.jpg?w=801&auto=format%2Ccompress&fit=max&format=webp&dpr=1.0)
Half a century has passed after that incident, but a recount of it still brings tears to the eyes of Kalamandalam Sivan Namboodiri. It isn바카라t because of grief the artiste eventually begins to weep inconsolably; there is poignancy that reminds him of the affection his guru had for him as a boy in the late 1960s episode.
Sivan Namboodiri is today one of t senior exponents of Koodiyattam, the country바카라s oldest-surviving Sanskrit theatre. Over its 2,000 years, the tradition has had ups and downs, yet it had to wait for a post-Independence India to get a student outside the Chakyar community that traditionally performs the form in its native Kerala. This also coincided with the period Koodiyattam came out of temples that functioned as its lone venues바카라and began finding stages before a broader public, including those outside of the slender southern state and eventually abroad.
All of it because of the progressive mindset of a few gurus, chiefly led by Painkulam Rama Chakyar. The veneered master (1904-80) taught in Kalamandalam not far from his village in central Kerala. There, in 1965 joined a teenager who wanted to learn Koodiyattam바카라a highly layered and esoteric theatre that went on to gain Unesco바카라s recognition by the turn of the millennium as a 바카라Masterpiece of Oral and Intangible Heritage of Humanity바카라.
In a recently-made documentary on Sivan Namboodiri, the protagonist winds back an episode at his alma mater (where he later became a teacher and retired). Rama Chakyar was least amused once when he noticed up-and-coming Sivan바카라s conduct before a senior Kalamandalam official over a minor issue. He settled the dispute, but in the classroom beat him severely for having erred on a particularly tough act of play. Sivan was taken to his dormitory, where he was forced to rest amid severe body pain.
By evening, the guru appeared before him: with a bottle or two of medicinal oils. While smearing them on the legs and arms of the boy, Rama Chakyar quietly sad, 바카라It wasn바카라t exactly because you made mistakes that I beat you up. I was shocked by your behaviour with the administrator. It바카라s morally wrong바카라바카라
Such is the impact the words have had on Sivan Namboodiri, now 67, that he still couldn바카라t hold back emotions while reminiscing the event. 바카라Who will get a better guru? Who will!바카라 his voice tapers and face contorts in gratitude-filled expressions. This flashback in the film Sivam did turn the eyes of a few spectators too misty when it was premiered in the theatre-house of Kalamandalam near Shoranur.
The nearly hour-long work has been the result of a Gulf-based professional photographer from upstate Malabar that had once contributed to Koodiyattam but today has no many artistes to boast of in the field. Rajan Karimoola, who works in Dubai and is a native of Kasargod district bordering Karnataka, worked intermittently for over two years to finally come out with the 55-minute film that is his first such venture.
바카라I least thought of making a high-tech movie, which I can바카라t anyway. This is a small-budget work done with the advantages that digital technology has gifted us in the new age,바카라 says Rajan, who is more known in the world of Kathakali바카라and that as a maker of still images of certain masters of the four-century-old dance-drama. 바카라There is an interesting incident that triggered my making of Sivam.바카라
In the monsoon of 2015, Rajan was on a Kerala break in his Neeleswaram home when he fell on his back after slipping along the wet veranda. He fractured his left hand, and that meant an extension of his leave with the UAE firm. For a couple of years, he had been toying the idea of making a film on Sivan Namboodiri, having met the maestro in 2007 and later see him perform. 바카라It anyway requires only one hand to hold my camera; so it바카라s best to start making the movie, I thought,바카라 rewinds Rajan. 바카라Soon I met my man again.바카라
Sivan Namboodiri, at his residence in Palakkad바카라s Koduvayur where his wife is a schoolteacher, agreed to the proposal. The master anyway knew Rajan from his exhibition of photographs of Kathakali legend Kottakkal Sivaraman (seeing which Mohanlal had invited the lensman for a similar project focusing the superstar on and off the cinema sets).
Intensifying his research for background material of the artiste, the work was on. 바카라To start with, I recorded bites of the subject,바카라 reveals Rajan. 바카라After that, of a few others too.바카라 That included contemporary Koodiyattam artistes Kalamandalam Rama Chakyar, Margi Sathi and Kalamandalam Girija, childhood friend T. Raghavan (or Sivan Namboodiri바카라s birthplace Kanayam), organiser N. Radhakrishnan Nair (now heading the Kerala Sangeetha Nataka Akademi), percussionist P.K. Narayanan Nambiar (who plays the mizhavu drum), make-up artiste Ram Mohan, scholar K.G. Poulose and Vasanthi Menon, who is granddaughter of poet Vallathol who founded Kalamandalam in 1930.
Back he went to West Asia, and then would again return for brief stays. During those the shoots continued in bits. Kalamandalam, under its then vice-chancellor P.N. Suresh, rented out the Koothambalam venue freely for three days. A little away from Shoranur, the scenic Killikurissimangalam hosted Sivan Namboodiri바카라s roles as the mythological Bali and Ravana in two evenings at Koodiyattam institution name after the iconic Mani Madhava Chakyar.
Such work in installments continued as late as into this September, when Rajan visited Tholanur village off Palakkad to shoot the younger days of Sivan Namboodiri (done by two boys of different age, one of them being Koodiyattam student Kalamandalam Kripesh).
바카라I must say I got good professionals in my crew, willing to cooperate mainly because of my earlier acquaintance with them,바카라 says Rajan, 46. Eventually, after the post-shoot production work, the film was screened before a decent crowd.
The protagonist, too, is happy. 바카라I would only utter three words about the movie,바카라 says Namboodiri. 바카라Satyam, Sivam, Sundaram.바카라
