VELLINEZHI NAANU NAIR
SMARAKA KALAKENDRAM
VELLINEZHI
Vellinezhi is located in Kerala, India
Coordinates: 10.902878°N 76.34394°E
Country: India
State:Kerala
District:Palakkad
Time zone IST (UTC+5:30)
Vellinezhi is a small
but culturally crucial village located in Palakkad district of Kerala in
southern India. The sylvan, rugged land is located on the banks of the Kunti, a
slender rivulet that forms tributary to the broad, west-flowing Bharatapuzha that
criss-crosses central Kerala in southern India. It is famous for the huge
number of Kathakali and traditional Kerala percussion artists it has churned
out over a period of decades and centuries—in a hoary way in its feudal past,
and at a relatively slower place in today's liberal-economy world. The nearest
small town is Cherpulassery, some seven kilometres away.
Vellinezhi
is one of the 14 desams (small duchy-like territories), and is home to
Olappamanna Mana, one of the centuries-old feudal Namboothiri (Kerala Brahmin)
mansions Illam. Olappamanna, now a vacated abode that exists as a trust that
lets its premises out for weddings and film/docu/teleserial shoots, was, in its
heyday till the mid-20th century, the residence of luminaries such as the late
Kunjunni Nambudiripad on whom the title of Rao Bahadur was awarded by the
ruling British. And more recently, it also gave birth to the renowned scholar,
the late O.M.C. Narayanan Nambudiripad (who gave a Malayalam interpretration to
the Rigveda), the late poet Mahakavi Subrahmanian Nambudiripad (simply
Olappamanna, his pen name) and author-scholar Dr O.M. Anujan. In the early 20th
century, it was in Olappamanna Mana that the legendary Pattikkamthodi Ravunni
Menon redefined the aesthetics of the Kalluvazhi tradition of Kathakali.
Vellinezhi has grown in
stature as the homestead of a few classical Kerala art forms. Primary among
them is the dance-drama, Kathakali, the technical precision and aethetic
quality of which rose to great heights during the life and times of
Pattikkamthodi Ravunni Menon who polished and made the Kalluvazhi style of the
art artfully elaborate. It is his set of disciples, along with the playback
musicians, percussionists, make-up (chutti), costumes (petti) artistes that he
groomed who later made Vellinezhi proud. The village, critically, has a house
named Kothavil that has specialised in the craft of designing and making
Kathakali costumes.
Kerala-style percussion
ensembles like chenda melam, thayambaka and panchavadyam too have enriched from
a flurry of artistes that Vellinezhi has produced over the years. The village
has a high school that included Kathakali teachers and allied tutors among its
faculty. Vellinezhi has also been the chief locale for Vanaprastham, an
acclaimed Malayalam feature film that has won several awards. In fact, the
house of Kunjukkutan, the protagonist in the movie (played by Mohanlal), had
been the residence of the late Kathakali guru Padma Shri Keezhpadam Kumaran
Nair.The village lies about 40 km west of Palakkad town, and approximately 100
km north of Nedumbassery international airport.
NAANU NAIR SMARAKA KALA KENDRA-An
Institution For Peformance, Study & Research
Vellinezhi is a serene village embedded within the
green terrains of the Palakkad District, in the State of Kerala, INDIA.This
fertile womb of nature has given birth to a large number of
stalwarts in the fields of arts and crafts viz. Kathakali, Dances, Musical
instruments, Literature etc. However, Vellinezhi is best known for
the maestros in Kathakali, a scintillating amalgam of nearly all
forms of audiovisual arts.
Vellinezhi k. Nanu Nair is a kathakali actor. He was Born in Vellinezhi
village,palakkad district in 1910. He was the son and disciple of the eminent
Kariyattil Koppan Nair, belonging to the Kalluvazhi (midland) school. Although
he is started his kathakali career as a female impersonator, he became famous
in the chuvanna thadi or red beard category of powerful ang frightening
charecters that require good height ,figure ,strength, forceful eyes and voice in an actor like Bali, Trigarta ,
Kali, Kalakeya, Bakasura,Jarasandha,Dussasana and Virabhadra. He also excelled
as the forest –dweller kattala in the karutta tadi or black beard category, as
well as Nakratundi and Simhika in the kari (black) group. His blood-soaked
make-up and costumes for the wounded demonesses among the latter looked
fearsome. He traveled in India and abroad with Kerala Kalamandalam and other
troupes. Vellinezhi. K. Nanu Nair died in 1986.
