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Arts & Culture
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Art & Culture.
Kakkarissi Natakom
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 fortune tellers. The legend only serves as a skeletal framework for the play, which often turns into a subtle critique of contemporary society. The language 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.
Thiruvathirakali
Thiruvathirakali is a dance performed by women, in order to attain everlasting marital bliss, on Thiruvathira day 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, 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
Oppana
A dance form essential to the wedding entertainment and festivities of the Malabar Muslims. Maidens and young female relatives sing and dance around the bride, clapping their hands. The songs of Mappilappattu, are first sung by the leader and are repeated by the chorus. The themes are often teasing comments and innuendoes about the bride's anticipated nuptial bliss. Oppana is often presented as a stage item today.
Kolkali
A folk art mainly of the agrarian classes, Kolkkali is a highly 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.
Kaniyarkali
Kannyarkali, also known as Desathukali, is a folk art exclusively practised by the Nair community of the Palakkad area. It owes its origin to the pursuit of martial arts in this region which was under constant threat of attack from neighbouring Konganadu.
Kannyarkali was born when dance and comedy were pitched in to add vigour and colour to the martial training sessions. The art form combines the agile movements of martial arts with the rhythmic grace of folk dance performed around a nilavilakku.
Performed during March-April in temples as well as in places called the ' Thara', a venue for informal gatherings, this art form is accompanied by devotional folk songs and the loud beat of percussion instruments. The orchestra includes ilathalam or cymbal and percussion instruments like chenda, maddalam, edakka and udukku.
A team of Kannyarkali dancers varies from six to twenty in number and a performances 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 also participate.
Arjuna Nritham
Arjuna nritham (the dance of Arjuna) is a ritual art performed by men and is prevalent in the Bhagavathy temples of Kerala. 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.
Arjuna nritham is also called Mayilppeeli nritham as the costume includes a characteristic garment made of mayilppeeli (peacock feathers). This garment is worn around the waist in a similar fashion as the uduthukettu of Kathakali . The performers have their faces painted green and wear distinctive headgears. The all night performance of the dance form is usually presented solo 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.
The various dance movements are closely similar to Kalarippayattu techniques. Percussion instruments like the chenda, maddalam, talachenda and ilathalam (cymbal) form the musical accompaniment.
Tholppavakkoothu
Tholppavakkoothu, literally meaning 'leather puppet play', is a ritual art performed during the annual festivals in the Kaali temples of Palakkad district. The theme of the play is based on the Kamba Ramayana, narrated in a diction that is a mixture of Malayalam and Tamil dialectical variations. The play covers the whole gamut of events from Lord Sree Rama's birth to his coronation as the King of Ayodhya. The shadow play is presented in the 'Koothumadam', a specially constructed oblong play house on the temple premises. The puppets are fashioned out of the hides of buffaloes and deer, the former for evil characters and latter for noble ones.
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 Koothumadom. 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'. At present this ritual art is confined to Ottapalam and Kavalappara in Palakkad district.
Velakali
This spectacular martial dance is performed by men in some of the temples of southern Kerala. The dancers, clad in the traditional clothes and colourful headgear of the medieval Nair soldiers, engage in vigorous movements and dexterous sword play, to the accompaniment of an orchestra comprising the maddalam, ilathalam, kombu and kuzhal. Velakali originated in Ambalappuzha where Mathoor Panicker, chief of the Chempakasserri army, promoted it to boost the martial spirit of the people. The dance form is a regular feature of the annual festivities at the Ambalappuzha Sree Krishna temple in Alappuzha district.
Kalamezhuthu
The kalam is a unique drawing also called dhulee chithram or powder drawing. The artist uses the floor as his canvas. Kalamezhuthu pattu is performed as part of the rituals to worship and propitiate gods like Kaali, Ayyappan or Vettakkorumakan.
This ritualistic art is a common feature of temples as well as noble households. The kalams or drawings are erased at the end of the ritual to the accompaniment of musical instruments like ilathalam, veekkan chenda, kuzhal, kombu and chenda.
The coloured powders used for the kalam are prepared from natural products only. The pigments are extracted from plants - rice flour (white), charcoal powder (black), turmeric powder (yellow), powdered green leaves (green), and a mixture of turmeric powder and lime (red). It often takes more than two hours to finish a kalam drawing with appealing perfection. Decorations like a canopy of palm fronds, garlands of red hibiscus flowers and thulasi or Ocimum leaves are hung above the kalam.
