The Death of Bali – part four – another photograph

Bali on Angada’s (his son’s) lap. Bali – Ammannur Madhava Chakyar, Angada – Pothiyil Narayana Chakyar and Sugreeva – Ammanur Kuttan Chakyar. Photo by: Camilla Van Zuylen, Holland(1987).

The Death of Bali – Part three – text of the performance

I wanted to to write a bit about the text and background of Balivadham(Act one of Bhasa’s play Abhisheka Natakam) for a better understanding of the previous posts on ‘The Death of Bali’.

 

Bhasa’s interpretations and characterisations are interesting. After being shot by Rama’s  arrow, Bali and Rama have a dialogue about Dharma – righteousness. No one can escape this scene without melting in their heart for Bali who was selfishly slain by Rama and that too from hiding.

 

Bhasa exposes Rama’s faltering when he is confronted by Bali wanting an explanation why his life was being ended. One finds Rama not being able to give a single reasonable answer to Bali’s questions. Below I have given a translation of the last part of the play from when Bali has been shot by Rama.

 

Brief description of the plot:

Rama(the hero of Ramayana)’s wife Sita has abducted by King Ravana. Rama(who is a prince in exile) sets out to find her along with his younger brother Lakshmana.

 

Mean while, Bali, the mighty monkey King of Kishkintha, the land of the monkeys is challenged to a dual by a demon/magician Dundhubhi. They fight inside a cave for days and nights. Bali’s brother Sugreeva waits for him outside the cave. Dundhubhi, with his magic makes Sugreeva believe that Bali has been defeated and killed. Sugreeva closes the opening of the cave so that Dundhubhi may not escape, goes back to the Kingdom and  takes over the throne and the queen.

 

Bali after killing Dundhubhi, realises that the cave has been shut from outside by his brother. He misunderstands that his beloved brother has tried to cheat him. Enraged he goes back to the kingdom, throws his brother out and regains the throne.

 

Sugreeva flees for his life and lives in hiding. During this time he meets Rama and they make a  deal to help each other by which Rama would kill Bali so that Sugreeva would become King again and then Sugreeva would help to find Rama’s wife. Rama follows Sugreeva to Kishkintha. Sugreeva and Bali engage in a dual during which Rama shoots Bali from a hiding place.

 

Quoting from the text:

Lakshmana: See Bali with his strong arms lies with his body split by the arrow and covered all over with blood. His red eyes are cast downwards as if he is getting ready to go to Yamaloka.

 

Bali, lies unconcious for some time and soon regains conciousess and reads the name ‘Rama’ inscribed on the arrow. The he addresses Sri Rama.

 

Bali: Alas! reputed as you are for your kind and gentle nature and for your righteousness, today you have soiled that reputation by killing me falsely from ambush. O’ noblest of the race of Raghu, you are a hermit wearing Jata(matted hair) and Valka(dress made of tree bark), but your mind and action are not in consonance with the nature of a hermit. When I was engaged in a fight with my brother, it was adharma(wrong, unlawful) on your part to kill me staying hidden behind a tree.

 

Rama: How do you say that killing from ambush is adharma?

 

Bali: What doubt is there about it?

 

Rama: No. it is not adharma. Look, animals are killed by laying nets or snares for them, the man remaining in ambush. You deserve to be killed and you are an animal. So I have punished you remaining hidden at a distance.

 

Bali: Do you think that I deserve to be punished or killed?

 

Rama: What doubt is there?

 

Bali: For what reason?

 

Rama: You have taken a woman as your wife whom you had no right to take.

 

Bali: Among us (monkeys) it is quite right and lawful to take another’s wife.

 

Rama: You are the Emperor of Monkeys with a good sense of Dharma and Adharma. Was it right on your part to behave like ordinary monkeys and take to yourself your brother,s wife?

 

Bali:  In the matter of accepting one’s brother’s wife, Sugriva and I are equally guilty. But you have punished me but Sugreeva is left unpunished.

 

Rama: That is because you deserve to be punished. One does not punish the innocent.

