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PAYYANUR KOLKKALI |
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Sivan Parakode |
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Kolkkali (Playing with sticks) is one of the most ancient cultural contribution of Kerala and Payyanur Kolkkali is unique. It differs from other Kolkkali with its rhythmic steps and melodious songs……”said Mr. V.T.V. Damodaran who is determined to rejuvenate this folk art here in Abu Dhabi under the banner of Payyanur Souhreda Vedi.(a platform for Payyanur people. Mr. Damodaran was working with Keltron Kerala before joining an Abu Dhabi based Audit Firm ten years back. Kolkkali is in Damodaran’s blood. He is the son of Mr. K.U. Rama Poduval, one of the exponent of Payyanur Kolkkali and recipient of many awards. Mr. Damodaran started playing Kolkkali at the age of six. Forty years of experience made him the leader and main singer of Payyanur Kolkkali in Abu Dhabi. This art developed around Kalaries (the sacred place to learn martial arts). So the movements or steps are more related to martial art than to art. In the earlier days Kalari practice was very common in North Kerala especially in Payyanur. After a day’s hard work people used to gather at a common place in the evening and practiced Kolkkali. This type of plays helped the participants to relax their body and mind. The emergence of Radio and TV slowly changed the exercising habits of people even in villages later on. There are two types of Kolkkali. One is Kadathanadan style (related to martial art) and the other is Mappila (Muslim) Kolkkali. Payyanur Kolkkali is related to the first style and is more attractive with its body control, swift twisting of wrists, smart and speedy body movements according to the songs. The participants of Payyanur Kolkkali are all male members wearing identical dress mostly Mundu (dhoti) and banian holding two stick measuring fifteen inches in both hands. These sticks are made from Areca. These men move around a Nilavilakku (traditional lighted lamp) repeating the song sung by the main singer resulting a rhythmic sound. The songs are mainly devotional songs and now a days even the songs of social reformation are also included. The players should have to listen carefully to the songs because the instruction for turning, sitting and moving are given in between the songs. The players have to go through strenuous training for swift body and wrist movements otherwise body injury can occur. The minimum number of participants are eight, more the numbers more attractive the play will be. Mr. Damodaran finds it difficult to get all the members at fixed time for practice due to the difference in their working hours. So he couldn’t accept all the presentation requests but only the selected once. In spite of all the difficulties the Payyanur Souhreda Vedi is doing a tremendous job by rejuvenating and presenting an ancient art most common in Payyanur to the outside world. |
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