KOCHI: As the man clad in a white dhoti and gold-border ‘angavastram’ moves his hand with practised ease over a designated area on the floor of the ‘pattuarangu’ of the temple, a beautiful picture of the presiding deity takes form. The artist, the arena, the canvas and the picture are all part of the traditional temple art of Kerala known as Kalamezhuthu. However, despite its demand, the art is dying out as the younger generations are not keen on following in the footsteps of their elders.
For 36-year-old Kadannamanna Srinivasan though, the art is a passion. “My grandfather taught me Kalampattu, while my father taught me Kalamezhuthu,” says Srinivasan, who started learning the art when he was just four years old. Srinivasan, who had his arangettam at age seven, now conducts workshops to popularise the art.
“Although they are a ritual art form, Kalampattu and Kalamezhuthu are more popular in Valluvanad, which includes the Palakkad, Thrissur and Malappuram districts. This expression is infused into the soil of the land where festivals and ‘talapolis’ are held,” Srinivasan says. “The ‘kalams’ that are created are of Goddess Bhadrakali, Lord Ayyappa and Vettakkorumakan.
However, the common ones are that of the Goddess and Lord Ayyappa, since there are more temples with them as the main deity than the ones having Vettakkorumakan. As for precision, deviations are allowed in aspects like the ornaments, he explains. However, when it comes to the expression, the weapons and their positioning, rules have to be followed.
” According to him, Kalamezhuthu is held at the onset of festivals in most of the temples from Palakkad to Ponanni. The art brings to life the gods and goddesses using five colours prepared from natural ingredients. The colours — white, green, black, yellow and red — are made by people specially engaged to create Kalamezhuthu in the temple.
“Rice powder is used to make the white colour, powdered leaves of the Manjadi tree are used for green, turmeric gives yellow, black is obtained by burning rice husks while the red is a mixture of lime and turmeric powder,” says Srinivasan, who was in Ernakulam for a workshop. There are various rules associated with the art. “If Kalamezhuthu is done outside the temple, the drawing begins after the burnt rice husk is spread on the floor coated with cow dung.
The powders are kept ready by the side of the demarcated area and the artists use their fingers to create the picture. No brush or palette is used,” explains Srinivasan. There are significance associated with the five colours.
“The five colours, or panchavarnas, represent the five metals — silver, gold, iron, brass and copper.” As for Kalampattu, the songs are sung in both Malayalam and Chentamizhu, accompanied by the nanduni, a string instrument, chenda and pooja. “Kalabali marks the end of the ceremony.
Soon after, the oracle sweeps the kalam away. The ritual ends with the distribution of powder, which was used to make the kalam, among devotees as a blessing,” he adds. Srinivasan hails from a family that has been engaged in Kalamezhuthu for generations.
His grandfather, Kadannamanna Narayana Kurup, won the 2004 Kerala Folklore Academy Award for Kalampattu..
