Salini VG’s book on Koodiyattam explores the power of female narrative in the art form.

Salini dancer Koodiyattam | Photo Credit: Special Arrangements

Salini VG is as passionate about words as he is on stage. When the Koodiyattam player and Assistant Professor, English literature at Ottappalam NSS College, decided to do her Ph.D, she knew intuitively what she wanted to be. “As a Koodiyattam performer, I have always been attracted to women’s narratives in the art form, and I wanted to seriously study the space Koodiyattam gives women,” she said.

However, the exploration of the subject, beyond the doctoral thesis to writing a book, Kutiyattam: The Evolution of Women’s Traditionswhich was published recently. “Although I have an insider’s perspective, there is still much to learn and understand. It is a deep dive into the nuances of art, practitioners and techniques,” he added.

Copy VG during one of the Koodiyattam performances | Photo Credit: Special Arrangements

While the book traces women’s traditions through the history of Nangiars (nangiar koothu is a branch of Kutiyattam, practiced exclusively by women), it also sheds light on the narrative practice of Koodiyattam. Salini devoted years of research to the project – going through manuscripts, watching live performances and interviewing famous female performers, all of whom have contributed to the art in unique ways.

A traditional art form that is 2,000 years old, Koodiyattam has always allowed women to perform female characters. “Women played an important role in and on the stage – as performers and narrators even in the beginning. Few other ancient art forms gave women such agency. This was before Western theater began to think about using female actors on stage,” he said. “Koodiyattam also has a woman as an external narrator,” says Salini. “The invocatory slokas are delivered by them. These women must know the story, the order, and the slokas – they are the backbone of the performance.

Being the daughter of veteran Koodiyattam artiste Kalamandalam Girija gives her an advantage. “I grew up watching my mother and other artists perform and I got an early glimpse into the world of mythical characters and the language of theater. My teacher was my mother. Although she was a strict teacher, but from her I followed my passion for art. She was really devoted to art, ” added Salini. Girija, who was a disciple of Painkulam Rama Chakiar, who played a key role in the renaissance of the art form, has won several awards including one from the Sangeet Natak Academy and is known for her portrayal of male characters as well.

Copy in Mohiniyattam recital | Photo Credit: Special Arrangements

Salini, who also studied Mohiniyattam growing up, also enjoys performing. “As much as I love Mohiniyattam, I look at Koodiyattam with respect,” he said. Salini is a Cultural Resource and Training Center scholarship recipient for Mohiniyattam, and is an ICCR (Indian Council of Cultural Relations) Koodiyattam empaneled artist. His work as a professor does not coincide with his stage commitments, but they complement each other, he said. “As an assistant professor, I am a resource person who introduces and gives lectures on Indian aesthetics and the theory of Taste in academia,” he said.

Dancers/dancers always translate experiences through their eyes, face, breath, voice, and body, added Salini. “The whole body must be there. If, for example, he sees an imaginary mountain, the audience must be able to see the mountain through him – peaks, valleys and all its forms,” ​​he said.

The book is for those with an academic interest in Koodiyattam – it examines the history, explains the rituals, the narrative structure, and includes excerpts from interviews with contemporary performers. “Putting all the information together was a fun experience,” says Salini, who, in addition to his own compositions, is working on a book on Nangiarkoothu.

The book, published by New Bharatiya Book Corporation, is priced at ₹500, available on Amazon.