sign in sign up
<<
Home , Christian art, Christian literature, Kerala Folklore Academy, Knanaya, Margamkali, Parichamuttukali

Compliance Engineering Journal ISSN NO: 0898-3577

The Importance of Traditional forms and culture in

Dr. Lekshmy.P.L Department of history, Sree Kerala Varma College, , Calicut University [email protected]

ABSTRACT:

History is the systematic description of past events or stages in the growth and development which evolved from life circumstances and took over various forms in , music, literature etc. Social history is regarding the source and formation of various aspects like social institutions, art forms, literature, music and theatrical arts. It handles the story of progress of human culture and advanced state of human development. Kerala state is a land of cultural interaction of different socio cultural and religious sections. The contribution of Christian arts to the culturally rich state enhanced the situation. Since the subject of Christian arts is very vast, to achieve a proper study about the Christian arts required many years of intense research and hard work as the topic is very wide.

Keywords: Christian arts forms, Chavittunaatakam, passion play, Margamkail,Vattakkali, Parichmuttukali

1. Introduction:

The state of Kerala got a special place among all other states in in its socio cultural abundance of various like , , , , and Judaism mixed in an appearing perfection. The contribution of Christian arts is highly appreciable to the culturally rich state. To achieve a bird’s view on the topic of expansive Christian arts require years of intense research and hard work. It is really a matter of great interest to know the special place of early Christian theatrical art forms in Kerala. The research on Christian theatrical art forms in Kerala handles the Christian theatrical arts and folk dances of Kerala which is very interesting to many scholars. Chavittunaatakam,siluvaimaranam or passion play Margamkail, Vattakkali,Parichmuttukali are some of the Christian theatrical art forms of Kerala. With the onset of electronic media most of the ancient art forms are on the verge of extinction. Chavittunaatakam occupies a distinctive place among these art forms, though it is almost extinct now. A few cultural

Volume 10, Issue 11, 2019 Page No: 459 Compliance Engineering Journal ISSN NO: 0898-3577

troupes are trying to revive it. In the modern fast world the old art forms are erased since it require patience to enjoy this having longer duration. Here an attempt is made to show the unique place of Chavittunaatakam of yester years. These art forms and theatrical arts are considered as a source of communal harmony of various ethnic groups. With the arrival of European powers brought political influence on Kerala, her cultural and life style were not affected by the western culture. These art forms were made suitable themselves as per the requirement of the society. Due to the impact of western countries, especially the Portuguese, Chavittunaatakam, , , Vattakkali etc. emerged as secular art forms.

2. Methodology:

The methodology used in the study is analytical cum descriptive sources. The study is based on both primary and secondary data. I have collected primary sources spread over the coastal belt of Kerala and Tamilnadu, personal interview with the professional artists, contemporary books etc. As sources of secondary data I am using books, research papers, articles, journals etc.

This study is made to reveal the secular characterization of Christian art forms and theatrical arts and these are the harmonies models of east west inter relationship. In recent times many scholars have attempted to study the Christian theatrical arts. The remarkable one is that of Mrs. Sabeena Raphy giving special reference to Chavittunatakam. With authenticated historical evidence she claims that this art form is pre –historic. Other scholars like Dr Chummar Choondal giving emphasis on Chavittunaatakam, folkdance and theatrical arts. The Margamkali Aattaprakaram by Dr. Chummar Choondal and Dr. Jacob Velliyam are great contributions to the field of study of Christine folk arts.

Bhashagadhya Sahithya Charitham and Padhya sahithya charitham of Mr T.M Chummar gives glimps on Chavittumaatakam and Christian folk songs respectively. Dr. P.J Thomas in his work Malayala Sahityavum Kristianikalum, describes an excellent details on chavittunatakam and Christian folk dances in Kerala. Many researchers like Dr.Jacob Vellion and S.KurianVembeni, Dr.E.P.Antony, Dr.KJ.John etc. provide comprehensive information on folkarts. The Encyeopedia edited by Prof. George Menachery ‘St. Thomas Christian Encyclopedia essays the early and art forms in Kerala. Contributions by recent writers like Fr. V.P.

Volume 10, Issue 11, 2019 Page No: 460 Compliance Engineering Journal ISSN NO: 0898-3577

Joseph Vaiyaveettil, Dr.A.K Nambiar, V.J Victor, Nelson Femandez etc are well appreciated. Most of the recent studies on the Christian theatrical art forms in Kerala are based on the excellent work done by Mrs Sabeena Raphy.

3. Development of :

The western countries were aware of the existence of India from ancient period onwards and the opportunity of trade flourished between and the west. This provided an opportunity to reach Christian . From ancient time onwards the people of Kerala believed in Christianity. St.Thomas, the Apostle of brought Christianity to Kerala it is believed. Majority of the scholars are of the opinion that St.Thomas first landed in Maliankara in . Proper information is not available on the above compositions like Margam Kalippattu, Thomappattu and Rambanpattu give certain information on this. It is described that Alexandrian Dimetrius has send his teacher to India to propogate Christianity among and yogis for establishing . Another version is that before A.D345 Thomas of Kana, a Syrian merchant reached at Crangannore along with a group of 400 Syrian from Jerusalem along with Bishop of Uriah and other clergies to give more strength to the Christian settlement in Malabar. In the fourth, fifth centuries Christians migrated to India from Palestine, and Persia for business purpose and religious activities.

Though the study of early Christianity was hampered after the in 1599, the belief that the Apostle Thomas has established Christianity in India still held as the only possibility. From early inscriptions it can be presumed that the early Christians were mostly traders and had a prominent place in the society. The war broke out at Kodungalloor forced the Christian population moved to different regions and the town of Vallarvattom declined and when Vasco da Gama reached Kerala, the inhabitants of this place intimated their willingness to recognize the supremacy of the King of . Those who accepted Christianity in Kerala were mostly from the upper classes before the arrival of the Portuguese. They were called as Syrian Christians who still continued the age old Hindu culture and practices. When the Portuguese arrived in Kerala they saw a colony of Christians completely different from European Christians. The Synod of Diamper of 1599 AD was a turning point in Kerala’s . The Portuguese adopted various methods for latinisation of Christians’ of Kerala. They viewed the practices and social manners of the Syrian Christians as superstitious and sinful.

Volume 10, Issue 11, 2019 Page No: 461 Compliance Engineering Journal ISSN NO: 0898-3577

Portuguese aimed at bringing Kerala under the control of Papal supremacy with as its religious centre. Against the latinisation policy, Malabar Christians staged a strong protest by ‘Koonan Kurusu sathyam in 1653. Gradually several Christian denominations originated from a single Christian community in Malabar. Along with this feuds also remained as a serious issue till now.

4. Christian art forms and culture in Kerala:

Christian arts have contributed enormously to the rich tradition of Kerala. The Christian art forms are music architecture, , literature performing arts etc. The Christian art forms are originated by the combinations of both foreign indigenous principle’s of two group, the first one, music and literature and performing arts and the second, architecture, painting, metal works, carving work etc.

4.1 Music:

The Christians sung songs on religious topics having varied tune and rhythm on the occasion of celebrations like marriages, festival etc. Maargamkali, Parichamuttukali and Vattakkali was common among Syrian Christians, Chavittunatakam is the Christian theatrical art form originated after the Synod Diamper. Passion play was a theatrical art. Natakasalas were also extending.

4.2 Literature:

The European missionaries along with their religious activities conducted literary activities also in Kerala. They studied various native languages and prepared lexicographic and grammatical works in Indian languages. The printing press used for printing of religious materials helped to print secular books for educational purpose in Kerala. language had its beginning from the models made by the missionaries of . The name of Arnos Padiri and Fr.Paulinos deserves special mention who prepared poems, grammatical works and dictionaries in Malayalam. The first and the only authoritative grammar in Malayalam language is of Dr. Hermen Gundert

Volume 10, Issue 11, 2019 Page No: 462 Compliance Engineering Journal ISSN NO: 0898-3577

4.3 Architecture and painting:

The art and architecture of South India have the salient features of Hindu art, a perfect blending of Hindu and Syrian splendor. The Baptinisal ponds, granite crosses, mural carvings on wood and ivory etc. shows the growth and progress of Christian art and architecture prior to Portuguese period. The mural paintings of Biblical stories, carvings etc made the early churches attractive.

5. Christian theatre arts in Kerala:

Chavittunaatakam is an important theatrical form of Christians in Kerala. Passion play or Siluvaimaranam are also theatrical arts of Biblical themes.

5.1 Chavittunaatakam:

Chavittunaatakam, a new theatrical art form came into existence on arrival of the Portuguese in Kerala. It became an integral part of the religious and cultural life of coastal Kerala. In this music, dance, action and Kalarippayattu are blended together showing affinity to the western opera and ballets. It is believed that when Kerala Christians shown much interest in Hindu , the Portuguese initiated a drama form of Chavittunaatakam to attract the christians. The first stage of Chavittunaatakam was presented Kaaralman. It is said that two Tamil Pandits, Chinna Thampi Annav and Vedanayakam pillai introduced this art form in . Usually latin Catholics in Kerala organised this art form though Syrian Catholics also performed occasionally. The script of Chavittu naatakam is called Chuvati or Jodi. These were initially composed in Tamil and written in Vattezhuthu and later in Malayalam and Tamil. The themes are of historical, Biblical, religious and social.

