The Full Wiki

Mani Madhava Chakyar: Wikis

Advertisements
  

Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles.

Encyclopedia

From Wikipedia, the free encyclopedia

Māni Mādhava Chākyār

Nātyāchārya Vidūshakaratnam
Guru
Māni Mādhava Chākyār
- The Doyen of Kutiyattam and Abhinaya
Born Māni Mādhava Chākyār
February 15, 1899(1899-02-15)
Kozhikode, Kerala,  India
Died January 14, 1990 (aged 90)
Ottappalam, Kerala,  India
Years active 1910-1990
Spouse(s) Smt. P.K Kunjimalu Nangiaramma


Guru Mani Madhava Chakyar ( Māni Mādhava Chākyār, Devanāgarī: माणि माधव चाक्यार्, Malayalam: മാണി മാധവ ചാക്യാര്‍) (15 February 1899 - 14 January 1990) was a celebrated master performance artist[1] and Sanskrit scholar from Kerala, South India, considered to be the greatest Chakyar Koothu and Koodiyattam (ancient Sanskrit drama theatre tradition) artist and authority of modern times.[2][3] He was considered as the authority of Abhinaya (the classical Indian acting style) and Nātyaśāstra.

Known as "the Emperor of Rasa-Abhinaya"[4], he had an exceptional ability to perform Rasa-Abhinaya[5]. His Netrābhinaya[6] was world famous and he had the ability to act only with eyes. He was well versed in all the traditional Koodiyattams and all the prabandhas used in Chakyar Koothu. He was able to explain the concepts, methods and practices of Koodiyattam and Chakyar Koothu in a clear and scientific way. He had an in depth study of Nātyaśāstra of Bharata Muni, as well as ways of acting which were popular in Kerala. His knowledge and mastery over both theory and practice of Koodiyattam were superb. He was a veteran teacher and practitioner of these art forms and Sanskrit.[7]

He was the first one to take Koodiyattam and Chakyar Koothu outside the precincts of the temples of Kerala to all over India and to impart training in Kudiyattam to non-Chakyar disciples including foreigners. He had produced many accomplished disciples in Kutiyattam and other classical arts like Kathakali.[3] He was a Sanskrit scholar of supreme rank and was used to give lectures and talks in Sanskrit.

He is the author of Nātyakalpadrumam - the authoritative encyclopedic treatise on all aspects of Koodiyattam. He was a Fellow of important national art academies like Sangeet Natak Akademi[8] and recipient of coveted titles like "Nātyāchārya", "Vidūshakaratnam" and prestigious Awards like Padma Shri, Sangeet Natak Akademi Award etc.

Contents

Early life and education

Natyacharya Mani Madhava Chakyar in one of his most celebrated roles, as Ravana, at the age of 89, at Tripunithura.
It was one of his last public Koodiyattam performances

Māni Mādhava Chākyār was born on 15 February 1899, in his ancestral home at Thiruvangayoor near Karayad, of Kozhikode district of Kerala. His father was Vishnu Śarma and mother was Savithri Illotamma. He belonged to the Māni family of Chakyars of North Kerala, who for centuries have been the custodians of Koodiyattam - the traditional Sanskrit theatre and Chakyar Koothu - another classical art form based on Sanskrit Champu Kavyas.

He trained in Chakyar Koothu and Koodiyattam in traditional way, under the direct guidance of his uncles who were great scholars and masters of these art forms. They were Guru Māni Parameswara Chakyar, Guru Māni Neelakandha Chakyar and Guru Māni Narayana Chakyar.[3] He belonged to the "Mani" tradition of Koodiyattam and Chakyar Koothu which gives importance to both Rasa-abhinaya and Vachika-abhinaya.

He was a Sanskrit scholar of supreme rank. He used to give lectures in Sanskrit. He studied Alankarashastra, Nātyaśāstra, Vyakarana, Nyaya, Jyotisha, etc. in the traditional way, under great scholars such as Panditaratnam Pazhedathu Sankaran Nampoothiripad. He was the beloved student of one of the greatest Sanskrit scholars of all time His Highness Darsanakalanidhi Rama Varma Parikshith Thampuran (Maharaja of Cochin). He had his higher studies in Nyayashastra and Natya Shastra under him. Mani Madhava Chakyar taught Sanskrit at Balakollasini Sanskrita Pathasala of Killikkurussimangalam.

His first performance (Arangettam) of Koodiyattam was at the age of 14 at Trikkaikkunnu Temple of North Kottayam of Malabar. He used to perform the huge number of Atiyantara koothus of Mani family (the koothus which are assigned to the family from ancient times) in large number of temples stretching entire Malabar to Thrissur. It consist of all devotional ritualistic Koothus and Kudiyattams including Anguliyanka, Mattavilasa Prahasana, Mantranka, Ezhamanka ( seventh act of Ascharyachoodamani) about eight decades continuously in temples of Kerala. It includes ancient Kerala temples such as Matayikkavu Bhagavathi Temple of Kannoor, Taliparamba Rajarajeshwara Temple, Kottiyoor Perumal Temple, Lokanarkavu Temple of Vatakara, Thali (Tali) Siva Temple of Kozhikkode, Thirunavaya Navamukunda temple, Thiruvegappura Sree Mahadeva Temple, Pandamangalam Krishna temple of Kottakkal, Kotakkal Vishwambhara (Shiva) temple, Kallekkulagara Emoor Siva temple, Triprayar Sri Rama temple, Peruvanam Shiva temple of Cherpu, Avittathur Shiva Temple etc. Chakyar won high renown for the artistry of his performance in these temples, as well as in many others.

He married his uncle, Mani Parameshwara Chakyar's daughter, P.K Kunjimalu Nangiaramma, She was a great exponent in lady characters of Kudiyattams and Nangiǎr Kūthu and various Ragas and Shlokas used for the art form. She used to accompany him in the performances.[9 ]

Master of Rasa-Abhinaya

Sringāra Rasa-abhinaya of Guru Māni Mādhava Chākyār.

He is considered as the all time great master of Rasa-abhinaya (enacting sentiments in their perfection) with special reference to Netrābhinaya (enacting sentiments, etc. through the beautiful and masterly movements of eyes only). He was exceptionally well in the field of Satwika-Abhinaya. He is considered as "one of the most wonderful theatre actors of the last century"[10].

He was well known for his roles ( which has importance of Satvika-Abhinaya in Koodiyattams ) like Ravana (Katti vesha), Arjuna (Pacha vesha), Udayana (Pacha vesha), Jeemootavahana (Pazhukka vesha) etc.[11]

His abhinaya of Kailasoddhārana (lifting of Kailasa) and Pārvatī Viraha (separation of Pārvatī),[12][13] enriched with the Netrabinaya and Pakarnnaattam - Abhinaya (actor playing the role of another or more than one character shifting constantly without changing costume), were widely acclaimed.

