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ART & CULTURE
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| Kerala _ "Gods own Country" has
a unique culture and arts. It has developed through the centuries
its own typical art forms, particularly folk dances. It is
rich in its tradition and culture. Even to this day, Kerala
preserves its culture and arts |
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Literally meaning "Story Play", Kathakali (Katha-story,
Kali-Play). Kathakali is usually presented in the Temple
precincts after dusk. Singers vocalize the script while
the players act out the play with their gestures (mudras
and mughabhinaya). The riches of a happy blending of colour,
expressions, music, drama and dance are unparalleled in
any other art form. Kathakali performers require hours
of preparation. More..
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As the name denotes, it is an amorous (Lasya) dance performed in slow, elegant
and sensuous pace with formulated hand gestures translating the song to which
it is performed. The tuft knotted at the side of the head adorned by a garland
of jasmine circling it, the dancer with normal facial make up and clad in gilded
sari with series of pleats and jacket sways her body to the rhythm of orchestrated
background music. It presents naturally beautiful dancer in her natural beauty.
Mohini means enchantress and Attam is dance. Legends say that. Once the ocean
of milk was churned by the gods and demons to extract the elixir of life and
immortality. The demons made away with this divine brew. Lord Vishnu came to
the rescue of the panicky gods and assumed the female form of an amorous celestial
dame Mohini. Captivating the demons with her charms, Mohini stole the elixir
from them and restored it to the gods. Slow, graceful, swaying movements of
the body and limbs and highly emotive eye and hand gestures are unique to this
dance form.
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Krishnattam, is another form of dance drama enacted in Guruvayoor Temple
depicting the frolics and divinity of Lord Krishna. The traditional performance
lasts for eight days and covers the whole span of Krishna's life from
his birth to 'Swargarohanam' (ascension to the heavens) Orchestral accompaniments
are Maddalam, Ilathalam and Chengila. The visual effect is enhanced by
varied and colorful facial make-up with larger-than-life-masks, made
of lightwood and cloth padding, for certain characters. The characters
that do not wear masks have specific facial colours. The predominant
colours used are dark green, flesh tint and deep rose. Most of the characters
wear red vests and flowing 'Uthariyams'. The characters of Krishna, Arjuna
and Garuda wear dark blue vests. |
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Thiruvathirakali is a dance performed by women singing in praise of Lord Shiva,
to attain everlasting marital bliss. This dance is performed on Thiruvathira
day (the sixth lunar asterism) in the Malayalam month of Dhanu (December- January).
The dance is a celebration of marital fidelity and the female energy, for this
is what brought Kamadeva (the god of love) back to life after he was reduced
to ashes by the ire of Lord Siva. The sinuous movements executed by a group
of dancers around a nilavilakku ((pedestal wick lamp), embody 'lasya' or the
amorous charm and grace of the feminine. The dance follows a circular, pirouetting
pattern accompanied by clapping of the hands and singing. Today, Thiruvathirakali
has become a popular dance form for all seasons |
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'Kalari'
is a school of martial arts derivative of the Sanskrit
word 'Kholoorika' meaning military training centre and
'payattu' the fight. It is a form of martial arts practiced
by Hindus. It is believed that sage Parasurama who built
temples along south India introduced this art. There are
historical evidences of Kalari dated back to the 12th Century
and historians believe that it is the oldest form of martial
art in the world. Kalarippayattu training is imparted inside
the Kalari (Coliseum), which is rectangular in design and
always aligned, east west, with idols of all the presiding
deities of the art at each corner of the Kalari. . The
deities and the Gurus are worshipped before the beginning
of the practice with all rituals and singing of hymns as
in a temple.
This art includes seven shasthras (sciences) like Vastu,
Jyothi, Marma, Ayurveda, Asana, Tantra and Mantra. The
pupils are trained in self-discipline and physical culture.Initially
the student body is toned pliable, agile and versatile
by regular massage by feet and hands with medicated oil.
Then trained to wield Kuruvadi (short sticks), spear,
dagger, sword, shield, etc. The most advanced course
of training is wielding of 'Urumi' a thin springy three-meter
long double-edged sword worn around the waist locked
like a belt. It can be drawn unwound in a flick of a
moment when required. It is highly lethal for an adept
wielder can aim it to swirl around the neck of the opponent
and, at the slightest jerk, the head will roll on the
floor of the arena.
