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Kerala Art Forms Courtesy:some webites Page 1 of 73 June 19, 2012 Kerala Art Forms Articles on most of art forms in this document are in Malayalam and some are in English.

Kerala Art Forms

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Page 1: Kerala Art Forms

Kerala Art Forms Courtesy:some webites Page 1 of 73

June 19, 2012

Kerala Art Forms

Articles on most of art forms in this document are in Malayalam and some are in English.

Page 2: Kerala Art Forms

Kerala Art Forms Courtesy:some webites Page 2 of 73

June 19, 2012

1. Theyyam

1. History

2. Mukhathezhuthu

a. Vishnu Moorthi

b. Karivanoor Veeran

c. Potti Theyyam

d. Moochilatti Bhagavathi

e. Parasinikadavu Muthappi

f. Puliyoor Kaali

2. Poorakali

3. Kothammooriyattam

4. Alammkali

5. Kolkali

6. Yakshagaanam

7. Patayani

8. VadakkanPattu

9. NayyadiKali

10. AAdivedi

11. Mohiniyattom

12. Mudiyettu

13. Krishnattom

14. Thiruvathikalli

Page 3: Kerala Art Forms

Kerala Art Forms Courtesy:some webites Page 3 of 73

June 19, 2012

15. Kathakali

a. History

b. Makeup

c. Performances

d. Navarasam

e. Mudras

f. Props , Ritual and Custom

g. Places where Kathakali Performed

16. Kalari Payattu

17. Thullal

18. Chakyar Koothu

19. Oppana

20. Kurathiyattam

21. Poothan and Thira

22. Maargam Kali

23. Chavittu Nadakam TheyyamTheyyamTheyyamTheyyam ---- �������� �� �������� ���������� ����� �!"� ������� #$�%�� ��. '��(� ��)*�� � �+,-.�� )�/-0�1�%� �2�3$� �4����1��5.�. �012�.� ��067� ).�7�8� ���1�8� 3$�� �012�.� ��ൽ )��8%� )� �� 3$��)��8%� ��� �7�8� �:1�8� 3$�� �;�)���<2���. �� �:�1-.�$�. =�� ��>$ �?)�<@;���%� ��. ���A:

Page 4: Kerala Art Forms

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Page 9: Kerala Art Forms

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Patayani

Patayani

Page 30: Kerala Art Forms

Kerala Art Forms Courtesy:some webites Page 30 of 73

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Patayani is a week- long ritual dance, held in Kaali temples on the banks of the Pamba river during the Malayalam months of Meenam andMedam (March - April). The choice theme of the dancers is the slaying of the demon Daarikan by the goddess Kaali. The steps and movements of the dance vary according to each Kolam or character. Thappu is the major percussion instrument accompanied by a fewChendas. Patayani masks are made with the fresh spathe of arecanut palms. Bhairavi (Bhadrakaali), Yakshi, Pakshi (bird) and Kaalari (Siva) are the main characters. Various communities targetted for criticism are represented by jestures. Kadammanitta, Kadalimangalam and Othara in Pathanamthitta district are famous for annual Patayani performances.

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Page 31: Kerala Art Forms

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Mudiyettu

Mudiyettu

Mudiyettu is a ritual dance performed in some Kaali temples of Ernakulam and Kottayam districts (central Kerala). The dance celebrates the goddess's triumph over the emon Daarikan. Mudiyettu is performed by the Kuruppu or Marar who belong to the temple bound communities of Kerala.

The Kalamezhuthu, a ritual drawing of the goddess Kaali is made on the floor with dyed powders, before the performance. Then the chorus sings hymns in praise of the goddess.

Before the actual performance, the dancer erases the Kalam with tender palm fronds. The performer in the role of Kaali is aided by 'Koimpata Nayar', the local guide and Kooli, the attendant.

Legends say that Daarikan, the epitome of evil, challenged Kaali to a duel. Kaali slayed Daarikan, with the blessings and grace ofLord Siva. The performers of Mudiyettu are all heavily made up and wear gorgeous attire with conventional facial paintings, tall headgears etc, to give a touch of the supernatural. The wooden headgear has a mask of Kaali. An ornamental red vest and a long white cloth around the waist complete the attire.

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Krishnanattam is a temple dance depicting the story of Lord Krishna through symbols and face expressions. Presented by Guruvayur Devaswom dance group on the Ekadasi day at Kozhikode.

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June 19, 2012

KathaKali

Kathakali is the classical dance-drama of Kerala, South India, which dates from the 17th century and is rooted in Hindu mythology. Kathakali has a unique combination of literature, music, painting, acting and dance. In the following pages we have placed photographs

and videos of Kathakali performances and songs by famous Kathakali singers. Kathakali literally meaning 'story-dance' is the dance-drama of

Malabar which is now culturally and politically known as Kerala’s soul. Kathakali traced its origin to the ritualistic (tantric) period of the Vedic Age and connected its growth from the popular, folk dance dramas. The early Malabari danced in the forests: His dance was a

power- a mixture of his passions, erotic pleasures and inner talks with the beauteous Nature, and his natural and graceful movements,

elaborate gestures, picturesque costumes, grand harmonic make-up suggested by herbal plants of the forests and the vigorous and triumphant music emerging out of the crude instruments

manufactured by him.

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June 19, 2012

History It was believed that Kathakali was conceived from Krishnanaattam, the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of Kottarakkara who was attracted by the tone of the Krishnanaattam requested the Zamorin for the loan of a troupe of performers on the eve of some festive occasion. Due to internal feuds and political rivalry between them, the Zamorin refused to send the performers and insulted with the remarks: ”It is useless to depute the troupe, because Kottarakkara Thespian’s court would be neither able to appreciate nor understand anything of the highly artistic Krishnanaattam and the high standard of the performance". Here the political rivalry between the two chieftains leads to the art rivalry. So Kottarakkara Thampuran initiated a parallel mode of entertainment, which he called Raamanaattam which was later transformed into Aattakatha, and yet later into Kathakali while Krishnanaattam based on the story of Lord Krishna's activities, Raamanaattam described the complete story of Lord Raman. Krishnanaattam was written in Sanskrit, "the language of the Gods". Raamanaattam was in Malayalam, the language of the people. By the end of the seventeenth century, the finished product of Raamanaattam was placed before the world under the tittle Kathakali. The costume of Kathakali has been much influenced by Chaakkyaar koothu and Koodiyattam the two older forms of dramatic representations in vogue in Kerala. The history of their origins dates back to the period of Perumals i.e. much earlier to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting) and the use of Mudras (hand poses) and gestures were bodily adopted in Kathakali from them in addition to its borrowing and refinement of facial make-up and costume. The use of colour, costume, and make-up present a unique show and create an unearthly atmosphere. Kathakali became more attractive and

