Chapter 3 : Mannankoothu & Koothu Paattukal

Mannankoothu is a traditional cultural dance performance of the Mannan community, combining expressive movements with Mannankoothu songs, accompanied by traditional instruments and accessories. Community members talked about the Koothu as an important part of social and cultural life, bringing people together through music and storytelling. The narratives enacted in Mannankoothu are based on the legendary tale of Kannaki and Kovalan, though the Mannan version differs slightly from the Silappathikaram, the classic Tamil Sangam epic. Through rhythmic songs, vibrant dance, and symbolic gestures, the community preserves and retells this story in a distinct cultural form. 

In earlier times, Mannankoothu was performed weekly under the guidance of the Kaani, or chieftain, within each hamlet. The performance has undergone changes over time due to internal shifts and external pressures, gradually transitioning from a form of social theatre to a dance performance. Some traditional songs have been replaced by Malayalam songs. Today, Mannankoothu is primarily performed during annual festivals such as Kaalayootu and Pongal, or on special occasions, including the passing of prominent community members.

In an attempt to revive the performance and its cultural significance, a segment of Mannankoothu has evolved into a tourism attraction as well. Community members expressed diverse opinions about this adaptation, noting that ritual nuances are often modified for tourism.

Scan the QR code to watch the Earthlore documentary on Mannankoothu.

Mythological Origin of Mannan-Koothu

According to the beliefs of the Mannan community, Mannankoothu was founded by two ancestral brothers, Panchampoolan and Periyanankan. Guided by Poolappan Poolan Kaani, the brothers approached two sisters, Valuvakotha and Valuvachakki, who were known for their mastery of the art of Koothu. Many had tried to learn from the sisters before but had failed. The sisters agreed to teach the brothers, but with a condition - only one could be taught the art directly. As a result, the elder brother, Panchampoolan, learned within the gurukulam, while Periyanankan learned the craft from outside.

After the training, the sisters gave the brothers a test. They were asked to demonstrate their learning by causing a tree to wilt and burn. Panchampoolan could wilt the tree, but Periyanankan, with his focused gaze, set it ablaze. Impressed by their devotion and skill, the sisters blessed them both.

The brothers later returned to their hamlets and shared their knowledge with their people. It is believed that they formed the rhythm, structure, and style of Mannankoothu, passing it down through generations of the Mannan community.

Costume and Makeup in Mannankoothu

Mannankoothu features different types of characters, including male, female, and comedian roles. Traditionally, only men performed in the Koothu, with male performers also taking on female roles by dressing up as females. In recent times, there is a subtle shift through the participation of elderly women and young girls, marking a shift in tradition and helping to revive this age-old art form.

The male and female characters perform rhythmic dances to Koothu songs that narrate the story of Kannaki and Kovalan. The comedian character keeps the audience engaged and awake throughout the night, as the performance begins after dusk and continues until the next day at dawn.

In earlier times, makeup was done using ash, soot, and sandalwood paste. Costumes were made from materials like tree bark and a paste prepared from wild arayani. Today, performers wear modern attire such as sarees, churidars, dhotis, and shirts, blending traditional themes with contemporary expressions. 

Mannankoothu Songs and Structure

The Mannan community believes that there are about eighty-five Koothu songs in existence. These songs have been passed down through generations as part of an oral tradition. They narrate the story of Kannaki and Kovalan, from their birth to Kannaki’s arrival in Kerala. While the songs are inspired by the Silappathikaram epic, the Mannan version introduces its own variations in narrative and detail. 

In earlier times, Mannankoothu was performed over seven days, with each stage presenting a portion of the Kannaki - Kovalan story. Today, the performance is usually limited to a single night due to changes in lifestyle and livelihood patterns.

The first three songs, known as Daiva Pattukal (divine songs), are particularly significant. They express the community’s reverence for the gods, ancestors, and the king, and are sung to seek permission and blessings before the performance begins. These songs are usually performed separately in a corner near the main arena.

The performance concludes with the Mangalam song. During this final act, a bowl of water is placed at the centre of the arena; it is later sprinkled around the space to mark the ritual end of the Koothu.

Traditionally, Mannankoothu included a blend of songs, verses, and storytelling. However, this older structure is now fading, with most performances featuring only the songs. Some elders in the community still remember the complete version and share their knowledge to preserve it.

Folk songs called Muripaattukal were once interwoven with the Koothu to depict scenes from everyday life - such as farming in the forest, interpersonal relationships, or lullabies. These songs also provided rest intervals for the lead singers. In recent times, Malayalam songs are often used in place of Muripaattukal, as many traditional tunes have been lost.

