KS GeorgeImage result for kpac sulochanaKPAC Sulochana

KPAC History Background

The new cultural humanism in kerala began to take shape in the early decades of 20th century. The renaissance in the socio political scenario paved the way for a new and progressive approach in the cultural arena also. The tradition of entertainment which revolved round the aristocratic tastes was forced to highlight the plight of the sidelined and the neglected. It infused new blood to transform the keralite spirit and concept of art. The impetus for the new culture was strengthened by the literary works of eminent poets and playwrights. The social reformers realized drama as a popular form of art and excellent medium of communication. It all tended towards the rapid advances in the development of drama from its crude and feudal form. The dramas "Adukkalayil Ninnum Arangathekku" by VT Battathirippad (1929),Image result for VT Bhattathiripad "Marakkudakkullile Mahanarakam" by MRB (1930), "Pattabakki" by K Damodaran (1937),Kdamodaran.jpg "Irthumathi" by Premji (1938), "Prathima" by Kuttanattu Ramakrishna Pillai (1946), "Jethakkal" by ponkunnam Varky (1946),"Thottilla" by Thakazhy Sivasankara Pillai (1946), "Nammalonnu" by Cherukadu (1948), "Koottukrishi" by Edasseri Govindan Nair (1950) etc; prepared the ground for easy germination of a people's theatre in kerala.

The origin - "Ente Makanaanu Sari" (My Son is Right)

Towards the end of 1950, N Rajagopalan Nair, G Janardhana Kurup, Issac Thomas, and S Prabhakaran Nair - all law students in Ernakulam, decided to stage Dostoyevsky's "Karamazov Brothers" in Malayalam. A public notice was printed in the name of "Kerala People's Arts Club" but nothing came out of it. According to Adv. G Janardhana Kurup, though they met at Ernakulam for "Karamazov Brothers" the name of KPAC was fixed by himself and Rajagopalan Nair in their personal meeting at Mararithottam. There is another version that KPAC was founded on a project report submitted by Kottayam Sreeni to the Kerala State Committee of Communist Party of India. But Prof. ONV Kurup remembers little differently. Rajagopalan Nair, G. Janardhana Kurup, Rajamony, Sreenarayana Pillai and ONV together sought Prof. MP Paul for advice and assistance to form a theatre and they decided to stage a drama, and later the name KPAC was emerged at a discussion in CP Sathram Thiruvananthapuram. Rajagopalan Nair MLA and Adv. Janardhana Kurup had jointly completed the script of the first play "Ente Makananu Sari" and its songs were written by Punalur Balan. Adv. G Janardhana Kurup, Adv. N. Rajagopalan Nair MLA, TA Mytheen Kunju MLA, Adv. MP Kuttappan, KS George, Sulochana and Janaki were the first actors. Kottayam Sreeni was the troupe convenor and Poojappura Krishnan Nair, its Manager. The play was inaugurated in VJT Hall, Thiruvananthapuram in 1951 and it marked the beginning of the saga of success to the present day KPAC.

"Ningalenne Communistakki"(You made me a Communist)
Image result for K.Sulochana and KS George.

It was Thoppil Bhasi's first play"Ningalenne Communistakki" that found a place for KPAC in the hearts of keralites. Thoppil Bhasi had written the script in his underground shelters. G Janardhana Kurup and N Rajagopalan Nair MLA directed the play jointly. ONV Kurup, then a young poet penned the songs and G Devarajan, a promising musician set them to music. The singers KS George and Sulochana joined them to create sweet emotions and experiences. Kampisseri Karunakaran MLA took the leading role guiding the audience to the progressive side. The other actors were Adv. G Janardhana Kurup, Adv. N Rajagopalan Nair MLA, O Madhavan, Thoppil Krishna Pillai, Bhaskara Panicker, V Sambasivan, Sreenarayana Pillai, Sulochana, Sudharma, Bhargavi and Vijayakumari. Kodakulangara Vasu Pillai was the troupe convenor and K Kesavan Potti was the chief co-ordinator. The drama was inaugurated at Chavara, Kollam, on December 6, 1952. After a while the most gifted actor PJ Antony, CG Gopinath and Adv. Kumarakom Sankunni Menon had also taken leading roles in this play. It was a stimulant to the weaker sections to emerge with a heady resolve against exploitation. The play was a protest against the feudal system that prevailed in kerala and it was the clarion call to rise and fight oppression. On the 85th day of its inauguration, the play was banned by the government, and after two months of legal fight the ban was lifted by the Honorable High Court. The well-known research scholar Mr. Robin Jeffrey commented on this play "It swept like a storm for months up and down kerala. You Made Me a Communist, both symbolized and extended kerala's changing political culture. The fact that audiences responded so enthusiastically indicated that they sympathized with the ideas of equality and struggle that the play sought to convey...The efforts to ban the play testified to its effectiveness." Since its appearance this play remained the most popular in Malayalam and performed in more than six thousand stages and changed the course of history.