Vellinezhi Naanu Nair was a
Kathakali vesham (character-performer) artist, known for his dexterous
mastery in performance of characters noted for their physical dynamism. This is
apart from his skill in ploughing and associated agricultural activities. This
institutions established in the name of the grand-master, Naanu
Nair, strives to conserve the wisdom, spirit and practice of
Kathakali and those arts which compliment it.
The Kalakendram (Art-center) runs
regular academic sessions to train students in Kathakali, other dances and
allied music and organizes shows in temples and other venues. A major
vision of the institution is to disseminate the various nuances of Kathakali
and its socio-psychic components among aspirants from any part of the
world. 
Vellinezhi Nanu Nair Smaraka Kalakendram, an institution functioning in the
name of ever great Chuvanna Thadi Artiste
of Kathakali, Vellinezhi Nanu Nair, is dedicated to the cause of Kerala Art.
Established on September 9, 2001, Kalakendram has maintained its humble
services to the Classical Art forms of Kerala. This Educational Institution is
run by Elected Members of the Public according to the bye-laws. The function of
the Working Committee is supervised by the renowned Artistes in the field of
Performing Arts.
Ever since its conception, it is functioning in rented
premises. Today Kalakendram has acquire 10 cents of land, and did build a small
Kalari-cum-office at the Kuruvatoor Junction (Vellinezhi). Kalakendram has a
Kathakali and Panchavadyam troupe that undertakes programmes.
In 2008, on the occasion of its annual day celebration,
Kalakendram organised a THAADI ARANGU-2008. This programme which included all
renowned Chuvanna Thaadi Artistes, won the acclaim of the world. This year, we
are planning to organise a programme on the 22nd of December 2012. This is a
special Event in the sense that we are depicting rare Characters of Kathakali.
Some of the salient features of Kalakendram:
* Kalakendram is a registered establishment with the
Government of Kerala in 2004
(Reg. No. CA 297/2004)
* Kalakendram is an Educational Institution of Art
Recognised by the Kerala Sngeetha Nataka
Akademi (Reg. No. 170/PKD/2007)
* The present Advisory Board Members are Padmabhushan
Kalamandalam Ramankutty Nair
and Mattanur Sankarankutty Marar (Padmashree Keezhpadam
Kumaran Nair and
Kalamandalam Padmanabhan Nair were also Members of the
Board).
*During the last 11years of functioning, 55 students have
successfully completed their course in
various disciplines (16 -Vesham,1-Kathakali Music, 7-Chenda, 19-Panchavadyam Thimala &
12-Classical Dance ).
* Presently there are 12 students learning Kathakali
Vesham and Chenda.
* This is the only Institution teaching Kathakali and
Panchavadyam in Vellinezhi Gram
Panchayat.
* Has a permanent Kalari teaching
the Classical Art. There is Saadhakam (special
rigorous
training) during Rainy Season.
* Kalakendram has honored about 17 Artistes in the field.
* Has undertaken numerous Kathakali and Panchavadyam
programmes.
* The Institution is functioning only on Public support.
* PRESENT ADVISORY BOARD:
Dr. Kalamandalam RamanKutty Nair (Padmabhushan awardee)---[Late] - former - We keep
the maestro within our minds
Sri. Mattanur Sankarankutty Marar ( · Padmashree awardee)
* PRESENT FACULTY:
· Kathakali Vesham(Acting) : Sri
Kalanilayam Mohanan
Sri Kalamandalam Narayanan Kutty
· Music : Sri Vellinezhi Achuthan Kutty
· Chenda : Sri Sadanam Ramadasan
· Panchavadyam : Sri Kongad Radhakrishnan
* KALARAI SUPERVISION:
· Kathakali Vesham(Acting) : Sri
Kalamandalam Kuttan Asan
Sri Vazhengada Vijayan Nair
Sri Kalanilayam Balakrishnan
· Music : Sri Kalamandalam Mohanakrishnan
· Chenda : Sri Kalanilayam Kunjunni
In view of Vellinezhi growing into a
"KALAA-GRAAMAM" the institution has recently constituted a
special committee of experts comprising of artsist, educationists,
historians, sociologists and researchers to enhance the facilities in
training, performance and research. In addition, plans have already been drawn
to run pilot projects to examine the applied values of Kathakali in
Education and Health. A library, museum and laboratory to study body
kinetics have been planned - with a stress on providing online information.
The institution is ready to render all possible assistance
to those who wish to study the culture and visions of the Village and Art
forms. Students at all levels, researchers and media personnel are welcome to
Vellinezhi Naanu Nair Smaaraka Kalakendram.