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Flying feats, daring onslaughts and dodging with dexterity are the ways
in combat. Defensive and offensive strikes with lightning speed are its
peculiarity. There are customarily eighteen 'adavu' (tricks) in this
warfare. Seventeen, fighting with all the weapons one by one, the eighteenth
being 'Poozhikkadakan', a feat producing a cover of whirlwind of dust
around the combatant by stamping the earth and swift circular movement
to camouflage him from the opponent and to take him by surprise with
sudden retaliatory death blow. |
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Chavittunatakom, a Christian art form evolved in Kerala during Portuguese
Colonization. It bears definite traces of the European Christian Miracle
Play. In this musical drama, the actors wear Greco-Roman costumes and
have traces of the European Christian Miracle Play. The Chavittunatakom
is performed either on open stages or in a Church. The language is a
colloquial mix of Tamil and Malayalam. The peculiar feature of this art
is the artistes stamping (Chavittu) the dance floor producing resonant
sounds to accentuate the dramatic situations
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A dance form of the Malabar Muslims preformed during a wedding. It is an
all girls' performance in the bridal chamber. Maidens sing and dance
around the bride. The Songs of Mappilappattu, are first sung by the main
singer and are repeated by the chorus. The themes are often teasing comments
and innuendoes about the bride's anticipated nuptial bliss. Today, Oppana
is one of famous performing art presented as a stage item |
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Kakkarissi natakom is a satirical dance-drama based on the puranic legends
of Lord Siva and his consort Parvati when they assumed human forms as Kakkalan
and Kakkathi - a nomadic tribe of fortunetellers. The script is a blend
of Tamil and Malayalam. The chief characters are Kakkalan, Kakkathi, Vetan,
Velichappadu, Thampuraan and the ubiquitous Jester. The Dholak, Ganchira,
Chenda and the Harmonium provide the background score |
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The literal meaning of the title being concomitant dancing, it is another
temple opera performed jointly by Chakyars and Nambiars. They present
mythological plays in Sanskrit through nine nights. It is an old form
of art improved by Poet Thola, now performed only in certain major temples
like Irinjalakkuda, Perinjanam, Kottiyur, etc. |
| Koodiyattam
literally means "acting together". Koodiyattam
evolved in the 9th century AD, based on Sage Bharatha's
'Natyasasthra' who lived in the second century. Koodiyattam
is basically a temple opera performed jointly by Chakyars
and Nambiars community. The Chakkiars provide the male
cast and the Nangiars playing the female roles. The Nangiars
beat the cymbals and recite verses in Sanskrit, while in
the background Nambiars play the Mizhavu, a large copper
drum. The Koodal Manickyam temple at Irinjalakkuda and
the Vadakkumnatha temple at Thrissur are the main centres
where Kootiyattam is still performed annually. Ammannoor
Madhava Chakkiar is an unrivalled maestro of this rare
art. |
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Thullal is a solo performance combining the dance and recitation of stories
in verse. Staged during temple festivals, the performer explicates the
verses through expressive gestures. The themes are based on Indian mythology.
This satiric art form was introduced in the18th century by the renowned
poet Kunchan Nambiar.
Humour, satire and social criticism are the hallmarks of Thullal.
The Thullal dancer is supported by a singer who repeats the verses
and is accompanied by an orchestra of mridangam or thoppi maddalam
(percussions) and cymbals. There are three related forms of Thullal
- Ottanthullal, Seethankanthullal and Parayanthullal - of which the
first is the most popular. The three are distinguished by the costumes
worn the performer and the length of the verses
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Ottanthullal is one of the most distinguished of all the Thullal arts.
The origin of Ottanthullal is really interesting - Kunchan Nambiar, the
drummer, was playing Mizhavu for Chakyar koothu. One day, against all
precedence, he happened dozed off by sheer inactivity caused by a prolonged
talk by the Chakyar after a recital of poem that needed the rhythmic
support. When the Chakyar abruptly started reciting another lyric, having
had no rhythmic response from the drummer looked back and found him dozing |
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not only got him up but also ripped him down by humiliatingly
sarcastic comments and jokes on his person. Nambiar hanged
his head in shame and silently walked off. Instead of
crying over the incident in self-contempt, he sat through
the whole night, with a vengeance, and wrote a poem depicting
an episode from Mahabharatha in a never-to-fore metric
and rhythmic pattern. He also devised a special kind
of dance for its exposition. The legend is that he presented
it the very next evening at the same temple where he
was humiliated on a different platform at the same time
the Chakyar had begun. By the novelty, wittiness, enjoyableness
and acridity of the programme he attracted all the audiences
that had surrounded Chakyar to his show. It was the birth
of a new art form that he named as "Ottanthullal".