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popular than the Chaakkyaar koothu and Koodiyattam. Moreover , its performance was not restricted to the precincts of the temples. Kathakali had a golden period between 1665 AD and 1743 AD. Remarkable contributions were also made by Kaartika Thirunal, the king of Travancore, to Kerala's literature, art and dance. His efforts were also directed to popularising Kathakali among the people. He instituted a tradition of arranging Kathakali performances at various festivals and on the Navaratri night Makeup The make-up of Kathakali character is peculiarily native to the Kerala folk-art. In folk theatrical varieties, huge marks and make-ups were as much prevalent during the historic span of time. Elaborate make- up heightens dramatic effects. Colour symbolism reflect certain categories of emotions and gunas. The green colour represents Saattvika reveals godliness, white represents spirituality. Red represents Rajasic reveals violence. Black represents Tamasic reveals evil. Yellow represents the combined character of Saatvika and Rajasic. ThusKathakali characters are grouped into five major role-types, each having a specific make-up and costume. These role types are Minukku, Paccha, Katti,taadi (has three varieties viz. Velupputaadi, Chuvannataadi andKarupputtadi) and Kari. Minukku is the polished variety of facial make-up consisting in smoothening the actor's face with a coating of a mixture of yellow and red pigments. The composition obtains 'a self' (or natural skin) complexion colour. It reflects the characters usually found in Brahmins, Rishis and Virtuous women. The eyes and eye-lashes are painted and contours elongated with the black unguent and greasy collyrium. Sometimes the face is decorated with white or cream colour dots, running from the cheeks to the fore-head in a bow-shape. The lips are reddened and the forehead is decorated with a caste mark. This colour scheme serves to give a symbolic glow of piety to a devotee character. Women role-types are given delicate touches of the make-up. Paccha or predominantly deep green face role- types, are Gods, celebrated mythological heroes, and virtuous personages, symbolising inner refinement poise, heroism and moral excellence. This include heroes of a play and noble characters, Indra, Krishna, Rama, Lakshmana, Bharata, Satrugnan, Harischandra and Nala. The front part of their faces is given smooth deep green base on which chuttis (white rice-paste curves) run from the centre of the chin,covering the lower jaw, to either side of the face. The eyes and the eye-lashes are painted black and the lips bright red. It assumes the shape of a broad-blade saber or of a sweeping curve of a bow. The forehead, above the bow-tie shaped painted portion, is covered by a red ribbon of the gilded head gear.

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As compared to paccha, the make-up of Katti role-types is complicated. This term literally means the knife, because in its make-up the shapes of colour positions resemble sharply bent daggers. Evil, demoniac and fierce characters standing against the hero of a play. Pratinayakaas such as Asuras (the enemies of the God's) ambitious and arrogant Raavana, Keechaka, Kamsa and Dussaasana are distinctively treated with this make-up. Their faces are given a foundation with green colour, the sides of their noses are painted in red. The red paint round the nose rises up to the forehead above the eye-brows. It is like a patch, an upturned moustache, covering the upper jaw. Its border lines are treated in white. On the green base of the rest of the face, a chutti runs along the jaw-bones from the middle of the cheek. Two white knobs, called chuttippuvus, are placed on the face. These vary in size with the degree of the fearsome appearance of some demoniac characters like Raavana andDussaasana, two long protruding canine teeth(called dhamshtras)are perched on either side of the mouth. These drop over the lower lips. Katti make-up characters stand in a singular position. Those who have the taadi (Beard) make-up are again, good godly and evil-demoniac. To differentiate one from the other, three taadi make-ups are in vogue: Veluppu taadi (white beard), Chuvanna taadi (red beard) andKaruppu taadi (black beard) In these make-ups white chutti is not planted on the face. Different Kinds of Beards Velluppu Taadi (White Beard) - It consists of a white beard and a fur coat. It is a realistic make-up for characters like Hanumaan, the son of God Vaayu, and other monkey sages and warriors. The upper half of the face-the neither part of the eyes -and lips are treated with a black ointment. The chin at the middle is decorated with a white rosette, bearing a red dot within. Red paint is applied to the lower part of the lower lip, up to the chin. A thin coating of chutti decoratively encloses the black-end part of the face and meets the chuttinata - the hem of the head dress. Another white pattern develops on either side of the cheeks and circling the red spots, starting from the base of the green painted nose. On the tip of the nose and the forehead two oval-shaped spots are given in red. Chuvanna Taadi ( Red Beard) - This make-up is given to hideous characters. The face is painted red, with black contour lines drawn round the eyes, lips and chin. This adds to the ferocity of less evil characters like Baali, Sugriiva, Kaalakeya andDussaasana. The eye-brows and lashes are not elongated, no chutti is applied to the Chuvanna taadi. The face is dubbed in red and treated with black lines. Around the eyes, almost a square patch of deep black colour is provided to give to the eyes a fiendish look of a evil designer. Lips painted in black, are given a hilly curve to give the role type a lucid image of a beastly character. Running from the upper lip are two white paste bristled rows throwing the black patch round the eyes in bold relief and adding ferocity to the fiery red eyes, and demarcating the black portion from the remaining nether part of the face is red. Chuttippuvus (white blobs) on the tip of the nose and the fore-head are bigger in size than those put on by kathi characters. It is the most impressive of all make-ups in Kathakali. Karuppu Taadi ( Black Beard) - The third type of bearded characters make-up is with a black beard and coat. These characters include Kali,Kaattaalan (hunter), brigands and robber chieftains. In their make-up, the face is first coated with black unguent. The eyes are bracketed within oval-shaped white border lines, the area between two such lines

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being painted in red. Small white bristles adorn the ridges. Lips are in red. The tip of the nose bears a chuttippuuvu. Kari - This make-up reveals the vile and evil characters, such as Suurpanakha and Simhika. Their faces are painted in black and the cheeks have a red crescent in the middle. A pair of damshtraas are provided. Shiva in the role of Kiraata (hunter) is also given this type of the make-up. A remarkable feature of the Kathakali make-up is the reddening of the white of the eyes of all characters by putting in a few young seeds of chunda puuv (sollanum pubescence) crimson eyes stand in contrast to the colour scheme of the face. The practice is usually followed in pacha and minukku faces. Kathakali make-up is an elaborate process lasting for over three hours. It helps in giving a super human look to the actors. Whether it is a man's make-up or the woman's, the work is conducted by a make-up expert. Paints used in Kathakali make-up are freshly prepared and applied to ensure correctness of rhythmic curves and precision. The make-up of the male characters other than saints is tedious. The role-type lies flat on a matted floor and the expert starts drawing 'the designs' on the face with a thin rod. The face part being complete, the role type gives the finishing touches himself. Thereafter he stands up for putting on the costume. The skirt is a well starched and pressed into-frills garments. But before the skirt is put on, the actor ties 20 to 40 pieces of short cloth round his waist by the help of a long cloth twisted rope in order to give the skirt an oval shape. He then puts on the jacket, etc. The finishing touches to the costume are given by the costume attendant. The actor is profusely ornamented with garlands of beads, armlets, cupped mirrors etc. Fully decorated , the actor gives the last minute touches to his make-up with the help of the cupped mirror. His head-dresses are huge and often unwidely .These are tied by an attendant. The last part of the costuming is the tying up of the anklet bells. Women fancy to have the silver paijaebs (an ornament) and then tie the bells. In the case of male characters a decorative woolen is tied immediately above the anklet and the bells fixed on a leather pad or tied right below the knee. Kathakali make-up traditions today widely differs from what it was in the seventeenth century. Kathakali performances Kathakali performances are not confined to a temple's courtyard; they are held in the open under the sky. Before a performance begins, chendakkaaran the instrumental musician, beats the drum to announce the news that a dance -drama will be held shortly. This nervous and insistent tattoo' is called Ke'likottu. The village folk-men, women and children begin to assemble and crouches on the land in a circle around chendakkaaran. The night's 'stadium' has the covering of a clear, star-studded sky; cool breeze rustling through the jagged patterns of palm fronds, children wandering back and forth aimlessly or running to a hawker or pestering their mothers or aping a character of a previous play; people discussing a role-type, an actor, a character, a story or a matter of current or religious interest. And those among the audience who are tired from the day's hard work on their fields go back and sleep until they are awakened by a relative or a friend or by the noise from the stage, to witness the favorite hero play or a climatic battle scene.

