Canberra Malayalees Association 2015-16
കാൻ‍ബറ‍മലയാളി‍അസസാസിസയഷൻ‍ഈ‍വർഷത്തെ ഓണാസ ാഷ‍പരിപാടികൾത്തകാപ്പം'കത്തയാപ്പ്'എന്ന സപരിൽ‍ഒരു‍ഓൺ‍ലലൻ‍മാഗസിൻ‍കൂടി‍പുറെിറകുന്നു എന്നറിയുന്നതിൽ‍അതിയായ‍സസതാഷമുണ്ട്.
ജാതിയുത്തടയും‍മതെിꅍത്തറയും‍രാഷ്ട്രീയെിꅍത്തറയും അതിരവരമ്പുകൾ‍ഇലലാത്തത‍നത്തെ‍ഒരുമിപ്പികുന്ന ആസ ാഷമാണ്‍ഓണം.അത്‍നെുത്തട‍പൂർ‍വ്വീകമായ‍ഒരു നന്മയുത്തടമഹാകാലത്തെനെുത്തടമരണകളിസലക് മടകിത്തകാണ്ടു‍വരുന്നു.അത്‍ത്തവറും‍ത്തപാള്ളയായ ആസ ാഷങ്ങളിൽഒതുകാത്തതനെുത്തടസംകാരവും ലപതൃകവും‍എതായിരുന്നു‍എന്നും‍അത്‍എങ്ങത്തനയാണ്‍ നമുക്‍ത്തതളിമയുള്ള‍ഒരു‍കാലം‍സൊനിച്ചത്തതന്നും‍ഉള്ള ഒരു‍അസനേഷണം‍കൂടി‍ആവുസമ്പാഴാണ്‍അത്‍കൂടുതൽ അർത്ഥവൊവുക‍എന്ന്‍സതാന്നുന്നു.അെരെിൽ ത്തഗൌരവമായഒരുസാംകാരിക സാഹിതയഷ്ട്പവർെനെിꅍത്തറ‍ഫലമാണ്‍കത്തയാപ്പ്‍എന്ന്‍ ഞാൻ‍വിശ്േസികുന്നു.
അനയസേശ്െ്‍ആയിരികുസമ്പാഴും‍നത്തെ‍നാമായി നിലനിറുെുന്ന‍മലയാള‍ഭാഷസയാടും‍അതിത്തല സാഹിതയസൊടും‍നിങ്ങൾ‍പുലർെുന്ന‍അടുപ്പവും‍ആേരവും ഈ‍ഉേയമെിൽ‍നിഴലികുന്നുണ്ട്.നിങ്ങൾകിടയിൽ‍ഇനിയും അണയാെ‍സർഗ്ഗാത്മകതയുത്തട‍ജോല‍സൂക്ഷികുന്നവരുത്തട രചനകളാൽ‍സമ്പന്നമാകത്തെ‍ഈ‍കത്തയാപ്പ്‍എന്നും ആശ്ംസികുന്നു.
എലലാവർകും‍എꅍത്തറ‍ഹൃേയം‍നിറഞ്ഞ‍ഓണാശ്ംസകൾ
ത്തബനയാമിൻ
Declination Of Our Art Forms - A Scenario Of Transformation
Soumya Anoop
Kerala - Mythologicaly the Land of Parasurama or a leg- endary land of spices is a paradise for diverse art forms and religious practices. Our homeland, God’s own country showcases a cultural uniqueness. Exquisite sculptures, mu- sic and dance forms are materialized in the historic develop- ment of our ethnic traditions. People from all over the world are fascinated towards our venerable customs and varied arts. Each year the land greets ample spectators to witness our immensely rich cultural heritage. In this context, I would like to cite a few art forms that are diminishing in obscurity. Nangiar Koothu Nangiar Koothu one of the temple art forms, is a dramatic monologue performed by the female artists -Nagiars. Sto- ries of Lord Krishna are beautifully portrayed through their gestures and expressions. It is an offshoot of Koodiyattam The percussion instrument ‘Mizhavu’ enriches the beauty of the performance. Earlier it was performed in most of the temples around Kerala. During the festive times the art is enacted at Ambalapuzha Sree Krishna Swamy Temple, Koodalmanikam Bharathan Temple, Thrissur Vadakumna- than Temple and Thripunithura Sree Poornathreyessan Tem- Nangiar Koothu ple. At present the records state that due to the inadequate number of skillful artists who could render the whole story of Sree Krishna it is presented only in these whole story of Sree Krishna it is presented only in these few shrines. Kadhaprasangam Declination Of Our Art Rhapsodic storytelling performance was a popular Forms - A Scenario Of art form, which blends the tradition of music and Transformation speech. ‘Harikadhakalakshepam’ or ‘Sathkadhakalakhshepam’ are the earlier terms of this narration. The artist is versatile in singing, acting Soumya Anoop as well as in oration. He preforms with the help of an orchestra. In the initial stages the puranas were recit- ed. Later on the main themes turn out to be the po- ems of Ulloor, Vallathol and Kumaranasan. World classics were also the leitmotifs along with the focus of contemporary issues. Kadhaprasangam has con- tributed to the social transformation in Kerala. Kedamangalam Sadanandan, Sambasivan, V.D.Rajappan are some of the renowned artists who live in our memories when we recall the term ‘Kaadhikan’. In the present day visual media or the Kerala state authorities gives a space to sustain, pro- mote or familiarize Kadhaprasangam through its presence in the reality shows or the youth festival stages only.
