1 00:00:00,001 --> 00:00:01,700 Welcome to the Deep Dive. 2 00:00:01,700 --> 00:00:05,000 We take your intriguing sources and, well, 3 00:00:05,000 --> 00:00:06,340 we dig in to find the gems. 4 00:00:06,340 --> 00:00:07,340 We certainly do. 5 00:00:07,340 --> 00:00:10,740 And today, thanks to one of you, we're diving 6 00:00:10,740 --> 00:00:12,040 into something really special. 7 00:00:12,040 --> 00:00:16,120 Yeah, Chavitu Natakam, a dramatic opera from Kerala. 8 00:00:16,120 --> 00:00:17,320 Exactly. 9 00:00:17,320 --> 00:00:18,680 And our source, this great article, 10 00:00:18,680 --> 00:00:20,320 gives us a real window into it. 11 00:00:20,320 --> 00:00:22,880 So our mission today is to sort of unpack 12 00:00:22,880 --> 00:00:26,420 this blend of East and West in Chavitu Natakam, right, 13 00:00:26,420 --> 00:00:29,120 and figure out what it means culturally. 14 00:00:29,220 --> 00:00:30,120 Precisely. 15 00:00:30,120 --> 00:00:31,300 It's a fascinating intersection. 16 00:00:31,300 --> 00:00:34,600 OK, because when I hear Kerala and dramatic performance, 17 00:00:34,600 --> 00:00:37,140 my mind immediately goes to Kathakali, 18 00:00:37,140 --> 00:00:38,840 you know, the masks, the makeup. 19 00:00:38,840 --> 00:00:40,780 Sure, that's a common association. 20 00:00:40,780 --> 00:00:42,040 Very powerful form. 21 00:00:42,040 --> 00:00:43,700 But then the article compares this 22 00:00:43,700 --> 00:00:45,540 to Western opera, which is-- 23 00:00:45,540 --> 00:00:46,580 well, it's surprising. 24 00:00:46,580 --> 00:00:47,920 It feels like two different worlds. 25 00:00:47,920 --> 00:00:50,680 It does initially, but that's the core of Chavitu Natakam. 26 00:00:50,680 --> 00:00:51,780 It really is that fusion. 27 00:00:51,780 --> 00:00:53,180 All right, so break it down for us. 28 00:00:53,180 --> 00:00:56,160 For anyone who hasn't heard of it, what is Chavitu Natakam? 29 00:00:56,260 --> 00:00:59,160 Well, it's essentially a musical dance drama. 30 00:00:59,160 --> 00:01:02,060 It popped up in Kerala, mostly among Christian communities 31 00:01:02,060 --> 00:01:03,700 near those old port areas. 32 00:01:03,700 --> 00:01:04,600 Port areas. 33 00:01:04,600 --> 00:01:06,900 So thinking trade routes, foreign influence. 34 00:01:06,900 --> 00:01:08,100 Exactly. 35 00:01:08,100 --> 00:01:10,000 Places with significant Portuguese connection, 36 00:01:10,000 --> 00:01:11,280 historically. 37 00:01:11,280 --> 00:01:14,820 And the name itself, Chavitu, it actually 38 00:01:14,820 --> 00:01:16,680 means steps or stamping. 39 00:01:16,680 --> 00:01:18,620 Ah, so the footwork is important. 40 00:01:18,620 --> 00:01:19,720 Crucial. 41 00:01:19,720 --> 00:01:21,420 The article emphasizes this blend 42 00:01:21,420 --> 00:01:25,360 of Ghana, which is the music, Narita, the dance, 43 00:01:25,460 --> 00:01:26,660 and Nataka, the drama. 44 00:01:26,660 --> 00:01:28,220 So a real triple threat. 45 00:01:28,220 --> 00:01:29,120 Absolutely. 46 00:01:29,120 --> 00:01:30,760 The performers, they sing their parts. 47 00:01:30,760 --> 00:01:32,460 They act out the story, and they dance 48 00:01:32,460 --> 00:01:33,860 all synchronized to the rhythm. 49 00:01:33,860 --> 00:01:34,800 While singing. 50 00:01:34,800 --> 00:01:35,840 Yeah. 51 00:01:35,840 --> 00:01:38,060 And the main instruments setting that rhythm 52 00:01:38,060 --> 00:01:41,180 are the chendita, that's a big, powerful drum, 53 00:01:41,180 --> 00:01:43,440 and the alaflam, which are cymbals. 54 00:01:43,440 --> 00:01:44,980 Gives it a very distinct sound. 55 00:01:44,980 --> 00:01:46,880 That sounds incredibly complex to perform. 56 00:01:46,880 --> 00:01:48,920 And the article mentioned acrobatics, too. 57 00:01:48,920 --> 00:01:49,720 It did. 58 00:01:49,720 --> 00:01:50,520 That's another layer. 59 00:01:50,520 --> 00:01:51,820 Adds a real dynamism to it. 60 00:01:51,820 --> 00:01:54,160 But what was also interesting is how it connects back-- 61 00:01:54,260 --> 00:01:55,380 Back to older traditions. 62 00:01:55,380 --> 00:01:56,580 Right. 63 00:01:56,580 --> 00:01:58,920 It has roots in earlier Kerala folk arts, 64 00:01:58,920 --> 00:02:00,660 like Kooth and Kutiyattam. 65 00:02:00,660 --> 00:02:03,220 And it even follows principles from the Natchisastra. 66 00:02:03,220 --> 00:02:04,660 The Natchisastra. 67 00:02:04,660 --> 00:02:06,600 The ancient text on dramaturgy. 68 00:02:06,600 --> 00:02:07,700 That's the one. 69 00:02:07,700 --> 00:02:09,840 So it's grounded in Indian tradition, 70 00:02:09,840 --> 00:02:11,200 even with the later influences. 71 00:02:11,200 --> 00:02:12,940 OK, so it's both uniquely Keralan 72 00:02:12,940 --> 00:02:16,140 and part of this bigger Indian artistic heritage. 73 00:02:16,140 --> 00:02:18,700 Let's talk more about that east meets west angle. 74 00:02:18,700 --> 00:02:20,980 Kerala's history as a crossroads. 75 00:02:20,980 --> 00:02:22,020 Oh, absolutely central. 