Contact Nos:+919947598344, +919745313526, +919446875262Email id:
achuvetta@gmail.com,bharathamuni@gmail.com
Address: The
Secretary
The Vellinezhi Naanu Nair Smaaraka
Kalaakendram
Kuruvattur, P.O. Tirunarayanpuram, Palakkad
District
Kerala. INDIA. Pin: 679 514.
The present Panel
of experts :
Artist K K Warrier (Mural expert & Teacher)
Prof. Dr. C.P. Unnikrishnan (Physiologist,
Researcher, Educationist &
Kathakali-vesham artist)
Dr. Vellinezhi Achyuthankutty (Physicist & Kathakali
singer)
Prof. Dr. P.K. Sreekumar (Historian,
Researcher & Teacher)
Dr. Annathakrishnsn (Ayurvedic physician &
Pharmacologist)
Dr. N.G. Menon (General surgeon)
Dr. Prasantha Pillai (Maxillofacial surgeon)
Dr. Biju Pamkapilly (Orthopedic surgeon and Sports
medicine specialist)
Dr. K.P. Krishnan (Biologist, Researcher and a lover of
Kathakali)
KATHAKALI
KATHAKALI
- The Total Art That Reflects The Cultural & Aesthetic Dimensions of
Kerala
Katha = Story. Kali = play. It is a process of ‘enacting a story’. The lyrical text used
for this purpose is referred to as "Aattakkatha"; ie. a story written
to be produced as a Kathakali. The school of Kathakali uses certain basic
practices of Kalarippayattu, diligently in the training process and in a mild
form on the stage. The Nair community dominated in the early days of Kathakali,
as they were mostly trained in the martial art, Kalarippayattu. Now, the ethnic groups of
Hindus, which handle this art form, are several. Kathakali, as we see it today,
is a product of its own evolution through four centuries. By virtue of its
adaptability to conceive even non-Indian themes, Kathakali has achieved a
global identity.
The popular legend behind the origin of
Kathakali may be quickly reviewed to establish that there was a great
revolutionary and socialistic philosophy in its shaping. Zamorin, a local chieftain in
northern Kerala, was a patron of Krishnanattom, essentially a dance drama that
deals only with the story of Krishna and only within the premises of
Krishna-temples. A local chieftain from Kottarakkara, southern Kerala, invited
the Zamorin to present Krishnanattom in Kottarakkara. This was turned down by
the Zamorin, with a statement that
Krishnanattom is not for the unscholarly audience of southern Kerala. With a
vengeance, the royal chieftain of Kottarakkara created Ramanattom. Ramanattom enacted
stories from Ramayana. In due course of
time, as it began to encompass many stories, Ramanattom evolved into a medium
with bigger dimension, to 'Play any Story'. Thus,
was the evolution ofKathakali.
Traditionally, the training to become a
Kathakali-vesham artist begins around the age of ten. Each day’s schedule
commences at 3.30 am and ends at 8.30 pm with short breaks in between. During the monsoon
and the winterseasons there are ‘body massage sessions’ of
41 to 90 days. Each student learns the complete language of Kathakali.
Hand-gestures and facial expressions are employed as the major modes of
communication. The gestural language is almost like the spoken ones. Complete
sentences with grammatical nuances can be ‘shown’. The dance elements (units of Nrutta) include abstract and
meaningful aspects of the body language. Costumes, ornaments and facial makeup
together constitute a ‘character type’.
A fair skin tone (minukku) depicts very sober saintly intelligent
characters and all women of noble birth. Green (Pacha) face is for dignified ones or of royal
birth or their immediate kith and
kin. The ‘character type’ with red and white patterns on green cheeks and forehead (Kathi) represent very powerfulcharacters,
yet with one or more negative tendencies. White, red and black beards (Taadi) denote relatively low psychological
profiles. However, in the ‘Taadi group’ there is gradation from high to very
low. It is correspondingly shown by the relative amount of white, red and black
in the facial makeup and costumes. Negative features increase from white to
black, through red. Dwellers of jungle and demonic females are almost black.
They have small patterns of red, white and yellow on the complete black face.
You may view the album, "Veshangal" in the Gallery.
A Kathakali performance scheduled to begin
around 8.00 in the night will be announced in a special manner. During the
evening, Chenda, Maddalam(both percussion drums) Elathalam and Chengila (metallic cymbals) will be played
loudly. This is expected to be heard even at a distance. Kathakali lovers can
identify this instrumental music, referred to as kelikottu.
