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BHARATANATYAM
Bharata Natyam is poetry in motion, tracing its hoary origins in the Natya Shastra, written by the great sage, Bharata, it is a highly traditional and stylized dance form. Crystallized in the cast-iron mould of Bharata's technique, this art form grossly disallows new-fangled innovations or gimmicks except in repertoire and forms of presentation. Bharathanatyam- Art Performance-Kerala

Emerging far back in the labyrinthine twists of ancient history (as information for the date conscious, 4000 B.C. is the ascribed date to the Natya Shastra), Bharatanatyam has been immortalized in successive generations, as much by the sinuous grace of great dancers as by the nimble fingers of renowned sculptors who have demonstrated the perfection of Bharata's technique in the flowing lines of temple sculptures.

Bharatanatyam is a classical dance form of South India, said to be originated in Thanjavoor of Tamil Nadu. It was known as "Daasiyattam" since performed by Devadasies in temples of Tamil Nadu long ago. The name 'Bharatanatyam' is derived from three basic concepts of Bhava, Raga and Thaala. The modern Bharatanatyam was systematically regularized by well known 'Thanjavoor Brothers', Ponnayya, Chinnayya, Sivanandam and Vativelu.

The dance is performed in the stage as Nritham, Nrithyam and Natyam. Bharatanatyam is based on the theories of the books 'Natyasaasthram' and 'Abhinaya Darpanam'. The dance form is based on 'Adavu' (steps) and 'Hasthamudra' (hand gestures). There are 64 basic 'Adavu' and they are divided into 9 parts, on which 'Thattadavu', 'Naatadavu', 'Kuthithumettadavu', 'Mandiadavu', 'Sarikkal' and 'Thattumettu' are very important. Communication is done through 'bhavabhinaya' (facial expression) and 'hasthamudra' (hand gestures). The performance starts with the prayers to God Ganapathi and worship of Nataraja Moorthi.

The sequence of the dance performance is 'Alarippu', 'Jathiswaram', 'Sabdam', 'Varnam', 'Padam' and 'Thillana'. After 'Thillana', with a 'Mangala Slokam' the dance program ends. Normally the performance lasts for two to two and half hours.

The costume is paijama and jacket of Kanchipuram silk and Banaras silk. The dancer wears a lot of ornaments of shining stones on neck, ears, hands, and head, jasmin garland in the hair and foot trinklet with small bells.

The music of Bharatanatyam is based on Carnatic classical music. The instruments used are Veena, Flute, Mridangam and Violin. The dance direction is done by 'Nattuvanar' giving the Thaalam using hand symbols and singing 'Vaaythari'. There will be two singers also.

Some of the famous Bharatanatyam performers are Bala Saraswathi, Mrinalini Sarabhai, Rugmini Arundel, Kamala Laxman, Padma Subrahmaniam and Chithra Visweswaran. Panthanalloor Meenakshi Sundaram Pilla, Panthanalloor Chokkalingam Pilla, Padmasree Vazhoor Ramayyan Pilla and Adayar Laxman are some of the famous 'Nattuvar'.

Koothu, Koodiyatom, Patakom, Ashtapdiyatoom, Krishnanattom, Thullal, Mohiniyattom and Kathakali are the most important classical dances.

This classical dance is performed by the member of the professional Chakyar cast that too only in Koothambalam of temples. It is one of the oldest of Koothu-- Art Performance-Kerala

theartrical arts peculiar to Kerala. The term Koothu literally means dance which may be taken as an index of the importance attached to dance in the original form of the art. As a matter of fact, the movements and facial expressions and the signs and gestures employed by the actor in Koothu are said to approximate most closely to the principles laid down in the authoritative Sanskrit treatise on the subject, Bharatha's Natya Sastra.

The actor recites stories from the epics (based on Sanskrit text) interpreting them in Malayalam, enlivening his narration with Thandava dance rhythms and also gestures and bodily postures which are clearly derived from Natya Sastra.

The Koothu is very much dominated by the comic element. Impersonated through mime and gesture and interspersed with occasional dances, the narrative art of the Chakyar is essentially dramatic. Humorous, witty analogies and allusions to topical, political and social events are brought in during the narration and the dancer gets ample facilities for criticizing men and things of local interest. Seldom does the miss an opportunity to make comic comments on contemporary life and society. He ridicules the follies and Theyyam- Art Performance-Kerala

foibles of the age with impunity.

In actual performance the dancer stands on the platform of the Koothambalam adorned with his special type of headgear and peculiar facial make-up. He then offers prayers to the presiding deity of the particular temple where he is performing. After that he recites a verse from the Sanskrit text from which he intends to expound and then explains it in Malayalam.

