Scarcity of funds plagues an institution founded to promote temple art forms in Kerala. The Kshethrakala Academy at Madayi Kavu, Pazhayangadi, Kannur, initially featured courses in chenda melam, Mohiniyattom, Carnatic music, Ottanthullal and mural painting among others since its inception in 2015. 

However, despite the academy's arduous efforts to popularise the arts by scouting for prodigious young talents and roping in expert instructors, it has fallen short of its objective, mainly due to financial woes. The institution's condition has not improved yet, even after producing hundreds of artists of exceptional merit over the years. 

"We have been training talented children from a very young age and they perform exceptionally well, but they run short of exposure and opportunities to perform. We are not able to organise enough programmes or provide stages due to financial crunch. But when they perform none of these matters affect them," says Krishnan Nadavalathu, Secretary of the academy. 

A recent chenda melam performance of a group of 35 children at the Saraswathi Auditorium in Madayi Kavu testifies Krishnan's claim. The children were those who were qualified for the higher course after completing the preliminary one. Krishnan cites procedural tangles which affect the institution's growth. 

"Had this academy been under the direct purview of Devaswom Board of Kerala government, things would have been better. But this is under the control of Malabar Devaswom, which is run by the Devaswom Board. Malabar Devaswom itself is financially weak," Krishnan says. "At a time when most of the ancient art forms lose their sheen because of the declining audience, their revival would require additional promotions and campaigns, which can never be achieved without a strong financial backup," he adds. 

The authorities also find few takers for courses. For instance, mural painting is a popular course, as people find it interesting and is extensively explored on the YouTube, Ottanthullal, a unique art form of Kerala, barely interests students. "It is tough to find both an asan (trainer), as well as students for this," Krishnan says. 

However, like in any other realm, there are exceptional talents in traditional art forms too. Karayadam Chandran, the Chenda Melam asan, who has been training students at the academy for years, says, "We can detect them very early. Besides, when they start at a young age of 8 years or something, their perseverance and hard work are exposed, as they have to practise for close to three hours. Only the talented ones persist and the rest will move out." 

Krishnan echoes the same opinion. "We need to catch them young. That is essentially why it is tough to gather students for these courses, because we will have school-going students within the age group of 8 to 18 years. There are very few students for courses like Theyyam, Mukhathezguthu, Sopana Sangeetham among others." 

Apart from ₹1,000 at the time of admission, the students remit no other fee. "We wish we could provide more courses. We used to take free classes in schools and other cultural institutions earlier, which have now been discontinued. We could revive this. There are many aged artists who live in dire conditions. We could provide financial assistance to them," says Krishnan wishfully.