The use of pigments like greens, reds, white black
and their combinations, along with lines and patterns, make well-classified
facial make up types. This is quite in line with the concept used in Koodiyattam, which is the
oldest known Sanskrit play that evolved in Kerala. The facial makeup is very
elaborate and takes hours of labour by the actors and the trained person called
'chuttikkaran'. The latter lays fine lines of rice paste on the actor’s
face and fixes white paper bits (along the curvature of the cheeks, chin,
forehead and nose) as prescribed
for a ‘character type’. The costumes arevery elaborate and heavy. The dynamic
sculptures formed by the totality of costume and facial makeup need to be
experienced than described.
The process of democratization that has gone
into its performance aspects has made Kathakali highly acceptable even to the
relatively less-trained audience.
The use of Malayalam (the spoken language of Kerala) in the lyrical
compositions, the varieties of episodes from epics and other texts also
increased the possibilities of familiarization and acceptance. Even plays based
on Shakespearean stories and Biblical themes have been successfully tried out.
However, while these attempts assured that such experiments are not taboo in
Kathakali, they did not last long. Even new stories based on themes from
different parts of India did not survive long. This is essentially due to the
cultural background of Kerala that has gone deep into the technology of acting
(kinesics). Traditionally, men alone participated in the entire presentation.
Kathakali demands no rigid theatre specifications as far as the place of
performance is concerned. The strenuous training, stage business and the night-long performances did play their roles in
restricting women. But during the last two decades many women have boldly stepped into this field. But
there are only just a few who have taken it up very
seriously.
LATEST ACTIVITIES
Kalakendram along with the Uthrathil
Kaavu vela committee would offer Panchavadyam & Kathakali (Kuchelavrutham)
at the Sree Narasimhaswami Kshetram, Kuruvattoor on 24th May 2015.; after the
evening Deepaaradhana.
Taadiyarangu - 2014
Research Unit
Primary
Objectives of the Research Unit
This Research
Unit has begun to draw simple plans to commence studies suitable
for various groups based on age, educational background, working
ability and resource accessibility. The concentration would be more on school
and college students who are pursuing formal academic studies. This approach
has been thought of with the specific understanding that Arts help in
learning and teaching other subjects, as proven by those who pursue research in
Education, especially recognising the avenues shown by the theory of Multiple
Intelligence. Spreading awareness would be done through Study classess,
Handouts, Internet sources and Presentations in CD or DVD formats.
The initial task would be:
-To create an awareness of
the importance of research work in Art subjects like theater, dance,
music, drwaing & Painting and related areas.
-To introduce the vital
significance of "Making an Art that suits
one, as a part of ones day to day Living". ie. to know and feel how Arts help in Personality development,
Behaviour modifications, Study, Teaching, Organizational activities etc.
-To cultivate the habit of observation
and enquiry.
-To give necessary support to research
students from various part of the world.
Major Subject Areas
1. Historical percpectives in relation
to Arts
2. Significance of the study of
Arts in relation to Epics,
Legends, Poetry
3. Role of Art in Pedagogical as
well as Mental and
Physical Health
related studies
4. Art as essential applied
subject in learning and
teaching other
subjects even in the formal acdemic
curricula.
5. Body kinetics - Biomechanics
and Choreography
6. Neuro aesthetics
7. Recording, Documentation and
Archiving
8. Structuring Research Methodologies
9. 'Body Exercise' Studies
CONCLUSION
'Art' is the ability to 'Wonder' at Life. Science is the 'Curiosity'
about Life. Without the ability to 'Wonder' one cannot be 'Curious'.
Undoubtedly, there must be an Artist in every Scientist & vice versa. These together constitute
ones 'Philosophy' which is the 'Vison' in one’s Life. To realize any
Vision, one needs to have a 'Discipline', which is ones 'Religion'. And,
identifying these innate faculties and fine tuning them must begin as one
begins to 'Learn'; both at home and in school. Education is ' A process of helping one to arrive at the perfection that is
already in one’; is one of the major definitions of Education.
The current structure of education has given only very feeble weightage to
these objectives which are vital parameters in personal and social
evolution. No Art shall any longer be considered only as a medium for
entertainment without any social commitment. Every Art has its application to
one or other aspect in peaceful coexistence is a time tested truth. Other
relevant subjects must be applied to Arts to enhance understanding practice and
application of different art forms. The theories on Multiple Intelligence
(Haward Gardner) justifies their vision.
"An Artist is not a special kind of Individual. But
every Individual is a special kind of Artist"
(Ananda Kentish Coomara Swamy)
