Kathakali exponent Kalamandalam Ramankutty. Disciple of Pattikanthodi Ravunni Menon, a legendary Kathakali mentor, Ramankutty Nair was one of the truest exponents of ‘Kalluvazhi Chitta’, for his effortless interpretation of plays characterised by rigid grammar and choreography. For the purity of his style and the trail he blazed as a practitioner and teacher of ‘Kalluvazhi Chitta’, Ramankutty Nair was known as ‘Panini of Kathakali’.
Ramankutty Nair had mostly been associated with characters representing rajo guna with kathi make-up – evil yet valorous characters like Ravana, Duryodhana, Keechaka and Narakasura. His representations of such characters became the yardstick for many connoisseurs. The character of the God Hanuman was also one which he excelled in performing. He playing a character of God Hanuman in Kalyanasougandhigam, Thoranayudham and Lavanasuravadham were amongnst his best characterisations. All his celebrated roles are notable for the harmonious interaction with the percussion instruments, especially the Chenda. His long-term association with Chenda maestro Kalamandalam Krishnankutty Poduval helped greatly in this regard. Poduval, a genius himself,provided inspired accompaniment to enhance Ramankutty Nair’s characters.
Ramankutty Nair, Chenda maestro Krishnankutty Poduval and Maddalam maestro Appukkutty Poduaval, known as the Kutty Trio, had given many unforgettable performances in their times. It was Ramankutty Nair who introduced the Ashtakalasam,the dance of bliss of Balabhadra and Krishna in the play Subhadraharanam. Ashtakalasam is a series of eight dance compositions in the Champa tala, corresponding to the Khanda jati Jhampa tala of Carnatic music.
As a teacher, Ramankutty Nair was a perfectionist and a tough taskmaster, like his own teacher whom he revered. His very presence could evoke discipline in his students and panic in his accompanists. To close associates, Ramankutty Nair was witty and yet inherently sober, probably owing to the hardships of his childhood.
