Introduction
Pavakali, or Pavakoothu, is a general term that refers to Puppetry in the Malayalam language. The land of Kerala offers a few unique art forms in this genre too, like Noolpavakoothu, Tholpavakoothu, and Pavakathakali. All of them have a common story to tell. A cliche, almost, of their prime, their survival, and their revival. But not Nokkuvidya Pavakali. A centuries-old art form whose uniqueness is exemplified by a single, surviving performer on this planet.
History: Obscurity and Disinterest
The historical significance of Nokuvidya Pavakali is evidenced by its abstract references in the Chilapathikaram, an ancient Tamil literary work, indicating that an art form similar to it has existed for a very long time, or at least a long time ago. And as far as the historical attestment goes (or a lack of dedicated research allows), we know of the Travancore Kings patronizing Nokkuvidya Pavakali, and it being a pretty popular art form in the region. Other than that, as unfortunate as it may sound, it may be one of the ‘least-documented’ performance arts in Kerala as a whole. This is mostly attributed to the extremely difficult techniques involved in Nokkuvidya Pavakali and the consequential appeal of it being a performance of intrigue to the outsiders, rather than an inspiration for ‘learning.’ For decades, Nokkuvidya Pavakali was kept in obscurity because its lineage never spread beyond the one family that never let it die out, and to this day, the art form is practically an heirloom that is being passed on. Not from one generation to the other, but from one practitioner to the other across an entire generation!
Motifs and Performance
The storytelling in Nokkuvidya Pavakali is deeply rooted in Hindu mythology, specifically the Ramayana and the Mahabharata. As such, the puppets primarily represent various heroes, gods, and goddesses. The puppets themselves are carved from wood, but their foundation is the most distinct and unique characteristic of this art form when compared to its peers because it is designed to mount the puppets on a stick rather than be held in the hand or hung from a stage ceiling. Together with this structure, the whole system weighs approximately 500 grams.
Now comes the performance. First, the background of the stories is narrated to the audience through a song. The importance of singing shouldn’t be understated. For example, the late Sivarama Panicker (husband of the performer Moozhikkal Pankajakshi) was a renowned practitioner known for his beautiful voice, which became a highlight of their programs. In other words, Nokuvuvidya Pavakali is not a female-only performance. While the puppetry itself is performed by females, the background narration can involve male singers.
Regardless, it is when the puppetry starts that things get interesting. Unlike other forms of puppetry where the artist hides behind a screen, in Nokkuvidya Pavakali, the artist is the stage. The two-foot-long stick carrying the puppets is balanced entirely on the artist’s upper lip. They sit on a mat with legs straightened and eyes focused upward to maintain balance. While the head must remain absolutely still to keep the stick upright, the artist’s hands are busy maneuvering sticks to animate the puppets, and their body sways gently to the rhythm of the Thudi, a musical instrument from Kerala.
The performance usually lasts for about an hour, with intermediate pauses in narration to provide the performer with brief moments of around 40 seconds to rest, breathe, and blink normally before resuming the balancing act. These pauses are essential because Nokkuvidya is as gruelling to the performer as it is impressive to the audience. The weight of the puppets often causes the artist’s gums to bleed, and the physically demanding posture leads to neck and back pain. The concentration required is so intense that the artist must calculate even the pace of their blinking because a single ill-timed blink or distraction… Even something as trivial as a fly buzzing near the eyes… can cause the stick to fall and spoil the whole performance.
The Burden of Legacy: Moozhikkal Pankajakshi
As mentioned in the introduction, there are only two practitioners of Nokkuvidya Pavakali alive as of now, and only one of them is actively performing the art form.
Moozhikkal Pankajakshi was born in Urulikunnath (1934), into the Velapanicker sect, a community traditionally associated with this art form. She is often described as the last surviving link to the tradition, having received the knowledge directly from her ancestors who once enjoyed the patronage of the kings of Travancore. Her training began at the age of 11 under her mother, Paappiyamma. However, it was after meeting her (late) husband, Sivarama Panicker, that her career took a definitive turn. Sivaraman crafted the puppets and composed the songs that narrated the stories during her shows. Thus, many of Pankajakshi’s performances had a personal and emotional undercurrent, since her husband created those stories specifically to align with her skill set. As mentioned earlier, he also provided the vocal accompaniment to her performances with his commendable singing.
The reader shouldn’t mistake Pankajakshi’s legacy as irrelevant because of the niche she belonged to. In her career spanning over 60 years, she performed both in Kerala and outside. In 2008, she performed in Paris as part of the Kerala Tourism Festival. Pankajakshi has described this as a pivotal moment in her life, as she not only returned with the chocolates that motivated her granddaughter to learn the art, but also was dismayed, as she realized that age was catching up with her and affecting her performance quality. Regardless, her lifelong dedication didn’t go unnoticed. She was honored with a fellowship from the Kerala Folklore Academy in 2012, and later, the prestigious Padma Shri in 2020, India’s fourth-highest civilian award.
The Torchbearer of Legacy: Renjini K. S
Pankajakshi retired from performing at the age of 72 due to health issues, including her failing eyesight and memory loss. This was a moment of reckoning. She realized that a halt in practice would mean that the art form would die with her. It was then that Renjini K. S, Pankajakshi’s granddaughter and only 11 at the time, showed promise as a child prodigy. Pankajakshi began training Renjini in Nokkuvidya Pavakali. Initially, she started learning with her cousins, but all of them eventually dropped out due to the difficulty of the art form, leaving her as the only one to carry the legacy forward. From learning to balance coconuts in her early days to performing full-fledged Nokkuvidya on some of the most prestigious stages in India, Renjini has come a long way. Nokkuvidya Pavakali is not and probably never will be a livelihood for this degree holder, but it is her commitment alone that protects it from falling into oblivion.
Conclusion
Nokkuvidya Pavakali is not just an art form. It is a story of mettle. The mettle shown by a few people who welcomed pain and struggle, while they always had a choice to give up. Neither Pankajakshi nor Renjini would have faced public scrutiny if they had chosen otherwise. But they didn’t. Not for fame or wealth, but to keep remembering. I believe there is a lesson there for us all to contemplate.
References
- “Moozhikkal Pankajakshi: The Great Artist Who Revived The Art Of Nokkuvidya Puppetry.” Intoamillion
- “Sheer Lip Service: Centuries Old Art Form’s Fate Rests on Her Pout.” Onmanorama
- “Nokkuvidya Pavakali’s lone practitioner.” The Hindu
- “The Fate of a Rare Dying Art Rests on The Lips of This 20-YO Kerala Girl.” The better India
- “The Story Of Padma Awardee Moozhikkal Pankajakshi Who Inherited The Puppet Art ‘Nokkuvidya Pavakkali’ And Kept It Alive.” Poorva Pathak, Swarajya
- Renjini K. S performing Nokuvidya Pavakali: Video Reference