Kerala Art Forms

Kerala Art Forms Courtesy:some webites Page 1 of 73
June 19, 2012

Kerala Art Forms

Articles on most of art forms in this document are in Malayalam and some are in English.
June 19, 2012
1. Theyyam
1. History
2. Mukhathezhuthu
a. Vishnu Moorthi
b. Karivanoor Veeran
c. Potti Theyyam
d. Moochilatti Bhagavathi
e. Parasinikadavu Muthappi
f. Puliyoor Kaali
2. Poorakali
3. Kothammooriyattam
4. Alammkali
5. Kolkali
6. Yakshagaanam
7. Patayani
8. VadakkanPattu
9. NayyadiKali
10. AAdivedi
11. Mohiniyattom
12. Mudiyettu
13. Krishnattom
14. Thiruvathikalli
June 19, 2012

15. Kathakali
a. History
b. Makeup
c. Performances
d. Navarasam
e. Mudras
f. Props , Ritual and Custom
g. Places where Kathakali Performed

16. Kalari Payattu
17. Thullal
18. Chakyar Koothu
19. Oppana
20. Kurathiyattam
21. Poothan and Thira
22. Maargam Kali
23. Chavittu Nadakam

--,,a --,,a --,,a --,,a oog- oog- oog- oog-
goc ccgoè -:coè_ oa_sm+o:m
egè ce:o oog-. gc_a`m`coco`m ùo_s:o oà_uom:o
oog_e s`-:mos. -um:s` -um osc:
g`m:- _e- -um:s` oo og-o- ooc oog- _e-og-o-
oo ooc: oòm:- _e- s-o_o_:mcg:os oog-
so`mo_se. m_o- oge cooo:m-o:o oog-. oogoòo
June 19, 2012
mom-oog:-_e- oogoòo co+- oogc:e- _e-
so`mo_se. o:s so_co:g- oog gose:o -omo_seo
. _è- m_q`c-co:g- oogg:o m:a:coo:m`_o...

o`+oo_o`.

osc oem:oòe :ogè-. m:mgè- o`m:se
cc oogo:o -ccooo _e_s` so`mo_se o`+oo_o`.
-..,.....,-...--.-...as.-.szasxo.

June 19, 2012

cò- cò- cò- cò-
o`+oo_o`mos cò- -:em:m`_ _e o:e_:c
omo:m` mmo_`cè. m`cec+coo oo:s o_òo
o`òe coe:cm:m`ce _.cc` -om` mè- o:
-o` oèmm`ce _oo g` mè- o: o_òo
smm`cogos o:oòù:m`sm:m` .oòcooò o_ _om
o:eooe -:o:` o`g-mc- omo.gooò _ m:so`
o-ce:-co _o`,soòsmgg cc o`gooo:` sm-
-:-`. o`+oo_o`m:m`ce g o`òe -ccooo.
-_`mom` o`goo_- oq- _ -ccooomos m:m` o:o`.
som -ms o+ uò,cc oòm- m+-mo`
-o_o:m -ccooo, socm:s ooo c`mooso, m:`ce
os` c-:o:moc_o_. goe cm:`m _ c`
oò_o_eo:o so. c`mo:m` m:o-oo_ som g
o`òe se cc e`sm`. m`cec+co o`cò_o`m _
ooo me_:ema:o:m mo:soo`m:o`mos o`òeo`,
June 19, 2012
soòs mè o- u`_cc+- ou:m:m` goòeo`m
_om co:s ooò:eo_so`. ooo o`` o`cò_o`m
o_`m moo smog:o :o: uòo. -c`-:co:m`
-ccooocmm- _cmm- oogg:m` o`m:s`: os`.
o`+oo_o` o-:o`+ooòo mcm`--:oo:co:o. g
oogoòo o_em:m- o-ce-coo on_ _e meo_
c:m`s`-:s` _e ooo:s:o. m`cec+co c:_o-
oooco- ooq:c -a:mm:mo:o.

oaoouo oaoouo oaoouo oaoouo
ooggos oa:eco- oaoco_. oaoouo _e` cs
-:co:o. _s:oo. oooguoos. cooogos c_-oooà_o`m g
seco :coo:e.. sc`_:m.ooc. s- o_ o+`.
omcm:e. :mè_- ooe:mom:o co_`m- _uo`m- g-cm:cèo.
e::co:cos m:oo:m` coommc`_ secocò`-
g-cm:cè omo- o_o_:m- :o-. coe. c:_g
os`m moo:m:cos oogoe:- oao co_ o:oco
-oò__. o_:o:cos oo_ oog-. ccoo`. om`m` coo`.
-o`cg: oogos`mom oaoco_ o:oco :o:o__.
_e:. oq oogoe:- oaoouos:-. oaoouo -e
c-cgè:o so`mo_seo. o_`ce: coo`. _: coo`.
-:s:gc coo` os`m è oog q`c-a- -:-
_e -ome oaoouo:o_o. oe`mos` o_:se oog:o
-:ouo _e c-cè_ oaoouo coso. mcm` coo`.
sgc coo` os`m mo`cooog:m oog oocòg-
_e oaoouo:m`c`-. o:o_uo_ oogg:o om`ce:
coo`m- oceoem-. o:_- oèo`m- _e c-cè_
oaoouo_ oogo:o m:ce`. mcòò_uo:o -e`mc:g`.
-g`c`:g` _e` ooggcso. sm:cg. o`c os`m
oog gc_cgòuo:o coso. -mo:_òuo_
oogo:o m:e`. -_o:co. g_u_`. c`m`c` m:m _e` ooggos
oaoouo o:s- -c`- oo_uo _e c-c` so`mo_se.
o:s- -cò- c:m`__o- _e oaoouo o`+oo_o`
oogo`m:o :oeo. omm: eo oogo`m o_òuo:o.
-e`s. -e`mcs _e` oog `cò:e
oo_uo_omoo.oòe_ o`c. oogooo-. oo c`m:o.
eò:c o os`m è oog cc`co` sc`_:m
com:os. omm:eo. -_o:co. m:e`. sm: cg.
-e`mc:g`. -_`c`:g` os`m oog oog:o cc`co`
com. sc`_:m- oog- co cc`co` -_ce oogg:o
June 19, 2012
oo_m- o`co_m-. -_`c`cos oogo`m sc`_:m- s-
o_- oooguo: g-cm:c`-. s:cm:o o_- o_-
cc`co` come. como:c o. g_u_` _eòm -_
omcm:e. o_. o_ _eòo:s cc`coòeuo-. ocm
o:eòuo _e c-cè_o:o gg- co oogoòo oooguo.
oaoouo gc--.

ccc: oog- o_o_mo oaoouo:o. seoog oogo
mòo- c:o:ooè_ oog o_- g-cm:cè.
omm o`gòo - csòo +og` c`-`s`_`_ so`
oogò__ :e`_:o o+` gs:eo. o_- oom- mò
oq m-m:mg` mè- o:s oce e g-cm:cè.
:m co_ -`s`_`_ cc+- :mè_o- omcm:em- o+`m-
g-cm:c`_ oaoouo ouom:e. o`+oo_o`mos
oaoouo`m o_c _e- c:u`__ _e- c-cs. o_`ce:
coo` `_-a
oee`se oog- e::coo oemos o:co`ce:o
oaoouo msoeo. mo_ ooo_uo. -e`ma- ooo_uo.
c:u`-+-- ooo_uo os` -eoc- ooo_uogs. oeoo
oo:o` oce soò g-cm:c`_:o oaoouo msoeo .

oòe_c o`cm

__c nèmòe o:: mò:m` om_ _e o`g moo:mo` o-
gg:o -`:eo ooo -c`co+- `m- oog o_o`m:m`
o`m:so_sm- ogo_se oòm_ o`c.o:c_oom-
June 19, 2012
`mosm- o:m:m`ce om_ . om_oo o`_o` m::-
o:o:-ò:- ccc-:oe o:m-o:m`ce. som cc` o`_o`
m-òg:oo o:o:-ò: om_om o`` mè-
o_oc s mmo``ce sm_. c_- m:o _s`m m-_o
sm:og oo_o` omm- gès:m`ceoom:o oe:`
sm:og ou`mèc-`m- omo. cq oò`m:oo seo
om_. oeco` _e o-_òo m-:mo: s` _mm-
mmog osom- omo. -è`s sm: soòs uò
c-:e...._+` gm`ce om_oo oo:u` . oò:--:mo:mc_: ooe
ou`mc`` mè- c`_ oecoòm oò:-- u`: sm:
o`co:m`_. som soog oò:-- u`m- omo. -ec_:u-
ooòmo:o_ om_mo:m`. oeco` ou`s -oò:m`ce.
somm`cò. ccm: s` c-:cos`. oac_o-. coo_
-c+o: c-:c`mò -oò:o. ccm: ou`m`sm` oeco`
om_om g`m:m- c-:c`mc-:m: sm: co:ooe -oo
g`m:m- omo. :c_mos g`m:g` o:c`co:e`m om_.
omòò ooo:oo c-:c`m -oo_. om_ ooo m_
c`mooso c-:c:sm- mo- nm`m- omo. o`nm`m:m
om_om _e:oc- o:uom- m-o:m`m- omo. o`cò
o``ce_ ouòca_ ooo oò:- co:o`c- c-:c`m`sm` m_o_
:c_- ommè:m- so oòss: c-:om- omo.
-c:nmo: eò_`m`ce sòe c-:c:g` o`còomo`m
om_om o`m` o oco`. ooo -o` cmc` occ_:co` oeo
oeco` om_oo òm` :s` nòcm:sm- omo. om_oo
mmgè:o:cm: m+-mocm- gs:om- om_omm-
oeco`m- ooo` -c`co+- m` oog- o`m:s: osm-
omo _e:o oo`-_-. g oog o_o`m:o oòm_ o`c _e
so`mo_seo. seo:m -oemo- oom ouo- oòm_ o`coo
-co_om:o. c:o`m`ce:. -e_m`ce: go m:a:co g
oogo_o` scco:o -oò. oòm_ o`c sccoe. o:um-
oòàoo :mg- g-cm:c`_ om:o:e goo omcoòo
_eo`mo_se. gcc:c_o:m:m o:oòm eò: m_o:
oòm_ o`com gc:a`:os.

June 19, 2012
Potti Theyyam
o-: o-: o-: o-: oog- oog- oog- oog-

os ccgo` o`m:s`_ oce cc oogo:o . n:o`m
g_mò+ ogoc co:m`ce :eo om+_oce:- moo:c:ooe
o`g`_-om: oac_- :`m cc ù n:o`:coo oo`-_o:o
o-: oogo`m -òè_o . o-: oog- oeme. -emm. òoe.
-:om os` -e moo:m:c- o:os.o`m` oùe o-:m-.
o`g` où:o o-:m- gs.goc- -om: u`m:o c:o_
c:o`_ ue cc:og o-: _e ooo` om-_o-
cuòo:oeo`m:e-. -ocms :c_oge:- oo:cm- :c_o-
_ù_ -oo -e`_è o-:g` gèoo:s-
gm`c`:- g oooc`m_o:m` o:e oogo`m g c-
oeo. c`-ccoc+cm o:e co+a:c`m:m` cc::c_oc -c``_
-co_ooòo -c:oeoès:m oogo:oò _e è
o`c+mè._e: ooggo:m- mmo_ -ooce
-c:oo ooè- c:ommo:m` ce mèo:o.
June 19, 2012

cc::c_ se:c _e -emmo:m` o:c+:o- mso`mo __
nèmòe -g`c:- _e -coco o_:o _e
o`c+mò_se.so`-:`mo:m ccm:c:mo coo`
oe:coc`m`ce_ m:o:oco_ scq-- _o`c_e _e- soòs
_s`mocc:s soo+o oo+oo o`_ -:+o- msooo soe
e` oco` gce se:c _e -em mo:o so c
_eo:o o`c+:m-.-`cqe -eo_ oecoc`m`ce -oo_
g:c_cm:s ou`m` mè o`seòm-q` o:c+:o- mso`. se:coo
c:o_ oo-s`mè:o cc::c_ mooc`m:m` o:o` _e-
ù n:o`:com cco:m` oo` _e- m.m gc-:omeo:m`
-g`c:o mè- oe:coc`m`ce_ cqms`_:om- .ccc ocm`
mè- m:-om- -emm- m-m:cèo mc`moee c:o_- o:q:
se:c ooo omòe o:s`c: ou`m` oo o_ cs:`m
ocm:o gsocm _e mec_oce- go
_s`:oè. oog- mse meo o-:oo co:q- mse
momo (oo` s oo`cm:os, -gòc-. omoc- os`m oc
gmco` _`m` gs:e cocec` oò:s-. c:oòe s
oo`m:cm:cu- go coc- o` me:m` oè`s:-. g
momo:o o-:oo oog- -oo_s. go`mòs m o:o- cc`so-.
oò:s`cèo ooq:c`so- _`m`s-. o-: oogoe
o`mè-. meèè- o:o` o:o` gc`m- `smoo:o og- .
oòm -o`cc:aò: cco:eo:s_ gs gosè-
ogocma`- cocm:os omoòe` o-:_ceo:
m:a_omo_:cm+o:mo:oò. oe o`m` gc`cm:u- g`co.
oeoo g`co _e:o o-: oog- -om:o. m:a:co oog
s oc:o_ oaoouo g oogo`mè -c- oao cmcoo
ooe og:o`m oa:oco- so`mm:o -oò.

June 19, 2012
o_`ce: coo` o_`ce: coo` o_`ce: coo` o_`ce: coo` ( (( (oog- oog- oog- oog-, ,, ,

o_`ce: cooòmc_:oe e:oo_o_ oog- cooomè . coo`mos
oaoouo`m q`c-a- -:- _e:o -omeo.m+:o+` gmo`m:
seo:m emo- o:- g oogo`mè . mo:e:c _+òm:m`.
mmc`m:m` mooa o-:oem:o g oog-. mò_ m_m:m coo`mos
o:eò:o o-cg`m:-.z o+- _scm:u:o o-c-g`m:-
msoeo.soòo:s o`nm- cms`mc_: s-o:o -co- mso`
mo_-- _ _`_o`m:. s-o:m:co: sc`m` nò c-:o`_
oò_:mmem:m m:-o m_m:o o_`ce: coo`. o_`ce:
cooòm o_`ce:_òme-. o_`ce:eome-. o_`ce: c-:oòme-
o`g`:os.

o-còoe_ (gc_:uoo og`_om, c:ooòe cc m:-om_
_uo -_`_so` o_ mse o:o-oò:oo` -coc
co:_`_. cmg` oo_ :ocmo-. coomg` -mocoommo:o
smog` o`_ooe moo`_. cc m_mos goc- soò`
m-cm`_o so
June 19, 2012
_`_
-oo:`. s-o:mòm:m g m_ osc: mse còo__oco`
còo__c_omm-. omco-ceo cooòmm- s oo` ooo
ms- so`m`_ omoc`` -:o`_. ooo m`c-c:aò+- oog`m`:
m+m- sc`soo:c` goo_:c- og: o`co:m`_. __mo:m`
g ou` c-:m o_`ce:scm:s (o:o`m moo:mo` o-m:, o`m`ce
__ cuò: goc_o_. gogos o: c smce
o_`ce:s __ ouo o`m`ceo:u`_. som sc`-coc- omo
g mo`com- ooo go-c`co` oog`m`_. cuò -:ooo:m`
o`` oe o_`ce:s so -:o- mòom __ mòoo:m:o.
go:-o` omo m_ còo__c_oom-. omco-ceo
coo`mosm- smc-o: coo`m:m` o:oòme- o_`ce:sm
om_è:omooo e-ccoom:m` s gc:aò:
osm- omo. somm:o m-om_ o_`ce: coo`m:m`
o:o`mo. oòà meg` o_`ce: coo`mos
m:eò_os:om-. ooo c` oog`m`m- ogms:m`
_e o`c+mò_se.

