Performing Arts*

AMMANATTOM

Ammana is a hallow metallic ball which contains numerous metallic pieces inside. Women perform the ammanattom dance, using four to twenty-four ammanas which are thrown up and caught deft missing none. The jungling of the ammanas perfectly time with the rhythm of the Brahmani songs sung by the performer.

ASHTAPADI ATTOM

This was a popular dance form based on the Gita Govinda of Jayadeva. It was more of a dramatic representation of the renowned lyrical play. Altogether there are only five characters, Krishna, Radha and three females. Iinstruments like chenda, maddalam, elathalam, chengala were used and this art form is now almost extinct from the state.

BHARATANATYAM

Bharatanatyam is a classical dance form believed to be originated in Thanjavoor of Tamil Nadu in South India. As it was performed by Devadasies in temples of Tamil Nadu long ago it is also known as Dasiyattam. Basic concepts of 'Bharatanatyam' are Bhava, Raga and Thaala. Bharatanatyam derives its origin based on the theories posted in the books 'Natyasaasthram' and 'Abhinaya Darpanam'. Bharatanatyam is evenly divided between three elements Nritta, Nritya and Natya.

CHAVITTU NATAKOM

The Portuguese influence in Kerala helped the spread of Christianity along the south west coast. As a result, a new type of community was slowly brought into existence, which being cut off from its original setup, had to look upon the Westerner for cultural sustenance. Out of this situation was born a new art form with songs, dialogues and dances, similar to the miracle plays of the West. They are known as Chavittunatakom. The stage settings, introduction of curtains costumes, masks, etc., show the influence of the West. Genoa, Caralman Charitram, Nepoleon Charitram etc., are some of the important plays.

CHERUMAR KALI

This is a mixed dance of the Cherumar community (mainly agricultural labourers) of the Malabar area of Kerala in which both men and women participate. They dance holding arms together, or shoulder to shoulder, linked in a back-lock. The dance develops into a variety of pleasing pattern, in which the men and women change their positions with amazing rapidity. The entire group of dancers sing songs and move dexterously in swift rhythm of the feet in fascinating wave-like movement. The costumes of the dancers are peculiar with conical caps called palathopi, dhoti and red sash. Sandal paste is smeared all over the body and face and garlands of red chethi flowers are worn. The dancers have anklets tied to the legs and dance to the timing and rhythm set by percussion instruments like veekkan chenda, karu, maram etc. The dance is performed usually after harvest and in connection with marriage and festivals.

ELELAKKARADI

This is a highly heroic group-dance in which almost the whole community of men, women and children participate. The dance is very common with the tribals called Irular of Attappadi in Palakkad district. The dance brings out the fight of the people against the wild bears which very often attack their tribal hamlets. Here the dancers move out in rhythmic steps, with vociferous shouts and war cries and keep time to the beatings of the primitive drums. The various stages in the fight against the wild beasts are very well presented.

EDAYA NRITHAM

Edaya Nritham is the dance of the tribal shepherds. Both men and women participate. One of the shepherds sing. This is repeated in chorus by all the rest. As the singing is going on, one of them imitates the special sounds of shepherds driving their sheep. The dance as such consists of someone of the group trying successively to imitate the wild animals that try to attack the sheep and also the thief who tries to robe them while the other members of the group very adeptly bring out the terror on the faces of the lambs and their mournful wailings.

GADHIKA

Gadhika is a ritual dance performed by Adiya tribes of Wayanad district. The art form is meant to cure ailments. The performance is also done as part of a ritual for having a safe delivery of child.
Gadhika begins with the principal performer invoking lord Siva for his help to cure the patients. Central to the ritual is the belief that a person falls sick when the gods are angry. The prayers are in a strange dialect, which has a pronounced Kannada diction. Once Lord Siva was brought down to earth and he was pleaded by invocations of the worshippers. The other gods, goddesses were enrolled by the performance. These gods include Chamundi, Maniamma, Malankali (Siva) and Karimkali. Simultaneously other actors dressed in colourful costumes also move centralistic which is titled with a small structure that resembles a temple. The participants include men dressed as women whose function is to welcome the gods and goddesses arriving in response to the summons from Siva. Gadhika is usually performed during the month of Mithunam which falls in June-July period. The participants go to houses from which they had received invitations, conduct rituals, collect the oblations and offer them to gods at a ceremony conducted on the banks of a river.

