THE LAND OF BEAUTY STARTS HERE…
KOTTAYAM AT A GLANCE...
1 Area 2,208 Sq.Km
2 Taluks 5
3 Blocks 11
4 Panchayat 75
5 Revenue Villages 2
6 Municipalities 3
7 Corporations 4
8 Website www.kottayam.nic.in
9 e mail dcktm@kerala.nic.in
10 population 19, 52,901
11 literacy 95.99%
Introduction…
Kottayam is a land of unique characteristics. Panoramic back water stretches, lush paddy fields, high lands, rubber plantations etc.Kottayam can claim many first places. It is the most literate dis-trict in the State as per 2001 census. Kottayam is the first town in India to achieve cent per cent literacy in 1989 June 25. English education in South India started at the old seminary here in 1813. The first Printing Press inKerala CMS Press - which was started by Rev. Benjamin Bialy in 1821was in Kottayam.
The first College in the State - CMS College - was also started here in 1840. First printed Malayalam - English and English -Malayalam Dictionary were published from Kottayam in 1846 and 1847respectively. Sahithya Pravarthaka Sahakarana Sanghom (S.P.C.S), theonly co-operative society of literary workers for book publication was setup here in 1945. Kottayam stands in the main stream in the field of pub-location of Newspapers, Periodicals and printing-book publishing industry in the State. Kottayam is the first city in India to launch an 'Eco City Project'. After all the first Malayali to become the President of India -Sri. K.R. Narayanan - is none other than a native of Uzhavoor in Kottayamdistrict
History...
Kottayam literally means the interior of a fort - Kotta + Akam. Rulers of Munjanad and Thekkumkur had their headquarters at Thazhathangadi in the present Kottayam town. Marthanda Varma of Travancore attacked Thekkumkur and destroyed the palace and the Thaliyil fort. The remnants of the palaces and forts are still seen here.
The present Kottayam district was previously a part of the erstwhile princely state of Travancore. Earlier, the Travancore state consisted of two revenue divisions viz. the southern and northern divisions, under the administrative control of a 'Diwan Peshkar' for each. Later in 1868 two more divisions Quilon (Kollam) and Kottayam were constituted. The fifth division Devikulam came next but only for a short period, which in course of time, was added to Kottayam. At the time of the integration of the State of Travancore and Cochin (Kochi) in 1949, these revenue divisions were renamed as districts and the Diwan peshkars gave way to District Collectors, paving the way for the birth of the Kottayam District in July 1949
VAIKOM TEMPLE
K kelappan the leader of vaikom sathyagraha …
Kottayam has played its role in all the political agitations of modern times. The 'Malayali Memorial ' agitation may be said to have had its origin in Kottayam. The Malayali Memorial sought to secure better representation for educated Travancoreans in the Travancore civil service against persons from outside. The Memorial, which was presented to the Maharaja Sri Moolam Thirunal (1891) was drafted at a public meeting held in the Kottayam Public Library. The event marked the beginning of the modern political movement in the State.
It was here that the famous Vaikom Satyagraha (1924-25), an epic struggle for eradication of untouchability, took place. Scheduled castes and other backward classes in Travancore were denied not only entry into temples, but also access to temple roads. Vaikom, the seat of a celebrated Siva Temple, was the venue of the symbolic Satyagraha. It is of immense historic significance that national leaders like Mahatma Gandhi, C. Rajagopalachari, Acharya Vinoba Bhave and E.V. Ramswami Naykar, associated with this struggle. Gandhiji on Vaikom Satyagraha
The ' Nivarthana ' agitation of the early thirties, to secure adequate representation for the non-caste Hindus, Christians and Muslims in the State Legislature, enjoyed considerable support from this district.
The district was also a centre of the agitation led by the State Congress for responsible Government in Travancore. The agitation had a triumphant end, with the overthrow of Sir. C.P. Ram swami Iyer, the then Dewan of Travancore.
Arts and Culture
Kottayam occupies a prominent place in the cultural map of Kerala. Kunchan Nambiar, the father of Thullal, a popular temple art form, is supposed to have lived at Kidangoor. Unnineeli Sandesam, the exquisite Malayalam poetry work, is supposed to have been written by one of the Vadakkumkur Rajas. The Christian Missionaries enriched Malayalam literature by their valuable contributions in the 18th and 19th Centuries. Varthamana Pusthakam (1778) written by Paremmakkal Thoma Kathanar, on a travel to Rome, is the first travelogue in Malayalam. The first autobiography in Malayalam by Vaikom Pachu Moothathu was published from Kottayam in 1870.