The figures drawn usually have an expression of anger, and other emotions. Kalamezhuthu artists are generally members of communities like the Kurups, Theyyampadi Nambiars, Theeyadi Nambiars and Theeyadi Unnis. The kalams drawn by these people differ in certain characteristics.
The Kalamezhuthu is a forty-day ritualistic festival beginning with the first of Vrischikam (Scorpio) in most Bhagavathy temples in Kerala
Margomkali
Margomkali is a ritual folk art of the Syrian Christians of Kottayam and Thrissur districts. A dozen dancers sing and dance around a lighted wick lamp ( Nilavilakku), clad in the simple traditional white dhoti and sporting a peacock feather on the turban to add a touch of colour.
This is an allegorical enactment with the lamp representing Christ and the performers his disciples. The performance is usually held in two parts and begins with songs and dances narrating the life of St.Thomas, the apostle. It then takes a striking turn with a martial play of artificial swords and shields.
The narration is stark without musical accompaniments. The songs date back to a period much before the Portuguese invasion. Today, Margomkali is only performed as a stage item by women.
Kummattikkali
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.
Kavadiyattom
Kavadiyattam, a colourful ritual art, is a votive offering to Sree Subramanya. 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 or sacred ash all over their body. Each one carries on his shoulder an ornate Kavadi - a huge bow, richly decorated with peacock feathers, (it is believed that the peacock is the vehicle of Sree Subramanya). Kavadiyattam literally means dance carrying a kavadi. Kavadies are usually of different sizes and shapes, 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. A kavadi can rise up to a height of 10-18 feet.
The dancers twist and spin in a row. A group of such kavadi dancers make an exotic sight. The dancers gradually move in a frenzy, in step with the rising beats of percussion instruments like udukku, chenda etc., accompanying the procession. Sometimes nadaswaram, a wind instrument, is also used.
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Kathakali
A very popular dance form with the tourists visiting Kerala. It is actually a dance drama performed by mostly male artist. The actors convey the message of the story through very expressive facial movements and mudras (hand gesture). |
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Kathakali
The background singers provide the dialogue. The face of the Kathakali artist is colorfully painted to suit the role. The painted face is often mistaken for a mask. Kerala Kalamandalam situated near Thrissur is a major Kathakali training centre. There are many Kathakali centers in Thiruvananthapuram and Cochin. The painting of the Kathakali face can be seen at most centers if you can visit the centre at least one hour before the performance. |
Kalaripayattu
The martial art form of Kerala is believed to be the predecessor to the more famous Karate and Kungfu. Available historic evidence prove practice of Kalari as far back as the 12th Century AD. There is a branch of medicine called Kalari Chikilsa, which has developed as an offshoot of Kalaripayattu, is mainly deals with cure of injuries and sprains. Kalaripayattu can be seen in the various training centers in the state. C.V.N. Kalari is a famous Kalari training centre. They have training centers in Thiruvananthapuram and Kozhikode besides other places.
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Koothu
Koothu is a socio-religious art performed in the Koothambalam or the Koothuthara of temples, either independently or as part of Kootiyattam. It is a solo narrative performance interspersed with mime and comic interludes. The Chakkiar dons the role of ' Vidushaka' or the wise jester. Through his inimitable narration of stories from the epics ( The Ramayana and The Mahabharatha), the Chakkiar satirises the manners and customs of the time. No one is above the butt of his ridicule. His wit ranges from innocent mockery to veiled innuendoes, barbed pun and pungent invectives. Koothu is intermittently accompanied by the percussion instrument Mizhavu.
The Nangyar Koothu is a variation of the Koothu performed by the Nangiars or the female members of the Chakkiar community. This is a solo dance drama mainly centred on the legends of Sree Krishna. Verses are sung and interpreted through mime and dance. The mudras, though the same as in Kootiyattam, are even more elaborate. The art form is still performed in temples like Vadakkumnatha temple at Thrissur , Sri Krishna temple at Ambalappuzha , Koodal Manikyam temple at Irinjalakkuda and Kumaranalloor temple at Kottayam. |
Kootiyattom
Kootiyattam literally means "acting together". This is the earliest classical dramatic art form of Kerala. Based on Sage Bharatha's 'Natyasasthra' who lived in the second century, Kootiyattam evolved in the 9th century AD.