KOODIYATTOM

Instead of single Chakiyar a number of performers get together and stage dance-drama. That is why it is called Koodiyattom, literally “dancing together” (The beginning of Kerala’s dramaturgy can be traced to this dance). Both men and women partake in this performance. Koodiyattam is one of those rare art forms that had women’s active participation. Abhinaya is the most important element in Koodiyattom. The texts are always in Sanskrit and the performance is a prolonged affair. It may take anything from a few days to a number of weeks. All the four types of abinaya, viz. Angikarm, Vachikam, Sathvikam and Aharyam are fully utilized in Koodiyattom.

The plays are performed only in temple precincts as votive offerings. Abhinaya or acting is a three-fold or even four-fold process. Appropriate hand gestures and symbols are first shown when the words of the verse are spoken in a typically modulated tone. As the music is begun, the meaning of the words are translated into a language of bodily postures, attitudes and facial expressions. The third is a repetition of the first. Koodiyattom is staged on the specially built temple theatre called Koothambalam. The stage is decorated with fruit-bearing plantains and bunches of tender coconuts and festooned with fronds of the coconut palm. A vessel overflowing with paddy is placed on the stage. Lighting is done with a tall oil lamp made of brass. Within a railed enclosure on the stage is a large copper drum called mizhavu with a high seat for the Nambiyar drummer. A Nagiyar woman plays the cymbal and occasionally recites the verses. The musical element is very much suppressed in Koodiyattom. At times special orchestral effects are introduced. The orchestra consists of an edakka, maddalam, a conch pipe and horn.

There is facial make-up using colour schemes and patterns having symbolic value, though strict standardization of types is absent. The make-up patterns as seen in the better known Kathakali are borrowed from Koodiyattom. In the actual performance, first the drum is sounded and then the Nagiyar woman recites the invocatory verse, (Vandana slokam). After that a purificatory ritual of sprinkling holy water on the stage is done by the Nambiyar. Then there is an interlude of orchestra, after which the dance ritual ceremony called Kriyachavittuka is performed by the Sutradhara. The next item is the stapana of the particular act. The main character is introduced in the next stage called Koothupurappadu in the background of the tense dramatic sense created by the full orchestra fury. Nirvahana, the next part of the drama, follows. This itself consists of three phases, the Anukrama, the Samkshepa and the Vistara respectively. Purushartha follows in which clown (Vidushaka), caricaturing the moods, is the hero. This is a significant departure from tradition and a remarkable feature of Koodiyattom. The drama proper now begins sluggishly and leisurely through the long drawn out, detailed and elaborate abhinaya process. The stage craft is simple, with hardly any stage setting. Koodiyattom is perhaps the oldest dance-drama in existence in India.

KATHAKALI

Unique among the Indian dance forms, Kathakali is the classical dance-drama of Kerala. Vivid and eloquent in its characteristics mudras (hands signs), natural and impressive in gesture, graceful and rhythmic in movement, pleasing in choreography and above all delightful in wealth of imagery, Kathakali ranks high among the Indian dance forms. For themes Kathakali draws upon the inexhaustible treasure trove of the ancient Puranas chronicling the lives, loves and conflicts of the gods and supermen of Indian mythology. Noted for its archaic costumes, weird make-up and grand head gears, Kathakali is perhaps the only dance form in India in which the masculine aspect of the dance is preserved in its elemental vigour.Kathakali as it is known today is not more than three to four hundred years old, even though its actual roots can be traced to at least 1500 years earlier. Kathakali marks the culmination of a long process of evolution during which the various histrionic arts of Kerala had their birth and development and paved the way for the eventual emergence of this composite art. Kathakali also symbolizes a blending of the Aryan and Dravidian cultures, for in shaping its technique this dance form assimilated various elements which is borrowed freely from the dances, dramas and ritual performances associated with these cultures.In reconstructing the history of Kathakali it is necessary to take into consideration practically every type of formalized dance, drama and dance-drama that existed in Kerala prior to the genesis of this art. Such a study should include the earliest types of stylized dance and drama in Kerala such as the Chakiarkoothu and Koodiyattom, various ritual dances associated with the cult of Bhagavathi, such as the Mudiyettu, Thiyyattam and Theyyam, the socio-religious and martial dances such as the Sastrakali and Ezhamattukali and the latterly evolved dance-dramas such as the Krishnanattom and Ramanattom. The art of Kathakali incorporates the characteristic features of many of these dances and dramas and it is safe to surmise that Kathakali evolved out of these earlier forms.