Patrons and prominent persons behind the staging of 'Ningalenne Communistakki'

MN Goindan Nair, Prof. MP Paul, R Sankara Narayanan Thampi, K Kesavan Potti, Adv. KS Rajamony, N Sreedharan (in Travancore-Cochin), KPR Gopalan, EMS Namboodirippad, AK Gopalan, KA Keraleeyan, NE Balaram, K Damodharan, MK Kelu, Azheekkodan Raghavan, Chathunni Master, AV Kunjambu, Justice. VR Krishna Iyer (in Malabar), E Balanandan, Prithviraj Kapoor, KA Abbas, Belraj Sahny (in Bombay).

Thoppil Bhasi and other cultural stalwarts associated with KPAC.

KPAC staged 17 more dramas written and directed by Thoppil Bhasi. He had also directed 9 plays written by others. It was Thoppil Bhasi and his plays that contributed the most for KPAC to attain its present day esteemed status. Though he had done prominent works in silver screen, he is mainly remembered as an eminent playwright. He won many awards from Kerala Sahithya Academy, Kendra Sahithya Academy, Kerala Sangeetha Nataka Academy, and Kerala State Government. His plays were translated to other languages and a few are text books in some Universities.

Eminent playwrights - Ponkunnam Varkey, Vaikkom Chandrasekaran Nair, N.N. Pillai, SL Puram Sadanandan, N Krishna Pillai, KT Mohamed, Thikkodiyan and Kaniyapuram Ramachandran had their plays performed by KPAC. ONV Kurup, Vayalar Ramavarma, Kaniyapuram Ramachandran and K Kesavan Potti had written songs for KPAC. Artists Kesavan and Sujathan painted the scenery for all the plays. The renowned musician MB Sreenivasan, K Raghavan, LPR Varma, MS Baburaj, V Dakshina Murthy and MK Arjunan composed music for the dramas. It is through KPAC that KS George and KPAC Sulochana found a premier place in Malayalee minds. KP Ummer, N Govindan Kutty, Sankaradi, Alummoodan, Manavalan Joseph, KPAC Lalitha, Adoor Bhavani, Pala Thankam, Kaviyoor Ponnamma, KPAC Sunny, Kottayam Chellappan, Sreelatha, Oduvil Unnikrishnan and Sai Kumar are some who entered cine screen from KPAC stages

KPAC and its performing tour

KPAC has conducted so many all India tours performing its dramas almost in all states. In 1986 the troupe went to Gulf countries and staged dramas there. In 1989 KPAC team visited USA and Canada and performed its dramas in many places

1     KPAC Films

KPAC Films was inaugurated on 10th May 1972. Its first cinema was "Enippadikal" based on the famous novel of Thakazhi Sivasankara Pillai. It was directed by Thoppil Bhasi. The second film "Neelakkannukal" was directed by the senior cine artist Madhu.

2     Silver Jubilee

In1975, KPAC celebrated Silver Jubilee at Kayamkulam and it was inaugurated by the Union Minister IK Gujral; and the chief Minister of Kerala C Achutha Menon presided over the function.

3     Golden Jubilee

During the period 2000-2002 Golden Jubilee celebrations were held at different places in kerala. It was inaugurated on 24th May 2000, at Trivandrum by the Honourable Vice President of India, Krishna Kanth. During the three day festival the Chief Minister of Kerala EK Nayanar, AB Bardhan, PK Vasudevan Nair , ONV Kurup, top artists DileepKumar, KJ Yesudas and others participated in the functions.

   Office Bearers

Adv. G. Janardhana Kurup         
Adv. N. Rajagopalan Nair
 Adv. G. Janardhana Kurup     
O. Madhavan
 Adv. G. Janardhana Kurup
K. Kesavan Potty
 Kambissery Karunakaran
Thoppil Bhasi
 Adv. N. Rajagopalan Nair
Adv. M. Gopi
Adv. Kumarakom Sankunni Menon
Adv. M. Gopi
P.K. Vasudevan Nair
Adv. M. Gopi
Adv. M. Gopi
2/12/2007- 15/2/2008        
Adv. A. Shajahan (acting secretary)
2008- till date                   
K.E. Ismail       
 Adv. A. Shajahan