He was well known for the abhinaya of the slokas like "sikhinishalabham.." of the play Subhadradhananjayam by playing it with mere eyes. He was able to act in detail the Moths falling in and out of the lamp fire by evoking his acclaimed Netrabhinaya, with assigning different rasa's for female moth, male moth and the fire.[14] Guru's Abhinaya of the shloka smaramyavandhyadhipateh sutayah ( स्मराम्यवन्त्यािधपतेः सुतायाः ) from Bhasa's Swapnavasawadattam is also widely acclaimed one.

He was considered a reference to Abhinaya and his ability to perform the same was considered as "perfect" by art critics. His ability to perform Netrābhinaya is considered one of the wonders of the art world, ranking alongside the symphonies of Beethoven.[15]

Noted art critic, renowned scholar of Sanskrit dramaturgy and former director of Samskritaranga- Chennai, Dr. V. Raghavan, had highest regard for the maestro and his Abhinaya[16] -

"Mani Madhava Chakyar when he portrayed Arjuna on the first evening and Ravana on the second, showed himself a master of the expression of the eye".

Kathak maestro Birju Maharaj considered him one of the finest dancers of the millennium[17] -

"He had his own style. He could convey his thoughts through expressions. His eye movement was superb!"

Dr. Vijaya Mehta (Executive Director, National Center for Performing Arts- Bombay, acclaimed Indian theatre personality) about her experience of watching 72 year old Guru's Abhinaya of Parvativiraha as

"(Guru Mani Madhava Chakiar) began playing the dual role of Parvati and Shiva... he sat on a wooden chair...I have never ever seen a Parvati so exquisitely beautiful. I have never seen a Shiva so handsome and so cunning. I sat there and wept as if I were alone in the presence of God. I then realized what theatre was all about — the falsehood of that old man made me arrive at a state where inhibitions and convictions, all became so fluid and beautiful. And this vision has remained with me always"[18] Art critic Stella Kramrisch ( Curator of Indian Art, Philadelphia Museum of Art ), after seeing his Netrābhinaya, described him as

"the greatest eye-wizard of the world."

Famous Bharatanatyam dancer Balasaraswati remarked about the maestro-

"When i say Abhinaya, oh, I can't do the abhinaya like what the great man did here yesterday"

next day after Chakyar's lecture-demonstration at Madras Music Academy in 1973. One of the leading scholars of classical Indian dances, Dr. Kapila Vatsyayan thought[19]

"Mani Madhava Chakyar was the personification of all the greatness of this rich Indian classical art tradition" and "his Netraabhinaya is simply incomparable."

Dramatist Kavalam Narayana Panicker, remarks[20]

"Mani Madhava Chakyar's forte was Satwikabhinaya. Endowed with expressive eyes; that can speak a thousand moods and a countenance that can reflect the range of human emotions in its entirety, Mani Madhava Chakkiar was the master at work" and "The many faces of Mani Madhava Chakyar were indeed the many faces of Kutiyattam. But whatever the costume and whatever the roles, the ability to transform himself from a mere actor to charged character was unique to Mani."

He was known for his extraordinary ability for expressing the NavaRasas (nine Rasas) to its supreme extent and the photos of the same are and being archived in art institutions, academies such as Sangeet Natak Academy of India, and museums all over the world.[12][21]

Other peculiarity of the maestro was his perfectness while reciting the shlokas in corresponding Raagas.[22]

Reforming the art form

Guru Mani Madhava Chakyar and his troop performing Thoranayudham[23] Koodiyattam (1962- Chennai). It was the first ever Koodiyattam performance outside Kerala. Mani Madhava Chakyar as Ravana, Mani Neelakandha Chakyar as Hanuman, Mani Damodara Chakyar as Vibhishana & PK.G Nambiar as Bhata.

He brought Chakyar Koothu and Koodiyattam outside s of Hindu temples.[9 ][24] In 1949 he performed Chakyar Koothu for All India Radio, which created history since that was the first time the art was performed outside Koothambalam. In 1955, under the leadership of the Guru, Kutiyattam was performed outside the temple for the first time[3] in his village Killikkurussimangalam. For performing the art forms outside the temples he faced lot of problems from the hardline Chakyar community.[25] In an interview Guru remembered

"My own people condemned my action (performing Koothu and Kutiyattam outside the precincts of the temples), Once, after I had given performances at Vaikom, they even thought about excommunicating me. I desired that this art should survive the test of time. That was precisely why I ventured outside the temple"[20]

In 1962, under the leadership of Dr. V. Raghavan- noted art and Sanskrit scholar; Sanskrit Ranga of Madrass, invited Guru Mani Madhava Chakyar to perform Kutiyattam in Chennai. Thus for the first time in the history Kutiyattam was performed outside Kerala by his tropue. [26] [27] They presented at Madras on three nights, Kutiyattam scenes from three plays Abhiṣeka, Subhadrādhanañjaya and Nāgānda.[28] The performance of the maestro Maani Maadhava Chakyar made great impact on the people and art critics so that, Kutiyattam and Mani Madhava Chakyar became famous outside Kerala also. People outside Kerala was able to witness the extraordinary talent of the maestro.[11] Then Mani Madhava Chakyar was invited and performed Kutiyattam at various places of North India like New Delhi and Banaras (1964). It made the critic to accept his authority in Rasa Abhinaya, Natyasastra and Kutiyattam.[29]

After Mani Madhava Chakyar's first tour to New Delhi, he was awarded immediately with the Sangeet Natak Akademi Award in 1964 for his contributions to Chakyar Koothu and Kutiyattam, which became the first national recognition to the maestro and the art form. His supremacy in Rasa-abhinaya and Netrabhinaya and Kutiyattam became very famous and attracted lot of people towards the art form.

He performed Kudiyattam all over India and popularized the same. He along with his troop did Koodiyattam performance in places like Madras (1962, 1973 & 1977), Madhura (1962), New Delhi (1964, 1966, 1974, 1979 & 1983), Varanasi (1964 & 1979), Bombay (1973), Ujjain (1982), Bhopal (1987) etc.

The President of India, scholar and philosopher, Sarvepalli Radhakrishnan invited him to perform Kutiyattam at Rashtrapati Bhavan in 1964 and was impressed by the Guru's exceptional acting skill. His Kutiyattam performances, lectures and demonstrations at well known centres like Madras Music Academy in Chennai, International Centre for Kathakali in New Delhi, Experimental theatre in New Delhi and Bombay, National Centre for the Performing Arts in Bombay fetched wide popularity and recognition for his Abhinaya and Kutiyattam.