June 19, 2012
Parassinikadavu Muthappi
-o_`m`so -o_`m`so -o_`m`so -o_`m`so oo_ oo_ oo_ oo_

sgc ge o o:ueo _e m:so:u` ` ge:m`ce.
scq-oòo -om`m:m -:s`q` smtm- còm:m`ce.
còm me`m:m` so -eo- s_`_. ccoòm- m+-mo`
smtm- còom s. -`cqoòm- sso_ cc sco`m`
g`_ mo` occo so cc o -_ooom` `seo s.
òm _so o``ce o:soe so m+m- oomc_:oe
ogoòs`. g ` gocos omm sso_ :` sm-
June 19, 2012
oèooso com c-:eo -oò:m`ce. o:ue n:o`:coo:o
g ` o- uò:m`ce. go cs- mm_ o`c` g:c
_o`c:mo`m: o:o:-ò: `cm:s go mòoo: s_o`_.
-c g s_om ` ooò:sè . sgc o:ueo go`
ogoc m`c: cm:m`. cc oòm- ` sooo o:o:-ò:gos
ssooo` sm- oèooso o`_cg:os ooo o`c+c_--
:o`_. o:o:-ò: go cc m:a:co ` soee-
oooo:ooe- om_è:m`. so sooo o-` m:_:-c-
momc`_. ` sooc smc-`_. go`m cc+- ooo-
sgcm`ce m:om:m`. -c eo_còo -_o` m:mc_- s
ooo- soòs oo: o`co:m`_. -mocgòe _ s ooo-
g__m:m`. m`ccm:m m _e _ oo:c ooo
-mocg` mè _e- c:o` _ co:+o- c-:oeo:m`
s-`s`_. som -m :o `so: m o`co:m`_.
som :o `sco cc o_o -mm` mè ooo _
co:_èo:m` m s-`s`_. ooo sm- oè ooso g
o_oom -moco` mè _mo`s: m o`co:m`_. sm oo:sco
m cm:ac-òm:m` mèooò. o:oòm o`c` oe moo
:c_ scq-- cm:ac-òm:m` mèo `seo s mèo`g`_.
og`ce cm:`m so oco`m og` cc o_oom s cc
s___om _e c-:oe oo_: _e o`g`_. oooco:s ooo
o:oòm c`: so -:o`_. -è:oe socos o:o`m
cm:a- o`c`_oe. so oo_m -u`m a:m_g- co:__g-
o`m- _- omcoo_o:m` s_`_. oo_oo smc-- so
s_o`_. moo gc-- smmc`_ oo_ eo_ ooo
omo:m` o`cooso. go:o -cmoo:m eo_ -:s`. ge-
oo_ cog` o`c+:m` -u`m a:m_g- co:__g-
omcoo_o:m` s_è. eo_c` o:m- o+
o:om`_o`m cc+- oo_ ooo soo:coòo em
-_o`coo`m:m` _so smcm:n_o:m cc`sco o:oo:
o`co:m`_. eo_ -:s`m` mè g:cco oo_ cc sm
oo:soo`. g sm -o_`m`so` oe oò. goòsm:o
-cgo:m -o_`m`so oo_ co- mòògeo.
coo`mso_ oòo` mè -:c- o:cò g sm ge
-o_`m`:o cooòe cc so:cm` -o`+o`_`cè.
go`mcc+- oo_ -o_`m`so` omè _e:o o`c+:m-.

June 19, 2012
--..a -a... --..a -a... --..a -a... --..a -a...
co:q- -:
ccc: oogo:eoòom- -c:o_og:o co:q- -:g:m`.
o:oo:u`g:m` oeoog oo:oeo. _uo- o:mmm-
soò_s:o -_oo` -ò:o-eo:c- ccm:mo:c- gc_a-
-oo c-co`g`_:o oogc:eog goooeo.co:q- -:sùò
cc+co oogg goo:sm__. _oòsm- g co:qcg:. gc_s:co:
cemè:cm:. om`ce: o`_oo_`è . g:cgosm-
sm+o:mgosm- _os g co:q-g- o:oo:u`m:m` -oe
``mo:o. _e: ooo:è-(:o- uo, sm_:mo:m` ooo-
o`g`_ocoe (oco`g`,. co-o` co:q-. m:eo:oò. os`c:mo-.
_eò mso`mo`m cc+co aoe c:eg- aoe ooooò
co:qo- os:o__.

June 19, 2012

June 19, 2012

June 19, 2012
Puliyoor Kaali
-e`m_ -e`m_ -e`m_ -e`m_ :g` :g` :g` :g`

oem:o` o`m:so_se cc oogo:o -e`m_:g`.
-e`soom-. -_`c`:g`mosm- og:m o--e`m:o
-e`m_ :g` _e:ooo`-_-. oe:om- _e :`m_` o_ cò
-e`sm-. -:_o` -e` c`:g`m- gm` c_-- _so. so
:` ma`_ omèo`m`sm` c`:g` -o o:m cc+-
s_e`. oc_e`. -eò:co. :e_e`. -e`m_ _ _e` g
-e`- -e`m_ :g` _e o--e`- no- o:so. cc
c:o` g -e` ooo omo`c` o_:oo oo:uo` se
e:eòg o:e oe`m m_os:`. ooooòm _c_:u-
gc:a`_`ce omo`c` o_:m go oe`m om:-m:m- gs:`.
omm`c` o_:oo m-_o:m c`m`c` _ scq-oo
m-:m`:ooceq. c:o` scq-- oo:uo`mso cg`_`ce. g c:o`
-e` oec_: c`m`c` _m somg: mom- èo`m oc-
-o``:o oco` go`_ -e` scq-oo o:e. sòm
June 19, 2012
oc`_ c`m`c` _ oogo:m` g- gso_se. -eòoo
ogom- :è:m`ce sc_: o:om`_`ceo. cc o+- c:oc:oo
mè :c`mo os: ogomo` oog- :o: c-:m`.
-eòoo os:om -`mse. c:oc:oo os: sooc
-o`+o`_. g me- _s:oo -eòoo -mm:mo m:mcos
o`è- o:omès:m`ce. -o -eòoogos c_
m-`:oeo`m_oo:m`ce. soo:s cc goo:eo scq--
o_`ce: coo`cm:s -eòoogos ce_ooo`_ -c:oò_.
-eòooog -o`+o`_`ce o`g soòs mè o_`ce: coo`
-oò_so c:co:o o_`ce: :oòo gso :co -o`+o`_.
sòm o_`ce: :oòe m:eà_o:m` -e`m_ _m- -e`m_
:g`m-. o:o`m n:o`:cos oogo:o -e`m_ _. __m:e
:gg` -e`m_ _om -co_- gc:aè.

---aa.. ---aa.. ---aa.. ---aa.. -_cg` -_cg` -_cg` -_cg`

so_oc ccgoòe coo` cogè o`mo:moòe :oo` mo-
ooe -_c- oocm_ cmo m:ggè sccoe cc sm+o:m
em:o -_cg`. meos m:cs:s` m-m:coòo `cmmo-
soo-_oooo:m s-cg goè gsm`g- :oo:m u`m-.
ccgoò c:oò m_ogos gsmè -_cg`_ m:m- -mo
com`mo:o. -_cg`mos -:cc_-- m:cs:s` c_-oè gmòo:s
ce:ooè- c:mocò_: oo__ ccu`_-o` -ò:eo
mso`m`s. soo:s m:sm em- _:mè em-
_s`c_oeo:o -_cg`.

oo`-_o-co
June 19, 2012
coc:mcgè moc`cm:g -ccc:om -ge_cè _o` +ooc
oocmoòm:c`. gès:m`ce oè os -sò:o coco:m`
cc`so oo_ oocm- mso`. m+:o` oocm- mso` o`cò_o`m
scq-o`m oè`g:m::ooc-:m. :c_- ommè:`m :ococ:om
soòs coo` -o`+o mso`. mo`-o:m`m:m o`g -oaom o`g`_
gc:am oog:o g-coc`_. c:om oè oo_ meo:moo:s
-moo coo`m c` c:ooè_- _e c-c mò`_.g e -c`_.
g coo`m q-. oc:mcoo g-oo- m-òg:oo
cooo:oce:- coe o-:o`+ooòm oes :c_oooo`_. c`
-ccoc+ocom- -:ooo`mosm- -om:m mm-o_m o:oco
o:c:mcom m`c-ò:m m:a`m__ooe o-:o`+o
scgòmo. c` -ccoc+cm:o gco-mm_`m:o. g
m:-c_oè cooo:oce:- coe còo o-_ oso:m
:ocooom ooeo_so`. :ocoom còo o-_`m -c- oco`.
o-_è mèoooe còoo o_oè mès:m cc:+:c`mè
oomm oom oo_ò:m`. mo:mao o`cc:a:mco:os :o- _e
oo:c` mo m_o:mc_:g nòò- o_-o:m`. -`mooo g:e`
coo-:sè s-e o.aoè seòc-:m co`coo`mos oè:-oè
m-o:-- co:e`m -ccoc+cm -:oooòm cooeco:s_s` :om
sm-cm:m` -monmòoe scc`c`m:ome o:c m-o- -ome.
o`ce:gè- ooo:moò_m:m` o-:o`+ooòm -m:o`_`_:e
scq-- ooe -c`-:c- mòcoc`_ocooe -ccoc+cmoe
scgò_moo:m`:o omm -_n:oà` _e -_cg` -:è -omeo.
ooo:moòe :oo` oo: -_c- ooc cmo oòm-
oo:m+o:mco:s_s` m_o:c -_g o:s -+-m:oom -_o`
-_n`_:e omò` oocooe o-:o`+o -ooommc`_
_o`mè-. m+ocoè-. smcòè- oo_ s m:cò:c s c:coè
s-+-oo so_`_o:s -:sò:s o:g:oo:m` gs`g`_
g`mco -_cg`.

June 19, 2012
Kothammooriyattam c:o:e_c`m:- c:o:e_c`m:- c:o:e_c`m:- c:o:e_c`m:-

so_occcgoè -co_`_- c:eom:è mèmè`ce
ccm+o:mem:o c:o:e_c`m:- smo: c:o:c`m:-. c:ooòe
-a:m cooè mè- gc-è c:o:e_c` g -cocoo
o`sgòee:- c-:om- soòs c:o:e_c`m:- msom-
-oò:o. oe: o:m- ag- o`mo`m:o c:o:e_c`m:- gc-`.

June 19, 2012

cc m-oè cc c:o:e_c` oogo- (g `g:o g oog-
o, _os cs o:c`_m`mo:cos:-. c:o:e_c` oogo`m
scmè cc:oa- oò_`s:-. m:a:co oogc_o c-:oe
oaoouo- omg- g oogo`mos:-. -m`mo:e
oa_:gm-. scmè cco:em-. o-:m:og- gs:-. gooc
_s:oo o:o_m-o-. -:-:seoè mmèo`m:m` mo`g-
gocos _osms:-. èm`sgè cc:ogo`__ -:-:s`
ge (:eòo:uo,m- q- c:o:e_c`m:-
mso:os.scoo`_oèa`- ccc: o`è- c:o:e_c`m:o`m
oeou`cs` oceo o:s c:ooòe o`sgòee:-
mo`mò:m a ooe s oòm- ooc _s:os.

June 19, 2012

c:o:e_c` occm:g o`sgè m+`cèo`m:m` o`g- og`m-.
mòm:u`m-. oooè omo oò- cc` oo-. o`è _o`m gsm
ooe c:o:e_c`m-. -m`mo:c- go`m oe-oo-. osoe -:g
-:s-. o-:o:m:sgos m+:o- -s`_òe:c e:c_-o:o
c:o:e_c`. oa_:goùò:e -m`mo:oom- -om:-. coo:m-
ooe s_è- ooc soc -omm- og-. -o com- m:o_-_
oòocmo`m cos`m:ooe o:o-. -:-:sùò:e ome- -oo-
oo`m- goo o`:c mo-. _+`mo:m-. e:e` ogooo:m`
mmo_ cc -a:m g:co:o c:o:e_c`m:-. o_ oo+- oe -
ooc c:eom:òe -e:cgè- c:o:e_c`m:-
mèmè`ceooè- goeoòsm- g e:c_-- msoeo:m`
June 19, 2012
soòè . meos nòòo-. m-m_o`mo:m` ogocma`- mmo_o-
m:cc:oao:moo:m goc- e:c_-g m-cò_csso:o.

Alaamikalli se:o`g` se:o`g` se:o`g` se:o`g`
(:mocc:a o:o- gc_:g s-_o_o:m` soce cc e:c_--.,

