The world of Kathakali is peopled by noble heroes and demons locked in battle, with truth winning over untruth, good over evil. The stories from the two epics, the Mahabharata and the Ramayana, as well as the Puranas constitute the themes of the Kathakali dance dramas.
The macro and micro movements of the face, the movements of the eyebrows, the eyeballs, the cheeks, the nose and the chin are minutely worked out and various emotions are registered in a flash by a Kathakali actor-dancer. Often men play the female roles, though of late women have taken to Kathakali.
The pure dance element in Kathakali is limited to kalasams, decorative dance movements alternating with an expressional passage where the actor impersonates a character, miming to the liberetto sung by the musician. A cylindrical drum called chenda, a drum called maddalam held horizontally, cymbals and a gong form the musical accompaniment, and two vocalists render the songs. Using typical music known as Sopanam, Kathakali creates a world of its own.
The most striking feature of Kathakali is its overwhelming dramatic quality. But its characters never speak. It is danced to the musical compositions, involving dialogues, narration and continuity. It employs the lexicon of a highly developed hand-gesture language which enhances the facial expressions and unfolds the text of the drama.
Kathakali is a harmonious combination of five forms of fine art:
1. Literature (Sahithyam)
2. Music (Sangeetham)
3. Painting (Chithram)
4. Acting (Natyam)
5. Dance (Nritham)
The role of each of these art forms is very vital in the making of Kathakali what it is, the King of performing arts, particularly theatre.
Costumes:
The headgear worn by the various characters in Kathakali are excellent specimen of intricate wood carving, an ancient speciality of the region. Even the shiny finishing with trinkets take hours of painstaking labour by expert craftsmen. Most of the ornaments donning each character are made in this fashion too.
Make-up:
The make-up, called Chutty in the bibliography of Kathakali, is also an art form in itself. The colourful faces are the results of hours of painstaking handiwork by expert artists. Their work is, by no means subordinate to portrait painting. The basic materials used for the make up are very crude items like raw amorphous Sulphur, Indigo, Rice paste, Lime, Coconut oil etc.
Music:
One of the major distinguishing features of Kathakali is the absence of oral communication. A considerable part of the script is in the form of lyrics, sung by vocalists. The only accompaniments are percussion instruments. Chenda (Drum played with sticks) Maddalam (Drum played with fingers), Chengila (Gong) and Ilathalam (Cymbals). The style of music traditionally accepted is Sopana, where the range is limited to one and half octaves. However, the influence of Karnataka Style of Classical Music has been irresistible, and the singers often take liberty with the style. It is not unusual that a Kathakali performance take the form of a Jugalbandi (Duet) of singing and acting.
Drumming especially of Chenda is the salient feature of Kathakali. Formerly considered an "Asura Vadyam" meaning one that cannot go in harmony, Chena has become the most important feature. Artists are capable of producing a range of sounds varying from the gentle rattle of dry leaves in a breeze to reverberating thunder on Chenda.
Dance:
Although dance is an important element in Kathakali, it is not the main feature. Pure dance sequences are limited to Kalasams, which punctuate acting segments. Female characters spontaneously breaking into "Sari" and "Kummi" dances can be seen in few dramas. The accent in Kathakali is more on the Thandava style of dancing than on Lasya style. Hence the movements are often explosive. Delicate movements are rare.
The communication among the characters and to the audience, is through an intricate language of hand gestures, used in combination with facial expression and body movements. Kathakali follows the language of Mudras, as described in "Hasthalakshana Deepika".
Mohiniyattam
The concept of Mohini roots from Hidu mythology which says that during ‘Palazhimadhanam’ ie, churning of the Milky Ocean, Lord Vishnu assumed the form of a ‘Mohini’- the charming enchantress. It was to enthrall the demons who have taken away the pot containing ‘Amruth’- the elixir of life and immortality, evolved from it. Mesmerizing the demons, the Mohini succeeded in recapturing the pot with the divine brew.
