Kerala Culture and Arts

Kerala culture is a blend of Dravidian and Aryan culture. During 10th century Keralawas a part of great
Tamil heritage region known as Tamilakam and was greatly influenced by the Dravidian culture. The
unique art forms of Kerala includeKoodiyattom-: in which Chakyar is the main actor who performs the
ritualistic Koothu andattam inside the temple or in the Koothambalam,Kathakali –which is a combination
of five elements of fine art: such as Expression, Dance, Enactment ,Song and Instrument ,Ottamthulal-:
A single actor wears colorful costumes, while reciting thullal (dance songs), all the while acting and
dancing, Mohiniattam-:The term comes from the words "Mohini" meaning a woman who enchants
onlookers and "aattam" meaninggraceful and sensuous body movements andChakyar Koothu in which
Koothu" means dance - which is a misnomer, since there is minimal choreography involved in this art
form; facial expressions are most  important . The other art forms are more or less religious and tribal. 
They are Theyyam [The term Theyyam is a corrupt form of daivam or God. It is a rare combination of
dance and music and reflects important features of a tribal culture and  are mainly practised in
northKerala ] ,  Markkam Kali[the subject  usually is the arrival of Mar Thoma and his efforts to convert
other people to Christianity in Kerala and Oppana[generally presented by females, numbering about
fifteen including musicians, on a wedding day. The bride dressed in all finery, covered with gold
ornaments is the chief spectator who sits on a peetam, around which the singing and dancing take place.
While they sing, they clap their hands rhythmically and move around the bride using simple steps. Two or
three girls begin the songs and the rest join in chorus. It is usually practised by the Muslim community.]

Kerala Literature marks its separate identity from 14th century onwards, with  Niranam[ a small village
in Kerala near Mannar] poets such as Madhava Panikkar, Sankara Panikkar and Rama Panikkar 
whose works mark the dawn of both modern Malayalam language and indigenous Keralapoetry.  The
Niranam poets freed the literature from Manipravala, a mix of Sanskrit and Malayalam. Poets
like Kumaran Asan, Vallathol Narayana Menon and Ullor S. Parameswara Iyer were recoganised as
poets who moved Kerala poetry to more lyrical mode. Modern writers like G. Sankara Kurp, S.K
Pottakkat, M.T Vasudevan Nair, O.V Vijayan , M Mukundan and Arundhati Roy enriched the modern
Malayalam literature.

Kerala music also has ancient roots. Carnatic music dominates Kerala traditional music which was
popularised by Swathi Thirunal Rama Varma in 19th century.Panchavadyam is a different form of
percussion ensemble in which hundred of artists use five different types of instruments and the
performance may last for four to five hours. Tayambaka is a solo chenda performance, supported by
other itantala (treble) and valanthala (bass) chenda and ilatalam cymbals.

Kerala is known the world over by its own performing art form, the Kathakali. "Katha" means story and "Kali" stands
for dance.

It is a beautiful mix of dance, drama and music that the connoisseurs of art world qualified as 'a total art form of
immense sophistication and power'.This is a form of dance formerly confined only to the festival stages in temples.

It is a mime show, dancing with mudras (formulated hand gestures conveying the text of lyrics) and specialised
dancing steps following the song rendered in the background by a singer to the accompaniment of Chenda,
Maddalam (country drums), Chenkila and Elathalam (Cymbals). 

The face painted green and made up with a spot of sacred sandal paste on the brow, eye-lined with mascara, lip
toned by cherry and white chin mask, the dancer dons a colourful costume and rich and impressive crown and
jewellery.
A traditional pedestal Nilavilakku (oil lamp) with sixty wicks on both sides lit together lights the dancing floor. There
are four types of make up. Pachcha (green) face painted green and adorning sober and beautiful attires denoting the
godly or virtuous character. 
Thadi (beard); divided into Chuvanna Thadi (red beard) depicting aggressive and demoniac characters, Karutha
Thadi (black beard) depicting aborigines, cavemen and foresters and Vella Thadi (white beard) representing Rishis,
Saints, Preceptors and other intellectuals. Kari (carbon black) representing mean characters and Minukku (refined)
presenting women and Brahmins.

