The story of Kerala’s first female writer-composer who transcended her time

Kuttykunju Thangkachi, the pioneering female writer-composer of 19th-century Kerala, lived a life marked by artistic innovation and defiance against societal norms. Born in the late 18th century, she belonged to an upper-caste elite family, a status reflected in her traditional attire, wispy grey hair draped over her shoulders, a mundu mulakacha wrapped tightly across her chest, and layers of gold jewelry. Despite these outward markers of privilege, Thangkachi's legacy extends far beyond her social standing. She became one of the first women in Kerala to make significant contributions to both literature and music, breaking barriers that had long restricted women's participation in creative fields. Thangkachi's career spanned nearly eight decades, during which she produced a vast body of work that included plays, libretti for Kathakali, and compositions in various indigenous musical forms such as kummi, thiruvathira pattu, kurathipattu, and thullal. Most notably, she was the first female Carnatic composer from Kerala to earn the prestigious title of vaggeyakara, a term reserved for writers-composers in the classical tradition. This achievement was particularly remarkable given the prevailing gender norms of the time, which largely excluded women from formal recognition in the arts. In recent years, there has been renewed interest in Thangkachi's work, partly due to efforts by cultural organizations to bring her contributions to wider audiences. At a Chennai concert organized by the Sruti Foundation, vocalist KS Vishnudev performed one of Thangkachi's compositions, Pahi Mohanaakrute, in raga Khamas. This performance highlighted the enduring relevance of her work and sparked discussions among musicians and scholars about the historical context of her compositions. Vishnudev noted that Pahi Mohana is a sthala kriti, dedicated to the deity Krishna at Neyattinkara, and requires both poetic and musical mastery. He emphasized that while the exact melodies might have evolved over time, the essence of Thangkachi's artistry remains intact. Thangkachi's early life was shaped by the intellectual environment of her family. Her father, Irayaman Thampi, was a renowned literary figure and a key figure in the development of Ottanthullal, a form of folk theater that challenged the dominance of Sanskrit in the performing arts. Thampi's support played a crucial role in nurturing Thangkachi's talents, allowing her to explore diverse artistic avenues. However, her achievements were not solely the result of familial influence; they stemmed from her personal dedication and versatility across multiple genres. Despite the constraints imposed by patriarchal structures, Thangkachi managed to transcend these limitations through her prolific output and adaptability. During the late 18th and early 19th centuries, several women from Kerala's royal and noble families engaged in literary and artistic pursuits, though their works often remained confined to private spaces. Researchers like Jancy James have pointed out that these women were encouraged to develop skills in the arts and humanities but were discouraged from sharing their creations publicly. Thangkachi, however, broke free from this pattern by ensuring her work reached broader audiences through performances and publications. Her contributions continue to inspire contemporary artists and scholars, who recognize the significance of her work in the context of Kerala's cultural heritage. While some aspects of her compositions may have undergone modifications over time, the core elements of her artistry remain evident. Collaborations with skilled musicians, such as Cherthala Gopalan Nair, who tuned Pahi Mohana, underscore the collective nature of classical music creation, even as individual brilliance is acknowledged. As interest in Thangkachi's legacy grows, so does the appreciation for her role in shaping Kerala's artistic landscape. Her story serves as a testament to the resilience and creativity of women in a society that historically marginalized their voices. Through her work, she carved a space for herself and paved the way for future generations of artists.