Monday 17 November 2008

koothu

Kooththan Cheemaaகூத்தன் சீமாKūttaṉ cīmāKooththan+cheemaaThe lands / locality of a male theatrical artist
Kooththan
A male theatrical artist, a male member of the ancient community of theatrical artists, a dancer or an actor (Changkam Tamil Diction); Siva in the form of dancing (Tamil devotional literature), a personal name; Kooththach-chaakkaiyar: Dancers or actors of a particular type of theatrical performance called Chaakkaik-kooththu (Chilappathikaaram); Kooththiyar, Aadat-kooththiyar: Feminine form of Kooththan, female dancers, actresses and courtesans (Chilappathikaaram and Ma'nimeakalai); Kooththiyal madanthai: Feminine form of Kooththan, same as Aadat Kooththiyar (Ma'nimeakalai); Kooththu: Dance and drama of several types (Kaliththokai and post-Changkam literature such as Chilappathikaaram); Thamizhk-kooththu: A type of theatre / dance indigenous to the ancient Tamil country; Thamizhk-kooththanaar: The performers of Thamizhk-kooththu (Changkam Diction, Akanaanoo'ru and Pu'ranaanoo'ru); Chingka'lak-kooththu: A dance or theatre indigenous to the island of Sri Lanka (Pagncha Marapu, a Tamil work of c.8th century AD).
Cheemaa
locality or a large plot of land defined with boundaries (Eezham Tamil) 1. From Cheermai > Cheemai: Country, territory, foreign, place of reputation; Cheemaip-pattu: Jurisdiction, Seigniory (a noble man's domain such as a Zameen) (Winslow's Tamil Dictionary); 2. Seemaava (singular noun), seemaa (plural noun): Boundary, limit, landmark, bank, shore (Sinhala); Seemaa, Seemaanta, Seemamta: Boundary, field, outskirts of a village (Prakrit); Seeman, Seemanta, Seemaanta, Seemaantara: Boundary, boundary of a village (Sanskrit); Sima: Boundary, border (Old Dhivehi / Maldivian; it becomes Hima, Himen, Himma etc in the island names of Maldives; H / S interchange) Cheemaa is a suffix for locality names in Eezham Tamil, found mostly in the land deeds. The word in its usage is an equivalent to another suffix for locality, called Pulam. The distribution of the suffix Cheemaa is largely confined to the Jaffna peninsula.The shade of meaning with which it is used in Eezham Tamil to indicate a locality or a plot of land is peculiar compared to the usage of its cognate Cheemai in Standard Tamil and in Tamil Nadu.Cheemai in standard Tamil and in its usages in Tamil Nadu stand for a principality or a noble man's domains (as in Sivakankaich-cheemai), foreign land (as in Akkaraich-cheemai), a prestigious place (old usages), Western countries, anything from Western culture (colonial usage as in Cheemaik kudivakai for foreign liquer) etc.Many of the Zameens (domains of feudal lords; fiefdoms or chiefdoms of those who received land endowments in feudal and colonial times) were called Cheemai in Tamil Nadu.The Tamil word is said to have come from 'Cheermai', which means anything good and prosperous. In the context of Cheemai it may mean good and prosperous land.Another relevant etymology and a set of cognates can be found in Prakrit, Sanskrit, Sinhala and Maldivian languages. (See table). The word Seemaa and its related cognates in these languages basically mean a defined land with set boundaries.There is a strong probability that Tamil and Prakrit usages in this context share common origins. However, regional shades of meanings differ: In Eezham Tamil it is only a locality or a plot of land. In Sinhala place name usages such as Madul-seemaa it is for a district (Madul > Ma'ndala : district). In Tamil Nadu it is a principality.

Dancing Siva is known as Kooththan in Tamil devotional literature. [Photo courtesy: lotussculpture.com]

Chaakkiyar-kooththu, Kerala. The Chaakkiyar are a community of theatrical artists attached to temples of Kerala. This community and the kooththu are mentioned in Chilappathikaaram. Kerala is a repository of many forms of ancient Tamil kooththu, even though they are sanskriticised in theme now. [Photo courtesy: artkerala.com]

Nangiyar-kooththu, Kerala. The term literally means the kooththu of women. [Photo courtesy: artkerala.com]

Thoal-paavaik-kooththu (shadow puppetry), Kerala. [Photo courtesy: mykerala.com/puppetry]

Theruk-kooththu (street play), Tamil Nadu, still performed as a folk theatre. [Photo courtesy: !!devi!! photostream, Flickr.com]

Theruk-kooththu (street play), now institutionalized as an elite theatre by Kannapa Thambiran Group. [Photo courtesy: The Hindu]

Professor K. Kanapathipillai: Hailing from Point Pedro, Jaffna, Kanapathipillai was a student of Rev. Fr. Kingsbury (Son of C.W. Thamotharam pillai) and Swami Vipulanandar at the then University college of Ceylon and at Annamalai University. He received his PhD from the University of London, and in 1948 became the professor of Tamil at the University of Ceylon, first in Colombo, and later at Peradeniya. [Photo courtesy: ThirdEye2005.blogspot]