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In its indigenous form, Kathakali has no stage in the modern sense. The centre of the stadium is the stage provided with a huge brightly polished brass lamp of coconut oil. The audience sits in darkness. There are no back-curtains, no stills, no sceneries. But behind the lamp there is a simply designed 'tirasila', a rectangular silk curtain, held by two members of the troupe. Actors who have to appear first stand hidden behind it. During scenes the curtain is dropped to the ground and removed by the two men. The job over, these men go about on other errands of the stage, like pouring oil in the lamp-well ,adjusting the thick wicks which constantly threaten to gutter and burn out, arranging the banana tree trunk support against the wicks gliding down in the well, and assisting the actors on odd jobs. The stage is also provided with a small stool. This is used for many purposes. For instance, in the 'curtain look' the actor stands on it; on other occasions an actor may rest on it. Musicians stand in a half circle behind the actors. They number four to twelve. Musicians do not wear any special costume. They are normally bare-chested. The actors are profusely dressed mostly in billowing skirts, crowned with massive head-dresses and provided with the accessories of the face and finger nails. The 'actresses' are adolescent boys, for they are nearest to feminity and have simple dress. In the repertoric of its technique Kathakali has seven items to be presented in the following sequence: 1. To'dayam- the basic nritt; 2. Purappaadu- debut of the hero and the virtuous character; 3. Tirano'kku- 'curtain look' by evil characters and demons; 4. Kummi- permeable for the female character's appearance 5. Kathakali- the main play 6. Kalaasham- a passage of vigorous dance which serves as a hyphen between two pieces of verse-play and 7. The concluding benediction dance The dance drama begins with the call of the drum which has rent the air at night. The audience is alerted. Tirasiila is drawn by two men. Music begins. Drummers display their cleverness. Religious songs are sung. They purify the atmosphere. And dancers are behind the curtain. The preliminary dance behind the curtain is commonly refused to as Purva-ranga by Bharata in the Naatya saastra, in the language of Kathakali it is called To'dayam. The basic technique of Kathakali lies in To'dayam. Purappaadu or the debut, signifies the first appearance of a character on the stage. It is a piece of a preliminary dance. It serves to announce the virtuous qualities of the hero. If a demon is to appear violent drumming of high pitch drums is incessant. The curtain is drawn as high as the arms of the attendants can stretch. The whole atmosphere is surcharged with earth-shaking and hair raising activities. The sound of quick and heavy foot steps can be heard from behind the curtain. Its synchronisation with the sound effect of the drums heightens the climax. The entire climate forebodes that a terrific personality is about to appear. Suddenly a coloured canopy appears over the curtain and a rumbling growling noise is heard. Drums burst into shattering sounds. Here is a shrick, and there

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a groan. But before the eyes can catch the character, fingers are seen rising in the centre of the curtain. The left hand fingers are covered with long thimbles. The two hands are kept about three feet apart. They clutch the curtain. Fingers glide across its top. There is deafening drumming; but no singing. To the accompaniment of the drums, the anti-hero shakes the curtain violently, and breathless the audience catches an occasional glimpse of the top of a glittering head-dress, which seems to be gyrating madly in some internal whirlwind. He pulls the curtain towards him; then plugs forward and fans flames. With gusto, the fire illuminates the character's face and enables the audience to spot him out by his weird makeup. The feverish pitch of excitement over, the curtain is dropped and the whole figure of the character emerges after a great deal of suspense. The curtain is pulled off the stage from its right wing. Thus develop tirano'kku or 'curtain look'. For male anti-heroes Tirano'kku is prescribed and for female characters there is another standard dance called Kummi. In it gestures and movements are modified and smoothened to lend gentleness and elegance. so much necessary for feminine characters. Paces are slow; roles are passive and subsidiary. Kalaasams are pure dance passages performed in pure taandava style. They punctuate two verses; two scenes. It is here that in Kathakali an important role of nritta is discovered. From the sequence detailed Kathakali's basic characteristic of a dance-cum-drama is unfolded. How the various limbs of sangiitha have been synthesized to bring about an underlying unity of all Indian dramatic arts in Kathakali is unique. It is the only form of the histrionic arts in India, which adumbrates in principle, the three essentials of the Sanskrit drama, naatya, nritya and nritt. NAVARASAM (By Kalamandalam Krishnan Nair) Photos: C.V.Sukumaran, Kottakkal

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1.Sringaram

(Amour)

2.Hasyam

(Ridicule)

3.Karunam

(Pathos)

4.Rowdram

(Wrath)

5.Veeram

(Valour)

6.Bhayanakam

(Fear)

7.Beebhalsam

(Disgust)

8.Athbhutham

(Wonder)

9.Santham

(Tranquility)

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Coutesy: http://www.cyberkerala.com/kathakali/

KATHAKALI MUDRAS There are 24 Basic Mudras (hand gestures) in the "Hasthalakshana Deepika", the book of hand gestures, which Kathakali is followed. There are 'Asamyutha Mudras' (that is shown using single hand) and 'Samyutha Mudras' (mudras shown in double hands) in each Basic Mudras, to show different symbols. Considering all these Mudras and their seperations there are totally 470 symbols used in Kathakali. (The details of each Mudra are given down)

1. Pathaaka (Flag) 2. Mudraakhyam 3. Katakam (Golden

Bangle) 4. Mushti

5. Kartharee Mukham (Scissor's sharp point)

6. Sukathundam (Parrot's peek)

7. Kapidhakam (The fruit of a tree)

8. HamsaPaksham (Swan's wing)

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9. Sikharam (Peak) 10. Hamsaasyam

(Swan's peek) 11. Anjaly (Folded hands in Salutation)

12. Ardhachandram (Half moon)

13. Mukuram (Mirror)

14. Bhramaram (Beetle)

15. Soochimukham (Needle's sharp point)

16. Pallavam (Sprout

17. Thripathaaka (Flag with three colours)

18. Mrigaseersham (Deer's head)

19. Sarpasirassu (Serpant's head)

20. Vardhamanakam (Seedling)

21. Araalam (Curved)

22. Oornanabham (Spider)

23. Mukulam (Bud) 24. Katakaamukham

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1. Pathaaka (Flag): There are 36 double hand symbols and 10 single hand symbols using this Mudra. Totally 46.

Double Hand Symbols: 1.Sun, 2.King, 3.Elephant, 4.Lion, 5.Ox, 6.Crocodile, 7.Arch, 8.Climbing Plant, 9.Flag, 10.Series of waves, 11.Path, 12.Hell, 13.Earth, 14.Hip, 15.Pot, 16.Multi-storied building, 17.Evening, 18.Noon, 19.Cloud, 20.Anthil, 21.Thigh, 22.Servant, 23.Travel, 24.Wheel, 25.Stool, 26.Lord Indra's weapon, 27.Gate Tower, 28.Rampart, 29.Vehicle, 30.Peaceful, 31.Crooked, 32.Door, 33.Pillow, 34.Trench (ditch), 35.Leg, 36.Bolt

Single hand symbols: 1.Day, 2.Movement, 3.Tongue, 4.Forehead, 5.Body, 6.That thing, 7.Noise, 8.Messenger, 9.Sandbank, 10.Sprout,

2. Mudraakhyam: There are 13 double hand symbols and 12 single hand symbols using this Mudra.Totally 25.

Double hand symbols: 1.Growth, 2.Movement, 3.Heaven, 4.Ocean, 5.Thick, 6.Forgetting, 7.Everything, 8.Announcement, 9.Thing, 10.Death, 11.Meditation, 12.Sacred Thread, 13.Straight