76 00:02:22,120 --> 00:02:24,320 You have centuries of interaction there. 77 00:02:24,320 --> 00:02:27,980 Greeks, Romans, traders in the Middle East, China. 78 00:02:27,980 --> 00:02:29,060 A real melting pot. 79 00:02:29,060 --> 00:02:30,220 Definitely. 80 00:02:30,220 --> 00:02:33,520 And then, crucially for Chavatunatakam, 81 00:02:33,520 --> 00:02:34,860 you get the European powers. 82 00:02:34,860 --> 00:02:37,560 Portuguese, Dutch, French, British later on. 83 00:02:37,560 --> 00:02:40,600 But the article highlights the 16th and 17th centuries, right? 84 00:02:40,600 --> 00:02:41,440 With the Portuguese. 85 00:02:41,440 --> 00:02:42,660 Yes. 86 00:02:42,660 --> 00:02:45,300 That seems to be the key period for its formation. 87 00:02:45,300 --> 00:02:47,600 You have educated Christian missionaries arriving, 88 00:02:47,600 --> 00:02:50,240 Jesuits, Augustinians, Dominicans, 89 00:02:50,340 --> 00:02:51,900 often under Portuguese patronage. 90 00:02:51,900 --> 00:02:53,240 And they were influenced by what was 91 00:02:53,240 --> 00:02:54,340 happening in Europe at the time. 92 00:02:54,340 --> 00:02:55,280 Exactly. 93 00:02:55,280 --> 00:02:56,640 Think European Renaissance. 94 00:02:56,640 --> 00:02:59,140 A revival of interest in classical Greek and Roman 95 00:02:59,140 --> 00:03:00,740 culture, drama, art. 96 00:03:00,740 --> 00:03:03,580 So they brought those ideas with them, not just religion. 97 00:03:03,580 --> 00:03:04,780 Correct. 98 00:03:04,780 --> 00:03:05,860 The article mentions they introduced things like the 99 00:03:05,860 --> 00:03:07,660 printing press, European art styles, 100 00:03:07,660 --> 00:03:10,760 Greco-Roman architecture, even Latin organ music. 101 00:03:10,760 --> 00:03:11,720 Wow. 102 00:03:11,720 --> 00:03:13,260 A huge influx. 103 00:03:13,260 --> 00:03:15,220 And crucially, they saw the potential 104 00:03:15,220 --> 00:03:17,240 in the local performance traditions. 105 00:03:17,340 --> 00:03:20,260 Things like Kooth, Kudiatam, Kaliatam. 106 00:03:20,260 --> 00:03:22,080 And they use those existing forms. 107 00:03:22,080 --> 00:03:24,700 Yes, as vehicles to tell biblical stories 108 00:03:24,700 --> 00:03:26,440 or European historical tales. 109 00:03:26,440 --> 00:03:28,540 The big one being the epic of Charlemagne. 110 00:03:28,540 --> 00:03:29,340 Charlemagne. 111 00:03:29,340 --> 00:03:29,940 Really? 112 00:03:29,940 --> 00:03:30,740 In Kerala. 113 00:03:30,740 --> 00:03:31,280 Yep. 114 00:03:31,280 --> 00:03:32,820 Became a major theme. 115 00:03:32,820 --> 00:03:35,320 So the article argues this mixing 116 00:03:35,320 --> 00:03:38,460 indigenous styles, meaning European drama, maybe 117 00:03:38,460 --> 00:03:42,300 early opera ideas, that's what gave birth to Chavitunatakam. 118 00:03:42,300 --> 00:03:44,720 A unique blending, as the article puts it. 119 00:03:44,720 --> 00:03:46,020 That's the phrase. 120 00:03:46,120 --> 00:03:48,060 A synthesis of Indian and European, 121 00:03:48,060 --> 00:03:49,800 Western and Oriental styles. 122 00:03:49,800 --> 00:03:52,500 It makes me think of Gandhara art, that mix 123 00:03:52,500 --> 00:03:54,100 of Greek and Indian styles. 124 00:03:54,100 --> 00:03:56,140 That's a great parallel the article draws, actually. 125 00:03:56,140 --> 00:03:58,540 It helps visualize that kind of fusion. 126 00:03:58,540 --> 00:04:00,740 OK, fascinating historical context. 127 00:04:00,740 --> 00:04:02,440 So let's get into the performance itself, 128 00:04:02,440 --> 00:04:03,520 the key elements. 129 00:04:03,520 --> 00:04:04,580 Music first. 130 00:04:04,580 --> 00:04:05,680 Music is fundamental. 131 00:04:05,680 --> 00:04:07,220 Remember, it's all sung. 132 00:04:07,220 --> 00:04:08,180 No spoken dialogue. 133 00:04:08,180 --> 00:04:09,420 Right. 134 00:04:09,420 --> 00:04:10,780 You mentioned that the actors sing everything live. 135 00:04:10,780 --> 00:04:11,980 Everything. 136 00:04:11,980 --> 00:04:13,760 And the songs composed in what's called Tamil Isai, 137 00:04:13,860 --> 00:04:15,860 the melody tradition, from Tamil music. 138 00:04:15,860 --> 00:04:17,160 Tamil music in Kerala. 139 00:04:17,160 --> 00:04:18,500 Well, yeah. 140 00:04:18,500 --> 00:04:20,740 The article explains that Tamil was quite common in parts 141 00:04:20,740 --> 00:04:23,540 of Kerala, especially coastal and village areas, 142 00:04:23,540 --> 00:04:25,880 up until maybe the late 18th century. 143 00:04:25,880 --> 00:04:27,700 The earliest texts reflect that. 144 00:04:27,700 --> 00:04:29,340 OK, that makes sense. 145 00:04:29,340 --> 00:04:31,320 What are the songs usually about? 146 00:04:31,320 --> 00:04:35,080 Often themes of valor, heroism, fitting those epic stories 147 00:04:35,080 --> 00:04:36,280 like Charlemagne. 148 00:04:36,280 --> 00:04:37,660 There's even a saying mentioned. 149 00:04:37,660 --> 00:04:38,880 Oh, yeah. 150 00:04:38,880 --> 00:04:40,620 That just a four line song from one of these plays 151 00:04:40,620 --> 00:04:43,300 could rejuvenate an old man. 152 00:04:43,400 --> 00:04:44,520 Gives you a sense of the energy. 