Kathakali is a complete art that constitutes three fine arts - Abhinaya (acting), Nritya (dancing) and Geetha (music). It is pantomime in which the actors do not speak or sing, but interpret their emotions through highly sensitive medium of appropriate gestures, picturesque hand-poses and vivid facial expression perfectly intelligible even to the uninitiated. Kathakali is both dramatic and a dance art. But primarily it is the former. Histrionics or Abhinaya predominates and that too is of a far profounder type than ordinary dramatic acting. It is not realistic art but belongs to the imaginative type spoken of in Bharatha’s Natya Shastra. Every feeling is idealized and expressed on the face with an intense vividness, which more than compensates for the absence of the spoken word. And every shade of such expression on the face is made to harmonise with the rhythm of the dance and melody of the music. Acting in Kathakali is not merely the expression of the subjective emotions of the human heart, but also an objective realization of the person, scenes, creatures and things around. It actually involves impersonation through the medium of art and therein consists the essential expensiveness of Kathakali, its pictorial splendour and its poetic sublimity.Music is an important and essential element in Kathakali. The orchestra in it is composed of two vocal musician, one keeping time with a resounding gong called chengala and the other with a pair of clanking cymbals called elathalam, a chenda player and maddalam player. The chenda is a cylindrical drum with a loud but sweet sound while the maddalam has the appearance of a big mridangam. Kathakali music has developed into a distinctive type of singing known as the sopana style which is of a very slow tempo. There is neither raga, ragaalapana as such nor are there elaborations like niraval and swaral singing. Preserving the broad features of the ragas and adhering meticulously to the talas they sing the songs in such a manner as to give the actors full scope for abhinaya. There are two vocal musicians in Kathakali of whom the main one is known as ponani and the minor partner as the sinkidi. The kathakali songs couched in rich poetic diction are among the gems of Malayalam literature. The mudras (hand gestures) used as a substitute for spoken language are as much suited, if not more, for the purpose of dance and drama. To the accompaniment of the chenda, the maddalam, the chengala and the elethalam the musicians sing the words of a dialogue from behind, the meaning of which is vividly translated by the actors into the silent language of facial expressions, bodily attitudes and poses and figurations of the hands. As these songs proceed, the actors mute of word but eloquent of expression recreate the epic and bring to life a dream world to sheer fantasy. The actors act and dance in harmony with the rhythm as well as with the sense of the songs. The mudras form and inseparable part of the nrithya and abhinaya. The characters in Kathakali are all mythological and so the question of their make-up cannot be settled on a realistic basis. They all have set modes of make-up and attire and adornment and are reduced to five main types, according to their real character or qualities. These types are usually known by the predominant colour applied to the face or its pattern. These are pacha (green), kathi (knife), thadi (beard), kari (black) and minukku (polished). Virtuous and noble characters are in pacha. Proud aggressive and unrighteous characters belong to the kathi type. The bearded type known as thadi are of three varieties. The most aggressive and demoniac are known as chuvanna thadi (red beard), mythical and fabulous beings like the monkey-gods are known as vellathadi (white beard); aboriginals, forest-men and cavedwellers are known as karutha thadi (black beards). The lowest type of beings like the aggressor are classed as kari (black). The gentle and spiritually inclined character (like women, sages, Brahmins etc) come under the type known as minukku (polished). The costume and ornamentation are elaborate and designed to heighten the superman effects. The large overcoats, the flowing scarves, the bulging skirts, the antique ornaments, the strikingly opulent head dresses with streaming hair flowing down to the waist and covering the back-all create enlarged figures well befitting the sculptured facial features and produce tremendously impressive impersonations.