Single hand symbols: 1.Mind, 2.Thought, 3.Desire, 4.By oneself, 5.Remainding, 6.Wisdom, 7.Creation, 8.Life, 9.Defame, 10.Future, 11.No, 12.Fourth

3. Katakam (Golden Bangle): There are 20 double hand symbols and 9 single hand symbols using this Mudra.Totally 29.

Single hand symbols: 1.Flower, 2.Mirror, 3.Female, 4.Offering holy materials to the sacrificial fire while chanting 'manthras', 5.Sweating, 6.A little, 7.Quiver, 8.Smell, 9.Which one

Double hand symbols: 1.Vishnu (God), 2.Krishna (God), 3.Balaraman 4.Arrow, 5.Gold, 6.Silver, 7.A female demon, 8.Sleep, 9.Main woman, 10.Godess of wealth, 11.Veena, 12.Stars, 13.Chain, 14.Lotus/ water, 15.Demon, 16.Crown, 17.Weapon, 18.Peculiarity/ special news, 19.Chariot, 20.With

4. Mushti: There are 25 double hand symbols and 15 single hand symbols using this Mudra.Totally 40.

Double hand symbols: 1.Driver of chariot, 2.Prefix, 3.Beauty, 4.Purity, 5.pirit of Ghost, 6.Binding, 7.Qualification, 8.Condition, 9.Ankle, 10.Pulling, 11.Tail of the animal (a whisk), 12.Destroyer/ Yama, the god of death, 13.Mud, 14.Medicine, 15.Curse, 16.Swing, 17.Gift/ donation, 18.Circumambulation, 19.Digging, 20.Giving up, 21.Lance, 22.Heroism, 23.Hot (Sunor fire)/ grieve, 24.Vomiting, 25.Delivery/ child birth,

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Single hand symbols: 1.In vain, 2.Extreamely, 3.Filupon, 4.King's advisor, 5.Crossing, 6.Bearing, 7.Donation, 8.Consent, 9.Victory, 10.Bow, 11.we, 12.Single sentence, 13.agedness, 14.Robbing, 15.Food

5. Kartharee Mukham (Scissor's sharp point): There are 16 double hand symbols and 10 single hand symbols using this Mudra.Totally 26.

Double hand symbols: 1.Sin, 2.Tireness, 3.Male member of Brahmin caste, 4.Fame, 5.Skull, 6.House, 7.A religious vow, 8.Purity, 9.Bank, 10.Dynasty, Bamboo, 11.Hunger, 12.Hearing, 13.Telling, 14.Gathering, 15.End, 16.Hunting

Single hand symbols: 1.You, 2.Word, 3.Change of mood/ time, 4.Gradation, 5.We, 6.Human being, 7.Face, 8.Enmity, 9.Child, 10.Mongoose

6. Sukathundam (Parrot's peek): Double hand symbols: 1.Goad, 2.Bird, 3.Engagement

7. Kapidhakam (The fruit of a tree): There are 10 double hand symbols: 1.Net, 2.Doubt, 3.Tail feather of a peacock, 4.Drinking, 5.Touching, 6.Prevent, 7.In the open expanse of land, 8.The outer side, 9.Descend, 10.To step

8. HamsaPaksham (Swan's wing): 42 single hand symbols and 11 double hand symbols can be shown using this Mudra. 1.Moon, 2.Air, 3.Kamadeva, 4.Gods, 5.Mountain, 6.Valley, 7.Everyday, 8.Relatives, 9.Bedding, 10.Rock, 11.Happiness and comfort, 12.Chest, 13.Female breast, 14.Cloth, 15.Vehicle, 16.Lie, 17.Lying down, 18.Falling, 19.Croud, 20.Beating, 21.Covering, 22.Spreading, 23.Found, 24.Coming, 25.Salutation, 26.Game, 27.Sandal, 28.Embrace, 29.Follow, 30.Escaping, 31.Reach, 32.Mace, 33.The cheek region, 34.Shoulder, 35.Hair, 36.Humility, 37.Blessing, 38.Sint, 39.Thus, 40.Fish, 41.Worship, 42.Tortoise

Double hand symbols: 1.You, 2.Sword, 3.Anger, 4.Now, 5.I, 6.In front of, 7.Axe, 8.Light, 9.Calling, 10. Getting nearness 11.Prevent

9. Sikharam (Peak): 8 single hand symbols: 1.Walking, 2.Legs, 3.Eyes, 4.Sight, 5.Path, 6.Search/ detection, 7.Ears, 8.Drinking

Duble hand symbols using this Mudra are Garudan (a hawk in Purana), Swan and Jatayu.

10. Hamsaasyam (Swan's peek): This Mudra can show 8 double hand symbols: 1.Iris, 2.Smoothness, 3.Dust, 4.Whiteness, 5.Blue colour, 6.Red, 7.Mercy, 8.Hairs of the body

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4 single hand symbols: 1.Beginning of the rainy season, 2.Hair of the head, 3.The line of hair on the abdomen, 4.The three folds of skin above the naval of a woman

11.Anjaly (Folded hands in Salutation): 15 Double hand symbols: 1.Excessive rain, 2.Vomiting, 3.Fire, 3.Horse, 4.Loud noise, 6.Light, 7.Hair, 8.Ear-ring, 9.Heat or sorrow, 10.Anxiety, 11.Always, 12.Blood, 14.River, 15.Flowing

2 single hand symbols: 1.Twigs of the tree, 2.Anger

Totally 17 symbols using this Mudra.

12.Ardhachandram (Half moon): There are 9 double hand symbols and 4 single hand symbols using this Mudra.

Double hand symbols: 1.If, 2.For what, 3.Helplesness, 4.Sky, 5.Blessed man, 6.God, 7.Memory, 8.Grass, 9.Hair of a man

Single hand symbols: 1.Starting, 2.Smiling, 3.What (This can be done with single and double hands), 4.Contempt

13. Mukuram (Mirror): There are 11 double hand symbols and 9 single hand symbols using this Mudra.Totally 20.

Double hand symbols: 1.Tusk, 2.Seperation, 3.Forlimb, 4.Waist, 5.Vedam, 6.Brother, 7.Pillar, 8.Mortar, 9.Speedy, 10.Devil, 11.Growth

9 single hand symbols: 1.Dissenting person, 2.Beetle, 3.Ray, 4.Anger, 5.Excellent, 6.Bangle, 7.Neck, 8.Armlet, 9.Negative

14. Bhramaram (Beetle): 5 Double hand symbols: 1.Wing of a bird, 2.Song, 3.Water, 4.Umberlla, 5.Ear of the elephant

4 Single hand symbols: 1.Demi-god (Gandharva), 2.Birth, 3.Fear, 4.Weeping

15. Soochimukham (Needle's sharp point): 10 Double hand symbols: 1.Broken, 2.Jumping up, 3.Universe, 4.Lakshmana, 5.Fall, 6.The other thing, 7.Month, 8.Eyebrow, 9.Loose, 10.Tail

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16 Single hand symbols: 1.One person, 2.What a pity!, 3.Dull, 4.Another, 5.Plural, 6.Ear, 7.A digi of the moon, 8.In olden times, 9.This man, 10.These people, 11.Kingdom, 12.A little, 13.Witness, 14.Give up

16. Pallavam (Sprout): 9 Double hand symbols: 1.The weapon of Lord Indra, 2.Mountain peak, 3.Ears of cow, 4.Length of the eye, 5.Male buffalo, 6.Pestle made of iron, 7.Spear, 8.Horn, 9.Circling

6 Single hand symbols: 1.Distance, 2.Pledge, 3.Fume, 4.Tail, 5.Cane, 6.Grain

17. Thripathaaka (Flag with three colours): 6 Double hand symbols: 1.Sunset, 2.Commencement, 3.'Hey', 4.Drinking, 5.Body, 6.Begging

18. Mrigaseersham (Deer's head): 2 Double hand symbols: 1.Animals, 2.The supreme being

19. Sarpasirassu (Serpant's head): 9 Double hand symbols: 1.Sandal, 2.Snake, 3.Slowness, 4.Worship of god using 8 substances, 5.Vomiting, 6.Saint, 7.Swinging of elephant's ears, 8.Escaping, 9.Massage

Apart from these symbols, this Mudra is used to show the symbols, Sprinkle, clapping hands, breaking skull of the elephant, chertishing, giving water to god and message of wrestlers.

