Koothu ( கூத்து), and alternatively spelt as kuttu, means dance or performance in Tamil, it is a folk art originated from the early Tamil country. But more precisely Koothu refers to either Terukuttu(தெருக்கூத்து) or Kattaikkuttu.
The terms Terukkuttu and Kattaikkuttu are often used interchangeably in modern times; however, historically the two terms appear to have distinguished, at least in certain villages, between two different kinds of performance: while Terukkuttu referred to mobile performances in a procession, Kattaikkuttu denotes overnight, narrative performances at a fixed performance space. Koothu as a form of entertainment reached its peak hundreds of years ago inTamil Nadu, as mentioned in the Sangam texts about the development of iyal (literature), isai (music) and natagam (drama). Going beyond just a means of entertainment, koothu educates the rural people about religion and their history.
Koothu is an informal dance structure, the performances generally depict scenes from ancient epics like Ramayana, Mahabharatha and Tamil other classical epics. There are traditionally no dialogues, instead only songs. Artists are trained to sing in their own voice and in a high pitch to reach the entire crowd, since no amplification technology is used. The artists are dressed up with complex heavy costumes and have a very bright elaborated makeup. They put on towering head dresses, sparkling shoulder plates and wide colorful skirts. Traditionally this theater form has been predominately male, though in modern times more females have been included (e.g., Girl's theater at the Kattaikkuttu Gurukulam).
Types of koothu includes Nattu Koothu, Kuravai Koothu, and Valli Koorhu, which are about the state and culture of different peoples in Tamil country; Samaya Koothu showcase religious topics, while Porkaala Koothu, Pei Koothu, Thunangai Koothu are focused on the martial arts and war of the country. Another important art form viz, Chakyar koothu is very popular in Kerala. There is mention of this koothu in Silapathikaram.
In years past there were no formal training institutions, schools or nattuvanar (teacher) for koothu. Now to encourage the dying art there are some workshops for koothu called koothu pattarai, and also some dedicated schools (e.g., Kattaikkuttu Gurukulam).
It is very popular among the rural areas and has remained relatively unchanged even in modern times. Koothu eventually spread out from Tamil Nadu intomost of south India, particularly Karnatakka and Kerala.
The deity at the Thillai Nataraja Temple, Chidambaram is known from the Sangam period as "Thillai Koothan", the cosmic dancer of Thillai; the Sanskrit translation of this is Nataraja.
Not only species of animals are vanishing from the face of our earth, forms of folk art too. Today, in most regions of this world, many forms of folk art are no more a part of the ethnic tradition of the people. The present generation is not even aware that those forms of folk art did exist. One such ethnic folk art indigenous to India is the Street Play. It is now virtually a dying art. It is dying because of the popularity of cinema. It is dying for want of patronage.
In Tamilnadu, we call this folk art “Theru Koothu” ( தெருக்கூத்து). It is a folk theatre performed in the open mostly during temple festivals in the villages of Tamilnadu.
The art of Theru Koothu is handed down from one generation to the next. The performers hail from poor down trodden families of the lower level of society. They know no other trade. They travel as a troupe that include the actors, dancers, musicians, make-up artists, stage-decorators, cooks and sometimes a few family members. They are always on the move travelling from one village to another.
In earlier times these artists were held in high esteem for their artistry and talent. They entertained the village folk on invitation by the village elders. But today they are a forgotten lot and perform during temple festivals in villages of their own accord and live on handouts.
The Koothu (Tamil: கூத்து) or performance is held in an area about 16 feet long and 14 feet wide called ‘sabai’ (Tamil: சபை) meaning assembly or court.
In those good old days when there was no technology such as microphones and loudspeakers, the artists trained to sing at a high pitch to reach the entire crowd. There were not much dialogues and the artists enacted whole plays via singing with the accompanying musicians seated in the background on stage. Now, most of the Theru Koothu troupes have their own sound equipment or rent them for their performances; even then, the actors still sing spilling their guts out.
The musical instruments used include Harmonium, Mirudangam, Mugaveena, Kanjara and Thaala vaadyam.
The dress of the artists are a complex lot – wide colorful skirts, sparkling shoulder plates and elaborate wide head-dress, and of course thick bright heavy makeup.
All actors are males – even female characters are performed by males except in few instances.
They enacted mostly mythological stories already familiar to the villagers.. The themes are usually drawn from Mahabharata. Some popular items on the Theru Koothu repertoires include Harichandiran (Story of King Harischandra who never told an untruth), Draupathy Vastraparanam (Disrobing of Draupathy, the wife of the Pandavas), Karna Motcham (Defeat of Karna, the half-brother of Pandavas), Praghalada Charithram (Story of Praghalda), Bagiratha Prayathanam (Bagiratha’s efforts to bring River Ganges to Earth), etc.
Nowadays, students and activists perform Theru Koothu based on themes that create social awareness.
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Koothu is performed mostly late in the evenings, after 8 pm. There are no entrance fees. No chairs provided for the audience except for the dignitaries, if there be any present at the venue. The public are at liberty to stand, sit, recline or choose whatever stance or manner in which they wish to see the play.
Tamilan
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