1. Title of the Project:

Ammannur Kutiyattam Parampara or Continuity of Tradition

2. Name of the Performing Art Concerned in the Project

Kutiyattam (Traditional Sanskrit theatre)

3. Geographic location of the Community:

Ammannur Chachuchakyar Smaraka Gurukulam, Irinjalakuda, Thrissur District, Kerala State, India

4. Introduction of the Performing Art

Kutiyattam of Kerala is the oldest surviving Sanskrit theatre tradition of India and the most ancient continuously performed theatre tradition in the world. It embodies a unique representation of Sanskrit plays and a highly stylised and complex theatre language. In 2001 UNESCO declared Kutiyattam as a masterpiece of the Oral and Intangible Heritage of Humanity.

The art form Kutiyattam internalised all the vigour and vitality of the folk and ritual arts of Kerala. The most salutary contribution of Kutiyattam to Kerala's performing arts is the narration of a story through a system of hand gestures evolved from the potential of hands to express emotions. While emoting, the eyes and the mind are focused on the figures that are created in the emptiness with the hands.

To step in and out of multiple impersonations of characters by a single performer, technique of acting in Kutiyattam, the performers have to undergo arduous training. This includes learning yoga, meditation, having body massage during the rainy season and exercising the eyes.

5. Problems the community faced before the launch of the project, and the factors which caused the decline of and threatened the performing art

There were 18 families of Chakyars (traditional performers) in the 19th century of different clans (a large group of relatives and associates). Each of the families was allotted a certain number of temples to conduct the performances as ritual traditionally. Due to the changing patronage system many, especially the younger generation, had to give up their traditional profession and seek other means of livelihood.

6. Details of the project for solving problems of the performing art, especially who and how it started, finance, and involvement of younger generation

No documentary data regarding stage manuals, and acting manuals of the art form existed. Ammannur Kochukuttan Chakyar (Muzhikulam Kochukuttan Chakyar) started training in the training space, and he accepted a disciple in 1966 and two more later.

Ammannur Chachu Chakyar Smaraka Gurukulam, the training, performing and research centre for Kutiyattam formally registered as a charitable society in 1982 with financial support from Kendra Sangeet Natak Akademy New Delhi.

In 1979 activities of the training centre started with two young girls, and the tradition of Ammannur Kutiyattam kalari began to reach women performers as well. In the late 1990s several disciples joined as the fifth generation and have become the professional artists of Ammannur Gurukulam.

In order to both preserve traditional aspects of the Gurukula system and adjust them to a modern context, the training period was shortened to 15 years from the longer period which the old masters had received. The students also came to have options to remain with the troupe by continuing training and working. Performing on actual stage was considered to be essential for their professional career and they had stage experiences arranged for this purpose.

In an attempt to maintain the rigorous training of the old Gurukula system, Ammannur Gurukulam focuses upon the artistic excellence and self-responsibility of the trainees. Strict discipline is maintained regarding even the minute aspects of the training methodologies of the Gurukulam. This is a place that demands whole-hearted commitment and dedication to the art form from the artistes.

7. Project's Outcomes Including Success Stories and Difficulties

Successful Outcomes

• Realisation of the most important aspect about the training art form; finding the most outstanding maestros as chief resource persons to shape younger generation
• Realisation of importance of careful recording of endemic and rare knowledge for the future generation
• Creation of strong dignity among young trainees under Ammannur Madhava Chakyar
• Breaking out of the old tradition for safeguarding Kutiyattam which was exclusively taken over by the traditional family members: disciples are now accepted from outside such families and made a troupe

Challenges

• No clear future vision for the art form, owing to the tradition that only the assent of the traditional practitioners allows modification, and changes
• Transformation of value of art form like Kutiyattam today, compared to the past: its artistic value and aesthetical potential can be found only if there is space always for creativity within the practice of the art form