JEDDAH, 16 December 2006 — The blushing bejewelled bride sits amidst the circle of dancers. Her palms and feet are adorned with an intricately woven pattern of henna or, in other words, mylanchi. The family, relatives and friends look on, admiring the finery and ornaments as well as the radiant beauty of the bride. Lo, the music begins and the girls surrounding the bride begin the slow rhythmic swaying.
The beat of the music goes faster and so do the steps of the maidens with their kohl-lined eyes. They are clad in kachia mundu and a long blouse.
The teasing verses are enhanced by the clapping hands, swift movements of anklet-clad feet, enchanting gestures, playful eye movements and facial expressions. The tingle of bangles and laughter ride together, bringing forth floods of crimson on the glowing face of the expectant bride.
This is Oppana — the traditional Muslim art form from Kerala. This song and dance ritual is usually performed on the eve of the wedding at night at the bride’s house. Of late, hired halls and fabulous stage settings have made it a more colorful event with special costumes and stage props. Traced back to the song and dance ritual prevalent in Arab countries where women sit and sway their bodies as in a dance performance, Oppana has grown from a mere art performed on a makeshift stage in the backyard of the bride’s house to a grander and innovative art form with much scope for display of artistic talent as well as the wealth of the bride’s family.
This new status of Oppana can be attributed to the encouragement it has received from the increasingly rich Muslim community as well as to Indian educational institutions where Oppana is an item for competition along with other Indian art forms such as Bharath Natyam, Kuchippudi, Margham Kali etc. An art form which was mainly restricted to the northern part of Kerala such as Kannoor, Kasargode and Thalassery soon became part of Muslim culture as the entire Muslim community in the state embraced it as their traditional art form.
Soon new trends such as Oppana for men too began with young or adolescent boys performing at the bridegroom’s house on the eve of the wedding or even at the time of the circumcision of boys. Today no Oppana is complete without certain eye catching props and gimmicks that wow and mesmerize the guests. The confluence of technology and music has made the songs jazzier, nevertheless the theme of the lyrics remains essentially the same, with praises for the bridegroom laced with innuendos and scintillating scenarios.
Kerala’s multifaceted ethnic fabric, well known for its educated and broad-minded communities, welcomes and encourage this art form regardless of the religious tag it carries. In every district, there are famous Oppana troupes which can be hired for a price. Keralite expatriates in every foreign country hold functions and competitions based on this art form, thus giving it an equal status with other well-known dance forms.
When asked about childhood memories of Oppana, the Kingdom’s expatriate community responded with varying degrees of candor and individuality. Beena Abdul Rahman in Riyadh said Oppana was something one wouldn’t want to omit from marriage festivities. Azad Padiyath from Dammam responded with the comment, “Well, in my part of Kerala, all this began recently. It’s quite enjoyable and eye-catching.” Rihana Rahim, a student of IT Engineering, represented the younger generation’s view, I am sure Oppana is a fabulous art form, but I hope I will be spared the ritual when the time comes. Can I watch it from the audience rather than being a part of it?”
Anitha Samad, a teacher in Jeddah said, “I have great memories of Oppana and I am looking forward to my daughter’s marriage when the best Oppana group can be hired. It is something truly wonderful.” Yes, Oppana remains a truly wonderful art form for all who have experienced its remarkable style; it is nothing short of a sensory feast.
