Mani Madhava Chakyar (1899 – 1990)
Celebrated master performance artist and Sanskrit scholar from Kerala, India, considered to be the greatest Chakyar Koothu and Kutiyattam (2000 year old Sanskrit theatre tradition) artist and authority of modern times.
“for 90 years” - On asking how much years he had studied Kutiyattam. He was 90 years then.
“No one is like the Emperor of Abhinaya- Mani Madhava Chakyar, and there won't be any” - Prof. Maria Christopher Byrski (first foreigner disciple of Guru and Kutiyattam), Department of Indology, Warsaw University, 1987
“Mani Madhava Cakyar with his unfailing urge for complicated , difficult and minute details has enriched the art during the decades of his unparalleled performing life without permitting even an iota of compromise regarding the essentials of traditional style. He has served his Kuladharma ever since his maiden appearance with tireless effort, enthusiasm, perseverance and vigor. He introduced new forms to improve this art form without impairing its tradition. The effectiveness of these innovations which only a genius could visualise and perform has already been proved several times“
- "The Hindu (1989)"
"My own people condemned my action (performing Koothu and Kutiyattam outside the precincts of the temples), Once, after I had given performances at Vaikkom, they even thought about excommunicating me. I desired that this art should survive the test of time. That was precisely why I ventured outside the temple"
- Guru about the difficulties he had faced from hardliners when he tok Koothu and Kutiyattam outside the temples and performing it for common man.
“..I felt angry when I learnt that a great artist like Mani Madhava Chakyar was awarded a mere Padma Shri. A man of his artistic genius and erudition deserved to be decorated with the highest state honour (Bharat Ratna)”
- RKG (Editor, The Illustrated Weekly, Columnist for Times of India), 2000
“Mani Madhava Chakyar was performing sikhinisalabha... Butterflies fly all around. Some of them fell into the fire below. The anguish was reflected in the actor’s eyes. Ha! There they come out without a burn! What a relief! They came again. The actor continued the performance. Only his eyes move… The audience was spellbound. They did not know that an hour has passed!”
- About his world famous abhinaya of the shloka shikhinisalabha from Subhadradhananjayam.
“the greatest eye-wizard of the world!”
- Stella Kramrisch - Curator of Indian Art, Philadelphia Museum of Art, USA, c1980
“His historic talent was backed up by extraordinary erudition. Behind his wizardry with the eyes lay sustained practice undertaken with devotion and discipline”
- L.S Rajagopalan (noted art critic), 1990
“Late Shri. Cakyar, was not just a skilled exponent and a capable teacher of Kutiyattam, his wisdom and depth of knowledge made him worthy of the title "Acharya" ”
- Dr. Prem Lata Sharma (noted Hindi writer and scholar of Indian arts and literature), 1994
"To Guru Mani Madhava Chakyar, Kutiyattam was more than art, it was life itself"
- Mani Madhava Chakkyar: The Master at Work (film) - Kavalam N. Panickar, 1994
“Eyes, what an eloquent pair he has! He is able to express with them even the slightest difference in the mood”
- L.S Rajagopalan (noted art critic), 1990
"(Guru Mani Madhava Chakiar) began playing the dual role of Parvati and Shiva...sat on a wooden chair...I have never ever seen a Parvati so exquisitely beautiful. I have never seen a Shiva so handsome and so cunning. I sat there and wept as if I were alone in the presence of God. I then realized what theatre was all about — the falsehood of that old man made me arrive at a state where inhibitions and convictions, all became so fluid and beautiful. And this vision has remained with me always"
- Dr. Vijaya Mehta (Executive Director, National Center for Performing Arts- Bombay, acclaimed Indian theatre personality) about her experience of watching 72 year old Guru's Abhinaya of Parvativiraha
“When i say Abhinaya, oh, I can't do the abhinaya like what the great man did here yesterday”
- Great Bharatanatyam dancer Balasaraswati next day after Chakyar's lecture-demonstration at Madras Music Academy in 1973.
"...Mani Madhava Chakyar, the overarching titan of 20th-century Koodiyattam, whose histrionic powers and focused scholarship eventually gave his art world-wide audience (and a Unesco recognition)"
- "The New Indian Express (2011)"
“The depth of creativity of the author (Mani Madhava Chakyar) is evident from the introductory Shlokas (hymns in Sanskrit) itself ”
- Dr. Prem Lata Sharma (noted Hindi writer and scholar of Indian arts and literature)
“Mani Madhava Chakyar when he portrayed Arjuna on the first evening and Ravana on the second, showed himself a master of the expression of the eye”
- Dr. V Raghavan, renowned scholar of Sanskrit dramaturgy, classical Indian dance and music, connoisseur of art and former director of Samskritaranga- Chennai, 1962.
“He had his own style. He could convey his thoughts through expressions. His eye movement was superb!”
Birju Maharaj- great Kathak dancer, selecting him as one of the ten finest dancers he has known, 2000
"It is not the favourable conditions, but most deprived circumstances that mould an artist”
- about the struggles that he had undergone in his life as an artist.
“With a few movements of the eye, he could manifest the mountains, the ocean, the rivers, the moonlit valleys, torrential rain, the gait of the swan and the elephant, a tornado, the opening of the lotus flowers and a lot else. To see him do it was to know that he was a non-pareil”
- P.T. Narendra Menon (noted art critic and poet), 1990
"Mani Madhava Chakyar's forte was Satwikabhinaya. Endowed with expressive eyes; that can speak a thousand moods and a countenance that can reflect the range of human emotions in its entirety, Mani Madhava Chakkiar was the master at work"
- Mani Madhava Chakkyar: The Master at Work (film), 1994