Dating back 2,000 years, koodiyattam is the oldest surviving form of Sanskrit theatre, and modern audiences have the opportunity to discover its rich repertoire and intense drama in Dubai starting today.
The second phase of the International Koodiyattam and Kathakali Festival will also feature the graceful Indian classical dance style of mohiniattam.
To showcase these ancient and highly structured classical performing arts from Kerala, the festival – which for the first time has been split into two parts, with the kathakali (a stylised classical Indian dance-drama) section held in December last year – brings together veteran performers and the new generation of artists who are preserving the legacy.
In addition to the performances, there will be discussions and demonstrations during the eighth edition of the event.
“Lectures and demonstrations for better appreciation of these art forms will precede the main performances on Friday and Saturday,” says Remesan Nambissan, one of the organisers.
The history
Categorised by Unesco as part of the Oral and Intangible Heritage of Humanity, koodiyattam is often considered to be a precursor to the more popular kathakali. It is known for its elaborate costumes, dramatic make-up and highly stylised “abhinaya” or facial expressions and gestures. What sets it apart from kathakali is the extensive use of Sanskrit verses as dialogue and the element of satire.
The performances
An elaborate production of Baalivadham (Slaying of Bali), an act from Abhisheka Natakam by the Indian playwright Bhasa (who is believed to have been active in the fifth century BC), will be performed during the three- day festival. It forms a small episode of the Indian epic Ramayana.
“The essence of koodiyaattam lies in its minute attention to detail of the plot and characters,” says IKFF’s Dilip Raja. “Narrating a tale through this theatre would traditionally take several weeks.”
Staged in three parts, the first two offer detailed portrayals of two protagonists – the Hindu deity Rama and the monkey king Sugreeva.
"Called nirvahanam, these portrayals involve the character conveying to the audience his or her genesis, great exploits and recent events that have brought them to the current situation in the narrative," says Raja.
Day one of the three-day performance will have Shree Raman’s Nirvahanam, where Rama tells of the abduction of his wife, Sita, and his meeting with monkey king Sugreeva. Sooraj Nambiar, one of the promising young faces of this ancient art form, plays the lead role.
Day two is Sugreeva’s nirvahanam, where the monkey king traces the origin of the great clan of monkeys and explains the rivalry between him and his brother Bali. Nambiar takes the stage as Sugreeva as well.
On day three, the main characters come together to play out the act. Bali is the principal character of this performance, which features a fierce duel between him and Sugreeva. The play reaches a climax with Lord Rama’s intervention.
In this exciting third act, leading maestros of koodiyattam will take on the lead roles.
Kalamandalam Rama Chakyar will play Sugreeva. One of the first students of the renowned Indian performing arts centre Kerala Kalamandalam, now a performing arts university, Chakyar is a former head of its koodiyattam department.
The role of valiant Bali will be played by Ammannur Kuttan Chakyar. Born into the famed Chakyar family of Ammannur, he was trained in koodiyattam by the legendary Madhava Chakyar, among others. Having performed in countries such as England, Switzerland, Japan and South Korea, Chakyar has been instrumental in reviving many koodiyattam plays.
Girl power
The festival will also showcase nangiarkoothu, a women-only offshoot of koodiyattam that dates back to the 10th century.
Saritha Krishnakumar, one of the younger practitioners, will take the stage on Friday afternoon to enact a tale from the Hindu deity Krishna’s childhood.
The background
Nambiar and Aparna Nangiar, a koodiyattam artist and Sanskrit scholar, will conduct lectures and demonstrations on Friday and Saturday to explain and illustrate koodiyattam’s history, structure, costumes, the different facets of acting and the unique percussion instruments used.
Mohiniattam
Mohiniattam, which translates as “the dance of the enchantress”, traces its origins to the 16th century. Performed as solo recitals by women, the dance style is characterised by graceful, rhythmic movements accompanied by vocals and instrumental music. It’s trademark off-white and gold costume is as striking as the dance itself.