In history there was a class of women known as ‘Devadasis’- the servants of God, who danced before the Temples in total dedication to the deity. It was from their dance, this art form developed in the state. Even after many years of transformations, with its simple, elegant gold-filigreed dress, gentle undulating movements and expression of emotions through the dreaming eyes of the artists, Mohiniyattam enjoys an enviable position as an enchanting dance form of Kerala.
Mohiniyattam does not have a broad canvas as that of Kathakali or Koodiyattam and hence the four fold concept of acting, elaborately dealt with in ‘Natyasastra’ of sage Bharatha- the ancient Indian dramaturgy, is neither detailed nor comprehensive in its applications. Natyasastra has extensively dealt with all the features of drama, dance and music. It has classified the style of composition the art forms into four Vrithis - Bharati (the verbal), Sattvati (the grand), Arabhati (the energetic) and Kaisiki (the graceful). Kaisikivrithi is nothing but Lasya and Mohiniyattam falls under this category. Abhinaya means conduct or represent on stage. The major components of dance and drama as enunciated in Natyasastra are the fourfold concept of Abhinaya - Angika, Vachika, Satwika and Aharya, and the two Dharmis, ie, Natyadharmi and Lokadharmi. Abhinaya simply means the way of acting. The word 'abhi' means near or towards, and 'ni' (nay) means conduct. The term abhinaya is defined as "an act of conducting towards or near". The act of conduct is towards the audience, and the thing to be conducted may be an idea or a subject. Abhinaya is the primary means of communication of the performer.
The performer evokes aesthetic experiences, transforms those ideas and develops consciousness among the audience by means of her abhinaya. The four modes of representing an idea or a subject, in front of the spectators are ‘Angika’ – the body movements, ‘Vachika’ – the words spoken, ‘Aharya’ – the make up and costumes and ‘Satwika – by evoking rasas. Dharmi is the mode of presentation. Lokadharmi is the realistic mode of presentation of the natural behavior of the people as represented on the stage in dance and drama, whereas Natyadharmi is the stylised mode of presentation in dance.
Kalaripayattu
The practice of Kalaripayattu is said to originate from the Dhanur Vedic texts encompassing all fighting arts and described by the Vishnu Purana as one of the eighteen traditional branches of knowledge. Kalaris are the schools where training in this martial art form is imparted by Gurukals or masters.
This martial art form is indigenous to the Southern Indian state of Kerala which, legend has it, was created by the warrior saint Parasurama, an incarnation of Lord Vishnu, by throwing his axe into the sea which receded till the point where it fell. Parasurama then established forty-two kalaris and taught twenty-one masters of these kalaris to protect the land he created.
Kalaripayattu is a traditional psycho-physiological discipline emanating from Kerala's unique mytho-historical heritage as well as a scientific system of physical culture training. The historical antecedents of this martial art form combines indigenous Dravidian systems of martial practice such as 'varma ati' or 'marma adi' with an influence of Aryan brahman culture which migrated southwards down the west coast of India into Kerala. There are two distinct traditions in Kalaripayattu -the Northern and the Southern schools.
In the Northern tradition the emphasis is laid on progressing from body exercises to combat with weapons and last of all to unarmed combat. In the Southern tradition the patron saint of Kalaripayattu is the sage Agastya whose strength and and powers of meditation are legendary. It is said that when the Lord Shiva married the Goddess Parvati at Kailasa in the North, all gods and goddesses went to attend the wedding and with this shift in weight the world tilted, so much so, that Agastya was sent to the South to restore the balance.
Lord Rama, legend has it, was mentored by Agastya to acquire the weapons, which defeated the demon king Ravana. In the southern tradition the emphasis is primarily on footwork, movement and the ability to strike at vital points or 'marmas' in the opponents body of which 108 points are considered lethally vulnerable.
Kalaripayattu training is given free to every student. Those who are interested must first register, and then places will be issued according to availability. Spiritual Guidance can be received through Satsangs on Thursday evenings, or by personal appointment with our Guru. There is no charge, but appointments must be made in advance.