Efforts are now being made to revive the older form of Mannankoothu and its traditional songs. Mani from Chinnapara notes that younger members of the community are learning the ancient methods, working to bring back the authentic rhythm and essence of their cultural heritage.

Musical Instruments in Mannan-Koothu

Three main musical instruments or accessories are integral to Mannankoothu:
(i) Mathalam  (ii) Chilanka  (iii) Ilathalam.

The instrumentalists sit on a wooden platform known as benchikol or kol, which serves as their stage. The Mathalam player is seated in the front row, followed by the lead singer and other instrumentalists, with the chorus singers and learners forming the final line. This arrangement reflects both the hierarchy and the collaborative nature of the performance.

Mathalam : The Mathalam is a percussion drum traditionally crafted from the wood of the kumbil tree (Gmelina arborea) and fitted with the skin of the udumb (monitor lizard, Varanus bengalensis) on side and of Koora deer on the other side. As hunting monitor lizards is now prohibited, goat skin is used instead. Due to the scarcity of mature kumbil trees - which are mostly found deep in the forest - jackfruit wood is now often used as an alternative.

We learned that many families continue to use Mathalams made by their ancestors, replacing only the drum skin when necessary. The making of a Mathalam is considered sacred and involves a ritual performed by the Moorikaru, a particular sub-group within the community. This ritual includes prayers and the preparation of a dish called Ada, traditionally made from ragi millet, though wheat is also used today.

The Mathalam and other instruments hold divine significance for the community. Before entering the Mannankoothu arena, performers bow before the Mathalam to seek its blessings, followed by prayers to the Goddess of the Earth (Bhoomi Devi). These acts of reverence reflect the community’s deep spiritual connection to their art form and its sacred instruments.

Chilanka : The Chilanka is a jingling ornament tied around the dancers’ ankles, producing rhythmic sounds that enhance the tempo of the performance. Each step of the dancer adds to the musical flow of the Koothu, blending movement and sound. Symbolically, the Chilanka represents Kannaki’s chilambu (anklet) from the Kannaki - Kovalan tale, connecting the performance to its mythological roots.

Ilathalam / Chalara : The Ilathalam, also known as Chalara, is a small metallic percussion instrument resembling miniature cymbals. It is used to create sharp, distinctive chimes that mark rhythm and transitions in the Koothu songs. The clear ringing of the Ilathalam complements the deeper tones of the Mathalam, adding texture and balance to the overall musical ensemble.

Mannankoothu and its evolution

Mannankoothu has found a new platform through tourism initiatives in Kumily, supported by the Department of Forest and Wildlife under the Eco-Development Committee (EDC) scheme. Daily performances are held at the Vanashree Auditorium in Kumily. Earlier, the program also included visits to tribal hamlets and a museum experience, but at present, only the performance continues as an active component.

The integration of Koothu into tourism began as a revival effort by the Mannan community at their Kumily settlement. For nearly fifty years, the community faced challenges in preserving their cultural practices. Between 1998 and 2000, a conscious effort was made to learn, document, and revive Koothu. In 2009, the community established their own cultural centre at Kumily, marking a significant step in this revival journey.

The community’s earlier performances revealed that the traditional, unstructured version of Koothu struggled to hold audience attention. This led to discussions on adapting Koothu for modern viewers while preserving its essence. Drawing inspiration from earlier special performances led by Thevan Rajamannan, visual and rhythmic elements were refined for stage appeal. Costumes were created using bark from the sacred Incha Kodi tree, and necklaces were made from Badraksham, another revered tree. Rhythmic dance steps were added to the narrative songs, giving the performance a more structured and engaging form.

Following the establishment of the EDC programs, Koothu performances moved from the community’s own cultural space to the Forest Department’s cultural centre. To better suit tourism contexts, the duration was shortened to about one hour, and audience interaction was added by inviting guests on stage.

Biju, a community member, expresses hope that the traditional version of Koothu will one day find equal recognition in tourism. At the same time, he acknowledges the success of the Kumily model as a promising example of how Mannankoothu can adapt, sustain itself, and continue to represent the cultural identity of the Mannan community.

List of various Mannankoothu songs and performance :

1. Nalla Ennoorunthan Thevarkalellam / നല്ല എണ്ണൂറുന്തൻതേവർകളെല്ലാം

Prayer song ‘Nalla Ennoorunthan Thevarkalellam’, traditionally sung in the beginning of the Mannan Koothu performance, offering respect to the 800 Mannan deities of the land and seeking their blessings. It is performed before the enactment of the Kannaki - Kovilan segment of the Koothu.