Leading mohiniattam exponent Neena Prasad will present two styles over two days. The first will be kutcheri, focusing on the traditional mohiniattam repertoire, while the second will be a presentation in thematic mode, incorporating texts by contemporary poets and the dancer’s own thoughts.
Prasad has trained in four Indian classical dance styles – mohiniattam, Bharatanatyam, kuchipudi and kathakali – and runs two dance schools.
She will also be giving lectures and demonstrations, explaining the complex dance structures, the mudras (hand gestures), mohiniattam’s evolution and its lyricism.
• IKKF runs from April 16 to 18 at the Indian Consulate Auditorium in Dubai. Entry is free. Visit www.traditionslive.org for more information
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A foster couple or family must:
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Afcon 2019
SEMI-FINALS
Senegal v Tunisia, 8pm
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Matches are live on BeIN Sports
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Round 1: January 17-19, Yas Marina Circuit – Abu Dhabi
Round 2: January 22-23, Yas Marina Circuit – Abu Dhabi
Round 3: February 7-9, Dubai Autodrome – Dubai
Round 4: February 14-16, Yas Marina Circuit – Abu Dhabi
Round 5: February 25-27, Jeddah Corniche Circuit – Saudi Arabia
Mercer, the investment consulting arm of US services company Marsh & McLennan, expects its wealth division to at least double its assets under management (AUM) in the Middle East as wealth in the region continues to grow despite economic headwinds, a company official said.
Mercer Wealth, which globally has $160 billion in AUM, plans to boost its AUM in the region to $2-$3bn in the next 2-3 years from the present $1bn, said Yasir AbuShaban, a Dubai-based principal with Mercer Wealth.
“Within the next two to three years, we are looking at reaching $2 to $3 billion as a conservative estimate and we do see an opportunity to do so,” said Mr AbuShaban.
Mercer does not directly make investments, but allocates clients’ money they have discretion to, to professional asset managers. They also provide advice to clients.
“We have buying power. We can negotiate on their (client’s) behalf with asset managers to provide them lower fees than they otherwise would have to get on their own,” he added.
Mercer Wealth’s clients include sovereign wealth funds, family offices, and insurance companies among others.
From its office in Dubai, Mercer also looks after Africa, India and Turkey, where they also see opportunity for growth.
Wealth creation in Middle East and Africa (MEA) grew 8.5 per cent to $8.1 trillion last year from $7.5tn in 2015, higher than last year’s global average of 6 per cent and the second-highest growth in a region after Asia-Pacific which grew 9.9 per cent, according to consultancy Boston Consulting Group (BCG). In the region, where wealth grew just 1.9 per cent in 2015 compared with 2014, a pickup in oil prices has helped in wealth generation.
BCG is forecasting MEA wealth will rise to $12tn by 2021, growing at an annual average of 8 per cent.
Drivers of wealth generation in the region will be split evenly between new wealth creation and growth of performance of existing assets, according to BCG.
Another general trend in the region is clients’ looking for a comprehensive approach to investing, according to Mr AbuShaban.
“Institutional investors or some of the families are seeing a slowdown in the available capital they have to invest and in that sense they are looking at optimizing the way they manage their portfolios and making sure they are not investing haphazardly and different parts of their investment are working together,” said Mr AbuShaban.
Some clients also have a higher appetite for risk, given the low interest-rate environment that does not provide enough yield for some institutional investors. These clients are keen to invest in illiquid assets, such as private equity and infrastructure.
“What we have seen is a desire for higher returns in what has been a low-return environment specifically in various fixed income or bonds,” he said.
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The Abu Dhabi Investment Authority, one of the largest sovereign wealth funds, said in its 2016 report that has gradually increased its exposure in direct private equity and private credit transactions, mainly in Asian markets and especially in China and India. The authority’s private equity department focused on structured equities owing to “their defensive characteristics.”
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