Tanya Abraham : Folk art is the archive of histories. Be it performing or visual, art of such form
is the record of traditions and cultures of yesteryears, passed down generations.
If however, we look at these art forms from a post-modern view, we see that they
are often subject to a certain category, often thrust into a prescribed section
which stands distinctly and distinguishably apart from say, contemporary art.
Folk performance [which also carry a traditional flavour], however, is then
ignored to be a treasure trove of information – about the place, people and their
cultures. At a time when recordings of history were minimal, and can be traced
through architecture or excavations, Folk art plays a pivotal role in supplying
information. It thus takes upon a role which is far beyond performance or display
alone. And thus, when we consider performance folk art for example, we see that
they become narratives of the past – both through movement and speech. Each
depiction of a performance is thus a story which tells of yore. It brings alive
histories through artists in a way which is less diluted or left to. We can perhaps
boldly say that the rawness with which these performances are made, not only
brings forward the past but also continues to archive the present with new artists,
performers and ideas.

To understand this idea, let us take two Folk performances of Kerala. To start
with, Chavittu Nadakkam [chavittu means stamp, nadakkam means drama],
which came about in Cochin amongst a specific group of people called Latin
Catholics in the 17th century, is a performing art form which was influenced
by the Portuguese who once ruled in this coastal region of Kerala. The dancedrama
which is performed rarely today for the lack of patrons, speaks of the time
of Portuguese in Kerala. One can easily gather the customs, traditions and the
culture of the time, especially amongst the natives whose lives were so closely
integrated with the Portuguese. Documentation of such details in writings and

journals need not necessarily carry these details, but those
which are carried in the dialogues of the folk art, transports
one to the time when the dance form was first performed.
It closely resembles European opera, a classical art form
that is very colourful and has elaborate dance costumes.
It is noted for the gestures in its performance as well as
the body movements, and playback music and percussion.
What is interesting is that this art form also contains Tamil
in the playback songs, highlighting its indigenous nature
and the presence of Tamil in the region or amongst the
composers of the music. As it is closely linked to the arrival
of the Portuguese in Kerala, their religious influence
in Kerala especially amongst the Latin Catholics tells us
why the open stage on which the dance form is performed
is often also the interior of a church. It vividly explains
the inextricable manner in which religion was associated
with the coming of the Portuguese to the region. Chavittu
Nadakkam is also known for its exaggerated gestures and
stamping of feet on the wooden floor of the stage on which
it is performed. The sounds form the stamping remains in
harmony with the songs sung, where fencing and fighting
are also part of the story enacted. This thus is a unique art
form that stands out from the very traditional performing
art forms simply because of the region and the community
in which it originated.