:mcc:a nèmòe è -cocgè- o:smòe o- ce:-c-
-cocgè- soe`ce cc m:cs:sè:c_-o:o se:o`g`.
-`mo_`- oom:-:ooòo -:o go:_e cc
e:c_-o:m`ce go. om e`- còoòe cc -a:m so_:mo:m
me mooòo smm oco:oo:o o_`- oom m
o-oo:c:+èo. g moco ooem:o se:o`g`mè_osm-
-oà+mèo. se:o`co+- ac`_ sòm oo:o:eo -`moo
o`:co` o-oc:o. g sgcsome:- :oò+- o-èo
o_`- oooòe -o:oò:c- gm`c`-. :mcc:a nèm`
:o:s`mso se:o`__` _oe:c meos. -a:mo:m-
se:o`g` scco`m`ceo soòs gm`ce. :mcc:a nèm`
ooe se:o`__` _s:oo ò:c`. c:`g-. :mcc:a _eòm
o_` saò:m` o:om`_ oce oòà meg` se:o`g`
scco`m`s. se:o`__`m:o se:o`g`mos -a:m cm-.
se:o`òòs gc:amm :m` -_òm:eoè . -c-
scòoòo g_o`m` cc oo o:oo:o_o.
-`mm:m`:+ m- m:cè -m-` o`:coò- o_`g:o
se:o` s cmo_o+- o-`_o- so m- s`_`_ oeo-
.oo:oce- m:-`mo:oce- go so`mo_se.
se:o`__`mè- -c`mc-cocgèo:m` ge- go
nò`_c-:ce. s`_oòo -scm::eo:m`ce oo:cos
oco. go -o`cm: (-o`m-c: - :o:sòo :co:m ooq:c
mem:o-,mos -c`mc -cocgè- c:m o- se
o:omoo_`_. oo:cos gcm:ame ogoc -mòo:mo`m:
gocm_o:m`:oòoc m:-`mo: _e o`g`_ c-:eo.
s`_o` mè- c: mm`_:g- ooco_so`mc_:
-c`mc-coco o:omoo_`_ oo: g meog:o
o:m:m` -o`_ ``. -è`s g-nòmo`m ou`mè:oo ogoccmoo
_o_css` oe oo:c` -ec- o`c`_ c-:ocm: oq
-o`g` o_scm: omo. soòe:c s- m- se m:so:u`
_-g:m`ce _`:m:cos ::o:c:m`. -`
m:-`mòo g s-m-cmcmòe -o:-c:e`m:m`ce om_
m:-`m:o se:o`g` som:mo:m` m-s`_`_o. o-o- ce`m
June 19, 2012
-` m:-`mòo o`` mè- oc_-- -co_ -:omcm:os
-o`cm:mè_ m-m:mo _oèco:osm:o s
oseo. cc:ccomo`m- gom::o :co`mo:m` cm_ cmeo
mo`-c+coocm_ se:oòom` _oe. se:o`__`mòe oc_--
oc`_ so cec_o- oò- :o` oo_`ce. oòo:m`
-ò` mè- m:sm:o o:`_`ceo. se:o` uo`ce:
og`ce: so`me cs:o m:s. m:s o:eco:s _s`m:o
se:o` c_-- o:_eo.
o-o- -o`m:o s som:mèo. -o:- mè:ooe:o g
oòm- so`mo_seo. se:o`g- ooom+ o`_`cè mo`g-
sce oòm- se:oòom` _oe. o_` og:o:`m scò-
soòs _cò:s`c`-. oomoo o+oo scòoòo
:c- ccè- so`csmè- m`- og:oè . scòo` mè-
o`m o:còmso cc o_`mo:` g :co` m`c-`-.
sso o+- scòoo:c:m_ o` g o_`m_` mèo:oco
_s:o_o. -` s- moòe so:c` scòo` mè-
omòom me o:c` gmo` -`s`_ oo cmc- og gcm -
(-:om mso-,. cc+- m soòs ooe m`c-è.
se:o`g- m-:m`g- _s` g -:omm cc+- m`c-`_
mog scòoòe mgo:m co oo cmc-
gge. ose so` mè- meogso o:còòo` so`
`secs -om- ooe.
ooooso mo` oem` mòso- ac`_ scòo`mcò
gcès:o-. -` gocos oem` o` c:c`m`s-. -è`s
om`_è` o:s o` guòo:q-. so:m` mmo_
g- ooe o-:_ceq cò- gs:m`è . cmc- -ec- ooc
s m`s m`-. -e_m cc+- s mo:-m-
o`m:m`. goòo :co:m` oo_`c _uoe_`_o:s
sso_ scm`_um` c-:m` g`_ co-co` ocoe. soòs
mè- oo_`c- -`-cm` o:soecc+- _e:oc-
-`c`me. se:o` co+- oeo -`mooo` o-o o:oo:o.
co-- ouo c`m- so` oogo -_`go:o se:o`gos
co+-. uo` -ug- geg- o:s_ o:em- gs:o-.
osm:co:s o:sò`cm- oo_`s:o-. _s:oo ooom:o
ou os- oem` _m -:goo:_`m- so` oe
oo`__o- oo_`s:o-. m:`-og`ce se:o` _-
ce:o c-:o. c:es`_. oo`è` gc:+o:m:o m:o.
co:gòe:c o:o:_- omòe:c ocam-(s- uò ooòm:c
-:o-, gs:m`c`-. se:o` oc`_ ac`:oè . soc:
June 19, 2012
soèa`co: g_ m- g:m:o se:o` mocèo. ccc:
o`è- se:o` `m ooe. co:gòe o:o_òòo_ oq o
o:gm`mooe:oo go m_o- oè. go -:se m:s -:
-co_- cèg- cò`g- gs. ec_:e:mo... ec_: e:m o e:m o
e:m oce:... _e:m`c`- _e:-:`com- oso- cso-. -:`m
-oco o:m` co:eeoo:om- -:c_-o` sooc`_è.
-cm-co_ m- :+o c-:e- gom -:c_-oè:o-.
oòqo `m oce se:o` coooog gc- ooe
ooo- ocm:os smoè . mòoomc_:os ooe se:oò `
me. o:seoomooem:m:e- se:o` so o:è.
gcqe se:o` m:g`cco`s:-. -o`:-... se:o` oo:
:m -e oc- o+g` gc` o`goocooe
o`c+m`_c-:e`ce. c-:e c-:` omocg-
-:eoco:mg- se:o` o:oòo`_`s-. oce ou` g
oco:m oem`ceq`m:o se:o` se:o`__`m` _o. g
-_oòg-cm:c`_:o -o:- oòmco_
scòoo:ceo. oo: -m:mo_ -_
oògg`_se oeo se:o`gos cò`cc+o:m` :o`
o`c+m`_ c-:e`ce. -omoo coo smmoc`_è
oo_`co`m -`mgos gsm` ooq:c o`c+:mo- mèoès.
cc` s ogoc -m ao:m` :oo_. :q- c:g-
oo_`s`mo_ g o_om`cmco m::oce:- s_oo me`-òc:m`.
sc_: occm- sooo_soò:s moo:c:aom` mè-
o-:o`+ ooòo c_-- o-:òeoco. som:mo:m`
so`csoo`m m:-`mo: mooo`ce o:u e c-:e
o-:o`+ ooòo c- o:oco :o: m:a`_`ce__. gscm so
m`mò_e g c_o`m` -`s`_. oo_`m` oò so` o`c`_o:m
c- som so ``. g m-oòo ss`m:moè:o
o_` oo_`co`m so:c`g:m` oèo- -_n msoe
e`g:m` oèo-. o_` se:o`co+- o:oè . oo`_ soòo
:eò+oè:o socos -:gò-.

coe- gooooe mè o` ooooo`mos mcegmo:m`ce se:o`g`.
o-mo oo-co:m cmoa` g:c :e:mco` g
g:coo:m` _`co_. o`c-:c:am. sc`-oò-.
_uoe_`_ os`mo soòo :co:m` o:o`. ose o_`-
mo_-o` mè- so`m so _o`_ cmc`css` oe. goc-
sm+ o:m oò- sm`_:oò:ooe- seo:m-. o:eò _eò
o:oco smoo`m`mo:m`__ _e- o_`- -oòo: -o o m`.
June 19, 2012
ose gc:+ mso`_` mè- -`s- m- -ò:`.
-o-cm_oè_os soco nmog so`m`m- omo. som ass
g g:co`m _oeceo:m` o`c_è oò. ge è
_mg- oq- se:o`gòme c-c` se:o`co+a:còg g-cm:c`_
m:cs:s`c:mg- oq- mso` oces.

--..-.,.:mcc:a còo- mo_-o- :mcc:a nè: -o:mo

Kolkalli c: c: c: c:g` g` g` g`

ccgoòe oòà moo:m:cos gsm` -:coè_ cc m:s
o`cm:oo:o. c:g` c:es`g` ms`g` _eòm -e c-c
gs. _e: oem:oòe o_`gosm- -`mgosm-
`mo_:m`gosm- c:g` oe` -so:m o_o_:mgs.
ommg`, oc:, q`c:, ooq`c:, gceg`, osog`,
o:gg`, o``_q, oo q, `m, cgo- -oo- os`
so-co:g- gm c:g`m` gs. -a:mo:m- -c+o:
go c:g`m` -os:o_ooè- mo`g- o-`g-
go` - cc:os. goòm c:e:- _e -ome. m_o-
ogeo (c:g`:) oo` osoo_ oo`m oos`
o:s o:go` ssè. m_o- -cc:coèommc`_
c:g`:cos g o_o- oeo:omcm- oge.
sms`c:m- -oòm gme m_o- o`c:o:oeco:cs
g_m:m`mè:oe.

June 19, 2012
__ so se` c:n:oòo m:m:cc:-oo`m:m` , gc`
s_:m`m- m-cò o:g cm:ag` uòos:m`ce o-mo oo
o`:coò- o-o oc: 1850 g` ò_so`mo:o geoo
c:gòme oèm`coo_se. coe sooc`_`_
-c`mo_ oc: o:ggos sms`cm:os -o`m cc e c_--
mm:m`ce

Yakshagaanam- mc:m- mc:m- mc:m- mc:m-

gm_mòe oo:s m-m:moòe cc m:cs:s`
e:c_-o:o mc:m-. oo:soòe o`c-cocg:o
mc:moòo cm-. mme:- _e _s` mc:m- so`mo_se.
ccgoè :mocc:a o:oo:o mc:m- soceo.
_:soòe goc es. +`co:c. ga_`. oò es_e`
nègè- mc:m- -:coès. oo+oo`m:o
oa_-c:om-. `m- oo::c g- m:a:co:c`ce -ce
e:o:a_oo:m:o mc:m- -:c- cms`mo. m:m_co:g- o+oo
-u- g m_oc_-o`ms. m_oo- s`mmo- m:-ò_
June 19, 2012
nòòoooe:- ce mc:m- :mocc:a oo osc:_ o:o
o`cg` `ceso:o gc_:uo_o. :m c:a nm`_ -:m`
m_m:o mc:moòo -ò:o _e -omo_se. mò_`:e
co+ soò e::co: -e m:-:oogm- m_oc_-o`
sooc`_è. -:cmc_ommc`_ mc:m- c:o` ouo
m`sm`-. ogoè- esmè- g- _e- mc:m-
so`mo_se. mm_ os ou`m:o mc:m- gc-`.
mc:m- gc-èo`m o:m- oo`_o ocooe osms`
ose. mò_`:e co+goò mso: ogos oao
om`cm :m- ssè. -`m go`-:mg` mè- -c:og`
mè- ooè- mm:o m:a:com:m` mc: mo:m` sooc`_`.
cc soo:c m cc -:c-:oe -:se. goòm:_`_ o:o_:
omo:m o:o_ oue. mso: o:goòm:_`_ m_o-oge.
oogo`coc-:e_ emo:o mc:mo`m g-cm:cèo. m_o-
omo mso: m sooc`_è. -smo`m`sm mso: ogoc
oc_ m-m:cè__. :coo -:-:sm- geo:g-. oo:_òqg-.
cè go -cm:cè.o :eg` mo` g
m:s_mmo:mo` -os: somc- o:so`ceè . s:coo:
-c+o:ooe mo`co+- om:o omo`ceo. gmo`m
-c+o: os` m`ògom- ms s_m`m- omo`ce.
ge:o mo` m:-:oog omo:m` sooc`_ès.
mg`mos co+oà:moo smc`__ gsm:cog- `c`soo:o
mc:moè-. go`cc+oo -ooo smm oc`_è `c`so:o ms
acèo. o:so_ `c`s- so`me. oao -_ co-. _-
-cò- _uo-. -m os-. co:__. o:o:e. uo:c-. _.
cos. _oo`. èm _eò co+o`m-cm:cè.

Patayani

Patayani

June 19, 2012
Patayani is a week- long ritual dance, held in Kaali temples on the banks of the
Pamba river during the Malayalam months of Meenam andMedam (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 fewChendas. 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.

VadakkanPattu osm osm osm osm -: -: -: -:

os ccgo` gsoeso o`c:c:am:-co:m m:cs:s`_:sg:o
os -:. osc oem:oòe som:s. c:eom:s. omm:s
os`m -cocgòe gc` s_:m c-cc oc_:g`. -o_c-
os`m ooo:sgòe s_:m`gos nòcòo- sooc
-òèo:o os -:gòe m:c-. m:s -:gos
c_-oè_ os -: -:oo: ou`m:o m:os-
-c`_ooe os -:g` ooe -ome. os -:og
sa`c`_ m`coa` oem:ge_ò -ooò`m`s. os
-: m_q:sg:m` o:oo:u`m:m` oeoom` mè- oeoom`ce
-e ``mo:o. :e:mco` è _ce: oce:
oe`s::ooè- somè- oe`m cs-:s ge:oo
mèmè. -o`cmcu: -oòmc: m_q:sgè:o go
c`c_`_o. _e: goòe m:-:o so`m o-
nò`_`ceoc:o. oc_:g` o:o`c:o co_m` _e m:m
ooo::c- -o_c- o`s _e o`m ooo::c- go goc`
-oa. gooco`__ o`c mg:o os -:g` saò-.
som oc_:g`_:g- -o_c- -:g- _e- cs -:
mo:-:cgss..-,... oc_:g` ccom. gcc:o co. g_`m:_.
-:e: c:o. -:e: o`_. gcc:oe_`. -gm`_` m
_eòm a:c:g- o`c m:-:oog mo os -:g`
oso:-. go oa_:e m_co:_òe o:smòoc (-.,-..,ce`_è.

June 19, 2012
NayyadiKalli -m:m:s`g` m:m:s`g` m:m:s`g` m:m:s`g`

o_om:è- -c`mc-cocgè- coo`cogòe
-_ccg:smmm`_ -:o moo:m: msoòe`ce cc g`m:o
m:m:s`g`. :` m:m:s: c-:eocos co+- o` go
o`sco:o- oe gè. cs ogos`g:o o:co_:-co.
ce m`so- ocqo o`moo:m`c`-. m`s os` gsco o`
go_`_ oo`m os` o:s so` o:g- o:e. soè ce o`
-: -:s` g`-. co:g` cc oe`m oo:_ oò_`m`c`-.
-: s_c_: so ooe mèò_seom::-. o`+m-
m:a:com:m` m:m: o`cc+g:m`c`-. s_c_: oee
o`sgòe c_-m:mo:ocm- oq- -uoe -:gos::-. g`
u`mcm: o`sg` mè go sc`m- ome- oo`g-
me:mg:m` `-. cso` -_coòm- go cogòeo`
soòsm- o`moc` g`-.m:m:òm q`_q` go
sooc`_`:o_ m:m: o`g` ogoc cmco:o. -c so -co_-
me:m go_:m: o:oco g`_ s`__. m:m:`m og:o::
omc:oo m`cqc- èo oo gog_eo- m-- cceo-
:`ce c-:eo- :s`geo- :nmog cs`_ seo-
cso` oosòo_- sommo- soom oùoeo- somos
o`mcc:omooo:o ogoc oomo+co:os so cggè_csm-
o:gè_osm- oc_ om-. :`mmoòo qo- co:m
cc o:o_m:o go.

AAdivedi-gs`cos gs`cos gs`cos gs`cos

gocoem:oòe è -cocg` so:m- o`m:se cc
oog go gs`m- cosm-. m:a:co oogg` mè
o_o_moo:m` g oog oeo oo`m ` go. so c-:oe
June 19, 2012
cc cog`ce: :og`ce: o`m:seo`m -co:m` g oog-
ccc: o`sgè- mo` goe. -:_o`m- -ccoc+cmo:o g
ooggos ss`m:m-. s m-o- oo gs` coso:
gc-`-. gs` _e -:_o` co+- oeo o_: moo:moòe
`g- cos _e còco+- oeo oem moo:moòe
`go:o. cos go go_- oceo. o:moòo -o`
gcm:cu- gs`m- oc-.. c:e:cos o`sg` mè
o`_oo_se gs` coso: m:o:cogm` sms`m:m` os
o::oè . o` -s` _ocm: o:oco oso:
gc-`m__. cq os o:oco gs`coso: m:a:co
gs::o__. goc oem:oòe c:oò +cos nòòoo:m`
mmo_ g:co:o cos o`m:s.oòmcg:g- m_g` c-:o:oo
cos o: òg `:o:mo- .o`c+:moès:m oo-.g
g:coo o`mo_o`m`ce o:s c-:m` uò. _è-
èm`sg` ge- socc+ès. -oou o-mo o_` oò`.
mogo`m o`g oge -_o` :m_o`mcc+-. o`goos_`m
-:o:oeoòo gscogm`. oqoo o-coum- cm:` o`c_q:m:m`
c oè o`è`cè c:oò +oo o`s co:o-.
oso:`m_ cosoo oco cc -omo_ -ce.
`soòe cc:c-à sq:m:m_ g cos o`m:s cc
-co_ nmo`:coòo o:o- so:co:o. :+`m-m_o`mos
:co:m coe:gù:g mm- go_è :eo c_--o:s. g
g:c- ogoc moe:c e:c_-o:o. cos o`m:s: so:co_o
oqoo:uè cosm- c:oò _+` sm_o:om- c:o-
-ogos oèo:m c_-- -:-`m- omoco:os goc-:e_
g:coe:- o-cm:c- m-o`m:o. o-::co-
om-_o` -ome g m -:oocos omo:m:eo
m-o`_o:o. o-_ oge stmom -c``:m:m` -cocò
cosm:m- -:_o` coso`m:m- _oco smco:co:m`
oo+-o:o` :è_os mscm:. o_ _e smc cc :-e`mos
c_-o` stmom go`: oeòeo`. soòsomo`m còm-.
stmm- cccmom- sommoco:os :-e`m:m o_:mc oc`_
smcc_-oè:m` o:oe. ose -eòm(smcom, o:eoòo
so:coo:m`. so oeè_ moo` cosoo co-o sm
o:_:oo` om- om:m st. ooo oe` oeo m::
-cocòm:ooe o`c`_oò o:_ c:o`_ mooè. ose
stmm -:c-o:mo- m` -cocò smc-è.

