rt

wisdom
tree^B
Dances of India
Series Editor
Al k a Ra g h u v a n s h i

Photographs
Av i n a s h Pa s r i c h a

S Balakrishnan
Copyright © 2004, Sadanam P V Balakrishnan
Photographs © Avinash Pasricha
Design Kamal P. Jammual

ISBN 81-86685-13-8

All rights reserved. No part of this book may be reproduced, stored in a Contents
retrieval system or transmitted in any form or by any means—electronic,
mechanical, photocopying, recording or otherwise—^without the prior Origin and Development........................................... 11
permission of the publishers.
Sahitya.............................................23
Published by Training Methods.............................................35
Wisdom Tree Sequence of Performance ............................................ 41
C-209/1 Mayapuri, Phase-11, Make-up and Costume .............................................49
New Delhi-110 064.
Tel.: 281 11720, 281 14437 Music.............................................63
Gestural Language........................................... 75
Printed at
Different Styles ........................................... 79
Print Perfect,
Future of the Form ............................................ 87
New Delhi-110 064.
 Origin and Development

V
erdant palm fronds swaying in the gentle sea-breeze, boat
races in the sprawling lagoons. Walking through lush paddy
fields to see a Kathakali performance. Hills covered with thick
rain-forests against the backdrop of smoky mountains, the mysticism
of the Theyyam dancers holding one spell-bound...Kerala, the
southern-most part of the west coast of the Indian peninsula, invokes
images that are an amalgamation of all this and much that lurks just
beneath the surface. The populace is an interesting mix of the Aryan
and the original Dravid inhabitants, and from their seamless intertwining
has burst forth a plethora of cultural manifestations—be they
Kalaripayattu, Krishnattam, Ramattam, Mudiyettu or Kudiyattam.

KATHAKALI I 1
These in turn have influenced Kathakali, arguably the best-known
form of the region.

Highly stylised and evolved, the traditional dance-drama Kathakali’s

extraordinary elaborate make-up, vibrant costumes, powerful
instrumental accompaniments, vigorous dance patterns and unique
expression of emotions set it apart. It is dance, theatre, pantomime,
ballet and miracle—all rolled into one, yet managing to keep its
identity as a complete whole. Its origins can be traced to the middle
of the 17th century.

Like most other traditional dance-dramas, the themes of Kathakali

too are from the Indian epics — Ramayana, Mahabharata, and the
Bhagavata Purana. The techniques and the scientific basis of the
dance and drama are from the ancient Sanskrit treatise Natya Shastra,
of Bharata Muni, also called the fifth Veda. The costumes, make-up,
and the external appearance of the characters are refined versions
of the ritual art forms of both Aryan and Dravidian cultures. The basic
postures, steps and body movements can be found in the martial art
of Kerala, the Kalarippayattu, with sufficient modifications. Kathakali
1 2 KATHAKALI
needs to be seen in the perspective of a few of the old art forms body becoming the eye. The training is supposed to make the body
including Sangha-Kali, Kalarippayattu, Theyyam, Mudiyettu, and so alert that every part of it including every inch of the skin is able
Kudiyattam which have had immense influence on the development to sense and respond to an attack. Acquiring absolute control over
the body by physical exercises and specialised body massages, a
of Kathakali.
practitioner learns the techniques of using severai offensive and
Sangha-kali: It is also Imown as Panem-kali in the local Malayalam defensive weapons made of wood and steel, including Urumi, a six-
language and Sastrangam is its Sanskrit name. This form includes foot-long flexible sword. The movements in Kalarippayattu are highly
graceful and stylised. Till recently, patrons of Kathakali were the local
literature, instrumental and vocal music, dance and drama. Largely
chieftains who needed to maintain an army. Consequently, the
meant as a social entertainment for the Brahmin community, it is
Kathakali artistes were also well-trained soldiers. It is not surprising
partly ritualistic and is performed on ceremonial occasions like
that the form influenced Kathakali greatly.
marriages, samavarthanam, namakaranam and other similar
ceremonies.
Mudiyettu: Performed in the Kali temples of South Kerala, the name
literally means 'loading the head gear or crown on the head'. Putting
Kalarippayattu: A martial form from the Kalaris or gymnasiums, it is
designed to impart intensive training in the art of fighting and warfare. on the headgear is indeed a balancing feat because it is heavy and
often very high. A highly stylised and intricate image of main deity is
Prevalent all over Kerala and Thulunadu, now coastal Karnataka,
Kalarippayattu is perhaps the mother of all martial arts in South-East drawn in the temple courtyard using coloured and powdered rice,
turmeric and charcoal. The main priest of the temple performs ritual
Asia. The origin of Karate, Kung Fu, Judo etc. is said to be in the
intensive body training involved in the practice of this art. A Malayalam worship on this painted icon and a possessed Tantri, to the
saying describes it as ‘Meyyu Kannakuka’ literally meaning the entire accompaniment of drums, dances on the sacred figure, erasing the
KATHAKALI I 5
1 4 KATHAKALI
picture. This powder, believed to be 'blessed', is later distributed as temples of north Malabar area of Kerala. Each of the 400-odd
portions of sacred offerings to the faithful. characters of the form vary in make-up, costumes, and the
performance of the rituals. The dancers have co observe austerity of
One of the ritual practices in Mudiyettu is announcing the forthcoming diet and other activities, a few days prior to the day of their
event sufficiently in advance in the evening by a percussion ensemble, performance. Prayers are offered to invoke the deity of a particular
Keli. This practice is adopted in Kathakali also. It is after this ensemble temple or kavu. These temples are often only a sacred tree or a
that the performing artistes start their make-up. The other practices cluster of trees that have a small structure or a raised platform,
adopted by Kathakali from this art form are: where some idols and specially carved stones are installed.