 

Bali: Listen, oh Rama. Sugriva took my wife; I am his elder brother. So if I take his wife, how do I become guilty and punishable?

 

Rama: Because it is never right for an elder brother to take his younger brother’s wife.

 

Bali: I have no reply to make. But by being killed by you I have been freed from all sins.

 

Rama: So be it.

 

Sugreeva: What a painful and pitiable sight! Oh, greatest of monkeys, you used to walk like an elephant and your arms are like the trunks of elephants. My heart seems to break when I now see those arms lying in the dust with their shoulder rings all scattered by the enemy’s arrow.

 

Bali: Sugreeva, this is destiny, fate, wordly dispensation.

 

Tara(Bali’s wife, whom bali and sugreeva ‘take’ from each other)’s voice from backstage – Alas, Alas, His majesty!!

 

Bali: Sugreeva, don’t let the women come here. It is not desirable that they should see me in this condition.

 

Sugreeva: Your highness’s orders will be carried out. Hanuman, see that it is done.

 

Hanuman: As the prince commands.

 

Hanuman exits and re-enetrs bringing Angada (Bali’s son) with him.

 

Hanuman: Angada, this way, this way.

 

Angada: Overcome with sorrow on hearing the news that the Emperor of monkeys is dying, I have come here walking with faltering steps. O’ Hanuman, where is the Emperor lying?

 

Hanuman: Look, there the emperor lies with his heart pierced by an arrow. He lies there like the Crouncha mountain when it was felled and shattered by Lord Subrahmanya’s trident.

 

Angada(going near Bali): O’ Maharaja, you, the noblest of the monkeys, were for long unequalled in strength and prowess and lived enjoying all the pleasure of the world. Oh, great Hero, what a painful sight it is to see you rolling in the dust now, with your mighty limbs deprived of all strength and movement! Are you desirous of going to heaven, throwing away this body torn with the arrow?

 

Bali: Angada, don’t be sorry

Sugreeva, forget all the wrongs that I have done. Now that you going to become the King of Monkeys, give up all anger and bitterness towards me, rule the kingdom according to Dharma and receive him(Angada) who is an ornament to our race.

 

Sugreeva: As the Maharaja commands!

 

Bali: Listen Rama, please forgive us for all our wrongs, considering them only to be the pranks and freaks natural to monkeys.

 

Rama: Yes, I shall do so.

 

Bali: Sugreeva, accept this Hemamala(golden necklace) which is the heirloom of our race.

 

Sugreeva: I am blessed!

 

Bali: Hanuman, get me some water.

 

Hanuman: As your majesty commands.

 

Hanuman makes his exit and then re-enters.

 

Hanuman: Here is water.

 

Bali: (after performing achama, a purification of the body with water)

 

I feel my life ebbing. I see the sacred rivers like the Ganga before me. Divine damsels like Urvashi approach me. Here is the chariot drwan by a thousand divine swans, sent by Yama, the god of Death, to transport me to the heaven of the heroes.

Let it be, here, here I come..

 

Dies

 

All say together: Alas! Alas! Maharaja!!

 

Rama: Alas, Bali is dead and he has attained heaven. Sugreeva, perform his funeral rites.

 

Sugreeva: As the Lord orders, so it will be done.

 

Rama: Lakshmana, perform the coronation ceremony of Sugreeva.

 

Lakshmana: As brother orders, so it will be done.

 

                                                                All exeunt.

The Death of Bali – Part two – Photograph

Guru Ammanur Madhava Chakyar as Bali and his nephew/disciple Ammannur Kuttan Chakyar as Sugreeva in the death scene. Photo by: Camilla Van Zuylen, Holland(1987).

The Death of Bali – Part One

Perhaps my earliest memory of ashaan’s(ashaan is how we address the master the malayalam, in this case Guru Ammannur) performance is that of Balivadham. I remember as a little girl being taken to a Bali vadham performance that went on and on into late night. I clearly remember saying to my mother “.. amma, wake me up when Bali starts to die..” and falling asleep. I also remember that she did wake me up to watch that scene.