June 19, 2012
Mohiniyattom-co:-`m`m:- co:-`m`m:- co:-`m`m:- co:-`m`m:-

*Photo taken from http://www.sanjuktabanerjee.com

'co:-`m`' _e o:`moo sco- mmc` _e:o.mmc`mos m_o-
co:-`m`m:-. e:m_-c`m:ce cc ccg`m c:mo`m m_oc_-o:o
co:-`m`m:-. m:oa:m- cuòc- oào_ c-cemg,
scocco:m ooog, o`:ccòo:m cmo:og _eòome:-
g co:-`m` m_ooòo -co_og:o. ccg`m mo`gos -cmc:co
omoo`m mo_co:m mo_oo:m` mocm_ egòo- mmcoo:m
oogo co+o:o co:-`m`m:o`coo. ccgoòe cccom:c c:mo`m
mo`m_oem:oo co:-`m`m:-..

co:-`m`m:oòo cocg o`co oe:e m:ooo -`m-c:o
gè:o. g m gom : ccè cooo:c- smco:c- cce
mò_m:_m- mee so_o _e oò_:+a- e`:m -:e:u` so.
_e:e -:e:u` sooso so_oo:m` smco:c sego.
m`c:cc:m cooo:cc:s smco:cè mè o:m so_o oòsso
me:ooe o-:o`+o go_ mee. mmc`m:m co:-`m`co+- -_s
o-:o`+o smco:oc mo`-`_. ooo m_oosgè smco:oc
June 19, 2012
om` co:-`m` so_o co:_`_ cooo:c o`c`_ me`. g m_o-
comcoc:m cooo:m`g smcò_e:o o`c+:m-.

soocooce` soocooce` soocooce` soocooce`

e:m_ -a:mo:m g o_c_em` m_o_c`- o-:oco c_-c:ccm
-a:mg:. o:o, no`m+c-, -o-, -ooo-, oè:m _eòm:o
ge -:coè_ co:-`m`m:- gm. o:o _e m_o-
m_o_o_o`g:m cò-:ooò:oc moo`_ o:s ose.
o:egos mo:-:cg- -om:-ò_o- ce e:m_ -a:mo:o
o:o. co:-`m`m:o` o:o- :o:oe c_-o:o o:o.
sso cm:n`_ :o- o:sm- o, oom, :e, _g,
c`c_ os`m s-cc:-:-coo -c`cm:os e`_`m- coo-. ccc:
ssog- o`co:mg- uò: :c` _scso:o. -oc:
-:o- ge`c-:e :c` co:-`m`m:oòo -co_om:o.

co+oà:m- co+oà:m- co+oà:m- co+oà:m-

co+oà:mo` mo`-:eo è -c`+:c oco`m`s.
cmoou- mom:c` oo:oò_ scm` ca_:o- o`, moc o_
g:_ acè. oeos` gso:c- o_ oo o` -_o:eo:s
sec`m- omq``, :o`co:s(o), uo` :co:e,
-_o:eò:e _eòm- so`me. oa- :m- co_:o mo` c-co
oceo. goc- co+_+:oò:s- e:m_-a:mo:m oceò:s- g
e gm+:ocos co g+è.

o:o_ o:o_ o:o_ o:o_

oo:e- om ooc cm:-:mcò`mè_ o:m_:-, oo:_òqg-, oò`,
os`m o:o_go:o g-cm:c`_`ceo. ccg`mo:gg:o
co:-`m`m:o` -c:oe- cc`m`ceo. _e: ge o:s
m-còo-, o_o-c-, ome`, ooo` os`m o:o_g:o
g-cm:c`_oceo.

June 19, 2012
Mudiyettu

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 emon 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 ofLord 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.

ceecs`

-:e:s nèmòe s_:s`(scg`, coaemòe gcg _e goò:m`
o`:coòo m_oo:o ceecs`. cs`m:- _e- go`m c-cs.
mo_-oòe _e:oc- go` mo`-c+coocm_ -ose. o`ccm-
-s`_è m-m_oo:oò. go`m so_o`ceoo o+oo
June 19, 2012
-uoose coe. oe`c+c coo` còc:o` oòm- g
m_o- sooc`_òs. ooo-ò`- oc`_ocos goc:m`-.
cos`m:o goo:eo cs`m:- sooc`_èo. -o -oò_e
c- ce: g m_o- sooc`_` ceoe ..cs` ceoe..
_eòm -:sò:s oo` mo`-c+o: gsee mè
osoo_ g`-. co+oà:m ceoè . goò:m` os
o:oo:o o:o_o:m` g-cm:cèo. oo`mue- oè- èc_:
g-cm:cè. mso` o`_` so`m qo:o s`gèo.èc_:
-e- g` ms:os. :oo` m`_ cg o__. o` o__
.sm:o gcòe m:o__ _eò ceecs` m_ooòe -um:e
gc:o:c:m`ce. om+_m- :cs`m- oeè_ qoe:o
m_ooòo -com-. mò_nòòo` gcg cmc`se o:s`m
ocmo:m`cò- cs`mos ce_-. m+m- go:m cmo`ce cs`
oceo- soòm ooeo-. soo:m` qoeo-
o:eeoooe:- oòà g:m` m_oo`_os sooc`_è.
o:g:oo:m os -oco se_g- s-:mg- c-:c`m
o`g`g- m_ooòo :co:o.

Krishnattom - _+om:- _+om:- _+om:- _+om:-

June 19, 2012

ccgoòo omoe _e o`c+-mò`m:t`_ mg`mos
o_eem- ccg`mo:m go_oo m_om:soo:o _+om:-. AD
-o`m:o:- m_qsòq osoè:o _+om:- gs:mo
._+om::c c-co sooc`_èo c`_+ooq mm:o
.'_+oc`m` _e _oòm gm-oo:`m:o g
sooco-._+ocòòm s_-o` _e -omcm:oe _+om:oo
s_-o`m:- _e- -ome. cco:m_ coo` cc -a:m
June 19, 2012
ou`-:s:m` _+om:- mso:os. _oòmoo g`m:o _+om:-.
_m:u` __, _o`c`, _ ` , _m:u` cmcoo g`, _
sc -o- _eòm _ ce_ og:o
_+om:o`m_o.

cò- cò- cò- cò-

c:u`c:s m:o_o`c`m:m`ce o:mcoom: (1595-1658 _.o.)
cò_ _+ocòòme :o_o` mè gsoeso e:c_-o:o
_+om:-. 12-g- m_q:sòe m-c:g` o`m:m nmcoooo
cò:cc:o`mo`m os-`s`_ cò_ _+oc`m`mos
o_c_:o`+:c- 300 - -c- o+ cc+o:o ge :oe
_+om:- geo.

sooco sooco sooco sooco cò` cò` cò` cò`

c`_+ooo soo:c- oo m+_:cc:-o- oocm_ eè _
mg:m`:o sooc`_`_oceo. _ c:o` o:s gs`
o`:oe cò`mè:o _+om:- c_--m omo`cèo. go
o-:c- 'soo:c-', ':g`moqm-', 'c:mà', '-moa-', 'm+m-oc-',
'm:omo-', 'oòòoa-', 'm+c:cc:-o-' _eòm:o.
cm_oe:oo :co- _e:mc_:u- m+_:cc:-oo`m cc+-
'soo:c-' _s` gs:os.
_`m:o` mè se:co- omocò`g- m+:-c`c`_
_+om:oòe -a:m o:co_:-co- gsmm:o. cooqg-, c-a,
geo:g- _eòm- g-cm:c`_ :o:-. mg`mos -e s-cg-
_+om:o` mè m+`c`_o:o (ce` _so -`-::,
`c`s:e:c- go_:o`).
_+o:oòe c-c:ooco_s mgòmc_:oem:ooe -om:-.
cg`, sccg`, co:sm-, -o_:s _e` go_ s
_+om:o`m- gs. _+om:o` o`m co+oè_
mo`co+g:o -o_:s sooc`_èo. mmòe go_c-c- ooem:o
-o_:s. c-c:oocommo:mgè- mg`m`mè _+om:o`m
-e o_o_:mg- gs. mg`m` ms mèo`g`m om`ce
c-::oè . -c _+om:o` o`gòm q`m_ m_o- -oòs.
_+om- momm-, _+om- oeo:c- oeè_ c-cgè-
c:màmè- :g`moqmoè- o`g`m om`ce oe_ m_oo:o
June 19, 2012
m-oà:m- omo`_o. _+om:- -a:mo:m- e:m_-a:mo:ooè-
_+om- oeo:c- oeè_ c-c- o:oo-a:mo:o.

oo`-_- oo`-_- oo`-_- oo`-_-

_+om:oo_q`m_ -e oo`-_g- soòo oò_o+-
oo`_èom:o. c`_+oocmo`m cos` o:mcoo
oè+o-ceco:s s_o`_ooe-, som cco:m_ ooò
gc_:u_ _omeoòo :cos:m`ce geoòc_o`
g_`_+ooo ocm- c:n:o`ms:ome- go`cm:os ge`-cm-
og:m:oc_: co: s-o_o:omeo:o oo`-_-. oè+o-ce-
ocm- oc:cm -oo`_ooe scc`c` sc_: c. m:m
o:mcooc:n:o`m co:oo cc -èò`cos` og` `m- g
-èò`cosò:s _+ooo `c`s- gs:òme- so-cm:c`_
s`mmòo_- _+ocò` c`_ooeo_ oo`-_- g emos
`:ooo :oè. co: -o_o_ geoòcoòo cc
o:m g-cm:c`_ omc: m+m- oo:s mè`_
m:ecc:-:eo`c-- om` o_ -_n`m-, g o`c-oo m-cm:am
omo _+ocò` _uom- omo. _+om:oòe `c`sg-
o-:m oag- gcog- _e:- g geoòc-o:s
mè`_o:o _e:o oo`-_-.
ooq:c ooq:c ooq:c ooq:c oo`-_- oo`-_- oo`-_- oo`-_-
o:_`c:n:o- m:o_o`c`m- oe` -s coomè:m`ce. gsm
m:-:qo` uò:eo _+om:oo o:_`m`ce o`_.
-moa- gs`m oòm- oem:-à- c-co mm:oo:m` cc
o:mm:mom mò: o:_`c:n:o c- o`m`ce. m:o_o`c`cm:s_
sm_mo:s- _+om:e::co:oc -c``:mo:m`ce go.
omcmos cc:-co+:co` _o`m :c- gsùòc_: _+ooo
co+- o`m`ce msm cc:coc- gs:m`. nòm_ gmmos o:m
-oò_so _+o -moao`m:m` c:n:oòo cmcc ssoc_:
g`m:c: _+ooo os` suò_sooo:s s-s-
m-o`_òee- -omo_se. o:m:e- so`mcc+- ogoc:e-
o:_`c:n_o _+om:- gs:m`è .

m-cò- m-cò- m-cò- m-cò-

_+om:oòe m-cò- m:ocoo:e:-moom- _s`m:o` :_:cos
m+cèòmm- smmoc`_o:s:o gs:m`_ooe
June 19, 2012
smo:m`cs`m`cè. -c cco:m_ ooò c:
u`meo mg`m-còo:o. _so nm-ò` cms: cos`m_ g
-c`+coco:s _+om:oòo omò :om_òooe
s`-:mo_o o`cm:n`_:o_o. ccgoòe
cm:-:mm-còo:_o:o _+om:o`coooe so
s`-:mo_se. cooqgo- oo:_òqgo- geo:go- cem-
cegg o:g-cm:c- _+om:o`m o:u__e.
mg`mòec_:oe _+om:o` -: goo`_ -:s:oè .
-o--o`m_ s`mm- _+om:o`
goc_oè:ooo:s_s`m::oò. _+om:o` -:
-oè:mo- msm m_o- og: _so mmo- m:c_o-
o:s: _s`m::-.

co+oà:m- co+oà:m- co+oà:m- co+oà:m-

s_:mo- uò- g_ g- _+om:o` co+- o:-.
_+om:oòe co+oà:m c_-o_so`mo oè+o-ce-
m+:o`m:m`coee:o oo`-_-. `c`so`m- oog:co-
_s`m:co+cg:s m:o_c_os. cco:m_c` _+om:co+og
mg`co+cg:s coc- oe_o:`m:o sooc`_`_ oceo. -a:m
mo`co+g:m coo`- coò`m- c:am- `ms.

s_:moo s_:moo s_:moo s_:moo

coc- go om_è:o gòg _+om:- s_m`_`_
oseo. -oo+oo m`cmc s_:m- coo-.
`so:mm:gg` m:-o oòmoo gu`_`, oog_: :eo
m:eoo` _ m:ao- oom m:ao-, cec oo`_ cmc-
osm:a-, :eo _oo` oo -oooòoc s_:m-, o`s-
_m:a-, o:g-, o:mo:c` _eò. ose o_e ooòo
o:e`m:-, oocec- gooo` cooòe o`-:c:amm om
coo` oe m:on-- omo oo:uo cc+- o`s- gc`m` c-:m`
s_mm-. go:o s_:m oo.

http://www.youtube.com/watch?v=MTV91Mgh6Rc
me cmo:o _+o:- :o:m! cco:m_c smeoè so mse
momo_ cc -co_ mao- ce- om_è:oè _oe g__
June 19, 2012

Krishnanattam is a temple dance depicting the story of Lord Krishna through symbols and face
expressions. Presented by Guruvayur Devaswom dance group on the Ekadasi day at Kozhikode.

