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Features Friday Review

Mastering the mizhavu
G. S. Paul

Kalamandalam Rajeev. Photo: K.K.Najeeb

The Hindu

Introduction of Koodiyattam as a discipline in Kerala Kalamandalam in 1965 threw overboard the caste-based
restrictions on the practitioners of this age-old Sanskrit theatre. An epochal event, it witnessed during later years a
surge not only in the number of Koodiyattam performers but also in the number of performers of the mizhavu, the sole
drum employed in the art form. The mizhavu, unique to Kerala, came to the spotlight at the national level recently
when Kalamandalam Rajeev was selected for the Ustad Bismilla Khan Yuva Puraskar, awarded to young artistes by the
Sangeet Natak Akademi, Delhi. The recognition is singular since the award is being given to a mizhavu artiste for the
first time since it was introduced in 2006. Widely acclaimed as an ingenious drummer noted for his disciplined
demeanour, Rajeev had the privilege of accompanying all the stalwarts of his time ever since he graduated from
Kalamandalam. Moreover, he is endowed with a rare creativity that is reflected in the numerous contemporary
productions anchored on the mizhavu. He isthe secretary of Ammannur Chachu Chakyar Smaraka Gurukulam,
Irinjalakuda. Rajeev shares with FridayReview how a boy like him, with no artistic traits, was transformed into a much
sought-after drummer in the world of Koodiyattam over the years. Excerpts...
The accidental entry
After my fathers death, my family returned to Cheruthuruthy from Andhra Pradesh, where he was a contractor. Being
the only son, the onus of earning a living fell on my shoulder, Fortunately for me the mizhavu maestro Kalamandalam
Eswaran Unni was our neighbour and he persuaded me to join Kalamandalam in his class. That was in 1985. I was
totally ignorant of any art form except Harikatha to which I was exposed while in Andhra. So I simply followed my
gurus, including P.K. Narayanan Nambiar and V.K.K. Hariharan, mechanically learning the preliminaries. The
arangettam was during the second year. Notwithstanding my lack of interest, I completed the four-year course
successfully. It was again my guru Eswaran Unni who secured me a scholarship that enabled me to do two years of
higher training.
A God-given opportunity
A turning point in my life occurred in 1989 when I got a chance to perform at Ammannur Gurukulam by coincidence.
This was an eye-opener. Slowly I began to realise the potential of the instrument that I had been handling so far. In
1992 I was absorbed as a regular staff of the Gurukulam. The Gurukulam provided an unprecedented experience and
the ever-going rehearsals helped me comprehend the varied styles of drumming in accordance with the performance of
the character on the stage. I realised that I was being properly groomed for plays.
With the legend
During the Diamond Jubilee celebrations of Kalamandalam in 1990, Madhavamman (Ammannur Madhava Chakyar)
was invited to present Balivadham. There were many mizhavu artistes, including me, in the institution. I had longed
to accompany him, but was not allowed. But, later, when I joined the Gurukulam, I was thrilled to play for him for

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Mastering the mizhavu - The Hindu

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hours on end. This was the greatest achievement in my life. Further, Madhavamman took special care about the
percussion section and instructed us how to play for different occasions. Learning from such a great master had
profound influence on my artistry. It was the heyday of the gurukulam with a series of performances across the country
in programmes organised by SPIC-Macay and festivals such as Khajuraho, Bharath Rang Mahotsav, etc. My joy knew
no bounds when Madhavamman insisted that I along with my junior Hariharan play for him at UNESCO in 2001
during the historic announcement of Koodiyattam as an Oral and intangible heritage of mankind. I was the principal
drummer for him until he retired owing to poor memory.
Learning at the Gurukulam
Production of Natanakairalis magnum opus Shakuntalam itself was a great training as, we all sat together and
prepared the aattaprakaaram (acting manual), an exercise hitherto unheard of in the history of Koodiyattam. Venu
chettan (G. Venu) helped us to look at Koodiyattam as a theatre form. We also benefitted highly from the World
Theatre Project in which apart from us, artistes from Sweden, China and Africa collaborated. The interaction with them
and the joint production East of the Moon, West of the Sun enriched our experience beyond description.
Role of Sangeet Natak Akademi
Sangeet Natak Akademis support from 1990 has been pivotal in sustaining this art form. As of now, we have a wealth
of young talents, which would have been impossible to produce but for their help. But only with enhanced assistance
will we be able to scale new heights.
Keywords: Kalamandalam Rajeev, Koodiyattam, Kerala Kalamandalam, mizhavu, Sangeet Natak Akademi, Kerala
performing arts

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