The International journal of analytical and experimental modal analysis ISSN NO: 0886-9367
DRAMAS AND SOCIAL CHANGE IN SOUTH MALABAR
*Sajith Soman A., Research Scholar Department of History University of Calicut, 673635
Abstract
“The art form drama was a popular art form with regional variations in its style and characters.
But in general the art form drama became developed as a weapon for the social change. This art form
played as a role of social reformer in several societies across world. this study try to explore the nature of
theatre activities in Malabar during 20th century along with the history of its developments. This study
tries to analyze different social dramas and popular theatre activities in south Malabar which played an
important role in making this society as a progressive one”.
Since the first decades of 20th century the traditional social structure of Malabar
transformed into a new level due to the impact of different socio-political and cultural
movements. All such developments became causative factors in social changes of this society.
Among them the notable one was the progressive theatre activities. This study is an attempt to
examine the role of progressive theatre activities, that which played a crucial role in social
change of Malabar especially in south Malabar.
The closing decades of colonial rule the national movement and political sphere in Kerala
witnessed tremendous changes. During that time new ideas and organizations also developed in
Kerala society. At the same time in Malabar, the anti colonial struggles reached in a new level
due to the impact of these new developments. But its impact not only reflected on the political
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sphere but also in the social spheres. The present work mainly focused on the social change of
southern parts of Malabar (South Malabar) and the role of new cultural trends impacted on it.
The south Malabar is an area includes some parts of Kozhikode, Malappuram and Palakkad
districts of modern Kerala. The present study aimed to analyze the theatre activity in this area
and its impacts on the society.
Kerala had a great tradition in performing arts, as part of that great tradition the theatre
movement of this state also developed. In the beginning the traditional art forms developed and
presented only for the elitist class of the society or it may perform in the residence of the ruling
families.1But at the same time the common peoples quest for enjoying art lead to the
development of many art forms and manifestations by themselves. This kind of manifestations
taken place on the different places like harvested paddy fields of the villages and other public
places within the society2. All these art forms symbolically presented their beliefs and practices.
The art culture of that time circled around this tendency for several years. This stagnation of the
cultural field of the society has been witnessed a tremendous change after the Portuguese
intervention into this society and the emergence of Chavitt Natakam3. This newly emerged art
form make great interest and curiosity among the local audience by through its peculiar style in
performance. More over the art form chavittu natakam did not made any restriction in the
enjoyment. The directors of Chavit Natakam aimed to propagate their religious beliefs through
the manifestation of Chavit Nataka4. But the theme and characters of this art form are the
European rulers and the like. Because of that the traditional audience did not digest the story and
theme quickly. But at the same time this art form performed with typical songs and dances with
typical steps, so it attracted large number of audience to its stages.
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During the course of time common people’s quest for cultural activities progressed and
awakened. This awakening leads to the creation of many popular art forms along with that the
drama tradition of this society also reformed. Kakkarassi Natakam was one among them. The
structure of Kakkarassi Natakam was entirely different from the prevailing drama concept of that
time. In this art form, in place of kings and queens the characters Kakkalan and Kakkalathi
played an important role. Kakkalan and Kakkalathi were the popular figures in the rural Kerala
during 18th century onwards5. Their fortune telling and style of conversation made deep impact
on the illiterate and common people of the society at that time. In kakkarassi Natakam used this
particular style of slangs of Kakkalan communities caused to attract more people towards its
stages. So the kakkarassi natakam considered as the first popular drama form in Kerala6. The
theme of these dramas mainly includes the social critiques and these social critiques are the
replica of the boiling minds of the common people of that time. So the common people of that
period largely attracted to the stages of this art form very much7.
In Malabar at the same time a new art form developed known as Vellari Natakam. This
drama performed and staged in the harvested paddy fields. After harvesting the rice, the paddy
fields used for cultivating cucumber8. During this time the farmers forced to conducting night
watching to protect their crops from the animals. The farmers produced and performed different
kinds of art forms to reduce their pressure of night watching duties and passing time. During the
course of time such paddy field became the centre of cultural activities in the villages. The
dramas produced in these fields known as Vellari Natakams. These Vellari Natakams reflects the
common people’s quest in theatre and performance.
Malayalam theatre and dramas witnessed a massive change during the culminating period
of national movement. This changing character of Malayalam theatre has seemed form the
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closing decades of 19th century onwards. During that period social dramas slowly came into the
forefront of the society. In this time the area South Malabar had significant position historically
because the prominent social dramas writers were belongs to these area.