Changiliayan kooththu, performed at Chillaalai, a stronghold of Catholic Christianity in Jaffna. [Photo courtesy: sillalai.com]

St. Christopher-kooththu performed in Jaffna. [Photo courtesy: kalaikurusil.com]

Vasanthan kooththu performed by the students of Jaffna University. [TamilNet File Photo ]

Recent efforts of reviving kooththu in the traditional villages known for it in Batticaloa through participatory research. [Photo courtesy: ThirdEye2005.blogspot]

An old photograph of female temple dancers. [Photo courtesy: artword.net]
Kooththu is a Tamil word for dance, drama and theatre, found used since Changkam times. Professionals or a clan of people who performed them were called Kooththar. Both males and females were members of this group. (Kooththan: singular masculine; Kooththi: singular feminine; Kooththar: plural masculine and Kooththiyar: plural feminine).The references to Thamizhk-kooththar in the Changkam literature and Chingka'lak-kooththu in an 8th century AD Tamil literature, Pagncha Marapu, indicate the prevalence of indigenous forms of theatre in the South India – Sri Lanka region, right from early times. A literature like Chilappathikaaram comes out with a wide classification of the kooththu forms found in the Tamil tradition. The references to Nada (professionals or clan of theatre artists) in the Brahmi inscriptions of Sri Lanka also should be noted in this context. The Chingka'lak-kooththu, according to Pagncha Marapu, was slower in motion compared to the other types. The Paa'nar-Vi'raliyar-Kooththar tradition of the Changkam times later evolved in two ways in the Tamil culture. One stream, synthesized as the classical Bharata-naaddiyam, became associated with temples and socially evolved into the Nadduvar-Theavathaasi (Devadasi) institution. The other stream remained at folk level and retained the term Kooththu.The degeneration of both the institutions and the changed social status of the artists are reflected in the derogatory meanings in later Tamil for the words Thaasi, Theavadiyaa'l, Kooththi, Kooththiyaa'l, etc. (Note all of them feminine forms). They meant prostitute, concubine or a woman of loose morals. Both the said streams were flourishing in the Eezham Tamil culture.Documentary evidences are available for the popularity of the Theavathaasi institution associated with the temples of Thirukkoayil and Thirukoa'namalai (Trincomalee) in the Eastern province and with Va'n'naarpa'n'nai and Nalloor in Jaffna (James Cordiner on Thirukkoayil; Koa'nesar Kalveddu on Trincomalee, Kanaki Puraa'nam on Va'n'naarpa'n'nai and Navalar's writings on Nalloor Kanthasaami temple).An Eezham Tamil female dancer attached to Ponnampalavaa'neasvarar temple of Colombo wrote a book on the institution of female dancers and her family tradition in 1911. This book, available in the Jaffna University library, is in a highly decayed condition. Another Eezham Tamil scholar, Ampalavana Navalar, supervised a publication in the late 19th century, on the etiquette of female dancers and the kinds of dances they have to perform on various occasions in the temples.The community of the performing artists was matriarchal. Children went after mother's name. The initials found in the name of the late, A. Che. Muruganandam, the well-known Eezham Tamil writer belonging to the community, stood for A'laveddi, his place of birth and Chellakka'ndu, his mother's name. This was similar to the practice of the community in Tamil Nadu, as could be seen in the name of the world-renowned singer, the late M.S. Subbulakshmi: Madurai (place) and Shanmugavadivu (mother's name).In Jaffna peninsula, A'laveddi and I'nuvil were the strongholds of the artists of the traditional institutions. Traditional female artists prevailed until 1960s in these villages.The dance by female artists on the occasion of temple festivals was known by the names Chinna-mea'lam, Chathir (Sathir), Chathir-kachcheari or Chathir-aaddam. The term Chinna-mea'lam is especially of Eezham Tamil usage. It literally means the 'little drum'. It was called so, because the dance was accompanied by a musical instrument called Maththa'lam (Mridangam), which is a smaller percussion instrument compared to Mea'lam, a bigger one. The dance used to take place after the main performance, i.e., Mea'lam accompanied with Naathasvaram (wind instrument), by the male members of the same community. The movement against the institution of Temple dancers in Jaffna, denouncing it as a religious and social evil, started with Arumuga Navalar (Aa'rumuka Naavalar) when he fought a failed battle to abolish the dance at Nalloor Kanthasaami temple. In fact it was the criticism of the Christian missionaries against such native religious practices that impelled him in the venture, perceived by him as reformation.When Mahatma Gandhi visited Jaffna in 1927, some social activists of Jaffna appealed to him to advice the public against the performance of female dancers in temple festivals. In his speech at Jaffna Hindu College, Gandhi was reported to have said that if what he had heard was true then they (people) were 'converting their temples into dens of prostitution'. (Jaffna Hindu College, Diamond Jubilee Number, 1965).By mid 60s, the temple dance was completely abolished. But, Naathasvaram and Thavil (Mea'lam), performed