Kalamandalam Shivan Namboodiri. , Photo Credit: Special Arrangement
Announcing retirement from the stage by a joyful artist is perhaps unheard of the history of Sanskrit theater. Kalamandalam Shivan Namboodiri made this announcement at Kothambalam of Kalamandalam (Damade University for Arts and Culture). He mentioned health problems as his departure from the art scene and said he would be available for guidance and lectures. This day also marked the anniversary of his Guru’s 60th death, Panulam Ram Chakhar.
In addition to his outstanding artistry, Shivan became the first non-chakra to be trained in Kudiyam-when Kalamandalam introduced art form as a separate department in 1965-breaking the sanctions of the caste. The institution does a lot for one of the most revolutionary, Panulam Ram Chakar among the Chakar community, who voluntarily ignored the protests from the conservative to lead the new department. Today, if there is an unprecedented increase in the number of Kudiyam artists, then Shivan is an inspiration.
The evening was not just about Shivan’s retirement, but he proved his quality by presenting a popular piece. Parvati Vihaham From the gameTornayamgam In Act III, from Abhishek Nataka of Bhasa. Parvati-Orm Usually happens first Kelasodaranam, The depiction of Ravana’s ego and layer.
Sivan Nambothiri has inspired many youth to pursue Kudiyam photo credit: courtesy: Wikipedia
Its story is as follows: While returning home after a successful fight with Vaishravan, Ravana found the path of his pushpakavimana (flying chariot) interrupted by Mount Kailasa. He closes his chariot, uproots the mountain and throws it into the air (a picturesque details of the mountain are applied here with their valleys, rivers, rocks, caves, etc.). It is at this point that Shiva and Parvati are engaged in an argument as Parvati doubts the presence of Ganga in Shiva’s Draldlock. Shiva responds to every query raised by Parvati, yet, fails to convince her. Parvati leaves an angry Shiva leaving behind. This is also an accurate moment Ravana tossed Mount Kailasa in the air, making a frightened Parvati return to Shiva.
With enough opportunities for two anecdotes, ‘Pakarnattam ‘ (Many character presentation), was admirably executed by Sivan. More than an extension of his artistry, it was his Guru Bhakti performance. Shivan entered the stage after being harassed before his Guru’s bust.
After the performance, Shivan recalled the day the day he was selected for Kukiatam, although his ambition was to learn Kathakali. He also reminded the conversation between Kalamandalam Ramnakutty Nair and Panulam Ram Chakar during the interview. “I heard him saying that” he is going to be a promising artist of Khudiyatam. ” And Shivan has lived up to his expectations in the last six decades.
Whether it is in Ravana Tornayamgam (What they demonstrated that evening) or in Jatayuvadham or Bali Balivadham Or any other major role, Shivan’s presence had a overall impact on fellow actors and the entire stage.
Shivan served his Alma Mater as a teacher for three decades, until his retirement in 2005.
The theater experts in the West tasted their skills, when they played an important role in four major plays at a festival held in France in 1980. Rukmini Devi said after seeing Arjun’s depiction in a play in Kalakshtra, “I was impressed by my understanding of the exhibition of the difficult technology of Abhinay.” Shivan also won a certificate of certificate for his contribution to the spread of ART form from Smithsonian Institution in Washington.
Published – August 25, 2025 06:17 pm IST
