- Inter cultural Dialogue?
- For an International Audience (but not forgetting Locals)
LOCAL--->NATIONAL--->INTERNATIONAL
- Objects should be creatively assembled for enhanced associations and interactions
- Objects should not be static and should become a Vehicle for Thinking
- Documenting and Staging objects
After doing some research on the various art forms and performing arts of Kerala I chose to focus on Kalamezhuthu.
RESEARCH
ual art form. It is typically Indian while being a harmonic blend of Arian, Dravidian and Tribal traditions. As an art form it has found a significant place among our rich spectrum of fine arts. In most other parts of India this art exists as a domestic routine of Hindus, who consider it auspicious to draw certain patterns at the door step and courtyard to welcome a deity into the house. It is called by names like Rangoli, Kolam etc. Kalamezhuthu is unique form of this art found only in Kerala. Here it is essentially a temple art. The patterns to be drawn and the colours chosen are traditionally stipulated, and the tradition is strictly adhered to.
The kalam is a unique drawing also called dhulee chithram or powder drawing. The artist uses the floor as his canvas. Kalamezhuthu is performed as part of the rituals to worship and propitiate gods like Kaali, Ayyappan or Vettakkorumakan. Kalams are drawn in connection with the worship of Devi and Sastha. Kalam is especially done during Naga puja. Offerings such as ‘Nirapara (heap of rice)’ and other grains are placed in its respective places. The room will be decorated with flowers, garlands and leaves. Only oil lamps are used to light up the function.
During the rituals the dancer erases the entire drawing with tender palm fronds. Certain variations of the rituals are found in Tantric rituals too. In each case the patterns, minutest details, dimensions and colour choice are mandatory and not arbitrary. The patterns vary considerably depending on the occasion, but rarely by the choice of the artist. Even the order of creation is laid down.
The drawing is done directly with the hand, that is, without using any tools whatsoever. The powders used are all natural (Vegetable or Mineral or combined). The usual items used are: Rice (white), Turmeric (yellow), Charcoal from paddy husk (black), blend of Turmeric powder and Lime (red) and powdered leaves (green). Although several leaves are found suitable, the most commonly used are those of Albizzia lebbek.
The drawing of the large picture develops gradually about a central line, drawn with the black powder. Sketching, if done, is also with powder only. The coloured picture is developed patch by patch, growing outward.
Usually Kalamezhuthu is conducted as part of the general festivities in the temple, or as part of a major ritual like Nagapuja. The rituals related to the Kalam are performed by the artists themselves, usually the traditional drummers. Offerings like rice and other grains are heaped in appointed places in and around the drawing and the room is decorated with flowers, leaves and garlands. Lighting is of utmost importance in these rituals. Only oil lamps are used. Singing hymns in praise of the deity is the most important part of the ritual. The type of songs vary considerably (from folk to classical) depending on the deity being worshipped. The drawing starts at appointed time and is
erased immediately after the rituals related to the Kalam are over. The kalams or drawings are erased with the accompaniment of musical instruments like ilathalam, veekkan chenda, kuzhal, kombu and chenda.
Ground Floor:
- This room is a display room as well as a performance room.
- The display in the centre of the room which will be used to showcase the musical instruments used for Aiyyapan Thiyyatu and Kalamezhuthu. This display can moved to create a space for a dance performance.
- There will be audio visual instillations on either sides (two opposite walls) which will be shown on canvas like screens. The instillation will be a combination of moving images and sounds along with dynamic text. A small paragraph giving information about the instillation and Aiyyapan Thiyattu will be provided along with the instillation.
- The walls of the ground floor are black and so is the floor, so that during a dance recital the lights can b focused on the dancers and the walls on either side are not distracting (because they will be in complete darkness).
- The white wall at the back of the room, where the stairs are located will be a textured wall. This wall will be made of squares and will enable the creation of hollow spaces in which brochures, postcards etc. can be placed. This effect will be obtained through relief work.
- Stairs are suspended from the ceiling on one side and join the textured wall for added stability and strength. The steps which are white have traditional lamps placed on the steps at regular intervals.
First Floor:
- The first floor has been created using a false ceiling method. The floor has a glass piece in the centre on which Kalamezhuthu is performed. This allows filming and documentation from both the top and the bottom( by filming from the ground floor). The glass also lets viewers on the ground floor view a part of the drawn kalam and urges them to go upstairs and view the display.
- There is seating on either side of the kalam that can be folded for maximum usage of space. This seating can also be used to display the musical instruments from the ground floor incase there is a performance on that floor.
- On the white textured wall there will once again be place to display information and little compartments to display the powders that are used to create the kalam.
- The fourth wall is made of glass so as to create a sense of space and reduce the claustrophobic feeling. This wall will also have a screen that can be rolled out to project the ‘making of the kalam’ through a time-lapse film.
The elements in this poster are the words See and Seek which have been used in a playful manner to call out to the audience. The poster also includes the name of the museum and the timings and the weekly holiday.
REMARKS
My display for the museum has a potential sponsor. I am currently working towards creating 2 seperate displays, one for the sponsor and the other for the museum itself.I recently met up with an architect Anuj Rao, who helped me come up with ideas for the sponsor's display.