In the concluding decades of the 19th Century and the beginning of the 20th Century, Kottayam shot into limelight as the nerve centre of all literary and cultural activities in the erstwhile Travancore State. Late Kottarathil Sankunny, Kandathil Varghese Mappilai, Kerala Varma Valiyakoi Thampuran, K.C. Mammen Mappilai, Kattakkayathil Cheriyan Mappilai, Vadakkumkoor Raja Raja Varma, Karoor Neelakanda Pillai, Vaikom Muhammed Basheer, D.C. Kizhakkemuri and Abhaya Dev are few names, in the category of outstanding dignitaries and celebrities, worth mentioning, who had made very valuable, substantial and individual contributions in their own way to the cultural and social milieu. Eminent writers Ponkunnam Varkey, Vaikom Chandra Sekharan Nair, distinguished Poet Mahakavi Pala Narayanan Nair, illustrious Kathakali artist Kudamaloor Karunakaran Nair, world renowned Booker prize winner Arundhathi Roy, accomplished film actor Mammootty, and talented film director Jayaraj are some other notable personalities who all hail from Kottayam district. Renowned music director L. P. R. Varma (Late ) also hailed from Kottayam
Kottayam stands first in the field of Education, Mass Communication, Printing and Book Publication. The significant role played by Malayala Manorama & Bhashaposhini and Deepika for the cultural and literary development is of immense importance. There are many printing presses and book publishing companies in Kottayam. The SPCS, a unique co-operation venture of authors and writers was started in the year 1945. Prominent publishers D.C. Books started publication from here in the year 1974. Kottayam is the headquarters of Current Books since the year 1977. It is estimated that 70% of the State's book publication takes place Kottayam.
Koodiyattam...
The art form Koodiyaattam is the forerunner of the dramatic arts of Kerala. The term Koodiyaattam signifies ‘Joint action’ by Chaakkyaars and Nangyaars propounding exclusively Sanskrit dramas. Literally, the name means ’composite dancing’. It is a composition of dramatics, abhinaya and dancing. It is perhaps the oldest dance-drama in existence in India. Koodiyaattam is presented by members of the Chaakkyaar community. The word Chaakkyaar is formed from slaaghyavaakkukaar or slaaghayir giving stress to all the six qualities for good speech in them. The Chaakkyaar community preserved acting as their family duty and acquired for themselves an important position in the cultural history of Kerala. Tradition holds that there were 18 Chaakkyaar families of which 14 have been identified, among them only eight families existed now.
Koodiyaattam is presented as a votive offering in Koothambalams, special
theatres put up inside the precincts of temples. The perfomance is based on Sanskrit texts. A single act of Koodiyaattam play may be staged for 10 to 15 days, each day for two or three hours. The Malabari has a small story for Koodiyaattam. It offers a peg on which the entire technique of a perfomance hangs. An interesting one-act story is woven round Arjuna, the hero of the Mahaabhaarata. It is from the Sanskrit drama ‘Subhadra Dhananjayam’ wherein Arjuna wooes Subhadra. The act begins with return of Arjuna after wooing the famous bow called Gandiiva when he is told of the exquisite beauty of Subhadra. He falls in love with her and sets out to search her. He is assisted in this by his friend and companion Kunndinya, the court jester. On the way they meet a bhoot flying away with the ballet. Arjuna bends his bow to shoot down the bhoot who drops her and flies from safety. She literally falls into Arjuna’s arms. He fails to identify her but falls in love all the same. Suddenly she disappears. Arjuna sits to search for her in Dwaarka where if she would not be found he might meet Subhadra. Such a small story may take eleven nights. It reveals its high evolved art of great artistic and dramatic potentialities. Koodiyaattam plays deal with varied situations-humorous, satirical, especially on social and official life, moralistic for the youth; serious thoughts on the life’s purpose and ribaldrous attack on sexual propensities of man. They have educative value: a whole audience responds to the theme.
