Introduction:
Therukoothu is a street theatre form of Tamil Nadu, deeply nestled in the culture of the state. While the precise origins of Therukoothu remain ambiguous, its evolution and prominence in Tamil Nadu’s artistic landscape showcase an interesting journey through different time channels. According to some sources, Therukoothu began flourishing in the Sangam age and hasn’t stopped thriving yet. Other sets of historians, however, contest this theory and argue that Therukoothu developed from pattu (song), particularly Villupattu, a narrative performance using songs and prose, which again might have been an offshoot of Kathai, perhaps an oral tradition. But a survey of literary sources from the earliest works of the Sangam period suggests a different development. It seems more likely that Therukoothu and Bharata Vizha developed from the shamanistic rituals, fertility rites, and the bardic tradition mentioned in Sangam literature. Despite all the ambiguity surrounding the origins of the art form, Today, Therukoothu remains widely practised, particularly in the northern regions of Tamil Nadu.
Nomenclature:
The term Therukoothu, derived from Theru (street) and koothu (theatre), reflects the form’s indigenous roots and its deep communal essence. It brings together the entire village during the performance. One of the earliest literary references to this art form is found in the Tamil epic Silappadikaram, which mentions eleven distinct types of koothu. In this epic, Therukoothu is shown as a performance that combines singing, dancing, dialogue, and varied elements, which offers a complete theatrical experience.
Narasimha trying to kill the demon king, depicting the key component of the play
https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcSHNOJQV30oheNJY1DLj427YFdXzGeiOsb93Q&s
Draupadi Amman Festival :
The festival occurs annually during the harvest season, when village elders organise the Draupadi Amman festival, also known as Bharata Vizha. This festival serves as a vital platform for the performance of Therukoothu, with an auspicious date fixed following local traditions. The beating of the drums is prolonged and at a high pitch, making heads turn. This is the message to the surrounding villages that the Koothu is about to start.
The musical instrument Harmonium plays an important role in the performance of Therukoothu, serving as a key component in the musical setting. Other essential instruments include the Tabla, Dhol, and Mridangam, which together create a strong foundation for the performance. Historically, Therukoothu performances were lit up by lamps and natural lighting, which added to the traditional mood of the spectacle. Followed by that, the beating of the drums is prolonged and at high pitch, running over the whole gamut of the major talas. This is the message to the Surrounding villages that the Koothu is about to start.
Kattiakaran;The Narrator:
A Therukoothu performance usually starts with a few songs to invoke the blessings of Ganesha and other gods. Then comes the actual invocation of the play called the “Thirai varudal”, meaning “curtain entrance.” A curtain is held up by two people, and behind it stands a key character called Kattiakaran, also the Narrator and the most important person involved in the whole play. He sings special songs known as “Thirai vriddam” to announce that the play is about to begin. Kattiakaran then steps out from behind the curtain and introduces the story of the night. But he’s not just there at the beginning, he stays on stage throughout the performance. He acts as a kind of narrator and guide, helping the audience follow the story. He can jump into the play whenever he wants. What makes Kattiakaran unique is his flexibility. He can turn into any character on the spot.
Draupadi Vastropaharanam
One of the most important moments in the Draupadi Amman festival is the day of ‘Draupadi Vastropaharanam’, the disrobing of Draupadi. But here, Draupadi isn’t seen as just a character from the Mahabharata. She’s worshipped as the guardian deity of the village, and the audience is emotionally invested in the entire enactment. When Draupadi is brought on stage and the disrobing is about to begin, the performance suddenly pauses. Kattiakaran [ Narrator] comes forward, sings in praise of Draupadi Amman, and offers a heartfelt prayer. He lights camphor and pleads and pleads for her forgiveness, for enacting all the trouble and hardship she endured.
As the disrobing scene plays out, Draupadi cries out to Krishna for help, and the audience joins in, shouting. The emotions throughout the episode are intense. Many in the crowd enter a trance-like state or become spiritually possessed, while others try to keep things under control. The performers playing Draupadi and Dushasana also become possessed, and finally collapse on the stage due to the intense emotion and energy.
The costumes used in the play are eye-catching, with bright outfits and glittering accessories. These aren’t just for show, they’re intentionally designed to move the performance away from realism and into a more symbolic world. The acting also usually matches this dramatic style. Performers use exaggerated movements, speak in loud, high-pitched voices, and sing in a way that demands attention. They stomp across the stages and pin quickly, faint and enter into a trance. The overall effect is one of enchantment that pulls the audience into a separate world.
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Current status and challenges :
Currently, this performance art is struggling due to a lack of funding and audience. The number of artists involved in the play has also been in decline. Speaking of the folk forms, there are numerous varieties of performance arts available in the earliest literary works in Tamil, but we know little about them beyond the fact that they existed during a certain period. All that we have are the names and ritual contexts. If Therukoothu is not protected and revived, it will become a forgotten treasure, just like other extinct art forms.
Conclusion:
Therukoothu is a reminder of a vibrant part of Tamil Nadu’s cultural heritage. Drawing from mythology and folklore, this performative art that involves drama, singing, and narration has stood the test of time and continues to find its place in the cultural arena. Therukoothu is not only a symbol of culture and heritage but also of resilience and reverence.
References:
Venkatesan, Nimeshika. (2023). DIALOGIC INTERACTIONS IN VERNACULAR HHINDI A PERSPECTIVE ON THERUKOOTHU, FOLK RITUALISTIC THEATRE OF SOUTH INDIA. 2021.
Gandhi, Anil. (2024). Distant Mirrors: Alienation in Brecht and Therukoothu Performance.
https://archive.org/details/dli.ministry.23800/page/64/mode/2up
https://ijcrt.org/papers/IJCRT2401382.pdf