DANCE DRAMA

❖ THERUKOOTHU
❖ YAKSHAGANAM
❖ KATHAKALI
❖ MELATOOR
BHAGAVATAMELA
THERUKOOTHU:
Therukoothu, The Street Theatre of
Tamilnadu
Thertukoothu (street theatre) is, as its name indicates, a popular form of theatre performed
in the streets. It is getting rare and it is mainly practised in the poor areas of Chennai
(formerly Madras). This operatic form is slightly influenced by the kathakali of
Kerala. Therukoothuis, however, performed by amateur actors, who make a small
financial contribution to the troupe in order to be able to participate in the performance.

The Plays, the Troupe, and the Music

The stories are derived from the Puranas, the Mahabharata, and the Ramayana. Songs
predominate, while much of the dialogue is improvised. The troupe consists of 15 to 20
actors, accompanied by a vocalist and the instruments of a small orchestra that include drums,
pipes and cymbals. Most of the melodies are Carnatic (classical music of South
India) ragas. An obligatory chanting section precedes the actual songs.

The Performance
The performance is led, as in so many other Indian theatre genres, by a theatre director or a
master of ceremonies, who in this style is called kattiakaram. He is present on the square
acting area throughout the performance.
The performance is preceded by obligatory ritual preliminaries including the veneration of
God Ganesha in the form of an elephant-masked dancer. After that follow invocations to
other gods. The play usually starts with a scene at the king’s court. The main characters are
introduced from behind a hand-held curtain.
Besides the leader of the troupe, another important character is kumali, the buffoon. The
general acting style echoes the classical abhinaya mime, although, just like kathakali,
hyper-realistic details, such as eating the entrails of the villain, are popular.

The Costuming and the Make-up

The fantastic costuming gives therukoothu its picturesque character. The upper body is
covered with a jacket, while a knee-length skirt covers the lower body. Huge crowns, chest
decorations and other ornaments are made of gilded wood and decorated with shining,
coloured mirrors. Massive, wing-like shoulder decorations give the actors a kind of non-
human, square shape. Bright colours dominate the make-up. Krishna’s face is green, while
another character has bright blue make-up. The villains’ faces are covered with horrendous
black and white three-dimensional dots. Some characters wear masks.
YAKSHAGANAM:
: Yakshagana is a traditional folk dance form popular in coastal Karnataka districts
and some parts of Kerala. It is considered that Yakshagana has originated as a
product of the Vaishnava bhakti movement.

The article provides information about one of the signature folk dances of Karnataka
– Yakshagana in the context of the IAS Exam.

The information is useful for preparing the Art & Culture section of the UPSC Syllabus.

The candidates can read more on Art & Culture topics for their upcoming exams from
the links provided below:

Introduction

• Yakshagana literally means, “song” of the yaksha (demi-gods/spirits).

• The mela or troupe consists of two main parts:
• Mummela (foreground actors)
• Himmela (singers and instrumentalists in the background).
• It is a theatrical art form of Karnataka, originally an all-night performance
where the mela travelled from one village to another.
• It is also performed in the south Canara districts of Karnataka and Kasaragod
district of Kerala.
• Yakshagana is performed in open-air theatres.
• It is usually performed in the village paddy fields after the winter crop has been
harvested.

Elements of Yakshagana
The Act

• Each performance typically focuses on a small sub-story (known

as ‘Prasanga’) from ancient Hindu epics of Ramayana or Mahabharata.
• The show consists of both stage performances by talented artists and
commentary (performed by the lead singer or Bhagavatha) accompanied by
traditional music.
 Who is a Bhagavatha?

• The Bhagavatha, part of the himmela,

is the lead singer and narrates the
story through songs, while the
dancers/actors (mummela) enact the
stories drawn from the Ramayana, the
Mahabharata and the Puranas.

• Bhagavatha is the chief narrator of

the story.

• Bhagavata sings in his magical high-

pitched voice, invoking the Gods for
the successful completion of the
evening’s performance.

The Music

Musical instruments used in Yakshagana include:

1. Chande (drums),
2. Harmonium,
3. Maddale,
4. Taala (mini metal clappers) and
5. Flute among others.

The Dress

• Costumes used in Yakshagana are unique and elaborate.

• Large size headgear, coloured faces, elaborate costumes all over the body and
musical beads on the legs (Gejje).
• Kavacha decorates the chest, armlets for the shoulders and belts are made up
of light wood and covered with golden foil.
• Performers need a great physique to perform with heavy costumes for several
hours, and also strong voice and acting/dancing skills.

The Language

• Yakshagana is generally presented in Kannada, but also performed

in Malayalam and Tulu languages on certain occasions.

