The principal singer sings a line once and the second singer repeats it. Then both sing together half of the line and conclude taking Achil[2]. It is said that earlier both the singers used to sing together. Only if the difference of this tradition from Kathakali is understood, a belief in the issue of how the practical aspect of music pervades in both these art forms will occur. Both contain the dual line structure of the practice of Kerala music. This is the same as the structure of Thyani[3] in Kottippadi Seva (worship with singing and drums) sung in front of sanctum sanctorum. The same practice is followed in many folk sings comprising the formation stages of Thyani. Since there is no acting of the meaning of word in Krishnattam, repeating each line once is sufficient. Through that music and its visual commentary, dance, it is the acting of expressions that is formed. The detailed and varied performance using hand signs and sattvika acting is a unique feature of Kathakali only. The evident nature of acting and the intensity of presentation including vayu sthobha[4], which is not seen in any other dance drama of Asia makes Kathakali an unrivalled form of art.
But Krishnattam is an art, which proved that there exists an equally powerful opposite side also to this. This other side is the internal and unrevealed strength of expressions. The relation of the internalization of the master of western theatre, Stanislavsky, to the meditation method of Zen Buddhism is well known. In Kathakali, for the integral presentation of Angika and Sattvika acting, each step of the line should be sung separately by the principal and the second singer and eulogized. That the character of the regional music of Kerala should be preserved in Kathakali song as well is another matter. In Angika acting, to clarify the meaning, the signs have special importance in Kathakali. The few signs used and the presentation of the theme through group choreography goes along with the simplicity of song in Krishnattam. While evaluating an art along with its organic nature, the right function of research is to observe its similarities and contradictions with other arts existing within the geographical limits.
Even though Sri Rama lived in Treta Yuga and Sri Krishna in Dwapara Yuga,
whether this before and after-ness existed for the performance forms
existing in their names in Kerala was a subject of argument for scholars.
But the subject which is more relevant than that is something else. Maybe
Kuncan Nambiar sung
Among the performances, Krishnattam is auspicious
If Ramanattam starts, defects will occur definitely
based on the experience of his period. Anyway Ramanattam progressed as
Kathakali and became the symbol of the artistic identity of Kerala. As for
Krishnattam, it is being subjected to changes giving rise to doubts whether
it has reached the situation of being unable to maintain the fame heard in
the lines of Kuncan. Even though Krishnattam does not have the ritualistic
nature as much as in Mutiyettu, the belief that the Lord is present in
Krishnattam performance enhances the devotional nature of that art. The
legends of vision of Krishna to Samutiri and his receipt of the peacock
feather from Krishna's crown are famous.
When Kathakali grew beyond the concept of Rama in Ramanattam to include all epical episodes, it became an art movement beyond ritual. In the concept of Krishna in the art scene of Kerala including that in Krishnattam, the influence of devotion is highly prominent. The Ashtapadi which was the source for Krishnattam song, pervaded the dual line structure of Thyani which became popular in Kerala and a part of the repertoire of the Kottippadi Seva during the occasion of worship at any temple irrespective of the idol. That the presentation directed towards God contained in the word Seva was achieved by Manaveda in the construction of Krishnagiti is evident from the structure of Krishnattam song. Beyond this it should be remembered that the elements of the visuals for the stage presentation of Krishnagiti were adapted from Ashtapadiyattam. The essential expression of Sopanam song is devotion. Its purest practical aspect is the essence of Krishnattam. The transformation that may occur due to the mixing of Kathakali in this is not desirable at all.
It is indeed a blow to the devotion inspired identity of this art that today the Kathakali song, Kathakali signs and performance tradition have influenced Krishnattam. It is possible to regain the strength of the olden days by changing the deviation in songs and hence in acting only if the artists try sincerely. It was possible to know that in a manner to realize this, the songs sung and recorded forty years ago have been preserved in Kerala Sangeeta Akademy. I pray to Sri Guruvayurappan not to delay further the effort to regain the lost identity of Krishnattam.
