Kerala Kalolsavam 2026: Echoes of a restless world on mimicry stage

The mimicry (higher secondary section) stage at the 64th Kerala State School Arts Festival on Wednesday became a mirror to a troubled world, with contemporary realities finding powerful expression through performance. From the landslide-scarred hills of Wayanad to the anguish of the Israel–Palestine war, participants brought global and local crises vividly to life.

Girls largely gravitated towards themes of social suffering and human trauma. Angel B. Deesh of Memunda HSS, Kozhikode, held the audience in stunned silence as she recreated the agony of Wayanad’s landslide victims before seamlessly transitioning to the cries of war-torn Gaza. Through her voice, she evoked the muffled howls of trapped survivors, the crack of falling trees, collapsing homes, and the thunderous rush of floodwaters.

K.R. Sreenaha of GHSS, Naduvannu, portrayed Gaza’s tragedy through the voice of a child, recalling green fields reduced to rubble, schools transformed into concrete ruins, and loved ones lost. Her chilling imitations of warplanes, bombs, and gunfire rendered the horrors of conflict hauntingly real.

The boys, meanwhile, appeared more inclined to experiment with form and technique. Their performances were dominated by themes drawn from technology, vehicle comparisons, film background scores, and DJ music. Beatboxing, in particular, emerged as a strong trend, with several students—both boys and girls—skilfully blending the sounds of three or four percussion instruments using only their voices.

Traditional elements of mimicry were also well represented. The late actor Sasi Kalinga emerged as the most frequently imitated film personality, while songs by singer Vaikom Vijayalakshmi also found favour. Political figures such as Chief Minister Pinarayi Vijayan, former Chief Ministers V.S. Achuthanandan and Oommen Chandy, and Chintha Jerome were recreated with flair. Some performers stood out by adding a Meta AI–style twist to popular advertisements.

Drawing inspiration from the grandeur of Thrissur Pooram, many acts concluded with explosive “fireworks” of sound spanning multiple pitches and ranges. Apart from a few routine imitations of vehicles and birds, the stage largely witnessed engaging and thoughtful performances, underscoring that mimicry can be far more than mere imitation.