The region South Malabar has a distinct position in Indian history because it was an
epicenter of so called Mappila rebellion. By these peculiarities of this area, the study of socio-
political activities of this area is very interesting. Because the whole area witnessed a complete
set back in all socio political activities during the post rebellious years due to the implementation
of special rules and regulations by the colonial rulers. More over this area is one of the most
Muslim populated area in the state, majority of the population among them are the agricultural
workers or tenants. Starvation and illiteracy among the people was one of the main obstacles of
this society to attain the renaissance and progress. By using this circumstances prevailed in the
society the orthodox section in the society tighten their grip on the society very well. On these
circumstances, every progressive socio-political movement in this area will be faced unimagined
obstacles from the orthodox section and the ruling class of the society. Among them the theatre
movement and its members faced more impediments from the orthodoxy and administrators of
the society9.
The theatre movement and other progressive movements start their reformative activities
in south Malabar within this social condition. Many play writers and theatre artist emerged from
this area within this kind of social condition was a notable one. Among them the famous figures
in the theatre movement of Kerala, like VT Bhattatirippad, MP Bhattatirippad , MR
Bhattatirippad, KT Muhammad,Cherukad, EK Ayamu, Nilambur Ayisha, Cherussery K
Damodaran etc are belonged this region. Their compositions include the life and toils of the
common people of this region too, so it caused great impact in the society. The ongoing national
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freedom movement and newly emerged movements like communist party and various social
movements had given great support to this movement.
The educated youths and social activists actively participated in the national movement
and along with that, they start social reformation activities throughout these areas. By their
efforts number of village libraries and reading rooms established every nook and corners of this
region10. By getting modern education and ideas through these libraries, the younger generation
of the society realizes the position of their society compare with the other societies of that time.
And more over these libraries and its allied arts clubs carried out the cultural activities
throughout this area. Social condition of the then society was circled with evil practices and
customs. So they start various efforts for reforming their society from such evil practices and the
like. These educated youths and social activists used drama as their one of the main medium for
educating the society, to overcome the threat and grip of conservative elements in the society.
These reformation activities not only conducted among the downtrodden section of the society
but also in the elitist section of the society. During those days the Namboodiri community, one of
the prominent caste section of the society. But that community in Kerala came under the grip of
many evil practices and superstitious beliefs. Due to that reason the members of that community
especially women suffered a lot under this circumstances. So the educated youth of that
community came forward and try to reform their own community was an important incident
during those days. These educated youths used dramas as their main medium to explore the
pathetic condition of their community and social evils prevailed in their own community.
The compositions of VT Bhattatirippad, MP Bhattatirippad and MR Bhattatirippad
sweed the winds of change in the society especially in Namboodiri community. Among them VT
Bhattatirippad’s play Adukkalayil Ninnum Arangatheku made great impact on the society, by its
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great impact in society it considered as the notable social drama in Malayalam. Like VT
Bhattatirippad marakkudakkullile maha narakam of MR Bhattatirippad reveals the pathetic story
of Antarjanams11 of Nambootiri Illams12. The ban on girls education prevailed in Nambootiri
community revealed in the drama Rithumati of MP Bhattatirippad. All these social dramas make
a deep impact in the Nambootiri community and these efforts of them discussed seriously in the
society and later these efforts caused for the reformation and progress of that community.
Through these experiments the importance of theatre movement increased. By using these paths
opened by these social reformers the political and peasant organizations of that time used theatre
movement very well for propagating their ideas to the people.
During the closing decades of colonial rule the socio-economic condition of the
downtrodden section of this area was miserable due to the anti tenant and exploitative nature of
the ruling class of that period. The political organizations like communist movement and peasant
organizations conduct various agitations against this inhuman nature of the ruling class during
those days. These movements used drama as a tool to aware the people about the exploitation of
the ruling class. The drama Pattabakki of K Damodaran was a notable drama among this kind.
The drama Pattabakki wrote for performing as part of the peasant conference in Ponnani on
193713. The drama deals the subjects like exploitation and illegal evictions done by the ruling
class of that time, because of that the common people of that period can easily digest the theme
and message include that drama. In such a sense the drama Pattabakki considered as the first
political drama in Malayalam14. Like Pattabakki many political dramas by different writers were
staged throughout these areas during that period, which indicates the indebt capacity of the
theatre movement to mobilize and educating people towards particular slogans and ideologies.
That very much helpful became the communist movements in this state. By the efforts of these
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kind of artistic presentations also helped them to achieve an advance position in the political
sphere of Kerala.
But at the same time in south Malabar the orthodox section of Muslim community
continued their control over their society. They never entertain the emerging trends in the society
to their own community. They made religious fatwas and the like on the dramas and drama
activists of this region. During the course of time the winds of cultural awakening also reached in
Muslim community.