Most Popular Drama Songs

  • Thunjanparambile Thathey

    ~ Sung by : G . Devarajan. One of my personal favorites. We get lucky
  • Ambili Ammava

  • Cheppukilukkana Changathi

  • Chillimulam Kaadukalil

  • Vellaaram Kunniley

how KPAC got mis-represented to be Kerala peoples Arts Club rather than its original Kayamkulam Peoples Arts Club. Thanks ..cinematters

Dear George,
As I mentioned in the reply to your previous note, are there any archives or interviews that you have in your possession that speaks about this part of the story ? Though there are three versions as to how KPAC was founded, it all centers around the personalities involved in the founding of this great institution, from what I have researched, and all of them are absolutely clear when it came to the name of the movement – Kerala Peoples Arts Club. The most widely accepted one speaks about its genesis at the Law College in Ernakulam through a tightly knit group of brilliant students who were fast friends and political activists – Adv Janardhana Kurup, Punalur Rajagopalan Nair, Issac Thomas and S Prabhakaran Nair. O Madhavan’s memoirs ( KPAC yude Balyam) places the action at Trivandrum, with the same participants but also includes Prof MP Paul and Adv Rajamoni.Even ONV Kurup’s version of the founding days agrees that it was at Trivandrum that it was founded, but clearly mentions the name as Kerala Peoples Arts Club, from the transcript of his memorial speech given at the Theater camp at KPAC. The theater body was founded in 1950, it was registered only in 1967 under the registration, A 4/67 as per the Minutes of the General Body Meeting of KPAC held on June 11, 1967. KPAC’s ‘inseparable’ connection with Kayamkulam, in the form of its premises came only in 1973, although there were many from the area who were an integral part of the movement like Thoppil Bhasi and Kesavan Potty. KPAC Lalitha made her debut in Mooladhanam in 1963, 13 years after founding of the movement and their 7th theater production. It is in light of these that I am really eager to know about how KPAC got mis-represented to be Keralal peoples Arts Club rather than its original Kayamkulam Peoples Arts Club. Thanks ..cinematters

Imprints On Indian Film Screen: K.P.A.C.SULOCHANA AND K.S.GEORGE

Kaalam Maarunnu (1955)

Thikkurissi Sukumaran Nair, Sathyan, K. S. George, Kambissery Karunakaran, KPAC Sulochana etc.

MUSICALLY RELEVANTKaviyoor Revamma in a song sequence from the film

‘Kaalam Maarunnu,' introduced to Malayalam cinema music director G. Devarajan and lyricist O. N. V. Kurup. The film also introduced several stage actors like KPAC Sulochana, K. S. George, O. Madhavan, Kambissery Karunakaran, and Sree Narayana Pillai.

Most of the early Malayalam films are remembered today for its rich music. ‘Kaalam Maarunnu' is one among them. Interestingly, true to the title, which when translated means ‘times are changing,' brought a refreshing change to Malayalam film music with the introduction of ONV-Devarajan.

There are numerous instances in Indian cinema when a film became a hit because of its excellent music. But ‘Kaalam Maarunnu,' despite excellent music failed probably because of a weak story line.

The story revolved around Kunju Pillai (Kambissery Karunakaran), well respected by the villagers, his son Balan (Sathyan) and his lady love Santha (KPAC Sulochana). The wicked landlord Shekhar (Thikkurissi) has an eye for Santha. Balan weds Santha and this turns Shekhar's ire towards Balan.

Balan gets elected as secretary of the local temple festival committee. This happens after the villagers expel Bhasi (Sree Narayana Pillai) from the post. This creates a wedge between Bhasi and Balan. Taking advantage of the situation, Shekhar joins with Bhasi to harm Balan. Amidst the festival celebrations, Balan is murdered by Shekhar's men. The blame is put on Thevan (O.Madhavan), Balan's friend.

Shekhar and Bhasi offer support to Balan's widow. But Kunju Pillai is suspicious of their motives. Badly beaten by Kunju Pillai for his behaviour, Bhasi spreads scandals about Santha. Shekhar supports Bhasi in all his deeds. Kunju Pillai and Santha, who is pregnant flee the village.

On the way Kunju Pillai saves Shekhar's son from the river and takes himalong. Santha gives birth to a baby girl. Shekhar's son, now named Ramu (Master Mohan) and Santha's daughter Sarala (Kumari Leela) grow up together.

Shekhar and his wife Sharada (Pankajavalli) believe that their son was drowned. Sharada who was always against the cruel deeds of her husband now turns mad due to the loss of her son. Ramu grows up as an upright man who fights against injustice. One day Kunju Pillai punishes Ramu for quarelling with a boy in the neighbourhood. Humiliated, Ramu leaves home and wanders the streets of a nearby city.