In my mind, and in many others’ Bali is synonymous with Ammannur Madhava Chakyar. I am one of those who, blinded with admiration,  would declare that there had probably never been a greater Bali and will probably never be another one like him.

But I say this not merely out of emotion and nostalgia. It is a fact that the potrayal of Bali, specifically the death of Bali is certainly one of Guru Ammannur’s masterpieces.

I am taking the liberty to put an excerpt from my father’s(G.Venu) book – Production of a Play in Kutiyattam – which is based on Balivadham (Act one of Bhasa’s play Abhisheka Natakam).

This is from the foreword written by Ammannur himself:

“I have modified slightly the enactment of Bali’s death. I was emboldened to do this because of the training from Bhagavatar Kunjunni Thampuran of the Royal family of Kodungalloor. I went to Thampuran, who had done deep research in the art of drama, to learn the art strictly according to the principles laid down by Bharatha. I was his student for two years. He taught me also the minute details of climacteric breathing. This particular training took about forty days. The various svasas – the Kshudraka, Tamaka, Cchinna, Mahaan and Urdhvan – are controlled, one after another appropriately to make the death throes realistic. This is the essence of my modification”.

There are several interesting points in this quote that expalin exactly why Ammannur’s Bali was unique. One must note that Ammannur ashaan, after completing his basic training under his uncles in the traditional line, went to Bhagavathar Kunjunni Thampuran for a higher understanding and specialized training in abhinaya(the art of the actor,technique of ,acting) and Natyashastra(the great Indian Treatise Theatre ascribed to Sage Bharatha). Thampuran, a member of the Royal family of Kodungalloor was a great scholar and actors’ trainer. He had an actors’ laboratory in Kodungalloor where he gave specialzed training based on his research to few select performers . He inspired Ammannur to develop the technique of involving breath in abhinaya. They worked intensely on different scenes and particularly the death of Bali. The actual secrets of their collaborative work process was never revealed to another person.

Therefore, after this training Ammannur’s Bali became exclusive. He deviated from the traditional pattern(which was a very bold innovation in his time) and elaborated the death scene. I have strong memories of long death scenes that lasted up to 45 minutes.

After watching Balivadham in England in 1982(the performance presented was an edited version of the original play), Kenneth Rea wrote in ‘The Guardian’ –

“…Chakyar’s death scene in the play Balivadham was unforgettable. When he eased the arrow from his chest, some of the viscera came out too. It was a quiet, agonising death, like an animal fighting to stay alive, one of the bravest and most outrageous pieces of acting I have ever seen. Who else would take 15 minutes to die on stage and get away with it?”.

Will be continued with a photograph…

A short biography of Ammannur

Guru Ammannur Madhva Chakyar (1917-2008 ) can easily be described as ‘The Greatest Kutiyattam performer’ of  the last century.

 

Biography as documented by G.Venu in his Memoirs – Into The World of Kutiyattam With The Legendary Ammannur Madhava Chakyar, published by Natanakairali – Research and Performing Centre for Traditional Arts

 

Family

Guru Ammannur Madhava Chakyar was born into the Ammannnur Chakyar family to Sreedevi Illodamma and Vellarapilli Madassi Manakkal Parameswaran Nambutiri on 13^th May 1917. He passed away on 1^st July, 2008. His wife Parukkutty Nangiaramma survives him.

 

Training, Gurus and first performances

Ammannur Madhava Chakyar was initiated into Kutiyattam at the age of 7 and trained rigorously under his two uncles Ammannur Chachu Chakyar, Ammannur Valiya  Madhava Chakyar and also Kitangur Rama Chakyar.

 

His arangettam(debut performance) was at the age of 11 at the Bhagavathi temple at Thirumandham Kunnu performing the role of Sutradhara in Balacharitam.

At the age of 14, he gave his first performance at the Vadakkumnathan Temple in Trichur performing as Sree Rama in Balivadham.