The Troupes
There are several popular troupes (known as Melas) performing Yakshagana
throughout the year. Some leading melas include:

1. Saligrama mela,
2. Dharmasthala Mela,
3. Mandarthi Mela,
4. Perduru Mela

What is ‘Pagade’ of Yakshagana?

• It is a headdress or kirita.
• The Pagade is not readymade to be placed on the head.
• The crown worn by characters which have both heroic and playful
characteristics is a work of art by itself.

Source – The Hindu

Other Art Forms of Yakshagana

Yakshagana was formerly known as Bayatalaby some people in Karnataka. The sister
art forms associated with Yakshagana are listed below:

1. Therukoothu of Tamil Nadu,

2. Kutiyattam and Chakyarkoothu of Kerala,
3. Veedhinataka of Andhra Pradesh

Other Forms of Dance-drama or Folk Theatre

There is a wide variety of folk music, dance and drama forms. They can share
common themes and concerns. Depending on the purpose of celebration, its
characteristics also vary.

Yakshagana and Gombeyatta

• Gombeyatta is the traditional string puppet of Karnataka.

• They are styled and designed like the characters of Yakshagana, the traditional theatre
form of the region.
 • The episodes enacted in Gombeyatta are usually based on Prasangas of the
Yakshagana plays.
• The puppets are highly stylised and their costumes and make-up are similar to
Yakshagana.
• The puppets of Gombeyatta resemble the actors of Yakshagana and the sets are also
designed like the Yakshagana stage.

Variants of Yakshagana
It is found that two variants of Yakshagana exist. The characteristics/features of these two different styles
of Yakshagana are listed and tabled below:

Badagutittu Tenkutittu

It is prevalent in Northern This style is prevalent in

parts of South Canara, Southern areas of South
from Padubidri to Byndoor Canara, that is, from
and North Kanara District. Mulki to Kasargod.

Instrument used – a typical Instrument used – Kerala

Karnataka chande drum. maddalam (traditional
Kerala percussion
instrument).

Popularised as shorter, and Its less exuberant

more modern form of costumes, particularly the
Yakshagana. Their demon costumes, make it
ornaments are made out of seem more like Kathakali
light wood, pieces of than like Badagutittu.
mirror, and coloured
stones.

Famous artist – Keremane Famous artist – Sheni

Shivarama Heggade Gopalakrishna Bhat

Recent Development
Dakshina Kannada District Sahitya Sammelan has urged the Karnataka government to declare Yakshagana
as a representative art form of the State.
KATHAKALI:
Kathakali’ is an Indian classical dance form of the south Indian state of Kerala. Kathakali
communicates the story through excellent footwork and impressive gestures of face and hands
that are complimented by music and vocal performance. It can be differentiated from the other
forms through the vivid make-up, unique face masks, and costumes worn by dancers. The style
and movements reflect the martial arts that were prevalent in Kerala. In contrast to other Indian
classical dances which developed in Hindu temples and monastic schools, this developed in
courts and theaters. This dance form of Kerala is believed to have originated from the temple
and folk arts that can be traced back to the 1st millennium CE.

What is kathakali Dance?

'Kathakali,' a significant form within the Indian classical dance tradition, is deeply rooted in the
art of storytelling. Originating from the southern Indian state of Kerala, it combines dance, drama,
and music to convey narratives to its audience. Like other classical Indian dance forms,
'Kathakali' relies on precise footwork and expressive facial and hand gestures, accompanied by
musical and vocal performances.

• Distinctive Features of Kathakali:

o Elaborate and vibrant makeup.
o Unique facial masks.
o Striking costumes worn by performers.
• Movement Style Reflects Tradition:
o Reflects ancient martial arts and athletic traditions of Kerala.
o Originated in the courts and theaters of Hindu regions.
• Origins and Traditions:
o Traditionally performed exclusively by male dancers.
o Rooted in temple and folk arts dating back to the 1st millennium CE.
o Precise origins remain elusive.

The Evolution and History of Kathakali

• The features of this dance form can be traced back to ‘Natya Shastra’ an ancient Hindu
text written by Bharata Muni.
• The name Kathakali was derived by joining ‘Katha’ (traditional story in Sanskrit) and ‘Kali’
(derived from ‘Kala’ meaning art and performance).
• The dance-drama art form ‘Krishnanattam’ illustrating legends from the life of Lord
Krishna is a precursor of ‘Kathakali’. ‘Krishnanattam’ developed under the Zamorin ruler
of Calicut.
• Kottarakkara Thampuran, the Raja of Kottarakkara created a new form of temple art
based on ‘Krishnanattam’ and called it ‘Ramanattam’. It is widely considered that
‘Ramanattam’ was the genesis of ‘Kathakali’.
• A few scholars mention that many elements of ‘Kathakali’ are similar to ‘Kutiyattam’, a
form of Sanskrit drama performed in Kerala.
• ‘Kathakali’ has evolved from folk art and ancient dance forms of Kerala like
‘Porattunatakam’, ‘Padayani’, ‘Teyyam’ and ‘Mudiyettu’. Reflections of ‘Kalaripayattu’, an
ancient martial art form that originated in Kerala can also be seen from the dancers
movements.
 • The present-day ‘Kathakali’ includes women in the troupe, unlike the traditional one which
was an all-men ensemble.