He choreographed and directed acts of the plays like Kalidasa's Abhijñānaśākuntala, Vikramorvaśīya and Mālavikāgnimitra ; Bhasa's Swapnavāsavadatta[30] and Pancharātra; Harsha's Nagananda for the first time in the history of Koodiyattam. He along with his troupe performed these Kutiyattams all over India.[31]

When his guru, His Highness Darsanakalanidhi Rama Varma Parikshith Thampuran wrote a new Sanskrit champu prabandha called Prahlādacharita and requested senior artists to study and perform the same on the Chakyar Koothu stage, they said it was impossible for them to stage such a new prabandha. Then the guru asked Mani Madhava Chakiar, who was then a comparatively young artist, to try. He agreed and studied a part of the prabandha within one night and performed the same on the next day at Tripunithura - the then capital of Cochin state (1962). The incident made the scholars to accept his mastery over both Sanskrit and the classical art form. After some months, he performed entire Prahlādacharita at the same stage.

He performed Chakyar Koothu and Koodiyattam for All India Radio and Doordarshan for the first time, which helped to attract thousands of listeners to these traditional art forms. It was he who started demonstrations in Kudiyattam to popularise the same.

Teaching

Guru Mani Madhava Chakyar performing Chakyar Koothu

He is considered the greatest guru of Kutiyattam of the modern times, producing many accomplished disciples.[3] He taught Koodiyattam for the first time to a non-Chakyar - Nambiar caste member. He was a Polish student named Maria Christopher Byrski[32] (currently at Department of Indology, Warsaw University), who was then a research student at Banaras Hindu University, came to study the only surviving ancient Sanskrit drama Koodiyattam, from Guru around early 1960s. He stayed at Guru Mani Madhava Chakyar's home and studied Koodiyattam in its traditional Gurukula way. Lot of research scholars came to study the Sanskrit drama from the ultimate exponant of Kutiyattam and Abhinaya Mani Madhava Cakyar. Dr. Farley Richmond (University of Georgia, USA), noted Sanskrit drama scholar also studied about the ancient Sanskrit art form under Mani Madhava Chakyar by staying at his home at Killikkurussimangalam. He had filmed Rasa Abhinaya and Kutiyattam of the maestro.[33] Kamaladevi Chattopadhyay of All-India Handicrafts Board came to Guru Maani Madhava Cakyar's home to do research about the costumes used in Kutiyattam (Ahāryābhinaya) (1967). Indian theatre scholar Goverdhan Panjal (National School of Drama) studied about Koothambalams and Kutiyattam under the Guru (1975).[34]

When Kerala Kalamandalam (a school for the performing arts) was founded by Vallathol Narayana Menon, he invited authority of Rasa-abhinaya, Mani Madhava Chakyar as the master trainer for Rasa-abhinaya to the Kathakali students. Later Kathakali Yogam- Katathandu, Kerala Kalamandalam, PSV Natyasangham- Kottakkal and Gandhi Seva Sadanam Kathakali Academy- Perur used his services as visiting professor of Rasa-abhinaya and taught advanced students in Kathakali and Kutiyattam. [35] [36] [37]

He is known as “the master who gave eyes to Kathakali”. His influence on the classical performing arts of Kerala is famous. Many Koodiyattam, Kathakali, Bharatanatyam and Mohiniyattam artists were trained by this great master.[38][39][40] [41] Kathakali artists including legendary Kalamandalam Krishnan Nair, Guru Kelu Nair, Guru Anand Shivram, Guru Kalamandalam Madhavan, Guru Gopinath, Sadanam Krishnankutty are his disciples.[42][43] [44] [45]

Guru, who was an eminent teacher and performer opened a Gurukulam (training centre) in 1982 for teaching Kutiyattam, Chakyar Koothu, Nangyar Koothu and related art forms at Killikkurussimangalam (Lakkidi).[46][47] After Guru's death it was named as Padmasree Mani Madhava Chakyar Smaraka Gurukulam in memory of the Guru. This institution still keeps its tradition and plays a major role in Kutiyattam teaching, revival and performance. [31]

Guru, who had dedicated his life to Kutiyattam was concerned about the fate of this classical art form. Māni Mādhava Chākyār's conversation with famous Bharatanatyam dancer Rukmini Devi Arundale, when she visited Guru at his residence a year before his death, reflects his anxiety[48]

At least Bharatanatyam is now world famous, with thousands of new votaries. What about Koodiyattam?.....I have done what I can. It has not been easy. One has to sacrifice a lot to learn Koodiyattam. How many persons will be ready for it these days? Will there be an audience capable of imbibing it?

Awards, titles and honours

Guru Mani Madhava Chakyar receiving Central Sangeet Natak Academy Award (New Delhi) from Dr.S Radhakrishnan - the President of India, in 1964. It was the first national recognition to a Koodiyattam-Chakyar Koothu artist.

Mani Madhava Chakyar received many titles, awards and degrees. He is one of the most felicitated artist from Kerala. His first major recognition came from HH Bhattan Thampuran[49] (Bhatta Raja) of Kodungallur Kovilakam Kodungallur_Kovilakam himself at the age of 22. Bhattan Thampuran awarded him with a Mudramothiram (signed ring) (1921). Mani Madhava Chakyar considered this Mudramothiram as the prestigious award that he ever got.[50]

He received the most prestigious sacred Vīrasringhala or Veerashringhala (It’s a kind of Golden Bracelet, given to the greatest artist/scholar of that era) from Taliparamba Rajarajeshwara Temple (1923). He is the youngest one to receive this award, which is being given to the scholars of the supreme rank, only by the unanimous approval of a special body of temple consisting of eminent scholars. Till date no one else has received a Veerashringhala from there after Mani Madhava Chakyar.[51] Another major Vīrasringhalas that he received are; from Valiya Thampuran of Kottakkal Kovilakam (1952), from Urpassikkavu of Thalassery, from His Holiness Jagadguru Shri Shankaracharya of Kanchi Kamakoti Peetham (1961), from Samoothiri Raja of Kozhikkode, given at the eve of Koodiyattam performance at Guruvayur Sree Krishna Temple (1964) and from Tripunithura Kovilakam (1989).

He was honoured with ponnada (a kind of silk cloth given as a gesture of honour and respect) from Maharani (Queen) Of Travancore, presented through Mahakavi Ulloor S. Parameswara Iyer at Vaikom Mahadeva Temple. He was honoured by HH. Rajah of Palakkad with a Keshabharam Kireetam[52] at Hemambika Temple of Kallekkulangara (1962). He has received Gold Medals from Valiya Raja of Katathanadu, Pallikkunnu Bhagavathy Temple of Kannoor, Avittathur (1962), Delhi Experimental theatre (1964) etc.