 

At the age of 16, He had his debut in Prabandha Koothu with the ritual Kuduma vakkal at the Putiya Trikkovil, Chendamangalam.

 

After completing his basic training in the traditional style under his masters, Ammannur Madhava Chakyar went for higher training in Abhinaya and Natyashastra under Bhagavathar Kunjunni Thampuran at the acting laboratory at the Kodungallor Royal family.

 

He also studied Sanskrit language under Vidushi Kochikavu Tampuratty and Vivan Manthitta Nambuthiri.

 

Repertoire highlights

Bali – Balivadham

Ravana – Thoranayudham, Asokavanikankam, Hanumaddutam, Jatayuvadham

Suta, Jatayu – Jatayuvadham

Surpanakha – SurpanakhangamHanuman – Thoranayudham, Ankuliyankam

Dhananjayan – Subhadra Dhananjayam

Bhima, Vidyadhara – Kalyanasaugandhikam

Kapali – Mattavilasam

Vidushaka – Subhadra Dhananjayam, Tapatisamvaranam

Naganandam and all important Prabandha-s in Koothu

 

Attaprakaram-s – acting manuals written for performance(unpublished)

1. Ascharyachudamani –Parnshalankam, Mayasitankam, Ezhamankam
2. Abhisheka Natakam – Hanumaddutam, Samudrataranam
3. Kalyanasaugandhikam
4. Subhandra Dhananjayam – Act 2
5. Nangiar Koothu – Sree Krishna Charitam(revised version)

Positions held

 

1. Kulapati – lifelong at Ammannur Chachu Chakyar Smaraka Gurukulam which he co-founded with G.Venu.
2. Chief Resource person – life long at Natanakairali – Research and Performing Centre for Traditional Arts, Irinjalakuda
3. Visiting Guru at Margi Kutiyattam Vidyalayam, Tiruvananthapuram – 1981-88
4. Visiting Professor, Kerala Kalamandalam, Cheruthuruthy – 1981-82

Performance tours abroad

France(1982,86,2001 )

England(1982,87 )

The Netherlands(1987 )

Switzerland(1987 )

Japan(1988 )

 

Disciples

1. Moozhikulam Kochukuttan Chakyar
2. Ammannur Kuttam Chakyar
3. G.Venu
4. Usha Nangiar
5. Margi Madhu
6. Ammannur Rajaneesh Chakyar
7. Sooraj Nambiar
8. Pothiyil Renjith Chakyar
9. Kapila
10. Aparna Nangiar
11. Saritha.T.R
12. Margi Raman
13. Margi Sajeev Narayanan
14. Potiyil Narayanan
15. Nirmala paniker
16. Tomoe Tara Irino
17. Rathy Nangiar

 Honours/Awards

1. Padmabhushan from Government of India – 2002
2. P.S.John Endowment Award from Ernakulam Press Club – 2002
3. Degree of Doctor of Letters from Kannur University – 2002
4. Citation of UNESCO recognising Kutiyattam – 2001
5. ‘Pattum Valayum’  from Keli and Prithvi Theatre, Mumbai – 1998
6. Peelithirumudi Award from Guruvayur temple – 1997
7. Fellowship from Sangeet Natak Akademi – 1996
8. ‘Veera Sringhala’ from The International Centre for Kutiyattam, Thripunithura – 1994
9. Sree Guruvayoorappan Samman from Guruvayur Temple – 1992
10. ‘Kalidas Samman from Govt. of Madhya Pradesh – 1992
11. Fellowship from Kerala Kalamandalam – 1988
12. ‘Natya Kala Nidhi’ title from Cochin Devaswam Board – 1987
13. Padmashree from Govt. of India – 1982
14. Sangeet Natak Akademi Award – 1979

Film on Ammannur: PAKARNNATTAM – AMMANNUR   THE   ACTOR
1995, 75 Mins
 Documentary on Ammanur Madhava Chakyar, the legendary Koodiyattam actor
Directed by
M R Rajan, C S Venkiteswaran