153 00:04:44,520 --> 00:04:45,320 Huh. 154 00:04:45,320 --> 00:04:46,460 I love that. 155 00:04:46,460 --> 00:04:48,200 And the musical style is mainly Tandava. 156 00:04:48,200 --> 00:04:49,560 Mostly, yes. 157 00:04:49,560 --> 00:04:52,260 Tandava is generally seen as the masculine, strong, vigorous 158 00:04:52,260 --> 00:04:53,200 style. 159 00:04:53,200 --> 00:04:54,640 Think Shiva's dance. 160 00:04:54,640 --> 00:04:57,700 It suits the powerful steps and that booming chenda drum. 161 00:04:57,700 --> 00:05:00,240 Makes sense for battle scenes and heroic entries. 162 00:05:00,240 --> 00:05:01,440 Exactly. 163 00:05:01,440 --> 00:05:02,780 But it's not only that. 164 00:05:02,780 --> 00:05:04,320 The article points out there are softer melodies, too, 165 00:05:04,320 --> 00:05:05,480 in the lazya style. 166 00:05:05,480 --> 00:05:07,280 Lazya, that's more graceful. 167 00:05:07,280 --> 00:05:10,680 Right, more fluid, often associated with parvati, 168 00:05:10,780 --> 00:05:13,500 used for scenes of love, sadness, or devotion. 169 00:05:13,500 --> 00:05:14,700 Provides a nice contrast. 170 00:05:14,700 --> 00:05:17,480 OK, so the music sets the tone, drives the story. 171 00:05:17,480 --> 00:05:20,840 Now those shavitu steps, the footwork. 172 00:05:20,840 --> 00:05:22,540 Yes, the stamping feet. 173 00:05:22,540 --> 00:05:23,880 It's absolutely central. 174 00:05:23,880 --> 00:05:27,120 Actors are scamping rhythmically in time with the drums 175 00:05:27,120 --> 00:05:28,580 while singing and acting. 176 00:05:28,580 --> 00:05:30,920 That coordination sounds immense. 177 00:05:30,920 --> 00:05:32,120 It is. 178 00:05:32,120 --> 00:05:35,260 And like the music, it's mainly Tandava in feel-strong, 179 00:05:35,260 --> 00:05:36,700 definite steps. 180 00:05:36,700 --> 00:05:38,360 But there's lazya in there, too. 181 00:05:38,460 --> 00:05:41,280 For the female characters, who are played by men, right? 182 00:05:41,280 --> 00:05:42,580 Traditionally, yes. 183 00:05:42,580 --> 00:05:44,940 So those characters would use the more graceful, flowing, 184 00:05:44,940 --> 00:05:45,980 lazya steps. 185 00:05:45,980 --> 00:05:47,740 How complex does the footwork get? 186 00:05:47,740 --> 00:05:49,320 Pretty intricate. 187 00:05:49,320 --> 00:05:52,060 The article mentions 12 basic steps, 188 00:05:52,060 --> 00:05:53,660 but they're combined into patterns. 189 00:05:53,660 --> 00:05:57,720 Names like kavatham, kalasam, adakalasam, atantha. 190 00:05:57,720 --> 00:05:58,920 OK. 191 00:05:58,920 --> 00:06:01,400 So kavatham is apparently used for the grand entrance 192 00:06:01,400 --> 00:06:04,360 of a king or a hero, maybe at the start of a court scene. 193 00:06:04,360 --> 00:06:07,340 The article compares it to talana in paratancham. 194 00:06:07,440 --> 00:06:09,260 Ah, OK, so a rhythmic flourish. 195 00:06:09,260 --> 00:06:10,500 Exactly. 196 00:06:10,500 --> 00:06:11,960 Kalsams are described as these vigorous steps 197 00:06:11,960 --> 00:06:13,400 right at the end of a song. 198 00:06:13,400 --> 00:06:15,800 Adakalasams are similar, but happen within a song. 199 00:06:15,800 --> 00:06:17,180 Got it, in the tantantha. 200 00:06:17,180 --> 00:06:19,880 That's described as more flowing, lyrical steps 201 00:06:19,880 --> 00:06:21,740 used for the female characters. 202 00:06:21,740 --> 00:06:23,880 Supposedly resembles mohinyatham, 203 00:06:23,880 --> 00:06:26,840 another carillon classical dance known for its grace. 204 00:06:26,840 --> 00:06:28,920 So a real vocabulary of movement. 205 00:06:28,920 --> 00:06:30,180 Definitely. 206 00:06:30,180 --> 00:06:32,720 And the key thing always is keeping perfect time 207 00:06:32,720 --> 00:06:33,920 with the drum beats. 208 00:06:33,920 --> 00:06:36,220 Every movement on stage is tied to that rhythm. 209 00:06:36,320 --> 00:06:37,660 Incredible discipline. 210 00:06:37,660 --> 00:06:39,200 OK, what about the acting, the nacha? 211 00:06:39,200 --> 00:06:40,460 How does that fit in? 212 00:06:40,460 --> 00:06:42,500 Well, nacha, the dramatic representation, 213 00:06:42,500 --> 00:06:43,940 is crucial too. 214 00:06:43,940 --> 00:06:46,100 Actors use their singing and their gestures 215 00:06:46,100 --> 00:06:48,340 to convey the characters' emotions, 216 00:06:48,340 --> 00:06:50,040 the story's twists and turns. 217 00:06:50,040 --> 00:06:51,540 So it's not just about looking good 218 00:06:51,540 --> 00:06:52,820 while dancing and singing. 219 00:06:52,820 --> 00:06:53,880 No, no. 220 00:06:53,880 --> 00:06:55,580 The emotional storytelling is key. 221 00:06:55,580 --> 00:06:58,120 It's described as quite spontaneous, 222 00:06:58,120 --> 00:07:00,020 happening right there with the singing. 223 00:07:00,020 --> 00:07:01,620 They use mudra's hand gestures. 224 00:07:01,620 --> 00:07:04,320 Like in paratanacham or kathakali? 