Yekshaganam
The struggle between the good and the evil and the ultimate triumph of the Good. Almost all ancient arts are having a common world, in one way other related to God-worship. Ethical Values are better inculcated in the minds of people through entertainment. Yakshagana no doubt is an ancient performing art. Some are of the opinion that Yakshagana evolved from the ancient form of Bhutha-Worship(Theyyam). Bhutha-Worship is very popular in South Canara of Karnataka and Kasaragod Dist. of Kerala. In the process of evolution Yakshagana was also influenced by the Folk Dance, Song, Sanskrit Drama and also from Bharata's Natyashasthra. South Canara Dist. and Kasaragod District of Kerala (erstwhile South Canara Dist prior to State Re-organisation) is the motherland Yakshagana. Parthisubba one of the Pioneer of Yakshagana is the gift of this District.
The dance drama Yakshagana is broadly divided into two 1. Moodalapaya 2 Paduvalapaya. The Moodalapaya is divided into Doddata and Sannata which are crude forms of Yakshagana i.e., purely folkform The Paduvalapaya is again divided into Thenkuthittu and Badaguthittu. The Badaguthittu is very popular in North Canara Dist. of Karnataka and Thenkuthittu is in the erstwhile South Canara Dist.(including Kasargod Dist). These two groups are distinguished by their costumes used by the troupes and the dance style (Angika). Thenkuthittu costumes resembles with the Kathakali to a certain extent. The term Yakshagana would mean a style of music and it is a musical dance drama played in the open air and called as Bayalata (Open air drama). In Yakshagana music and speech go hand in hand and it could reach a good distance without our modern sound system.
The main attraction of yakshagana is stage craft where characters like Gods, Demons and Sanyasis are presented in a supernatural atmosphere and the audience are carried to a world of fantasy. In olden days it is performed usually at night lasting from 9.00PM to 6.00AM in the open-air. The stage of Yakshagana is rectangular in shape measuring about15'x 30' prescribing the rule in the given sanskrit sloka.
One side of the stage floor Bhagavatha sits with his accompaniment. Bhagavatha is the Narrator, Director or can be called as Suthradhara. He also sings with the accompaniment of Tala(Jagate) Mridanga(Maddale), Harmonium(Shruthi) and Chakrathala. Besides high pictched 'Chende' is used in special occasions. In olden days oil lamps were used to light the stage. The text of the yakshagana is called "Yakshagana Prasanga" which is narrated in sets of songs. These songs are set of different Ragas and Talas presented according to the "Kalas" ( Periods of night). There are about 100 ragas in yakshagana Some of the Ragas of yakshagana are not heard of in Karnataka Music viz., Panchagandhi, Gopanitem Kore,Koravy etc, The characters will dance to the tune of the songs followed by the dialogue in kannada. The dialogue is presented extempore the framework of the text of songs. The yakshagana is a total theatre because it has everything of a performing art. It entertains and enlighten both the learned and the illiterate.The yakshagana performances starts and ends with the prayer to Lord Ganesha.
Systematic training in dance, music, dialogue and makeup(Dressing) is necessary for an artist. Dialogue and makeup can be learnt only by practice. Navaras (Veera, Sringara, Karuana etc) are expressed by these artists All forms of Abhinaya viz., Angika, Vachika, Aaharya and Bhava follow a fixed development over the centuries. The only art to which the yakshagana of coastal Karnataka can be compared is Kathakali in Malayalam. But the highly stylised expression of motions through the various Mudras peculiar to Kathakali is not observed here. The Characters of this art can be distinguished as Romantic and Demonical. The Role of Karna, Arjuna etc are treated as romantic role, using colourful and pleasing costumes whereas Ravana, Mahishasur, Duryodhana etc are treated as demonical role and their facial makeup is very intricate resembling Kathakali techniques painted by the artists himself. The artists playing Satvika and Sringara roles use green shirts named Dagale. Rajasa use Red shirt and Tamasa black shirt. The dress of a character depicts is habit and behaviour. The main alankara of the head is called Kedge-Mundale, Mundas(Pagadi)Kirita Kesarithattu and Mudi. The main colour for the face decoration is called Aradala (Chayam), Ingalika (red), Green, Kadige, Calcium (SUNNA), rice powder and Kumkuma.and the colour of the face is changed according to the nature of the character.