20. Vardhamanakam (Seedling): 6 Double hand symbols: 1.Ear-ring of a female, 2.Diamond neklace, 3.Knee, 4.One who practices Yoga, meditation, 5.Drawn, 6.Man look aftering the elephant

3 Single hand symbols: 1.Whirlpool, 2.Navel, 3.Well

21. Araalam (Curved): 5 double hand symbols: 1.Fool, 2.Tree, 3.Wedge, 4.Bud, 5.Sprout

22. Oornanabham (Spider): 7 Double hand symbols: 1.Horse, 2.Fruit, 3.Tiger, 4.Butter, 5.Snow, 6.Plenty, 7.Lotus flower

23. Mukulam (Bud): 1.Fox, 2.Monkey, 3.Fading, 4.Forgetting

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24. Katakaamukham: 6 double hand symbols: 1.Blouse, 2.Servant, 3.Hero, 4.Wrestler, 5.To shoot arrows, 6.Arrest

The symbol of 'addressing' anybody is showed using the Mudra Hamsapaksham.

In "Mushti" when the small finger is straightened gets "Baana" Mudra.Using this can show the symbols like oppose, Stop!!, coming, future etc.

There are two types of Mudras: 1. Samaana Mudras (Same Mudras):- That is, the same Mudra is used to show two different symbols. For example the Mudra "Karthareemukham" is used to show both the symbols 'Time' and 'Near'.

2. Misra Mudras (Mixed Mudras): That is, some symbols are shown using two different Mudras in both hands. There are 68 Mixed Mudras. For example to show the symbol 'Indra', the Mudra "Sikharam" in one hand and the Mudra "Mushti" in the other hand; for 'Sivan' the Mudras used are "Mrigaseersham" and "Hamsapaksham"; etc.

Kathakali - Props, Rituals and Customs The credit for standardizing the customs and rituals in Kathakali goes mainly to Kaplingattu Namboodiri. Many of the rituals and procedure have obvious lineage to Koodiyattam.

Props on stage: Although Kathakali is essentially "visionary" in nature and practically there is no "set" recreating the ambience, a few essential props are used.

1. Thirasseela (Curtain). As in the case of most theatrical forms of the period, Kathakali uses a curtain held aloft by two assistants (Customarily the costume assistants do this job). Traditionally this has to be "a piece of cloth, four feet by five, of a single colour, with the figure of lotus or favourite deity painted prominently". However, the most popular design now prevalent consists of several concentric rectangles of contrasting bright

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colours. The size has increased and it is not unusual to have the logo or name of the troupe printed across it.

2. Kalivilakku (Lamp): Before the advent of lighting facilities, Kathakali and the like used to rely entirely on the oil lamp placed at the front end of the stage. Customarily, it had to be "having height about a metre, so that it can brighten the face of the artist posing properly in front of it." The lamp is made of bronze and burns coconut oil. The wicks are made from strips of cloth, rolled firmly. Now that better lighting facilities are available, oil lamps have no utility value; but it retains sanctity as an auspicious necessity.

3. Stool: Main purpose of the stool is for the actors to sit on as may be required by the context of the play. However, it is not unusual for some of the characters to stand on it during acting, particularly to indicate height gained as in the case of a chariot ride.

Rituals: Keli is a percussion concert performed just before sunset on the day of. This is envisaged as an announcement that there will be a Kathakali performance, later at the venue. Keli was probably adopted from Mudiyettu (For details see an article elsewhere in CyberKerala), the earliest known theatrical art. Keli is performed on the Chenda, Maddalam(drums) Ilathalam and Chengila (the cymbals & gong).

Almost immediately after the Keli, the main artists of the play will prepare for Chutty(the facial make-up). It takes from one and a half to two hours depending on the type of characters.

There are a few Items performed before the designated play of the day starts. If Kathakali is the only item for the night usually the lamp is lighted at about eight o'clock. Traditionally this is done by a costume assistant, using a wick lighted from the green room lamp.

Arangukeli is a brief percussion item, more like an auspicious ritual. Only Maddalam gong and the cymbals are played. Maddalam perhaps represents "Dundubhi" the large drums of ancient times, which was considered auspicious. Formerly a junior artist used to perform salutation for Lord Ganesha while this item is in progress.

As the Arangukeli or Kelikkai gradually fades out, the curtain is held aloft by two persons and the singers begin "Vandanalaslokam", i.e., the hymn praising the favourite deities.

Thodayam. One or more actors, mostly junior artists, in the traditional costume worn during training perform this pure dance sequence inside the curtain. The lyrics contains supplication to the various gods of Hindu mythology. Although Thodayam is a beautiful piece of dance, containing dance sequences to the beats of percussion performance in all the four rhythms used in Kathakali (Chempata, Chempa, Atantha and Panchari), now it is rarely performed on stage.

Purappad follows Thodayam. Chenda joins the percussionists from this point only. This was originally introduced quite in the lines of "Nandi" of Sanskrit drama, to indicate what is in the offing; that is, to give the audience a clue about the story to be presented. A few lines of verse added in the beginning of many "Aattakkathas" (scripts) are indicative of this. The main characters, mostly hero and his spouse, used to perform Purappad. Soon this item was detached from the play. It became a ritual and as it exists now mostly it is performed by junior artists dressed as Sreekrishna, sometimes accompanied by Rukmini or Balarama and Subhadra. In this form it is assumed that the gods on being pleased by the worship during Thodayam are joining the audience for witnessing th performance. Purappad is their blessing for the performers and audience. The most common lyrics for Purappad is taken from the story "Rajasooyam" and is in praise of Sree Krishna and Sree Rama.

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Melappadam is a percussion concert intended mainly to show their grade of performance. It is a veritable feast for those who are musically inclined. It develops like a Raga-thalamalika concert (Garland of tunes and rhythms). The lyrics used are from Jayadava's Geethagovindam, perhaps in memory of Ashtapadiyattam, a forerunner of Ramanattam and Krishnattam.

After Melappadam the "play" starts.

There is one more ritual associated with the first entry of characters other than "Pacha" and "Minukku" (regal and gentle). This is known as "Thiranokku", literally, looking over the curtain. For characters of royal pedigree, this item is accompanied by few props resembling regal pageantry.

Characters and their attire: Unlike in most performing arts, the make up and costumes in Kathakali are not exclusive to each character. It is divided into four groups based on the general nature and behavioural aspects of the characters.

Thus noble and heroic persons with only exemplary virtues fall into one category, named Pacha (Green). The main feature of this class is the predominant green paint on the face, fringed with paper flanges. Sreekrishna, Sreerama, Pandavas, Karna etc belong to this category. A subtle variation of this can be seen in Pazhuppu (Ripe). For characters like Lord Shiva, Agni, Balarama who are known for their wrath in addition to noble qualities, the green paint is replaced by saffron.

