Nangiarkoothu or Nangiaramma-koothu, is a sanskrit dance-theatre with an antiquity of at least 1500 years. A sister-form of Koodiyattam, it is traditionally performed by members of the Nangiar community (female) in designated temples, in Kerala. The subject matter of the performance are verses from 'Sree Krishna Charitam', the story of Lord Krishna. During the performance, a single actress assumes the roles of various characters in the narrative and enacts the story through a highly formalized system of hand gestures, expression of 'rasa'(emotion), recitation of verses and some unique stage techniques. The performer is accompanied by a Nambiar on the Mizhavu (copper pot drum) and another Nangiar on the 'hollow' cymbals.
കൃഷ്ണ: കരോതു കല്യാണം
കംസകുഞ്ജര കേസരീ
കാളിന്ദീ ലോലകല്ലോല
കോലാഹലകുതൂഹലീHe who was unto Kamsa,
- like a lion unto an elephant
Made merry in the roiling waters of Kalindi
And celebrated with rollicking delight
May that Krishna bring you prosperityHe who was unto Kamsa,
- like a lion unto an elephant
Made merry in the roiling waters of Kalindi
And celebrated with rollicking delight
May that Krishna bring you prosperity
Nangiarkoothu or Nangiaramma-koothu, is a sanskrit dance-theatre with an antiquity of at least 1500 years. A sister-form of Koodiyattam, it is traditionally performed by members of the Nangiar community (female) in designated temples, in Kerala. The subject matter of the performance are verses from 'Sree Krishna Charitam', the story of Lord Krishna. During the performance, a single actress assumes the roles of various characters in the narrative and enacts the story through a highly formalized system of hand gestures, expression of 'rasa'(emotion), recitation of verses and some unique stage techniques. The performer is accompanied by a Nambiar on the Mizhavu (copper pot drum) and another Nangiar on the 'hollow' cymbals.
The 'Sree Krishna Charitham' nangiarkoothu 'tells' some part of the story of Lord Krishna's life covering
A crude description of a day's performance would be as follows -
The performer after making a formal entry and going through some preliminaries, seats herself on the stool and narrates (by hand gestures) - a gist of the story by recalling previous incidents in the narrative.
She then stands and commences to narrate the story that has been chosen for performance that day. The actor would use mudras or hand gestures to narrate an event. In the course of the performance, the actor would assume the roles of various characters in the plot in alteration and the plot would unfold through their actions and exchanges. This stage technique of mono-acting is referred to as 'pakarnattam'.
The narrative would then again shift to the description of the main episode. Following this the singing nangiar would recite the sloka that the actor elaborately described just then. The recitation of the sloka is accompanied by the actor gesturing each word with appropriate mudras.
The expression of the emotions felt by the characters in the narrative makes way for rasa-abhinaya which is the mainstay of Koodiyattam and Nangiarkoothu. Conjunct with 'pakarnattam', the actor transforms from one character to another seamlessly and in quick succession and expresses contrasting emotions which hightens the experience.