In 1930, he was awarded the title Nātyāchārya (Guru of Natya) by Kadathanadu Valiya Thampuran (Raja of Kadathanadu). He received the title Vidūshakaratna, again from the Taliparamba Rajarajeshwara Temple (1954) for his excellence in performing “vidūshaka” in Koodiyattams. He was honoured by Fine Arts Society of Kochi by giving the title Anushtanakalapravina.

Government of India conferred Padma Shri (1974) and Emeritus Fellowship (1982) on him. He was conferred by an honorary degree from Banaras Hindu University in 1964.

He has received major National and International Awards and Fellowships such as

He was the first Chakyar Koothu and Koodiyattam artist to receive these.

He has received numerous Honours and Certificates from distinguished institutions and individuals such as Akhila Bharata Sanskrit Sammelan (World Sanskrit Conference) - New Delhi, Samskrita Ranga - Chennai, Fifth World Sanskrit Conference - Banaras, Dr.S. Radhakrishnan, Dr. Vibhuti Narayan Singh ( Maharaja of Kasi ), Satyanarayana Sinha, Bishnu Ram Medhi (Chief Minister of Assam), Sir C.P. Ramaswami Iyer, Maharaja of Kollengode, Vallathol Narayana Menon, Dr. V. Raghavan, Rukmini Devi Arundale, Dr. V.K Narayana Menon, Dr.Kapila Vatsyayan etc. etc.

Even though Guru Mani Madhava Chakkiyar received lot of national recognitions art critics widely believe that he truly deserved a lot more and recognitions came very late.[62][63] RKG (Editor, The Illustrated Weekly, Columnist for Times of India) observes[64],

..I felt angry when I learnt that a great artist like Mani Madhava Chakyar was awarded a mere Padma Shri. A man of his artistic genius and erudition deserved to be decorated with the highest state honour

Publications

Nātyakalpadrumam - the master treatise on Kutiyattam

He has written an authoritative, award winning book (in Malayalam) on Koodiyattam called Nātyakalpadrumam (1975).[65] This work is being used as a reference by scholars and students. Natyakalpadrumam deals with all aspects of Koodiyattam in a scientific and critical manner. This book is considered the encyclopedia of Koodiyattam.[66] It won the prestigious Kerala Sahitya Academi Award (1976).[67] This book is translated into Hindi by Sangeet Natak Akademi of New Delhi.[68] [69] [70]

One of his other book is Matha Vilasam (Mattavilasam 1968), the choreography and play part ( actor's manual - Attaprakara) used in Mattavilasaprahasana Kudiyattam.[71] He wrote the Attaprakaras of Abhijñānaśākuntala, Swapnavāsavadatta, Vikramorvaśīya, Mālavikāgnimitra, Pancharātra and Nagananda (Not published).

His biography (in Malayalam), Mani Madhaveeyam (1999) was published by Department of Cultural Affairs Publications of the Government of Kerala.[72][73] The book gives the picture of astonishing accomplishing and momentous life of the Guru. It gives an excellent account of his struggles and his lifelong devotion towards the art form. The book includes Guru's memoirs of his illustrious stage life spanning about 80 golden years. Book contains a lot of rare photos giving us an insight to maestro's both personal and theatre life.

Guru has written articles in various journals[74][75] and presented number of papers in conferences on various aspects of Koodiyattam, Abhinaya, Raagas, Natyasastra, Chakyar Koothu, Rasābhinaya in Kathakali etc.

Films and documentaries

The Master At Work- A biographical film about Guru Mani Madhava Chakkiar by Sangeet Natak Akademi, New Delhi.

There are several films and documentaries featuring legend Māni Mādhava Chakyar's Rasa-Abhinaya, Koodiyattam performances, illustrious life etc.

  • Mani Madhava Chakyar: The Master at Work ( 1994, Kavalam Narayana Panikar[76], Central Sangeet Natak Academy, New Delhi) is a biographical film on the life and work of Mani Madhava Chakyar.[13][77][78][79] Film shows Movie contains interview with the maestro where he explains the difficulty he had to face from hardliners when he took the traditional art forms outside temple for the first time in 1949. The film contains a session focussed on Rasa abhinaya by the maestro, where he enacts various Rasas.
  • Parvati Viraham: Mani Madhava Chakyar as Ravana (1993, Central Sangeet Natak Academy, New Delhi) features Mani Madhava Chakyar as Ravana in the Pārvatī Viraham (separation of Pārvatī) in Koodiyattam form. Movie shows the famous Pārvatī]] Viraham part of the Ascharyachodamani Kutiyattam, one of the masterpieces of the Guru. It includes the famous Pakarnnattam abhinaya of the maestro.[13]
  • Kutiyattam- Sanskrit Theater of India[84] (Multimedia CD, Farley Richmond (University of Georgia), The University of Michigan Press, USA) contains rare videos of the maestro's Rasa Abhinaya including glimpses of his world famous Netrabhinaya.[85] The CD also contains the audios of recital of Shlokas and play parts by him in his unique unparalleled style.
  • Mani Madhava Chakkiar (English, Classic Films)[87] is a documentary film about the maestro. It shows the famous Abhinaya of the maestro in different Kutiyattams, his Chakyar Koothu performance etc. It also gives a picture of his personal life. A movie directed by Aziz (in Malayalam) about the life of the Guru also stands out.
  • Guru Mani Madhava Chakyar (2009, Krishnan Unni, Govt. of Kerala)[88] is a documentary about the guru. This project by Information and Public Relations Dept. of Govt. of Kerala as part of capturing the eminent personalities in Kerala and to highlight their rich contribution made to the State.[89]
  • Chakyar Koothu performance of the prabandha Prahlādacharita, Prahladacharitham Chakyar Koothu (1986, audio, Harisree Audios, Kerala) gives unique feeling of the maestro's ability in narration and recital. It is unique since he hasn't performed Prahlādacharita after the death of his guru HH Rama Varma Parikshith Thampuran in 1964, except for this recording.

Many of his Koodiyattam, Chakyar Koothu performances, demonstrations, interviews etc. were documented by Doordarshan centres of New Delhi, Bombay, Bhopal, Madras, Thiruvananthapuram etc. and All India Radio and is still being broadcast all over India. Documentation of Guru's Kutiyattam performance by Doordarshan Centre Bombai with English commentary of noted art critic and scholar Dr. V. K Narayana Menon is widely acclaimed one.

Death and legacy

Sruti (August 1991) issue dedicated to Guru Maani Maadhava Chakyar.
The memorial to the Guru at his residence, that marks the spot of his cremation.

Guru Mani Madhava Chakyar died at the age of 91 on 14 January 1990 in a private hospital at Ottappalam due to natural causes. His body was cremated with full honours at his Killikkurussimangalam residence. There is a memorial to the Guru at the spot of his cremation.

