Historic move by 90-year-old institution ends another long-standing debate
Kathakali actors Renjini Suresh and Dr Haripriya Namboodiri are the sound delights. The reason they have been champions for a long time is what has led to their success. The Kerala Kalamandalam Deemed University of Art and Culture has opened its doors to women, and admissions will be offered to the Kathakali acting course from this academic year.
Renjini perhaps echoes the sentiments of all female actors when she says, “Till now women had not got the benefit of institutional training ground or Kalari. What we have achieved as an artist is because of our dedication and hard work along with the balance in our education and career. I welcome Kalamandalam’s historic move, though it is too late.”
The impact of the decision is evident from the fact that out of 12 students admitted to the Kathakali acting course of class VIII for the year 2021-22, only three are boys. Six girls and one boy have sought admission in the Vadakkan or Kalluvazhi style and three girls and two boys in the Thekkan or Kaplingdan department. The courses lead up to the MA in ten years.
ensure opportunity
Kalamandalam Ravikumar, head of Kaplingdan, says that the matter has been debated for many years. “I am happy with this decision. But measures should be taken to ensure that girls get all opportunities to realize their full potential.
For many years, women have been knocking on the door of 90-year-old Kalamandalam. There are historical reasons behind accepting Kathakali as an art dominated by men. It is believed that the artists who were inducted were from the warrior Nair clan and their physical training was modeled on the martial art form of Kalaripayattu.
Another reason given for the exclusion of women was that the severe massage regimen known as Uzhichil in Kathakali Kalari was not suitable for women. But Haripriya points to the clever moves in the Odissi as an example of what a female dancer can do without the harsh Uzhichil. An increasing number of female artists today do not undergo massage routines. In fact, some medical experts have described massage as too harsh and unhealthy.
Haripriya says: “When I started researching for my PhD from Kalamandalam, I realized that women doing Kathakali have always been in small numbers. Book kathakalirangam By KPS Menon, published in 1957, there are mentions of several women associated with Kathakali schools or kalaris which were run by zamindars or royalty. Many of them would have dropped out after marriage.”
Haripriya believes that it was the institutionalization of Kathakali training with the establishment of Kalamandalam in 1930, which reinforced the notion that Kathakali is a male-only art. Another prominent Kathakali school, PSV Natyasangam in Kottakkal, does not even enroll women. Haripriya’s subject for her PhD was ‘Sreethavam in Kathakali’ and she argued that female roles should be played by women. During his doctoral thesis defense, and on several other forums, he faced stiff opposition from the cast as well as the audience.
What is commendable is that the ban on women in Kathakali institutions did not prevent them from learning privately. Women have been a regular presence in school and college festivals. Perhaps the first organized women’s group was the women’s troupe of Tripunithura Kathakali Kendram which started in 1975. “A few years later, when Haripriya and I chose this as our profession, we were able to match men, thanks to our mentors and many male Kathakali actors. Who accepted and encouraged us,” says Renjini. He added that he also took courage from senior professional actors like the late Chavara Parukutty, who had to work hard to establish himself.
Despite all the success on stage in recent years, Haripriya says the amateurs label stuck, as she did not have the institutional “Kalari” experience. Although many audiences have started accepting and respecting female actors, it is a much harder struggle for women as compared to men.
Haripriya says women have nothing left to prove. “Renjini, and young actors like Arya Parppur, Induja Cheruliyal and others have performed the most physically demanding characters like Parashuram. Sitaswayamvaram, ravana in Ravanolbhavam, and in Arjuna Kalkeyavadham:. He has perfected the highly structured body language of Kathakali to such an extent that it is often difficult to tell them apart from men. “
Rangini hopes that Kalamandalam will modify its training curriculum to meet the specific needs of the female body, and help them build the stamina they need. “It will help future female actors to scale greater heights.”
Ravikumar, head of Thekkan Kalari, says that over the years women have showcased their skills on the Kathakali stage. He explains that the entry into Kalari is just the beginning of the journey. Only regular stage presence will provide a student with the necessary experience, from mixing makeup, painting one’s own face to helping others put on elaborate outfits.
As Haripriya says, what is important is to end gender bias and ensure the freedom to make your own choices. “Who knows, maybe women will add a new dimension to Kathakali in the years to come.”
The author, a retired journalist, writes at
Performing Arts of Kerala.
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