The role of Vidooshaka and Chaakkyaar
In early days, a seven-act Koodiyaattam play generally took a couple of months, each act taking between 8-9 days. It is preceded by a four-day precatory actions which are confined to staapana and nirvacana. On the third day commences the purushartha in which Vidooshaka is the sole character. It’s scene is drawn from the village of illiteracy headed by a priest who is innocent of all knowledge of mantra, tantra and vidya. Discussion amongst the villagers is given in the form of a discourse high in dramatic qualities. The Vidooshaka, who is normally a man of extraordinary skill, mimes several characters and makes the atmosphere for the play absorbingly interesting. Beyond this he does not have any role, because what he relates has no relation with the theme of the drama.
The Chaakkyaar presents in this introductory part all the essentials of the play called in Sanskrit Purushaartha, of life. It is entrenched round the social hypocrisy in four main divisions- vinoda, vancana, aasana and raajaseva. Vinoda is enjoyment of pleasures and may extend from minor to major actions of pleasures; vancana includes deception in all its minor and sublte shades, besides self-deception; aasana signifies satisfaction of the palate; and raajaseva is the service under the crown. It is on the completion of the fourth category of Purshaartha that the conversation in the story cleverly leads to the emergence of the first scene of the drama to be enacted. The Chaakkyaar applies all the wits, humors and sarcasms in his discourses. Like the consummate cartoonist, who drives from his thoughts through the lines, Chaakkyaar raises humour and the hidden meaning. Whereas Purushaartha unfolds social hypocracy on the one side, it indirectly asks for certain morals. The Chaakkyaar therefore, recognise no law in enacting this piece. Everyone, from the commoner to the king, comes under his fire. By a sacred convention for enacting this, the Chaakkyaar enjoys complete immunity, for whatever he says it in Deva sabhas and in Brahmana sabha. His observations go on uninterruptedly, and if anyone interrupts in any way, he will remove his headgear and walk off the stage. The votive offering of koothu thus comes to sudden end, indicating sacrilege and profanation of a sacred right. Such a defiled koothu requires expiatory ceremonies for its revival. In the case of Prabandham koothu of the Chaakkyaars, this introductory piece is also enacted.
The Vidooshaka translates the Sanskrit text of the play in Malayalam, so that the people may in general, understand the story. Koodiyaattam is almost free of music. The verses are chanted. To create a supernatural atmosphere with it, the chanting is in monotone. The Chaakkyaars have in it abhinaya as their main foret. They employ aangikaabhinya ‘gestural action’, vaacikabhinaya ‘narration of words in a speech’ and again aangikabhinaya.
Koothambalam
Koodiyaattam is performed in the temple theatre called Koothambalam, a well constructed wooden structure. Its raised dais is covered by a wooden pavilion, the ceiling of which is richly carved and painted with floral and other decorative motifs. The pavilion stands on four lacquered pillars and surmounted by amalaka capitals. Behind the dais, a green room enclosure is provided with a door in the partition wall through which the actors can come in or go out; the dais is open on the other three sides.
At the time of perfomance, the Koothambalam is decorated with fruit bearing plantains, bunches of tender coconuts and festooned with the fronds of coconut palm. A vessel filled with paddy is placed alongside a lit nilavilakku on the stage. In a railed enclosure on the stage, a drummer, a member of the Nambiyaar community, will sit near a large copper drum called mizhaavu. A woman of the Nangiyaar caste plays elathaalam and occasionally recites the verses.
Performance of Koodiyaattam
At first, the drum is sounded and the Nangiyaar woman recites the invocatory verse, vandana slokam. After that the purificatory ceremony is done by the Nambiyar. Then follows an interlude of orchestra, Koothupurappadu, Nirvachana purushaartha etc. In the perfomance all the four types of Abhinaya - Aangikam, Vaachikam, Saathvikam and Aaharyam are fully utilised. Full emotional effects are brought about by a synthesis of rhythmic steps, elegant gestures and meaningful facial expressions. Instruments like edakka, maddalam, conch, pipe and horn are used at the time of perfomance.
Costume of Koodiyaattam
To a good extent Koodiyaattam costume resembles that of Kathakali. It is traditional. Standard stylised representations of the role-types have come to stay. Arjuna, for instance, is dressed with a crown, kingly ornaments and garlands. His eyes are reddened and face painted in appropriate colours to present the whole figure. Subhadra, the sister of Sri Krishna, is likewise dressed on the minukku pattern.The court jester in a minukku play attires himself in a perfect clownish manner. His make-up consists in giving a back ground of white rice paste on the face and hands, circular red marks being placed in the middle of the forehead. cheeks, tip of the nose, breast and fore-arms. The eyes are elongated up to the ears. Double moustache with ends raised and then lowered, are provided. If flowers are stuck in one ear, betel-leaves are in the other. There is no skirt but a dhoti.