Padayani One of the ancient folk dance forms performed in the Devi temples of Central Travancore, owes its tradi- tion to the period of harvest. The style of dancing is with the accompaniment of musical instruments like ‘thappu, kaimani and chenda’. As it is performed during the night they hold a ‘pandam’ or ‘theechootu’ literally the torch. Padayani masks are made with the fresh spathe of arecanut palms. The artists transform and alter into Lord Shiva or Goddess Devi to fight against the evils. This dance form exists only in few temples and is slowly disappearing. The poet Ka- dammanitta Ramakrishnan has penned few of his works with Padayani as the foremost theme to reju- venate this perishing art form. Thullal Declination Of Our Art A solo performance that combines dance and recita- Forms - A Scenario Of tion of stories in verse form was familiarized in the Transformation 18th century centering on the mythical themes. Thullal was originated as a challenge to Chakiar Koothu. The ideology behind was the satirical attack by chakiar to- Soumya Anoop wards Kunjan Nambiar during one his performances that enlightened Nambiar to start a new dance form - Seethankanthullal. Thullal performer does not paint his or her face as we see in Kathakali. A few black lines on the eyebrows and eyelids are used to intensify the expression of the eyes. The player wears a crown made of coconut leaves. ‘Cymbals and Maddalam’ are the musical in- struments used. Enriched with music, rhyme, rhythm Thullal is packed with satirical wit and humor – a combination of social sarcasm and criticism. The re- frains were fragments of popular epics. The viewers experience that legendary characters turned out to be ordinary men when the artist exposes with such exu- berant charm. Nambiyar, was a tremendously talented musician and his musical plays composed for Thullal was based on ragas. Often a raagamalika (medley of ragas) is enacted during the session. Seethankanthullal is later reformed as Ottan Thullal. Ottan Thullal a dance and poetic presentation regarded with great indulgence among the masses. We find a fast tempo in music as well as dance. The attire or cos- tumes of the dancer are pretty gaudy and ornamental. Face is painted in green and the lips and eyes are high- lighted to bring out a spectacular effect. Headgear (a crown or serpent head) worn is noticeable. Kerala tourism or the temple associates revitalize this art form and is still prevalent unlike the other two forms of Thullal. Parayanthullal Declination Of Our Art The slowest of all the three Thullal arts with the Forms - A Scenario Of graceful body movements and elaborate gestures Transformation and expressions. According to the order of presen- tation generally Parayan Thullal is performed in the forenoon, Seethankan in the late afternoon and Soumya Anoop Ottan after sundown. Kalamandalam Prabhakaran and his children use to perform all the three genres of Thullal together on the same stage. It will be an irrecoverable loss to the world culture if this rare and traditional oral art which is difficult to com- prehend, is not transmitted or preserved.
Eventually, in the present day we all live in the cyber world where we perceive that our own cus- toms or values are fading away. Traditional Art forms are not familiar to the youth. The artists or the entertainers who master these stagecraft’s turn out to be very less and correspondingly fail to im- part it to their successors. Consequently they are declining the skill and potency of their artists. Most of them are now archaic, while others are on the verge of annihilation.
നീർമണി മുത്തുകൾ Neermani Muthukal
Ratheesh Parameswaran
നീർമണി മുത്തുകൾ പ ൊഴിയുԂ രൊവിൽ
നീലൊԂബരിയിൽ ഞൊൻ �രുതി ൊടി
നിനവിൽ നിലൊവിപറ െ ൂക്കൾ വിരിയിച്
നീ മൊ�തപമങ്ങൊ മറഞ്ഞു നിന്നു
നീലകുറിഞ്ഞിയുԂ നീലൊԂബലുԂ നിൻ
നീലമിഴിയിൽ പ ൊൻതൂവലൊയ്
അലയുԂ കിനൊവിൽ ഏകൊന്തമൊയ് നിൻ
മിഴികൾ പമൊഴിഞ്ഞത് ഞൊൻ അറിഞ്ഞു
ആ쥍രമ ങ്ചൊട്ടിലുԂ ആമരത്തണലിലുԂ
ആർങ്ക്കൊ ങ്വണ്ടി ഞൊൻ കൊത്തുനിന്നു
നൊണിചു നീ വന്ന വഴികളിലൂപട ഞൊൻ
ങ്തടി നടന്നു നിൻ ന്ദപ നങൾ
അരുകിൽ നീ എത്തുങ്്ൊപ ൾ അനുരൊഗമൊയ്
� ിയങ്മറുԂ വൊക്കുകൾ നിങ്ന്നൊർമയൊയ്
വിടരുന്ന ൂക്കളിൽ ങ്തൻ തുള്ളിയൊപയൊരു
മധുരԂ വിളമ്പൊൻ നീ വരുങ്മൊ
Jimmy Varghese
Dr. Abraham Thomas
Eettickal Amaldev Sibu
Year 12 Aiswarya
Machumpurath
FOUR SEASONS Canberra Malayalees Association 2015-16 Philip Thomson - President
Benedict Cherian - Vice President
Shaji Karattiyattil - Secretary
Ajish Luckose - Treasurer
Beena Jacob - Joint Secretary
Tomgy K Thomas - Joint Treasurer
Executive Committee
Anish Sebastian
Betsy Joseph
Binu Damodaran
Joe Isaac
Koruth Luke
Saju Abraham
Sanju George
Sapna Sagar
Shaju Machumpurath
Sivaram Narayanamoorthy
Sudheer Sasikumar
CMA 2015-16 ONAM PLATINUM SPONSOR