• Use of make-up methods and materials such as chayillyam (a The intricate make-up is started by painting the face and for some
kind of red oxide), manayola (mineral sulphur) etc. characters, parts of the body as well. Meticulously done, it takes
• The stage settings, the big oil lamp in front of the stage, the hand about half an hour to three hours, depending upon the character to
curtain or thirasseela, the wooden stool on the stage, and the oil be represented. The make-up of some of the Theyyam characters,
torches used to highlight the faces of the characters. like Thayi Paradevatha, Muchilot Bhagavathi and Palott Daivom is
• Dramatic roars and sounds by different characters. awe-inspiring. There are also ferocious-looking Theyyams with vigorous
• Rghting and bloodshed shown on the stage, which is taboo movements that can even be frightening, for instance, Karim Chainundi,
according to the Natya Shastra. Raktha Chamundi, Narambil Bhagawathi, Gulikan among others.
• Use of heavy and exaggerated costumes in bold colours.
Kathakali is indebted to this art form for its use of make-up nictterials,
Theyyam: This ancient ritualistic art form is practised in the village mixing of colours, costume designing, headgear and ornaments. The
KATHAKALI 1 7
1 6 KATHAKALI
 are in charge of make-up and percussion. Nambiar women, called
method of using collages on the face is also a contribution of Theyyam.
The designs of pure silver ornaments worn by characters in Kathakali Nangiars, enact the female roles.
are also from this form. Costume jewellery worn by Kathakali artistes
All the classical elements of Kathakali come from this Sanskrit theatre.
are invariably copies of those worn by Theyyam artists. Both the art
The four types of enactments: Angikam pertaining to limb movements,
forms use some ornaments made of leather. The more vigorous
vachikam — of words, aaharyam relating to make-up and costumes,
dance patterns and exaggerated expressions found in Kathakali are
and satwikam relating to the mental and emotional aspects, have
adaptations from Theyyam.
equal and important role in Kudiyattam. The gestural language of
Kathakali, the division of characters into special types according to
In the other forms of attams or dance prevalent in Kerala, Tirayattam,
their qualities, make-up and costumes, and several technical aspects
which invokes Goddess Bhagawati, the actor doesn’t sing his lines
of stage presentation have been adapted from Kudiyattam.
and the performance is mostly ritualistic, complete with elaborate
make-up. The movements are pure dance sans content. Masks and
Krishnanattam and Ramanattam: In the mid-17th century, the
face paint are common to these dances, performed in obeisance to
saint-poet jayadeva's Geeta Govinda, became popular all over India,
different forms of the goddess. Forms like the Mudiyettu and the
as prayer as well as dance literature. It was adopted in Kerala for
Kolam Tullal have made significant contribution to Kathakali as it is in
devotional singing. Sung in the prescribed ragas to the accompaniment
the present situation.
of edald<a and chengila percussion instruments, it was particularly
popular at the Guruvayoor temple dedicated to Lord Krishna. King
Kudiyattam: The ancient Sanskrit theatre, once prevalent all over
Manaveda of Kozhikode, who was greatly attracted by the Geeta
India and now seen only in Kerala, is performed by two castes, called
Govinda, composed a literature for a dance-drama (natya-prabandha).
Chakyars and Nambiars. Chal<yars are actor-dancers and Nambiars
KATHAKALI 1 9
1 8 KATHAKALI
 seems that the dramatic forms too had undergone change. It is also
called Krishna Geeti, and choreographed it to produce Krishnanattam,
evident that a distinction was made between pure drama forms and
meaning, dance of Krishna. Performed only in two places: Guruvayoor,
pure dance forms. Words like koothu, desi nritya, desi lasyanga and
and the royal palace of Zamorin at Kozhikode, it became famous all
desi karana came into usage between the 13th and 17th century
over Kerala. and appear in innumerable texts on dance and drama forms written
in south Indian languages.
There is a legend that once the king of Kottarakkara of southern
Kerala wanted Krishnanattam to be performed in his palace. He
The temple sculpture in Kerala and the frescos in the Mattancheri
requested King Manaveda to send his troupe. But Manaveda refused
temple are evidence that the basic Kathakali positions in use today
saying that there was none in Kottarakkara who could understand or
were established by the 15th century. Sculptural and other indications
appreciate the literature or the stylised dance-drama. The king of
around the 16th century are perfect examples of the rectangular
Kottarakkara could not bear the insult, and he composed his own
positions peculiar to Kathakali as are the headgear and sari. These
dance-drama (attakatha) based on the story of Ramayana, and called
diverse influences resulted in a distinct and highly stylised technique
it Ramanattam (dance of Rama). Ramanattam also is in eight parts:
of dance-drama, which is its very soul.
Puthrakamesti, Sita Swayamvaram, Vicchinnabhishekam, Kharavadham,
Balivadham, Thoranayuddham, Sethu Bandhanam, and Yuddham.
The King of Vettathu Nadu was the first person who tried to modify
Ramanattam to develop it into Kathakali. From a mere folk-theatre
Textual evidence supports the view that numerous regional styles
form, Ramanattam reached the level of a semi-classical dance-drama.
were prevalent in the area, all of which have departed somewhat
Instead of blue in the facial make-up of the main characters in
from the tradition of Bharata. Judging from some of the commentaries
Ramanattam, he changed it to green. For Lord Rama and other noble
on the ancient treatises, Silappadikaram and the Sangitaratnakara, it
KATHAKALI 2 1
20 KATHAKALI
characters, the make-up was also a little more stylised. He introduced
the chutty poove, the white knobs on the tip of nose and centre
of the forehead. Different types of upper costume garments for
different characters, and the uthareeyam, the upper cloth hanging
on both sides of the shoulders, for the male characters and the fur
coat for Hanuman, Bali and Sugreeva too, are his contributions. He
introduced kalasams, or dance patterns, as interludes in between Sahitya
the dialogues. However, his main contribution is the introduction of
the vocal musicians and the powerful reverberating percussion ottayathu Thampuran, the king of Kottayam in the north of

K
instrument, chenda. While the musicians sing, the dancer-actors are Kerala, who lived in the later part of the 17th century, was a
free to concentrate on dancing and evoke effective facial expressions. master of different art forms. A great scholar of both Malayalam
and Sanskrit languages, he was well versed in music, dance, direction
and acting. He composed four Kathakali plays: Baka-Vadham,
Kirmeera-Vadham, Kalyana-Saugandhikam and Nivathakavacha
Kalakeya-Vadham. Unlike Ramanattam and Krishnattam, who looked
towards the Bhagvata and the Ramayana for their theme content,
Kottayathu Thampuran’s themes were from the Mahabharata.

His characters are more human with deep emotions, finer feelings
and extraordinary qualities, which better suit dance-dramas. Joined
KATHAKALI 23
22 KATHAKALI
by the king of Vettathu Nadu and Vettathu Chathu Panicker in direction
and choreography, the trio transformed the format of Ramanattam
compietely, out of which evoived Kathakaii. Even now, an actor who
can do justice to the characters of Kottayam plays, is considered
really adept to handle the range of characters in other Kathakaii
plays.

Thampuran introduced two vocalists to sing the verses—one to lead

(ponnani) and the other to assist and follow (sankiti), leaving the dancer-
actor free to interpret the text. The gesture language is a major
contribution of the king of Kottayam. A complete vocabulary of the
language of hand gestures is contained in the treatise Hastalakshana
Deepika. New dance patterns like Ashta Kalasam, Eratty, etc. were
introduced and some of the old ones modified. Every movement of
the characters was strictly specified. As regards headgear and
costumes, the current system follows those laid down by Kottayam.

Kottayam used a high standard of language difficult for the common

man to understand. He over-ruled the grammar of Manipravalam by
using more of Sanskrit than Malayalam. He also did not follow the
KATHAKAII 25
norms of classical theatre. He thought that the rules of the normal first composed Baka-Vadham and showed it to his guru for approval.
theatre were not suitable for Kathakali. It is true that the popular and The guru rejected it with a rebuke saying that it was fit only for the
successful attakathas do not follow the rules of theatre, excep ladles' folk-dance, called Kaikottikall. Then he composed Kirmeera-
Nalacharitam. Yet the plays of Kottayam are considered classics; Vadham. The comment was that it was so tough that even the
perfect as they are in choreographic structure and musical author himself must write the commentary of the text as nobody
combinations, they always dominate the classroom and the stage. would be able to follow it! His third composition was Kalyana-
Saugandhikam. For this the guru certified that he was a feminist. His
It is an acknowledged fact that an actor or musician who has mastered final composition was Nivathakavacha Kalakeya-Vadham and Govinda
Kottayam’s plays can easily handle the teachings and performances Guru finally approved it as a good attakatha.
of all other attakathas. The musical quality of these plays is excellent
and very scientific. The ragas used for these plays are perfectly Irayimman Thambi (1783-1856):
suited to the situation and mood of the characters. Even the choice Irayimman Thambi was equal to Kottayam in Kathalcali music as well
of the ragas conform to the prescribed timings, as the raga systenn as literature. He composed three Kathakali plays. They are Keechaka
follows a fairly strict schedule of timing for the rendering of each Vadham, Uttara Swayamvaram and Dakshyagam. The first two are
taken from Virataparva of Mahabharata and the third from Bhagavata
raga.
Purana. These three plays are famous for their perfect and balanced
Legend has it that Thampuran was illiterate and not a good learner. combination of high standard literature, good drama and appealing
Once in frustration, his mother ordered her servant to throw him music. Unlike Kottayam, he was not so rigid in perfection of
into kumaradhara. a waterfall. The boy not only miraculously escaped, choreographic techniques. It Is therefore easier to learn and perform
but emerged having attained all knowledge. Another story is that he Irayimman Thambi's plays and that perhaps explain their popularity.
KATHAKALI i 27
26 KATHAKALI
He also composed many padams for Carnatic music as well as several
popular musical verses for Mohiniyattam, the classical lasya dance of
Kerala.

