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Kathakali the classical dance form of Kerala,was originated in Kerala 400 years ago. It took shape mainly from Koodiyattam, Mohiniyattom, Chakyarkoothu, Ashtapadyattom and Krishnanattom. A complete art, Kathakali Kathakali-Art Performance, Kerala

constitute 3 fine arts - abhinayam or acting, nrityam or dancing and geetham or singing, and is a pantomime in which the performing artiste does not sing or speak. So music is a very essential aspect of Kathakali and the bhagavathar or the singer plays a key role in the staging of the art form.

The great poet Mahakavi Vallathol Narayana Menon, the founder of Kerala Kala Mandalam, gave Kathakali the look and feel we see today. Kathakali is usually presented at dusk in the premises of temples, sometimes continuously for ten days, each night featuring an act of the play and lasting till day break. Kathakali music belongs to the Sopana category of music which is typical of Kerala and is characteristically slow, strictly adhering to the tala (rhythm) giving full scope for abhinaya (acting).Instruments used include Chenda, Maddalam and Ilathalam. The actors paint their faces vividly and use different costumes depending on the kind of characters they portray and according to that the "Vesha" (costume) is mainly classified into four: Pacha(Sathwika, the hero), Kathi(the villain), Minukku(for female characters) and Thaadi. Kathakali, especially its verses and music are an enormous contribution to Malayalam literature and music. Aattakkatha, the literature part of Kathakali, forms a separate division in Malayalam literature. Compared to others Kathakali music is more involved and complex clarifying the meanings of mudras or hand gestures, describing the context and expressing the depth of emotions enacted by the artiste.

Mohiniyattam is a dance form said to have originated in Kerala. It is closely related to Bharathanatyam of Tamil Nadu, which was originally called 'Dasiyattam'. Originated as the temple dance Mohiniyattom-Art Performance, Kerala performed by Devadasis, it portrays feminine love in its myriad forms - carnal, devotional and maternal- with accent more on Lasya and Bhava. In the main items Cholkettu, Padavarnam and Padam, Mudras and facial expressions are more important than the rhythmic steps. Costumes and ornaments of Mohiniyattam have much in common with female characters of Koodiyattam and Kathakali.

Once Mohiniyattam was performed only in Temples premises and royal courts. The first reference to Mohiniyattam is found in 'Vyavaharamala' composed by Mazhamangalam Narayanan Namboodiri, of 16th century AD. Major contributions to this art form were given by Maharaja Swathi Thirunal, Irayimman Thampi and Kuttikunju Thankachi.

After Swathi Thirunal's period there was a downfall of Mohiniyattam. It somehow degenerated into eroticism to satisfy the Epicurean life of a few provincial satraps and landlords. The renowned Malayalam poet Vallathol revived it and gave it a status in modern times through Kerala Kalamandalam which is presently doing its best for the development and popularity of Mohiniyattam.

Kalamandalam Kalyanikutty Amma (wife of famous Kathakali artist, late Padmashree Kalamandalam Krishnan Nair) and Chinnammu Amma are well known Mohiniyattam performers. Among the present day artists Kalamandalam Sathyabhama, Kalamandalam Kshemavathi, Bharathi Sivaji, Kanak Rele, Sunanda Nair etc.. are well known artists. Smt. Kanak Rele deserves a special mention as she is not a Malayalee. She has established a Nritya Mahavidyalaya in Mumbai to promote Mohiniyattam along with other dance forms.

Most of the component items of Mohiniyattam are similar to Bharatnatyam and Kuchipudi, though subtle differences of style is obvious. The language used in the lyrics is a pleasant mixture of Malayalam and Sanskrit, known as Manipravalam. Formerly, the Padams were specially composed to include only Sringararasa. Now a days artists are using any classical or semi-classical compositions, even from other language. The real beauty of Mohiniyattam comes through only when mature ladies enact the romantic padams specially written to present the Ashta Nayikas: Swadheena Bharthruka, Khanditha, Abhisarika, Vipralabdha, Kalahandtharitha, Vasakasajja, Proshithabharthruka, Viraholkhanditha.

The accompaniments for Mohiniyattam are Vocal, Veena, Venu, Maddalam and Idakka. Other instruments are also not unusual.

Compared most other dance forms, Mohiniyattam gives more importance to gestural and facial acting. The Mudras (hand gestures) are almost always same as those employed in Kathakali. The artists try to enact the lyrics almost in its entirety, like in Kathakali.

Koodiyattam, Sanskrit drama performed in Kerala, India, has been recognised by UNESCO Koodiyattom-Art Performance, Kerala

as a Human Heritage Art. Rightly so. It is the oldest existing classical theatre form in the entire world, having originated much before Kathakali and most other theatrical forms. It is considered to be at least 2000 years old. Kulasekhara Varma Cheraman Perumal, an ancient King of Kerala was known as the creator of Koodiyattam in the present form. His book "Aattaprakaram" describes various aspects about how to perform Koodiyattam. Till date this is considered the most authoritative work on the art form. The "grammar" of performance is entirely based on the stipulations of "Natyashasthram" by Bharatha Muni, the most authoritative book on the science of acting.