There is another type of Yakshagana called "Yakshagana Koota" or "Talamaddale" It is performed by the artists without makeup and costumes. Musical accompaniment are the same as Yakshagana Bayalata with 'Vachikabhinaya' and the artists create a fascinating dialogue between themselves according to the text of the play.
Kudiyattam
Traditionally, Koodiyattam is presented by "Chakyars" (a sub caste of Kerala Hindus). The female roles went only to "Nangyars" (Women of Nambiar caste). The name 'Koodiyattam' (combined dance form) came because it is the combined performance of Chakkyar and Nangyar. The only musical accompaniment used to be "Mizhav" played by Nambiar men. Of late, Idakka also finds a place beside Mizhav.
The photographs given in the following pages are from 'Soorpanakhangam' Koodiyattam and 'Jatayuvadham' Koodiyattam.
Thullal
The instruments used in Thullal are the maddalam and the cymbals. The cymbal player who tunes the rhythm, also assists the actor dancer (Thullakaran) in singing.
In actual performance the cymbal player first sings the invocation song when the dancer faces the orchestra and does obeisance. After that, with his back still to the audience the dancer does a slick flourish of step and body movements. Then he turns to the audience and the dance proper is begun. He first sings a verse and while the lines are being repeated by his musical assistance, he brings out the meaning through facial expressions, hand gestures and bodily postures. The roles of the raconteur and actor are perpetually interchanged with tremendous aesthetic efforts. In one moment he is the narrator but in the next he completely identifies himself with the narration.
It is to the dance that prime importance is given in Thullal. From the beginning to the end there is dance even though it lacks much of variety. To compensate for the monotony, sometimes the dancer executes some vigorous footsteps and rhythmic movements of the body.
Thullal is classified into three different types. Ottan, Seethankan and Parayan based on the difference in costume, dance and also the metre and rhyme of the Thullal songs.
Of all Thullal dances the Ottan thullal is the most popular. The costume is peculiar and impressive. A long tape of cloth of white and red colour is hooked around a waist string to form a knee length skirt. A chest plate adorned with various types of coloured beades, glass and tinsel and ornaments is also used.Gaudily painted wooden ornaments are worn at the wrist, and on the shoulders. Tinkling bells are tied to the legs just above the calf. The face is painted green, the lips are reddened and the eyes are emphasised with black paint. The head -dress is colourfully decorated. The metre and rhyme of the Ottan Thullal songs are very fast, and the dance as such has a high tempo.
In Seethankan Thullal the metre and rhyme of the Thullal songs are a bit more- slow than in Ottam Thullal and consequently dance is also slower in tempo. The dancer uses similar skirt as in Ottam Thullal. But the arms, wrists and head are adorned with ornaments made of fresh tender coconut fronds. There is no facial make up except darkening of the eyes
The Parayan Thullal is the slowest in tempo. Even the stance of the dancer is different from the other two. Here the dancer almost stands erect and explains the meaning of the songs by gestures. There is very little of the dance element or of action. The costume is also different. A red, flowery clothe is worn around the waist. A crown of black clothe adorns the head. Necklaces are used on the chest. The face is painted with light yellow.
Parichamuttukali
Parichamuttukali is a group dance performed by men bearing swords and shields and follows the movements and steps of Kalarippayattu.
The Asan (leader of the group) sing songs to the chimes of a bell. Musical accompaniment is restricted to elathalam (small cymbals) and the din made by the rhythmic clapping of swords and shields. As the pace of the dance gradually heightens, the music also reaches a crescendo.
The dancers are usually dressed in a white loin cloth with red wrist-bands and sing in chorus as they dance. The dance used to be performed as a religious offering is now a days gaining popularity as a Christian entertainment art.
Chayar Koothu
This classical dance is performed by the member of the professional Chakyar cast that too only in Koothambalam of temples. It is one of the oldest of theatrical arts peculiar to Kerala. The term Koothu literally means dance which may be taken as an index of the importance attached to dance in the original form of the art. As a matter of fact, the movements and facial expressions and the signs and gestures employed by the actor in Koothu are said to approximate most closely to the principles laid down in the authoritative Sanskrit treatise on the subject, Bharatha's Natya Sastra.