Unnai Variar (late 17th century):

Over the years, several new Kathakali plays were written. Unnai
Variar's Nalacharitam, written in four parts to perform on four
consecutive days, is considered to be among the best. It is the only
Kathakali play that follows the complete rules of classical Indian drama.
As a literary work, it is comparable to the best in any other Indian
language or world literature. It is the most touching human story told
with exquisite poetic finesse. Nalacharitam is also famous for the
quality of its music and dramatic effects.

Unnai Variar was a poet-genius. His understanding of psychology was

deep and its interpretation dramatic. Each character came alive with
perfect individuality. Highlighting the inner conflict became the main
objective of the poet. Enacting the roles in this play can be a real
challenge for any talented actor. The melodious quality of Nalacharitam
is acclaimed by both scholars and lay audiences alike. However, the

28 KATHAKALI
 Subhadraharanam by Manthredathu Namboothiri (19th century)
choreographic structure is not considered very perfect in the sense
that it is somewhat difficult to teach. Those who have mastered the
Lavanasura Vadham by Amritha Sasthrikal (19th century)
Kottayam plays and have the ability to express deep emotions, can
do justice to the characters of Nalacharitam.
Bali Vijayam by Kallur Nambothiripadu (1776-1835)
But after Irayimman Thambi and Unnai Variar, there was a flood of
Ravanothbhavam by Kallaikulangara Raghava Pisharadi (1725-95)
Attakathas, but only a few are worth mentioning.

Ravana Vijayam. Paundraka Vadham, and Rukmini Swayamvaram by Kiratham by Irattokulangara Variar (18th century)

Vidwan Koyittampuran (1812-46) Rukmini Swayamvaram and Poothana Moksham by Aswathi Thirunal
Duryodhana Vadham by Vayaskara Arya Narayanan Moosad (1842-1902) (1756-94)

Kuchelavrittham by Chengannur Murimhoor Sankaran Potty (1843- 05) Rajasooyam by llayedathu Namboothiri:
Among these, some are popular because of their stage appeal, some
Rugmagatha Charitham and Santhanagopalam by Mandavapalli due to their musical quality and a few because of the standard of
their literature. There are few attakathas of 20th century. They are
Ittirarissa Menon (1745-1805) Tadaka Vadham, Nizhal Kuthu, Sri Ram Pattabhishekam, Devayani
Swayamvaram and the latest one is Kama Sapatham. Recently,
Narakasura Vadham by Karthikathirunal Rama Varma Maharaja
Shakespearean dramas have also been successfully included in the
KATHAKALI 3 I
30 KATHAKALI
Kathakali repertoire as experimental productions. King Lear, Othello and
Macbeth are the plays that have found favour with Kathakali directors.

In addition, the contribution of great gurus, actors, musicians and

connoisseurs in the development of Kathakali is no mean one. The
great Malayalam poet, Vaiiathol Narayana Menon, founded the Kerala
Kalamandalam with the help of Manakkulam Mukunda Raja and others
to revive and popularise the form. Kerala Kalamandalam is the only
Kathakali institution that is fully financed and owned by the
government of Kerala.

Before the institute was handed over to the Cochin government in

financial despair, attempts were made to raise funds and evoke
interest in the art form. The founder members went to the extent
of even organising a lottery! In spite of all these attempts and
Vallattol's charisma, the returns were not in keeping with the
form's worth.

From merely five students and three teachers in 1930, the institution
has grown to a large 30 acre estate with a theatre, training kalaris.
KATHAKALI 33
150 students. 60 teachers. 40 secretarial staff. Kalamandalam and
Kathakali have become almost synonymous with each other both in
India and abroad. Kalamandalam has established a systematic training
with definite duration, syllabus, examinations and issue of certificates.
Over the years, hundreds of students have benefited from the training
and the landmark years of the institution elicited great support from
all quarters.
Training Methods
Kathakali actor has to undergo rigorous training for nearly 10

A to 12 years before he can be considered adept. Traditionally,

only boys were taught Kathakali. probably because of the
rigorous and prolonged training involved, but now there are all-women
troupes as well. Training begins at the age of 10 to 14. in the monsoon
month of June.

First the disciple offers a dakshina or offering consisting of betel

leaves, arecanut and some coins in token of acceptance of teachership
to the guru. In return, he receives the blessings of the guru along
with a medicated oil for massage and the kaccha (special long cloth
which is tied on the waist while performing body exercises). Classes
KATHAKALI 35
34 ! KATHAKALI
begin at three in the morning, with eye exercises for an hour.
Medicated butter oil (cow’s butter) is applied inside the eyes, and
holding open both eyelids with the thumb and forefinger, the eyeballs
are rolled. The movement is circular, first in clock-wise and then in anti
clockwise direction at very slow speed. Then the speed is doubled and
further redoubled. Eyeball movements are practised in perpendicular
direction, i.e. upwards and downwards, as well as from right to left and
left to right, horizontally, and also from corner to corner. Finally, the
eyeballs are moved in a zigzag manner, tracing a horizontal figure of
eight. These eye exercises are regularly practised. Then there are
exercises for the eyebrows, eyelids, cheek muscles, lips, neck, etc.

After this, the student wears the kachha and smears medicated oil
all over the body, except the head. Then he practises different types
of leaps at least a 100 times to lighten the body and gain control
over his breathing. After this, the traditional salutations are performed
and a series of exercises (meyyerp) done to ensure control, suppleness
and strength.

The practice of the four basic steps (kalsadhakam) starts in different

36 KATHAKALI
 timings are continued for three months of the monsoon season, from
speeds. This takes about one hour to complete. Each of the steps June till August.
are practised in rotation. Drenched in sweat after these strenuous
exercises, the students lie flat on a grass-mat and the guru massages From September onwards, the classes start from 4.30 in the morning
their body with his feet. This massage is rather painful in the beginning. as there are no body massages. The rest of the sessions continue as
While one student is getting massaged, the others practise chuzhippu usual. From January onwards, no early morning eye and body exercises
(synchronised movements of hands, body and eyes). The post-massage are held. This is the season for performances. In February or March,
exercises include some acrobatic pieces too. month-long stage rehearsals are held at night, occasionally with
costumes and make-up. During the stage rehearsals, students get an
The next session starts with thodayam and purappadu, the preliminary opportunity to practise different dramatic sounds on the stage and
invocation dance pieces of Kathakali. which include intricate steps the use of curtains for traditional appearance of different characters.
and movements in different talas. Minor roles from the traditional Every night, one story is practised from 9 pm to around 3 am,
plays are also taught at this time. depending upon the length of the play.

In the post-lunch session, the students learn the usage of hand Traditionally, the debut of a student is immediately after learning the
gestures with steps and movements. The hand gestures are divided preliminaries and a few minor roles, so that he gets enough
into six categories. These movements are for later use with opportunity to perform with other artistes in full costume and make
accompanying hand symbols in mime. Following this, traditional plays up during his training period itself.
are rehearsed with musical accompaniments. After a short break,
group prayers are held. In the last session, basic rhythm, hand gestures, In the p^lst, Kathakali kaliyogams or troupes attached to the royal families.
facial expressions and theoretical aspects are taught. These gruelling
KATHAKALI 39

38 KATHAKALI
Nambudiri brahmin illams and Nair taravads constituted the very backbone
of the training and performance of this form. Although no institutionalised
system with any definite schedule or examinations was followed, the
pereceptor, colleagues and importantly, time, played a part in enriching
the practical repertoire, erudition and imagination of the trainee.