Traditionally, Koodiyattam is presented by "Chakyars" (a sub caste of Kerala Hindus). The female roles went only to "Nangyars" (Women of Nambiar caste). The name 'Koodiyattam' (combined dance form) came because it is the combined performance of Chakkyar and Nangyar. The only musical accompaniment used to be "Mizhav" played by Nambiar men. Of late, Idakka also finds a place beside Mizhav.

A solo dance exposition, the Thullal is of three types. Its origin is attributed to Kunchan Nambiar, a veritable genius Thullal-Art Performance, Kerala

and one of the foremost poets of Kerala. Though based on classic principles of Natya Shastra the technique of this art is not rigid. The songs, written in simple Malayalam, frank to outspoken wit and humour, the simplicity of presentation and the direct appeal to every day life made Thullal very popular.

The instruments used in Thullal are the maddalam and the cymbals. The cymbal player who tunes the rhythm, also assists the actor dancer (Thullakaran) 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 Ottan 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 beades, glass and tinsel and 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 emphasised with black paint. The head -dress is colourfully decorated. The metre 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 clothe is worn around the waist. A crown of black clothe adorns the head. Necklaces are used on the chest. The face is painted with light yellow.

Thiruvathirakali is a dance typical to Kerala performed by women for everlasting marital bliss, on the Thiruvathira asterism in the Malayalam month of Dhanu Thiruvathira Kali-Art Performance, Kerala

Thiruvathira Kali-Art Performance, Kerala

(December/January).It is observed as an occasion to celebrate womanhood. Only girls and women perform this. They stand in a circle dressed in traditional style and the dance follows a circular pattern accompanied by clapping and singing. There are songs called Thiruvaathirappattu with a special rhythm. Most of these songs praise lords.

The dance is a celebration of marital chastity and female energy, for this is what brought Kamadeva (of Indian mythology) back to life after he was reduced to ashes by the ire of Lord Shiva, the Destroyer, one among the Trinity in Indian mythology. The rituals involve chewing of 108 betel leaves along with lime and grated arecanut, undergoing fast and taking a dip in the village pond singing the Thiruvathirappattu. The sinuous movements executed by the dancers during Thiruvathirakali around a nilavilakku embody lasya or the amorous charm and grace of the feminine. Also known as Kaikottikkali it is an important entertainment folk art of Malayalee women during Onam season