Volume 10, Issue 11, 2019 Page No: 463 Compliance Engineering Journal ISSN NO: 0898-3577

Fig 1: Chavittunatakam

Chavittunatakam is performed by singing only. An Aasan and a group of singers beside the actors will be there on the stage. Instruments like , Cymbols, Maddalam mridangam, Naadaswaram, clarenet, fiddle, bulbul, flute, dolak, Jcalra and harmoniums were used in Chavittunaatakam colourful silk, velvet and brocades studded with beautiful pearls, glass chips etc were used as costumes later started using golden papers. Soldier characters usually wear soldier uniforms. Kings costumes were decorated with aranjanam, necklace earings bangles, shoes etc. apart from Kirectam. Red colored powder is being used on the faces of the artists Manayola was used for this purpose. The performers used to wear frocks. The most important feature of Chavittunatakam is Chavittu, i.e. forceful steps knock or fooling. In older days Chavittunatakam was of long duration and later shortened to three or four days and presently it became a performance of only three or four hours. Informing the people about this performance is through keliperukkal announced at three times and the performance will start. The performance starts with Viruthammolal or prayer to Jesus, Virgin Mary, Holy cross etc. Before the entry of the actors Varavupattu was sung by Aasan and other singers. The sovereign escorted by few soldier enter the stage by making steps and the soldiers start singing. Then the king himself will sing a song called Koluvitharu. Then Kings Minister will enter and Nattuvalama takes place. In this scene the king will enquire about the welfare of the people and slowly this will develop into full swing. Fighting and hunting scene also enacted in this play. Polikkal or Polippattu is the song for collecting money from the audience. Mangalam forms the last scene of Chavittunaatakam.

Passion play or Siluvarmaranam:

The meaning of Siluvai in Tamil means cross. So Siluvaimaranam means death on the cross passion play is usually staged inside the Churches as a semi ritualistic theatrical art. Its concept is the story of , torments, crucifixation and resurrection of Lord Jesus Christ. In Kerala this art form is performed in premises during Passion Week. Through Chavittunaatakam Kerala Christian theatrical arts became famous in many outside countries also. Since passion play was restricted to Church premises only, it did not get much support and it was treated as a ritualistic art form.

Volume 10, Issue 11, 2019 Page No: 464 Compliance Engineering Journal ISSN NO: 0898-3577

Fig 2: passion play

Traditional Christian dance forms in Kerala:

Folk dance in Kerala is having co-relation with seasonal changes like agricultural works, i.e. sowing or harvesting and other festivals connected with agriculture like etc. These are also enacted with ritualistic texture and position of the religion of the mass, hence it attained the position of the religion of t he mass, hence it attained the position as folk ritual dances. The folk dances among the Christians of Kerala have made magnificent contribution to Kerala’s cultural heritage. Maargamkali, Parichamuttukali and vattakkali are the main traditional Christian dance forms in Kerala. A period was there when these dance forms were unavoidable part of Christian festivals and celebrations. On special occasions like wedding ceremonies these dances were also performed the study reveals that these traditional dances of Christians gave great social and religious importance to these cultural activities. The ceremonial songs of Kerala having cultural and social facts commonly include marriage songs, puberty songs, grief songs sung on the occasion of death etc. Hero worships songs were also there. These songs show the elegance of Kerala population. The Christian songs and folk dances added to this rich heritage. Christians have traditionally attained many of these songs and dances from their ancestors which formed a part of this composite culture. Certain details on these folk songs and dances are highlighted below.

Maargamkali :

Maargamkali is a common entertainment of Kerala Christians. This group dance denotes the hereditary acquisition. The written materials on the in Kerala are Veeradianpaattu, Margamkalippattu and Thommappattu. The most common song among the

Volume 10, Issue 11, 2019 Page No: 465 Compliance Engineering Journal ISSN NO: 0898-3577

Kerala Christians seems to be the recently written down Margamkalippattu. Christians only participated in performing Maargamkali accompanied by songs on history of St Thomas, the Christian tradition of Kerala etc in rhythm with steps. Till recently Maargamkali was a must in marriages of orthodox Christians and in recently times continue this performance during celebrations. The term Maargam has various meaning in Malayalam, i.e. Vazhi (path) Matham (religion), the doctrine of Christ or Islam. Conversion in to Christianity or Islam is called Maargam Koodal which means “joining the path”. The Rambanpattukal which is about the missionary works carried out by ST. Thomas mentions Maargam means the way of Christ. But the Kristhu Maargam is the apt usage for Kerala Christians.