Impressive costume down the waistline and colourful
crown are copied from Kathakali, with slight variations.
Ornaments are made up mainly of tender leaves of coconut
and beads. It is a solo dance with the artiste himself
singing the verses to the accompaniment of Mridangam
and timing with a refrain repeater singing in the background.
Usually the performance lasts a couple of hours |
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| Duffmuttu
is a group performance popular among the Muslims of Malabar.
Duffmuttu is staged as a social event during festivals
and nuptial ceremonies. The artistes beat on a quaint round
percussion (Daffu). The leader of the group sings, others
form the chorus and move in circles beating the daffu rhythmically.
The songs are often tributes to martyrs, heroes and saints. |
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Koothu is a socio-religious art performed in the Koothambalam or the Koothuthara
of temples, either independently or as part of Kootiyattam. Chakar Koothu
is a mono-act mainly among the upper caste Hindus. It is a solo narrative
performance interspersed with mime and comic interludes. . The Chakar
(Actor) acts the role of all the characters, to the accompaniment of
the "Mizhavu" played by the Nambiar and the Cymbals by the
Nangiar. He recites the scriptural poem narrating the stories from the
epics (The Ramayana and The Mahabharata), and annotations with witty
and humorous examples and anecdotes. There are different versions of
Koothu. Some of them are Nangyar Koothu - performed by the Nangiars or
the female members of the Chakkiar community. This a solo dance drama
centered on the legends of Sree Krishna The art form is performed in
temples like Vadakkumnatha temple at Thrissur, Sri Krishna temple at
Ambalappuzha, Koodal Manikyam temple at Irinjalakkuda and Kumaranalloor
temple at Kottayam. |
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Tholppavakkoothu, literally meaning 'leather puppet play', is a ritual
art performed in the Kaali temples of Palakkad district. The story of
the play is based on the epic Kamba Ramayana. The play covers the whole
gamut of events from Lord Sree Rama's birth to his coronation as the
King of Ayodhya. This shadow play is presented in the 'Koothumadam',
a specially constructed oblong playhouse on the temple premises.
Each puppet is of an average height of 80 cms and is cut out in different
postures. The puppets are arranged behind a long white curtain stretched
across the Koothumadam. Behind this, on a split bamboo pole, is placed
a row of wick lamps burning inside coconut halves. The light from these
lamps cast the silhouettes of the puppets on the curtain. The chief
puppeteer is known as 'Pulavan'.
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A ritual dance performed in Temples in fulfillment of vows of devotees.
Theyyam, the local deity is believed to bless and arbitrate between the
farmers and the Landlords. It is purported to be the dance by the Goddess
Herself. The dancers are men in feminine attire wearing costumes made
of palm leaves, cloth and brass jewellery, ferocious masks and big head
gear, some extending up to forty feet in height. The pace of the dance
is set to the beating of Chenda (drum). The artiste invested by the goddess
in his person falls in a trance, dances deliriously to the mounting tempo
and conveys, as an oracle, the goddess's acceptance of the vow and blessings
or otherwise.
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It is a counterpart of Thiruvathira Kali played by women belonging to the
Christian community. The dancers attired in traditional white mundu (dothi),
chatta (Jacket), rich jewellery including Mekkamothiram (an ornamental
ring worn by the Christian ladies on the upper lobe of the ear, now considered
old fashioned). The dancers sing in praise of Jesus Christ to the varying
rhythms of drum beating. |
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It is a harvest dance in which the dancer, both men and women move in a
swift rhythm, linked in a back lock or holding arms. The costumes are
in striking red and white. |
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It is a spectacular procession of huge, gaudily decorated motifs of bulls
(Kaala) |
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Kalampattu is an ancient folk art form performed around Kolam. It is around
600 years old. It is a group performance by five to fifteen people in Bhadrakali
and Ayyappa temples. A picture of Bhadrakali is drawn on the floor, using
five colours. A series of songs (Kalampattu) are sung to the accompaniment
of nanthuni and elathalam. It is performed through out the night. |
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It is an eight daylong colourful peformance, which re-enacts
the combat between goddess Durga and the demon Darika.