Kootiyattam is enacted inside the temple theatre, there are two or more characters onstage at the same time, with the Chakkiars providing 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.
Vidushaka or the wise man, a figure parallel to the Fool in Shakespearean plays, enacts his role with the liberty to criticise anyone without fear. The costume of the jester sets him apart from the rest. The Kootiyattam performance lasts for several days ranging from 6 to 20 days. Themes are based on mythology.
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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Krishnattom
A spectacle for both the scholar and the simple rustic. The visual effect is enhanced by varied and colourful facial make-up with larger-than-life-masks, made of light wood and cloth padding, for certain characters. The characters who do not wear masks have specific facial colours applied within the frame of a white chutti. 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.
The traditional performance lasts for eight days and covers the whole span of Krishna's life from his birth to 'Swargarohanam' or ascension to the heavens. Orchestral accompaniments are Maddalam, Ilathalam and Chengila. Krishnanattom, though boasting of a unique choreography, assumes more the nature of a Morality Play, seldom presuming to lay claim to the theatrical sophistry so integral to Kathakali and Kootiyattam. |
Mohiniyattom
The sinuous dance of the enchantress, this is a distinctive classical dance form of Kerala. Slow, graceful, swaying movements of the body and limbs and highly emotive eye and hand gestures are unique to this dance form. The simple, elegant gold-filigreed dress, in pure white or ivory, is akin to the traditional attire of the women of Kerala. The origin of Mohiniyattom is rooted in Hindu mythology. 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. This dance was adopted by the Devadasi or temple dancers, hence also the name 'Dasiattam' which was very popular during the Chera reign from 9th to 12th century. |
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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 demon 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 of Lord 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. |
Patayani
Patayani is a week- long ritual dance, held in Kaali temples on the banks of the Pamba river during the Malayalam months of Meenam and Medam (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 few Chendas. 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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Poothanumthirayum
This ritual offering to Goddess Kaali is performed in many places of South Malabar. A troupe of dancers dress up as Kaali (the Thira) and the accompanying spirits (the Poothams) who were created along with the goddess for the destruction of the evil demon, Daarikan. The Thira wear masks while 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.
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Theeyattu
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 neighbouring 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. |
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Theyyam
Theyyam also known as Kaaliyattam, it is a ritual dance popular in north Kerala or the erstwhile Kolathunadu. Theyyam incorporates dance, mime and music and enshrines the rudiments of ancient tribal cultures which attached great importance to the worship of heroes and the spirits of ancestors. Of the over 400 Theyyams performed, the most spectacular ones are those of Raktha Chamundi, Kari Chamundi, Muchilottu Bhagavathi, Wayanadu Kulaveni, Gulikan and Pottan. These are performed in front of shrines, sans stage or curtains, by persons belonging to the Vannan, Malayan and other related castes.
'Thudangal' (the beginning) and 'Thottam' (the invocation) are the introductory rituals of the Theyyam or the Thira, as it is known in south Malabar. The headgear and other ornamental decorations are spectacular in sheer size and appearance. Karivalloor, Nileswaram, Kurumathoor, Parassini, Cherukunnu, Ezhom and Kunnathoorpadi in north Malabar are places where Theyyams are performed annually from December to April. |
Ottanthullal
Among the classical performing arts of Kerala, Thullal is distinct for its simplicity of presentation, wit and humour. It follows the classical principles of Natyasasthra (a treatise on art compiled in the 2nd century B.C). Ottanthullal is the most popular among its three varieties. The other two are Seethankan and Parayan Thullal.
Thullal is a solo performance combining dance and recitation of stories in verse. Staged during temple festivals, the performer explicates the verses through expressive gestures. Themes are based on mythological stories.
Thullal was introduced in the 18th century by the famous Malayalam poet Kunchan Nambiar. Humour, satire and social criticism are the hallmarks of this art form. The Thullal dancer is accompanied by a singer who repeats the verses. The orchestra consists of the Mridangam or the Thoppi Maddalam and a pair of cymbals.
Costumes: The make up, though simple, is very much akin to that of Kathakali. The actor wears a long tape of white and red coloured clothes looped around the waist-string to form a knee-long skirt. His chest-piece is adorned by various coloured beads, glass and tinsel, and other ornaments. The face is painted green, lips, red and the eyes emphasised with black paint. The headgear is colourful and richly decorated. |
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