring its relevance on global stages.

“Koodiyattam’s appeal lies in its universality,” Sooraj explains. “The mudras (gestures) and abhinaya (expressions) transcend linguistic barriers.”

One of Sooraj’s landmark performances was his portrayal of Bhima in Subhadra-Dhananjayam at the Festival of Asia-Pacific Intangible Cultural Heritage in South Korea. His ability to adapt the layered narratives of Koodiyattam for international audiences has earned him recognition as a cultural ambassador.

“Koodiyattam’s complexity can be daunting,” he admits. “But its visual storytelling allows audiences to interpret the performance on different levels, whether they are scholars or first-time viewers.”

Sooraj’s commitment to full-length traditional acts ensures the preservation of Koodiyattam’s integrity. However, he balances this with workshops that introduce its philosophy and techniques to a broader audience. “It’s vital to nurture curiosity,” he asserts. “Only then can this ancient art find a foothold in the modern world.”

Both Rajeevan and Sooraj are keenly aware of the challenges facing Kerala’s classical arts. From dwindling audiences to the need for inclusivity, they advocate for thoughtful innovation while safeguarding the core essence of their forms.

“Kathakali needs to evolve in its presentation,” Rajeevan remarks. “Improving lighting and sound can amplify the audience's experience without altering the soul of the art. Similarly, performers must guide viewers by offering a glimpse into the story before it unfolds.”

For Sooraj, the solution lies in global outreach. “Cultural festivals and international collaborations not only sustain the art but also inspire a new generation to explore it,” he says.

The festival in Dubai will feature more than 60 artistes showcasing Koodiyaattam, Kathakali, and Thaayampaka. Highlights include a rendition of the Koodiyattam play Subhadra-Dhananjayam by artistes Usha Nangyar, Kapila Venu, and others. Kathakali performances will present popular plays like Santhana-Gopalam and Nalacharitham Randaamdivasam.

Thayampaka presentations will feature masters like Cheruthazham Chandran and Kalloor Unnikkrishnan, supported by local and visiting percussionists.

As the stage lights dim and the performers retreat into the shadows, what lingers is not just the story they told but the timeless connection they forged, a reminder that art, like life, is both a reflection of the past and a beacon for the future.

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