There is a school of thought which believes that Ramanattam could be the ancestor of Kathakali, for very many
similarities in the presentations, costumes, acting and background music could be cited in both. The stage decor,
costumes, make up, and mudras as seen today are purported to be improvements bestowed gradually to this art
form by two veteran Namboothiris, Kalladikkodan and Kaplingadan Manas.

Centuries down, there developed a branch of literature known as "Kathakali literature" and compositions of poet
laureates like Kottayath thampuran, Unnayi Warrier, Koyithampuran, Vayaskara Mooss are milestones in the history
of Kathakali.

Aattakkadhakal (stories for dance), the poetic compositions of legendary stories to special metric scale, set to music
in classical Carnatic style are danced out.

A ritual dance performed in temples by appointed people in fulfillment of vows of devotees. Theyyam is the
corrupted form of the word Daivam meaning the God. It is purported to be the dance by the Goddess Herself. The
dancers are men in feminine attire wearing colourful costumes made usually of palm leaves, cloth and brass
jewellery, ferocious masks and big head gear, often 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.

Mural Paintings
The fresco paintings of Keralais classified as "Fresco-secco" characterised by its lime
medium and technique in which the prepared walls are painted only when it becomes
completely dry.

As per the 'Shilparatna', the principal text on Indian painting techniques, white, yellow,
red, black and terreverte or Syama are the pure colours that are to be used, either alone
or mixed to derive a different hue. Ochre-red, Ochre-yellow, white, bluish green and
pure green are the predominant colours that are used in Kerala murals, while limited
use of golden yellow, brown, yellowish green, greenish blue and sky blue is also can be noticed.

Lemon Juice or solution of Thurisu (Copper Sulphate) was used to apply on the surface to mellow the alkalinity of
lime before painting the surface.

Colour dyes were prepared from vegetable, mineral pigments and crude chemicals. White is made out of lime, black
from carbon soot of lamps, red and yellow from minerals, blue from plants like Neela Amari (Indigo Ferra) and green
from a local mineral called Eravikkara. Ancient scriptures also recommend use of yellow arsenic (Realgar) and
Vermilion (red lead) for getting yellow and red colours. Lac also was used for obtaining deep red. Mixing of colours
were done in wooden utensils and the binding media used were tender coconut water and exudes from Neem trees.

Painting is followed by an overcoat with a mixture of pine resin and oil for providing it the lustre and fastness to it.

Mainly three types of Brushes, flat, medium and fine, are used to apply the paint. Flat
brushes are made from the hairs found on the ears of calves, medium from the bottom
of goat's belly and fine brushes were made by the thin hairs from the tails of muskrats or
narrow grass blades. Shilparatna advocates the use of nine brushes in the above three
types for applying each colour.

Once the theme is selected, the outline is sketched with dung crayons and then painted
with appropriate colours.

Five stances are recommended for depicting human figures, Frontal, Half-frontal, Askance, One-and-quarter-eyed
and Profile

Shilparatna recommends three types of colouring the human characters as per their virtue. The Hindu scriptures
classify human race as Satwa (the noble) Rajas (active after power) and Tamas ( low and mean characters). The
Satwik is depicted by shades of green, Rajasik by red or gold and Tamasik in white and the demons and
demonesses by black.

The art of painting on walls in Kerala dates back to prehistoric era. Paintings found in the Anjanad Valley of Idukki
District are believed to be the oldest. Archaeologists opine that these belong to different periods from early
Paleolithic era to recent past that the history can reach. Rock engravings belonging to Mesolithic era also were
unearthed in Edakkal in Wynad and Perumkadavila in Thiruvananthapuram District.

