anjali makaram 2011

makes Mudiyettu more than a ritualistic art
form. Keezhillam Unnikrishnan, a
contemporary exponent of the tradition says
“Unlike classical theatres Kathakali or
Koodiyattam, Mudiyettu is considered a
sacred offering to Goddess Kaali rather than
a medium of pure entertainment. It derived
its name from the tall and glittering headgear
worn by the artist who appears as Kali.” It is
believed that the entire village, where
Mudiyettu was conducted, will be bestowed
with Kali’s blessing.
The entire atmosphere in which
Mudiyettu is enacted transports the
spectators to a different world. The vicinity
of the “Bhagavathi Kaavu” alone gives the
dance-drama a sacred and serene
atmosphere. When the mythological content
of the slaying of Daarikan by Kaali is
combined with the ritualistic and tantric
Kalam Pattu and Kalam Ezhuthu, it provides
the whole community that witnesses the
performance a very unique experience.
While describing the relevance of Mudiyettu
as an art form, UNESCO concludes that
Mudiyettu serves as an important cultural
offering for transmission of traditional values,
ethics, moral codes and aesthetic norms of the
community to the next generation, thereby
ensuring continuity and relevance in present
times.
It is the responsibility of every Malayalee
who is interested in culture, art forms and
traditional values to preserve Mudiyettu for
the next generation. Unfortunately, there is
only very little published information about
the history of Mudiyettu. C.K. Thomas, a
theatre researcher and coordinator of
Natyavedi (the organization that took action
to place Mudiyettu in UNESCO’s cultural
heritage list) hopes that “The international
recognition would open opportunities for
scientific documentations and more research
into the evolution of the age-old art which
largely remained to the Bhadra Kali Temples
of Central Travancore.” Regarding the future
of Mudiyettu, Varanattu Narayana Kurup, a
contemporary Mudiyettu artist, believes that
while the ritualistic tradition should be
continued, it should be open to girls too “who
have the dedication, interest and respect for
rules.” Nanu Kurup, who started the
Kizhakke Varanattu Mudiyettu
Kalasangham, includes few girls in his class
of about 30 students. He plans to train them
in every aspects of Mudiyettu – percussion,
Kalamezhuthu, Kalam Pattu, and the
performance.
Reference Sources:
Information from UNESCO website
Articles appeared in Hindu Newspaper
Chandran Pillai, currently settled in Virginia
with his family, immigrated to the United
States from the small village of Kudayathoor
near Thodupuzha, Kerala. His childhood
memories of Mudiyettu at the Bhagavathi Kavu
near his house inspired him to write this article.
He works for the National Aeronautics and
Space Administration (NASA).
KHNA - 2011
Anjali January
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