The second category is called Kathi (Knife). Named so due to the knifelike design close to the nose, painted in red in most cases and in black for Yama the god of death, indicative of Thamoguna (Black disposition). Depending on the characteristic disposition, there is another variation in Kathi. For a character of romantic disposition superimposed on inherent daring the design is short (Kurumkathi). Ravana, Duryodhana, Sisupala, Narakasura and Keechaka fall into this category. For those who are to act only as a "strongman" the design is bigger and is called Nedumkathi. Yama is an example.

Minukku is the plain make-up without chutty employed for female characters and Brahmins.

Chuvanna Thadi (Red beard) is a term used for demon-like make up for extremely villainous characters with fierce nature. The chutty and facial paintings are quite intricate. The headgear is very large in size. A large beard, red in colour is attached to the chin. Dussasan, Jarasandh, Bali & Sugriv appear in this make-up.

The general colour of the costume for the upper body is red. All the red hue in this is replaced by black or blue for Karutha Thadi. Kali is an example.

Vellathadi (White beard), contrast is reserved for extremely good characters. The make-up is entirely different. The head gear resembles a large hat. Hanuman is the best example.

Kari (Black) is the make-up for rude and crude characters like Nishadas. The head gear is like an inverted cone with its apex chopped off.

Cholliyattam: This is the part of Kathakali Acting where the actor enacts the dialogues following the lyrics being sung by the singers. The acting traditionally should be "word-by-word". Depending on the tempo, there are three types in Cholliyattam. Pathinjattam is extremely slow and here all Mudras (hand gestures) are displayed in detail, to academic perfection. Usually romantic scenes at the outset of the plays are set in this category. While for a comparatively new viewer it can be painstaking ordeal to watch a Pathinja Padam, it is sheer delight for the connoisseur. Cholliyattam in medium tempo is more commonly used. Here the acting will be more

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quicker, taking a sentence at a time. In scenes like battle, confrontation etc.. the tempo rises to real rapid. The hand gestures are in quick succession. During cholliyattam of female characters Chenda is not played except in very few cases where the character is extremely exited, and the tempo is rapid. Idakka is played instead for female characters. The accompanying music comes to logical finishing, when their cycles complete, with a 'piece' known as 'Kalasam' played on percussion instruments. This has been turned into an advantage by the actors by performing a pure dance, called by the same name 'Kalasam' . The mood of this dance always matches that of the character.

There are several variations in 'Kalasam' called, Iratty, Vattam etc.. The lengthiest among these is Ashtakalasam, traditionally performed only by Arjuna in Nivatha Kavacha Kalakeyavadham, to indicate the extreme state of exhilaration he was in when he was honoured at the hands of Indra, the King of gods. These days, however, this dance sequence has been adapted into other stories too, for example, Kalyanasougandhikam (Hanuman) Subhadraharanam (Balarama & Krishna), Lavanasuravadha (Hanuman and Lavakusha). There is a slight difference in style of performing Kalashams between male and female characters, obviously to suit the basic nature.

Ilakiyattam: Often the end of each act is marked by acting without vocal support. These are called Ilakiyattam. Reminiscences, narrations, casual remarks, preparations for journey or war, teasing etc.. are not unusual. This item is often used to enact portions of the story left out by the lyricist. A fair knowledge of the language of 'Mudras' is essential for enjoying Ilakiyattam. Hence, while veterans enjoy it thoroughly, new comers panic during these dump acts. Although the actor is not bound to follow set patterns, generally the content of Ilakiyattam follows a predetermined plan. There are mandatory sequences in many stories. The most popular one is Kailasodharam and Parvatheeviraham" by Ravana in Balivijayam. There is one story where Ilakiyattam takes centre stage. Ravanolbhavam. Here except for the start and finish, the entire act is without vocal support. This story is considered as the acid test for not only an actor, but also for the percussionist (Chenda). No wonder, Kalamandalam Ramankutty Nair, who is considered an all time great in this role, stopped performing it after the demise of the Chenda Maestro, Kalamandalam Krishnan Kutty Poduval

Places where Kathakalli Performmed

a. Changampuzha Samskara Vedi- Kathakali Aswadaka Sadassu – Kathakali is performed at Changampuzha Park, Edappally,Kochi-682024, Kerala. You can be Life member of the “Kathakali Aswadaka Sadassu” by paying nominal fees. For very performance you will be intimated by post*. You can also watch it freely since it is performed in open theatre without any restriction.

Other Forums of Changampuzha Samkara Vedi is Senior Citizen forum and Sangeetha Sadassu. Current President of Changampuzha Samkara Vedi is ex-mayor of Cochin Corporation.

b. Kathakali is taught in Kalamandalam, Cheruthuruthy, Trichur . Most of the artforms are taught here by famous teachers. Performers with prefix “Kalamandalam” in the their name is a teacher or student of this institute. This institute is made by Government of kerala

c. Kathakali is performed in lot of Hotels as part of Tourism Promotion. d. Kathakai is performed in most of the temple festivals in kerala

Note:* This needs to be checked with concerned person if you are outside Kochi city.

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Kalari Payattu

Kalari is a special kind of gymnasium, where the martial art Kalari Payattu is practiced. Kalari is the special training in 'Marma', the art of knowing and activating all the 107 energy points in the human body. These vital points (called marmas) are used for correcting the body's energy flows and replenishing its resources. Kalari therefore makes the practitioner not just a warrior but a self-healer, who can also help others with his healing powers.

Legends say that around 525 AD an Indian Buddhist monk named Bodhidharama traveled to China and preached at the Shaolin temple. On finding the monks weak and listless, Bodhidharama taught them the eighteen hands of Buddha - a special set of exercises and from this evolved the Chinese art of Shaolin Boxing. These eighteen hands of Buddha were said to be derived from the eighteen adavukal (adavu = technique), which form the base of the Vadakkan or northern style of Kalarippayattu.

The Kalari training is normally started at the age of seven, when the body is most supple, receptive and sufficiently strong, at the same time less vulnerable. However this art can be learned at any age under the guidance of a Guru. The Kalari training is mainly divided into three stages named: Meythari, Kolthari and Ankathari.

A student begins his Kalari training with Meythari which is a set of body exercises to attain control, balance and stamina that helps to withstand arduous feats with weapons.

Kolthari, the second stage deals with preparing oneself for various attacks and defends using sticks ranging from 1.5 feet to 6 feet. The prominent among these sticks is 'Ottakol', a specially designed curved wooden weapon used to attack and defend vital parts (marma) of the body with precision.

The Ankathari, the third stage of training is aimed at using metal weapons. The Ankathari begins with dagger, then sword, spear, multiple weapons and finally to a lengthy flexible sword called 'Urumi'.

"Marma chikitsa", part of the Ayurvedic treatment begins normally after the Ankathari. There are 107 marmas in a human body and any damage to any of them can be fatal. These marmas are

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practiced extensively in Kalari sessions along with the study of human anatomy. As accidents can occur during the training, marma training is compulsory along with the Kalari training.

The complete mastery over this art can be achieved with a dedicated effort and practice for a period of seven years. Kalari crash courses are also available for immediate purposes like dance shows and films.

Kalarippayattu is considered as the most comprehensive of all the martial art forms because of the following reasons:

Kalari is an excellent system of physical training.

Efficient self defense techniques - both armed and unarmed.

A great system of vital pressure points based system of fighting and treatment.

A comprehensive guide to attain flexibility and desired physical and mental strength

Advantages gained through practicing Kalarippayatu:

• Improves blood circulation and muscle functions. • Strengthen muscles and promote its flexibility. • Improves self confidence and mental agility. • Helps to augment body balance and physical fitness. • Improves the sportiveness. • Helps to achieve self reliance.