The actor recites stories from the epics (based on Sanskrit text) interpreting them in Malayalam, enlivening his narration with Thandava dance rhythms and also gestures and bodily postures which are clearly derived from Natya Sastra.
"Koothu" means dance - which is a misnomer, since there is minimal choreography involved in the art form; facial expressions are important, though. Traditionally, it was performed inside a Hindu temple and the performer begins with a prayer to the deity of the temple. He then goes on to narrate a verse in Sanskrit before explaining it in the vernacular Malayalam. The narration that follows touches upon various current events and societal factors with great wit and humor.
The Koothu is very much dominated by the comic element. Impersonated through mime and gesture and interspersed with occasional dances, the narrative art of the Chakyar is essentially dramatic. Humorous, witty analogies and allusions to topical, political and social events are brought in during the narration and the dancer gets ample facilities for criticizing men and things of local interest. Seldom does the miss an opportunity to make comic comments on contemporary life and society. He ridicules the follies and foibles of the age with impunity.
In actual performance the dancer stands on the platform of the Koothambalam adorned with his special type of headgear and peculiar facial make-up. He then offers prayers to the presiding deity of the particular temple where he is performing. After that he recites a verse from the Sanskrit text from which he intends to expound and then explains it in Malayalam. The instruments used are a pain of Cymbals and the mizhavu which is a big copper drum. A member of the Nambiar caste beats rhythm on the Mizhavu at the required intervals. The cymbals are played invariably by women known as Nangiyars. Koothu presented as a solo item by a Chakiyar is also known as Prabhandha Koothu. Occasionally, it is presented by a Nangiyar woman, when it is called Nangiyar Koothu.
Koothu was traditionally performed by the Chakyar community. The part of Koodiyattam, which involves only lady charecters are performed by women of Nambiar caste, Nangyarammas are called as as Nangyar Koothu, which has nothing to do with Chakyar Koothu. Only two instruments accompany the performance - a mizhav and a pair of cymbals.
Chakyar Koothu was performed only in Koothambalams of Hindu temples, it was visionary Guru Natyacharya Vidushakaratnam Padma Shree Mani Madhava Chakyar ( who was the greatest Koothu and Kudiyattam artist ) brought Koothu and Kudiyattam outside temples by performing it outside for common people. He is considered as the greatest Koothu and Kutiyattam artist of modern times.
When Mani Madhava Chakyar's guru, His Highness Darsanakalanidhi Rama Varma Parikshith Thampuran wrote a new Sanskrit champu prabandha called Prahladacharita and requested some senior artists to study and perform the same on the Chakyar koothu stage, they said it was impossible for them to stage such a new prabandha. Then the guru asked Mani Madhava Chakyar, who was then a comparatively young artist, to try. He agreed and studied a part of the prabandha within one night and performed the same on next day itself at Tripunithura - the then capital of Kochi state! The incident made great scholars to accept his mastery over both Sanskrit and the classical art form. After some months, he performed entire Prahla-dacharita at the same stage.
Margamkali
Oppana
The bride dressed in all finery, covered with gold ornaments is seated at the center and she is the chief spectator. The singing and dancing is performed in a circle around the bride.
Oppana Music
The songs of Mappilappattu, are first sung by two or three girls and the rest join in chorus. This is accompanied by an orchestra of harmonium, thabala, ganjira and elathaalam. The themes are often teasing comments and innuendoes about the bride's anticipated nuptial bliss. The songs are composed in a composite language of Arabic & Malayalam.
Sometime Oppana is also performed by males to entertain the bridegroom. It usually takes place just before the bridegroom leaves for the bride's residence where the marriage takes place.
Another dance form especial to the Muslim community is Aravanmuttu, the origin of which can be traced back to the Arabs and is still accompanied by Arabic music.