The members of the troupe could devote their entire energies and Sequence of Performance
time to this form as their needs were looked after by the patron
family. The six months of rain, June to November were devoted to

K
eli, a percussion ensemble on a high platform near the stage,
training in the kalari or training ground, and the rest of the time to
performs in the evening to announce that there will be a
performances outside. These performances ensured that the artistes
, Kathakali performance in the village that night. Chenda,
were exposed to diverse critical assessments in a bid to improve
maddalam, chengila and elathalam are the percussion instruments
their artistic abilities. used for Keli. Thereafter, the actors start their make-up.

However, in the absence of such traditional manner of functioning, The actual stage and its design are very simple. The premises of a
institutions have attempted to take over from where the erstwhile temple, the courtyard of a house, or even a paddy field after harvest
patrons left off. Modern, residential institutions have come up where can be the venue. Four temporary posts are erected to enclose a
the traditional methods of training are still followed to produce a space of about 16 to 18 feet in length and about 16 feet in width,
Kathakali performer who is tuned in to the challenges of the present- with only the back portion enclosed. In olden times, the floor used
day dance scene. to be paved with mud or cowdung. The stage is bare, save for a few
40 KATHAKALI KATHAKALI 4 I
tender coconut leaves hung on a string. While elaborate preparations musicians and dancers pray for the successful performance of the
are mentioned in Natya Shastra for the props and stage, none are day without obstacles.
used in Kathakali. Two wooden stools are the only props. These
assume several roles-of a throne, a palace, a mountain, or even a Vandana Slokam: Vandana slokam is a prayer sung in praise of
different gods and deities of the temple. This is rendered in ragas,
boat swaying in the ocean.
such as Kedaragaula and Kamboji.
Arangu Keli (Suddha Maddalam); As darkness envelops the stage,
a 6-foot high, heavy metai iamp, kalivilal<ku, filled with coconut oil Purappad: This is an invocatory dance piece where the hero is
and two thick wicks, one facing the stage and the other the audience, introduced. In recent times, however, this has given way to Lord
is lit. In the times of yore, this was the only source of light for the Krishna being introduced. In four parts, the dance piece begins in
performance. However, now electric lights are common and the low tempo and gradually gathers speed while various rhythmic patterns
lamp is used only for ornamental purposes. Another percussion are explored. It includes intricate patterns of footwork and body
composition announces the start of the performance, where all other movements, where both lasya (feminine, graceful) and tandava
(masculine, vigorous) are performed.
instruments except the chenda are used.

Thodayam: While two attendants hold the special curtain, one or Melappadam: Next is melappadam, a beautiful ensemble of both
two dancers perform thodayam, a prayer-dance behind it in vocal and instrumental music. The vocalist sings the 21 st chapter of
incomplete costumes, symbolising the process of creation behind Geeta Govinda, Manju thara kunja thala keli sadane, in different
maya, literally meaning ‘illusion’, but in this case encompassing the ragas. Interspersed with vocal music are the drums in jhempa talam
curtain in a larger philosophical context. Facing each other, the of 10 beats. At the end, the orchestra reaches a crescendo, where
KATHAKALI 43
42 KATHAKALI
the musicians and drummers touch new heights in a collective on a slow and restrained note. Heroic scenes begin with powerful
and vigorous movements in medium tempo. In angry moods, the
exploration of sheer music.
characters rush in, rather like a storm. If there is only one character,
Katha—the Play: After these preliminaries, which take nearly two then the entry is from the centre of the stage. If a character is
hours to complete, the actual dance-drama starts. As the stories are already seated on the stage, the other enters through the left. Secret
usually from the epics—the Ramayana, Mahabharata or Bhagavata entry or entering from the same house/palace is from the right.
Purana, there is always some moral lesson to be learnt. The drama There are strict rules for the entrance of characters, with a few
exceptions.
begins in a low tempo, usually with a love scene between the hero
and heroine. As the tale inches towards the climax, the drama takes
on a dramatic turn, with a fighting scene where good triumphs over For the dialogue or conversation between the characters, there is a
evil. The performance concludes the next morning as day breal<s, with vocal rendition of the given text to the accompaniment of percussion
a conclusive prayer dance, called dhanashi. However, nowadays, a night s instruments. The melodious singing evokes emotions suitable for the
performance includes a selection from two or three different Kathakali character and the situation. Choreographic dance units, called
kalasams, between the dialogues help highlight and colour the mood.
plays.
After, or in between, the singing of the given text, the actor has
Choreographic Structures: There is usually an introductory song enough freedom to elaborate the dialogue according to his own
behind the curtain, before the start of the scene, that describes the imaginative capacity or manodharma. Sometimes, there could be an
situation and the mood of the characters. Then the curtain is imaginative and elaborate enactment for hours, describing either a
removed and the enactment begins. For a love scene, the hero and thick forest, a beautiful garden, a gorgeous city and a turbulent
heroine are seen locked in an embrace and the performance begins ocean or a huge mountain. Description of the grace and beauty of
KATHAKALI 45
44 KATHAKALI
an enchanting girl also is a part of the manodharma. The connoisseurs audience is agog with expectation.
of Kathakali judge an actor by his capacity for manodharma.
Interestingly enough, manodharma has not been mentioned by Gradually a colourful canopy (melappu) above the headgear and a
Bharata in the Natya Shastra. beautiful, decorated peacock-feather disc (aalavattam) held on either
side of the shoulder, representing royalty and majestic power of the
There are possibilities for elaboration of the given text by the actor. characters is revealed. The curtain is lowered and the character
For example, a dancing peacock, swimming swans, fluttering bees, emerges, revealing his full form bit by bit. This is repeated three
blooming lotus, dancing damsels, gaiety of an elephant in rut, playing times in different speed and moods. The actor disappears by shaking
ball, preparing and decorating of bed, playing of different musical the curtain with both hands. For other villainous and rude characters,
instruments, etc. are the most common. Here there is no limitation this is done very rigorously. They pull the curtain away with an arrogant
for a talented actor to express his skills in entertaining an enlightened show of power and violence. This helps to create a feeling of fear in
and enthusiastic audience. the audience. They are Baka (rakshasa), Dussasana, Hunter and
Surpanakha, among others. Hanuman also has a curtain appearance,
Another aspect worth mentioning is the curtain appearance of special but with variations. This curtain appearance reveals the basic nature
characters. Anti-heroes but powerful and romantic characters like of the characters but has no connection with the actual drama.
Ravana, Duryodhana, Keechaka, Narakasura, etc. make a beautiful
and dramatical introduction. To begin with, accompanied by powerful
drumming is heard, equally powerful roaring behind the curtain.
Then the actor holds the curtain and slowly tries to lower it by
shaking it twice, all the while performing a special dance. By now the

46 KATHAKALI KATHAKALI 47
 Make-up and Costume
s the characters in Kathakali are divine and superhuman, they

A are depicted in a larger than life manner, with extraordinary

. make-up and costumes. Marked by intricate stylisation, it is
only appropriate that the character type should appear on stage
neither as human nor as one imitating the actions of humans, but
rather as representing certain moods or characteristics of a particular
aspect of life in its abstraction. Kathakali tradition has evolved a
highly complex and symbolic system of both costuming and make-up
for this. The Natya Shastra refers to facial make-up several times and
an entire chapter is devoted to aharyabhinaya, where it considers
the symbolism of colour in costumes and make-up.

