Archive for Cultural Politics

Mamankam and Changampally Kalari: Ancient Practices of Healthcare and Martial Arts in Kerala

// February 20th, 2012 // No Comments » // Cultural Politics

Mamankam memorial: Changampally Kalari near Thirunavaya

The healthcare and self defense practices  of Ayurveda and Kalari in Kerala are of Buddhist origin.  They are lasting legacies of Buddhism in Kerala as literacy and the general  intellectual culture. The Avarna communities like Ezhavas constitute the chunk of its practitioners traditionally and even in the present.  Vagbhata and Nagarjuna who developed this indigenous practice of medicine were Buddhist monks who did missionary work in south India.

Pazhuka Mandapam near Navamukunda temple, Thirunavaya on the banks of Nila

Even in 18th century, at the peak of Brahmanical untouchability and exclusion on caste lines, the Dutch appointed an Ezhava medic, Itty Achuthan of Kadakarapally near Cherthala to write the famous Hortus Malabaricus.  Even today one of the ancient Kalaris surviving in Kerala like Cheerapanchira in Alapuzha district, that trained the legendary Ayyappan of Sabarimala, belongs to an Avarna  Ezhava household.

Manikinar: well used to dump the Chaver, Thirunavaya

Changampally Kalari in Thirunavaya in Malapuram district is associated with Mamankam, the martial carnival that settled the succession disputes in ancient Kerala once in every 12 years.  Historians like Velayudhan Panikasery argue that the festival is of Buddhist origin.   Initially it was a great cultural and trade festival of human interaction on the banks of the great Perar or Bharathapuzha just above the ancient port city of Ponnani where trade and passenger ships from across the world anchored in the calm waters of the inland port.

Nilapadu Thara: vantage used by the Konathiries and Zamorins

Anyway the Changampally household was appointed in charge of the Kalari here by the Zamorin of Calicut in the middle ages according to local legends.  The family has converted to Islam in the 18thcentury during the Mysore occupation.  When I visited the Kalari in early February 2012, Mr Jaffar Gurukal who is running an Ayurvedic centre near the ancient Kalari told me that before conversion they were Tulu Brahmans.  This could be an elitist assimilation or fabrication done later under the hegemony of Brahmanical values; as Tulu Brahmans are never identified as traditionally having martial Kalari practice or institutions in Tulunadu or down south. Almost all Kalari households in Tulunadu and Malabar belonged to Sudra and Avarna communities.

Carving in Changampally Kalari

The Changam and Pally words in their house name are marked key words associated with Buddhism.  Changam or Chingam represent Chamana or Amana or Sramana culture as in Chinga Vanam or Changanassery (place names in Kottayam district).  As Sramana culture is inseparable from the month of Chingam and the great secular egalitarian festival of Onam in Kerala, the words Changam/Chingam and Pally/Pilly are also inextricably linked to the Buddhist past of Kerala  that is the foundation of egalitarian culture here, that was erased by Brahmanism after the 8th century.

It is great to see the ancient Kalari shrine and surroundings and the Mamankam sites being preserved by the Government and the people.  An apt museum and interpretation centre that could educate the people on their rich cultural traditions can be an added attraction here.  The road from Thirunavaya to Kuttipuram is also in good condition.  The Nila Park just below the Kuttipuram bridge about which poets like Idassery have written is also luring visitors.  I found a large group of Small Pratincoles on the sandy flats of the river near the park as the sun was setting beyond the river and into the trees.

From Classic to Contemporary Theatre: Usha Ganguly’s Chandalika

// February 16th, 2012 // No Comments » // Cultural Politics

Usha Ganguly’s production of Chandalika by Tagore is brilliant and illuminating.  It was staged in the International Theatre Festival of Kerala 2012 at Thrissur on 5 February 2012.  The Hindi version of the Bengali text by Tagore is sensitively conceived, choreographed and richly presented with the total involvement of trained theatre persons of Rangakarmi from Kolkotha.

Light design, props and costumes are fabulous and apt.  So is casting and percussion music.  The play projects the anti caste and anti Brahmanic human thrust of the story, originally adapted by Tagore from the Buddhist Pali canon.  The Buddhist philosophy of human equality and fraternity are accented in the production.  The interpretation also humanizes Prakriti and her mother considerably.  The mother played by Usha herself is powerful and unforgettable.  The production itself can be compared to her earlier adaptations from Mahasweta Devi in theatre.

Usha Ganguly as the mother in her Chandalika

The play which is a cultural and political statement against untouchability, caste and elitism in India is very much contemporary and relevant in all locations of regional linguistic culture all over the country today, where caste inequality is still on the rise.  It is also remarkable that poets like Asan in Malayalam had also reinvented this tale from the Buddhist lore in early 20thcentury.  Asan’s Chandalabhikshuki deals with the same theme in poetry.  Usha also hinted about the similarity in cultural tradition and identity among the Kerala and Bengaly people.  She was aptly pointing towards the Buddhist past of Kerala and Bengal.

Chandalika at ITFoK, Thrissur, Feb 2012

The play also provides striking parallels to contemporary plays like Molagapody that raises the caste question in present Tamil cultural contexts.  It is also interesting to note that writers like Asan and Tagore began to address the issue of caste and untouchability in early 20th century and even in early 21st century writers like Bama are struggling with worst material conditions of exclusion and naked violence associated with caste and cultural elitism.

It is also hopeful to note that theatre and other cultural forms of writing and performance are addressing and focusing on this ancient curse of India in a concerted way.  Let us also hope that cultural politics and artistic creativity and imagination could do some transformation and emancipation in the socio cultural realm through such expressive and imaginative ventures.