The instruments used are a pain of Cymbals and the mizhavu which is a big copper drum. A member of the Nambiar caste beats rhythm on the Mizhavu at the required intervals. The cymbals are played invariably by women known as Nangiyars.

Koothu presented as a solo item by a Chakiyar is also known as Prabhandha Koothu. Occasionally, it is presented by a Nangiyar woman, when it is called Nangiyar Koothu.

This is a form of temple art. It's performed in temples of Godesses in Malabar area. Theyyam is rare in South Kerala.

It is an ancient temple artform of Kerala. This is mostly performed in the Bhadrakaali(Goddess Kaali) temples of southern Kerala. Padayani depicts the war between Godess Kaali and Daarika and Daarika Nigraha.

It is believed that various forms of arts worshipping goddess Bhadrakaali prevailed much before the origin of temples. Once the worship of gods and goddesses started at the temples, various types of arts used to be performed to please goddess Bhadrakaali at Bhadrakaali temples. By and large, many of them were ruined while others continued to be Mudiyettu- Art Performance-Kerala

performed systematically and in a more dramatic manner. "Mudiyettu" is one among them, a mixture of entertainment and devotion. The period of origin of Mudiyettu is un-traceable. This art is more of a ritual than dramatic. "Theeyaattu" is another ritual performed in Bhadrakaali temples, which is very much interconnected to Mudiyettu. Mudiyettu is the story of the war of Bhadrakaali with the two notorious Asuras Daarikan and Daanavendran, eventually Killing them, while in Theeyaattu, Bhadrakaali reports to Lord Paramasiva after the assassination and briefs the whole incident. Mudiyettu, compared to other forms of temple arts, is presented without much of `mudras', facemasks and facial expressions, but with facial make-ups and `chutti' (artwork done on face with rice paste) which makes the characters simple and more acceptable to the viewers. Originally these characters used to perform with speech and dance, but later on rhythmic steps were introduced which gives more life to the characters and makes the performance more interesting.

Mudiyettu is a ritual art where viewers also participate in the performance. Once the artists get separated, ie, since they `come to the light', the scene becomes more dramatic. It can be inferred that the character `Kooli' in Mudiyettu is the first of its kind to amuse the viewers by comic speech and action.




	BHARATANATYAM Bharata Natyam is poetry in motion, tracing its hoary origins in the Natya Shastra, written by the great sage, Bharata, it is a highly traditional and stylized dance form. Crystallized in the cast-iron mould of Bharata's technique, this art form grossly disallows new-fangled innovations or gimmicks except in repertoire and forms of presentation. Emerging far back in the labyrinthine twists of ancient history (as information for the date conscious, 4000 B.C. is the ascribed date to the Natya Shastra), Bharatanatyam has been immortalized in successive generations, as much by the sinuous grace of great dancers as by the nimble fingers of renowned sculptors who have demonstrated the perfection of Bharata's technique in the flowing lines of temple sculptures. Bharatanatyam is a classical dance form of South India, said to be originated in Thanjavoor of Tamil Nadu. It was known as "Daasiyattam" since performed by Devadasies in temples of Tamil Nadu long ago. The name 'Bharatanatyam' is derived from three basic concepts of Bhava, Raga and Thaala. The modern Bharatanatyam was systematically regularized by well known 'Thanjavoor Brothers', Ponnayya, Chinnayya, Sivanandam and Vativelu. The dance is performed in the stage as Nritham, Nrithyam and Natyam. Bharatanatyam is based on the theories of the books 'Natyasaasthram' and 'Abhinaya Darpanam'. The dance form is based on 'Adavu' (steps) and 'Hasthamudra' (hand gestures). There are 64 basic 'Adavu' and they are divided into 9 parts, on which 'Thattadavu', 'Naatadavu', 'Kuthithumettadavu', 'Mandiadavu', 'Sarikkal' and 'Thattumettu' are very important. Communication is done through 'bhavabhinaya' (facial expression) and 'hasthamudra' (hand gestures). The performance starts with the prayers to God Ganapathi and worship of Nataraja Moorthi. The sequence of the dance performance is 'Alarippu', 'Jathiswaram', 'Sabdam', 'Varnam', 'Padam' and 'Thillana'. After 'Thillana', with a 'Mangala Slokam' the dance program ends. Normally the performance lasts for two to two and half hours. The costume is paijama and jacket of Kanchipuram silk and Banaras silk. The dancer wears a lot of ornaments of shining stones on neck, ears, hands, and head, jasmin garland in the hair and foot trinklet with small bells. The music of Bharatanatyam is based on Carnatic classical music. The instruments used are Veena, Flute, Mridangam and Violin. The dance direction is done by 'Nattuvanar' giving the Thaalam using hand symbols and singing 'Vaaythari'. There will be two singers also. Some of the famous Bharatanatyam performers are Bala Saraswathi, Mrinalini Sarabhai, Rugmini Arundel, Kamala Laxman, Padma Subrahmaniam and Chithra Visweswaran. Panthanalloor Meenakshi Sundaram Pilla, Panthanalloor Chokkalingam Pilla, Padmasree Vazhoor Ramayyan Pilla and Adayar Laxman are some of the famous 'Nattuvar'. Koothu, Koodiyatom, Patakom, Ashtapdiyatoom, Krishnanattom, Thullal, Mohiniyattom and Kathakali are the most important classical dances. KOOTHU This classical dance is performed by the member of the professional Chakyar cast that too only in Koothambalam of temples. It is one of the oldest of theartrical arts peculiar to Kerala. The term Koothu literally means dance which may be taken as an index of the importance attached to dance in the original form of the art. As a matter of fact, the movements and facial expressions and the signs and gestures employed by the actor in Koothu are said to approximate most closely to the principles laid down in the authoritative Sanskrit treatise on the subject, Bharatha's Natya Sastra. The actor recites stories from the epics (based on Sanskrit text) interpreting them in Malayalam, enlivening his narration with Thandava dance rhythms and also gestures and bodily postures which are clearly derived from Natya Sastra. The Koothu is very much dominated by the comic element. Impersonated through mime and gesture and interspersed with occasional dances, the narrative art of the Chakyar is essentially dramatic. Humorous, witty analogies and allusions to topical, political and social events are brought in during the narration and the dancer gets ample facilities for criticizing men and things of local interest. Seldom does the miss an opportunity to make comic comments on contemporary life and society. He ridicules the follies and foibles of the age with impunity. In actual performance the dancer stands on the platform of the Koothambalam adorned with his special type of headgear and peculiar facial make-up. He then offers prayers to the presiding deity of the particular temple where he is performing. After that he recites a verse from the Sanskrit text from which he intends to expound and then explains it in Malayalam. The instruments used are a pain of Cymbals and the mizhavu which is a big copper drum. A member of the Nambiar caste beats rhythm on the Mizhavu at the required intervals. The cymbals are played invariably by women known as Nangiyars. Koothu presented as a solo item by a Chakiyar is also known as Prabhandha Koothu. Occasionally, it is presented by a Nangiyar woman, when it is called Nangiyar Koothu. THEYYAM This is a form of temple art. It's performed in temples of Godesses in Malabar area. Theyyam is rare in South Kerala. PADAYANI It is an ancient temple artform of Kerala. This is mostly performed in the Bhadrakaali(Goddess Kaali) temples of southern Kerala. Padayani depicts the war between Godess Kaali and Daarika and Daarika Nigraha. MUDIYETTU It is believed that various forms of arts worshipping goddess Bhadrakaali prevailed much before the origin of temples. Once the worship of gods and goddesses started at the temples, various types of arts used to be performed to please goddess Bhadrakaali at Bhadrakaali temples. By and large, many of them were ruined while others continued to be performed systematically and in a more dramatic manner. "Mudiyettu" is one among them, a mixture of entertainment and devotion. The period of origin of Mudiyettu is un-traceable. This art is more of a ritual than dramatic. "Theeyaattu" is another ritual performed in Bhadrakaali temples, which is very much interconnected to Mudiyettu. Mudiyettu is the story of the war of Bhadrakaali with the two notorious Asuras Daarikan and Daanavendran, eventually Killing them, while in Theeyaattu, Bhadrakaali reports to Lord Paramasiva after the assassination and briefs the whole incident. Mudiyettu, compared to other forms of temple arts, is presented without much of `mudras', facemasks and facial expressions, but with facial make-ups and `chutti' (artwork done on face with rice paste) which makes the characters simple and more acceptable to the viewers. Originally these characters used to perform with speech and dance, but later on rhythmic steps were introduced which gives more life to the characters and makes the performance more interesting. Mudiyettu is a ritual art where viewers also participate in the performance. Once the artists get separated, ie, since they `come to the light', the scene becomes more dramatic. It can be inferred that the character `Kooli' in Mudiyettu is the first of its kind to amuse the viewers by comic speech and action. More Arts Performance..........
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