It’s not uncommon in India to have pre-wedding ceremonies and celebrations that last for days or sometimes even weeks. But what if one of those ceremonies evolved into an intricate art form of its own? This is where Oppana, an Islamic tradition of Kerala, stands out as an example worth discussing. From visual magnificence to literary sophistication, Oppana has a lot to offer to the veteran’s eyes and the general audience alike.
History and Evolution
The Muslim communities in Kerala, just like their Abrahamic cousins, have at least a millennium worth of recorded history to uphold. Islam came to the Malabar coast not long after it started spreading out of the Arabian Peninsula, owing its arrival to the seafaring Arabian merchants who already had thriving trade with the region even a millennium before said arrival. This allowed the gradual amalgamation of different faith systems in Kerala without much confrontation, as seen elsewhere. In fact, in Mooshikavamsha kavya, the oldest known Sanskrit dynastic genealogy in India, it is mentioned that the different communities existed in the King’s dominion like wild animals around an Asrama (Hermitage). Such was the nature of adoption and accommodation.
It is from this hybrid fold that the Mappila community of Kerala was born. Blending Quranic traditions with their day-to-day Malayali life, the Mappilas of Kerala influenced the language and culture of the land so much that, just like with the Christians and the Jews, it gave rise to unique blends of languages, traditions, and ways of life. One such product was Oppana, the Wedding dance of the Mappilas.
The Performance
There are two major types of Oppana (not counting the Male version). Oppana Murukkam and Oppana Chayal. The former is a slow, graceful performance, while the latter is an exhilarating event that involves intense footsteps and clapping motions. Regardless, a traditional Oppana involves a bride sitting at the center on a Peetam or chair, surrounded by fifteen other female companions. The performance is accompanied by Oppana Pattu (Oppana Song), which itself is a part of the larger body of Mappila Pattukal (Mappila Songs) in Kerala. The lyrics mostly involve the appreciation of the bride’s beauty, romantic exaggerations and metaphors about the marriage, and friendly teases on the bridegroom, all strung together through the poetic excellence of Arabi-Malayalam. As the performance reaches its climax, the maidens help the bride stand up and ask her to join them, holding her hands and presenting her to the crowd.
Motifs and Attire
The attire of the performers is the most striking feature of an Oppana performance. As expected, the most colorful of the dresses is reserved for the bride. She is adorned with flashy jewelry, including multiple gold necklaces and bangles, and her hands are beautified with intricate Mylanchi/Henna designs. The companions, on the other hand, maintain uniformity in their dressing, wearing the traditional female Mappila attire of long, white Mundu and full-sleeved blouses. The uniformity must not be mistaken for a lack of style, as the maidens are equally beautified with gold jewelry and other accessories, as one of their purposes is to act as a halo that enhances the bride’s presence. Depending on the occasion, Oppana might also include native musical instruments like Chenda, Elathalam, or even Tablas.
In Modern times
Oppana is rarely seen as a ceremonial performance in weddings nowadays. However, it has gained traction in other spheres of public interest, like movies, cultural celebrations, and even competitions. Despite the waning interest in its inherent value as a communal art form, this secularization of Oppana and its peers has most assuredly given it a wider public appreciation and relevance than ever before.
As is the case with most traditional performance arts of Kerala, Oppana too enjoys a place in the Kerala State School Kalolsavam, one of the largest youth cultural meets in Asia. Not only that, it is also one of the most competitive items in the festival, with the schools from Malabar battling it out in some of the most electrifying performances one can witness in the Kalolsavam. While this might be a boon to many, the artists have raised their concerns regarding the growing inauthenticity of the performances. For example, what is supposed to be a genuine occasion of joy and celebration is now turned into an artificial presentation of ‘fake smiles’ and purposeless songs, bringing into question the competitive nature of modern Oppana performances.
Conclusion
Oppana might be a niche in the realm of performance arts. However, its relevance is not dictated by the recitation of universal stories, but by its history and interwovenness within the Keralite society. If what was once a gathering-celebration confined within the walls of a wedding house has now become a statewide artistic phenomenon that every Malayali can relate to, it not only talks about the quality of the art itself, but also of the people who found value in protecting their culture by enriching the very same niches with genuine efforts of conservation and preservation.
References
- Oppana; Kerala Tourism.
- An ethnographic study of Oppana, 1. Anupama. N.V, 2. Prof. M. S. Siva Raju, Department of Dance, Sarojini Naidu School of Arts & Communication, University of Hyderabad.
- Sunil, Babu. (2024). MAPPILAPPAATTU AND OPPANA: AN ANTHROPOLOGICAL NOTE ON MAPPILA SONGS AND PERFORMING ART. ShodhKosh: Journal of Visual and Performing Arts. 5. 1450-1457. 10.29121/shodhkosh.v5.i6.2024.2376.
- Oppana performance in Kerala School Kalolsavam 2023