Kolkali
A group often has twelve to twenty four performers each with two sticks in hand. The movement is circular and the artists sing as they dance and strike the sticks around a nilavilakku. The circle expands and contracts as the dance progress. The accompanying music gradually rises in pitch and the dance reaches its climax. Though the dancers break away to form different patterns, they never miss a beat. In Malabar, Kolkkali is more popular among Muslim men.
Sometimes it is performed on a specially constructed wooden stage. Thus the name thattinmelkali. Musical instruments used are Chanda, Elathalam, Mathalam and Changila. Usually it is presented once in a year after paddy harvest during the Month of April. Farmers and all villagers celebrate the festival together without any caste and creed but Kolkkali is more popular among Muslim men.
Kummatti
Kummatti has the quality of a partly improvised, hilarious carnival. Everyone can participate in it since the dances do not require any special skills. The dancers’ costumes are made of bunches of hay, and they wear colourful wooden masks representing mythological characters.
The masked dancers proceed from house to house collecting small donations for the temple. There is now also a children’s kummatti tradition in which children paint their faces with bright colours, and dance led by male dancers.
Theyyam
The indigenous Theyyam cult under the influence of the great classical Indian tradition incorporated new ideals and legends. However its form and content did not change very much. The popular folk religion based on Theyyam was influenced by the Brahmanical settlements in Kolathunadu like Payyannur and Taliparamba. According to Keralolpathi, a famous historical book, Parasu Rama sanctioned the festival like Kaliyattam to the people of Kerala. Kaliyattam means Theyyattam or Daivattam, which lasts for 3 to 11 days. He assigned the responsibility of Theyyam dance to the indigenous communities like Panan, Velan, Vannan and Malayan. Velan one of the Theyyam dancers are referred to in the sangam literature. According to sangam traditions, he was employed by the mothers of love born girls to exercise the malignant spirits from their daughters. All rituals described in the sangam works and their commentaries are being observed by Velan and other dancing communities.
Ezhimalai, described in the sangam literature, ruled by Udayan Venmon Nannan , is situated in Kolathunadu near Payyannur. Therefore the Tamil sangam culture with variations still continue in this region. The dance of Velan community had taken new forms and developed in to the present day cult of Theyyam over a period of 1500 years. This uninterrupted continuity of sangam traditions makes theyyam a prominent religious system of north Kerala. As a religious and social institution, it has significant place in the cultural history of the region. Under the impact of Aryans the cult of Theyyam had changed substantially incorporating new trends and sub cults along with its tribal character. In short it can be stated that all prominent characteristics of primitive tribal religious worship had widened the stream of Theyyam cult and made it a deep-rooted folk religion of the million. For instance, the cult of mother goddess had an important place in Theyyam. Besides the practice like spirit-worship, hero worship, masathi worship, tree worship, ancestor worship, animal worship, serpent-worship, worship of the goddesses of disease and gramadevatha worship are included in the main stream of Theyyam cult. Under the influence of Aryan myths and legends, a large number of brahmanical gods and goddesses had infiltrated a separate cuts into Theyyam. Along with these gods and goddesses there exists innumerable folk gods and goddesses and most of these goddesses are known as Bhagavathis as a matter of sanskritisation.
Different branches of Brahmanical religion such as Saktism, Vaishnavisam, and Saivism, now dominate the cult of Theyyam. However the forms of propitiation and other rituals are continuation of a historical part. Blood offering is forbidden in several cult centres under the influence of Buddhism,Jainism and Brahmanism. In such centres, separate places outside the outer wall of the shrines are selected for blood offering, preparing traditional (kalam)Kendra as Vadakkemvathil. The Theyyam deities propitiated through cock-sacrifice will not enter inside such shrine walls. On account of the later origin of Vaishnavism in Kerala, it has no vide-spread influence on Theyyam cult. Only a few deities are available under this category. The two major Theyyam deities of Vaishnavism are Vishnumoorthi and Daivathar. The legend of Vishnumoorthy identified the God's migration from Managlore to Kolathunadu as Vishnavism was very popular in the Tuluva country during the 13th century. All other categories of Theyyam deities can be incorporated in Saivism and Saktism. Even ancestors, heroes, animals etc. are deified and included in those categories. In brief, the Theyyam provides a good example for the religious evolution and its different stages in Hinduism. When the cult of Theyyam, borrowed liberally from Brahaminism, the brahmins with their social and caste superiority also patronised the Theyyam gods and goddesses. They established their own Shrines and Kavus(Groves) for Theyyam deities where non-brahmanical rituals and customs are observed. The goddesses like Raktheswari, Chamundi, Someshwari and Kurathi and gods like Vishnumoorthy are propitiated in these house hold shrines. The rituals in such shrines are different from those of the Brahmanical temples Theyyam cult can be said as the religion of the masses. Even the follower of Islam are associated with the cult in its functional aspects. Same of the mappila characters like Ali Chamundi of Alichammundi Devasthan of Kumbla have found a place in the cult.