Sharada comes to know about her husband's immoral relation with Bhasi's wife Komalam (Chandni). The family life of both Shekhar and Bhasi is in mess now. Kunju Pillai reaches the city in search of Ramu, and finds him hospitalised after having been beaten up for stealing food from Shekhar's house.

Then comes the reconciliation. Kunju Pillai reveals the fact that Ramu is none other than Shekhar's lost child. All misunderstandings are cleared. Shekhar repents. The enmity between Shekhar and Kunju Pillai end and become good friends.

There were nine songs in the film. Two songs penned by Thirunainar Kurichi Madhavan Nair were composed by Brother Lakshmanan. The other songs were by ONV-Devarajan team. All the songs became instant hits. The romantic duet they made, ‘Aa malar poykayil …' sung by K. S. George and Sulochana was the pick of the songs. The children's song, again by ONV-Devarajan, ‘Ambili mutthachan picha nadathunna...' (Lalitha Thampi) was another big hit. In fact, the singer is remembered today for this song. The two songs by Thirunainarkurichi and Brother Lakshmanan, ‘Marayathe vilasavoo...' and ‘Painkiliye vaa vaa panchara...,' both sung by Kaviyoor Revamma, were hits. The singer also appeared in the former song sequence. Other hit songs include ‘Povano povano...'(Kamukara, George and chorus) and ‘Aelayile Punjavayal...' (Kamukara, Santha P. Nair, chorus).

Will be remembered: As the debut film of G. Devarajan and O. N. V. Kurup, the first film of singers K. S. George, Lalitha Thampi, Jayan-Vijayan (they sang in the chorus). It will be remembered as the first film of KPAC Sulochana, Kambissery Karunakaran, Sree Narayana Pillai, O. Madhavan and Sudharma. And, of course, for the excellent music.

Top 10 KPAC Drama songs | Malayalam Audio Jukebox ...
Oct 23, 2014 - Uploaded by Saregama South
Tracks: 00:00 Bali Kudeerangale 03:03 Chakkara Panthalil 06:10 Thalakku ... Top 10 KPAC Drama songs ...

KPAC's Old Malayalam Drama Songs -1 – OLD ...

Jul 9, 2010 - I don't think there has been any other theater movement or for that matter any movement in any state in India, that has entertained, and with it .

13 thoughts on “KPAC's Old Malayalam Drama Songs-2.’s-old-malayalam-dra...

Jul 10, 2010 - One interesting fact about all the KPAC dramas which were adapted for the screen was the fact that none of the songs that made it such a social 

KPAC’s Old Malayalam Drama Songs-3

Malayalam Nadaka Ganangal Music - MusicIndiaOnline ... › Malayalam

Play Malayalam Nadaka Ganangal Radio ... Hits From K P A C Drama Songs. ONV Kurup ... 3. Chakkara Pandalil (Kathirukanakkili) (KPAC Drama Songs). 4.

10 thoughts on “KPAC's Old Malayalam Drama Songs-4”’s-old-malayalam-dra...

Jul 12, 2010 - KPAC's Old Malayalam Drama Songs-4 ... 3. Maarivillin Thenmalarey ~ Sung by : K. S. George. KS George's voice had this ability to sear your ...

Malayalam Nadaka Ganangal Music - MusicIndiaOnline ... › Malayalam

Play Malayalam Nadaka Ganangal Radio ... Hits From K P A C Drama Songs. ONV Kurup ... 3. Chakkara Pandalil (Kathirukanakkili) (KPAC Drama Songs). 4.

Paravoor Govindan Devarajan (Malayalam: പറവൂര്‍ ഗോവിന്ദന്‍ ദേവരാജന്‍), popularly known as G. Devarajan or Devarajan master, was a noted Malayalam music composer, died on March 14, 2006 in Chennai, at the age of 79.

He has scored music for more than three hundred Malayalam films, many dramas, twenty Tamil and four Kannada movies. Many of his compositions remain ever green classics in Malayalam. Besides, his music in the Tamil film 'Annai Velankanni' has received many accolades. Devarajan received Kerala Government's Best Music Director award for five times, among other honours.