KATHAKALI 49
After all, the radical transformation of the human face and figure Once the make-up is applied, the actor is no longer himself, but has
using facial make-up and costume, intended to transport one into already transformed into the character he is playing. He is no longer
the distant realm of the Imaginary, is not imitative of any living or to be addressed by his name once the make-up is applied. An attempt
non-living being. The characters are conceptual creations to which a is made to enlarge the actors' body proportions by using heavily
rupa or form is imparted. plaited, bellowing skirts. But beneath the awe-inspiring make-up,
huge headgear and spectacular costumes is a pliable, lithe, slim and
The costume is intended to transform the well trained and lithe well-trained body.
body, into a circular and hemispherical shape. The crown Is thus
circular, and the skirt predominantly hemispherical. The bulk of the The artiste who guides this make-up is an important person both at
skirt and the rolled-up cloth hangings on the chest tend to exaggerate the training stage and also at the performing stage. Chottikkaran as
even the slightest tilts of the performer's feet, so that when the body he is known, is a revered teacher who as been through an excruciating
is inclined to one side, the cloth hangings go far beyond the tilt. The training in the art - from drawing designs on a pot and a coconut
silver nails on the fingers elongate the fingers and accentuate their shell to mastering the complexities of preparing his own colours by
movements. grinding, soaking and mixing them to desired consistency.

Colours are associated with moods and sentiments: Green represents The characters are divided into three categories according to their
sringara or love, red raudra or anger, yellow adbhuta or wonderment. qualities of satwika (pious and virtuous), rajasa (royal, heroic, but
Kathakali follows these basic colour patterns and has developed an aggressive) and tamasik (rude and brutal). For convenience, these
intricate system of make-up. Its use is not merely to cover or beautify are further sub-divided into the following six groups;
the face but rather to transform the actor into a demon or a god.

50 KATHAKALI
KATHAKALI 5 I
Paccha (Green make-up); Noble and pious characters fall under
this group. There are four given paccha characters.

Halo-like round headgear (kireedam): This has a yellow mark

on the forehead. Eyes and eyebrows are widened and elongated
with black and the rest of the face is painted green. There is an
extended white border on either side of the cheek, beginning from
the upper side of the cheek and ending at the chin. The lips are
coloured pinkish red. The effect is that of a mask. The characters in
this category are Nala, Indra, Rugmangada, the Pandavas.

Conical shaped headgear (mudi): Similar to the paccha make

up, the headgear is conical, with peacock feathers on the top. The
skirt is golden yellow and the jacket dark blue. Lord Rama and Krishna
and their sons are dressed in this manner. The other good heroes
wear a more elaborate low, conical crown with a small disc.

Pinkish yellow (pazhupu): The only change is that the face is

painted light pink and yellow, instead of green. Otherwise the make
up and costumes are the same as paccha. Lord Shiva, Balarama, Lord

52 KATHAKALI
Ayyappa and the Sun-god are part of this group. applied on either side of the forehead, eyebrows and outlines the
eyes. The streaks are divided into two lines of 4 to 5 inches length
Kathi (knife) with contoured paper pasted on both cheeks. The lips are also
Valorous, aggressive and romantic, evil characters form part of the coloured black. The red bearded characters wear a headgear similar
kathi make-up. On either cheek and forehead of these characters to those of noble characters, but the crown is higher and the disc
are knife-like red patches, edged with a white border. On the tip of larger. The headgear of villains and demons assume huge proportions
the nose and the middle of the forehead are fixed white knobs, and a distinctive headgear is designed for them. The red fur coat and
chutty poove. The rest of the make-up and costumes are like that large headgear bestow a rather fierce look. Demon Baka, Kalakeya,
of paccha characters. There are two types of kathi. Dussasana, and the monkey kings Baii and Sugreeva—are red-bearded
characters with slight variations.
Kurum kathi: Here the knife shape is curved and graceful. Ravana,
Duryodhana, Keechaka, etc. under this group. Karutha tadi (black beard): The entire face is painted black, with
a few red streaks on the cheeks and forehead. The red streaks are
Nedum kathi: The knife’s shape is long and straight. Akamba, demarcated by white raised outlines or chutty. The lips are widened
Ghatotkkacha, Kumbhakarna, etc. are part of this group. in pinkish red, encircled by yellow or green lines. On the tip of the
nose is affixed a white paper-flower. The black beard is attached to
Thadi (beard)
the lower part of the face to widen its size. The costumes are black.
There are three types of thadi characters:
The headgear is cylindrical, but curved inward and decorated with
silver and peacock feathers. All the primitive characters, such as
Chuvanna tadi (red beard): Evil and crude characters sport red
forest dwellers and hunters, etc. belong to this group.
beards with faces too painted red with black streaks. The black is
KATHAKALl 55
54 KATHAKALl
Vella tadi (white beard): The face is painted red with streaks of
black encircled by white curved lines of rice paste. White beard,
white fur coat and a broad, hat-like headgear with a dome bestow
serenity on the countenance. The monkey-god Hanuman, Dwivida
and Nandikeshwara are part of this group.

Kari (black)
The face is painted black, with the eyes and eyebrows in yellow. On
the forehead are three yellow horizontal lines, demarcated by red.
The nose and chin are highlighted by red spots. The cheeks are
marked with red and outlined with white border.

The costumes and headgear are the same as for Karutha tadi (black
beard) but without a beard. Large-sized, swinging ear ornaments and
large protruding breasts bestow a grotesque look. Ogresses like
Nakrathundi, Surpanakha, and Simhika are in this category.

The characters in kathi — chuvanna tadi, vella tadi and kari—all have
artificial canine teeth, which are capable of being pushed in and out
to exhibit ferocity.

KATHAKALI 57
Minukku (polished) Ramayana) is clothed in a costume of peacock colour, Garuda (the
The face is gently polished and smoothened in light pinkish-yellow carrier-bird of Lord Vishnu) is in light pink; and the swan of
sheen. The eyes and eyebrows are elongated in black, and the lips Nalacharitam, golden yellow. The make-up of Narasimha (the fourth
coloured red. This is the normal minuku make-up. All female characters incarnation of Lord Vishnu), who is half-lion and half-man, has a
except female demons, form part of this group. Rishis, saints, brahmins, special make-up which is meant to evoke the ferocity and the look
messengers, wrestlers, charioteers, servants, etc. also come under of a lion. The make-up of Sudarshana (the divine weapon of Lord
this category. However, there are slight variations in the costumes. Vishnu) and the clownish character called Bheeru too come in different
Wrestlers, charioteers and messengers sport a moustache and wear types of theppu.
a turban. Rishis have a long beard with a small headgear resembling
matted hair, secured on the top of the head. A breast-plate, veil, Sequence and method of make-up
jacket and white saree in bright borders, are the normal costumes A simple, unfurnished room of 20 feet by 16 feet is enough for a
for a female character. Ear ornaments, different garlands, bangles, Kathakali greenroom. Even a temporary arrangement like a tent can
shoulder plates, waist ornaments and ankle-bells are the decorative also be used as a greenroom. On one side of the greenroom, starched
items worn by these characters. clothes, ready to wear, are kept in piles and on the other, all ornaments
and headgear are hung on a rope or beam. In one corner of the
Theppu (painted) greenroom a lamp is lit to collect smoke carbon on pieces of tiles.
Theppu characters are painted in different colours. Birds, snakes, In the centre of the room, palm-leaf mats are spread for the artistes
animals and a few special characters are included in the group. Birds to do make-up. In between the mats, three or four bronze oil lamps
have artificial wings and beaks. The costumes are in colours suited are lit.
to the particular character. For example, jatayu (the heroic bird of
58 KATHAKALI KATHAKALI 59
Late in the evening, young artistes prepare the make-up materiais
under the guidance of seniors. First, the hard minerais are ground
into powder. By adding coconut oii, these powders are made into a
thin paste. Even though there is a fixed ratio for preparing these
pastes, it needs proper understanding to make colour combinations
with primary colours. Chayillyam (red pigment), manayola (yellow
pigment), chenchenlliam (dried glue from a particular tree), indigo
and condensed smoke black collected by burning gingili oil are the
ingredients for the make-up. Kathakali has a very scientific colour
mixing method. The bloodish redness of chayillyam is diluted with
rice and lime powder. Manayola mixed with indigo gives green. A
mixture of manayola and chayillyam gives a yellowish pink colour.