Courtesy: http://www.cvnkalari.com

In the olden Malabar, when kings quarrels they will choose people to fight for them from famous Kalari’s instead of war and a payment is made in advance. The story of Aromal chekavar, othenan, chandu in vadakkan Pattu is based on this fight.

Currently there are lot of Kalari’s in all the parts of kerala giving training in Kalaripayattu and also Ayurvedic treatment.

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Thullal

Thullal is a dance form which is unique with its simplicity in presentation and humor. It strictly follows the principles that have been mentioned in the Natya Shastra written by Bharatamuni. There are three varieties of this dance form namely Ottanthullal, Seethankan and Parayan Thullal, but Ottanthullal dominates out of these. Thullal is performed as solo and is conducted during temple festivals from the temple premises. It involves music also and the themes for the play are obtained from myths. Even then social criticism is a main feature of this dance. The songs are very fast and are written in Malayalam and involve humor and wit. Along with the dancer, there is also a singer who repeats the slokas. The musical instruments used in this play include Mridangam, Maddalam and Elathalam. The performer is called as the Thullalkaran.

It was the great Malayalam poet Kunchan Nambiyar who introduced Thullal in the 18th century. It was through his efforts that humor and wit became a part of literature and was introduced to the common man. This dance form shows his sense of social responsibility. The story about the origin of Thullal says that once when Kunchan Nambyar who used to play the instrument Mizhavu for Koothu performances was caught while taking nap during a show. The chakiar Koothu performer was angry and he put Nambiyar off the stage. Nambiyar felt insulted and in that anger he created another art overnight and performed it the next evening. That was believed to be the origin of Thullal, but some scholars debated that an art form could not be created within an overnight.

The makeup is similar to that of Kathakali. The face is painted with green color, lips with red and eyes with black. The cloths include red and white colored knee length skirt and are tied around the waist. There is also a colorful headgear. The costumes for all the three types of Thullal vary.

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This dance form has been influenced by ancient dances like Chakyarkoothu, Koodiyattam, Patayani and Kathakali.

. There are three different types of Thullal, classified according to the metre and rhythm of the songs sung in each one and the differences in costume and dance. They are Ottan Thullal, Seethankan Thullal and Parayan Thullal.

Sheethangan Thullal

The precise interpretation of the labels Seethankan, Parayan and Ottan is not clear, but the difference in the styles relates mainly to the metre of the poetry, the place of the singing, and the costume and adornment of the performer.

Kunjan Nambiar, for his inspiration, turned to legend and mythology but gave to each story or episode a totally contemporary slant. He took figures from the Raamaayana and Mahabhaarata, the Bhaagavatham and other Puraanas and exposed them to the modes and mores of the society of his time. He was a poet of the soil who, through the expedient of wit and satire, ruthlessly laid bare the hypocrisy that he saw around him in everyday life. Making no effort to deliver a message or spell out a moral, he was content to present the picture as he saw it, and left it to his audience to react as they wished. He excelled in fusing reality with fantasy and made his characters appear totally valid to the scenario of his time. To this day, Nambiar remains the unquestioned master of the this art.

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Chakyar Koothu

Chakyar Koothu is a performance art from Kerala, South India. It is primarily a type of highly refined monologue where the performer narrates episodes from Hindu epics (such as the Ramayanaand the Mahabharata) and stories from the Puranas. Sometimes, however, it is also a traditional equivalent of the modern stand-up comedy act, incorporating commentary on current socio-political events (and personal comments directed at the members of the audience).

The Performance

"Koothu" means dance... which is a misnomer, as facial expressions are emphasized and there is minimal choreography. It is performed in the Koothambalam; a place inside Hindu temples specifically designed for performing Kutiyattam and Chakyar Koothu. Ideally, the performance takes place in conjunction with festivals, presented by members of the Chakyar community along with theAmbalavasi Nambiars.

It is a solo performance, by a narrator in a distinctive headgear and black moustache with his trousseau smeared with sandalwood paste and red dots all over the body. The headgear resembles snake’s hood, to symbolise the narration by Anantha, the thousand headed serpent.

The Chakyar narrates the story based on the Sanskrit style of "Champu Prabandha" - a mixture of prose (gadya) and poetry (shloka). He begins with a prayer to the deity of the temple. He then goes on to narrate a verse in Sanskrit before explaining it in Malayalam. The narration uses wit and humor to draw parallels with current events and local situations.

Courtesy:Wikipedia,facebook

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Oppana

Oppana is a dance form and a performing art practiced by the Muslim women in the Malabar region of Kerala, especially the districts of Canaonore, Calicut and Malappuram. It is believed that the word Oppana derives its origin from the word Afna (Arabic). It is performed to commemorate the nuptial celebrations of the bride and is part of the wedding festivities. It is a famed form of social entertainment. Maidens and the female relatives of the bride sing and dance clapping their hands. The bride is decked in finery and intricate ornaments and seated in the middle on a high seat called the peetam. The bride’s friends and other young ladies clap their hands rhythmically to the beat of the song and dance around her. There are about 15 performers including the musicians. The dance is not vigorous and the steps are simple and movements graceful. Sometimes a type of Oppana called Oppana Chayal is performed that does not involve the clapping of hands. The other type of Oppana is Oppana Murukkam. The songs sung are called Mappilapattu and are sung firstly by the leader and the remaining women lend the chorus. Two or three girls lead the dance and the rest soon join in. The songs’ themes are usually teasing comments and insinuations to the marital bliss and the shy bride’s emotions. The language is a combination of Arabic & Malayalam. In some households the men also perform the Oppana for the groom’s entertainment. In these cases it is performed before leaving for the bride’s place. It is there that the wedding (Nikkah) is performed. In some cases the men also perform the Oppana as the groom enters the Maniyara (Bridal Chamber). The instruments played along are the Harmonium, Ganjira, Tabla and Elathaalam. The Oppana is performed as a stage item nowadays.

Courtesy:Wikipedia

Kurathiyattam K. PRADEEP Kurathiyattam, an art form that is believed to be more than 200 years old, is in dire straits on account of the lack of stages, performers and audiences.

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Rustic touch: Kurathiyattam, which has two variants called Thekkan (Southern) and Vadakkan

(Northern) styles, essentially narrates stories from mythology.

It is a race against time. Like many folk art forms, Kurathiyattam, believed to be more than 200 years old, is fading into oblivion. There are hardly two or three groups earnestly involved in performing this art form; there is an obvious lack of interest or attention and very few interested in learning this art form.

Kurathiyattam has two variations – the Thekkan (Southern) and Vadakkan (Northern) forms. The latter is more musical in content, with very little place for dialogues. Apart from the integral characters, Kuravan and Kurathi, the Vadakkan style has characters like the Nattupramani, Kallushappukaran, Vridhan and others.

In this variant, the Kuravan and Kurathi who come to participate in the Thrissur Pooram get separated. They wander around in search of each other. The story ends with both of them meeting each other, after a series of quarrels and after accosting different characters.

This style puts more emphasis on the social aspect, unlike the Southern variant. The Thekkan form, till recently, at least, was basically a temple art. The characters are mainly drawn from Hindu mythology and from anecdotes in the Puranas.

Music, drama and dance

In the past, male actors enacted the female roles too. This has changed with women actors taking this up as a part-time career. Along with the dialogues, the story is narrated through songs that are rendered by background musicians to the accompaniment of traditional instruments like the mridangam and the thalam.

