The Kathakali maestro, famed for his panache while donning the role of a brave protagonist in pacha vesham, Sadanam Krishnankutty is brimmed with energy while talking about the traditional art form. The 84-year-old master of the craft is known for his grandeur on the stage and his versatility — be it Krishna in the pacha, or a villainous mastermind in katthi, or as bearing the red beard and headgear of Dussasana, he dons them all to perfection.
Krishnankutty has been practising his craft in Kathakali for the past 68 years. Literally translated to 'story-play', Kathakali finds its roots in Krishnanattam, and for the artiste, his life is, in a way, a Krishnayanam.
Born in an ordinary family in Palakkad in 1941, Krishnankutty was always drawn to art since childhood. “I never missed any performances in nearby temples,” he says while sitting beneath the shade of the banyan tree at the Koodalmanikyam temple in Irinjalakuda. “The rhythm and its essence were imbibed unconsciously like a litmus paper in my inner mind,” he reminisces.
As his fascination with art grew, especially Kathakali, he remembers, he approached Kottakkal PSV Natyasangham and Cheruthuruthy Kerala Kalamandalam to learn the craft. “The admission for that year had already closed. However, I was determined. One of my acquaintances suggested Gandhi Seva Sadanam, an institution at Pathiripala in Palakkad, which was led by Sadanam Kumaran. They followed the Gandhian ways of schooling,” he explains.
And in 1954, Krishnankutty began his journey, a life dedicated to Kathakali. “It was a stroke of luck that I got to be interviewed by legends such as Padma Bhushan Kalamandalam Ramankutty Nair Ashan, Manakkulam Mukunda Raja, etc.,” he beams.
I never wanted to confine myself to any particular style. The degree of stage time doesn’t matter, what I strive to do is achieve a pinnacle of performance to justify the character, says Sadanam Krishnankutty
It’s been ages since he talked about his childhood. A rare time of nostalgia, he said, smiling. “During the admission process, there was a clause that a student who joins Kathakali should devote seven years to the training process. From that moment, my world shifted,” he says.
Each exhale, each inhale, every thought, all was dedicated and occupied by Kathakali, its rhythm and its colours. “The day usually starts at 2.30am with morning chores, then starts the abhyasams (exercises) for the Kathakali. It doesn’t end there, then comes ‘Kann Saadhakam’ (eye training) followed by other techniques necessary to build up a strong body and mind coordination,” he adds.
For him, the gurukula system of learning nurtured a whole new behavioural pattern. “It made my life more systematic and meaningful. Though it was a gurukula system, a proper syllabus was followed to ensure proper training. The heavy syllabus included Uzhichil, Meyyurappu Adavus, Thodayam, Purappadu, Kalashams and training for the stage, and there was no time for anything else. And there are no regrets,” Krishnankutty said.
“Maybe that is why I was able to perform my Arangettam (debut) as Krishna in ‘Kalyanasaugandhikam Aattakatha’. I got to perform the padam ‘Parithapikkaruthey Paandavanmaarey’ on the stage, and that too on an Ashtamirohini Day at Sadanam Ayyappa Sanketham,” he says. The artiste demonstrates the padam, with his natural charisma. The years of practice evident in his spontaneous rendering.
After years of training under gurus such as Kottakkal Krishnankutty Nair Ashan, Kottakkal Shankaranarayanan Embranthiri Ashan, Thekkinkattil Ravunni Nair Ashan and Padma Shri Keezhpadam Kumaran Nair Ashan, he became part of the Sadanam troupe.
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His Pacha Vesham as Arjuna in Kalakeyavadham and Kathi Vesham as Ravanan in Ravana Bhavam have a separate fan base of their own. “It’s all the result of hard work and training,” he explains. “I never wanted to confine myself to any particular style. The degree of stage time doesn’t matter, what I strive to do is achieve a pinnacle of performance to justify the character,” he adds. In a way, it is this peculiar nature that makes Krishnankutty unique.
However, for the audience, Krishnankutty is at his best as Krishna. He laughs. “I also share an intimacy with the Krishna vesham, especially the Krishna in Kalyanasougandhikam. I am still taken back to my maiden performance...”
“Also, Raman in Pattabhishekam is also close to my heart. Every year, I perform the role at Koodalmanikyam temple, where the main deity is Bharatan. So Pattabhishekam here is a special affair,” he says. As an artiste, he prefers his audience to have some understanding of Kathakali. “It will make the experience more fruitful,” he says.
With Kerala Sangeetha Nataka Akademi Award, Kendra Sangeetha Nataka Akademi Award, Honorary D Litt from Thunchath Ezhuthachan Malayalam University and the Kendra Sangeetha Nataka Akademi Fellowship, Krishnankutty’s performance is lauded across the country, and even abroad. Even at the age of 82, he is still performing. Just a month back, he performed in Hague.
“I cannot imagine a life without Kathakali. It is in my veins and every performance renders a surreal feeling for me. I have huge respect towards other art forms but, I am incomplete without my dearest Kathakali,” signs off the maestro.