Pulikali
On this day, Pulikali troupes from various parts of the district assemble in Thrissur city (Swaraj Grounds) and perform. A sort of a contest develops with the cheering crowds deciding which troupe they like best.
In Pulakali a group of performers(usually around 6 people who make up the troupe), have their bodies painted in the colors and patterns of a tiger, don tiger masks and perform a wild dance symbolizing the hunting rituals on a tiger hunt. The hunter and drummer play their parts realistically as the tiger guised men prance and leap ferociously. The play includes realistic scenes such as the tiger catching the goat, offered as bait and then the hunter capturing the tiger and so on.
The art is a simple and entertaining one. The cheering, roaring crowds fill the performers with vigor. However the pains taken by the artists need to be highlighted. The performers themselves get their bodies shaved the evening prior to the performance. After a family meal, the painting starts at night. Usually with a tigers picture in front, the painters work meticulously and painstakingly to create an exact likeness of a tiger. The tiger's face is often painter on the chest of the performer. Often the shiny coat and dark spots of a leopard are also painted on a performer. Rarely a performer is also painted to be a black panther. The painters work patiently all night and the performers too take immense efforts to get the guise perfected. Often they stand all night in a windy area or under a fan to dry the paint. The colors used are yellow, black and red. These were traditionally herbal or organic dyes but the use of commercial, synthesized paint is now in vogue as it dries faster and looks more impressive and shiny. But these are also harmful to the artists skin and often burn the newly shaved skin.
The instruments that are played to recreate the tiger hunting scenes are drums and percussions such as 'Udukku' and 'Thakil', 'Chenda" and 'Thappu'. The beats of these instruments create the atmosphere required for the spectator to vicariously eel the hunter's thrill.
This 200 year old art form is fast on the wane. Earlier where 30-40 troupes had participated in a competitive spirit, hardly 6-7 troupes perform now; and the focus is to keep the art alive, rather than winning the prize. The urban population no longer takes delight in the art as in olden times. Local clubs are making an effort to keep the art alive and do organize performances. The local people pool in their resources. They also volunteer as painters. So street-shows of Pulikali are conducted in the district of Thrissur. The Government, Tourism department and other organizations are indeed making an effort to keep the art going.
Poorkali
Thiruvathirakali
The women perform this dance mainly to attain marital gladness. It is the women who organizes these dances and is performed to celebrate the marital duties and the female energy. Women of all ages perform this dance. It was believed that it was this dance that bought the God of Love named as Kamadeva back to life after he was burnt to ashes by Lord Shiva. On the day of performance, the women stay awake at night as they believe that Lord Shiva arrives on that day. The women wear typical Kerala sari which is a white sari bordered with golden color. It may be either two piece cloth called mundu and neriyathu or as sari. Mundu is the dress that is worn around the waist and the Neriyathu is worn over the blouse. They neatly tie their hair and decorate it with jasmine flowers.
The group consists of around 8 to 10 dancers and it requires great co ordination to dance properly. They move in a circular manner both in the clockwise as well as anti clockwise direction. They make both fast and slow movements in a graceful manner. It is believed that this dance form has originated from Kathakali such as the Ragachaya of Kaikottikali. In this dance, importance is given to the body movements rather than gestures.