Song Year Film Lyrics
Pulari Thoomanju Thulliyil 1989 Ulsavapittennu Kavalam
Nin tumbu kettiyitta 1980 Shalini Ente Kootukari MD Rajendran
Anjana Sreedhara 1980 Chakara Traditional
Ammathan Maaril - Nivedyam -
Ilavannoor Madathile 1978 Kadathanattu Makkam P Bhaskaran
Akkare Akkare Allo Ayillyam Kaavu 1978 Kadathanattu Makkam P Bhaskaran
Vembanattu Kayalinnu Chanjaattam 1977 Randu Lokam Yusef Ali Kachery
Innenikku Pottukuthaan 1977 Guruvayoor Kesavan P Bhaskaran
Chakkikkothoru Chankaran - Acharam Ammini Osaram Omana -
Markazhiyil Mallika Poothaal 1976 Ponni P Bhaskaran

His early life :-

Devarajan's FamiliyBorn at Paravur, near Kollam in Kerala, Devarajan rendered his first classical concert at the age of 18. He was soon attracted to the Communist movement and decided to dedicate his creative energy for popular music. He joined the once famous drama troupe of Kerala, the Kerala People's Arts Club (KPAC). The work that brought him to limelight was the drama song titled Ponnarivaal ambiliye kanneriyunnoole. KPAC and its members had a distinctive leaning towards the communist ideology, and their dramas did play a role in spreading the ideology among the Keralite masses. Through his compositions, Devarajan could cast an indelible imprint in the Malayali theatre arena, especially after the famous KPAC drama Ningalenne Communistaakki written by Thoppil Bhasi in 1952.
Musical Career:-

The first movie for which he composed music was Kaalam Maarunnu (1955). He teamed up with poet-lyricist Vayalar Ramavarma in Chathurangam in 1959. His third movie - and the second with Vayalar - Bharya (1962) became a huge hit and made them a popular combination. His captivating music earned him pride of place among those who had relentlessly strived to earn a dignified status for film songs. His combination with Vayalar produced the golden era of Malayalam film music. Devarajan is remembered by legendary singers in Malayalam like K. J. Yesudas and Jayachandran as their Godfather. In fact, it was the magical compositions by him that brought laurels to the main singers of that age.

Devarajan was the one who used maximum number of raaga's in Malayalam film music. His music embraced different styles with the Carnatic and Hindusthani melody lines meeting folk idioms and western harmony. Despite being an atheist, he composed brilliant devotional songs like Guruvayoor ambalanadayil,Chethi mandaram thulasi ,Nithya vishudhayam kanya mariyame etc. which are considered as classics in that genre. Also, he is particularly noted for his remarkable ability to blend the words of the lyrics with the mood of the situation, in his film song compositions. His compositions like Sanghupushpam, Sanyasini, Sanghamam, Chandrakalabham to name a few, surely come in the best and most popular songs in the Malayalam film music till now. Most of his hit songs were written by Vayalar Ramavarma and the combination of Vayalar-Devarajan was synonymous with beautiful songs. The Vayalar-Devarajan combine proved the most successful team till the death of Vayalar in the mid 1970s. Hundreds of songs contributed by the team are still part of Malayalis' nostalgia. Apart from Vayalar, he has also given tunes to the lyrics by other eminent poets and song writers like O. N. V. Kurup, P. Bhaskaran etc.

The name Devarajan master is remembered by Malayalam music lovers all over the world as the composer of deva raagas - divine melodies.A complete work of Devarajan master Degageethikal composed by himself has released and the book is published by Authentic books.
Devarajan master died of a heart attack at his residence in Chennai on March 14, 2006 at the age of 78. He was cremated with state honours in Paravur.

Devarajan won the Kerala State Film Awards thrice, for the best Music Director:
Thriveni (1970)
Yamanam (1991)
He also won J. C. Daniel Award for Lifetime Achievement.
About JC Daniel Award

J. C. Daniel was the first film-maker from Kerala, India. He produced, directed, wrote, photographed, edited and acted in the first film made in Kerala, named Vigathakumaran. He also established the first film studio in Kerala, named The Travancore National Pictures. He is considered as the father of Malayalam cinema. The Government of Kerala instituted the J. C. Daniel Award as a part of the Kerala State Film Awards, to honour lifetime achievements in Malayalam cinema.

The awards are instituted by the J.C. Foundation, which was founded in memory of J.C. Daniel by his family and friends. The awards are given away annually for achievements in Malayalam film-making. An award is also given for the best novel.

In Media :- In Chief Minister Achuthanandan's words :

In Hindu "G. Devarajan, who has completed 50 years in the Malayalam film industry, goes down memory lane"
THE NOTED music director G. Devarajan is getting ready to charm Malayalis with the magic of his soulful music yet again. He plans to set to music some of the slokas of Sree Narayana Guru.
"The Guru is a great spiritual leader whom I admire. He has had a profound influence on my life," Devarajan says.
During the last 50 years, Devarajan scored the music for 353 films and innumerable plays.

