Kalasri. Puthumana Govindan Namboothiri - at the zenith of Indian Temple Dance

 

Kalasri. Puthumana Govindan Namboothiri - at the zenith of Indian Temple Dance

Navaneeth Maniyoor

Renowned exponent of Indian dance Puthumana Govindan Namboothiri is in a sacred space of my mind from childhood. The dance legend had the distinctive opportunity to succeed hearts of thousands by unbelievable thidambu nritham performances in the temple premises even at age of eighteen. We had not given much importance to thidambu nritham performance at temples, but the outlook had radically changed after Puthumana emerged. I do not think there are any temples in Malabar which has not witnessed the glorious and mystical dance of Puthumana Govindan Namboothiri. Similar to Kathakali art is tantamount to the state of Kerala, Puthumana Govindan Namboothiri is dissolved in the depths of pure temple dance. Puthumana is awarded with two celebrated state awards recently – Kalasri title by Sangeet Natak Academy and Kshetra Kala Sri by Kerala Temple Arts Academy.

Puthumana started practicing thidambu nritham at the age of 5, but classical instruction was provided at the age of 17. He was so zealous to gain knowledge of the art due to which he could establish his first show within a few months. The feedback on the first one itself was hopeful to all. Apart from footsteps harmonized with the pulsation of rhythm, the ‘bhavachaarutha’ and ‘manodharma’ apparent by the crowd was indescribable. The kind of different conduct in thidambu nritham dance was the only one eternally in history. Puthumana was at the pinnacle at all times and is ongoing the sensation chronicle.

Puthumana Govindan Namboothiri devoted every second of his life to art thidambu nritham. In contrast to ‘mudras’ and ‘cholliyattam’ in Kathakali, engagements of the foot reveal the contribution in thidambu nritham. Puthumana has worked, reworked and invigorated thidambu nritham. Knowing the inadequacy of the dance that there is no scope for expressions, Puthumana has researched on this theme. Inside a period of quite a few decades he has formed the ‘big change’ – through conceptual translation of the summary of ‘sivapurana’, ‘kaliyamardana’ and ‘akroorabhakti’ – realized in the language of dance. Puthumana creates an implausible ‘laya’ during the changeover of steps from each of four basic rhythms – thakilati, adantha, chempata and panchari; like abstracts of four Vedas – four forms of manifestations in dance. As experienced by many, a viewer is competent enough to envisage the golden stroke of god during his performances. In the ‘Keraleeya’ dance Kathakali, there are many masters we admire. Puthumana ris also a supporter of Kathakali dance, but for him, thidambu nritham is his life. A big salutation to the ultimate temple dance genius!