Thiruvathikalli -o`co:o`cg` o`co:o`cg` o`co:o`cg` o`co:o`cg`

ccgoòe omògos omo:m m-m_oe:c_-o:o o`co:o`cg`.
amo:moòe o`co:o`c ccg`mc gooo`mo:o.se mo`g
o`co:o`c gè.o`co:o`cg` om- cc+o- oq è
sg_s` gs.-s oòccgoè o`co:o`cm:c:+-
gc-oòm oòm- m`smè`ceco.sc+o` m:g ooe
o`co:o`cm_ gc:+g gs:-. o`co:o`cm:c:+`cm:g
mo`g _o:m` -ec- ocm gò:m c-:o-.g`:m c-:oe
momo`mos è o-. ...:co`m:g : cm- ocm,o`co-
m:g og goc- ocm,o`co:o`cm:g c-c goc- ocm..._eòmm:o
. mm-,:m,o-,oo+`, mèo`g _eòmo:o g`:m
c-:eo.g` uò go:e:-. -e:u`, o:oò_mu,o:e`-è`
ooe:m o`cm:og- -oòs.o`_ oo_ mèo`g`m q-
mè:o o`co:o`cg`.m:a:co -e:o o`co:o`c g`.go_g`
co-oòs _e:o -om. mcm+o`, _+om, -cocòm os`m
coomo:oc moo`_ uò:e oq o`co:o`c_:g -:s`g`-.
oo:m+o:mgos :co:m- se:oom- sooc`_ò_se g m_o-
omò oo`m m-g:m:o sooc`_èo. oo`m
June 19, 2012
o_o_:mcg:osm:ooè- oo:`g`, e`g` _e` c-cgè-
g e:c_-- so`mo_se. moò- o-cgcoo:m o:mo_nòò-
-o:m- oge ce:o g m_o- _e:o coeo. o`co:o`c m:g`
c:o`m:o g g` sooc`_èo. o-`gos -:m-_o`m:m
cc+o_ go_oo o`co:o`com -_o`co:o`c _e- oò:-o`m
cc+o_ go_oo o`co:o`com -o o`co:o`come- -ome.
oo`-_- oo`-_- oo`-_- oo`-_-

-:oo` còom o:o:m` e`:m:m` o`mo:m o-_ ogm-
cò amo:moòe o`co:o`cm:g` -:ooòe` -o_o_
o:o:: meo`m- oge. go:o m_o:c- mo-ce`g-
o`co:o`cg` sooc`_`: :coooe cc oo`-_-. :ocoom-
còmo:m` mmo_ ooq:c oo`-_o- -:coès.
-:oo`mo:m` smc:c- co:e:m:m` còm cm somgm-
cò c:ao` :ocooom o__ ooe o-`_`m- omo.
:ocoooo :c_ co` -:oo`cm:s ms- ac`_`m- -:oo`
o`co:o`cm:g` oo- sm+o`_ -:o`_: :ocoomo:m` o`s-
coo:ooe oc- o:sm- omo _e- soòo
os_m:m:o ge o`co:o`cg` _eo:o o`c+mè.
sg- sg- sg- sg- g:cg- g:cg- g:cg- g:cg-

-c:om:eo o`co:o`c m:g` os` sso o:m- o`co:o`c ooc
28 oòm- g mom- sooc`_`_`ce. èmeg` 11 oòmoo
-c`-:s`m:m` amo:mo` sooc`_`_ oce.
o`co:o`c m:g`m oeoo om`c_- m:g` _:s` _e o`gè
-co_ -m_:-:c- uèco:os s gc-è. cm, cm,
:_`, :m, ù, -m, -om:c, co _eòm:o _:s`mos
cco. go ocee c:o`m:o uèo. _e: g s ge
gc`:oè . oo_o- c`` oo_oo:o s`.

- o`sè oe` oc-+- ccac`_ ome.
m_c_:moomo`mcc+o:o o`co:o`cg` gc-`. soc:o`m`
o`co:o`c mooo`_ uò: mo` _:oc-_o-
-: -:sm- oc-+- s_o-ce_co:os:_- mèo`g-
-`s`_ o``ce o:soce. -è`s g -+- so os`m`
acè. goòm -:o`c:____s _e:o -om. ccc: -_o`com-
coooo:oc mooè -: -:s`m:o -__sèo. com-
June 19, 2012
_os:o:os.
o`_ cc mèo`g`m q- oo` -:òo o:goòm:_`_
o-` -cm-c- oo:ò:s m_o- oge. m:c`m-
g:mo:o o`co:o`cg`m g-cm:cè co+-. o`co:o`c
gè o-`gos m-o`m cc m:m` :o-. m:m` go_oo
oc` -:sm- m-- sco oc` q-:sm- oge. -:òo
o:goòm:_`_ m-oè_o osomm- o o:m-
oge. e:m_:oo:o g`mèsm`g- mùe`_m`.
-_ncm:smmm`_ msoe g`mòe os ogoc egòo:m`c`-.
go -c`moè:ooc-:e- g`m` -os: m:c_coe.
o`co:o`cm:g` c:oòe _ucee mo` g`_
omooso mmo` oo:se. c:oòem_ g-:c- -u- -u`mo-
-:e- o:oo:m`c`-. seoo oòm- -è`s ooo:o. o:-o`m
c`` oo_- o:oco s`m__.
g m:s_c_-oòo osg- osòg- m_q:sg:m` o:qoè:oo
osce. co-, o`co:o`c os`m gc:+:omcgè:o m:a:co
g g` ms:o_o. mm_o`c` moo:moòo
oò:-s`smè- go sooc`_`:os. -um:eo
o`sg` o`co:o`cg` -o`_`:m:m` -co_- gc:o:oco`m`ce.
g gc:o: cc m-- omòog -o`_èoòm:_- cce: ccs:
gògm- -o`_`-. g g` g`m`
-osmòeè- so -è`s g`m:c:o:c:mò`c-.
o`co:o`cg` o`co:o`cg` o`co:o`cg` o`co:o`cg` -: -: -: -:

o`co:o`cg`m o:o- g-cm:cè a:c:g- c:mgs.
gmmòe -og- g-cm:c`:os. go:-coo`m "o`co`c:s
o:c o`c:"(goc:m+m- oc-), ":e+_- g m`" (aocò-),
"m:oa:m cà:co" (c:oo o`nm-), "ce::a`-: :m:" (om:c-),
"s:oeom- :o-"( mgcò-), "ooo o:c` coc" (occ_:amoa-) .

June 19, 2012
KathaKali

Kathakali is the classical dance-drama of Kerala, South India, which
dates from the 17th century and is rooted in Hindu mythology.
Kathakali has a unique combination of literature, music, painting,
acting and dance. In the following pages we have placed photographs
and videos of Kathakali performances and songs by famous Kathakali
singers.

Kathakali literally meaning 'story-dance' is the dance-drama of
Malabar which is now culturally and politically known as Keralas
soul. Kathakali traced its origin to the ritualistic (tantric) period of the
Vedic Age and connected its growth from the popular, folk dance
dramas. The early Malabari danced in the forests: His dance was a
power- a mixture of his passions, erotic pleasures and inner talks with
the beauteous Nature, and his natural and graceful movements,
elaborate gestures, picturesque costumes, grand harmonic make-up
suggested by herbal plants of the forests and the vigorous and
triumphant music emerging out of the crude instruments
manufactured by him.

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June 19, 2012

History

It was believed that Kathakali was conceived from Krishnanaattam, the dance
drama on the life and activities of Lord Krishna created by the Zamorin of Calicut.
The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of
Kottarakkara who was attracted by the tone of the Krishnanaattam requested the
Zamorin for the loan of a troupe of performers on the eve of some festive
occasion. Due to internal feuds and political rivalry between them, the Zamorin
refused to send the performers and insulted with the remarks: It is useless to
depute the troupe, because Kottarakkara Thespians court would be neither able
to appreciate nor understand anything of the highly artistic Krishnanaattam and
the high standard of the performance".

Here the political rivalry between the two chieftains leads to the art rivalry. So
Kottarakkara Thampuran initiated a parallel mode of entertainment, which he
called Raamanaattam which was later transformed into Aattakatha, and yet later
into Kathakali while Krishnanaattam based on the story of Lord Krishna's
activities, Raamanaattam described the complete story of Lord Raman.
Krishnanaattam was written in Sanskrit, "the language of the Gods".
Raamanaattam was in Malayalam, the language of the people. By the end of the
seventeenth century, the finished product of Raamanaattam was placed before
the world under the tittle Kathakali.

The costume of Kathakali has been much influenced by Chaakkyaar koothu and
Koodiyattam the two older forms of dramatic representations in vogue in Kerala.
The history of their origins dates back to the period of Perumals i.e. much earlier
to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting)
and the use of Mudras (hand poses) and gestures were bodily adopted in
Kathakali from them in addition to its borrowing and refinement of facial make-up
and costume. The use of colour, costume, and make-up present a unique show
and create an unearthly atmosphere. Kathakali became more attractive and
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popular than the Chaakkyaar koothu and Koodiyattam. Moreover , its
performance was not restricted to the precincts of the temples. Kathakali had a
golden period between 1665 AD and 1743 AD.

Remarkable contributions were also made by Kaartika Thirunal, the king of
Travancore, to Kerala's literature, art and dance. His efforts were also directed to
popularising Kathakali among the people. He instituted a tradition of arranging
Kathakali performances at various festivals and on the Navaratri night

Makeup

The make-up of Kathakali character is peculiarily native to the Kerala folk-art. In
folk theatrical varieties, huge marks and make-ups were as much prevalent
during the historic span of time. Elaborate make- up heightens dramatic effects.
Colour symbolism reflect certain categories of emotions and gunas. The green
colour represents Saattvika reveals godliness, white represents spirituality. Red
represents Rajasic reveals violence. Black represents Tamasic reveals evil.
Yellow represents the combined character of Saatvika and Rajasic.
ThusKathakali characters are grouped into five major role-types, each having a
specific make-up and costume. These role types
are Minukku, Paccha, Katti,taadi (has three varieties
viz. Velupputaadi, Chuvannataadi andKarupputtadi) and Kari.

Minukku is the polished variety of facial make-up consisting in smoothening the
actor's face with a coating of a mixture of yellow and red pigments. The
composition obtains 'a self' (or natural skin) complexion colour. It reflects the
characters usually found in Brahmins, Rishis and Virtuous women. The eyes and
eye-lashes are painted and contours elongated with the black unguent and
greasy collyrium. Sometimes the face is decorated with white or cream colour
dots, running from the cheeks to the fore-head in a bow-shape. The lips are
reddened and the forehead is decorated with a caste mark. This colour scheme
serves to give a symbolic glow of piety to a devotee character. Women role-types
are given delicate touches of the make-up.

Paccha or predominantly deep green face role- types, are Gods, celebrated
mythological heroes, and virtuous personages, symbolising inner refinement
poise, heroism and moral excellence. This include heroes of a play and noble
characters, Indra, Krishna, Rama, Lakshmana, Bharata, Satrugnan,
Harischandra and Nala. The front part of their faces is given smooth deep green
base on which chuttis (white rice-paste curves) run from the centre of the
chin,covering the lower jaw, to either side of the face. The eyes and the eye-
lashes are painted black and the lips bright red. It assumes the shape of a broad-
blade saber or of a sweeping curve of a bow. The forehead, above the bow-tie
shaped painted portion, is covered by a red ribbon of the gilded head gear.

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As compared to paccha, the make-up of Katti role-types is complicated. This term
literally means the knife, because in its make-up the shapes of colour positions resemble
sharply bent daggers. Evil, demoniac and fierce characters standing against the hero of
a play. Pratinayakaas such as Asuras (the enemies of the God's) ambitious and
arrogant Raavana, Keechaka, Kamsa and Dussaasana are distinctively treated with this
make-up. Their faces are given a foundation with green colour, the sides of their noses
are painted in red. The red paint round the nose rises up to the forehead above the eye-
brows. It is like a patch, an upturned moustache, covering the upper jaw. Its border lines
are treated in white. On the green base of the rest of the face, a chutti runs along the
jaw-bones from the middle of the cheek. Two white knobs, called chuttippuvus, are
placed on the face. These vary in size with the degree of the fearsome appearance of
some demoniac characters like Raavana andDussaasana, two long protruding canine
teeth(called dhamshtras)are perched on either side of the mouth. These drop over the
lower lips. Katti make-up characters stand in a singular position.

Those who have the taadi (Beard) make-up are again, good godly and evil-demoniac. To
differentiate one from the other, three taadi make-ups are in vogue: Veluppu taadi (white
beard), Chuvanna taadi (red beard) andKaruppu taadi (black beard) In these make-ups
white chutti is not planted on the face.

Different Kinds of Beards
Velluppu Taadi (White Beard) - It consists of a white beard and a fur coat. It is a realistic
make-up for characters like Hanumaan, the son of God Vaayu, and other monkey sages
and warriors. The upper half of the face-the neither part of the eyes -and lips are treated
with a black ointment. The chin at the middle is decorated with a white rosette, bearing a
red dot within. Red paint is applied to the lower part of the lower lip, up to the chin. A thin
coating of chutti decoratively encloses the black-end part of the face and meets
the chuttinata - the hem of the head dress. Another white pattern develops on either side
of the cheeks and circling the red spots, starting from the base of the green painted
nose. On the tip of the nose and the forehead two oval-shaped spots are given in red.

Chuvanna Taadi ( Red Beard) - This make-up is given to hideous characters. The face is
painted red, with black contour lines drawn round the eyes, lips and chin. This adds to
the ferocity of less evil characters like Baali, Sugriiva, Kaalakeya andDussaasana. The
eye-brows and lashes are not elongated, no chutti is applied to the Chuvanna taadi. The
face is dubbed in red and treated with black lines. Around the eyes, almost a square
patch of deep black colour is provided to give to the eyes a fiendish look of a evil
designer. Lips painted in black, are given a hilly curve to give the role type a lucid image
of a beastly character. Running from the upper lip are two white paste bristled rows
throwing the black patch round the eyes in bold relief and adding ferocity to the fiery red
eyes, and demarcating the black portion from the remaining nether part of the face is
red. Chuttippuvus (white blobs) on the tip of the nose and the fore-head are bigger in
size than those put on by kathi characters. It is the most impressive of all make-ups
in Kathakali.

Karuppu Taadi ( Black Beard) - The third type of bearded characters make-up is with a
black beard and coat. These characters include Kali,Kaattaalan (hunter), brigands and
robber chieftains. In their make-up, the face is first coated with black unguent. The eyes
are bracketed within oval-shaped white border lines, the area between two such lines
June 19, 2012
being painted in red. Small white bristles adorn the ridges. Lips are in red. The tip of the
nose bears a chuttippuuvu.

Kari - This make-up reveals the vile and evil characters, such as Suurpanakha and
Simhika. Their faces are painted in black and the cheeks have a red crescent in the
middle. A pair of damshtraas are provided. Shiva in the role of Kiraata (hunter) is also
given this type of the make-up.

A remarkable feature of the Kathakali make-up is the reddening of the white of the eyes
of all characters by putting in a few young seeds of chunda puuv (sollanum pubescence)
crimson eyes stand in contrast to the colour scheme of the face. The practice is usually
followed in pacha and minukku faces.

Kathakali make-up is an elaborate process lasting for over three hours. It helps in
giving a super human look to the actors. Whether it is a man's make-up or the woman's,
the work is conducted by a make-up expert. Paints used in Kathakali make-up are
freshly prepared and applied to ensure correctness of rhythmic curves and precision.

The make-up of the male characters other than saints is tedious. The role-type lies flat
on a matted floor and the expert starts drawing 'the designs' on the face with a thin rod.
The face part being complete, the role type gives the finishing touches himself.
Thereafter he stands up for putting on the costume. The skirt is a well starched and
pressed into-frills garments. But before the skirt is put on, the actor ties 20 to 40 pieces
of short cloth round his waist by the help of a long cloth twisted rope in order to give the
skirt an oval shape. He then puts on the jacket, etc. The finishing touches to the costume
are given by the costume attendant. The actor is profusely ornamented with garlands of
beads, armlets, cupped mirrors etc. Fully decorated , the actor gives the last minute
touches to his make-up with the help of the cupped mirror. His head-dresses are huge
and often unwidely .These are tied by an attendant.