His birth and death anniversaries are celebrated by various cultural programmes, commemorative sessions and Kutiyattam festivals by various cultural organizations and institutes.[31][90][91]

He is one of the most felicitated artist from Kerala and was the first recipient of all major awards for Chakyar Koothu and Koodiyattam. Kerala Sangeet Natak Academy's annual Koodiyattam Award is known as Maani Madhava Puraskaram[92] as a tribute to the maestro.

Many of his films are still screened regularly at art theaters across and outside India.[93] Guru's Kutiyattam and Chakyar Koothu performances and other documentaries are broadcast from major Doordarshan and All India Radio stations regularly (Guru himself had initiated performance of these art forms for these media for the first time).

Art and cultural festivals are organized by various associations as a dedication to the Kuddiyattam maestro regularly.[94]

See also

Notes

  1. ^ p. 77, (1982), Cultural News from India, Indian Council for Cultural Relations, Govt. of India, 77
  2. ^ "Spectrum". The Sunday Tribune, 16 April 2006. http://www.tribuneindia.com/2006/20060416/spectrum/main2.htm.  
  3. ^ a b c d e p. 75-76,, Ananda Lal (Editor) (2004), The Oxford Companion to Indian Theatre, Oxford University Press, USA, 75-76, ISBN 9780195644463
  4. ^ Akavur Narayanan, Shatam Jiva Sharadah, Mathrubhumi weekly, March (15-21) 1987, p. 20.
  5. ^ enacting different sentiments in their perfection
  6. ^ enacting different sentiments, etc. through the beautiful and masterly movements of eyes only
  7. ^ On a mission of a cultural sort, "The Hindu", 17 June 2005 [1]
  8. ^ supreme state art academy of Govt. of India
  9. ^ a b p. 28, Shivaji, Bharati (1986), The Art of Mohiniyāttam, Lancer International, 28, ISBN 8170620031
  10. ^ Sruti- India's premier Music and Dance magazine, Chennai, March 2008 [2]
  11. ^ a b Dr. V Raghavan, p.21 Natya, Bharatiya Natya Sangh, 1962.
  12. ^ a b p. 311,, New York Public Library (1990), Bibliographic Guide to Dance 1989, New York Public Library, 1150, ISBN 0816171270
  13. ^ a b c "Films of Sangeet Natak Akademi, New Delhi". http://www.sangeetnatak.com/film.htm.  
  14. ^ Indigenous Sanskrit theatre form, The Hindu, Tuesday, 31 July 2007
  15. ^ ;Dr. V. K Narayana Menon; Illustrated Weekly of India, Vol. XCIX- 37, Oct. 1-7, 1978, New Delhi, India
  16. ^ p.21 Dr. V Raghavan, Natya, Bharatiya Natya Sangh, 1962.
  17. ^ Birju Maharaj- the Kathak maestro on the ten finest dancers he has known[3], rediff.com: The Millennium Special
  18. ^ Theatre is a great lie that gets us to arrive at a great truth- Dr.Vijaya Mehta
  19. ^ Kapila Vatsyayan, Gurupuja, Mathrubhumi weekly, February (11-17) 1990, p. 7.
  20. ^ a b Mani Madhava Chakkyar: The Master at Work, K.N. Panikar, Sangeet Natak Akademi New Delhi, 1994
  21. ^ Kutiyattam: Sanskrit Theatre of India, Asian Theatre Journal - Volume 21, Number 2, Fall 2004, pp. 224-225
  22. ^ p. 157,, Clifford Reis Jones, V. Raghavan (1984), The Wondrous Crest-Jewel in Performance: Text and Translation of the Ascaryacudamani of Śaktibhadra, Oxford University Press, 157
  23. ^ A part of Bhasa's play Abhiṣeka Nataka based on the epic Ramayana.
  24. ^ Sowparnikarts
  25. ^ Akavoor Narayanan,nri.mathrubhumi.com
  26. ^ p. 10, 89 (1963), The Samskrita Ranga Annual, Samskrita Ranga, Madras, 89
  27. ^ p. 240 (1968), Bibliography of the Books, Papers & Other Contributions of Dr. V. Raghavan, New Order Book Co., India, 370
  28. ^ p. 77 (1967), The Samskrita Ranga Annual, Samskrita Ranga, Madras, 77
  29. ^ p. 11, Narayanan, Dr. Akavoor (2006), Vyakthivivekam (Essays), Poorna Publishers, 75, ISBN 8171808581
  30. ^ p. 176 (1987), The Samskrita Ranga Annual, Samskrita Ranga, Madras, 176
  31. ^ a b c "New life for Koodiyattom act". The Hindu, 25 March 2005. http://www.hinduonnet.com/thehindu/fr/2005/03/25/stories/2005032502310300.htm.  
  32. ^ He later became Polish Government Ambassador to India. Now at Warsaw University. He has written numerous articles about Sanskrit drama traditions, and Kutiyattam
  33. ^ "Bowled over by Koodiyattam". The Hindu, 16 December 2006. http://www.hinduonnet.com/thehindu/mp/2006/12/16/stories/2006121601660100.htm.  
  34. ^ "Searching the soul of Indian theatre". New Indian Express, 4 August 2006. http://www.newindpress.com/NewsItems.asp?ID=IEX20060803235248.  
  35. ^ Gurus, Perur Gandhi seva Sadanam
  36. ^ Gandhi Seva Sadan, Kerala tourism board
  37. ^ "The Statesman, 24 July 2006". http://grass-roots.in/cache/index.php/7791.  
  38. ^ Kathakali Sadanam, - Kathakali and Classic Arts Akademy in Ottapalam Taluk, Kerala,india
  39. ^ Events
  40. ^ Interview - Smitha Rajan – A Journey in Mohiniyattam…. by Anu Chellappa
  41. ^ pp.80, K. L. Gupta, Ravi Bhushan, Anurag Gupta (1976). Reference India: Illustrated Biographical Notes on Men & Women of Achievements and Distinctions. Tradesman & Men India.  
  42. ^ http://kerala4u.in/171/the_galaxy_of_gurus Great Gurus
  43. ^ Obituary, Guru Govindan Kutty, Sruti magazine, February 2007
  44. ^ "Abhinaya, his forte". The Hindu, 16 February 2006. http://www.hindu.com/fr/2007/02/16/stories/2007021600800300.htm.  