While the Vadakkan style seems to be almost extinct by now, the Thekkan style is still seen at some temples and on occasional stages.

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In this dance form, two Kurathis, or gypsies, who are actually supposed to be the wives of Lord Siva and Lord Vishnu, get into an altercation over the exploits of their respective husbands. This often turns sarcastic and bitter. Goddess Mahalakshmi in the guise of an aged woman, Muthiamma, intervenes and brings about peace between them.

In another part of the dance form, two other characters, Kattalan, and Kuravan, Sheni and Lord Siva in disguise, come on stage. The Kuravan destroys Sheni. The dance drama, if one may define it, concludes with the manifestation of Lord Siva and his consort.

One man who did yeoman service in popularising this art was the late Vechoor Thanakmani Pillai. He is the only Kurathiyattam artiste to be honoured by both the State and Central Sangeeta Nataka Akademis. His son Vechoor Gopi, along with P.R. Lakshmanan, a trained nagaswaram player, has given this art form a new colour.

Popularising the art form

Their organisation, Vechoor Thankamani Pillai Smaraka Sree Lakshmana Kalarangam, based at Mulakkulam, near Piravom, is involved in performing, training and popularising this art form.

“In 1996, Thankamani Pillai was seriously ill. The Kurathiyattam group that he was heading had almost come to a stop. When we met his son Gopi and asked him if he could arrange for a performance, he told us that they had stopped the show. That was when I decided to do something to revive this art form,” says Lakshmanan, an employee of Travancore Devaswom Board.

That same year, with Vechoor Gopi in the lead, they formed the group and began performing. “We must have invested more than Rs. 2 lakh to get the show going. We have retained the old songs and the plot. But to keep with the changing times and to make it more appealing, we have added a few more items. Now, we have a Rangapooja dance in typical Bharatanatyam style, then a folk dance based on the popular Cheethayum- Thampurratiyum story and a Thiruvathirakkali before the start of the regular story.

“We have introduced new background settings, lights and added new background instruments like the tabla, chenda, Congo drum and so on. Earlier, all the songs were sung by one male singer, now we have male and female singers,” explains Lakshmanan.

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In the past Kurathiyattam used to be performed almost daily at temple festivals. “This is not happening now. One reason is because we have now fixed our rates at something like Rs. 3,000-5,000 for a day, depending on the distance we have to travel for the performance,” says Vechoor Gopi, one of the senior-most artistes in this field.

Kurathiyattam still remains, mostly, a family affair.

“Most of the young artistes take up this art on a part-time basis. We have trained a lot of artistes, some of whom have set up their own small groups, while some of them have given it up,” says Gopi. Like many folk traditions, Kurathiyattam might not be refined. It might lack dramatic quality, the songs rustic, dialogues, gestures and movements a bit crude. Yet such art forms are very much a part of the cultural fibre of Kerala. With a little support from cultural organisations and Government agencies, Kurathiyattam may survive the vagaries of time.

http://www.hindu.com/fr/2008/06/06/stories/2008060650340300.htm

Poothan and Thira

Poothan and Thira is a ritualistic art form found in the South Malabar region of Kerala in India,

in which people dance in costumes representing Poothan, Shiva's lieutenant, and Thira, the goddess Kali, to the accompaniment of drummers.

It is usually performed once or twice a year in villages or towns to cleanse them of evil spirits as well as in temples - especially in the Pooram festival season between December and May.

Poothan and Thira for the Machattu Mamangam festival.

A typical Poothan and Thira performance includes shouts and wild gestures and may include percussion and horns as well as drums. The dancers wear large fan-shaped head-dresses and imposing masks, often with sticking-out tongues and bulging eyes. The dancer playing Poothan usually wears a bright coloured tightly woven costume, often including bright red elements and embellished with gold-coloured trinkets that rattle when the dancer moves. The dancer playing Thira wears a semicircular black crown with symbols of the goddess embossed

on it.

Performers are traditionally from the Mannan Hindu sub-caste of rural Palakkad, southern parts ofMalappuram and northern parts of Thrissur.

The epic Malayalam poem Poothappattu by Edasseri Govindan Nair is based on the Poothan

and Thira tradition.

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Margamkali Among the performing arts of Christians, Margamkali deserves special mention. It is a group dance developed by the Syrian Christians of Kerala. The word 'Margam' means path, way, religion or creed. The real source of inspiration for Margamkali was Kalaripayattu which was very popular when the Christian community had developed the form. The art was meant for the propagation of Christian religious ideas. The form of the art was the result of direct inspiration from the indigenous culture. The dancers play in a circle around a lighted oil lamp while singing themselves. There are no accompanying instruments. The leader of the troupe or tutor known as 'Asan' leads the song and the group repeats the same and dances. The language used in the songs of Margamkali reveals its relation with old Tamil.

Coutesy: Webindia123.com

Chavittu Nadakam

Chavittu Nadakam (Malayalam:�)�8> �.��) is a highly colorful Latin Christian classical art form

originated in Gothuruth (Ernakulam) village, Kerala state in India. It is noted for its attractive

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make-up of characters, their elaborate costumes, detailed gestures and well-defined body movements presented in tune with the rhythmic playback music and complementary percussion. This art form highly resembles European Opera. Chavittu Nadakam is believed to be originated during the 16th century AD. This form of play is prevalent among the Latin Christian community in the districts of Alappuzha, Ernakulam and Thrissur of Kerala.

The most sensual blend of cultural influences can be seen in this Christian dance-drama.

In Chavittu Nadakam there are large number of characters all in glittering medieval dress. It is the form of traditional musical dance drama, which symbolizes the martial tradition of Kerala Christians.

Chavittu Nadakam is believed to be originated after the arrival of Portuguese to the Kerala shores. The reason behind this assumption is that Chavittu Nadakam has a significant European Character in its costumes and outfits. But there are historical evidences that Kerala had connections with the western world well before the arrival of Portuguese. Even though some argue that the Chavittu Nadakam is created by Portuguese as they felt cultural emptiness when they arrived at Kerala, there are no evidences supporting this view. Also the fact that Chavittu Nadakam uses Tamil language for its playback songs and dialog, suggest that the art form is indigenous in origin.

havittu Nadakam is usually performed on open stages. Sometimes the interior of a church is also a venue. The performers wear glittering European costumes. Training is provided to performers before staging the play. The master is known as Annavi. The whole play is performed through musicals. Dance and instrumental music are combined in this art form. The bell and drum are two instruments used as background score. The actor themselves sing and act. Though it used to be an open stage performance, in the recent times this is mostly played indoor. The predominant feature of this art is the artists stamping / pounding (Chavittu) the dance floor producing resonant sounds to accentuate the dramatic situations. The actors sing their lines loudly and with exaggerated gestures stamp with great force on the wooden stage. Hence literally Chavittu Nadakam means 'Stamping Drama'. Great stress is laid on the step, which goes in harmony with the songs. In these art forms there is a great importance for dance and art. Foot stamping dance, fighting and fencing are the essential part of Chavittunadakam. Royal dresses and ornamental costumes are necessary.

The play is considered a success if at the end, the stage cave into the pressure of heavy stamping.

The stories are mostly the heroic episodes of Bible or great Christian warriors. Historical incidents, the life and adventure of heroes like Charlemagne; stories of Alexander were the themes of Chavittu Nadakam in the 16th century. In the 18th century, spiritual themes like "Allesu-Nadakam", "Cathareena Nadakam",the victory of the Isaac etc. were the themes. In 19th century moral themes like "Sathyapalan";"Njanasundhari","Komala Chandrika"were handled.

Coutesy:Wikipedia, http://www.idealflickr.com

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