The actor prays to the lit lamp, which represents the deity. Looking
into a hand-held mirror, he outlines his face with various colours as
per the character he has to play. Then he lies down on the mat
facing the specially trained chutty or make-up artiste. The chutty
artiste then uses the prepared rice and quick-lime paste as a base
to fix the contoured paper according to the different characters. The
actor himself gives the final finishing touches.
60 KATHAKALI
There is a traditional method to make the eyes red. The small dried
ovule of a special plant, chunda, is inserted under the lower eyelid
to make the eyes sparkling red. The make-up takes at least two to
four hours to complete, depending upon the character. The work of
the chutty artiste magically transforms the face of the actor into
different characters. Another 45 minutes are taken to adorn the
artiste with costumes and ornaments. The actor proceeds to the Music
stage after a short prayer and on seeking the permission of the

T
make-up artiste, who is supposed to have the position and status of he music system of Kathakali has originated from the various
Lord Brahma (the god of creation) in the premises of the greenroom. forms of music prevailing in the 17th century and is influenced
by the ritual music of Thotampattu, Kaiamezhuthumpattu,
Sopana sangeetam. Shastramnga, Kudiyattam, Krishnattam and, of
course, classical music systems. Kathakali vocai music is a slightly
varied rendition of the south Indian Carnatic music. There is a tradition
in most temples in Kerala to sing in praise of the deity while rituals
are being performed in the sanctum sanctorum. To keep the sanctity
and peace of the temple, the rendition is in soft, slow tempo. This
purely devotional style is called Sopana sangeetam. With added
emotional variations, this has been adapted for Krishnanattam through
to Ramanattam and then to Kathakali with sufficient modifications.

62 KATHAKALI KATHAKALI 63
Even though it follows the grammar of Carnatic music, it varies in its
includes three different drums, chenda, maddalam and edakka, two
rendition. To complete one raga in Carnatic style, it must go through
metal instruments called chengila and elathalam, and a wind
the different levels of notes and must express various emotions
instrument, the conch. All these instruments are adapted from the
(bhava). In Kathakali, the raga must limit itself to suit the emotions
temple orchestra ensembles.
that are appropriate to the characters and situations. Consequently,
the same raga differs from one scene to the other. The intention is
Chenda: Chenda is a vertical wooden drum with cow-skin stretched
to evoke and enhance suitable emotions in the actor before ultimately
over it and tightened with jute strings. Hung from the shoulder, it is
reaching the audience.
played with two sticks. One of its sides has a loud and hard sound,
used for dramatic effects and the other resonates with a soft sound
Most of the popular Carnatic music ragas are commonly used in
and is played for the Divine on auspicious occasions. Due to its
Kathakali music. And thanks to this, some of the ancient ragas, which
powerful sound effects, chenda is called an asura vadyam (demonic
have become rare on the Carnatic music platform, have been
instrument). But it can also render the sound of thunder, the murmur
preserved. Some of the techniques of north Indian Hindustani music
of water, breeze, terrifying sounds of storm, the roar of the ocean,
have also been adopted, for example, the technique of raga alapana—
galloping horses, a fast chariot, flying of planes, snoring of a human
elaborate singing of a musical note without text. In both Hindustani
being. Other dance disciplines too have started using the chenda
music and Kathakali, it is sung to the rhythm of the percussion
because of the range of sound effects it can create.
instruments, but in Carnatic music, the same is done without the
rhythmic beats. The rendition techniques also have some similarity
Maddalam: Maddalam is a heavier drum covered with buffalo skin.
to both styles. These styles give stress to creating emotions rather
Hung from the waist horizontally, it is played with both hands. Cloth
than sticking to the grammar. The powerful Kathakali orchestra
hardened with the paste of cooked rice is wrapped around the
64 KATHAKALI
KATHAKALI 65
fingers of the right hand to produce a heightened sound. The sound
Conch: The conch is played while lighting the lamp on the stage to start
of the maddalam varies on both sides. This helps generate different
the Kathakali performance and on presenting divine characters, etc.
sound effects. For example, it can be used to make the sound of
humming bees, singing cuckoos, churning buttermilk, etc. Talam rhythmic patterns
Kathakali follows almost the same tala system of Carnatic music. But
Edakka; Edakka is a small wooden drum played on one side with a
it slightly differs in name and usage. There are the following rhythmic
stick to produce musical notes. In Kathakali, edakka is played for cycles in Kathakali:
female characters only. It can create different variations of the sweet 1. Chempata With eight maatras
and the subtle to support vocal music. Both sides of the drum are 2. Chempa With 10 maatras
covered with the softer inner skin of cows and tightened with cotton 3. Atantha With 14 maatras
strings. Two very thin vibrating strings are tightened on the rim of the 4. Panchari With six maatras
instrument, just inside the skin, and are manipulated to elicit finer 5. Triputta With seven maatras
musical notes.
6. Muriyatantha - With five and six maatras
7. Eka With four maatras
Chengila: Chengila is akin to a gong. Made of bell metal, it is played
with a stick by the main vocalist. He directs the musicians by giving
These tala cycles are used in various speeds, according to the
proper rhythmic (talam) base with this instrument.
character, situation and mood. For example, chempata can be used
in 32 maatras (8 x 4) in a romantic situation, 16 in a heroic mood and
Elathalam; Made of bell metal, elathalam is a type of cymbal played
eight for ferocious mood. The same method is used for atantha and
by the second vocalist, and has a powerful bell-like sound.
chempa as well, but for panchari and triputa, there are only two
66 KATHAKALI
KATHAKALI 67
speeds, i.e. second and third speed and for muriyatantha only the Bhava Abhinaya (expression of emotions)
fast tempo is used. Eka tala is used for Ilakiyattam, and the enactment Expression of emotions play a predominant role in Kathakali. In Indian
is without vocal support. theatre like Natya Shastra or Dasaroopaka, the aim of the art-form
is to create rasanubhooti (the experience of the aesthetic) in the
Different kalasams or units of dance patterns are composed in these audience. Kudiyattam as well as Kathakali give special attention in
rhythms. this aspect. The acting is of two kinds.
An example in rhythm chempata would read like this:
Lok Dharmi (without stylisation) is in realistic mode. This style
THEI YAM DA THA THI — THI —

1 is followed by cinema and stage-dramas other than the classical.