The source and inspiration of Kerala style mural painting may be the Dravidian temple devotional art of
Kalamezhuthu elaborated more elsewhere below. Mural tradition ofKerala influenced by the Pallava art can be
traced back to seventh and eighth century AD. The oldest in them is believed to be in the rock-cut cave temple of
Thirunandikkara that is no

PANCHARIMELAM / PANDIMELAM 
It is the traditional temple percussion music. 

PANCHAVADYAM
(Literally five Instruments) 
It is traditioanl temple music accompanying processions and pegeants. The five instruments are Chenda, Kuzhal,
Edakka, Elathalam, Timila
MUSICAL INSTRUMENTS USED IN TEMPLE 
Percussions : Chenda, Maddalam, Udukku, Thakil, Veekuchenda, Timila, Ganjira, Edakka, Thudi Kuzhal ( horn),
Elathalam(small Cymball), Chengila (bronze gong), Chaplankatta (a wooden device struck together using the
fingers), Nagaswaram (Long Horn ), Mizhavu ( a large copper pot), Nanthuni ( Instrument similar to the veena)

The style of music having its origin in Kerala as differentiated from the music of other parts of Thamizagom and North
India, is termed as Sopana. This is of Kerala which is pristine and having its own individuality and uniqueness. As the
name suggests, is related to Sopanam, or steps to the Sanctum Sanctorum of Keralatemples. 
The significance of the name given for this style of music is multi-faceted. The singers who are known as ‘Maaras ,’
used to sing Ashtapadi to the accompaniment of Edakka played by themselves. They stand in front of the Sopanam,
or steps of the Srikovil or the sanctum sanctorum of the presiding deity. This is known as ‘Kottippaadi Seva’ (service
by singing to the accompaniment of the percussion instrument) in the temples of Kerala. The style of singing is in
slow tempo or “vilambitha laya”, just like the ascending and descending of the Sopana or steps, developing gradually,
step by step. The style of modulation of tones can be compared to the rise and fall of sea waves in a rhythmic,
beautiful manner. This style came to be known as ‘Sopanam’ style of music. There exists another opinion regarding
the significance of the name. The term ‘Sopanam’ has its roots in the Sanskrit word ‘Sobhanam’ meaning dance or
nrittham. used for nrittha was given the name as Sobhaana Sangeetham, gradually changing to ‘Sopanam
Sangeetham’. This style was also termed as Bhava Sangeetha, Hridaya Sangeetha and Samaya Sangeetha. It is
music full of bhava (mood) emanating from the heart and is time honoured. Sopana Sangeetham has influenced Desi
Sangeetha and Karnatic music, to a great extent.

SALIENT FEATURES 
Sopana Sangeetham is evolved by codifying the essential and good elements of of the Vedas, folk as well as temple
music. During the 14th and 15th centuries, when Ashtapadi singing was implemented in the temples of Kerala, they
were rendered in the Sopana style of singing. But originally, Tyaani, also known as Taaivaani, and Dhyaani are sung
along with Ashtapadis. Tyaaani is a form having 8 lines. These are also to be sung in specific ragas and talas.
Sopana Sangeetham is also believed to have some resemblance with the khyal singing of Hindusthani music wherein
Vilambitha style of singing is followed. Further Karnatic music inKerala is also believed to have developed on the
footings of Sopana Sangeetham. However, in Sopana Sangeetham, devotion or Bhakthi is of prime importance.
Hence lesser importance is given for swara sancharas, gamakas and detailed alapana or improvisation. Limited
alapana will be accompanied by playing the Edakka. The Octave or tessitura of singing will be limited to one octave
generally. Being sung in a swinging manner, priority will be given to Andolita Gamaka with swinging type in its ascent
and descent. However, the fundamentals of Karnatic music such as sruthi, swara, raga and tala can also be found in
Sopana Sangeethamm. Main difference is on the usage, style and prayoga (application). Ragas used mainly are
Desakhi, Srrekandi, Nalatha, Malahari, Banli, Samantha, Malohosvi etc. Sopana Sangeetham can be considered as
Kalpitha Sangeetha i.e., one set to specific norms whereas in Karnatic music, Manodharma is given importance.
Sopana Sangeetham owes its origin and evolution to the ancient Thottam paattu, Kutthiyotta paattu , Pulluvan paattu
and many other ritualistic musical forms. As the famous Malayalam poet Mahakavi Ulloor commented, “Kerala has a
highly developed musical style as early as the people of this land”.

