IN DISCUSSION...

Vasanthi & Nirmala

Photograph courtesy Yann Pitchal

Vasanthi Sankaranarayanan is a writer and translator. She translates from Malayalam to English and vice versa. She has a doctorate in film studies from Madras University. She is a freelance journalist, critic of cinema, theatre, dance and painting. Her other interests are women and their empowerment and improvements in education. She lives and works in Chennai.

Nirmala Seshadri is a performer, choreographer, arts educator, researcher and writer. A recipient of the Singapore National Arts Council’s “Young Artist Award”, Nirmala has recently joined the Board of the Council. Her choreographic work is experimental in nature; she seeks contemporary expression through her classical form Bharatanatyam.

IN REHEARSAL...

Photographs courtesy Yann Pitchal

OUTCASTE – THE NOVEL

The production is based on the Malayalam novel “Brushtu” by Matampu Kunhukuttan, translated into English by Dr. Vasanthi Sankaranarayanan. It depicts the true-life story of the sexual revenge a lone woman, Paptikutty, wreaks on a whole community which is rigid, oppressive and anti-women.

The setting of the tale is Kerala, South India and the community in question is the orthodox upper caste Namboodiri Brahmins.

While the men in this community enjoyed a superior status in society, for the women it was a life of oppression and injustice. Referred to as ‘asooryampasyakal’ which means ‘unseen by the sun’s rays’, they were confined to the four walls of the inner quarters from the time they came of age. The only place they were permitted to visit was the local temple and even then, they had to completely cover themselves with a shawl, carry an umbrella and be accompanied by a servant girl. In effect, they left their homes in freedom only as corpses.

There was another custom which worsened their plight. This was the practice whereby only the eldest brother in the household was allowed to marry a Namboodiri woman. The younger brothers were forced to enter into liaisons with women of other castes such as the Nairs. Thus the ratio of marriageable women to men was very high and so it was the norm for the eldest Namboodiri to have three to four wives.

In this kind of scenario there was yet another restriction on the women. Looking, speaking and entering into a sexual association with men of any caste was considered a sin and any woman caught doing so was dealt with very severely. There existed at that time in Kerala a system of trial in which the accused was made to face a jury of investigators and, if convicted, faced total excommunication from the entire community. This trial was conducted according to the Vedic customs prescribed in the Smritis and was therefore known as the "Smartha Vichara". The King representing the secular power and the Namboodiri Brahmin priests from special families representing the religious power constituted the committee of jurors. One of the canonical investigators in this trial was the author Matampu Kunhukuttan’s grandfather.

Not only was the outcaste rejected completely by society but so too were the descendants of the woman. Sexual adventures usually ended in the pregnant woman’s trial; the men went scot-free. It is into this Namboodiri community that Paptikutty was born.
On the night of her wedding, she is raped by her brother-in-law while her husband stands guard at the door. She is only 14 at the time. She then decides to take revenge on the entire community by seducing 64 prominent upper caste men and maintaining proofs of these sexual liaisons.

When she is called to trial she argues her case and proves that if she is to face excommunication, so too should the 64 men who have slept with her. For the first time in Kerala 64 eminent men were outcasted resulting in the break up of numerous families. There was total chaos.

This year marks the 101st year since Paptikutty’s trial which was a landmark in the history of Kerala as it led to many social reforms.

OUTCASTE ETERNAL – THE PRODUCTION

"Outcaste Eternal" is the first ever stage dramatisation of this significant yet controversial event in Kerala's history. Scripted and directed by Vasanthi Sankaranarayanan and Nirmala Seshadri, the music has been specially composed by late L.Vaidyanathan.

The production was first staged ten years ago in Singapore with a multi ethnic Singaporean cast. Now, nine years later, the work is being resurrected and restaged with a Chennai cast - in memory of L. Vaidyanathan.

The predominant style of dance used is the South Indian classical form Bharatanatyam. Kerala folk dance forms and Malay dance movements have also been used. The style of theatre which has been adopted is the Theatre of Transformation, a system of theatre prevalent in Kerala seen in the ritualistic dance Theyyam in which the actor becomes the character. The principles of trance and possession are also explored in the process.

The play has been divided into 3 Acts.

Act 1: This is the trial scene. In the book the trial scene is at the end but for dramatic impact, this scene has been brought to the very beginning. Hence while Paptikutty argues her case, flashbacks are brought in reflecting the events that happened in her life. In this act, the present, ie the actual trial is shown in theatre format. The flashbacks are shown in stylized fragments of Indian classical dance.

Act 2: Takes the audience back in time to the birth of Paptikutty and her early childhood years.

Act 3: Takes a look at the kind of society in which she lived – the social system which pushed her into doing what she did. This Act culminates where the play began, with trial leading to her excommunication and exile from Kerala, the land of her birth.

OUTCASTE ETERNAL - CHARACTERS IN THE PLAY

The Namboodiri men:

PAPTIKUTTY’S FATHER: Thazath Moose, an ordinary Namboodiri, fond of his daughter but not able to give the support that she needed.

CHEMATIRI OTIKKAN: Paptikutty’s teacher. Wise, learned and compassionate Brahmin of a high rank, who after performing several yagas (sacrifices), has earned the title “Otikkan” (teacher of the Vedas).

AKKITHAR: Chematiri’s father, a saintly Namboodiri who spent his time in prayer and meditation and is prophetic in his vision.

YOUNG OTIKKAN: Son of Chematiri, non-conformist infused with revolutionary zeal. Paptikutty’s classmate and friend.

PACHU OTIKKAN: Chematiri’s brother and the first victim of Paptikutty.

YOUNG NAMBOODIRI: A young Namboodiri, conscious of the ills that beset his community. A reformer and activist.

THAZHAMANGALAM ACHAN NAMBOODIRI: Head of a powerful Namboodiri household. Materialistic, shrewd, cunning, domineering, hedonistic and fascist by nature. He indulged in physical pleasures and ruthlessly terminated anyone who crossed swords with him.

NAMBYATTAN: Achan’s younger brother who had to remain unmarried because of a prevailing custom among Namboodiris. Led a life of leisure and carnal pleasure till a woman, Mathukutty, entered his life and changed it completely.

TUNDAN: Infamous, ugly, deformed brother-in-law of Paptikutty who raped her.

NEELAN: Paptikutty’s husband.

The representatives of other castes:

KING: Ruler of a native state, Cochin, in Kerala

KESAVAN: A slavish, subservient Nair assistant, sycophant of Achan Namboodiri.

CHAMI: The lower caste disciple of Chematiri.

The women in the play are:

PAPTIKUTTY: the protagonist

MOTHER OF THAZHAMANGALAM: Mother of Achan Namboodiri and Nambyattan. Widow, matriarch.

ITTINGAYYA: First wife of Achan Namboodiri. Becomes mad after Achan rapes and murders a poor relative, Unnikali.

UNNIKALI: Child widow, poor Namboodiri relative appointed to look after the needs of Mother of Thazhamangalam. Raped and killed by Achan.

MATHUKUTTY: Nair woman, high class prostitute who falls in love with Nambyattan and remains devoted to him.

RAMAN’S NIECE: Lower class woman, seduced and made pregnant by Nambyattan and ultimately killed by him.