KUCHIPUDI

The classical dance takes its name from the village kuchelapuri (a small village at Vijayawada) now known as kuchipudi in Andhra Pradesh where it is originated as a form of dance drama with religious themes. It presents scenes from Hindu Epics and mythological tales through dance-dramas combining dance, music and acting. It is known for its gracious movements and its strong narrative / dramatic character. Kuchipudi, a representation of a fine combination of Natya, Nritta and Nritya was earlier never a solo affair and required a number of actors. It was presented in the open air on an improvised stage by men and boys who were given a vigorous training in abhinaya, music, dancing and singing. Earlier the female roles were played by boys and young men of comely appearance.Today Kuchipudi is considerably a different style of dance form than it originally used to be. In most of the cases it is now a solo performance done by female dancers. The Sutradhara has become a phenomenon of the past and the Vachika abhinaya, that is, expressional numbers are sung by the danseuses herself instead by the vocalists in the background on the stage as was the traditional practice. The element of devotion to gods has also been done away with and it has become purely a secular affair with predominance of 'sringar' or erotic flavour. Besides the drama component has also been totally reduced. The main expressional number is from Jaideva's Ashtapadi, the Ramayana, the Puranas, Tirtha Narayana's Krishna Lila Tarangini or Tyagaraja's compositions, but now the dancer combines into herself the roles of the singer who sings the 'daruvu', the actor who speaks the lines and the dancer who mimes and dances to interpret the text.

KAADAR NRITHAM

Only women partake in this primitive dance of the Kaadar tribes of the forests of Kochi area. The performers arrange themselves in a semicircle. They hold the tip of the clothes in their hands to the level of the waist and wave it to various rhythms of the dance. It is a very simple but elegant tribal dance in slow steps.

KURUMBAR NRITHAM

Waynad district had different types of hill tribes of which the Kurumbar and the Kattunayakar are the most prominent. They perform a special type of dance which is staged in connection with marriages. Before marriage, the members of the families of both the bride and bridegroom and after marriage the newly-wedded couple perform this dance. After the return of the bridegroom with his bride to his family, all the members of his household and the newly wedded again repeat the dance.

KAANIKKAR NRITHAM

This is a group dance of the Kanikkar tribes. The dance is performed as a ritual offering. The steps of the dancers perfectly synchronise with the waving of the hands and the beating of the drums.

KAKKARISSI KALI

Prevalent among the Kuravas of Thiruvananthapuram district, this group dance is very vociferous because of the shoutings of the participants and also the wild beatings of primitive drums like para, veekan chenda etc.

KUMMI

This is women’s dance prevalent in Kerala. The dancers move in a circle and the hand gestures signify reaping and harvesting. One of the women leads the singing with a favourite song while the rest take up the refrain. Each performer renders a new line in turn and the dancing stops when all get tired. In local variations of the Kummi dance men also participate. Here the men with small sticks in their hands form a circle, inside which stand the women in a smaller ring. The beating of the sticks by men and the clapping of hands by women are perfectly synchronized with the steps that they make and also with the rhythm of the songs.

MOHINIYATTOM

Mohini the temptress is a recurring character in Hindu mythology. Attom means dance. It is seductive dance performed by women, sensuous in its appeal. In technique Mohiniyattom lies somewhere between kathakali and Bharathanatyam, lyrical in the extreme key-note is coquetry. The symmetrical patterns of emotion flow in balanced nuances with smooth footwork, somewhat quickened body movements and special music.
Parallel to the Bharatnatyam of Tamil Nadu, solo Mohiniyattom dance is performed only by women. The music is classical carnatic. As the name implies it is the dance of the charmer. Its origin is a matter of conjecture, but it retains a lovely fusion of the parallel streams of dance in the eastern and western regions of South India. Combining the formal grace and elegance of Bharathanatyam, with the earthy vigour and dynamism of Kathakali the petalled nritha hands of the one with the wide stance of the other, the delicate expressions of the one with the stylized eye movements of the other, it coordinates the instinct with charm, subtle allure and seductive appeal. In the rendering of this style there is enchantment, grace, delicacy and passion.

The technical structure of Mohiniyattom is fairly similar to that of Bharathanatyam. Thereare no abrupt jerks or leaps in Mohinyattom noris there any inordinately hard stamping of thefoot. The gesture language of Mohiniyattom islargely similar to that of Bharathanatyam but italso incorporates elements from Kathakali tradition. And again, like Bharathanatyam, Mohiniyattom too has items of nritta, puredance, as well as nritya, expressional dance. Mohinyattom is mainly the Lasya dance performed strictly according toscriptures of Natya Shastra. The repertory of Mohiniyattom as it is presented nowconsists of Cholkettu, Varnam, Padam, Thillana, Kaikaottikali, Kummi and Swaram. It is well evident that the Kaikottikali and Kummi are later additions.Because of the special type of instructionassociated with it, the dance presentsstriking bodily poses and attitudes and exquisitely graceful foot-work. In its gestures and alsowith regard to the expression of the eye, Mohinyattom is indebted to Kathakali.If in Bharathanatyam the predominant moods are santham and veeram, in Mohiniyattom it is sringaram.

