(post by Madhavi Ramkumar)
© Madhavi Ramkumar
Let us take a trip back in time
to the nineteenth century and the kingdom of Travancore in South West India. In
Thiruvanthapuram is an abode known as ‘Kizhakke Mațam’ which belongs to an illustrious
and aristocratic family. On an ornate, painted cot reclines a lady tugging at a
‘punkah’ with one hand. However, she is anything but relaxed or lethargic. She
dictates, to younger members of the family, literary works suffused with
originality, erudition and beauty. She is a great scholar and master of both
Sanskrit and Malayalam. She is passionate about Kathakali and Mohiniattam, and
conducts a class for Thiruvathira, a dance form performed by groups of women in
Kerala. She is also an accomplished musician, regularly tunes her thambura to
the six ‘kattai’ sruthi and sings to its accompaniment. The instrument itself
is remarkable, made of glossy black wood and smaller than the regular thambura,
with the top carved in the shape of a serpent’s hood.
This extraordinary woman is
Kuttikkunju Thankachi, daughter of one of the greatest of Malayalam poets,
composers and Kathakali playwrights, Irayimman Thampi. It would be difficult
indeed to find another such pair in the literary annals of any language. Irayimman Thampi, himself was the grand
nephew of Maharaja Karthika Thirunal, who made invaluable contributions to
literature and Kathakali. Kuttikkunju Thankachi, born into this family in the
year 1820, grew up in an atmosphere redolent with cultural and intellectual
influences of the highest order. Her contributions to literature, music and
Kathakali are sufficient to accord her a preeminent position in the cultural
history of Kerala in particular and of South India in general.
The fact that Kuttikkunju Thankachi
was among the earliest of women composers, if not the earliest, in Carnatic
music has gone largely unnoticed. Classical compositions with pallavi,
anupallavi and charanams set to ragas and thalas in the Carnatic mode are part
of the priceless legacy left behind by her. Given her affinity for and felicity
with the medium, it is possible that she composed a large number of songs, but
only a few have come to light. These
include the Malayalam krithis ‘Kathyayani Mam Palaya’ in Kamboji raga and adi
thala, which is in praise of Devi, the presiding deity of the temple at
Palkulangara in Thiruvananthapuram. ‘Samajahara Hare’ in Kalyani raga and adi
thala pays obeisance to Lord Adikeshava of Thiruvattar which was in South
Travancore and is now in Tamil Nadu.
‘Anandarupa Hare’ in Panthuvarali raga and chapu thala is about Lord
Krishna, the deity of the Malayinkeezhu Temple, in the suburbs of
Thiruvanathapuram. ‘Sri Pavanapuresha Pahi’ in Surutti raga and adi thala
reflects the composer’s deep devotion to Lord Guruvayurappa. Her Sanskrit
compositions include ‘Suryakotiprabhamakute’ set to Natta raga and chapu thala
and ‘Pahi Mohanakrithe’ in Khamas and adi thala. Unfortunately even the few
mentioned here are rarely included in music concerts today, including by musicians
in Kerala.
Much scholarship and command over
language, literature, music and dramaturgy are required for the creation of a
Kathakali play. That Kuttikkunju Thanakchi made successful forays into the male
bastion of Kathakali authorship more than a hundred years ago testifies to her
indomitable spirit and dynamism. Her three Kathakali plays ‘Parvathi
Swayamavaram’, ‘Shrimathi Swayamvaram’ and ‘Mithrasahamoksham’ have been hailed
as repositories of poetic excellence. The first narrates the story of
Parvathi’s wedding to Lord Shiva, the second deals with that of Shrimathi,
daughter of Ambareesha, and the third with the salvation of the King Mithrasaha
from the Mahabharatha. Kuttikkunju Thankachi’s extensive knowledge of the
classics is evident from the choice of subjects. The shringara padams penned by
Kuttikkunju Thankachi have been cited as examples of her aesthetic and lyrical
acumen. The plays also incorporate a variety of characters representing the
diverse costumes in Kathakali, and incidents and emotions that contribute to
visual impact on stage. Of the three written by her, ‘Parvathi Swayamavaram’ is
considered especially stage worthy and dramatic. Regrettably, again, they are
rarely, if at all, performed today.
Kuttikkunju Thankachi’s works
comprise diverse genres such as the Thiruvathira songs ‘Shivarathri Mahathmyam’
‘Seetha Swayamvaram’ and ‘Naradamohanam’, and the Kurathi songs ‘Kiratham’ and
‘Nalacharitham’. Her poems ‘Thiruvananthapuram Sthalapuranam’ and ‘Vaikkam
Sthalapuranam’ belong to the category known as ‘Kilippaattu’, while
‘Gangasnanam’ is a ‘Thullal’ and ‘Ajnathavasam’ a play.
Kuttikkunju Thankachi considered
her father Irayimman Thampi her primary guru and states as such clearly in some
of her works. She was further tutored by renowned scholar Haripad Kochpilla
Warrier, who also taught Maharaja Swathi Thirunal, Her contemporaries were
deeply impressed by her scholarship and command over Sanskrit and Malayalam,
and the kings of Travancore right from Swathi Thirunal down to Srimulam
Thirunal showered her with many gifts and honours. Kuttikkunju Thankachi
deserves to be feted and celebrated far more than is being done now, especially
in view of the fact that she was a pioneer in many ways. At a time when few
women engaged in creative pursuits, she had the courage and dynamism to write
and create original works that were acclaimed by her peers. Her abiding
interest in the classical arts including music and Kathakali and in varied
categories of poetry and folk arts bear testimony to her multifaceted genius.
When she passed away in the early twentieth century, she left behind a
substantial body of work that could serve as a source of inspiration to all
aspiring creative artistes.
Every year International Women’s
Day is celebrated with great fanfare. Certainly Kuttikkunju Thankachi deserves
to be held up as a role model for all women, especially those seeking
excellence in the creative fields. That she chose to occupy herself with
intellectual and artistic endeavours of such quality and rigour is a testament
to her brilliance and dedication. It is sincerely hoped that her invaluable
contributions will be recalled and revived and that her works in different
genres will gain wide currency among performers and connoisseurs alike. That
would no doubt be the greatest tribute to this outstanding litterateur and
intrepid pioneer.
Image source: Wikipedia