From Kathakali it surprisingly differs at least in this that it offers opportunities for women to play feminine roles - an opportunity which is denied in the former art-form.
Arjuna Nritham
Also known as Mayilpeeli Thookkam performed by men is popular in Kottayam and Alappuzha districts. This is per-formed by one or two persons at night and the lighting is done by the traditional lamp Nilavilakku. Arjuna was proficient in dance among the Pandavas and he is supposed to have danced and sung praising Bhadrakali. Since the lower part of the of the dance costume is made of peacock feather…
Mudiyettu…
Mudiyettu is a ritualistic dance-drama presented in Bhadrakaali temples in South and Central Kerala. In the South, this is presented by a community called Marans. It is based on the Puranic story of Darikavadham, the killing of the demon Darika.
Legends about Mudiyettu ..
In Primeval times, in a war between the Devas (Gods) and the Asuras (Demons) the latter were defeated and their women sought shelter in the nether world. Two of these women, Daanavathi and Daarumathi, through hard penance, propitiated Lord Brahma, and were blessed with sons to avenge the defeat of the asuras. Daanavathi's son was named Daanavendra and Daarumathi's Darika. Darika, in turn, performed rigorous austerities and was given the boon of invincibility.
He also won the assurance that from every drop of blood spilled from his body a thousand mighty Darikas would rise. The only being that would destroy him was a woman. Darika, assisted by Daanavendra, begun overpowering the gods and ruling the universe. The desperate gods sought the help of Lord Siva through Naarada, the celestial messenger. Siva produced Bhadrakaali from his third eye. Upon her creation Bhadrakaali set out with a mighty roar to Darika and his assistant Daanavendra. In her task she was jointly helped by Vetaala, a Sivabhooda, attendant, with an insatiable thirst for blood.
Bhadrakaali, aided by Vetaala and another attendant named Kooli, challenged Darika. A terrible war ensued which shook the three worlds, and the evil one was finally destroyed with the severing of his head. Not a drop of blood fell to the ground as the thirsty Vetaala drank each drop as it spurted out. Thus was the world made safe again.
Another legend tells of its origin, after the killing of Darika, Bhadrakaali was still possessed by her terrible rage. Her consort Siva, wondering how to soothe her, called some artists to draw her figure holding Darika's head, on the floor. The Goddess, on seeing the picture, directed her anger at it, and was paid homage through prayer.
Ritualistic Importance ..
All the early performing arts like the Mudiyettu, Tirayaattam, Teyyam, and Patayani were ritualistic offerings to the divinities. They are performed by Ambalavaasis, people who served in the temple. In Mudiyettu the special participants were the Maarars and Kurups. Generally it is performed between the months of Vrischikam and Meenam (November-March).
Kalamezhuthu …
There is an announcement by drumming called Kottiyarikkal before starting the ritual Kalamezhuthu. Traditionally the Mudiyettu is preceded by a ritual performed in the form of Kalamezhuthu, a symbolic drawing of the figure of Bhadrakaali on ground purified by cowdung plaster. The figure is drawn with five colours, red, green, black, white and yellow derived from indigenous materials - rice, turmeric, green leaves from the vata tree, charcoal, etc. The artists of Kalamezhuthu believe that these five colour represent the Panchabhootam.
When the figure of four, eight, or sixteen arms is drawn, nine lamps are placed on it - one above the head, one each between the hands on either side and others around the entire length of the figure. Banana leaves with paddy, coconut, arecanut and incense sticks are placed near the lamps on either side. In the Kalamezhuthu the Goddess is usually seated. In her hands she holds her various powerful weapons, the bell, ghanta, the shield, khethkar, sword (vaal), the demons skull (Kapala), the trident (trisoola), and the sounding anklet (chilambu). The pooja, worship, is offered by waving a lamp to the sound of a conch shell and drums. While the poojari, Kurup, recites, the image seems to emanate the energy of the Goddess and through the entire ceremony, the painting becomes a real live force pulsating with Shakti.
Kalampaattu..