2. Nammal Arare Pere Cholli Aaduvene / നമ്മളാരാരെ പേരെ ചൊല്ലി ആടുവേനേ 

This prayer song ‘Nammal Arare Pere Cholli Aaduvene’ is sung as a tribute to the ancestral founders of the Mannankoothu,  Panchanpoolan and Periyanankan, according to Mannan belief. They are praised in the song as a way of seeking their blessings.

3. Oh Raja Raja Chola Raja / ഓ രാജരാജോ ചോളാരാജോ

‘Oh Raja Raja Chola Raja’ is a prayer song sung at the beginning of a Mannan Koothu performance, paying tribute to the King and the great elders of the community. 

4. Nalla Rottoram Veettukari / നല്ല റോട്ടോരം വീട്ടുകാരി 

Mannan Koothu Muripaattu song ‘Nalla Rottoram Veettukari’. The song describes a rural woman and admires her colorful saree, graceful walk and adornments.

5. Cholam Vithakkapona Muthamma / ചോളം വിതക്കപോനാ മുത്തമ്മ

Mannan Koothu song ‘Cholam Vithakkapona Muthamma’. The song describes an elderly woman, Muthamma, and her actions in cultivating crops like corn, ragi, and millets such as sowing the seeds, cutting the weed in the process.

6. Inji Manji Valinadandho Vanjikodiye Paaru / ഇഞ്ചി മഞ്ചി വളിനടന്തോ വഞ്ചിക്കൊടിയെ പാറ്

Mannan Koothu Muripattu song ‘Inji Manji Valinadandho’, a song that describes the natural landscape, including rocky terrain, dense forests, and wild animals.

7. Chandramathipinen Kuyilo / ചന്ദ്രമാതിപിനെൻ കുയിലോ

Mannan Koothu performed to the Kannaki - Kovalan song ‘Chandramathipinen Kuyilo’

The song is a dialogue with the moon, asking it to light up the forest with moonlight as Kannaki and Kovilan walk through it.

8. Chinnankara Vanthath Ennen Karayo / ചിന്നങ്കര വന്തത്  എന്നൻ കരയോ

Mannan Koothu Muripattu ‘Chinnankara Vanthath Ennen Karayo’, a song describing the land praising the land of the king.

9. Nalle Kallu Mele Makane Eera Venda /  നല്ലെ കല്ലു മേലേ മകനേ ഏറ വേണ്ട

Kannaki-Kovilan song ‘Nalle Kallu Mele Makane Eera Venda’, in which the young Kovilan is advised to be careful and cautious while playing in the forest, climbing rocks, or scaling trees.

10. Ayya Varaaru Theppethu Madura Vittei / അയ്യാ വരാറ് തേപ്പെത്ത് മധുര വിട്ടേ

This is a hunting related song, where the preparations, journey and sights during the hunting are explained through the lyrics.

11. Kalludachu Kinarum Ketti / കല്ലുടച്ചു കിണറും കെട്ടി

This song is referred to as ‘pani paattu’, where daily life activities are sung. In this song, tasks related to digging a well, fencing the yard, and caring for an infant are described.

12. Nalla Chandena Mamaram Allellallo, Chami Puranthayidam Allelallo / നല്ല ചന്ദന മാമരം അല്ലിലാലോ, ചാമി പുറന്തയിടം അല്ലിലാലോ

This is one of the Kannaki - Kovalan songs of the Mannankoothu. Here in this song, a pleasant spring season is described within the lyrics, reflecting the happy phase in the life of Kannaki. 

13. Periyath Thanniyile Vadivela, Penkalellam Neeraduthe Vadivela / പെരിയാത്ത് തണ്ണിയില വടിവേല, പെൺക്കളെല്ലാം നിരാടുതേ വടിവേല 

The song is used to describe a woman in her daily routine, taking bath, brooming, getting ready in a playful banter. 

14. Nalla Chathiyumilleyo Chanangalomilla / നല്ല ചാതിയുമില്ലെയോ ചനങ്കളോ മില്ല 

The song describes the situation where Pandya King orders to execute Kovalan and Kovalan’s loneliness is reflected in the song.

15. Mangalam Paattu / മംഗളം പാട്ട് 

Mannan Koothu Mangalam song, as the concluding act in the arc of Mannan Koothu.