2 3 4 5 6 7 8
X X X X X X X z
dhi tha Natya Dharmi (stylised): Rasabhinaya or the subtle expressions of
tha tha dhi tha tha tha
dhi tha the various emotions in a stylised manner is the most important part
tha tha dhi tha tha tha
1 thi of the abhinaya or enactment in any performing art.
1 tha 1 thi thi tha
1 thi 1 tha 1 thi thi tha
1 thi The highly stylised format of Kathakali follows the natya dharmai (the
1 tha 1 thi thi tha
1 thi 1 tha dramatic stylisation) in its make-up, costumes, dancing and music,
1 thi thi tha
dhi tha tha tha right down to the expression of emotions.
thi tha tha -

dhi thei 1 tha dhi tha dhi

ki tha According to the Natya Shastra, there are eight static prevailing
thei emotions or sthayee bhava, which in combination with vibhava
68 KATHAKALI KATHAKALI 69
(cause), anubhava (reflective activities) and sancharibhava (temporary
mood) create rasa. There were eight rasas mentioned in the Natya Eight satvik bhavas: reflections of inner feelings
Shastra. Later, one more addition was made taWng the total to nine, Sthamba (still like a pillar)
called navarasas. Each sthayee bhava has its sthayee drishtis and Sweta (sweet)
each rasa has rasadrishtis. Romancha (exhilaration)
Swarasada (broken voice)
The eight rasas, the corresponding sthayee bhavas and drishtis are Vepatu (trembling)
as follows: Vaivarnyam (colour change)
Ashru (tear)
RASA RASADRISHTI STHAYEE BHAVASTHAYEE DRISHTI Pralayam (confusion)
Sringara Kantha Rathi Snigdha
Hasya Hasya Hasam Four mukha ragas (colour of face)
Hrishta
Karuna Karuna Sokam Swabhavika (natural)
Deena
Raudra Raudri Krodham Prasanna (pleasant)
Kruddha
Veera Veera Utsaham Rakta (blood red)
Dreptha
Bhayanaka Bhayanaka Bhayam Shyama (dark)
Bhayanvitha
Beebhatsa Bheebhatsa Juguptsa Juguptsitha
Athbutha Athbutha Ascharya These are the essential elements for creating rasanubhooti (aesthetic
Vismitha
experience) in the audience. Rasanubhooti is considered akin to
brahmanubhooti (ecstasy of realisation), the ultimate aim of human
beings, according to Hindu philosophy.
70 KATHAKALI
KATHAKALI 71
 Kathakali has a very scientific methodology to produce rasanubhooti.
First, the actor by strenuous and prolonged continuous practice,
gains control over his eyes, eyebrows, eyelids, cheek muscles, lips,
chin, etc. He also learns to develop appropriate pressure control of
the face by special breathing exercises. By a thorough study of the
epics and the Puranas, the actor acquires knowledge about the
situation and background of a particular character. While doing make
up and wearing the costumes, he has time to imbibe the specific
mood of the role. Before the enactment begins, he listens to the
singing of the appropriate melodious tune, which also helps create
the mood relevant to the situation. The dialogue and interaction
between the other characters on the stage also help him to bring
out the aesthetic expression of the emotions, on the face as well as
in the body movements. With all these prolonged processes, a skilled
actor produces and creates rasanubhooti in the sahridaya or receptive
audience.

The passages are interspersed with purely percussive musical

accompaniment. After the padam has been sung and the abhinaya
has been done, the singer pauses, while the actor goes on to interpret

KATHAKALI 73

■KT
the literary content through gestures to the accompaniment of the
percussion instruments. This manodharma affords imaginative and
well-trained actor can hold an audience over a sequence for hours.
This is followed by pure nritta passages where only the kalasams or
the dance cadences are performed.

In this respect the Kathakali dance-drama is perhaps the only real

survivor of the classical tradition of presenting a particular rasa as the
only content of a dramatic performance.
Gestural Language

K
athakali is a dance-drama, but is considered nritya or dance,
because its actors do not use verbal expression but instead
. use mime. Kathakali has a well-developed gestural language
in which the actors converse. Codified in a text, called Hasthalakshna
Deepika by an unknown author, the gestural language has been
taken from Kudiyattam with necessary modifications. The structure is
like the other languages with alphabets that make words, which in
turn make sentences. It has almost all the grammatical structures like
nouns, pronouns, verbs, conjunctions and even prepositions. The
basic hand gestures are used as samyukta (using the same gesture
in both hands), asamyukta (single hand) and misra (using different
74 KATHAKALI

KATHAKALI 75
basic hand gesture by each hand) to depict various ideas. For example,
the basic gesture pataka is used to depict a king with both hands, ‘to
go’ with single hand, ‘Ravana’ in combination with kartareemuldia
(another basic hand gesture). So the vocabulary is far more than the
gestural language of Natya Shastra or Abhinaya Darpana. In
Hasthalakshana Deepika there are 24 basic hand gestures:

1. Pataka 2. Mudrakhya 3. Kataka

4. Mushti 5. Kartareemukha 6. Shukatunda
7. Kapitaka 8. Hamsapaksha 9. Shikhara
10. Hamsasya 11. Anjali 12. Ardhachandra
13. Mukura 14. Bhramara 15. Suchikamukha
16. Pallava 17. Tripathaka 18. Mrigaseersha
19. Sarpasira 20. Vardhamanaka 21. Arala
22. Urnanabha 23. Mukula 24. Katakamukha.

Most of the basic and highly stylised hand gestures are adaptations
from ritualistic and tantric practices.

Even though the names of the gestures are similar to other texts.
76 KATHAKALl
such as the Abhinaya Darpana, the similarity ends there. For instance,
in the Abhinaya Darpana, pataka is shown by the palm fully stretched
and erect with only the thumb bent; in Hasthalakshana Deepika,
pataka is shown with the palm kept straight, bending the ring finger.

While the dialogue is being rendered by the vocalist singing the text,
the actor interprets each word through hand gestures, body movement Different Styles
and facial expressions. The vocalist repeats the line for completing
the hand gestures. There are dialogues without vocal music between
mmediately after the stylisation by Vettam, Kottayam Raja entered

I
the characters. In some scenes there is only angikabhinaya or body
the field. His style, under the guidance of Vettathu Chathu Panikar
movements without vocal support for hours, in a traditional
(who established his school at Kallidikode), is called the
performance. Here the actor has ample scope to lend wings to his
Kalladikodan style. After the stylisation by Kaplingad Namboothiri of
imagination and elaborate the text.
the south, his style is called Kaplingadan style. The first one is very
strict in its technical perfection and stylisation while the second is
famous for its dramatical appeal. Even though there was interaction
between the two styles, each has preserved its identity.

Kalladikodan Style: The Kalladikodan style lays much importance

on rigorous training and scientific and stylised body movement. The
expression of emotions is not limited to facial enactment alone. The
78 KATHAKALI KATHAKALI 79
whole body must be involved in the process. The enactment is
strictly limited to the natya dharmi method, except for characters
such as Bhiru, Mahut, etc. The position of hand gestures is wider and
in conjunction with the body movements. This assists in clarity and
more elaboration. The dance patterns (kalasams) are given more
importance than the drama.

The carvings on the wooden headgear and the costumes are intricate
and colourful. Plenty of silver and glittering stones are used in the
ornaments and headgear. The influence of the ritual art form,
Theyyam, is evident.

The main Kathakali troupes of Kalladikl<odan style include: Kadathanadu

Kovilakam Kaliyogam, Taliparamba Mallisseri Kaliyogam, Thazhekattu
Manayogam, Vengayil Kaliyogam, Varanakote Kaliyogam and
Parassinikadavu A/luthappan Kaliyogam. There were Kathakali troupes
in Karuvasseri, Kottayi and Vellinezhi, who popularised this style.

The original Kalladikodan style was popular all over north Malabar,
with many troupes and schools teaching this style till recently.

KATHAKALI 8 1
 of hands, eyes, and body, by which the entire structure of dance
However, lack of patronage has taken its toll and now few troupes
became more beautiful
are left. There are a few gurus well into their 70s who still teach this
style with little support.
Pattikkanthodi was the disciple of Kalluvazhi Ittirarissi Menon.
Kalluvazhi is a small village in Palakkad district of Kerala. The style thus
Kalluvazhi Chitta: A remarkable change was incorporated in the
got the name Kalluvazhi style (chitta). But this should actually be called
Kalladikodan style in the mid-20th century by the legendary Kathakali
Pattil<hanthodi style. Now this style is followed by institutions such as
guru, Pattikkanthodi Ramunni Menon Asan. After his higher studies
the Kerala Kalamandalam, P.S.V. Natyasangham, Gandhi Seva Sadanam
at Kodungallor Kovilakam, he introduced a tremendous stylisation in
Kathakali Academy, etc. This Pattikkanthodi style became predominant
the Kalladikodan style, refining and modifying it considerably. His
refinements include: and is now popular all over Kerala, except perhaps in the south.