225 00:07:04,420 --> 00:07:07,220 Yes, but apparently used less extensively 226 00:07:07,220 --> 00:07:09,360 or maybe differently than in those forms. 227 00:07:09,360 --> 00:07:11,060 The expression comes through the whole body, 228 00:07:11,060 --> 00:07:12,600 the voice, the face. 229 00:07:12,600 --> 00:07:15,400 And the themes often involve action, fighting. 230 00:07:15,400 --> 00:07:16,700 You mentioned the kalari connection. 231 00:07:16,700 --> 00:07:17,840 Right, the kalari culture. 232 00:07:17,840 --> 00:07:19,700 Kerala's traditional martial arts training 233 00:07:19,700 --> 00:07:21,040 is a big influence. 234 00:07:21,040 --> 00:07:24,040 So yeah, fighting, hunting, battles are common themes. 235 00:07:24,040 --> 00:07:25,380 Like in the Charlemagne play. 236 00:07:25,380 --> 00:07:26,680 Perfect example. 237 00:07:26,680 --> 00:07:29,480 Reclaiming Jerusalem, battles between knights. 238 00:07:29,480 --> 00:07:31,140 These are performed quite realistically. 239 00:07:31,140 --> 00:07:33,280 Realistically, with weapons. 240 00:07:33,380 --> 00:07:34,780 -Apparently so. -Yeah. 241 00:07:34,780 --> 00:07:37,720 Using actual swords, spears. 242 00:07:37,720 --> 00:07:40,360 Historically, the actors got serious physical training 243 00:07:40,360 --> 00:07:42,520 in Kalaris, learning weapon skills. 244 00:07:42,520 --> 00:07:43,760 Wow. 245 00:07:43,760 --> 00:07:45,220 There's that amazing anecdote in the article 246 00:07:45,220 --> 00:07:47,760 about Prince Fareebra's catching a boiled egg 247 00:07:47,760 --> 00:07:49,660 on the tip of his lance during a performance. 248 00:07:49,660 --> 00:07:50,860 Get out. 249 00:07:50,860 --> 00:07:52,300 That's incredible skill. 250 00:07:52,300 --> 00:07:55,200 Shows the level of dexterity they aimed for, doesn't it? 251 00:07:55,200 --> 00:07:57,600 So the martial element is really embedded in the form. 252 00:07:57,600 --> 00:07:58,800 Clearly. 253 00:07:58,800 --> 00:08:01,940 Okay, instruments we know, the enda and alephalem are core. 254 00:08:01,940 --> 00:08:03,040 Anything else? 255 00:08:03,140 --> 00:08:04,480 Those are primary, yes. 256 00:08:04,480 --> 00:08:06,420 But the article says it's quite flexible. 257 00:08:06,420 --> 00:08:08,680 Other instruments get used, even modern ones. 258 00:08:08,680 --> 00:08:11,720 Sometimes fiddle, flute, clarinet, harmonium 259 00:08:11,720 --> 00:08:12,760 have been incorporated. 260 00:08:12,760 --> 00:08:13,760 Interesting. 261 00:08:13,760 --> 00:08:16,260 And the asan, the master, is on stage. 262 00:08:16,260 --> 00:08:18,120 Yes, guiding the performance. 263 00:08:18,120 --> 00:08:20,120 He uses his own symbol to give cues, 264 00:08:20,120 --> 00:08:21,760 keep the rhythm tight for the actors. 265 00:08:21,760 --> 00:08:23,360 So he's like a conductor on stage. 266 00:08:23,360 --> 00:08:24,600 Kind of, yeah. 267 00:08:24,600 --> 00:08:26,100 And there's also a group of background singers. 268 00:08:26,100 --> 00:08:28,640 They stand nearby with the text, sing chorus parts, 269 00:08:28,640 --> 00:08:30,500 and repeat lines sung by the main actors. 270 00:08:30,500 --> 00:08:32,340 Gives the actors a breather, maybe. 271 00:08:32,440 --> 00:08:33,780 Probably helps, yeah. 272 00:08:33,780 --> 00:08:35,180 Lets them prepare for the next bit 273 00:08:35,180 --> 00:08:37,080 of intense singing and dancing. 274 00:08:37,080 --> 00:08:39,140 Creates a sort of call and response feel, too. 275 00:08:39,140 --> 00:08:41,220 It sounds like a very layered soundscape. 276 00:08:41,220 --> 00:08:43,220 Now, visually, the costumes, the makeup, 277 00:08:43,220 --> 00:08:44,420 Ahariya Abhinaya, right? 278 00:08:44,420 --> 00:08:46,820 Right, Ahariya Abhinaya, the visual aspect. 279 00:08:46,820 --> 00:08:49,920 And the costumes are described as a real highlight, 280 00:08:49,920 --> 00:08:52,600 artistic, rich, elaborate. 281 00:08:52,600 --> 00:08:54,360 Fitting for emperors and knights. 282 00:08:54,360 --> 00:08:55,460 Definitely. 283 00:08:55,460 --> 00:09:00,440 Lots of silk, velvet brocades, pearls, sparkly glass bits. 284 00:09:00,540 --> 00:09:03,840 Trying to evoke medieval European royalty and warriors. 285 00:09:03,840 --> 00:09:05,140 And the soldiers. 286 00:09:05,140 --> 00:09:08,040 They often wear costumes based on Greco-Roman uniforms. 287 00:09:08,040 --> 00:09:10,980 And fascinatingly, things like helmets and crowns 288 00:09:10,980 --> 00:09:13,620 were often made by local village artisans. 289 00:09:13,620 --> 00:09:16,720 Ah, so the community is involved in the production itself. 290 00:09:16,720 --> 00:09:17,820 Seems like it. 291 00:09:17,820 --> 00:09:19,860 The article stresses the realism, too. 292 00:09:19,860 --> 00:09:23,560 No masks like Kathakali, no heavy symbolic makeup. 293 00:09:23,560 --> 00:09:26,520 It aims for a more direct historical representation 294 00:09:26,520 --> 00:09:27,760 through costume. 295 00:09:27,860 --> 00:09:30,460 So visually spectacular, aiming for a kind 296 00:09:30,460 --> 00:09:31,760 of historical opulence. 