The last part of the costuming is the tying up of the anklet bells. Women fancy to have
the silver paijaebs (an ornament) and then tie the bells. In the case of male characters a
decorative woolen is tied immediately above the anklet and the bells fixed on a leather
pad or tied right below the knee.

Kathakali make-up traditions today widely differs from what it was in the seventeenth
century.

Kathakali performances
Kathakali performances are not confined to a temple's courtyard; they are held in the
open under the sky. Before a performance begins, chendakkaaran the instrumental
musician, beats the drum to announce the news that a dance -drama will be held shortly.
This nervous and insistent tattoo' is called Ke'likottu. The village folk-men, women and
children begin to assemble and crouches on the land in a circle around chendakkaaran.
The night's 'stadium' has the covering of a clear, star-studded sky; cool breeze rustling
through the jagged patterns of palm fronds, children wandering back and forth aimlessly
or running to a hawker or pestering their mothers or aping a character of a previous play;
people discussing a role-type, an actor, a character, a story or a matter of current or
religious interest. And those among the audience who are tired from the day's hard work
on their fields go back and sleep until they are awakened by a relative or a friend or by
the noise from the stage, to witness the favorite hero play or a climatic battle scene.
June 19, 2012

In its indigenous form, Kathakali has no stage in the modern sense. The centre of the
stadium is the stage provided with a huge brightly polished brass lamp of coconut oil.
The audience sits in darkness.

There are no back-curtains, no stills, no sceneries. But behind the lamp there is a simply
designed 'tirasila', a rectangular silk curtain, held by two members of the troupe. Actors
who have to appear first stand hidden behind it. During scenes the curtain is dropped to
the ground and removed by the two men. The job over, these men go about on other
errands of the stage, like pouring oil in the lamp-well ,adjusting the thick wicks which
constantly threaten to gutter and burn out, arranging the banana tree trunk support
against the wicks gliding down in the well, and assisting the actors on odd jobs. The
stage is also provided with a small stool. This is used for many purposes. For instance,
in the 'curtain look' the actor stands on it; on other occasions an actor may rest on it.

Musicians stand in a half circle behind the actors. They number four to twelve. Musicians
do not wear any special costume. They are normally bare-chested. The actors are
profusely dressed mostly in billowing skirts, crowned with massive head-dresses and
provided with the accessories of the face and finger nails. The 'actresses' are adolescent
boys, for they are nearest to feminity and have simple dress.

In the repertoric of its technique Kathakali has seven items to be presented in the
following sequence:

1. To'dayam- the basic nritt;
2. Purappaadu- debut of the hero and the virtuous character;
3. Tirano'kku- 'curtain look' by evil characters and demons;
4. Kummi- permeable for the female character's appearance
5. Kathakali- the main play
6. Kalaasham- a passage of vigorous dance which serves as a hyphen between two
pieces of verse-play and
7. The concluding benediction dance

The dance drama begins with the call of the drum which has rent the air at night. The
audience is alerted.

Tirasiila is drawn by two men. Music begins. Drummers display their cleverness.
Religious songs are sung. They purify the atmosphere. And dancers are behind the
curtain. The preliminary dance behind the curtain is commonly refused to as Purva-
ranga by Bharata in the Naatya saastra, in the language of Kathakali it is called
To'dayam. The basic technique of Kathakali lies in To'dayam.

Purappaadu or the debut, signifies the first appearance of a character on the stage. It is
a piece of a preliminary dance. It serves to announce the virtuous qualities of the hero. If
a demon is to appear violent drumming of high pitch drums is incessant. The curtain is
drawn as high as the arms of the attendants can stretch. The whole atmosphere is
surcharged with earth-shaking and hair raising activities. The sound of quick and heavy
foot steps can be heard from behind the curtain. Its synchronisation with the sound effect
of the drums heightens the climax. The entire climate forebodes that a terrific personality
is about to appear. Suddenly a coloured canopy appears over the curtain and a rumbling
growling noise is heard. Drums burst into shattering sounds. Here is a shrick, and there
June 19, 2012
a groan. But before the eyes can catch the character, fingers are seen rising in the
centre of the curtain. The left hand fingers are covered with long thimbles. The two
hands are kept about three feet apart. They clutch the curtain. Fingers glide across its
top.

There is deafening drumming; but no singing.

To the accompaniment of the drums, the anti-hero shakes the curtain violently, and
breathless the audience catches an occasional glimpse of the top of a glittering head-
dress, which seems to be gyrating madly in some internal whirlwind. He pulls the curtain
towards him; then plugs forward and fans flames. With gusto, the fire illuminates the
character's face and enables the audience to spot him out by his weird makeup.

The feverish pitch of excitement over, the curtain is dropped and the whole figure of the
character emerges after a great deal of suspense. The curtain is pulled off the stage
from its right wing. Thus develop tirano'kku or 'curtain look'.

For male anti-heroes Tirano'kku is prescribed and for female characters there is another
standard dance called Kummi. In it gestures and movements are modified and
smoothened to lend gentleness and elegance. so much necessary for feminine
characters. Paces are slow; roles are passive and subsidiary.

Kalaasams are pure dance passages performed in pure taandava style. They punctuate
two verses; two scenes. It is here that in Kathakali an important role of nritta is
discovered.

From the sequence detailed Kathakali's basic characteristic of a dance-cum-drama is
unfolded. How the various limbs of sangiitha have been synthesized to bring about an
underlying unity of all Indian dramatic arts in Kathakali is unique. It is the only form of the
histrionic arts in India, which adumbrates in principle, the three essentials of the Sanskrit
drama, naatya, nritya and nritt.

NAVARASAM
(By Kalamandalam Krishnan Nair)
Photos: C.V.Sukumaran, Kottakkal
June 19, 2012

1.Sringaram
(Amour)

2.Hasyam
(Ridicule)

3.Karunam
(Pathos)

4.Rowdram
(Wrath)

5.Veeram
(Valour)

6.Bhayanakam
(Fear)

7.Beebhalsam
(Disgust)

8.Athbhutham
(Wonder)

9.Santham
(Tranquility)
June 19, 2012

Coutesy: http://www.cyberkerala.com/kathakali/

KATHAKALI MUDRAS
There are 24 Basic Mudras (hand gestures) in the "Hasthalakshana Deepika", the book of hand
gestures, which Kathakali is followed. There are 'Asamyutha Mudras' (that is shown using single
hand) and 'Samyutha Mudras' (mudras shown in double hands) in each Basic Mudras, to show
different symbols. Considering all these Mudras and their seperations there are totally 470
symbols used in Kathakali. (The details of each Mudra are given down)

1. Pathaaka (Flag) 2. Mudraakhyam 3. Katakam (Golden
Bangle)
4. Mushti

5. Kartharee
Mukham (Scissor's
sharp point)
6. Sukathundam
(Parrot's peek)
7. Kapidhakam (The
fruit of a tree)
8. HamsaPaksham
(Swan's wing)

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9. Sikharam (Peak) 10. Hamsaasyam
(Swan's peek)
11. Anjaly (Folded
hands in Salutation)
12. Ardhachandram
(Half moon)

13. Mukuram
(Mirror)
14. Bhramaram
(Beetle)
15. Soochimukham
(Needle's sharp
point)
16. Pallavam
(Sprout

17. Thripathaaka
(Flag with three
colours)
18. Mrigaseersham
(Deer's head)
19. Sarpasirassu
(Serpant's head)
20. Vardhamanakam
(Seedling)

21. Araalam
(Curved)
22. Oornanabham
(Spider)
23. Mukulam (Bud) 24. Katakaamukham

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1. Pathaaka (Flag):
There are 36 double hand symbols and 10 single hand symbols using this Mudra. Totally 46.
Double Hand Symbols:
1.Sun, 2.King, 3.Elephant, 4.Lion, 5.Ox, 6.Crocodile, 7.Arch, 8.Climbing Plant, 9.Flag, 10.Series
of waves, 11.Path, 12.Hell, 13.Earth, 14.Hip, 15.Pot, 16.Multi-storied building, 17.Evening,
18.Noon, 19.Cloud, 20.Anthil, 21.Thigh, 22.Servant, 23.Travel, 24.Wheel, 25.Stool, 26.Lord
Indra's weapon, 27.Gate Tower, 28.Rampart, 29.Vehicle, 30.Peaceful, 31.Crooked, 32.Door,
33.Pillow, 34.Trench (ditch), 35.Leg, 36.Bolt
Single hand symbols:
1.Day, 2.Movement, 3.Tongue, 4.Forehead, 5.Body, 6.That thing, 7.Noise, 8.Messenger,
9.Sandbank, 10.Sprout,
2. Mudraakhyam:
There are 13 double hand symbols and 12 single hand symbols using this Mudra.Totally 25.
Double hand symbols:
1.Growth, 2.Movement, 3.Heaven, 4.Ocean, 5.Thick, 6.Forgetting, 7.Everything,
8.Announcement, 9.Thing, 10.Death, 11.Meditation, 12.Sacred Thread, 13.Straight
1.Mind, 2.Thought, 3.Desire, 4.By oneself, 5.Remainding, 6.Wisdom, 7.Creation, 8.Life,
9.Defame, 10.Future, 11.No, 12.Fourth
3. Katakam (Golden Bangle):
1.Flower, 2.Mirror, 3.Female, 4.Offering holy materials to the sacrificial fire while chanting
'manthras', 5.Sweating, 6.A little, 7.Quiver, 8.Smell, 9.Which one
1.Vishnu (God), 2.Krishna (God), 3.Balaraman
4.Arrow, 5.Gold, 6.Silver, 7.A female demon, 8.Sleep, 9.Main woman, 10.Godess of wealth,
11.Veena, 12.Stars, 13.Chain, 14.Lotus/ water, 15.Demon, 16.Crown, 17.Weapon, 18.Peculiarity/
special news, 19.Chariot, 20.With
4. Mushti:
1.Driver of chariot, 2.Prefix, 3.Beauty, 4.Purity, 5.pirit of Ghost, 6.Binding, 7.Qualification,
8.Condition, 9.Ankle, 10.Pulling, 11.Tail of the animal (a whisk), 12.Destroyer/ Yama, the god of
death, 13.Mud, 14.Medicine, 15.Curse, 16.Swing, 17.Gift/ donation, 18.Circumambulation,
19.Digging, 20.Giving up, 21.Lance, 22.Heroism, 23.Hot (Sunor fire)/ grieve, 24.Vomiting,
25.Delivery/ child birth,
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1.In vain, 2.Extreamely, 3.Filupon, 4.King's advisor, 5.Crossing, 6.Bearing, 7.Donation,
8.Consent, 9.Victory, 10.Bow, 11.we, 12.Single sentence, 13.agedness, 14.Robbing, 15.Food
5. Kartharee Mukham (Scissor's sharp point):
1.Sin, 2.Tireness, 3.Male member of Brahmin caste, 4.Fame, 5.Skull, 6.House, 7.A religious vow,
8.Purity, 9.Bank, 10.Dynasty, Bamboo, 11.Hunger, 12.Hearing, 13.Telling, 14.Gathering, 15.End,
16.Hunting
1.You, 2.Word, 3.Change of mood/ time, 4.Gradation, 5.We, 6.Human being, 7.Face, 8.Enmity,
9.Child, 10.Mongoose
6. Sukathundam (Parrot's peek):
1.Goad, 2.Bird, 3.Engagement
7. Kapidhakam (The fruit of a tree):
There are 10 double hand symbols:
1.Net, 2.Doubt, 3.Tail feather of a peacock, 4.Drinking, 5.Touching, 6.Prevent, 7.In the open
expanse of land, 8.The outer side, 9.Descend, 10.To step
8. HamsaPaksham (Swan's wing):
42 single hand symbols and 11 double hand symbols can be shown using this Mudra.
1.Moon, 2.Air, 3.Kamadeva, 4.Gods, 5.Mountain, 6.Valley, 7.Everyday, 8.Relatives, 9.Bedding,
10.Rock, 11.Happiness and comfort, 12.Chest, 13.Female breast, 14.Cloth, 15.Vehicle, 16.Lie,
17.Lying down, 18.Falling, 19.Croud, 20.Beating, 21.Covering, 22.Spreading, 23.Found,
24.Coming, 25.Salutation, 26.Game, 27.Sandal, 28.Embrace, 29.Follow, 30.Escaping, 31.Reach,
32.Mace, 33.The cheek region, 34.Shoulder, 35.Hair, 36.Humility, 37.Blessing, 38.Sint, 39.Thus,
40.Fish, 41.Worship, 42.Tortoise
1.You, 2.Sword, 3.Anger, 4.Now, 5.I, 6.In front of, 7.Axe, 8.Light, 9.Calling, 10. Getting nearness
11.Prevent
9. Sikharam (Peak):
8 single hand symbols:
1.Walking, 2.Legs, 3.Eyes, 4.Sight, 5.Path, 6.Search/ detection, 7.Ears, 8.Drinking
Duble hand symbols using this Mudra are Garudan (a hawk in Purana), Swan and Jatayu.
10. Hamsaasyam (Swan's peek):
This Mudra can show 8 double hand symbols:
1.Iris, 2.Smoothness, 3.Dust, 4.Whiteness, 5.Blue colour, 6.Red, 7.Mercy, 8.Hairs of the body
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1.Beginning of the rainy season, 2.Hair of the head, 3.The line of hair on the abdomen, 4.The
three folds of skin above the naval of a woman

