Sudheer Karamana performs the lead in Onkara
Onkara — a film about Mavilan neighborhood — an obscure tribe of Kerala and their love for theyyam, a ritualistic dance form of the state, was just lately screened at the 15th version of the Bengaluru International Film Festival (BIFFES) in Bengaluru. The tribe of hunters, gatherers, and herbalists regard theyyam as sacred.
Director Unni KR says that theyyam is vital to the Mavilans. “That’s what I have tried to show in the film,” says the filmmaker.
Onkara reminds of the blockbuster Kannada film Kantara as far the theme is involved. Both cope with theyyam, however the portrayal in Onkara is refined.
Onkara is reportedly the first film in Markodi, a dialect of the Tulu language, which doesn’t have a script.
From Onkara
The film follows the lifetime of Karumban, a theyyam artiste and the son of Chinkam, the village head. Chinkam in Markodi means lion, and Chinkam leads the Mavilan neighborhood, akin to the king of the jungle. Karumban desires to observe in the footsteps of his father and grow to be the subsequent Chinkam. He and his household lead a lifetime of poverty. Karumban’s spouse means that he ought to take up farming however he is consumed by his ardour for theyyam. His elder daughter Manikyam falls in love with a bangle vendor and elopes. The villagers flip in opposition to Karumban and query his proper to grow to be the subsequent Chinkam. Meanwhile, Manikyam returns to the forest after being sexually assaulted. Chinkam orders the villagers to extreme ties with Manikyam.
The film is peppered with theyyam performances by Karumban, essayed by Sudheer Karamana, making it a visible feast.
Theyyam is derived from the phrase daivam or god. The dance form was by no means meant to entertain however to invoke the deity and search blessings for prosperity. That’s how Theyyam has come to be the dance of gods. It is believed that in the efficiency, the artiste transcends his/her physique and connects with the divine.
With the face painted in vivid colors and dramatic eye-make up, donning an elaborate costume, an enormous bamboo headgear and distinctive jewelry, the male dancer performs to the beats of musical devices reminiscent of chenda (percussion), kuzhal (double reed wind instrument), elathalam (cymbals). In an open-air setting, he then enacts the tales of Kari Chamundi (goddess of illness), Vishnumoorthi (a illustration of Vishnu), Bhagavathi, Raktha Chamundi and different gods.
The viewers is immersed in bhakti rasa whereas watching the dancer carry out with vitality and vigour. The costume, efficiency, open-air setting in the evening and lighting come collectively to make it a fascinating expertise.
There are greater than 400 kinds of theyyam. “This tribe’s theyyam is different and difficult as well. Our lead actor, Sudheer, trained in it for six months,” says Unni.
The film’s catalogue provides a holistic description of the function theyyam practitioners play in the Mavilan neighborhood. It says: “Theyyam artistes in the community create wonders and are deemed to possess all-encompassing knowledge. They leave behind their homes and loved ones to take up residence in the jungle and perform miracles. Their abode, known as ‘Pathee’ is sought out by people who want guidance in life. Their visions of the future set a rhythm to Mavilan life.”
Apart from theyyam, the film goes on to highlight different folks songs and dance varieties like Mangalamkali (wedding ceremony dance ritual) and Eruthkali of the Mavilan tribe. The film paperwork their musical devices as nicely reminiscent of thudi and bamboo drums.
While the film was shot in 30 days in forests, the analysis by director Unni KR and Rajesh Thillenkeri, who has written the story, screenplay and dialogue, took three years. “The tribals have a difficult life but they don’t complain. They want to live like free birds. Onkara is an effort to document the Mavilans culture,” says Unni.