297 00:09:31,760 --> 00:09:33,460 What about the stories they're telling? 298 00:09:33,460 --> 00:09:35,000 The texts, the chuvadi? 299 00:09:35,000 --> 00:09:36,260 Right, the chuvadi. 300 00:09:36,260 --> 00:09:38,100 Originally, these were written on palm leaves. 301 00:09:38,100 --> 00:09:39,400 Wow, old school. 302 00:09:39,400 --> 00:09:42,100 Yeah, using scripts like Tamil or older forms 303 00:09:42,100 --> 00:09:46,000 like Vatisuthu or Granthakshara, later copied on the paper, 304 00:09:46,000 --> 00:09:47,740 often in Malayalam script. 305 00:09:47,740 --> 00:09:49,580 And the early ones, like Charlemagne, 306 00:09:49,580 --> 00:09:51,320 are considered quite literary. 307 00:09:51,320 --> 00:09:55,620 Yes, the article mentions Charlemagne, Barazines, Genova 308 00:09:55,620 --> 00:09:57,460 as having real literary merit. 309 00:09:57,560 --> 00:10:00,120 Likely from that 16th, 17th century period. 310 00:10:00,120 --> 00:10:03,260 And later texts started mixing Tamil and Malayalam. 311 00:10:03,260 --> 00:10:04,500 Seems so. 312 00:10:04,500 --> 00:10:07,360 Apparently, around 46 different plays have been found, roughly. 313 00:10:07,360 --> 00:10:09,500 But there are issues with different versions. 314 00:10:09,500 --> 00:10:10,760 Pirated works? 315 00:10:10,760 --> 00:10:13,160 Yeah, because the masters, the assins, 316 00:10:13,160 --> 00:10:14,940 guarded the manuscripts really closely. 317 00:10:14,940 --> 00:10:17,880 So you get variations, maybe unauthorized copies. 318 00:10:17,880 --> 00:10:20,600 Like four different versions of Charlemagne exist. 319 00:10:20,600 --> 00:10:23,180 That makes preserving the original tricky. 320 00:10:23,180 --> 00:10:24,820 Who actually wrote these early plays? 321 00:10:24,820 --> 00:10:26,280 Mostly anonymous, it seems. 322 00:10:26,380 --> 00:10:29,340 Often credited to names like Chekthachan, Servant of Jesus, 323 00:10:29,340 --> 00:10:31,240 or Mariyathachan, Servant of Mary. 324 00:10:31,240 --> 00:10:33,080 Which points back to the missionaries again. 325 00:10:33,080 --> 00:10:35,580 Strongly suggests missionary involvement in the creation. 326 00:10:35,580 --> 00:10:36,720 Yeah. 327 00:10:36,720 --> 00:10:38,280 Blending their stories with the local performance 328 00:10:38,280 --> 00:10:39,560 styles they encountered. 329 00:10:39,560 --> 00:10:40,960 And we talked about the Tamil language 330 00:10:40,960 --> 00:10:42,120 being common back then. 331 00:10:42,120 --> 00:10:44,620 But it's a challenge now for Malayalam speakers. 332 00:10:44,620 --> 00:10:45,460 It is. 333 00:10:45,460 --> 00:10:46,860 That's one of the issues today. 334 00:10:46,860 --> 00:10:49,560 So there are efforts to translate the texts, 335 00:10:49,560 --> 00:10:50,660 make them accessible. 336 00:10:50,660 --> 00:10:53,300 And also introduce new stories, Indian themes. 337 00:10:53,300 --> 00:10:54,600 Exactly. 338 00:10:54,700 --> 00:10:57,600 And make them a repertoire beyond the traditional European 339 00:10:57,600 --> 00:10:58,800 or biblical narratives. 340 00:10:58,800 --> 00:11:00,500 OK, let's circle back to Charlemagne. 341 00:11:00,500 --> 00:11:01,940 It sounds like the defining play. 342 00:11:01,940 --> 00:11:03,480 It really seems to be. 343 00:11:03,480 --> 00:11:05,840 The article calls it the first and most elaborate. 344 00:11:05,840 --> 00:11:09,840 Originally took 15 days to perform, with like 80 actors. 345 00:11:09,840 --> 00:11:10,940 15 days? 346 00:11:10,940 --> 00:11:11,780 Good grief. 347 00:11:11,780 --> 00:11:12,580 Yeah. 348 00:11:12,580 --> 00:11:13,720 Huge scale. 349 00:11:13,720 --> 00:11:17,020 Praise for its poetry, heroic scope, drama, 350 00:11:17,020 --> 00:11:18,620 strong characters. 351 00:11:18,620 --> 00:11:20,560 Based on Italian classics, especially 352 00:11:20,560 --> 00:11:22,500 Arioster's Orlando Furioso. 353 00:11:22,500 --> 00:11:23,760 Right, the epic poem. 354 00:11:23,860 --> 00:11:25,760 So it's about Charlemagne becoming 355 00:11:25,760 --> 00:11:27,800 Holy Roman Emperor, defending Europe, 356 00:11:27,800 --> 00:11:29,940 his 12 knights, the paladins, including Roland. 357 00:11:29,940 --> 00:11:31,340 Roland, or Orlando. 358 00:11:31,340 --> 00:11:32,440 Exactly. 359 00:11:32,440 --> 00:11:34,500 And interestingly, the play often 360 00:11:34,500 --> 00:11:36,700 focuses so much on Roland's heroism 361 00:11:36,700 --> 00:11:39,080 that he sometimes overshadows Charlemagne himself. 362 00:11:39,080 --> 00:11:41,980 Like Arjuna in the Mahaparada, the article says. 363 00:11:41,980 --> 00:11:43,420 Yeah, that's the comparison made. 364 00:11:43,420 --> 00:11:46,240 A key hero within the larger epic. 365 00:11:46,240 --> 00:11:50,360 The play even has five parts, starting with Chinnaroldum, 366 00:11:50,360 --> 00:11:52,560 little Roland, about his birth and youth. 367 00:11:52,660 --> 00:11:55,560 Amazing how these stories traveled and transformed. 