Kerala Kalamandalam (Deemed-to-be-College) lately created historical past by choosing a non-Chakyar for its Fellowship in Koodiyattam. G. Venu, an completed performer, skillful choreographer, prolific author and commemorated guru is the chosen one.
Whereas sea adjustments in society have been compelling the normal performers or Chakyars emigrate to different vocations, Venu, a consummate performer of Kathakali, groomed by doyens akin to Chengannur Raman Pillai and Guru Gopinath, plunged headlong into the world of Koodiyattam after watching a efficiency by maestro Ammannur Madhava Chakyar at Sree Vadakkunnathan Temple, Thrissur.
The theatrical potentialities of the centuries-old Sanskrit drama and the scope of abhinaya it provided left a profound affect on him. A lot so, on the age of 37, Venu resigned his everlasting job on the Faculty of Drama and High quality Arts, College of Calicut, shifted his residence to Irinjalakuda and joined the Ammannur Kalari as the primary non-Chakyar pupil of Ammannur Madhava Chakyar.
Since his initiation, he has been following his acharya like a shadow, caring for his wants within the capability of each a disciple and impresario. In flip, Madhava Chakyar groomed him as his protégé. The credit score for beginning Ammannur Chachu Chakyar Smaraka Gurukulam in 1982 additionally goes to Venu.
Koodiyattam exponent G. Venu.
| Photograph Credit score:
Thulasi Kakkat
An ardent advocate of the normal system of coaching, he has produced fairly plenty of younger excellent artistes, an achievement that no different establishment can boast of.
Whereas he donned quite a few veshams akin to Ravana (Thoranayudham), Soorpanakha (Soorpanangham) and Bhima and Hanuman (Kalyanasaugandhikam), Kalidasa’s Sakuntalam, a 11-hour manufacturing is his magnum opus in choreography. This was staged at many worldwide festivals . His different notable choreographies embody Vikramorvaseeyam (First half –three Acts) and Oorubhangam.
The Ammanur Gurukulam, beneath the management of Madhava Chakyar, was instrumental within the revival of Nangiarkoothu, an unique protect of girls. Venu, who was additionally a part of this endeavour, choreographed Narasimhavatharam, Sitaparithyagam and Soundaryalahari.
Little surprise Venu was nominated by UNESCO to the professional committee of its Asian Cultural Centre. One can’t ignore his contribution within the recognition of Koodiyattam by UNESCO as “the masterpiece of the oral and intangible heritage of humanity” in 2001.
Notations of hand gestures
Endowed with distinctive inclination for analysis, Venu has created an ingenious system of notations of hand gestures. This started throughout his days as a Kathakali pupil. In 1977, the Kerala Sangeetha Nataka Akademi printed 373 mudras with the title Kathakaliyile Kai Mudras. In 1984, Venu’s establishment Natanakairali printed an English model — Mudras in Kathakali. In 1994, the Division of Cultural Publications of the Authorities of Kerala printed a set of 587 mudras titled Kathakali Mudra Nikhandu (dictionary), which was well-received by Kathakali artistes and researchers.
Koodiyattam exponent G Venu throughout an indication of ‘Parvathi Viraham’ at Irinjalakluda.
| Photograph Credit score:
THULASI KAKKAT
G. Venu devised a visible language for dance.
| Photograph Credit score:
THULASI KAKKAT
As for Koodiyattam, Venu’s mentor and guru Ammannur Madhava Chakyar had personally taught him the mudras of the attaprakaram (appearing guide) of Ramayana Samkshepam (RS). Within the class, Venu would file every mudra in notations. The manuscript took three years – December 1982 to April 1985 – to be accomplished. Curiously, the attaprakaram embraced your entire corpus of mudras employed in Koodiyattam for performs primarily based on the Ramayana. The historicallyimportant work was printed in 2013 as a bilingual model. Maybe, the crowning publication is MUDRA, an omnibus quantity describing the language of Koodiyattam, Kathakali and Mohiniyattam, which was printed in 2023.
Koodiyattam exponent G Venu throughout a demonstation of ‘Parvathi Viraham’.
| Photograph Credit score:
THULASI KAKKAT
It was from Madhava Chakyar that Venu got here to find out about ‘Rasa vaayu’, a singular strategy of evoking feelings by controlling the breath. Madhava Chakyar had learnt this from Bhagavathar Kunjunni Thampuram of Kodungallore Palace, an acclaimed authority on the Natyasastra. By the way, Venu and his daughter Kapila had demonstrated this method at Sri Krishna Gana Sabha, Chennai, as a part of the current Margazhi competition.
Koodiyattam exponent G. Venu.
| Photograph Credit score:
Thulasi Kakkat
Venu assiduously labored on this and developed a novel technique for creating abhinaya, which he launched within the Navarasa Sadhana course a few years in the past. Already, 106 batches, together with celeb artistes from throughout the globe, have accomplished the 15-day course. Venu has used the hitherto partly explored 33 Vyabhichari bhavas (Transitory feelings) and the tenets of the Natyasastra for designing the course.
The position of Kalamandalam within the propagation of Koodiyattam is praiseworthy. It launched the division of Koodiyattam in 1966, opening its doorways for all communities, regardless of caste. And now, it reaffirms its dedication to the craft by awarding its highest honour to a non-Chakyar.
Distinctive abhinaya approach
“Kerala Kalamandalam’s recognition is priceless. Once I was working within the Sweden-based venture of ‘World Theatre’ I realised the wonder and depth of our strategy of abhinaya. ‘Navarasa Sadhana’ is an final result of this realisation. I taught this technique for 17 years within the InterCultural Theatre Institute, Singapore, and for 15 years on the Nationwide Faculty of Drama, Delhi. Thereafter, this was launched in my establishment of Natanakairali at Irinjalakuda. To date, greater than 2,000 artistes have undergone this coaching.”