by the male members of the community were highly received and became acclaimed symbols of Tamil culture.The rediscovery of Paratha-naaddiyam (Bharata Natyam) by the elite of the society as a sophisticated form of the art of Tamils was another story.On the other hand, Catholic Christianity provided an impetus for Kooththu, since most of the people embraced Christianity in the Portuguese times were from the folk of the society. Catholic Christianity used Kooththu as a medium for religion among Eezham Tamils right from the times of the Portuguese. Many Eezham Tamil Kooththu artists and texts available today are from the Catholic traditions of Mannaar and Jaffna.Similarly, the strong substratum of the folk culture of Batticaloa and Vanni preserved the kooththu theatre to a great extent. Batticaloa and Vanni, especially contributed in retaining native themes and in preserving the theatre in its sterling form.The practice of kooththu can also be seen in the Tamil Muslim heritage such as in the theatre called No'ndi-naadakam. Professors K. Kanapathippillai, S. Vithiyananthan, K. Sivaththamby, S. Maunaguru and scholars T. Shanmugasundaram, Kaarai Sundarampillai, Bala Sugumar and S. Jeyasankar (the list is not exhaustive) have made significant contributions in the academic study and revival of the Kooththu theatre of Eezham Tamils. Kanapathippillai was the pioneer in introducing Kooththu to university level studies and performance in the 1950s.However, like in the case of Paa'nar and Pa'ndar (ancient communities of performing artists; see Yaazhppaa'nam and Pa'ndatheruppu), Kooththar as a community disappeared among Eezham Tamils. The identity survives only in place names and sayings.For instance, 'Pa'ndaara ve'liyilea pa'ndak-kooththum ku'ndaa'lach chaddiyilea kothi nellum' (the Kooththu performance of the Pa'ndar community at the open space and the boiling paddy in the deep cauldron – both jump), is a saying in Jaffna recorded by Prof. Saba Jeyarajah with a note that pa'ndak-kooththu was a type of theatre prevailed in Jaffna (Aadat Kalai, 2007, P.76, 'பண்டார வெளியிலே பண்டக்கூத்தும் குண்டாளச் சட்டியிலே கொதி நெல்லும்.') Such communities might have later got absorbed into other communities. An example is the honorific term Kaddaadi found used in Eezham Tamil for launders. Kaddaadi actually means a theatre person, especially of ritual dances associated with oracles and divining. (Kaddu: stage; Aadi: performer). Kooththan Cheemaa, the place under discussion, is a locality in the A'laveddi North village of the Valikaamam North division of Jaffna district.A'laveddi North, is a centre for traditional arts, music and theatre of Jaffna, and is largely inhabited by traditional communities connected to them. The major identities are Pa'ndaaram (both Veera Saiva and non- Veera Saiva) and Nadduvar (literally meaning choreographers but now identified with Naathasvaram-Thavil musicians)The locality of Kooththan Cheemaa was once known for its female dancers. The writer comes to know from a native of the locality that four or five generations ago the legendary dancers of this locality had the reputation of performing even in India, in the Chithamparam (Chidambaram) and Thagnchaavoor (Tanjavur) temples.Another native of the locality, while attesting to the details found in the column, informed the writer in a feedback that the place name is often pronounced and written as 'Kooththagn Cheemaa'.This could be either because of the conjunction of the words Kooththan and Cheemaa, or perhaps because the involved words are Kooththam and Cheema. In the case of the second possibility the place name could mean either 'the dance / theatre-locality' or ‘the locality of dancers / theatrical artists’. Some related place names:Kooththan-kaladdi: The rocky land of a theatrical artist. This is a locality in the Veala'nai Third Ward of the Islands (Kayts) division of Jaffna district.Kooththaadi-maruthamaduk-ku'lam: The tank of a theatre artist, having Maruthu (Terminalia arjuna) trees in its banks. This is a place near Madu in the Mannaar district. The term Kooththaadi found in this place name is specific evidence that Kooththan is not a personal name, but a reference to the identity of theatre artists. The Mannaar region is known for such artists. Chelli-cheema: The lands belonging to Chelli (a female name). This is a locality where there is a Murukaiyaa Temple in Karaveddi village of the Karaveddi division of Jaffna district.Ve'lich-cheemaa: 1.The open lands; 2.The lands at the outskirts. This is a locality in Mayiliddi North village of the Valikaamam North division of Jaffna district.The following are locality names having the suffix Cheemaa found in the land deeds of Kokkuvil, of the Nalloor division of Jaffna district (E. Balasundaram, 2002):Periya-cheema (the big land); Paruththich-cheemaa (lands under cotton cultivation); Paththini-cheemaa (lands belonging to Ka'n'naki temple); Paalan-cheemaa (lands belonging to a person named Paalan); Maruthan-cheemaa (lands belonging to a person named Maruthan); Raaman-cheemaa (lands belonging to a person named Raaman)Madul-seemaa: The district and its boundaries (Madulu from Ma'ndala). This is a GS area in the Lunugala division of Badulla district. In the past the place

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