368 00:11:55,560 --> 00:11:56,600 So who teaches this? 369 00:11:56,600 --> 00:11:57,400 The Asan. 370 00:11:57,400 --> 00:11:59,420 Yes, the Anav-Yura-Asan. 371 00:11:59,420 --> 00:12:01,800 A hugely respected figure in the village. 372 00:12:01,800 --> 00:12:04,000 And they needed incredible expertise. 373 00:12:04,000 --> 00:12:05,040 What kind of skills? 374 00:12:05,040 --> 00:12:06,240 Everything. 375 00:12:06,240 --> 00:12:09,640 Footwork, music, literature, acting, gymnastics, even 376 00:12:09,640 --> 00:12:10,840 weapons training. 377 00:12:10,840 --> 00:12:12,300 A true master of all aspects. 378 00:12:12,300 --> 00:12:14,080 Must be hard to find people like that today. 379 00:12:14,080 --> 00:12:15,780 That's one of the challenges mentioned, yes. 380 00:12:15,780 --> 00:12:18,320 The training itself was traditionally in the Kalaris, 381 00:12:18,320 --> 00:12:19,580 using the Gerukula system. 382 00:12:19,580 --> 00:12:20,680 Living with the master. 383 00:12:20,680 --> 00:12:21,820 Often, yeah. 384 00:12:21,920 --> 00:12:22,820 Very immersive. 385 00:12:22,820 --> 00:12:25,520 Involved preliminary tests, a formal admission ceremony 386 00:12:25,520 --> 00:12:28,260 with offerings, and absolute obedience was demanded. 387 00:12:28,260 --> 00:12:29,360 Sounds intense. 388 00:12:29,360 --> 00:12:30,660 What did the training cover? 389 00:12:30,660 --> 00:12:32,360 Starts with about six months, just 390 00:12:32,360 --> 00:12:35,100 on the steps, basic and complex patterns. 391 00:12:35,100 --> 00:12:38,040 Then initial weapons training, sword, and lands. 392 00:12:38,040 --> 00:12:39,540 And serious physical conditioning. 393 00:12:39,540 --> 00:12:40,900 Historically, yes. 394 00:12:40,900 --> 00:12:44,300 Oil massages, exercises for strength, flexibility. 395 00:12:44,300 --> 00:12:45,940 The Asan would then cast the play, 396 00:12:45,940 --> 00:12:47,580 choosing roles based on ability. 397 00:12:47,580 --> 00:12:49,940 And certain families often got key roles. 398 00:12:49,940 --> 00:12:51,120 Seems that way, yeah. 399 00:12:51,220 --> 00:12:53,720 Important families might play the king, minister, 400 00:12:53,720 --> 00:12:54,880 commandant. 401 00:12:54,880 --> 00:12:57,580 The minister role was apparently highly sought after. 402 00:12:57,580 --> 00:12:58,480 Interesting. 403 00:12:58,480 --> 00:12:59,960 And the rehearsal process. 404 00:12:59,960 --> 00:13:00,600 Chalayatim. 405 00:13:00,600 --> 00:13:01,600 Right. 406 00:13:01,600 --> 00:13:04,000 The Asan recites the songs, explains the meaning, 407 00:13:04,000 --> 00:13:06,460 demonstrates the moves, and the students repeat. 408 00:13:06,460 --> 00:13:09,360 This could take one to three years for a single play. 409 00:13:09,360 --> 00:13:10,140 Years. 410 00:13:10,140 --> 00:13:12,100 Incredible dedication. 411 00:13:12,100 --> 00:13:13,240 Where did they perform? 412 00:13:13,240 --> 00:13:14,500 The stage setup. 413 00:13:14,500 --> 00:13:16,680 Traditionally, outdoors. 414 00:13:16,680 --> 00:13:18,880 In the village maidan, or common ground, 415 00:13:18,980 --> 00:13:22,020 they build a long, raised wooden stage. 416 00:13:22,020 --> 00:13:25,580 Maybe 40, 50 meters long, but not very wide. 417 00:13:25,580 --> 00:13:27,860 And decorated structures at each end, 418 00:13:27,860 --> 00:13:30,820 representing palaces for the opposing sides in the story. 419 00:13:30,820 --> 00:13:31,620 And lighting. 420 00:13:31,620 --> 00:13:32,420 No curtains? 421 00:13:32,420 --> 00:13:33,660 No curtain, usually. 422 00:13:33,660 --> 00:13:36,420 A traditional bell metal lamp lit before a cross. 423 00:13:36,420 --> 00:13:38,720 Doors at the ends for entrance exits. 424 00:13:38,720 --> 00:13:41,200 Maybe a small window for the background musicians. 425 00:13:41,200 --> 00:13:43,540 Lighting was often oil-soaked cloth torches. 426 00:13:43,540 --> 00:13:44,200 Atmosphere. 427 00:13:44,200 --> 00:13:45,040 Must have been. 428 00:13:45,040 --> 00:13:46,300 And setting it all up, funding it 429 00:13:46,300 --> 00:13:48,300 as a community effort, performances 430 00:13:48,400 --> 00:13:50,300 were free, big festification. 431 00:13:50,300 --> 00:13:52,180 Sounds like a major event for the whole village. 432 00:13:52,180 --> 00:13:53,880 What about the performance day itself? 433 00:13:53,880 --> 00:13:55,380 Busy day for the Asan. 434 00:13:55,380 --> 00:13:58,240 Church service with students, getting blessings, 435 00:13:58,240 --> 00:13:59,680 overseeing costume prep. 436 00:13:59,680 --> 00:14:02,220 Then in the evening, the chenda drum 437 00:14:02,220 --> 00:14:03,460 starts making announcements. 438 00:14:03,460 --> 00:14:04,620 Building anticipation. 439 00:14:04,620 --> 00:14:06,060 Right up to the 9 PM start. 440 00:14:06,060 --> 00:14:07,960 Then there's a whole opening ceremony. 441 00:14:07,960 --> 00:14:11,920 Symbols clash, chorus sings prayers, invoking blessings, 442 00:14:11,920 --> 00:14:13,560 thanking the guru, the author. 