Maargamkalippattu is sung during Maargamkali visualising the life and activities of ST.Thomas at Kerala coast.These songs contain four hundred coast. These songs contain four hundred lines detailing the auspicious activities carried out by St.Thomas in the land of Cholas. The Maargamkalippattu contained in two works, the acts of St. Thomas composed in Syrian language in the 3rd century A.D and three homilies of Mar Jacob of Segur of 6th century A.D on St.Thomas. Scholars are of different opinion on the origin of Maargamkalippattu. Some are of the opinion that it originated before the arrival of Portuguese. Another version is that it was composed by Vettikunnel Ittithomman Kathanar of Kallussery parish who lived in 17th century A.D. Sri. P.J Thomas is of the opinion that Ittithomman Kathanar might have made the Margamkalippattu in its present form though written by some other author, the style of the composition and excellent poems reveals the talent of the author.

Fig 3: Margamkalippattu

Volume 10, Issue 11, 2019 Page No: 466 Compliance Engineering Journal ISSN NO: 0898-3577

The music and style of recital of the songs are equivalent to chanting of Syrian liturgy much musical instruments were used. The first part of Margamkali songs were mixed with Tamil words, but on the later part less usage is there. Portuguese word Kurisu is used in Maargamkali songs several times. Syrian words like sleeba (cross) Mamodesa () Morant (lord) Maabesa (City) Misiha (Jesus) and Malakha (Angel) are also used. The first part consists of singing and group dance according to the Maargamkalippattu and in the second part martial display is there using swords and shields. Standing around a Nilavilakku, Maargamkali is presented by twelve persons symbolic of Jesus Christ and 12 dancers after paying homage to Nilavilakku and Kaliyarah the performance starts. The performers repeat the songs sung by the Aasan. The performers take interval after each step paadam since it contains 14 paadams. Most of the scholars acknowledged Marargamkail as historical document on St. Thomas tradition.

Parichamuttukali or Parichakali :

The meaning of the term Parichamuttukali can be splitted into two parts. Paricha and Muttukali. Paricha means shield in Malayalam. Swords and shields are used in this by striking each other’s ornaments. Parichamuttukali light have originated from Kalari System. While performing this art form Syrian Christians sing the story of missionary activities of St. Thomas. The Kananite Christians both Catholic and Jacobites sing about the glorious tradition and themes. In this performance a pair of Jaalra is used as accompaniment. Rarely chenda is also used. The costumes of the performers are white dhothi with red wristbands and waistbands. The traditional way of wearing of dhothi is used for this performance. A Nilavilakku also is needed for this performance.

Fig 4: Parichamuttukali

Volume 10, Issue 11, 2019 Page No: 467 Compliance Engineering Journal ISSN NO: 0898-3577

Vattakkali :

Vattakkali is also an adaptation from non Christians. The period of origin of Vattakkali cannot be assessed. Vattakkalippattu consists of different themes including biblical themes. No specific background instruments are used and special costumes are also not required. This dance is performed placing a nilavilakku in the centre twenty-two to thirty dancers’ move their bodies from side to side taking rhythmic steps. Though Christian dances are an indispensable part of tradition and culture, it is felt that Maargamkali is more popular.

Fig 5 Vattakali

Conclusion: Kerala is a land of cultural unity of various socio – cultural and religious groups. The work captioned Christian art forms in Kerala refers to the Christian theatrical arts and folk dances in Kerala state. In recent times this became an interesting subject for scholars to explore. Majority of the Christian theatrical art forms originated during the medieval period owing to the western and influence. This has been affected here through the trade relations and other socio cultural contacts. These art forms and theatrical arts in Kerala are conceptualized as visual arts of social harmony and peaceful co-existence of various ethnic groups.

Reference

1. Sabeena Raphy, (1964),Chavittunaatakam , Saahithya Pravarthaka Sahakarana Sangham, . 2. Choondal, Dr.Chummar,(1976)Aivarnaatakam( Mal), , Thrissur.

Volume 10, Issue 11, 2019 Page No: 468 Compliance Engineering Journal ISSN NO: 0898-3577

3. Daniel, , (1986) The orthodox Church of India, published by Miss Raichel David, New Delhi. 4. George, K.M (1982) Bharateeya Saahitya Charitram, Kerala Sahitya Academy, Thrissur. 5. John, K.J (1981) Christian Heritage of Kerala, L.M Pylee felicitation Committee, Cochin. 6. Johny, Dr.P.D, (2002 )Art Forms and Murals in Kerala Churches vis-à-vis temple Arts and Murals – A study, U.G.C Project study ( Un Publishedwork) 7. Jose, N.K, (1986) Keralathile Katholikka Almayan, Hobby Publishers, . 8. , T.K ,(1950) Pracheena Indiayile Kristhumatha Pracharam ( Mal) The Malayalam Committee, Thriuvalla 9. Nambiar, Dr. A.K, (1989) Keralathile Naadan Kalakal, Saahitya Academy, Thrissur. 10. , Dr. S.K, (1962) Keralathile Naadodi Naatakangal, University of Madras.

------

Volume 10, Issue 11, 2019 Page No: 469