The songs sung may be either based on mythology or from folk tales. At times devotional songs are also sung. For the Thiruvathirakali performed during Onam, the song sung is mainly about the King Mahabali.
Krishnanattam
In the performance space, between the singers and Kali Vilakku, the actors dance and act wearing multicoloured costumes. Dancing and acting in general, do not confirm to the 'text' being sung, but are according to ragas (tunes) and talas (beats).
In Krishnanattam, five types of facial make ups, Paccha (Green), Pazhuppu (Orange), Kathi (Knife), Minukku and Kari (Black) and masks are used. A Paccha facial make up is used for Krishna, Vasudeva, Kamsa, Nandgopa, Uddhava, Muchukunda, Dandavakthra, Rukmi, Arjuna, Jarasandha etc. A Kathi facial make up is used for bad but kingly characters ( Sankhachuda in Rasakrida, Sisupala in Vividavadham, Bana in Banayudhham ). Incidentally, in Swayamvaram, Sisupala appears as Paccha. Pazhuppu is for Balarama, Siva and Bhima. Minukku is for all women, Narada, Sandipani, Yavana, Kucela, etc. There is no facial make up for Toddy Tapper and Kucela ( Vividavadham ). For Yasoda, Bhoomidevi, Radha and Satyabhama green colour is applied on the face and a chutti is provided. In earlier days, Devaki and Rukmini used to have chutti on their face. These were converted to Minukku during the time of A.C.G. Raja. Kari is for Putana ( mask - Avataram ) and the hunter Jara (Swargarohanam ).
In some plays, the same actor appears in different roles. For example, in Swayamvaram the same actor appears as Sandipani and Rukmini. The roles of Dhantavakthra and Satrajit are played by the same actor. The roles of Uddhava, Muchukunda, Sisupala and Rukmi are also played by one actor.
Duffmuttu
The songs sung during the play are based on themes such as tribute to martyrs and other heroes. Duffmuttu is also known by the name Aravanamuttu and is performed as a social event during any festivals or auspicious ceremonies. To celebrate any festivals in the mosques, duffmuttu is performed. The Duffmuttu is performed from the paddy fields to praise the Lord. If the Duff is not available then Arabana is used instead. It is the leader of the group who sings the song and the other artists play the duff. The dance is performed at any time and hence there is no special time for the play. At present the duffmuttu is conducted as a stage show also.
Kakkarishi Natakom
Kakkalan (hero) and Kakkathi (heroine) are the main characters of any play and hence the name Kakkarissi Natakam. This folk theatre is mainly popular in the southern parts of Kerala. Earlier this performing art form is performed only by the members of Kurava and Malaveda, two tribal communities but later on some other communities also started staging the art form. The instruments accompanied in Kakkarissi Natakom include Harmonium, Ganjira or Tambourine, Maddalam and Ilathalam (gongs). In some places, Tabla is also used. The percussionists usually used to score background music.
At one time it appeared to be on its last leg. Nobody appeared to talk about it. Hardly did anyone see masterpieces like Caralman Charithram, Jnanasundari or Brigina being staged. The Aasans or the teachers were nowhere in sight.
The story is different today. There is a revival of interest in the dramatic form and an expression of this was evident at the inauguration of a five-day training programme in Chavittunatakam that got under way at the Maharaja's College at the instance of the Department of Malayalam.
In what appeared like a symbolic gesture, the morning quota of discourses on Chavittunatakam and its social settings was followed by the staging of Caralman Charithram by Yuvajana Chavittunataka Kalasamithy, Gothuruthu.
Thampi Payyappilly of the Kalasamithy said at the end of the show that it was a good opportunity for the troupe. The response to the staging was overwhelming, he said as he pointed out that during the last quarter of a century he has tried hard to keep the drama form alive.
Chavittunatakam employs stamping of feet with rhythmic recitals as the characters strut the stage, mostly portraying heroic characters.
V.P. Joseph, a Catholic priest who runs the Kripasanam Chavittunatakam Academy in Alappuzha, says that the characters were basically heroic in nature initially. As years passed, the drama imbibed the elements of Bhakti movements in the larger social context and adapted them to Christian themes.
