16. Krishnanattam (dance of Krishna)

Krsnanattam (dance of Krsna) was started by King Manaveda of Kozhikode in 17th century A.D. Theme of this attam is the story of Krsna as narrated in Krsna Giti written by him in Sanskrit language. Eight nights are required for the completion of this attam. Some people believe that Astapadiyattam (Gitagovinda) was the source of inspiration for Manaveda 53 in the making of Krsnanattam. It remains as a single troupe drama which was originally attached to the samutiri kings of Kozhikode. At Guruvayur temple the Samuthiri kings appointed a group of 54 Krsnanattam artists giving free food and accommodation. Later this play group came under the patronage of Guruvayur devasvam (temple administration). During the reign of the Samutiris, this art form was performed only in temples, Kovilakams and house of Bhrahmanas especially inside the Kingdom of Samutiri. Only the Namputiri, Nambisan, Sharodi, Marar, Vellodi, and Nair castes were allowed to learn this attam. Ladies do not perform in this art. This group is usually busy throughout the year, touring and giving performances on invitation in temples, Once a year during the Vijayadasami festival, the eight plays are performed at Guruvayur as a complete cycle from Avatara to Svargarohanam. Unlike 55

202 Kathakali, Krsnanatam was taught at the only kalari at Guruvayur. Teacher of these Kalari is known as 'Asan'. Boys under the age of twelve are given admission to this Kalari. Usually the Kalari practice begins on the first day of Malayalam month of Karkidakam (July-August). They practice the training of movements of eye, body, steps and Mudra. In addition they have to practice music, Kottu (drum), and slokas and padas of Krsnagiti with the thorough knowledge of Raga and Tala. Basic lessons in Sanskrit grammar and literature is a compulsory subject of study." 57 56 Krsnanattam gives more importance to dance than abhinaya or acting. Mudras are used only for the explanation of meaning or bhava of a particular situation. The Vacika of Krsnanattam like that of Kathakali, remains the songs sung behind the curtain. Only the Kerala's special 'Sopana' type of music is used in this art. In the Krsnagiti there are eight parts: Avatara, Kaliyamarddana, Rasakrida, Kamsavadha, Rukmini svayamvara, Banayuddha, Vividavadha and Svargarohana. So the text is also known as 'Krsnanattam'. It is clear that Sanskrit education is essential for the artists and other performers. In the past the viewers of the Krsnanattam were the members of the high class families who had permission to enter the temple premises. But this situation has changed now. However, in order to enjoy the art

203 form the audience must have knowledge in Sanskrit, music, dance, and mudras. 58 Recently this art form is being performed outside the Guruvayur temple also. So it is also in the way of becoming more popular in society. This creates more chances for people to hear Sanskrit songs and to understand the achievements of traditional theatre.