  45. ^ Kutty, Kalamandalam Govindan (2004). Kathakali: The Dance-Theatre. The Asiatic Society, Kolkata.  
  46. ^ "Training centres of Kerala, Kerala Govt.". http://www.keralatourism.org/Training%20Centres%20of%20Kerala/centre_details.php?id=112.  
  47. ^ Folk Dances Of India- Kerala
  48. ^ P.T. Narendra Menon, Kulapati of Koodiyattam, Sruti- India's premier Music and Dance magazine, August 1990 issue (71), p.27.
  49. ^ greatest Sanskrit scholar of Kerala in this century
  50. ^ K. A. Chandrahasan, In pursuit of excellence (Performing Arts), "The Hindu", Sunday 26 March 1989
  51. ^ Best Namboodiri Site,Namboothiri,nampoothiri,namboothiripad,bhattathiri,bhattathiripad,Brahmin,Veda,Tantra,Kathakali,Koothu,mana,gramam,desam,gothram,thantram,aryan,aryans,veda,vedam,vedic,ellam,illam,Perinchelloor,Kerala,India,Taliparamba,south,indian
  52. ^ Kind of Crown used in Kutiyattam. See the crown in Image:Mani Madhava Chakyar as Ravana.jpg
  53. ^ Sangeet Natak Akademi official list of awardees
  54. ^ Govt. of India, Padma Shree Awardees http://www.india.gov.in/myindia/images/ps_awards.pdf.
  55. ^ official list from Sangeet Natak Akademi
  56. ^ p.156 Malayalam Literary Survey, published by Kēraḷa Sāhitya Akkādami, 1984
  57. ^ Kalidasa Academy, Ujjain http://ujjain.nic.in/kalidasa_academi/kalidasa_samaroh.htm
  58. ^ Sunil Kothari, M.P. Government's cultural awards, Sruti. Issue 31, Apr 1987, p. 4-5 OCLC: 79366285
  59. ^ http://worldcat.org/oclc/79366285&referer=brief_results
  60. ^ Manorama Year Book 1988
  61. ^ about Guruvayurappan Samman
  62. ^ Leela Venkatraman, An index of merit?, "The Hindu", 27 December 1998 [4]
  63. ^ p. 95,, M. Prabha (2000), The Waffle of the Toffs [5], Oxford & IBH, 271, ISBN 8120413598
  64. ^ p. 256, RKG (2000), India : A Nation in Turmoil[6], Vedam Books, New Delhi, ISBN 81-7476-268-X
  65. ^ "Nāṭyakalpadrumam". http://worldcat.org/oclc/44811805&referer=brief_results.  
  66. ^ Ananda Kentish Coomaraswamy and Venkateswarier Subramaniam, "The Sacred and the Secular in India's Performing Arts: Ananda K. Coomaraswamy Centenary Essays"(1980), Ashish Publishers, p. 150.
  67. ^ see section Miscellaneous http://www.dcbooks.com/Kerala.htm
  68. ^ "Books and films". Sangeet Natak Akademi, New Delhi. http://www.accu.or.jp/ich/en/links/O_IND4-more.html.  
  69. ^ "Nāṭyakalpadruma : Kerala kī Kūṭiyāṭṭam nāṭyakalā kī rūparekhā(Hindi) in WorldCat". http://worldcat.org/oclc/44811805&referer=brief_results.  
  70. ^ "Natyakalpadruma (Hindi)". http://catalog.lib.washington.edu:2082/search?/aChakyar,+Mani+Madhava/achakyar+mani+madhava/-3%2C-1%2C0%2CB/frameset&FF=achakyar+mani+madhava&3%2C%2C3.  
  71. ^ Mani Madhava Chakyar 1968
  72. ^ Publications of Dept. of Cultre, Kerala Govt. http://www.kerala.gov.in/dept_culture/books.htm
  73. ^ First published as a series in the Malayalam weekly - Kalakaumudi in 1991
  74. ^ Mani Madhava Chakyar, "The Training Methods of Kudiyattam", Sangeet Natak, (special issue), no. 111-114
  75. ^ 1971."Mani Madhava Chakyar". Kalamandalam Annual. 33-34.
  76. ^ play writer, director, poet and fellow of Sangeet Natak Akademi and former secretary of Kerala Sangeet Natak Akademy
  77. ^ "Asia-Pacific Database on Intangible Cultural Heritage". http://www.accu.or.jp/ich/en/links/O_IND4-more.html.  
  78. ^ Mani Madhava Chakyar the master at work, http://worldcat.org/oclc/70799359&referer=brief_results
  79. ^ "York University Library". http://www.library.yorku.ca/subjectguides/view_item.php?catalog_key=1605522.  
  80. ^ L. Erdman, JSTOR Ethnomusicology, Vol. 27, No. 3 (Sep., 1983), pp. 577-579
  81. ^ "Mani Madhava Chakkiar, British Film Institute". http://ftvdb.bfi.org.uk/sift/individual/210250?view=credit.  
  82. ^ "New York Times, 19 December 2007". http://movies.nytimes.com/movie/157082/Manifestations-of-Shiva/overview.  
  83. ^ "Manifestations of Shiva". http://afifest.studiosystem.com/project.aspx?projectid=71353.  
  84. ^ "Kutiyattam Sanskrit Theater of India, Farley Richmond,University of Michigan Press". http://www.press.umich.edu/titleDetailDesc.do?id=6558.  
  85. ^ Reviews from Amazon.com
  86. ^ Kudiattam (1986)
  87. ^ "Mani Madhava Chakkiar",Classic Films, CS Krishnakumar, IA Iqbal
  88. ^ http://www.keralafilm.com/pdf/idsfk09_list.pdf
  89. ^ "State’s stalwarts captured on screen, The Hindu, 31 March 2008". http://www.hindu.com/2008/03/31/stories/2008033154320600.htm.  
  90. ^ "Nangiarkoothu alive and kicking". The New Indian Express, Kochi, 20 January 2007. http://www.expressindia.com/news/ie/daily/19980810/22251144.html.  
  91. ^ "Honouring ritual arts". The Hindu, 11 March 2002. http://www.thehindu.in/thehindu/lf/2002/03/11/stories/2002031101480200.htm.  
  92. ^ The recognition of Kutiyattam, the Sanskrit theatre form of Kerala, as a remarkable example of the oral less-known art under the spotlight of global attention, and made the world citizen responsible for the protection and promotion of this art
  93. ^ "Gems from the dust". Anjana Rajan, The Hindu, New Delhi, Friday, 19 August 2005. http://www.hindu.com/fr/2005/08/19/stories/2005081901660200.htm.  
  94. ^ "SPIC-MACAY festival". The Indian Express, 10 August 1998. http://www.expressindia.com/news/ie/daily/19980810/22251144.html.  

