31-05-2025
- Entertainment
- Time of India
Rasa, Rhythm and Revolution
Kathakali, a dominant classical art form since the 16th century, was long a male bastion. Originating in feudal Kerala's aristocratic households, it demanded intense physical discipline, years of training and long hours of performances—expectations seen as unsuitable for women.
Deep-rooted patriarchal norms further confined women to domestic roles, rendering their participation on stage virtually taboo. Men portrayed even the most delicate of female roles. Legendary artists like Kudamaloor Karunakaran Nair and Kottakkal Sivaraman earned acclaim for playing characters like Damayanthi and Sairandhri with grace and grandeur.
Amid this backdrop of rigid tradition, KT Rama Varma of the Kochi royal family sowed the seeds of change.
With a progressive vision, he decided to train his 10-year-old daughter, Radhika Varma, in Kathakali—a move that startled many in conservative circles. Varma's bold step gained backing from legendary Kalamandalam Krishnan Nair, then a tutor at RLV College of Music and Fine Arts in Tripunithura. He trained young girls, laying the foundation for an all-women troupe.
Thus was born Tripunithura Vanitha Kathakali Sangham—a pioneering women-led kathakali group that would go on to defy stereotypes and win audiences across India and the world.
Their debut performance in May 1975 at the Palace School auditorium, with only one male percussionist (madhalam), marked a historic moment. The first story they staged was Kalyana Sougandhikam, with women enacting characters such as Yudhishtira, Bheema and Hanuman. Radhika took on the powerful role of Bheema while Vrinda Varma portrayed Yudhishtira and Sreemathy Narayanan became Hanuman. Despite initial resistance, curiosity soon turned to applause.
'Even the orthodox Kathakali audience started accepting us,' recalls Radhika, who is still part of the troupe.
In its early days, the troupe grappled with finding women skilled in singing and percussion. But with support from Krishnan Nair and like-minded enthusiasts, they assembled a full-fledged team. Vijayamani from Kollam became the troupe's first female chenda artist.
Several women from Kochi royal family and across Kerala joined the troupe.
Gurus like RLV Damodara Pisharody and FACT Padmanabhan moulded these women into consummate performers.
Over the decades, the troupe evolved into a symbol of women's empowerment. Beyond performance, it became a hub for fostering female talent in all aspects of Kathakali—from acting and singing to percussion.
In 2002, they stunned audiences in the US with a performance of Duryodhana Vadham at the Smithsonian Institution, just a year after 9/11.
Through Radhika 'manodharmam' (improvisation), they re-enacted the terror attacks, evoking chills and earning standing ovation. 'For a moment, the audience felt 9/11 was revisiting them,' Radhika recalls. The journey wasn't without setbacks. 'Many troupe members took long breaks due to family responsibilities but returned with renewed enthusiasm,' says Geetha Varma, who has been with the troupe for more than three decades.
'Most of our senior members have been with us for nearly four decades,' says Geetha. 'Sathi Varma played a big role in ensuring the smooth functioning and coordination of our programmes. She served as the troupe's manager until her passing,' Geetha says.
'It was quite difficult at first to find girls who could handle chenda and even madhalam. But now, we feel confident in including them, as many girls have become proficient in playing both instruments.'
Their dedication was recognized when they received the Naari Shakti Puraskar from President Pranab Mukherjee in 2017.
As the troupe enters its Golden Jubilee Year in 2025, they are preparing for a celebration on July 12– 13 at Kalikotta Palace, Tripunithura. The event will feature a seven-hourlong Kathakali portrayal of key women from the Ramayana.
Renowned dancer and Kerala Kalamandalam chancellor Mallika Sarabhai will inaugurate the festivities. The celebrations will also feature an all-women panchavadyam.