Dream Duo
He worked with ONV Kurup to compose the music for `Kaalam Marunnu' in 1955. It was a film that altered the course of Malayalam film music as it brought together two creative minds who transformed Malayalam film music with the golden touch of their genius.
The songs of `Kaalam Marunnu' were recorded in three days at Merryland Studio in Thiruvananthapuram. "A tabalist Palaniswamy arranged the orchestra. K.S. George, KPAC Sulochana, Kamukara Purushothaman, Lalitha Thampi and Santha P. Nair rendered the songs. The songs were all popular," he recalls.
In an introspective mood, the musician says: "Be it in life or my career, I have always been uncompromising. You may call me arrogant and impudent. That does not affect me. I hold fast to my values and that has inspired me to lead the life I wanted. I don't go by what others think of me," he asserts.
The man who demystified Carnatic music and introduced its melody and reach to the common man does not mince words.
"I have never pleaded for a chance. Those who had faith in me came to me. Austerity is the hallmark of my life and music. There are many who have not given me my remuneration. A producer for whom I composed the songs in 31 films, never gave me anything at all. But the industry reveres him as a guru and is now getting ready to pay obeisance to him," he says.
His first recording session in Chennai was in 1951. To cash in on the popularity of the drama songs of KPAC, HMV decided to bring out discs and all the songs were recorded at their studio in Chennai. "The studio room was very small. They did not have a dedicated orchestra and used to call the artistes for each recording session.
The duration of the HMV discs was 2.55 minutes and I had to record an abridged version of `Ponnarival ambiliyil... ' to include it in the disc. While recording these songs I remember Soundrarajan, P. Leela and other singers waiting for their turn in the studio. After recording the film songs at the studios, the singers used to rush to the HMV studio and record it again for the disc," he remembers.
Devarajan recollects that the first song he composed was the one written by his childhood friend M.K. Raghavan Pillai. He had composed the music for many other poems, including those written by G. Kumara Pillai.



Every creative endeavour has an interesting story. The secret behind the ingenious creations of the late veteran music director G. Devarajan and his association with accomplished poets such as Vayalar Rama Varma, O.N.V. Kurup, P. Bhaskaran figure in the book, ‘Devageethikal,’ compiled by the composer himself.
The compilation released by Prof. Kurup here recently sheds light on his musical journey spanning four decades. Lucidity is the hall-mark of the creations.
When a musician with a passion for poetry works with poets yearning for melody, they succeed in striking a unique chord.
While elucidating his approach to music, Devarajan makes a clear distinction between a poet and a lyricist. A song should soar on the wings of poetry. A lyricist should essentially be a poet too. The songs should be pristine poetic creations embellished with imageries, simile and alliterations.
The soulful strains of melody composed by the musician complement the lyrics. A poet like O.N.V. visualised the charm of the universe in a glistening drop of rain.


He exercised self-restraint while writing songs for the uninitiated audience without relinquishing the magic of his poetry.
The songs written for the plays of the Kerala People’s Arts Club (KPAC), which still continue to be a rage among connoisseurs of music, have been cited as an instance.
Deviating from the system of blindly copying the tunes of Hindi and Tamil film songs, the Devarajan-O.N.V. duo created an indigenous music, composing songs based on Carnatic and folk music.
The same was true with Vayalar who deftly interspersed Sanskrit in his songs which had specific hints for the layman.
Devarajan has cited ‘Palazhi mangaye parinayichu…’ as a case in point. Composing the music without diminishing the poetic beauty of the lyrics was an exacting task. But Devarajan says he took it as a challenge and effortlessly selected tunes for each song.
Devarajan’s logic that he would not pick up a tune that has not struck his mind is proof of his commitment to making each song a novel experience.
While Devarajan, O.N.V. and their compatriots excelled as artistes in their own right, they also made systematic interventions for the cause of the downtrodden.
Around 1,900 songs and the Carnatic compositions, including the details of the ragas, have been included in the anthology.