MARGAM KALI

Margam Kali is an art form popular among the Syrian Christian community of the erstwhile Travancore. This consists of group dances and martial arts like parichamuttu kali. The theme of the songs revolves round the life of St. Thomas.

MUDIYATTOM

Mudiyattom, also known as Neelilyattom, is a tribal dance in which only women partake. The woman stand on small wooden blocks and the dance begins with slow and simple movements of the body which culminate in graceful movements of the head. The uncombed hair of the participants flow down and swing in rhythmic waves. The instruments used are karu, maram, para, kokkaro etc.

MAN KALI

This tribal dance is of two kinds. In one version, the Ramayana episode in which Sita is being enchanted by Maricha in the guise of a golden deer is enacted in graceful movements.
In the second type, one man takes the role of a deer while another that of a hunter. The deer hopes about and jumps around. The hunter follows in close steps and his movements and gestures suggest drawing the bow, aiming it, hurling the spear, brandishing some wooden log, etc. The whole dance is performed to the rhythm of wild percussion instruments.

MALAYAN KETTU

This art form is in vogue all over Kannur District. This is fully ritualistic in scope. This is usually performed for the sake of those women who have miscarriages and who are advised by the astrologers to have this ritual. Under a decorated ‘Pandal’, Kalams are drawn with the help of rice flour, charcoal powder, and turmeric powder. The pregnant woman sits in front of this Kalam. Actors in the garbes of deities like Raktheswari, Gulikan, Yakshan, Yakshi come and dance in front of the Kalam.

NANGIAR KOOTHU

Nangiar Koothu is performed solely by women. The solo performances of Nangiar Koothu and Chakyar Koothu evolved as a means to express the ability and talent of the performers. It was only two decades ago that it was discovered that Nangiar Koothu was confined to the four walls of the temple, and its acting manual (Attaprakaram) still exists. When the Kerala Kalamandalam started a Koodiyattam department in 1965, Painkulam Rama Chakyar showed great interest in training girls for female roles. It was Rama Chakyar and makeup expert Govinda Warrier who modified the costumes, ornaments and headgear of the female role and made it attractive.

OPPANA

Oppana is an exquisite folk art form performed traditionally among the muslim community in Kerala. The song and dance programme is performed by females to entertain the bride and by males to entertain the bridegroom. Harmonium, tabla and ganjra are the musical instruments used. The songs are based on mappila pattu.

PALLUKALI

This is a dramatic visual art that is vogue in Chittoor Taluk in Palakkad District. This ritualistic art is handled by those belonging to the Pariah community. An artist in the costume of Ganapathy appears first on the stage. He is followed by such characters as Panakaran (rich man), his servant his two wives, a Kolkaran (he is also the comedian).

After the other characters make their entry the Ganapathy withdraws. Then the theme is expounded. The leader sings a song in Kavu style. According to the meaning of the song, those on the stage start acting and singing the dialogues. Of the two wives of the rich man, one turns informer against him. This and the misfortunes that follow upon this, form the core of the theme. On account of the prayers of the other wife it all ends happily. The male characters have costumes similar to those of Kathakali. The female characters wore dhotis and upper cloth. Facial make up is used. The female characters tie up their hair. Nandanar, who was refused admission into the temple, but finally got himself admitted through his high devotion and won many devotees to him is presented through this art form, with the help of music and dancing.

PARVALLIKALI

It is a mixed dance of the aboriginals of the dense forest of Travancore area in which both men and women participate. They dance holding arms together, or shoulder to shoulder, linked in a back lock posture. The dance develops into variety of pleasing pattern, in which the men and women change their positions with amazing speed. The entire group of dancers sings songs and move in swift rhythm in a circle. The linked arms swing to the rhythm in a fascinating wavelike movement.

PULAYAR KALI

The Pulayas were mainly agricultural laboures. Pulayar kali is their gay group dance, noted for its rhythm, vigour and beauty. Women also participate in this dance which is usually performed after the harvest season. The songs are all based on themes relating to incidents in mythologies like Mahabharatha and Ramayana. Instruments like para, veekan chenda, kavu etc., are used.