The ritual is performed in different stages. The climax
of the play - the ritual called Paranettu - is performed
on the eight day.
Kannyarkali was born when dance and comedy were pitched
in to add vigor and colour to the martial training
sessions. Today it is found practiced by the Nair
community of the Palakkad region. It owes its origin
to the pursuit of martial arts in this region, which
was under constant threat of attack from neighboring
Konganadu. The art form combines the agile movements
of martial arts with the rhythmic grace of folk dance
performed around a nilavilakku (pedestal wick lamp).Performed
during March-April in temples, this art form is accompanied
by devotional folk songs. The orchestra
includes ilathalam (cymbal) and percussion instruments
like chenda, maddalam, edakka and udukku (Country drums)
A team of Kannyarkali dancers varies from six to twenty
in number and a performance usually lasts for four
days. Each day's performance is known by a different
name: Iravakali, Anadikoothu, Vallon and Malama. The
last day's performance is presented by hill tribes,
in which women's also participate.
Kavadiyattam, It is a ritual dance offering in Subramanya
(Lord Muruga) Temples. Basically of Tamil origin,
Kavadiyattam is widely prevalent in the Subramanya
temples all over Kerala during the festival seasons.Dressed
in bright yellow or saffron robes, devotees performing
kavadiyattam smear vibhoothi (ash) all over
their body. Each one carries on his shoulder an ornate
Kavadi - a huge bow, richly decorated with peacock
feathers, Kavadies are usually of different sizes and
shapes, (ranging from six to ten feet high) each with
its own significance.
A Pookavadi is one decorated with brightly coloured
artificial flowers; a mayilpeeli kavadi decorated using
only peacock feathers and ambalakavadi, one shaped
like the gopuram (tower) of a temple. The dancers dance
balancing the Kavadi on their shoulder. The rhythm
of the dance increase with the rising beats of percussion
instruments like udukku, chenda, nadaswaram etc., accompanying
the procession.
Pulikali or 'Kaduvakali' (the dance of the tiger) is
usually performed during the Onam festival. Groups
of three or more dancers with pastes smeared over
their body like the stripes on tiger's body, captivate
the viewers with their energetic dances. The Pulikali
once performed all over the State is now seen only
in some parts of Thrissur and Palakkad districts.
The scenes enacted include the tiger catching a goat,
being hunted down and so on. This dance is accompanied
by the loud beating of traditional percussion instruments
like the udukku, thakil and chenda.
This ritual is found in South Malabar. It is an offering
to Goddess Kali. The main dancers dress up as Kaali
(the Thira) and his troupe dress up as the accompanying
spirits (the Poothams) who were created along with
the goddess for the destruction of the evil demon,
Daarikan. The Thira wears masks and the spirits don
semi-circular wooden crowns. The dance is performed
from house to house and on the premises of village
shrines between November and May every year.
This art form is popular in the districts of Thrissur,
Palakkad and Malappuram. Paana is performed to propitiate
the goddess Bhadrakali. It is a part of three-day
festival.Paana or Pallippaana, is a ritual art to propitiate
the goddess Bhadrakaali. Paana is part of a three-day
festival. A canopy is made supported by 64 poles cut
out from Paala tree (Alstonia scholaris) and adorned
with tender palm leaves. The frond is erected near
the shrine. A stump of Paala tree is ceremonially brought
to the site and planted. A non-figurative Kalam (rangoli)
is drawn in the centre using coloured powders. A ceremonial
sword is placed on a red cloth under the tree stump
to signify the presence of the goddess. At the last
stages of rites, the oracle arrives and moves in a
trance around the canopy. The Para, a variation of
the Chenda (drum) is the main percussion.
Mudiyettu is a ritual dance preformed in Kaali temples
of Ernakulam and Kottayam. This dance is to celebrate
the victory of Goddess over the demon Daarikan. This
dance is performed by Kuruppu and Marar community
of Kerala. 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 white dhoti complete the attire.
