Article by Padmanabha

[tscii]Kamsa sent his emissary Akrura to Vrindavan. Akrura a true devotee discloses Krishna and Balarama his mission of visit thus:
“Kamsa has bad intention in getting Krishna and Balarama, in Mathura. He has come to know that you are (Krishna) the eighth son of Devaki and hence his enemy. He has arranged a bow festival and has ordered a tusker KUVALAYAPEEDOM (to crush you to death) to be stationed at the entrance of the venue. ….You can reject the invitation of Kamsa” pleaded Akrura.
They are no cowards. They accepted the invitation. Accompanied by Akrura they reached Mathura. As arranged the venue was blocked by Kuvalayapeedom. The mahout signaled to the elephant. Krishna the incarnation of Lord Vishnu, showered blows on it and killed it. The boys pulled out the tusk and marched towards the Palace, and what follows is the slaying of KAMSA.

“Kamsa vadham”, as it is popularly known in histrionics was staged by Krishnendu at Fort Margi recently. Accompanying on the Mizhavu was her husband Dhanaraj.

In a brief interview the couple shared their passion for kootiyattom, the advantages of being in the same field, and how Margi became a turning point in their carrier.

“We do not represent a family of artistes. I was interested in mrudangam. I discontinued the class for my parents could not provide the fee. I joined Kalamandalam and I got admission not for mrudangam but for mizhavu” said Dhanaraj, a native of Ottappalam.
Krishnedu’s father insisted that she should learn Kathakali. “I was interested in bharatanatyam and mohiniyattom. I joined Kalamandalam but was admitted in Kutiyattom” said Krishnendu.
The duo however has no regret and now they feel that destiny have taken them to the right field and the apt centre-Margi.

“The exposure we get here is amazing. The opportunity to stage shows is frequent. The process of learning never stops at Margi. We can devote more time for Choliiyattom. Kalamandalam is time table oriented. We have to concentrate on academic lessons besides our subject of specialization. Kalamanadalam has a syllabus and you cannot overstep the frame work. Margi provides freedom for experimentation. The masters are highly encouraging” they say.

As we all know in Kutiyattom the position of the mizhavu artiste is behind the performer and hence he cannot view the gestures of the artiste, but has to accompany her. This requires tremendous understanding between the performers. It is acquired by practice. “In our case we are free to discuss, share and improvise our performances” they said.

“I would like to perform kaliya mardanam in Nangiarkoothu. We need only few lines from the epics upon which we can build the entire show. Great connoisseurs of kootiyattom some times provide the thread and we work and improvise on it. Our project is Jaydeva’s Ashtapadhi” disclosed Krishendu.