# Ajayan
During an England tour in 1967, Kottakkal Sivaraman, the epitome of female characters in kathakali, received a letter overflowing with admiration. The heartfelt missive came from an ardent spectator who had been enraptured by Sivaraman’s spell-binding. In a peculiar twist, the letter bore the address ‘Ms Sivaraman’.
And in his recently published autobiography, aptly titled ‘Sthrainam’, Sivaraman benevolently absolves the letter’s author of any culpability. He graciously attributes this misclassification to the audience's profound engagement with his artistry, which allowed them to transcend the boundaries of gender and truly perceive the essence of his on-stage personas.
Venerable Kathakali critic late KPS Menon in his authoritative work ‘Kathakali Rangam’ encapsulates eloquently the essence of Sivaraman’s artistry with the profound observation that there is yet to be born a Nalan who can rival Sivaraman’s Damayanti.
Immediately after illustrious artiste Kalamandalam Gopi penned his memoirs in a Malayalam weekly a few years ago, the discerning editor wanted another similar work. Thus came a few chapters of this book. Thirteen years after Sivaraman’s death in 2010 at the age of 74, art critic NP Vijayakrishnan embarked on a poignant journey, curating additional material, gleaned from discussions with Sivaraman’s family, friends and fellow luminaries. This monumental labour culminated in ‘Sthrainam’ that offers an elaborate portrayal of the extraordinary artistic genius of Sivaraman who redefined and elevated the portrayal of female characters in the realm of Kathakali.
In a twist of fate, Kuthannur Karunakara Kurup, the designated performer of a pivotal female character, found himself stranded due to the train’s timely departure. It was in this moment of unforeseen crisis that Sivaraman’s illustrious uncle and revered guru, Vazhenkada Kunju Nair, summoned two members of the troupe to impart hasty instructions to the young Sivaraman regarding the intricate nuances of the character Damayanti. The guru said that in that state of utter perplexity, imparting detailed guidance appeared to be an insurmountable task for him.
Little did anyone present that evening realize that the distinguished audience included the then Vice-President S Radhakrishnan, and the chairman of the Kendra Sangeet Natak Akademi and Prime Minister of India, Pandit Jawaharlal Nehru himself. To their collective astonishment, the diminutive figure of Sivaraman took to the stage and delivered a mesmerizing performance that left the audience spellbound. From that pivotal moment, the annals of Kathakali were irrevocably altered, and the name Kottakkal Sivaraman would go down in history as a legend in the making.
Born into hard times, Sivaraman’s mother decided to contact her brother Vazhengada Kunju Nair, a Kathakali teacher at PSV Kottakkal, who readily agreed to take him as a student. For the mother, it was a blessing as her child would be assured of proper meals which she could not afford.
Born into adversity, Sivaraman’s mother made a fateful decision, reaching out to her brother the venerable Vazhenkada Kunju Nair, a distinguished Kathakali maestro at PSV Kottakkal. He readily took over the responsibility of nurturing young Sivaraman’s talent. For the mother, it was nothing more and an assurance of regular meals. A privilege that had been beyond her humble means.
From the fateful day of July 29, 1949, when he embarked on his Kathakali journey under the guidance of his guru, to the poignant moment of July 19, 2010, when he drew his final breath, Kottakkal Sivaraman's life unfolded as an odyssey dedicated to the profound transformation of female characters. These characters, until then relegated to the periphery, found new depths and relevance through his artistry.
With a profound commitment to his craft, Sivaraman delved deep into the essence of each female character he portrayed. He meticulously crafted distinct mannerisms and nuances for every character, and the dynamics of each performance were imbued with unique dimensions, contingent upon his interaction with co-performers.
What set his artistry apart was the gift of improvisation. One of the many instances he recalls is his portrayal of Sairandri in 'Keechakavadham.' In a pivotal scene, Sairandhri is entreated by Keechaka, who assures her that she will never ever experience sorrow in his presence, a vow her five husbands had never uttered. Sivaraman opted for a subtly softer approach while confronting Keechaka. This artistic choice, initially met with skepticism and criticism, but ultimately emerged as a groundbreaking innovation perpetuated in Kathakali to this day.
Sivaraman humbly concedes that mastering the intricate nuances of rhythm was a formidable challenge. The role of a teacher, it seems, was not one he felt comfortable with, and formal instruction was a path he did venture down, Nevertheless, it is a testament of his unparalleled talent that his portrayals of female characters remain the benchmark excellence and are often emulated by aspiring artistes.
His performances exuded an ineffable grace, and expressions held everyone in the audience in rapt attention. It is no wonder then that Kathakali connoisseurs distinguish the era into two distinct epochs: pre and post-Sivaraman eras.
An embodiment of modesty that Sivaraman was, he disclosed a remarkable facet of his character. He shunned the use of the first person pronoun ‘I’, deeming the notion of self as insignificant. Instead, he adopted the moniker ‘Sivaraman’ when referring to himself. Within the pages, a compelling narrative emerges of his profound dedication and unwavering devotion to his guru.
Equally resolute in his convictions, Sivaraman had the opportunity to assume the role of a teacher at the renowned Kalamandalam, on not one but two separate occasions. And, he chose to decline both offers. During the second interview, he arrived at the hallowed institution early in the day. Hours elapsed and as the sun began dipping beneath the horizon, he was summoned before a distinguished panel of luminaries, some of who he had shared the stage with on various occasions. The panel requested him to enact a scene from Kalakeyavadhom. In an act of unyielding humility, Sivaraman explained that given their intimate familiarity with his repertoire, he felt it unnecessary to perform. Instead he respectfully proposed that if allowed to leave, he could catch the last bus to his hometown.
nd was called by the board late in the evening and asked to enact a scene by the panel which had stalwarts with who he had performed several times. He told them that since they knew what he knew, he said that he would not perform and if allowed to go could get the last bus to his hometown.
In another instance, Sivaraman’s name was included in the list of Kalamandalam artistes slated to embark on an international tour. However, he was asked to relinquish his cherished identity as Kottakkal Sivaraman for adopting the title of Kalamandalam Sivaraman. But Sivaraman was resolute and unwavering and firmly, yet respectfully declined to alter his identity and chose not to be part of the troupe.
Sivaraman, known for his insatiable appetite for literature, cultivated close relationships with many leading writers of his era. Beyond the realm of the arts, he harboured a deep passion for agriculture. At one time, he became enamoured with the sport of bull racing and even became the owner of a pair of oxen. So intense was his enthusiasm that his guru intervened and pronounced an ultimatum to choose between the two passions. Ultimately, he sold his pair of oxen and returned to his guru with renewed commitment to his art form.
The book is a treasure trove of vivid anecdotes chronicling his profound associations and experience while performing alongside luminaries like Vazhenkada Kunju Nair, Pallipuram Gopalan Nair, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty, Kalamandalam Gopi, to name but a few. These tales unfurl a vivid tableau of interactions with revered percussionists, among who legendary Kalamandalam Krishnankutty Poduval takes centrestage, and vocalists, where he lavishes praise upon the incomparable Unnikrishna Kurup.
The artistic alchemy shared between the inimitable duo of Gopi and Sivaraman transcended excellence. Even now, the indelible memory of their poignant performance in Ernakulam, just a few months before Sivaraman’s passing away, and perhaps the last of the duo together, lingers in the collective consciousness.
Sivaraman’s ‘Sthrainam’ stands out as a profound testament to the wellsprings of respect and reverence he held for his mentors, It resonates with unwavering dedication on his artistic odyssey. The narrative is simple with unadorned elegance. The autobiography serves as an enduring source of admiration and a must read.