The Salient Features of Kathakali

• Kathakali is a classical art form that has evolved from many socio-religious theatrical
forms that existed in the ancient times.
• Chakyar Koothu, Koodiyattam, Krishnattam and Ramanattam art forms of Kerala and the
martial arts that were prevalent in ancient Kerala exert a direct influence on Kathakali’s
technique.
• The dance form can be seen in the temple sculptures of Kerala and the murals of the
Mattancherry temple that belong to the 16th century.
• The plays are a blend of dance, music and acting with themes based on tra’, a text on the
performing arts written by Bharata Muni. Indian epics like the Mahabharata, Bhagavata
Purana and Ramayana.
• The art form consists of angika, acharya, vichika and satvika, the four aspects of
abhinaya along with Nritya and Natya aspects.
• The dance gestures align with verses known as ‘padams’ that are sung vocally.
• Kathakali draws its descriptive origin from Balarama Bharatam and Hastalakshana
Deepika.
• Kathakali’s literature is written in a language called Manipravalam, a mixture of Sanskrit
and Malayalam.
• When the religious themes for Kathakali were found to lose ground, secular themes were
adopted for the plot.
• Stories like Kalyana Sougandhikam, Duryodhana Vadham, Nalacharitham from
Mahabharata are used as plots for the performances.
• Nalacharitham is a popular Attakatha in Kathakali literature written by Unnayi Varrier.
• It deals with the love story of Nala and Damayanthi narrating the highs and lows of their
life, with a focus on the challenges posed by Kali, who also loved Damayanthi and wished
to possess her by killing Nala.

The Costumes of Kathakali

• Kathakali incorporates the most intricate form of make-up, costume, face masks and
brightly painted faces.
• Kathakali encompasses seven fundamental costume codes. The code followed typifies
the characters of the acts as gods, goddesses, saints, animals, demons, and
demonesses, etc.
o ‘Pacca’ , ‘Minukku’, ‘Teppu’, ‘Kari’ (black), ‘Tati’, ‘Payuppu’ (ripe) and ‘Katti’ (knife).
o ‘Pacca’(green)- This character with bright coral red coloured lips depicts gods,
sages and noble characters.
o ‘Minukku’(orange, saffron or yellow)- This depicts virtuous and good female
characters. For women and monks, the color code is yellow.
o Vella Thadi(white beard)- Represents a divine or virtuous character.
o ‘Teppu’- Represents special characters like Jatayu and Garuda.
o ‘Kari’ (black)- Code for hunters, forest inhabitants and demonesses.
o ‘Tati’ (red)- Represent evil characters like Ravana.
• This classification reflects the three Gunas.
• Sattva (goodness, harmonious)
 • Rajas (passion, dynamic)
• Tamas (darkness, destructive)
• Face masks and headgears help emphasize the make-up prepared from colours
extracted from vegetables and rice paste.

Music and Instruments

• Kathakali performance includes different instruments encompassing three drums
namely ‘Itaykka’, ‘Centa’ and ‘Maddalam’.
• Music plays a major role in this art form creating tone variations corresponding to the
mood of a particular scene.
• The music follows the Sopana Sangeetham tradition. Sopana Sangeetham is the singing
of the Ashtapadis on the flight of steps leading to the sanctum sanctorum.
• Carnatic ragas are used in Kathakali music.
• ‘Cempata’ is used in sequences like combat between good and evil and while concluding
a scene.
• ‘Atanta’ is used in scenes consisting of divine and virtuous characters.
• ‘Muri Atanta’ is used in heroic, comic and light-hearted acts.
• ‘Triputa’ is used in scenes involving teachers and sages.
• ‘Pancari’ is used in repugnant scenes
• ‘Campa’ in scenes portraying clash, argument and tension between lovers.

The Famous Exponents of Kathakali

• Kavungal Chathunni Panicker is a veteran performer in this field with his family
associated for six generations.
• Kalamandalam Gopi, has a career spanning over 30 years in Kathakali.
• Kottakkal Sivaraman portraying feminine characters emoting different nayika bhavas is a
famed actor.
• Kalamandalam Ramankutty Nair is a seasoned Kathakali performer who earned fame for
portraying negative roles.