Kapplingadan Style: The high-caste brahmins of Kerala were patrons

• More importance to eye and facial exercises
of Kathakali, but not performers, with a few exceptions. Kaplingad
• Practising was shifted to early morning from the afternoon
• Modified the basic exercises Namboothiri was one of the exceptions. He had his own troupe and
was a performer as well. He introduced many dramatical techniques.
• Refined the hand gestures to make it more beautiful
• Restricted the movements and kalasams
This style gives more importance to the dramatic aspect than the
• Codified each step and movement strictly, especially for Kottayam
plays dance technique. The artistes are free to use the lok dharmi style,
which sometimes borders on folk-dance. This style gives importance
• Limited the basic steps to four, from more than eight types
to enactment through facial expressions. Even though there are
• Gave more importance to cuzhippu, the co-ordinated movements
82 KATHAKALI KATHAKALI 83
different types of dance patterns, the usage is iimited. The curtain different types of dance patterns, the usage is limited. The curtain
appearance of kathi characters is very special in this style. All the appearance of kathi characters is very special In this style. All the
kathi characters get predominant status. Pakarnattam (drama within kathi characters get predominant status. Pakarnattam (drama within
drama) is the main feature of this style. drama) is the main feature of this style.

The Kathakali troupes who followed this style include: Kottaram The Kathakali troupes who followed this style include: Kottaram
Kaliyogam, Keerikkadu Kaliyogam, Thakazhi Kaliyogam, Mathur Kaliyogam, Keerikkadu Kaliyogam, Thakazhi Kaliyogam, Mathur
Kaliyogam among others. Each Kathakali troupe personalised their Kaliyogam among others. Each Kathakali troupe personalised their
format and started calling different styles differently, such as Mathur format and started calling different styles differently, such as Mathur
style, Karipra style, Keerikkadu style, and Thakazhi style. Late style, Karipra style, Keerikkadu style, and Thakazhi style. Late
Chengannur Raman Pillai codified these styles and taught them in Chengannur Raman Pillai codified these styles and taught them in
Gurukula Sampradayam to his disciples. Thus this style was kept Gurukula Sampradayam to his disciples. Thus this style was kept
alive. Guru Madavoor Vasudevan Nair, Mankompu Shiva Shankara alive. Guru Madavoor Vasudevan Nair, Mankompu Shiva Shankara
Pillai and Chennithala Chellappan Pillai are trying their best to maintain Pillai and Chennithala Chellappan Pillai are trying their best to maintain
and popularise this style. Their job is rendered more difficult by the and popularise this style. Their job is rendered more difficult by the
fact that there are no musicians who have proper training in this fact that there are no musicians who have proper training in this
style. So the future of this style is bleak. style. So the future of this style is bleak.

While Kathakali follows most of the norms and conditions laid by While Kathakali follows most of the norms and conditions laid by
Natya Shastra, sometimes the barriers of the ancient treatises’ are Natya Shastra, sometimes the barriers of the ancient treatises’ are
84 KATHAKALI KATHAKALI 85
 Future of the Form
athakali is a complex art, which is a combination of many

K different forms of art. It includes dance, drama, literature,

music both vocal and instrumental, and plastic forms of art,
such as painting and sculpture. The perfect and balanced combination
of all these fine arts makes Kathakali a unique and at the same time
very complicated art-form. The aesthetic quality and its highly
spiritualistic and philosophical contents set it apart.

From being transported temporarily into a world that is as real as it

is make-believe, can leave one reeling as if caught in a bind where

KATHAKALI 87
the line between the divine and the supernatural and the mundane
and prosaic gets blurred, albeit temporarily! The great Malayalam
scholar and critic, Prof Joseph Mundasseri once predicted that
Kathakali has achieved perfection and has no scope for further
development. So it can be considered a museum piece.

However, there can be no growth without movement and the

expanding repertoire of this form is ample evidence of this factor.
Tradition must be treated like a flowing river, for still water no matter
how wonderful to begin with, does become putrefied over time.
Thankfully Prof Mundasseri has been proved wrong.

As of now, there are more than 15 Kathakali troupes all over Kerala
who hold performances at least once a month. Many of the artistes
from these troupes are invited to perform all over India and many
countries abroad. Newer platforms have been found, newer audiences
have been initiated and the vistas of the repertoire have been
expanded. The style achieved popularity because of its spiritual

88 KATHAKALI
content and technical perfection. However, the present-day needs The feudal system from which Kathakali originated is no more. After
are forcing the teachers and students to take short-cuts in both a nightlong performance, there used to be a through discussion
teaching and learning. This is leading to a dilution of classicism of this among the connoisseurs under the chairmanship of the patron landlord
highly stylised form. For a student to become a professional dancer, and unfortunately there are few such platforms for discussion and
it needs eight to 10 years of rigourous training. There are practicaliy creative criticism. The onus for this has fallen on the media, which
no opportunities for pursuing academics during this period. This itself more often than not, is either too biased or too ignorant to take on
becomes a major deferent as the socio-economic status of most the mantle of the informed and sensitive rasika audience. The role
artistes can hardly afford the luxury of such an extended training. played by the electronic media too not proactive. For too long dance
This needs to be addressed by both the private and the public has been given the short shrift by a media looking for instant
sectors by offering fellowships and marginal employment in order to excitement. If the aesthetic tastes of this generation have to be
ensure that deserving artistes can pursue their training unhindered. changed to incorporate classical dance, television needs to understand
its responsibility and present dance in an acceptable format so that
The remuneration to the artistes too has improved marginally, but the centuries-long link with our tradition remains unbroken.
not enough to make this art self-sustaining. As this is mostly not a
solo form, no single artiste can succeed without the support of an Dance today has to address several issues brought in by multi-culturism
institution or a group of artistes. State patronage and corporate and globalisation. While this is an issue for those who see it from the
sponsorship is perhaps the answer, but so far not enough has been outside, there are many practitioners within the fraternity whose
forthcoming. personal growth and the development may have unobtrusively been
90 KATHAKALI
KATHAKALI 9 1
conditioned by such atmosphere. Hence, its challenge is from within.

The educational background of present-day Kathakali artistes too has

seen momentous progress in the area of social awareness. Recognising
the fact that no artiste lives in a vacuum and is conditioned by
environment, and members of the Kathakali clan have expressed
their concerns through their chosen medium to bring about social
change to alter societal perceptions of both the message and the
medium.

Everywhere in the world, artistes are difficult to equate with other

professionals whose work is part of the generation of funds. Art can
not be placed on the economic scale and this has unfortunately put
us in a situation where even survivai can be a terrible struggle for a
dedicated professional dancer. And how difficult it is to grow as an
artiste with the pressures of either maintaining another full time job,
or compromising in unprofessional ways for patronage!

KATHAKALI 93
Traditions change naturally with time and the contributions of new
generations of artistes. As we shorten the duration of performances
for today’s attention deficient audiences, we must still maintain the

/yy
power and intensity of the experience. New directions based on
tradition should be applauded if they evolve from thoughtfulness,
rather than efforts to please the crowd with novelty. They must offer
the magical renewal that audiences and artistes both need to
experience when traditions of depth provide a metaphysical journey
into the heart and mind.

94 KATHAKALI