11.Anjaly (Folded hands in Salutation):
15 Double hand symbols:
1.Excessive rain, 2.Vomiting, 3.Fire, 3.Horse, 4.Loud noise, 6.Light, 7.Hair, 8.Ear-ring, 9.Heat or
sorrow, 10.Anxiety, 11.Always, 12.Blood, 14.River, 15.Flowing
1.Twigs of the tree, 2.Anger
Totally 17 symbols using this Mudra.
12.Ardhachandram (Half moon):
There are 9 double hand symbols and 4 single hand symbols using this Mudra.
1.If, 2.For what, 3.Helplesness, 4.Sky, 5.Blessed man, 6.God, 7.Memory, 8.Grass, 9.Hair of a
man
1.Starting, 2.Smiling, 3.What (This can be done with single and double hands), 4.Contempt
13. Mukuram (Mirror):
1.Tusk, 2.Seperation, 3.Forlimb, 4.Waist, 5.Vedam, 6.Brother, 7.Pillar, 8.Mortar, 9.Speedy,
10.Devil, 11.Growth
1.Dissenting person, 2.Beetle, 3.Ray, 4.Anger, 5.Excellent, 6.Bangle, 7.Neck, 8.Armlet,
9.Negative
14. Bhramaram (Beetle):
1.Wing of a bird, 2.Song, 3.Water, 4.Umberlla, 5.Ear of the elephant
4 Single hand symbols:
1.Demi-god (Gandharva), 2.Birth, 3.Fear, 4.Weeping
15. Soochimukham (Needle's sharp point):
1.Broken, 2.Jumping up, 3.Universe, 4.Lakshmana, 5.Fall, 6.The other thing, 7.Month,
8.Eyebrow, 9.Loose, 10.Tail
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1.One person, 2.What a pity!, 3.Dull, 4.Another, 5.Plural, 6.Ear, 7.A digi of the moon, 8.In olden
times, 9.This man, 10.These people, 11.Kingdom, 12.A little, 13.Witness, 14.Give up
16. Pallavam (Sprout):
1.The weapon of Lord Indra, 2.Mountain peak, 3.Ears of cow, 4.Length of the eye, 5.Male buffalo,
6.Pestle made of iron, 7.Spear, 8.Horn, 9.Circling
1.Distance, 2.Pledge, 3.Fume, 4.Tail, 5.Cane, 6.Grain
17. Thripathaaka (Flag with three colours):
1.Sunset, 2.Commencement, 3.'Hey', 4.Drinking, 5.Body, 6.Begging
18. Mrigaseersham (Deer's head):
1.Animals, 2.The supreme being
19. Sarpasirassu (Serpant's head):
1.Sandal, 2.Snake, 3.Slowness, 4.Worship of god using 8 substances, 5.Vomiting, 6.Saint,
7.Swinging of elephant's ears, 8.Escaping, 9.Massage
Apart from these symbols, this Mudra is used to show the symbols, Sprinkle, clapping hands,
breaking skull of the elephant, chertishing, giving water to god and message of wrestlers.
20. Vardhamanakam (Seedling):
1.Ear-ring of a female, 2.Diamond neklace, 3.Knee, 4.One who practices Yoga, meditation,
5.Drawn, 6.Man look aftering the elephant
1.Whirlpool, 2.Navel, 3.Well
21. Araalam (Curved):
5 double hand symbols:
1.Fool, 2.Tree, 3.Wedge, 4.Bud, 5.Sprout
22. Oornanabham (Spider):
1.Horse, 2.Fruit, 3.Tiger, 4.Butter, 5.Snow, 6.Plenty, 7.Lotus flower
23. Mukulam (Bud):
1.Fox, 2.Monkey, 3.Fading, 4.Forgetting
June 19, 2012
24. Katakaamukham:
6 double hand symbols:
1.Blouse, 2.Servant, 3.Hero, 4.Wrestler, 5.To shoot arrows, 6.Arrest
The symbol of 'addressing' anybody is showed using the Mudra Hamsapaksham.
In "Mushti" when the small finger is straightened gets "Baana" Mudra.Using this can show the
symbols like oppose, Stop!!, coming, future etc.
There are two types of Mudras:
1. Samaana Mudras (Same Mudras):- That is, the same Mudra is used to show two different
symbols. For example the Mudra "Karthareemukham" is used to show both the symbols 'Time'
and 'Near'.
2. Misra Mudras (Mixed Mudras): That is, some symbols are shown using two different Mudras in
both hands. There are 68 Mixed Mudras. For example to show the symbol 'Indra', the Mudra
"Sikharam" in one hand and the Mudra "Mushti" in the other hand; for 'Sivan' the Mudras used
are "Mrigaseersham" and "Hamsapaksham"; etc.
Kathakali - Props, Rituals and Customs
The credit for standardizing the customs and rituals in Kathakali goes mainly to Kaplingattu
Namboodiri. Many of the rituals and procedure have obvious lineage to Koodiyattam.
Props on stage: Although Kathakali is essentially "visionary" in nature and practically there is no
"set" recreating the ambience, a few essential props are used.

1. Thirasseela (Curtain). As in the case of most theatrical forms of the period, Kathakali
uses a curtain held aloft by two assistants (Customarily the costume assistants do this
job). Traditionally this has to be "a piece of cloth, four feet by five, of a single colour, with
the figure of lotus or favourite deity painted prominently". However, the most popular
design now prevalent consists of several concentric rectangles of contrasting bright
June 19, 2012
colours. The size has increased and it is not unusual to have the logo or name of the
troupe printed across it.
2. Kalivilakku (Lamp): Before the advent of lighting facilities, Kathakali and the like used to
rely entirely on the oil lamp placed at the front end of the stage. Customarily, it had to be
"having height about a metre, so that it can brighten the face of the artist posing properly
in front of it." The lamp is made of bronze and burns coconut oil. The wicks are made
from strips of cloth, rolled firmly. Now that better lighting facilities are available, oil lamps
have no utility value; but it retains sanctity as an auspicious necessity.
3. Stool: Main purpose of the stool is for the actors to sit on as may be required by the
context of the play. However, it is not unusual for some of the characters to stand on it
during acting, particularly to indicate height gained as in the case of a chariot ride.
Rituals:
Keli is a percussion concert performed just before sunset on the day of. This is envisaged as an
announcement that there will be a Kathakali performance, later at the venue. Keli was probably
adopted from Mudiyettu (For details see an article elsewhere in CyberKerala), the earliest known
theatrical art. Keli is performed on the Chenda, Maddalam(drums) Ilathalam and Chengila (the
cymbals & gong).
Almost immediately after the Keli, the main artists of the play will prepare for Chutty(the facial
make-up). It takes from one and a half to two hours depending on the type of characters.
There are a few Items performed before the designated play of the day starts. If Kathakali is the
only item for the night usually the lamp is lighted at about eight o'clock. Traditionally this is done
by a costume assistant, using a wick lighted from the green room lamp.
Arangukeli is a brief percussion item, more like an auspicious ritual. Only Maddalam gong and the
cymbals are played. Maddalam perhaps represents "Dundubhi" the large drums of ancient times,
which was considered auspicious. Formerly a junior artist used to perform salutation for Lord
Ganesha while this item is in progress.
As the Arangukeli or Kelikkai gradually fades out, the curtain is held aloft by two persons and the
singers begin "Vandanalaslokam", i.e., the hymn praising the favourite deities.
Thodayam. One or more actors, mostly junior artists, in the traditional costume worn during
training perform this pure dance sequence inside the curtain. The lyrics contains supplication to
the various gods of Hindu mythology. Although Thodayam is a beautiful piece of dance,
containing dance sequences to the beats of percussion performance in all the four rhythms used
in Kathakali (Chempata, Chempa, Atantha and Panchari), now it is rarely performed on stage.
Purappad follows Thodayam. Chenda joins the percussionists from this point only. This was
originally introduced quite in the lines of "Nandi" of Sanskrit drama, to indicate what is in the
offing; that is, to give the audience a clue about the story to be presented. A few lines of verse
added in the beginning of many "Aattakkathas" (scripts) are indicative of this. The main
characters, mostly hero and his spouse, used to perform Purappad. Soon this item was detached
from the play. It became a ritual and as it exists now mostly it is performed by junior artists
dressed as Sreekrishna, sometimes accompanied by Rukmini or Balarama and Subhadra. In this
form it is assumed that the gods on being pleased by the worship during Thodayam are joining
the audience for witnessing th performance. Purappad is their blessing for the performers and
audience. The most common lyrics for Purappad is taken from the story "Rajasooyam" and is in
praise of Sree Krishna and Sree Rama.
June 19, 2012
Melappadam is a percussion concert intended mainly to show their grade of performance. It is a
veritable feast for those who are musically inclined. It develops like a Raga-thalamalika concert
(Garland of tunes and rhythms). The lyrics used are from Jayadava's Geethagovindam, perhaps
in memory of Ashtapadiyattam, a forerunner of Ramanattam and Krishnattam.
After Melappadam the "play" starts.
There is one more ritual associated with the first entry of characters other than "Pacha" and
"Minukku" (regal and gentle). This is known as "Thiranokku", literally, looking over the curtain. For
characters of royal pedigree, this item is accompanied by few props resembling regal pageantry.
Characters and their attire:
Unlike in most performing arts, the make up and costumes in Kathakali are not exclusive to each
character. It is divided into four groups based on the general nature and behavioural aspects of
the characters.
Thus noble and heroic persons with only exemplary virtues fall into one category, named Pacha
(Green). The main feature of this class is the predominant green paint on the face, fringed with
paper flanges. Sreekrishna, Sreerama, Pandavas, Karna etc belong to this category. A subtle
variation of this can be seen in Pazhuppu (Ripe). For characters like Lord Shiva, Agni, Balarama
who are known for their wrath in addition to noble qualities, the green paint is replaced by saffron.
The second category is called Kathi (Knife). Named so due to the knifelike design close to the
nose, painted in red in most cases and in black for Yama the god of death, indicative of
Thamoguna (Black disposition). Depending on the characteristic disposition, there is another
variation in Kathi. For a character of romantic disposition superimposed on inherent daring the
design is short (Kurumkathi). Ravana, Duryodhana, Sisupala, Narakasura and Keechaka fall into
this category. For those who are to act only as a "strongman" the design is bigger and is called
Nedumkathi. Yama is an example.
Minukku is the plain make-up without chutty employed for female characters and Brahmins.
Chuvanna Thadi (Red beard) is a term used for demon-like make up for extremely villainous
characters with fierce nature. The chutty and facial paintings are quite intricate. The headgear is
very large in size. A large beard, red in colour is attached to the chin. Dussasan, Jarasandh, Bali
& Sugriv appear in this make-up.
The general colour of the costume for the upper body is red. All the red hue in this is replaced by
black or blue for Karutha Thadi. Kali is an example.
Vellathadi (White beard), contrast is reserved for extremely good characters. The make-up is
entirely different. The head gear resembles a large hat. Hanuman is the best example.
Kari (Black) is the make-up for rude and crude characters like Nishadas. The head gear is like an
inverted cone with its apex chopped off.
Cholliyattam: This is the part of Kathakali Acting where the actor enacts the dialogues following
the lyrics being sung by the singers. The acting traditionally should be "word-by-word".
Depending on the tempo, there are three types in Cholliyattam. Pathinjattam is extremely slow
and here all Mudras (hand gestures) are displayed in detail, to academic perfection. Usually
romantic scenes at the outset of the plays are set in this category. While for a comparatively new
viewer it can be painstaking ordeal to watch a Pathinja Padam, it is sheer delight for the
connoisseur. Cholliyattam in medium tempo is more commonly used. Here the acting will be more
June 19, 2012
quicker, taking a sentence at a time. In scenes like battle, confrontation etc.. the tempo rises to
real rapid. The hand gestures are in quick succession. During cholliyattam of female characters
Chenda is not played except in very few cases where the character is extremely exited, and the
tempo is rapid. Idakka is played instead for female characters. The accompanying music comes
to logical finishing, when their cycles complete, with a 'piece' known as 'Kalasam' played on
percussion instruments. This has been turned into an advantage by the actors by performing a
pure dance, called by the same name 'Kalasam' . The mood of this dance always matches that of
the character.
There are several variations in 'Kalasam' called, Iratty, Vattam etc.. The lengthiest among these is
Ashtakalasam, traditionally performed only by Arjuna in Nivatha Kavacha Kalakeyavadham, to
indicate the extreme state of exhilaration he was in when he was honoured at the hands of Indra,
the King of gods. These days, however, this dance sequence has been adapted into other stories
too, for example, Kalyanasougandhikam (Hanuman) Subhadraharanam (Balarama & Krishna),
Lavanasuravadha (Hanuman and Lavakusha). There is a slight difference in style of performing
Kalashams between male and female characters, obviously to suit the basic nature.
Ilakiyattam: Often the end of each act is marked by acting without vocal support. These are
called Ilakiyattam. Reminiscences, narrations, casual remarks, preparations for journey or war,
teasing etc.. are not unusual. This item is often used to enact portions of the story left out by the
lyricist. A fair knowledge of the language of 'Mudras' is essential for enjoying Ilakiyattam. Hence,
while veterans enjoy it thoroughly, new comers panic during these dump acts. Although the actor
is not bound to follow set patterns, generally the content of Ilakiyattam follows a predetermined
plan. There are mandatory sequences in many stories. The most popular one is Kailasodharam
and Parvatheeviraham" by Ravana in Balivijayam. There is one story where Ilakiyattam takes
centre stage. Ravanolbhavam. Here except for the start and finish, the entire act is without vocal
support. This story is considered as the acid test for not only an actor, but also for the
percussionist (Chenda). No wonder, Kalamandalam Ramankutty Nair, who is considered an all
time great in this role, stopped performing it after the demise of the Chenda Maestro,
Kalamandalam Krishnan Kutty Poduval
Places where Kathakalli Performmed
a. Changampuzha Samskara Vedi- Kathakali Aswadaka Sadassu Kathakali is performed
at Changampuzha Park, Edappally,Kochi-682024, Kerala. You can be Life member of the
Kathakali Aswadaka Sadassu by paying nominal fees. For very performance you will be
intimated by post*. You can also watch it freely since it is performed in open theatre
without any restriction.
Other Forums of Changampuzha Samkara Vedi is Senior Citizen forum and Sangeetha
Sadassu. Current President of Changampuzha Samkara Vedi is ex-mayor of Cochin
Corporation.
b. Kathakali is taught in Kalamandalam, Cheruthuruthy, Trichur . Most of the artforms are
taught here by famous teachers. Performers with prefix Kalamandalam in the their
name is a teacher or student of this institute. This institute is made by Government of
kerala
c. Kathakali is performed in lot of Hotels as part of Tourism Promotion.
d. Kathakai is performed in most of the temple festivals in kerala
Note:* This needs to be checked with concerned person if you are outside Kochi city.

June 19, 2012

Kalari Payattu

Kalari is a special kind of gymnasium, where the martial art Kalari Payattu is practiced. Kalari is
the special training in 'Marma', the art of knowing and activating all the 107 energy points in the
human body. These vital points (called marmas) are used for correcting the body's energy flows
and replenishing its resources. Kalari therefore makes the practitioner not just a warrior but a self-
healer, who can also help others with his healing powers.
Legends say that around 525 AD an Indian Buddhist monk named Bodhidharama traveled to
China and preached at the Shaolin temple. On finding the monks weak and listless,
Bodhidharama taught them the eighteen hands of Buddha - a special set of exercises and from
this evolved the Chinese art of Shaolin Boxing. These eighteen hands of Buddha were said to be
derived from the eighteen adavukal (adavu = technique), which form the base of the Vadakkan or
northern style of Kalarippayattu.
The Kalari training is normally started at the age of seven, when the body is most supple,
receptive and sufficiently strong, at the same time less vulnerable. However this art can be
learned at any age under the guidance of a Guru. The Kalari training is mainly divided into three
stages named: Meythari, Kolthari and Ankathari.
A student begins his Kalari training with Meythari which is a set of body exercises to attain
control, balance and stamina that helps to withstand arduous feats with weapons.
Kolthari, the second stage deals with preparing oneself for various attacks and defends using
sticks ranging from 1.5 feet to 6 feet. The prominent among these sticks is 'Ottakol', a specially
designed curved wooden weapon used to attack and defend vital parts (marma) of the body with
precision.
The Ankathari, the third stage of training is aimed at using metal weapons. The Ankathari begins
with dagger, then sword, spear, multiple weapons and finally to a lengthy flexible sword called
'Urumi'.
"Marma chikitsa", part of the Ayurvedic treatment begins normally after the Ankathari. There are
107 marmas in a human body and any damage to any of them can be fatal. These marmas are
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practiced extensively in Kalari sessions along with the study of human anatomy. As accidents can
occur during the training, marma training is compulsory along with the Kalari training.
The complete mastery over this art can be achieved with a dedicated effort and practice for a
period of seven years. Kalari crash courses are also available for immediate purposes like dance
shows and films.
Kalarippayattu is considered as the most comprehensive of all the martial art forms because of
the following reasons:
Kalari is an excellent system of physical training.
Efficient self defense techniques - both armed and unarmed.
A great system of vital pressure points based system of fighting and treatment.
A comprehensive guide to attain flexibility and desired physical and mental strength
Advantages gained through practicing Kalarippayatu:
Improves blood circulation and muscle functions.
Strengthen muscles and promote its flexibility.
Improves self confidence and mental agility.
Helps to augment body balance and physical fitness.
Improves the sportiveness.
Helps to achieve self reliance.
Courtesy: http://www.cvnkalari.com
In the olden Malabar, when kings quarrels they will choose people to fight for
them from famous Kalaris instead of war and a payment is made in advance.
The story of Aromal chekavar, othenan, chandu in vadakkan Pattu is based on
this fight.
Currently there are lot of Kalaris in all the parts of kerala giving training in
Kalaripayattu and also Ayurvedic treatment.