Arjun Nritham (The dance of Arjuna) is also called
Mayilppeeli Nritham. Legend is Arjuna, the most valiant
of the five heroic brothers - the Pandavas - of the
epic Mahabharatha, was also a renowned singer and
dancer and is said to have propitiated goddess Bhadrakaali
by a devotional presentation. Today is performed
by men in Bhagavathy temples of Kerala. The name
Mayilppeeli (peacock feathers) has derived because
the costumes include a garment made of mayilppeeli
(peacock feathers). The performers have their faces
painted green and wear distinctive headgears. This
dance is presented either solo act or in pairs. The songs,
which are strictly rhythm based, are called Kavithangal
and deal with various themes of the Puranas
(ancient Hindu scriptures). Each Kavitham is composed
to suit a specific rhythm. Before each song the dancers
explain the intricacies of the particular rhythm about
to be employed and how this rhythm is translated into
dance movements. Percussion instruments like the chenda;
maddalam, talachenda and ilathalam (cymbal) form the
musical accompaniment.
This is a sort of martial dance performed by men. Velakali
was originated in Ambalappuzha in Alappuzha district.
Mathoor Panicker, chief of the Chempakasserri army,
promoted it to boost the martial spirit of the people.
The dancers are clad in the traditional clothes and
colourful headgear of the medieval Nair soldiers.
The dancers engage in vigorous movements and dexterous
swordplay, to the accompaniment of an orchestra comprising
the maddalam, ilathalam, kombu and kuzhal.
Kummattikkali is a mask dance popular in some of the
northern districts of Kerala. The dancers, wearing
painted wooden masks and sporting sprigs of leaves
and grass, go dancing from house to house. A popular
Kummatti character is Thalla or the witch; the others
represent various Hindu gods and goddesses. The songs
deal with devotional themes and are accompanied by
a bow like instrument called Ona-villu. No formal
training is required to perform the Kummattikkali,
and often the spectators join in the performance.
Theeyattu is a solo dance-drama performed in front
of the Kalam or Dhooli Chitram (ritual drawing with
coloured powders). It is enacted in some Bhagavathy
temples of Thiruvalla, Kottayam, Thripunithura and
neighboring areas. The ritual starts with the invocation
of Lord Ganapathy, Lord Siva and goddess Saraswathy,
after which the performer dons a crown smaller but
similar to the one used in Mudiyettu.The most popular
story narrated through a Theeyattu performance is
that of the duel between goddess Kaali
and the demon Daarikan. The dance form is usually performed
by a small group of temple bound communities called
the Unni. Theeyattu is still a ritual offering made
every Friday at the Pallippurathu Kaavu temple near
Kottayam town.
performed by men in Bhagavathy temples of Kerala.
The name Mayilppeeli (peacock feathers) has derived
because the costumes include a garment made of mayilppeeli
(peacock feathers). The performers have their faces
painted green and wear distinctive headgears. This
dance is presented either solo act or in pairs. The
songs, which are strictly rhythm based, are called
Kavithangal and deal with various themes of the Puranas
(ancient Hindu scriptures). Each Kavitham is composed
to suit a specific rhythm. Before each song the dancers
explain the intricacies of the particular rhythm about
to be employed and how this rhythm is translated into
dance movements. Percussion instruments like the chenda;
maddalam, talachenda and ilathalam (cymbal) form the
musical accompaniment.
This is a sort of martial dance performed by men. Velakali
was originated in Ambalappuzha in Alappuzha district.
Mathoor Panicker, chief of the Chempakasserri army,
promoted it to boost the martial spirit of the people.
The dancers are clad in the traditional clothes and
colourful headgear of the medieval Nair soldiers. The
dancers engage in vigorous movements and dexterous
swordplay, to the accompaniment of an orchestra comprising
the maddalam, ilathalam, kombu and kuzhal.
Kummattikkali is a mask dance popular in some of the
northern districts of Kerala. The dancers, wearing
painted wooden masks and sporting sprigs of leaves
and grass, go dancing from house to house. A popular
Kummatti character is Thalla or the witch; the others
represent various Hindu gods and goddesses. The songs
deal with devotional themes and are accompanied by
a bow like instrument called Ona-villu. No formal
training is required to perform the Kummattikkali,
and often the spectators join in the performance.
Theeyattu is a solo dance-drama performed in front
of the Kalam or Dhooli Chitram (ritual drawing with
coloured powders). It is enacted in some Bhagavathy
temples of Thiruvalla, Kottayam, Thripunithura and
neighboring areas. The ritual starts with the invocation
of Lord Ganapathy, Lord Siva and goddess Saraswathy,
after which the performer dons a crown smaller but
similar to the one used in Mudiyettu.
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