References and further reading

  • (Malayalam) Dr. Akavoor Narayanan (2006), Vyakthivivekam, Poorna Publishers, 75, ISBN 8171808581

External links

Advertisements


Quotes

Up to date as of January 14, 2010

From Wikiquote

“Eyes, what an eloquent pair he has! He is able to express with them even the slightest difference in the mood”

Guru Mani Madhava Chakyar (Māni Mādhava Chākyār) (15 February 189914 January 1990) was a celebrated master performance artist and Sanskrit scholar from Kerala, India, considered to be the greatest Chakyar Koothu and Kutiyattam (2000 year old Sanskrit theatre tradition) artist and authority of modern times. He was considered as the authority of Abhinaya (Classical Indian acting style) and Nātyaśāstra.

Known as The Emperor of Rasa-Abhinaya, he had an exceptional ability to perform Rasa-Abhinaya- enacting different sentiments in their perfection. His Netrābhinaya- enacting different sentiments, etc. through the beautiful and masterly movements of eyes only, was world famous and he had the ability to act only with eyes.

He took Koodiyattam and Chakyar Koothu outside the precincts of the temples of Kerala to all over India and to impart training in Kudiyattam to non-Chakyar disciples including foreigners. He had produced many accomplished disciples in Kutiyattam and other classical arts like Kathakali. He was a Sanskrit scholar of supreme rank and was used to give lectures and talks in Sanskrit.

He is the author of Nātyakalpadrumam - the authoritative encyclopedic treatise on all aspects of Koodiyattam. He was a Fellow of important national art academies like Sangeet Natak Akademi- supreme state art academy of Govt. of India, and recipient of coveted titles like "Nātyāchārya", "Vidūshakaratnam" and prestigious Awards like Padma Shri, Sangeet Natak Akademi Award etc.

Contents

Sourced

  • “At least Bharatanatyam is now world famous, with thousands of new votaries. What about Koodiyattam?.....I have done what I can. It has not been easy. One has to sacrifice a lot to learn Koodiyattam. How many persons will be ready for it these days? Will there be an audience capable of imbibing it? ”
    -Shri. Māni Mādhava Chākyār to famous Bharatanatyam dancer Rukmini Dev Arundale, while latter visitited Guru at his residence[1]
  • "My own people condemned my action (performing Koothu and Kutiyattam outside the precincts of the temples), Once, after I had given performances at Vaikkom, they even thought about excommunicating me. I desired that this art should survive the test of time. That was precisely why I ventured outside the temple"
    - Guru about the difficulties he had faced from hardliners when he tok Koothu and Kutiyattam outside the temples and performing it for common man.[2]

Abhinaya and Netrābhinaya

Guru Mani Madhava Chakyar as Ravana in Kutiyattam
  • “When i say Abhinaya, oh, I can't do the abhinaya like what the great man did here yesterday”
    - Great Bharatanatyam dancer Balasaraswati next day after Chakyar's lecture-demonstration at Madras Music Academy in 1973.[3]
  • “Mani Madhava Chakyar when he portrayed Arjuna on the first evening and Ravana on the second, showed himself a master of the expression of the eye”
    - Dr. V Raghavan, renowned scholar of Sanskrit dramaturgy, classical Indian dance and music, connoisseur of art and former director of Samskritaranga- Chennai.[4]
  • “Mani Madhava Chakyar was the personification of all the greatness of this rich Indian classical art tradition”
    - Kapila Vatsyayan (leading scholar of classical Indian dance)[5]
  • “He had his own style. He could convey his thoughts through expressions. His eye movement was superb!”
    Birju Maharaj- great Kathak dancer.[6]
  • “the greatest eye-wizard of the world!”
    - Stella Kramrisch - Curator of Indian Art, Philadelphia Museum of Art, USA.[7]
  • “No one is like the Emperor of Abhinaya- Mani Madhava Chakyar, and there won't be any” - Prof. Maria Christopher Byrski (first foreigner disciple of Guru and Kutiyattam), Department of Indology, Warsaw University[8]
  • “his Netraabhinaya is simply incomparable"
    - Kapila Vatsyayan (leading scholar of classical Indian dance)[9]
  • "Mani Madhava Chakyar's forte was Satwikabhinaya. Endowed with expressive eyes; that can speak a thousand moods and a countenance that can reflect the range of human emotions in its entirety, Mani Madhava Chakkiar was the master at work"
    - Mani Madhava Chakkyar: The Master at Work (film)[10]
  • "(Guru Mani Madhava Chakiar) began playing the dual role of Parvati and Shiva...sat on a wooden chair...I have never ever seen a Parvati so exquisitely beautiful. I have never seen a Shiva so handsome and so cunning. I sat there and wept as if I were alone in the presence of God. I then realized what theatre was all about — the falsehood of that old man made me arrive at a state where inhibitions and convictions, all became so fluid and beautiful. And this vision has remained with me always"
    - Dr. Vijaya Mehta (Executive Director, National Center for Performing Arts- Bombay, acclaimed Indian theatre personality) about her experience of watching 72 year old Guru's Abhinaya of Parvativiraha[11]
  • “Eyes, what an eloquent pair he has! He is able to express with them even the slightest difference in the mood”
    - L.S Rajagopalan (noted art critic)[12]
  • “With a few movements of the eye, he could manifest the mountains, the ocean, the rivers, the moonlit valleys, torrential rain, the gait of the swan and the elephant, a tornado, the opening of the lotus flowers and a lot else. To see him do it was to know that he was a non-pareil”
    - P.T. Narendra Menon (noted art critic and poet)[13]
  • “(I got introduced to) the late and great Mani Madhava Cakyar’s King Udayana in Svapnavasavadatta. In what may have been among his last performances on the public stage I was fortunate to see Sri Cakyar, who at an advanced age, literally threw away his walking stick as he entered the stage to become a sprightly royal lover pining away for his beloved Vasavadatta. At his home in Likkadi he demonstrated the nava rasas... Sri Cakyar vividly illustrated to me that kutiyattam acting has the power to transform even the oldest person into the character he portrays”
    - Prof. Farley P. Richmond (Expert on Indian theatre), Department of Theatre and Film Studies, University of Georgia.[14]
  • “His eyes were the unrivaled wonder of Abhinaya”
    - P.T. Narendra Menon (connoisseur of art)[15]
  • “Late Shri. Cakyar, was not just a skilled exponent and a capable teacher of Kutiyattam, his wisdom and depth of knowledge made him worthy of the title "Acharya" ”
    - Dr. Prem Lata Sharma (noted Hindi writer and scholar of Indian arts and literature)[16]
  • “His historic talent was backed up by extraordinary erudition. Behind his wizardry with the eyes lay sustained practice undertaken with devotion and discipline”
    - L.S Rajagopalan (noted art critic)[17]
  • "To Guru Mani Madhava Chakyar, Kutiyattam was more than art, it was life itself"
    - Mani Madhava Chakkyar: The Master at Work (film) - Kavalam N. Panickar[18]
  • “Mani Madhava Chakyar was performing sikhinisalabha... Butterflies fly all around. Some of them fell into the fire below. The anguish was reflected in the actor’s eyes. Ha! There they come out without a burn! What a relief! They came again. The actor continued the performance. Only his eyes move… The audience was spellbound. They did not know that an hour has passed!”
    - About his world famous abhinaya of the shloka shikhinisalabha from Subhadradhananjayam.[19]
  • “Mani Madhava Cakyar with his unfailing urge for complicated , difficult and minute details has enriched the art during the decades of his unparalleled performing life without permitting even an iota of compromise regarding the essentials of traditional style. He has served his Kuladharma ever since his maiden appearance with tireless effort, enthusiasm, perseverance and vigor. He introduced new forms to improve this art form without impairing its tradition. The effectiveness of these innovations which only a genius could visualise and perform has already been proved several times“
    - "The Hindu"[20]