	ART PERFORMANCE KATAHAKALI Kathakali the classical dance form of Kerala,was originated in Kerala 400 years ago. It took shape mainly from Koodiyattam, Mohiniyattom, Chakyarkoothu, Ashtapadyattom and Krishnanattom. A complete art, Kathakali constitute 3 fine arts - abhinayam or acting, nrityam or dancing and geetham or singing, and is a pantomime in which the performing artiste does not sing or speak. So music is a very essential aspect of Kathakali and the bhagavathar or the singer plays a key role in the staging of the art form. The great poet Mahakavi Vallathol Narayana Menon, the founder of Kerala Kala Mandalam, gave Kathakali the look and feel we see today. Kathakali is usually presented at dusk in the premises of temples, sometimes continuously for ten days, each night featuring an act of the play and lasting till day break. Kathakali music belongs to the Sopana category of music which is typical of Kerala and is characteristically slow, strictly adhering to the tala (rhythm) giving full scope for abhinaya (acting).Instruments used include Chenda, Maddalam and Ilathalam. The actors paint their faces vividly and use different costumes depending on the kind of characters they portray and according to that the "Vesha" (costume) is mainly classified into four: Pacha(Sathwika, the hero), Kathi(the villain), Minukku(for female characters) and Thaadi. Kathakali, especially its verses and music are an enormous contribution to Malayalam literature and music. Aattakkatha, the literature part of Kathakali, forms a separate division in Malayalam literature. Compared to others Kathakali music is more involved and complex clarifying the meanings of mudras or hand gestures, describing the context and expressing the depth of emotions enacted by the artiste. MOHINIYATTOM Mohiniyattam is a dance form said to have originated in Kerala. It is closely related to Bharathanatyam of Tamil Nadu, which was originally called 'Dasiyattam'. Originated as the temple dance performed by Devadasis, it portrays feminine love in its myriad forms - carnal, devotional and maternal- with accent more on Lasya and Bhava. In the main items Cholkettu, Padavarnam and Padam, Mudras and facial expressions are more important than the rhythmic steps. Costumes and ornaments of Mohiniyattam have much in common with female characters of Koodiyattam and Kathakali. Once Mohiniyattam was performed only in Temples premises and royal courts. The first reference to Mohiniyattam is found in 'Vyavaharamala' composed by Mazhamangalam Narayanan Namboodiri, of 16th century AD. Major contributions to this art form were given by Maharaja Swathi Thirunal, Irayimman Thampi and Kuttikunju Thankachi. After Swathi Thirunal's period there was a downfall of Mohiniyattam. It somehow degenerated into eroticism to satisfy the Epicurean life of a few provincial satraps and landlords. The renowned Malayalam poet Vallathol revived it and gave it a status in modern times through Kerala Kalamandalam which is presently doing its best for the development and popularity of Mohiniyattam. Kalamandalam Kalyanikutty Amma (wife of famous Kathakali artist, late Padmashree Kalamandalam Krishnan Nair) and Chinnammu Amma are well known Mohiniyattam performers. Among the present day artists Kalamandalam Sathyabhama, Kalamandalam Kshemavathi, Bharathi Sivaji, Kanak Rele, Sunanda Nair etc.. are well known artists. Smt. Kanak Rele deserves a special mention as she is not a Malayalee. She has established a Nritya Mahavidyalaya in Mumbai to promote Mohiniyattam along with other dance forms. Most of the component items of Mohiniyattam are similar to Bharatnatyam and Kuchipudi, though subtle differences of style is obvious. The language used in the lyrics is a pleasant mixture of Malayalam and Sanskrit, known as Manipravalam. Formerly, the Padams were specially composed to include only Sringararasa. Now a days artists are using any classical or semi-classical compositions, even from other language. The real beauty of Mohiniyattam comes through only when mature ladies enact the romantic padams specially written to present the Ashta Nayikas: Swadheena Bharthruka, Khanditha, Abhisarika, Vipralabdha, Kalahandtharitha, Vasakasajja, Proshithabharthruka, Viraholkhanditha. The accompaniments for Mohiniyattam are Vocal, Veena, Venu, Maddalam and Idakka. Other instruments are also not unusual. Compared most other dance forms, Mohiniyattam gives more importance to gestural and facial acting. The Mudras (hand gestures) are almost always same as those employed in Kathakali. The artists try to enact the lyrics almost in its entirety, like in Kathakali. KOODIYATTOM Koodiyattam, Sanskrit drama performed in Kerala, India, has been recognised by UNESCO as a Human Heritage Art. Rightly so. It is the oldest existing classical theatre form in the entire world, having originated much before Kathakali and most other theatrical forms. It is considered to be at least 2000 years old. Kulasekhara Varma Cheraman Perumal, an ancient King of Kerala was known as the creator of Koodiyattam in the present form. His book "Aattaprakaram" describes various aspects about how to perform Koodiyattam. Till date this is considered the most authoritative work on the art form. The "grammar" of performance is entirely based on the stipulations of "Natyashasthram" by Bharatha Muni, the most authoritative book on the science of acting. Traditionally, Koodiyattam is presented by "Chakyars" (a sub caste of Kerala Hindus). The female roles went only to "Nangyars" (Women of Nambiar caste). The name 'Koodiyattam' (combined dance form) came because it is the combined performance of Chakkyar and Nangyar. The only musical accompaniment used to be "Mizhav" played by Nambiar men. Of late, Idakka also finds a place beside Mizhav. 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 classic principles of Natya Shastra the technique of this art is not rigid. The songs, written in simple Malayalam, frank to outspoken wit and humour, the simplicity of presentation and the direct appeal to every day life made Thullal very popular. The instruments used in Thullal are the maddalam and the cymbals. The cymbal player who tunes the rhythm, also assists the actor dancer (Thullakaran) 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 Ottan 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 beades, glass and tinsel and 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 emphasised with black paint. The head -dress is colourfully decorated. The metre 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 clothe is worn around the waist. A crown of black clothe adorns the head. Necklaces are used on the chest. The face is painted with light yellow. THIRUVATHIRA KALI Thiruvathirakali is a dance typical to Kerala performed by women for everlasting marital bliss, on the Thiruvathira asterism in the Malayalam month of Dhanu (December/January).It is observed as an occasion to celebrate womanhood. Only girls and women perform this. They stand in a circle dressed in traditional style and the dance follows a circular pattern accompanied by clapping and singing. There are songs called Thiruvaathirappattu with a special rhythm. Most of these songs praise lords. The dance is a celebration of marital chastity and female energy, for this is what brought Kamadeva (of Indian mythology) back to life after he was reduced to ashes by the ire of Lord Shiva, the Destroyer, one among the Trinity in Indian mythology. The rituals involve chewing of 108 betel leaves along with lime and grated arecanut, undergoing fast and taking a dip in the village pond singing the Thiruvathirappattu. The sinuous movements executed by the dancers during Thiruvathirakali around a nilavilakku embody lasya or the amorous charm and grace of the feminine. Also known as Kaikottikkali it is an important entertainment folk art of Malayalee women during Onam season More Arts Performance..........
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