RENDITION STYLE 
In Sopana Sangeetham moods or Bhavas are indispensible. Even the selection of ragas and talas depend on these.
Ragas set for songs will be highly compatible with the thematic content and aesthetic aspects of the songs. The
beginning will be on Graha Swara and rotating in and around laya in vilambita, one or two swaras and then gradually
moving on to the next step as used in Andolita Gamaka in a swinging movement, like the movement of the waves.
Based on usage and prayoga, Sopana Sangeetham admits of two major divisions -- temple and stage . In temple the
singer or the performer will be standing in front of the Sopanam to propitiate the Lord or the Deity for obtaining
moksha or salvation. But in stage an actor or a singer is enacting the role of the Lord.
In temple style, people are the devotees whereas in the stage people are Rasikas or art lovers. In the former, God is
real and the performer is the devotee whereas in the latter, a person creates the impression of God’s presence
amongst the audience. Another fascinating feature found in Sopana Sangeetham is the presence of two or more
swaras in addition to the accepted 12 swaras in Karnatic . These two swaras are referred to as Kairali Gandhara and
Kairali Nishada which can be found in folk of Kerala.
Sthaaya style of singing is another peculiarity of Sopana Sangeetham and octave selection is also based on Bhava
and Rasa. Modulation of swaras, specific vibrations given to certain swaras, tempo variations based on bhava are
significant qualities of Sopana Sangeetham. Karnatic prevalent in Kerala has adopted many good qualities of Sopana
Sangeetham. However, the style of singing will be crude, blunt by insistance on adhering to ancient traditional style of
singing. Nevertheless, with the emergence of Karnatic and its influence on Sopana, the originality of Sopana
Sangeetham is fading gradually. Nowadays original style of Sopana Sangeetham can be heard only in certain
temples of Kerala such as Ettumanoor, Ambalapuzha, Kaviyoor, Thiruvalla and a few others. Kathakali which was
presented originally in Sopana Sangeetham style is slowly being shifted to Karnatic style.
RITUAL ART 
Temples or kshetras are considered as the treasure houses of Karnatic music. Musical forms, through highly religious
and sacred, combined certain elements of folk music. Here one can find the fusion of acting, dancing and meditation.
Temple music termed as Sopana Sangeetham was part of temple worship. The most prominent among Sopana
Sangeetham, Ashtapadi, is sung by the Marar to the accompaniment of Edakka in front of the sanctum sanctorum.
Sopana Sangeetham, as the style is referred to, is an off shoot of Naadodi sangeetham or used to be sung during
temple rituals. In short, Sopana Sangeetham is ritualistic music in the most perfect form.
Tauryatrika - union of three art forms - is a combination of the three major art forms namely sangeetham, nrittham
and natakam. Dravidian music can be considered as the cluster of Tauryatrika which formed the foundation for
Sopana Sangeetham. Many of the folk songs used in temples, especially of northern region of Travancore, were
associated with ritualistic customs and rites of rural folk. Folk music is exceptionally rich in vividness and variety
regarding themes, lyrics, diction and style.

A Kerala mural is a painting mainly seen on the walls, ceiling, of temples and palaces .It shows the events of pre-
historic times and many themes from indian mythology. Kerala temples have a long history of fosteting culture... The
cultural life of the people was centered around the local temple. People went there to listen to music, see plays, and
attain peace sitting under a banyan tree with its leaves rustling in the breeze and murmuring the mantra of shanti.

Medieval artists in different parts of India were engaged in painting and the medium, at that time, was the walls of
temples, palaces, and monuments. The subject of the wall painting used to be scenes from epics like the Ramayana
and Mahabharata. 