PENTHARUMO NRITHAM

A graceful group dance of women, performed only very rarely nowadays. The girls link their arms and form two lines. Facing each other, they move forward and backwards to the rhythm of songs. The head and body sway in perfect unison with the different steps executed. The case of movement and supple grace furnish an experience of rare beauty and enjoyment. The songs are in the form of questions and answer in which one party request the other to give them a girl. The request is promptly refused, but is repeated along with offers of various ransoms and rewards and turned down time and again. In the end a mock trail-of war is executed between the two groups.

PANAR KALI

Panarkali is a mirthful dance of the panar of Malabar area. Here two characters, a male and a female called Thekken and Thekkethy stage a mock quarrel as in Kurathiyattom. But the songs which are in the nature of questions and answers between husband and wife, show the suspecting husband’s inquisitive queries and the clever replies of an intelligent wife. A jester who criticises and makes fun of the customs and manners of the members of the upper strata of society also participates in the dance at later stage. In some places instead of Panars the Kakkalans perform this dance and hence is known as kakkarissi natakam.

SARPAM THULLAL

Many ancient family houses in Kerala have special snake shrines called Kavu. Sarpamthullal is usually performed in the courtyard of houses having snake shrines. This is a votive offering for family wealth and happiness. The dance is performed by members of a community called Pulluvar.In the first stage the Pullavan draws a kolam (picture) of two or more twining snakes in thecourtyard. An oil-lit traditional lamp and one full measure (nirapara) each of paddy and rice are then placed in front of the kolam. In the second stage, the idol of the snake is brought out from the Kavu in a procession called thalapoli to the uproarious tumult of percussion instruments (panchavadya). A number of girls with their hair dressed up like the hoods of snakes and reminiscent of the legend of the naga kanyakas partake in this procession. The idol is placed in the kolam and the poojari performs ritual offerings while the girls sit in two rows on the sides of the Kolam.

The Poojari then dances round the kolam to the rhythmic beatings of para and elathalam. All the while a Pulluvan and Pulluvathi will be singing special devotional songs set to tune and rhythm by nanthuni (a primitive type of veena) and kudam (a primitive form of modern khatam) respectively. As the song gathers momentum the girls go into a trance and begin to dance, swaying their body slowly at first and steadily ascending in tempo. The dance finally erupts in a violent frenzy of rhythmic fervour.

THUMPI THULLAL

This is a dance in which only women participate. It is usually performed in connection with the Onam festival. All the girls are dressed in immaculate Onakkodi dress and sit round in a circle. At the centre of the circle sits the performer. Now all the girls sing in chorus to the rhythmic clapping of hands and occasional vociferations known as Kuravai. The rhythm and the pitch of the clapping and the songs rise to feverish heights when the girl in the centre enters into a trance and begins to dance.

THALAMKALI (THALIKAKKALI)

This is an art form where physical culture amount much. It is prevalent in Malappuram District, and is performed by the Thiyas. It is said that this used to be popular as a performance during the celebrations of Thalikettu (a ritual in which the young girls who attain puberty go through a mock marriage). The performers stand in a circle and sing to a rhythm. After that they carry plates in both palms and go through intricate twisting and turning and along with this are shown various types of gestures too. However intricate the twisting and turning, the plates will remain stuck to the palms. With a pot full of water on the head and plates carried on the palm, various dances are also exhibited.

THEYYANNAM

This is a ritualistic art, performed by the Pulaya and Kurava communities. Theyyannam is found in Mavelikara, Pandalam and some other places in Alappuzha District. When man turned to cultivation, his liking and respect for this began to increase. Though he cultivates different crops, he has a partiality for paddy cultivation. This is the theme of Theyyannam. Eight men plough up a field and plant seedlings. At this stage the women folk enter, with breakfast for their men folk. In the ploughed up field, the women start replanting the seedlings. With women on one side and men on the other side, the preliminary work of agriculture is completed. After this come the harvest and then the threshing. Thus all stages of paddy cultivation are represented. Harmonium, Daka and Tabala are needed as musical accompaniments.

THEKKANUM THEKKATHIYUM

This is handled by the Panars and popular in Palakkad and Malappuram Districts. Their daily profession is the making of palm leaf umbrellas. Two characters (one male and one female) and two percussion instrumentalists form a troupe. The characters sing, exchange dialogues and perform stylized movements, through well defined steps. The instrumentalists repeat the songs and put questions to the characters. Some portions from the Ramayana from the theme of the play, sometimes, portions from the Mahabharatha are also used. When needed by the actors the accompanist keeps time with tiny cymbals (Kuzhithalam).