Ode to a legend

There are many creative geniuses who loathe to be in the limelight. After casting many an indelible imprint through their creative endeavours, such great men refrain from coming to the forefront. The veteran music director, G. Devarajan, who has made invaluable contributions to Carnatic music, theatre and cinema, is one among them. An introvert, he shuns publicity and refuses to confide even in his confidants who are few in number.
The noted poet Perumpuzha Gopalakrishnan took up the onerous task of etching the life and contributions of his friend and benefactor.
"I share a strong emotional bond with Devarajan and my book, `G. Devarajan, Sangeethathinte Rajasilpi' is an ode to our camaraderie. Writing the biography of a person who is alive is not an easy task. The biographer would have to depend solely on the person and cannot afford to go wrong on even minute aspects since it would be questioned. Perhaps this was one of the major challenges I had to overcome once I started working on the book. It took three years to complete the work," he says.
Clear insight
Initially, well-wishers of Devarajan proposed publishing an article about him. On realising that a metaphysical piece would not prove to be relevant, it was decided to bring out a biography that would give a clear insight into the life and contributions of the music director who revolutionised both drama and film music. Convincing Devarajan was not easy.
He instantly turned down the proposal, but ultimately they succeeded in getting his consent.
"I collected all the material that has been published about him, including the song `Ona poove... ' written by O.N.V.Kurup and composed by Devarajan in Janayugam in 1951 with its notation. This was the most precious material of all," he says.
It was a tightrope walk for Perumpuzha. Tackling the composer was more difficult than the collection and compilation of facts. At times he would engage the biographer in long conversations and garner his thoughts and suggestions. Sometimes it would be brief, in fits and starts.
He had extensive sittings with Devarajan at his residence in Chennai. Braving his ill-health, Devarajan would also engage the biographer in protracted discussions. The writer would meticulously take down the notes and discuss it with Devarajan.
Perumpuzha had made elaborate preparations as if he were writing a novel.
Without delving into the specifics of the political milieu of his formative period, the theatre movement and film industry, Perumpuzha was trying to see the world from Devarajan's view.

Focus on the person

"My focus was the personality, demeanour, creative genius, his association with various poets, including O.N.V. Kurup and Vayalar Rama Varma, and also on what differentiates him from his contemporaries.
"Like his life and music, Devarajan's thoughts are pristine and well-marshalled. Precision is his hall-mark. Our discussions were not centred around his drama and film songs alone. The book is a window to his world of music.
"All the melodies and songs he had heard as a child has had a profound influence on Devarajan. The milieu that fostered the proletarian movement in Kerala, influence of Soviet literature, and the class struggles had its influence on Devarajan's music.
"His ingenuity in blending music and poetry, research in Carnatic music, the `Shad kaala pallavis' he has composed and the studies to discover rare `thaalas' have all been covered in the book," says Perumpuzha.
Quite often the biographer was compelled to rewrite the material he had prepared after prolonged discussions and his patience was put to test. Still, he refused to give up and boldly went ahead. Devarajan's unique style of composing, the rare ragas he had used, his special affinity for Mohana raga and also the deft handling of western music have all figured in the biography.
"This book cannot be considered as the final word on Devarajan and his music. This would spark off a debate and many others who know him more intimately would come out with valuable inputs. Devarajan is an ocean of music and this book would help them familiarise themselves with his life and mission," says Sri. Perumpuzha Gopalakrishnan.

Ningalenne Communistakki - Wikipedia, the free encyclopedia
The songs were written by ONV Kurup and G. Devarajan composed the music and sung by KS George and Sulochana. The main actors were Kampisseri ...
From Wikipedia, the free encyclopedia
Ningalenne Communistakki (Malayalam: നിങ്ങളെന്നെ കമ്മ്യൂണിസ്റ്റാക്കി, meaning: you made me a communist) is a Malayalam socio-political play by Kerala People's Arts Club (KPAC). This was the second and most popular stage play of KPAC . This drama propelled KPAC into the forefront of kerala cultural scene and played a historical role in popularising the Communist movement in Kerala during 1950's eventually leading to the establishment of first democratically elected communist ministry in the world in 1957 in Kerala under E. M. S. Namboodiripad

10 thoughts on “KPAC's Old Malayalam Drama Songs-4’s-old-malayalam-dra...
Jul 12, 2010 - I still remember him singing this live, on DD, a year before he passed away. Even with the cancer-ravaged throat, it still retained the soul, if not ..
marivillin then malare the song and the story of my long standing desire of many years [from 1952 till the death of  k.s. George;to meet  the singer ;finally succeeded at  his burial at c.s.i. church  :TRIVANDRUM /THIRUANANDAPURAM
 first let me disown myself from any political party  and various "isms" of kerala .

I want to give a background of those times when this drama music group was formed to promote an 'ism'  which was unknown to most malayalis of those times
back ground of  a poverty ,famine,unemployment ,

Britain decided to forcibly disband the thousandsOF MILLIONS  of Indian troops who fought second world war with British troops during second world war

Indian Army during World War II - Wikipedia, the free ...
The Indian Army during World War II began the war, in 1939, numbering just under ... In 1939, British officials had no plan for expansion and training of Indian ...
Size‎: ‎2.5 million INDIAN men in 1945
Country‎: ‎British India
Notable commanders‎: ‎Archibald Wavell, ...
Garrison/HQ‎: ‎GHQ India‎ (‎Delhi‎)






1-Royal Indian Navy mutiny - Wikipedia, the free encyclopedia
Historians have looked at the mutiny as a revolt against the British Raj and imperial ... the British garrisons had to face some unrest within the ranks of the Indian Army. ... A naval central strike committee was formed on 19 February 1946, led by ...