In Kerala, only a few of the wall painting in temples survive as a reminder of the existence of this exquisite art form.
Prominent places were ancient murals exist are the Padsmana swamy Shine in Thiruvananthapuram and the
temples of Ettumanoor, Panaynarkavu and Guruvayur. Mural also adorn old palaces such as those at
Padmanabhapuram, Krishnapuram and Mattancherry.

Kerala has a distinct temple culture. The rituals inside Kerala temples are unique. The architecture and sculptue
outside the temples is also distinct. The ceremonies too differ from those of temples in other parts of the country as
they are performed with the accompaniment of special percussion instruments like the chenda. The art works in
temples like Kathakali and ottamthul have no parallel as they have a truly distinct identity.

Sharp lines from the Skeletal support for the body of Kerala murals and this unique features makes it distinguished
and rich. Subjects for the murals are varied with gods, goddesses, saints, kings, birds,animals,plants,trees,creepers
and flowers all in their natural splendour most commonly seen.
Murals are created on a meticulosuly prepared white surface. The colours are made from natural substances of
mineral or vegetable orgin. For example red, brown and yellow pigments are made from soft stone powdered and
refined while green colour comes from the leaves of herbs. Blue is derived from the indio plants. Black is made from
the carbon deposited while burnin a wick dipped in vegetable oil. Even the brush is handmade from shoots of arrow
grass deftly.tied to a bomboo stick In short nothing is brought from shop.

Kerala murals have a long history to their credit. The history dates back to the 16th century as discovered in the
Edakkal Caves. Later in the mid seventeenth century, the revival of the Bhakti movement, gave a boost to mural art. 

Major Attractions of Kerala Murals

Chitramathil - Longest out door Cement Mural in the world

- An Ambitious Project-

Mural Arts

Longest out door mural in the world, is neglected for many unknown reasons. Chitramathil or the Wall of Cement
Murals is on the walls of Sree Sankaracharya University of Sanskrit, Kalady, and a small hamlet in Ernakulam
District of Kerala, India and also the birthplace of Jagadguru Adi Sankaracharya. It was a masterpiece creation of
artist K.K.Suresh. It is 1200x 5 ft. long, unique compound wall around university campus depicting various themes
from Hindu Mythology and Puranas. It received an entry in the Limca Book of Records (ref. Pg.93) for being the
longest Mural Wall.

Chitramathil at a glance:

 It received an entry in the Limca Book of Records (ref. Pg.93) for being the longest Mural Wall.
 The Chitramathil is the endeavor of a single artist- K.K.Suresh done by him within 66 days.
 The Objective of Chitramathil is to create an understanding about the rich Indian Culture and Tradition. It is a
magnificent example that 'pictures speak better than words'.
 The Wall is divided into 120 units of 10ft. each. Scenes selected from Indian Mythology and Puranas are
depicted on the wall- The scenes are from the life history of Adi Sankara (24 units-240 ft.), 108 karnas from
Bharatha Munni's Natyasashtra (60 units-600ft.), Scenes from Kalidasas' Sakuntala (5 units-50ft.),
Meghasandesha (5 units-50ft.), story of Vyasa (18 units-180 ft.), Ma Nishada (1 unit-10 ft.) etc are depicted
on the Wall.

MAJOR PROJECTS AND OTHER CREATIVE WORKS

CEMENT MURALS:

CHITRAMATHIL [Entry in the Limca Book of Records (ref. Pg.93)]

CHITRAMATHIL [1200x5FT]: The longest cement mural wall in the world is around the campus walls of Sree
Sankaracharya university of Sanskrit, Kalady, Kerala [1200 X5 ft] depicts various themes from Indian puranas and
Mythology, selected Scenes from life history of Adi Sankara- 108 Karnas from Bhartmuni’s Natyasashtra, Scenes
from Kalidas Sakunthalam, Megha Sandesa, where each block tells of hedonistic mysteries, feudal system then
exists and temples for a holy power that works with out being interpreted because also interpretation in the flux.

Massive Shivalingam at Kalady on the occasion of 1217th birth anniversary of Jagadguru Adi Sankara.