Kalampaattu hymns are sung in praise of the Goddess, describing her from head to foot and foot to head, kesaadipaadam and Paadaadi kesham. The lamp is placed and lit under the sacred peepul tree, outside the temple compound, where the Goddess is said to reside. Young women accompany the lamp carrying brass trays ceremoniously called Taalapoli into the temple.
Symbolically the light represents the spirit of the Goddess, and is placed at the feet of the figure of Bhadrakaali. With this the Kalampaattu ritual ends, and the place is considered consecrated. The spirit of Bhadrakaali is invoked to remain on the sacred spot through the performance of the Mudiyettu.
Performance ..
Before the performance begins, the Kurup wipes out the Kalamezhuthu with coconut leaves leaving the face untouched. The coloured powder is distributed among the devotees as prasaadam of the Goddess.
The songs of Mudiyettu are in the sopaana style and each song has its own raagas and taalas. Mukhari, Neelambari, Aanandabhairavi, Kaamboji, Saaveri, Mohanam and Bilaahari are some of the ragas. Two types of chenda-Uruthichenda and veekuchenda - and cymbals are the percussion instruments used. Drumming announces the start of the ritual, accompanied by the elathaalam (the cymbals), and the shankham (conch). In earlier days singers stood behind the tiraseela (a plain cloth curtain), and recited slokaas in praise of Siva and Bhadrakaali.
Arrangements for the performance begin with a Nilavilakku (a tall standing lamp), being placed on the ground with a stool beside it. The lamp is lit signalling the start of the arangu-keli, playing of the musical instruments. The curtain is held by two people behind the nilavilakku, and the singers and musicians, standing behind, sing the vandana-sloka, the invocation. Siva and Naarada enter the stage in a crescendo of music and a rain of flowers. Siva stands on the stool behind the curtain indicative of mount kailaas, with only the upper part of his body showing. A wooden Nandi - head held on the curtain suggests that Siva is riding his vehicle, the bull, Nandi. Naarada appears in front of the curtain.
Naarada informs Siva about Darika's misdeeds and explains how he holds the devas to ransom. He implores Siva to save the gods and humans from the asura. Darika enters behind the tirassila and dances a violent introductory dance. He mounts the stool and begins his tiranokku, literally curtain- look, repeated thrice. A burning torch held in front of him highlights his appearance. He jumps down from the stool, and with the torch flames flying high, runs across the ground with the audience watching in awe.
The actor playing Kaali comes from within the temple having received the poojari's blessings and is handed a sword and a garland from the deity. The Goddess's head, muti, is placed firmly on his head. The actor is now possessed by the Goddess and hurls challenges at Darika. A light ensures, which covers the entire length and the breadth of the temple ground.
They chase each other around the central lamp and finally Bhadrakaali drives Darika behind the curtain representing his banishment to the nether regions, Paathaalam. She follows, and soon re-enters the arena with Darika's and Daanavendra's head-gear signifying their death. Mudiyettu thus symbolises both the killing of Darika and also the wearing of Kaali's crown, muti. Three type of dances:- irunnaattam - dance by sitting, patinyaattam - dance by standing, ilakiyaatam reveals all types of movements are performed in Mudiyettu.
Costumes and Make-up...
The characters are all heavily made-up and in gorgeous costumes, intricate and elaborate, with conventional facial paintings, tall head gears, muti, which represents the Goddess's head and hair. At the time of the performance, the pettikaram, who is in charge of the make-up room, places a garland of chethi flowers around the muti. The dancer begins his make-up with six dots before he blackens his entire face. Decorations in white and red follow. Kaali's make-up consists of a black face with protruding white chutti representing small pox marks. In preparation for the role of Kaali, the dancer undergoes a ritual fast on the day of the performance.
The characters are dressed up in exotic fashion with a unique weirdness to give a touch of the supernatural element. The whole effect they cause is colourful, imposing and awe-inspiring. Darika and Naarada have costumes and make-up similar to those used in Kathakali. Kaali has long flowering locks. Uduthukettu, a loincloth worn in a peculiar fashion, is a distinct feature in its costume design. This spectacular ritual art is presented after dusk, beneath a pandal with four pillars supporting, as in Kathakali. The curtain is held by helpers in a similar fashion as in Kathakali and removed when needed. However, the rich heritage of dance, decoration and music emerges in every festival and every ritual, and the trance dancers are the eternal link between god and man...
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