ART & CULTURE
Kerala folklore is unique in its richness and variety. Folklore in its widest sense embraces traditions, folk tales, folk songs, folk arts, folk beliefs, taboos and superstions, belief in omens and magic. It has developed through the centuries its own typical art forms, particularly folk dances and is rich in tradition and culture. Care is given by Malayalees (Keralites) to preserve these art and cultural forms till now.
Kathakali:
Top
Kathakali is associated with rich colors and costumes and Vesham (make-up) is an important part among that. The face of the artist performing kathakali is painted up and altered to mach the five types of Vesham's avaialale.
| Pacha: | Denoting Noble Protagonists |
| Kathi: | Denoting villainous characters |
| Thadi: | "Vella Thadi" or White beard for superhuman monkeys like Hanuman. "Chuvanna Thadi" or Red beard is for evil characters. "Karutha Thadi" or Black beard for the hunter. |
| Kari: | Denoting Witches (Lady Demons) |
| Minukku: | Denoting female or sages |
The unique feature of Kathakali is partly due to its Costume part of which includes the Kireedam (headgear), the Kanchukam (the over sized jackets), and a long skirt worn over a thick padding of cushions. The identity of the actor is completely mutilated to create a super human being of larger-than-life proportion. In earlier days, Kathakali was confined only to the festival stages in temples. The late Mahakavi (great poet) Vallathol Narayana Menon took special interest in the art, brought it out of the temples, exploited its antiquity and, by unstinted efforts, swept the opera stages all over the world. It is acclaimed by the connoisseurs of art world as 'a total art form of immense sophistication and power'. The stories for attakatham (revise text for a Kathakali price) are selected from epics and mythologies and are written in a highly sanskritised verse form in Malayalam. It had it's origin in the courts of the kings of Kerala. It is considered to be a synthetic art form combining in itself, the rudiments of it's earlier forms like 'Krishnanathan 'and 'Ramanattam' with a highly classical dance. The actor does not speak, but expresses himself through highly complicated and scientifically ordained murdias and steps, closely following the text being sung from the background of the stage.
Kathakali performances traditionally begin just after sunset and continuous all night through downs. As the artiste does not speak, his vocabulary consists of only 'hastamudras' (stylised hand gestures) and facial gesture. Together with the exceptional quality of the spectacle and the intricate 'athinaya' system and the rectorical text with druns, a Kathakali performents transports the spectator to an out of this world experience. It takes years for a novice to gradute into an actor. It takes more than seven years of full time practice under a meticulious teacher. Kathakali is not just another dance form. Training for professional Kathakali performers begins from an early age. It is extremely rigorous and demands gymnastics and physical exercise. Not everyone is capable of being a Kathakali artist. One needs a strong sense of declaration and perseverance to attain that goal.
Top
Mohiniyattom:
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.
Top
Krishnattom:
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.
Top
Thiruvathirakali:
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.
Top
Kalaripayattu:
'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. 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.
Top
Chavittunatakom:
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.
Top
Oppana:
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.
Top
Kakkarissi Nadakom:
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.
Top
Kolkali:
A folk art mainly of the agrarian classes, Kolkkali is a rhythmic dance with the dancers wielding short sticks. The rhythm of this dance is set by a harmonious synchronisation of the tapping of the feet to the striking of sticks. The movement is circular and the artists sing as they dance and strike the sticks in unison. Though the dancers break away to form different patterns, they never miss a beat. In Malabar, Kolkkali is more popular among Muslim men.
Top
Koodiyattom:
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.
Top
Thullal:
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.
Top
Ottanthullal:
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. He 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.
Top
Duffmuttu (Parichamuttu):
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.
Top
Chakiarkoothu:
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.
Top
Tholppavakkoothu:
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'.
Top
Theyyam:
Top
Margom Kali:
Top
Cherumarkali:
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.
Kaalavela:
It is a spectacular procession of huge, gaudily decorated motifs of bulls (Kaala).
Top
Kalampattu- Kalamezhuthu Pattu:
Top
Kaliyootu:
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.
Top
Kannyarkali - Deshathukali:
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.
Top
Kavadiyattam:
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.
Top
Pulikali:
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.
Top
Poothanumthirayum:
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.
Top
Paana:
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.
Top
Mudiyettu:
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.
Top
Arjuna Nritham:
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.
Top
Velakali:
Top
Kummattikali:
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.
Top
Theeyattu:
