ART PERFORMANCE

AADI VEDAN : Aadivedan is an ancient folk art prevalent in certain areas of Kannur district. Aadi and Vedam represent parvathy and siva. All the characters who enact these two roles normally belong to two different communities. It is performed during day time.

ARJUNA NRITHAM : Arjunanritham is a popular dance from in Alleppey and Kottayam districts. This is performed by one or two persons at night and the lighting is done by the traditional lamp called 'Nilavilakku'. Arjunan was proficient in dance among the Pandavas and he is supposed to have danced and sung praising Bhadrakali. Since the lower part of the garments of the dance is made of peacock feathers, the dance is also known as "Mayilpeeli Thookkam". 

KUMMATTI : Kummattikali is a mask dance popular in South Malabar. The dancers wear brightly painted wooden masks. During onam season groups of dancers donning masks and adorning themselves with leaves and grass go from house to house. The songs are melodious and deal with devotional themes. The rhythm is provided by vibrating the string of a bow-like instrument called onavillu.

KUTHIRAKALI : This is a ritualistic art prevalent in Malappuram District. A horse is fashioned with bamboo splints and tender fronds of the coconut palm. This horse is lifted and carried on the shoulders of the performers who dance to the rhythm of Chenda and to the accompaniment of songs sung by them.

KOTHAMOORIYATTAM : This art forms is performed in Kannur District. The leader along with the troupe go to each house, play on the Chenda and begins to sing. Two charactors with face masks made out of the stalk of coconut fronds and with yellow tassels of Kuruthola sing the refrain. Along with this they go through an enactment of comical gestures. There comedy charactors are known as Paniyans. Another charactor the representation of bull, worn round his waist, dances in peculiar style. Kotha means child and Moori means bull. This is an entertainment which the Malayans performs when the harvest is ever.

KOZHIPPORUKALI : Kozhipporukali is meant as a community entertainment. The main features of the performance is the signing of a rhythmic song, about cock fight, with performs holding staves two to three feet long, with which they drives stylized blows in the air and show off their valour. Background accompaniments are provided by bells and dolak. There are many intricate martial movements which the performers go through. At the end of each complex move the performers shout in imitation of cook's crow. After commencing in a slow tempo this is worked up to a high pitch before the performance concludes. This art form is prevalent in Chirayinkizhu, Kilimanoor and Pazhaya kunnummal at Thiruvananthapuram District.

GARUDAN THOOKAM : This dance from is presented in some temple where the installed deity is Badrakali. Two or three dancers in the garb of Garuda, dance to the ehythm of percussion instruments. The dance is known as the Thookakaran. In limitation of Garuda (the bird king) the dancers preen the feathers with their beaks, carry snakes in the beak, dance with wings spread in circle, in an ecstasy of joy. And this, against the background of the rhythm of the instruments, the shouts of the on lookers, and the bursting of crackers, all of which combine to produce the effect of a battle. At the end, the Thookakaran climbs into a cart, circumambulates the temple and the donates blood. While goddess Kali was fighting demon Darika, Garuda, the vehicle of Lord Vishnu, flew round and round and viewed the scene. Even after slaying Darika, the flaming anger of the goddess was not assuaged. She turned against Garuda. Though he pleaded a thousand times for pardon, the terrible goddess clamed down only after drinking three drops of Garuda's blood. This art forms, a votive offering, revives this theme. Instruments like the Chenda, Maddalam, Cymbals, Horns etc. are used. This art for is prevalent in Kottayam and Alappuzha districts.

CHAVITUKALI (CHERUMAKKALI) : Popular in Malaappuram District. This is performed by the Pulaya Community. This entertainment is presented during temple festivals or during Onam, Vishnu and such other festive days. When the performers stand in a circle, the leader of the troupe recites two lines of a song. The others repeat the lines. After doing this twice, they dance in a circle, with hand gestures, to a peculiar kind of rhythm. When the song nears the end, the tempo of the dance rises. Mostly the rhythm remains unchanged. But the steps, could be circular and diagonal. No percussion instruments or lighting effects are used.

CHATTHANKALI : Prevalent in many areas of Ponnani and Thirur Taluks in Malappuram District. In the garb of Chathan, a village deity, they dance to the accompaniment of percussion instruments like the Chenda etc. In both hands the dancers of Kolams carry two short sticks. They click these sticks together rhythm. Each particular dance sequence takes about ten minutes. A particular type of Chenda is used as background rhythm. Usually this is performed during day time. A linon cloth jingling bell round the waist and heavy clanking anklet and on the head, a headdress made of arecanut frond's base and tender coconut frond's. A face mask of arecanut frond base, with an exaggerated nose. These form the costume.

CHOZHIKKALI : Prevalent in Thrissur District. Children don the garb of Chozhi. The elders don the costumes of kalan, Chitragupta, Muthiyamma. The leader stands in the midst of children, garbed as Chozhi. The leader makes the Chozhis sit in a circle round him and begins to sing. The Chozhis clap their palams. Later, the elder in the garb of Kalan (God of Death) and Chitragupta enter to the accompaniment of yells. The Muthiamma sings humorous songs. After commencing the performance, in a vacant lot, the performers go from house to house and perform this. The costume of Chozhi consists of dried plantain leaves, tied all over the body. And two horns would be sticking out from the forehead. Kalan and Chiragupta wear black clothes and masks of terrifying aspects with fangs bared.

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 Thaikettu (a ritual in which the young girls who attain puberty go through a mock marriage) The performers stand in 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.

THIDAMBU NRITHAM : This is prevalent in Kannur District and in some parts of Kozhikode District, in North Kerala. Namboodiris conducted the dance. Marar play on percussion instruments. Person belonging to the Nambissan, Varier, Unithiri communities, serve as assistance. One namboodiri to bear the Thidambu, seven players on percssion instruments, two persons to carry lamps, in all ten persons are needed to present this. The dance is performed with the decorated effigy of the Devi carried on the head. Foot work is most important and this is executed to the rhythms of the drums. The step are at turned to various rhythms like Thakiladi Adantha, Chembada, Panchari.

THEYYANNAM : This is a ritualistic art, performed by the Pulaya and Kurava communities. Theyyannam is found in Mavelikara, Pandalam and some 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 menfolk. 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 comes 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 : Popular in Palakkadu and Malappuram Districts. This is handled by the panars. Their daily profession is the making of palm leaf umbrellas. Two charectors (one male and one female) and two percussion in instrumentalists from a troupe. The characters sing, exchange dialogues and perform stylised 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 accompanists keeps time with tiny cymbals (Kuzhithalam).

THOLPAVAKKOOTHU : This is known also as Pavakoothu and Nizhalkoothu. Prevalent in Palakkadu and Ponnani Taluks. This is handled, traditionally, by Pulavanmars. The Pavakal, or pupples are made of deer skin, to represent characters in the Ramayanam epic. The puppets are arranged behind along curtain. Behind the puppets brightly burning oilwick lamps are kept. The singer recites songs from the kamba Ramayana. To the trend of the song, the puppets are made to move and dance. When the song ends, an entertaining description of the puppet characters takes place. A Chenda in the shape of Para (measure) Idora is used to give percussion effects.

NAGACHUTTU : Popular in Thiruvananthapuram and Chirayinkizhu taluks and in Kilimanoor, Pazhayakunnummal and Thattathumala regions. This is in vogue among vedars, Parayars and Kuravar tribes. Eight persons for the dance and two to play percussion instrumentsin all ten persons are needed for staging this. From among the eight performers, two each, twin around each other like serpents and rising up, battle it out with sticks. The techniques are repeated several times. Sandalwood paste on the forehead, a red towel round the head, red silk around the waist and bells round the ankles. These from the costume. This is a combination of snake workship and Kalaripayattu.

PALLUKALI : In vogue in Chittoor Taluk in Palakkad District. This is a dramatic visual art. 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 (Richman) his servant, his two wives, a Kolkaran (he is also the comedian). After the other characters make their entry the Ganapathy with draws. 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 don dhoties and upper cloth. Facial makeup is used. The female characters tie up their hair. Nandanar, who was refused admission into the temple, but finally got himself admitted through high devotion and won many devotees to him, is presented through this art form, with the help of music and dancing.

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 garbs of deities like Raktheswari, Gulikan, Yakshi, come and dance in front of the kalam.

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