June 19, 2012

Thullal

Thullal is a dance form which is unique with its simplicity in presentation and humor. It strictly
follows the principles that have been mentioned in the Natya Shastra written by Bharatamuni.
There are three varieties of this dance form namely Ottanthullal, Seethankan and Parayan
Thullal, but Ottanthullal dominates out of these. Thullal is performed as solo and is conducted
during temple festivals from the temple premises. It involves music also and the themes for the
play are obtained from myths. Even then social criticism is a main feature of this dance. The
songs are very fast and are written in Malayalam and involve humor and wit. Along with the
dancer, there is also a singer who repeats the slokas. The musical instruments used in this play
include Mridangam, Maddalam and Elathalam. The performer is called as the Thullalkaran.
It was the great Malayalam poet Kunchan Nambiyar who introduced Thullal in the 18th century. It
was through his efforts that humor and wit became a part of literature and was introduced to the
common man. This dance form shows his sense of social responsibility. The story about the
origin of Thullal says that once when Kunchan Nambyar who used to play the instrument Mizhavu
for Koothu performances was caught while taking nap during a show. The chakiar Koothu
performer was angry and he put Nambiyar off the stage. Nambiyar felt insulted and in that anger
he created another art overnight and performed it the next evening. That was believed to be the
origin of Thullal, but some scholars debated that an art form could not be created within an
overnight.
The makeup is similar to that of Kathakali. The face is painted with green color, lips with red and
eyes with black. The cloths include red and white colored knee length skirt and are tied around
the waist. There is also a colorful headgear. The costumes for all the three types of Thullal vary.
June 19, 2012
This dance form has been influenced by ancient dances like Chakyarkoothu, Koodiyattam,
Patayani and Kathakali.
. There are three different types of Thullal, classified according to the metre and rhythm of the
songs sung in each one and the differences in costume and dance. They are Ottan Thullal,
Seethankan Thullal and Parayan Thullal.

Sheethangan Thullal
The precise interpretation of the labels Seethankan, Parayan and Ottan is not clear, but the
difference in the styles relates mainly to the metre of the poetry, the place of the singing, and the
costume and adornment of the performer.
Kunjan Nambiar, for his inspiration, turned to legend and mythology but gave to each story or
episode a totally contemporary slant. He took figures from the Raamaayana and Mahabhaarata,
the Bhaagavatham and other Puraanas and exposed them to the modes and mores of the society
of his time. He was a poet of the soil who, through the expedient of wit and satire, ruthlessly laid
bare the hypocrisy that he saw around him in everyday life. Making no effort to deliver a message
or spell out a moral, he was content to present the picture as he saw it, and left it to his audience
to react as they wished. He excelled in fusing reality with fantasy and made his characters appear
totally valid to the scenario of his time. To this day, Nambiar remains the unquestioned master of
the this art.

June 19, 2012

Chakyar Koothu

Chakyar Koothu is a performance art from Kerala, South India. It is primarily a type of highly
refined monologue where the performer narrates episodes from Hindu epics (such as
the Ramayanaand the Mahabharata) and stories from the Puranas. Sometimes, however, it is
also a traditional equivalent of the modern stand-up comedy act, incorporating commentary on
current socio-political events (and personal comments directed at the members of the audience).
The Performance
"Koothu" means dance... which is a misnomer, as facial expressions are emphasized and there is
minimal choreography. It is performed in the Koothambalam; a place inside Hindu temples
specifically designed for performing Kutiyattam and Chakyar Koothu. Ideally, the performance
takes place in conjunction with festivals, presented by members of the Chakyar community along
with theAmbalavasi Nambiars.
It is a solo performance, by a narrator in a distinctive headgear and black moustache with his
trousseau smeared with sandalwood paste and red dots all over the body. The headgear
resembles snakes hood, to symbolise the narration by Anantha, the thousand headed serpent.
The Chakyar narrates the story based on the Sanskrit style of "Champu Prabandha" - a mixture
of prose (gadya) and poetry (shloka). He begins with a prayer to the deity of the temple. He then
goes on to narrate a verse in Sanskrit before explaining it in Malayalam. The narration uses wit
and humor to draw parallels with current events and local situations.
Courtesy:Wikipedia,facebook

June 19, 2012
Oppana

Oppana is a dance form and a performing art practiced by the Muslim women in the Malabar
region of Kerala, especially the districts of Canaonore, Calicut and Malappuram. It is believed that
the word Oppana derives its origin from the word Afna (Arabic). It is performed to commemorate
the nuptial celebrations of the bride and is part of the wedding festivities. It is a famed form of
social entertainment. Maidens and the female relatives of the bride sing and dance clapping their
hands.

The bride is decked in finery and intricate ornaments and seated in the middle on a high seat
called the peetam. The brides friends and other young ladies clap their hands rhythmically to the
beat of the song and dance around her. There are about 15 performers including the musicians.
The dance is not vigorous and the steps are simple and movements graceful. Sometimes a type
of Oppana called Oppana Chayal is performed that does not involve the clapping of hands. The
other type of Oppana is Oppana Murukkam.

The songs sung are called Mappilapattu and are sung firstly by the leader and the remaining
women lend the chorus. Two or three girls lead the dance and the rest soon join in. The songs
themes are usually teasing comments and insinuations to the marital bliss and the shy brides
emotions. The language is a combination of Arabic & Malayalam.

In some households the men also perform the Oppana for the grooms entertainment. In these
cases it is performed before leaving for the brides place. It is there that the wedding (Nikkah) is
performed. In some cases the men also perform the Oppana as the groom enters the Maniyara
(Bridal Chamber). The instruments played along are the Harmonium, Ganjira, Tabla and
Elathaalam.

The Oppana is performed as a stage item nowadays.
Courtesy:Wikipedia
Kurathiyattam
K. PRADEEP
Kurathiyattam, an art form that is believed to be more than 200 years old, is in dire straits on
account of the lack of stages, performers and audiences.
June 19, 2012

Rustic touch: Kurathiyattam, which has two variants called Thekkan (Southern) and Vadakkan
(Northern) styles, essentially narrates stories from mythology.
It is a race against time. Like many folk art forms, Kurathiyattam, believed to be more than 200
years old, is fading into oblivion. There are hardly two or three groups earnestly involved in
performing this art form; there is an obvious lack of interest or attention and very few interested in
learning this art form.
Kurathiyattam has two variations the Thekkan (Southern) and Vadakkan (Northern) forms. The
latter is more musical in content, with very little place for dialogues. Apart from the integral
characters, Kuravan and Kurathi, the Vadakkan style has characters like the Nattupramani,
Kallushappukaran, Vridhan and others.
In this variant, the Kuravan and Kurathi who come to participate in the Thrissur Pooram get
separated. They wander around in search of each other. The story ends with both of them
meeting each other, after a series of quarrels and after accosting different characters.
This style puts more emphasis on the social aspect, unlike the Southern variant. The Thekkan
form, till recently, at least, was basically a temple art. The characters are mainly drawn from
Hindu mythology and from anecdotes in the Puranas.
Music, drama and dance
In the past, male actors enacted the female roles too. This has changed with women actors
taking this up as a part-time career. Along with the dialogues, the story is narrated through songs
that are rendered by background musicians to the accompaniment of traditional instruments like
the mridangam and the thalam.
While the Vadakkan style seems to be almost extinct by now, the Thekkan style is still seen at
some temples and on occasional stages.
June 19, 2012
In this dance form, two Kurathis, or gypsies, who are actually supposed to be the wives of Lord
Siva and Lord Vishnu, get into an altercation over the exploits of their respective husbands. This
often turns sarcastic and bitter. Goddess Mahalakshmi in the guise of an aged woman,
Muthiamma, intervenes and brings about peace between them.
In another part of the dance form, two other characters, Kattalan, and Kuravan, Sheni and Lord
Siva in disguise, come on stage. The Kuravan destroys Sheni. The dance drama, if one may
define it, concludes with the manifestation of Lord Siva and his consort.
One man who did yeoman service in popularising this art was the late Vechoor Thanakmani Pillai.
He is the only Kurathiyattam artiste to be honoured by both the State and Central Sangeeta
Nataka Akademis. His son Vechoor Gopi, along with P.R. Lakshmanan, a trained nagaswaram
player, has given this art form a new colour.
Popularising the art form

Their organisation, Vechoor Thankamani Pillai Smaraka Sree Lakshmana Kalarangam, based at
Mulakkulam, near Piravom, is involved in performing, training and popularising this art form.
In 1996, Thankamani Pillai was seriously ill. The Kurathiyattam group that he was heading had
almost come to a stop. When we met his son Gopi and asked him if he could arrange for a
performance, he told us that they had stopped the show. That was when I decided to do
something to revive this art form, says Lakshmanan, an employee of Travancore Devaswom
Board.
That same year, with Vechoor Gopi in the lead, they formed the group and began performing.
We must have invested more than Rs. 2 lakh to get the show going. We have retained the old
songs and the plot. But to keep with the changing times and to make it more appealing, we have
added a few more items. Now, we have a Rangapooja dance in typical Bharatanatyam style, then
a folk dance based on the popular Cheethayum- Thampurratiyum story and a Thiruvathirakkali
before the start of the regular story.
We have introduced new background settings, lights and added new background instruments
like the tabla, chenda, Congo drum and so on. Earlier, all the songs were sung by one male
singer, now we have male and female singers, explains Lakshmanan.
June 19, 2012
In the past Kurathiyattam used to be performed almost daily at temple festivals. This is not
happening now. One reason is because we have now fixed our rates at something like Rs. 3,000-
5,000 for a day, depending on the distance we have to travel for the performance, says Vechoor
Gopi, one of the senior-most artistes in this field.
Kurathiyattam still remains, mostly, a family affair.
Most of the young artistes take up this art on a part-time basis. We have trained a lot of artistes,
some of whom have set up their own small groups, while some of them have given it up, says
Gopi. Like many folk traditions, Kurathiyattam might not be refined. It might lack dramatic quality,
the songs rustic, dialogues, gestures and movements a bit crude. Yet such art forms are very
much a part of the cultural fibre of Kerala. With a little support from cultural organisations and
Government agencies, Kurathiyattam may survive the vagaries of time.
http://www.hindu.com/fr/2008/06/06/stories/2008060650340300.htm
Poothan and Thira
Poothan and Thira is a ritualistic art form found in the South Malabar region of Kerala in India,
in which people dance in costumes representing Poothan, Shiva's lieutenant, and Thira, the
goddess Kali, to the accompaniment of drummers.
It is usually performed once or twice a year in villages or towns to cleanse them of evil spirits as
well as in temples - especially in the Pooram festival season between December and May.

Poothan and Thira for the Machattu Mamangam festival.
A typical Poothan and Thira performance includes shouts and wild gestures and may include
percussion and horns as well as drums. The dancers wear large fan-shaped head-dresses and
imposing masks, often with sticking-out tongues and bulging eyes. The dancer
playing Poothan usually wears a bright coloured tightly woven costume, often including bright red
elements and embellished with gold-coloured trinkets that rattle when the dancer moves. The
dancer playing Thira wears a semicircular black crown with symbols of the goddess embossed
on it.
Performers are traditionally from the Mannan Hindu sub-caste of rural Palakkad, southern
parts ofMalappuram and northern parts of Thrissur.
The epic Malayalam poem Poothappattu by Edasseri Govindan Nair is based on the Poothan
and Thira tradition.

June 19, 2012
Margamkali
Among the performing arts of
Christians, Margamkali deserves
special mention. It is a group dance
developed by the Syrian Christians
of Kerala. The word 'Margam' means
path, way, religion or creed. The real
source of inspiration for Margamkali
was Kalaripayattu which was very
popular when the Christian
community had developed the form.
The art was meant for the
propagation of Christian religious
ideas. The form of the art was the
result of direct inspiration from the
indigenous culture. The dancers play
in a circle around a lighted oil lamp while singing themselves. There are no
accompanying instruments. The leader of the troupe or tutor known as 'Asan'
leads the song and the group repeats the same and dances. The language used
in the songs of Margamkali reveals its relation with old Tamil.
Coutesy: Webindia123.com
Chavittu Nadakam

Chavittu Nadakam (Malayalam:o`m:s-) is a highly colorful Latin Christian classical art form
originated in Gothuruth (Ernakulam) village, Kerala state in India. It is noted for its attractive

June 19, 2012
make-up of characters, their elaborate costumes, detailed gestures and well-defined body
movements presented in tune with the rhythmic playback music and complementary percussion.
This art form highly resembles European Opera. Chavittu Nadakam is believed to be originated
during the 16th century AD. This form of play is prevalent among the Latin Christian community in
the districts of Alappuzha, Ernakulam and Thrissur of Kerala.
The most sensual blend of cultural influences can be seen in this Christian dance-drama.
In Chavittu Nadakam there are large number of characters all in glittering medieval dress. It is the
form of traditional musical dance drama, which symbolizes the martial tradition of Kerala
Christians.
Chavittu Nadakam is believed to be originated after the arrival of Portuguese to the Kerala
shores. The reason behind this assumption is that Chavittu Nadakam has a significant European
Character in its costumes and outfits. But there are historical evidences that Kerala had
connections with the western world well before the arrival of Portuguese. Even though some
argue that the Chavittu Nadakam is created by Portuguese as they felt cultural emptiness when
they arrived at Kerala, there are no evidences supporting this view. Also the fact that Chavittu
Nadakam uses Tamil language for its playback songs and dialog, suggest that the art form is
indigenous in origin.
havittu Nadakam is usually performed on open stages. Sometimes the interior of a church is also
a venue. The performers wear glittering European costumes. Training is provided to performers
before staging the play. The master is known as Annavi. The whole play is performed through
musicals. Dance and instrumental music are combined in this art form. The bell and drum are two
instruments used as background score. The actor themselves sing and act. Though it used to be
an open stage performance, in the recent times this is mostly played indoor. The predominant
feature of this art is the artists stamping / pounding (Chavittu) the dance floor producing resonant
sounds to accentuate the dramatic situations. The actors sing their lines loudly and with
exaggerated gestures stamp with great force on the wooden stage. Hence literally Chavittu
Nadakam means 'Stamping Drama'. Great stress is laid on the step, which goes in harmony with
the songs. In these art forms there is a great importance for dance and art. Foot stamping dance,
fighting and fencing are the essential part of Chavittunadakam. Royal dresses and ornamental
costumes are necessary.
The play is considered a success if at the end, the stage cave into the pressure of heavy
stamping.
The stories are mostly the heroic episodes of Bible or great Christian warriors. Historical
incidents, the life and adventure of heroes like Charlemagne; stories of Alexander were the
themes of Chavittu Nadakam in the 16th century. In the 18th century, spiritual themes like
"Allesu-Nadakam", "Cathareena Nadakam",the victory of the Isaac etc. were the themes. In 19th
century moral themes like "Sathyapalan";"Njanasundhari","Komala Chandrika"were handled.
Coutesy:Wikipedia, http://www.idealflickr.com
Note: author not responsible for the authenticity of the information given above. If wrong please ignore

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