THULLAL

A solo dance exposition, the Thullal is of three types. Its origin is attributed to Kunchan Nambiar, a veritable genius and one of the foremost poets of Kerala. Though based on classicprinciples of Natya Sastra the technique of this art is not rigid. The songs, written in simpleMalayalam, frank to outspoken wit and humour, the simplicity of presentation and the directappeal to every day life made Thullal very popular.

The instruments used in Thullal are the maddalam and cymbals. The cymbal player who tunes the rhythm, also assists the actor dancer (Thullalkaaran) in singing. In actual performance the cymbal player first sings the invocation song when the dancer faces the orchestra and does obeisance. After that, with his back still to the audience the dancer does a slick flourish of step and body movements. Then he turns to the audience and the dance proper is begun. He first sings a verse and while the lines are being repeated by his musical assistance, he brings out the meaning through facial expressions, hand gestures and bodily postures. The roles of the raconteur and actor are perpetually interchanged with tremendous aesthetic efforts. In one moment he is the narrator but in the next he completely identifies himself with the narration. It is to the dance that prime importance is given in Thullal. From the beginning to the end there is dance even though it lacks much of variety. To compensate for the monotony, sometimes the dancer executes some vigorous footsteps and rhythmic movements of the body.

Thullal is classified into three different types. Ottan, Seethankan and Parayan based on the difference in costume, dance and also the metre and rhyme of the Thullal songs. Of all Thullal dances the Ottam Thullal is the most popular. The costume is peculiar and impressive. A long tape of cloth of white and red colour is hooked around a waist string to form a knee-length skirt. A chest plate adorned with various types of coloured beads, glass and tinsel and other ornaments is also used. Gaudily painted wooden ornaments are worn at the wrist, and on the shoulders. Tinkling bells are tied to the legs just above the calf. The face is painted green, the lips are reddened and the eyes are emphasized with black paint. The head-dress is colorfully decorated. The meter and rhyme of the Ottam Thullal songs are very fast, and the dance as such has a high tempo. In Seethankan thullal the metre and rhyme of the Thullal songs are a bit more slow than in Ottam Thullal and consequently dance is also slower in tempo. The dancer uses similar skirt as in Ottam Thullal. But the arms, wrists and head are adorned with ornaments made of fresh tender coconut fronds. There is no facial make-up except darkening of the eyes.

The Parayan Thullal is the slowest in tempo. Even the stance of the dancer is different from the other two. Here the dancer almost stands erect and explains the meaning of the songs by gestures. There is very little of the dance element or of action. The costume is also different. A red, flowery cloth is worn around the waist. A crown of black cloth adorns the head. Necklaces are used on the chest. The face is painted with light yellow.

THIRUVATHIRAKKALI / KAIKOTTI KALI

Kaikottikkali (literally means a play with clapping of hands) also known as Thiruvathirakkali is a dance in which a group of women move in a circle with a lighted brass lamp at the centre, dancing to the rhythm of the songs they sing. Two such songs recited are the following.

Nandanandanam Govindan…..
Angane Jnan Angupovaathengane …..

While playing the participants wears the traditional dress consisting of two pieces, a kasavu dhoti and kasavu upper garment across the breast and a red or green choli blouse. The blouses they wear are of uniform colour. The hair is kept in a knot above the head and the knot adorned with garlands of jasmine flowers. They wear gold ornaments as well as kuppivala (glass bangles). Uniformity is maintained in all these matters. On the whole the women look elegant and sprightly for the game. The leader of the party sings the first line of a song which is repeated by the rest to the simple rhythm of clapping hands. There is no restriction in joining the dances provided the participants do not break steps. The body is gyrated gently by all alike. The dance is very lively and singularly devoid of monotony because of the varieties of steps taken according to the tune of the songs. The hopping and clapping dance is the liveliest piece of Thiruvathirakkali.

The songs used for thiruvathirakkali is called Thiruvathira pattukal. It has come to be separate branch of literature. These songs are mostly based on the marriages of our puranic heroines like Parvathy, Sakuntala, Rukmini, Sathyabhama, Seelavati, Sita etc.

VATTAKKALI

This is an extremely vigorous ring-dance of the Vettuvar community. Both men and women participate in the dance. Twelve different types of steps are executed. The beauty of the intricate footwork is heightened by the tinkling of anklets and bells and also by the rhythmic clapping of hands. The whirling movements become faster as the dancing reaches a climax. The dance is also called chuvadukali.