South Malabar is one of the most Muslim populated region in Kerala. Many Muslim
youths came forward during those days to reform their community and release them from the
grip of orthodoxy. Among them KT Muhammad, EK Ayamu were the prominent figures,
through their writings and performances they try to educate the people of their own community
to reform their own community. At the same time the orthodox section of the society opposed
these efforts of the younger generation. They opposed to performing dramas, because acting
considered as an offence to Muslim community, they quoted these Quranic words for
maintaining of their vested interests. But the younger generation of that community move
forward with their mission.
The drama “Ithu Bhoomiyanu” of KT Muhammad created a great stir in the conservative
sections of Eranad and Valluvanad Taluks of South Malabar15. In that circumstances the
conservative section of South Malabar especially in Eranad and Valluvanad taluks issued ban
and Fatwa on these dramas and dramatists16. But KT Muhammad and the like younger
generation of that period continued their reform activities through the drama stages. And which
caused for the direct reaction from the orthodoxy. In that time the intervention of female actor
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Nilambur Ayisha into the drama stage boosted up the reactionary attitude of orthodoxy. On 1952
a drama was staging at Manjeri by Nilambur Ayisha, the conservative section of the Muslim
community fired at her, but they failed, she was escaped from that attack17. After that attack the
fundamentalist issued fatwa against that female artist. In those circumstances the communist
party and progressive section of the society gave protection for her throughout her
performances18. These incidents indicate the indebt capacity and influence of theatre movement
in the society. In such a sense the theatre movement developed as one of the key factors behind
the social change in the society. In later periods the cultural activities and progressive mentalities
were spread throughout this region, and its impact very much reflected in different spheres of the
society. Even today the society of this region attained several heights in different fields of social
life. On this occasion, this study becomes a humble attempt to highlight the role of cultural
activities in social change of this region.
END NOTES AND REFERENCES
1 Sebastian Kunj Kunj bhagavatar, “Natakasmaranakal”(Mal), Kerala Sangeetha Nataka Academy, Trissur, 1986, p-20. 2 Ibid., p-20. 3 Chavittu Natakam is one of the art form developed in the kerala society by the influence of Portuguese intervention. This art form similar to musical drama but the theme and charecters are European. In this art form the place of traditional characters and symbol they used European characters like king and queens. And aim of its organizers were the spread of religious ideas to the local people and the like. 4 Opcit., Sebastian Kunj Kunj Bhagavatar 5 Kakkalan and Kakkati were the wandering fortune tellers in rural kerala. 6 Opcit., Sebastian Kunj Kunj Bhagavatar, p-22. 7 O Madhavan, “Malayala Nataka Vedi”,(Mal), Priyadarshanan(ed), SNDP Yogam Platinum Jubilee Smaraka Grandham, Kollam, 1978,p-298. 8 Vellari is the Malayalam term for cucumber, so the drama developed by night watchmen of cucumber fields. They introduced this art form for avoid the pressure and toils of them during their duty. So this art form popularly known as Vellari Natakams. 9 Interview with Nilambur Ayisha, 16th February 2012. 10 Sudha Azhekodan, “Public Libraries in Malabar”, serials publications, New Delhi, 2010,p-29. 11 Namboodiri Womens in the residence of Namboodiries known as Antarjanams, they spend most of their life within the residence premises that is why they known as Antarjanams. 12 Keral Namboodiri residence is known as Illams. 13 K Damodaran, “Pattabakki”(Mal), Current Books, Trissur, 1996.
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14 CJ Thomas, “Uyarunna Yavanika”(Mal), SPCS, Kottayam, 1950,p-44. 15 KM Raghavan Nambiar, “KT Muhammad”, Panmana Ramachandran Nair(ed) Nataka Padanangal(Mal), PK Parameswaran Nair Memorial Trust, Trivandrum,pp-144-152. 16 Interview with Nilambur Ayisha, 16th February 2012. 17 Interview with Nilambur Ayisha, 16th February 2012. 18 Interview with Nilambur Ayisha, 16th February 2012. 19 MR Bhattatirippad, “Marakkudakkullile Mahanarakam”(Mal), G Sankarapilla Smaraka Nataka Pdana Kendram, Trissur, 1997. 20 VT Bhattatirippad, “Adukkalayil Ninnum Arangattekku”(Mali), DC Books, Kottayam, 1994. 21 Malabar Kendra kalasamithi, drama festival souvenirs, 1953, 1954, 1956. 22 NR Gramaprakash, “Pratyayasastravum Natakavum”(Mal), Chintha Publishers, Thiruvananthapuram, 2013.
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