443 00:14:13,560 --> 00:14:15,240 A proper ritual opening. 444 00:14:15,240 --> 00:14:16,340 Definitely. 445 00:14:16,340 --> 00:14:18,340 Then they sing a summary of the story, the prelude. 446 00:14:18,380 --> 00:14:19,880 Or virudhamula. 447 00:14:19,880 --> 00:14:21,540 This alone could last an hour. 448 00:14:21,540 --> 00:14:22,780 An hour-long summary. 449 00:14:22,780 --> 00:14:23,580 Wow. 450 00:14:23,580 --> 00:14:24,620 Compared to a Greek prologue. 451 00:14:24,620 --> 00:14:26,820 Or the non-- in Sanskrit drama. 452 00:14:26,820 --> 00:14:27,620 Yeah. 453 00:14:27,620 --> 00:14:29,660 Really sets the stage before the main action. 454 00:14:29,660 --> 00:14:31,220 What happens after the prelude? 455 00:14:31,220 --> 00:14:32,560 Couple preliminary scenes. 456 00:14:32,560 --> 00:14:34,860 First, the Thuthi yoga. 457 00:14:34,860 --> 00:14:37,520 Two boys in soldier costumes enter, salute the audience, 458 00:14:37,520 --> 00:14:40,060 respect the Asan, give gift to the costume master. 459 00:14:40,060 --> 00:14:40,960 OK. 460 00:14:40,960 --> 00:14:43,040 Then, Thadaya Dhanseri. 461 00:14:43,040 --> 00:14:45,860 Maybe half a dozen young women doing graceful Lasha steps, 462 00:14:45,960 --> 00:14:48,560 singing prayers, resembles Mohini Atam. 463 00:14:48,560 --> 00:14:50,700 So setting a mood, introducing performers. 464 00:14:50,700 --> 00:14:52,800 And then there's the kathiyan, the jester. 465 00:14:52,800 --> 00:14:53,900 Yes. 466 00:14:53,900 --> 00:14:56,100 He comes on between scenes, provides comic relief, 467 00:14:56,100 --> 00:14:58,580 makes fun, maybe mimics the main actors, 468 00:14:58,580 --> 00:15:00,340 acts as a sort of stagehand too. 469 00:15:00,340 --> 00:15:02,020 And helps the audience follow the story. 470 00:15:02,020 --> 00:15:03,240 Crucially, yes. 471 00:15:03,240 --> 00:15:06,180 He talks with the Anavi, the master, comments on the action, 472 00:15:06,180 --> 00:15:08,880 explains things, a bridge between the play 473 00:15:08,880 --> 00:15:09,860 and the audience. 474 00:15:09,860 --> 00:15:11,520 Very clever device. 475 00:15:11,520 --> 00:15:14,460 Can you describe a typical scene, like a durbar? 476 00:15:14,460 --> 00:15:15,260 Sure. 477 00:15:15,360 --> 00:15:18,360 A durbar or court scene. 478 00:15:18,360 --> 00:15:21,640 The chorus might announce the emperor. 479 00:15:21,640 --> 00:15:24,800 He enters with soldiers, singing his big entrance song, 480 00:15:24,800 --> 00:15:26,580 soldiers doing steps. 481 00:15:26,580 --> 00:15:28,680 Then the minister makes his dramatic entrance, 482 00:15:28,680 --> 00:15:30,740 reports on the kingdom, maybe with soldiers 483 00:15:30,740 --> 00:15:32,240 doing graceful Atantamu. 484 00:15:32,240 --> 00:15:35,020 Creates a sense of grandeur and the war scenes. 485 00:15:35,020 --> 00:15:37,620 Big spectacles, duels, group fights, 486 00:15:37,620 --> 00:15:39,820 sometimes involving dozens of actors. 487 00:15:39,820 --> 00:15:41,260 Ministers usually lead the fights, 488 00:15:41,260 --> 00:15:42,580 not the kings themselves. 489 00:15:42,580 --> 00:15:43,580 Interesting detail. 490 00:15:43,680 --> 00:15:45,960 Lots of shield clanging, challenges, 491 00:15:45,960 --> 00:15:48,560 a specific war cry song, Yudhatharu, 492 00:15:48,560 --> 00:15:50,060 and extended fighting sequences. 493 00:15:50,060 --> 00:15:51,320 Sounds exhausting. 494 00:15:51,320 --> 00:15:52,900 And love scenes too. 495 00:15:52,900 --> 00:15:54,000 Mentioned briefly, yes. 496 00:15:54,000 --> 00:15:55,240 As variety. 497 00:15:55,240 --> 00:15:57,300 Then the whole thing wraps up around dawn with the mongolam. 498 00:15:57,300 --> 00:15:58,400 The closing scene. 499 00:15:58,400 --> 00:15:59,540 Right. 500 00:15:59,540 --> 00:16:01,640 All actors line up, sing a final prayer for the happy ending, 501 00:16:01,640 --> 00:16:02,640 and march off. 502 00:16:02,640 --> 00:16:03,900 Performance over. 503 00:16:03,900 --> 00:16:06,740 What an epic undertaking, night after night for some plays. 504 00:16:06,740 --> 00:16:08,780 It's quite something. 505 00:16:08,780 --> 00:16:10,540 But the article ends on a more somber note, 506 00:16:10,540 --> 00:16:12,980 doesn't it, about its current state? 507 00:16:13,080 --> 00:16:14,420 Unfortunately, yes. 508 00:16:14,420 --> 00:16:17,920 It talks about a real decline, even degeneration. 509 00:16:17,920 --> 00:16:18,760 Why? 510 00:16:18,760 --> 00:16:19,960 What are the problems? 511 00:16:19,960 --> 00:16:21,220 It's a combination of things, really. 512 00:16:21,220 --> 00:16:24,300 Lack of patronage, financial support, 513 00:16:24,300 --> 00:16:27,500 masters passing away, and techniques being forgotten, 514 00:16:27,500 --> 00:16:30,740 texts being unprinted, corrupted over time. 515 00:16:30,740 --> 00:16:34,140 Then there are misguided attempts to modernize it 516 00:16:34,140 --> 00:16:35,840 that lose the essence. 