2-Indian National Army trials - Wikipedia, the free encyclopedia
The Indian National Army trials (INA trials), or the Red Fort trials, were the British ... of the Indian National Army (INA) between November 1945 and May 1946, for .... British garrisons had to face revolts within the ranks of the British Indian Army.

3-Consequences of the trials-


Beyond the concurrent campaigns of noncooperation and nonviolent protest, this spread to include mutinies and wavering support within the British Indian Army.

During the trial, mutiny broke out in the Royal Indian Navy, incorporating ships and shore establishments of the RIN throughout India from Karachi to Bombay and from Vizag to Calcutta. The most significant if disconcerting factor for the Raj was the significant militant public support that it received. At some places, NCOs in the British Indian Army started ignoring orders from British superiors. In Madras and Pune, the British garrisons had to face revolts within the ranks of the British Indian Army.

Another Army mutiny took place at Jabalpur during the last week of February 1946, soon after the Navy mutiny at Bombay. This was suppressed by force, including the use of the bayonet by British troops. It lasted about two weeks. After the mutiny, about 45 persons were tried by court martial. 41 were sentenced to varying terms of imprisonment or dismissal. In addition, a large number were discharged on administrative grounds. While the participants of the Naval Mutiny were given the freedom fighters' pension, the Jabalpur mutineers got nothing. They even lost their service pension.
Reflecting on the factors that guided the British decision to relinquish the Raj in India, Clement Attlee, the then British prime minister, cited several reasons, the most important of which were the INA activities of Netaji Subhas Chandra Bose, which weakened the Indian Army - the foundation of the British Empire in India - and the RIN Mutiny that made the British realise that the Indian armed forces could no longer be trusted to prop up the Raj.[3] Although Britain had made, at the time of the Cripps' mission in 1942, a commitment[4] to grant dominion status[5] to India after the war this suggests that the INA and the revolts, mutinies, and the public resentment they germinated were an important factor in the complete withdrawal of the Raj from India.
Most of the INA soldiers were set free after cashiering and forfeiture of pay and allowance.[6]



Winston Churchill blamed for 1m deaths in India famine ... › News › World News › Asia › India
Sep 9, 2010 - According to a new book on the famine, Sir Winston ignored pleas for emergency food aid for millions in Bengal left to starve as their rice .

Books: Churchill's Shameful Role in the Bengal Famine - TIME,9171,2031992,00.html
Nov 29, 2010 - Few statesmen of the 20th century have reputations as outsize as Winston Churchill's. And yet his assiduously self-promoted image as what the ...

BBC - Soutik Biswas's India: How Churchill 'starved' India
Oct 28, 2010 - Some three million Indians died in the famine of 1943. The majority of the deaths were in Bengal. In a shocking new book, Churchill's Secret ...

WW2 Bengali Holocaust: “Churchill's Secret War” By ...
Jun 13, 2011 - Other books have been written about the Bengal Famine Thus N.G. Jog's “Churchill's Blind Spot: India ” (New Book Company, Bombay, 1944) ..

Did Churchill Cause the Bengal Famine? - The Churchill ...
Apr 8, 2015 - While Churchill has been accused of causing the Bengal Famine, ... The famine continued into 1944, causing Secretary of State for India ...[TRYING TO DEFEND CHURCHILL BY CHURCHILL FOUNDATION]

Churchill Starved Occupied Europe by Withholding FOOD...
But in 1943, when Roosevelt suggested aid to occupied Norway, Churchill said ... The total embargo/blockade on relief to occupied countries was, by 1944, ...




THERE IS A Commemorative plaque  WITH HIS NAME ETC AND THE FIRST LINE OF THE FAMOUS SONG marivillin thenmalare manju pokayo......


k s george-singing

My comment now 2020(computer and gulf era)
about 1950 (poverty and famine era)

i have seen both poverty of kerala when communists became popular
and now the same party is slowly slowly going out of popularity because the causes of 1950 era is gone .
no poverty
no famine
people are well off
now it is the turn of north Indian migrants coming to kerala
soon - in another 20to30years even north Indian migrants will be well off
then it will be turn of robots as workers
any way 1950 era is gone - so the party of that era will also go.

i do not want to predict about next century when human population shrinks
when robots may be ruling over us
may be a communist party of next century? to fight the robots?😇