Nātyakalpadrumam

  • “The depth of creativity of the author (Mani Madhava Chakyar) is evident from the introductory Shlokas (hymns in Sanskrit) itself ”
    - Dr. Prem Lata Sharma (noted Hindi writer and scholar of Indian arts and literature)[21]

Awards

  • “This is the first award I received...In fact, I consider this priceless. This was presented to me by Sri. Godavarma Bhattan Thampuran of [Kodungallur (Cranganore) Palace] http://en.wikipedia.org/wiki/Kodungallur_Kovilakam years ago. I was only 22 then. Those were days when Kodungallur used to witness the best assembly of scholars in Sanskrit and the sasthras. Present on that day were several highly learned men and women. The stage was in front of Sringapuram temple. I presented Bhagavad Dooth Prabhantham Koothu. My interpretation of one of the slokas was a little more elaborate than and different from the custom-worn treatment. The audience liked it. In appreciation, Bhattan Thampuran removed this ring from his finger and put it on mine. The spontaneous gesture in recognition of my art naturally is the most precious to me ”
    -Guru Māni Mādhava Chākyār, about his prized possession- the golden ring from the great scholar H.H Bhattan Thampuran [22]
  • “Scholars of Paderevski Foundation who were fortunate enough to have witnessed the fragments of Swapnavāsavadattam as performed by your splendid actors, were unanimous in their praise of the high cultural and aesthetic level of the Koodiyattam. It was a most enjoyable experience and the Paderevski Founadtion is proud to have co-sponsored the appearences of the Theatre in Northern India”
    - Paderewski Foundation (New York) Certificate (New Delhi, 1964) - First International recognition for Kutiyattam and the maestro.
  • “..I felt angry when I learnt that a great artist like Mani Madhava Chakyar was awarded a mere Padma Shri. A man of his artistic genius and erudition deserved to be decorated with the highest state honour”
    - RKG (Editor, The Illustrated Weekly, Columnist for Times of India)[23]
  • “Has the Centre ever considered the merits of a phenomenal Kudiyattam exponent like Mani Madhav Chakkiyar - true genius?”
    - Leela Venkatraman- art critic, The Hindu [24]

Unsourced

  • “for 90 years” - On asking how much years he had studied Kutiyattam. He was 90 years then.

References

  1. P.T. Narendra Menon, Kulapati of Koodiyattam, Sruti- India's premier Music and Dance magazine, August 1990 issue (71), p.27.
  2. Mani Madhava Chakkyar: The Master at Work, K.N. Panikar, Sangeet Natak Akademi New Delhi, 1994
  3. Sruti- India's premier Music and Dance magazine, August 1990 issue (71), p. 17.
  4. p.21 Natya, Bharatiya Natya Sangh, 1962.
  5. Kapila Vatsyayan, Gurupuja, Mathrubhumi weekly, February (11-17) 1990, p. 7.
  6. Birju Maharaj- the Kathak maestro on the ten finest dancers he has known[1], rediff.com: The Millennium Special
  7. p. 299, Das Bhargavinilayam, Mani Madhaveeyam[2](biography of Mani Madhava Chakyar), Department of Cultural Affairs, Government of Kerala, 1999, ISBN 81-86365-78-8
  8. Akavur Narayanan, Shatam Jiva Sharadah, Mathrubhumi weekly, March (15-21) 1987, p. 20.
  9. Kapila Vatsyayan, Gurupuja, Mathrubhumi weekly, February (11-17) 1990, p. 7.
  10. Mani Madhava Chakkyar: The Master at Work, K.N. Panikar, Sangeet Natak Akademi New Delhi, 1994
  11. Theatre is a great lie that gets us to arrive at a great truth- Dr.Vijaya Mehta
  12. L.S Rajagopalan, Mani Madhava Chakyar- A Titan of A Thespian, Sruti- India's premier Music and Dance magazine, August 1990 issue (71), p. 17.
  13. P.T. Narendra Menon, Kulapati of Koodiyattam, Sruti- India's premier Music and Dance magazine, August 1990 issue (71).
  14. www.uga.edu/farleyrichmond/projects/trivandrum%20speech.pdf
  15. P.T. Narendra Menon, Kulapati of Koodiyattam, Sruti- India's premier Music and Dance magazine, August 1990 issue (71).
  16. Nāṭyakalpadruma : Kerala kī Kūṭiyāṭṭam nāṭyakalā kī rūparekhā(Hindi translation), Mani Madhava Chakyar, Dr. Prem Lata Sharma (Ed), Sangeet Natak Akademi New Delhi, 1994
  17. L.S Rajagopalan, Mani Madhava Chakyar- A Titan of A Thespian, Sruti- India's premier Music and Dance magazine, August 1990 issue (71).
  18. Mani Madhava Chakkyar: The Master at Work, K.N. Panikar, Sangeet Natak Akademi New Delhi, 1994
  19. Indigenous Sanskrit theatre form, The Hindu, Tuesday, Jul 31, 2007 [3]
  20. K. A. Chandrahasan, In pursuit of excellence (Performing Arts), "The Hindu", Sunday March 26, 1989
  21. Nāṭyakalpadruma : Kerala kī Kūṭiyāṭṭam nāṭyakalā kī rūparekhā(Hindi translation), Mani Madhava Chakyar, Dr. Prem Lata Sharma (Ed), Sangeet Natak Akademi New Delhi, 1994
  22. K. A. Chandrahasan, In pursuit of excellence (Performing Arts), "The Hindu", Sunday March 26, 1989
  23. RKG, India : A Nation in Turmoil, Vedam Books, New Delhi (2000), ISBN 81-7476-268-X, p. 256 [4]
  24. Leela Venkatraman, An index of merit?, "The Hindu", December 27, 1998 [5]

External links

Wikipedia
Wikipedia has an article about:

Advertisements






Got something to say? Make a comment.
Your name
Your email address
Message