517 00:16:35,840 --> 00:16:39,440 Preliminary scenes getting cut, educated folks maybe not 518 00:16:39,440 --> 00:16:40,740 engaging with it as much. 519 00:16:40,840 --> 00:16:42,740 Socioeconomic issues for performers, too. 520 00:16:42,740 --> 00:16:45,040 Yes, challenges for actors and aizons, 521 00:16:45,040 --> 00:16:48,480 plus competition from movies, TV, other entertainment. 522 00:16:48,480 --> 00:16:50,920 And that language barrier with the old Tamil text 523 00:16:50,920 --> 00:16:52,180 is a real issue. 524 00:16:52,180 --> 00:16:54,020 That's a lot of pressure on a traditional art form. 525 00:16:54,020 --> 00:16:55,360 It sounds quite fragile. 526 00:16:55,360 --> 00:16:57,520 It does seem that way from the article's perspective. 527 00:16:57,520 --> 00:16:59,460 But it doesn't end entirely on a down note. 528 00:16:59,460 --> 00:17:00,300 No. 529 00:17:00,300 --> 00:17:01,900 There are suggestions for improvement. 530 00:17:01,900 --> 00:17:04,660 Yes, quite a few constructive ideas. 531 00:17:04,660 --> 00:17:07,140 Things like holding seminars to bring everyone involved 532 00:17:07,240 --> 00:17:11,600 together, artists, scholars, patrons, 533 00:17:11,600 --> 00:17:14,440 starting a dedicated Chavitunadakam festival. 534 00:17:14,440 --> 00:17:15,980 Showcase the art form. 535 00:17:15,980 --> 00:17:17,220 Exactly. 536 00:17:17,220 --> 00:17:18,940 Forming a study group for proper research, 537 00:17:18,940 --> 00:17:21,320 finding and printing authentic texts, 538 00:17:21,320 --> 00:17:23,180 discouraging harmful modernizations. 539 00:17:23,180 --> 00:17:24,220 Financial support. 540 00:17:24,220 --> 00:17:25,480 Definitely. 541 00:17:25,480 --> 00:17:28,020 Providing grants to groups and teachers. 542 00:17:28,020 --> 00:17:30,960 Also, introducing new plays in Malayalam, 543 00:17:30,960 --> 00:17:33,760 using Indian themes to connect with current audiences. 544 00:17:33,760 --> 00:17:34,560 And training. 545 00:17:34,560 --> 00:17:35,760 A big one. 546 00:17:35,860 --> 00:17:38,600 Establishing a central training school, maybe near Cochin 547 00:17:38,600 --> 00:17:40,740 or even at the Kerala Kalamandalam, the big arts 548 00:17:40,740 --> 00:17:41,540 university. 549 00:17:41,540 --> 00:17:42,340 That makes sense. 550 00:17:42,340 --> 00:17:43,900 Centralize the knowledge. 551 00:17:43,900 --> 00:17:46,280 And generally encouraging government and cultural bodies 552 00:17:46,280 --> 00:17:48,840 to get involved, provide sustained support. 553 00:17:48,840 --> 00:17:50,480 It sounds like a solid plan. 554 00:17:50,480 --> 00:17:52,240 If the will and resources are there, 555 00:17:52,240 --> 00:17:54,540 it really deserves to be preserved and promoted, 556 00:17:54,540 --> 00:17:55,180 doesn't it? 557 00:17:55,180 --> 00:17:56,380 Absolutely. 558 00:17:56,380 --> 00:17:58,280 It's such a unique piece of cultural history, that blend 559 00:17:58,280 --> 00:17:59,460 of influences. 560 00:17:59,460 --> 00:18:01,520 It deserves recognition alongside forms 561 00:18:01,520 --> 00:18:04,460 like Kathakali, both in India and internationally. 562 00:18:04,560 --> 00:18:05,660 It really does. 563 00:18:05,660 --> 00:18:08,400 For me, the big takeaway, the aha moment, 564 00:18:08,400 --> 00:18:11,360 was just realizing how deep and complex 565 00:18:11,360 --> 00:18:13,500 that cultural exchange in Kerala was. 566 00:18:13,500 --> 00:18:17,000 And seeing it embodied so vividly in this art form. 567 00:18:17,000 --> 00:18:19,140 The detail is incredible. 568 00:18:19,140 --> 00:18:20,440 Yeah. 569 00:18:20,440 --> 00:18:22,540 And for me, it's thinking about the resilience needed 570 00:18:22,540 --> 00:18:24,440 to maintain such traditions. 571 00:18:24,440 --> 00:18:28,080 It highlights the importance of actively valuing and supporting 572 00:18:28,080 --> 00:18:30,060 these unique artistic expressions, 573 00:18:30,060 --> 00:18:32,220 especially those that bridge different histories. 574 00:18:32,220 --> 00:18:33,360 That's a powerful point. 575 00:18:33,460 --> 00:18:34,820 And it makes you think, doesn't it? 576 00:18:34,820 --> 00:18:38,020 You, listening right now, think about how cultures mix 577 00:18:38,020 --> 00:18:40,160 and mingle today through globalization. 578 00:18:40,160 --> 00:18:42,160 What new art forms are emerging now 579 00:18:42,160 --> 00:18:43,940 that future generations might look back 580 00:18:43,940 --> 00:18:45,960 on as fascinating fusions? 581 00:18:45,960 --> 00:18:47,400 A great question to ponder. 582 00:18:47,400 --> 00:18:48,640 Indeed. 583 00:18:48,640 --> 00:18:50,180 Well, thank you for joining us on this deep dive 584 00:18:50,180 --> 00:18:52,500 into the amazing world of Chivitunatakam. 585 00:18:52,500 --> 00:18:53,840 A real pleasure. 586 00:18:53,840 --> 00:18:55,880 And if you have a source you think we should explore, 587 00:18:55,880 --> 00:18:56,980 please send it our way. 588 00:18:56,980 --> 00:18:59,920 We're always ready for the next deep dive.