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::: Theater and Arts |
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Theatre is the branch of the performing arts concerned with acting out stories in front of an audience using combinations of speech, gesture, mime, puppets, music, dance, sound and spectacle. Kerala has a longest and richest tradition in theatre going back to at least 5000 years. The origin of Kerala theatre is closely related to ancient rituals and seasonal festivities of the country. Bharata's Natya Shastra (2000 BC to 4 th Century AD) was the earliest and most elaborate treatise on dramaturgy written anywhere in the world. The traditional account in Bharata's Natya Shastra gives a divine origin to Indian Theatre, attributing it to the Natyaveda , the holy book of dramaturgy created by Lord Brahma.
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| Theater Artforms in Kerala |
- Kathakali
- History :
Kathakali originated from Ramanattom.
History has it that Raja (ruler) of Kottarakkara (a province in Kerala) sculpted Ramanattom when the Zamorin (then ruler of Kozhikode, another province in Kerala) refused to allow a performance of Krishnanattom in the former's palace.
- Elements of Fine Art : Kathakali is considered to be a combination of five elements of fine art. They are
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- Expressions (Natyam, the component with emphasis on facial expressions)
- Dance (Nritham, the component of dance with emphasis on rhythm and movement of hands, legs and body)
- Enactment (Nrithyam, the element of drama with emphasis on "mudras", which are hand gestures)
- Song/vocal accompaniment (Geetha)
- Instrument accompaniment (Vadyam)
Even though the lyrics/literature would qualify as another independent element called "Sahithyam", it is considered as a component of Geetha, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
- Kathakali plays : Traditionally there are 101 classical Kathakali stories. Most of them were initially composed to last a whole night. Nowadays there is increasing popularity for concise versions of every story (lasting 2-4 hours instead of a whole night), which has been made by selecting the most dramatic or popular portions of individual stories. The most popular stories enacted are Nala Charitam (a story from the Mahabharata, Duryodhana Vadham (a story from the Mahabharata), Kalyanasowgandhikam (the story of Bhima going to get flowers for Panchali, from the Mahabharata), Keechaka Vadham (another story of Bhima and Panchali, from the Mahabharata), Kiratham (Arjuna and Lord Shiva 's fight, from the Mahabharata), Karna Shapadham (another story from Mahabharata). Recently, as part of an attempt at popularizing the art, stories from other cultures, such as the story of Mary Magdalene from the Bible, Homer's The Iliad, and Shakespeare's King Lear have also been adapted into Kathakali scripts.
- Music : The language of the songs used for Kathakali is a mix of Malayalam and Sanskrit. called Manipravaalam. Even though the songs are set for “ragas” based on South Indian Classical Music” (Karnatic Music), there is a distinct style of rendition, which is known as the “sopanam” style. The Sopanam style incorporates the moods of temple songs which used to be sung (continues even now at some temples) at the time when Kathakali was born.
- Performance :
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it is not difficult to see performances as short as 3 hours. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are Chenda, Maddalam and Edakka. In addition the singers (usually the lead singer is called “ponnani” and his follower is called “singidi”) use "Chengala" (a round disc made of bell metal, which can be struck with a wooden stick) and "Ilathaalom" (a pair of cymbals).
- Make-up : The make-up can be classified into five basic sets namely Pacha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets are the predominant colors that are applied on the face. Pacha (Pacha=green)has green as the dominant color and is used to portray noble male charcaters who is said to have a mixture of "Satvik" (pious)and "Rajasic" (kingly)nature. Rajasic characters having an evil streak ("tamasic"= evil), such as the demon king Ravana, are portrayed with red as the predominant color in a green background. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Chuvanna Thaadi(Red Beard). Tamasic characters such as uncivilized hunters are represented with a predominantly black make-up base and a black beard and are called Kari/ Karutha Thaadi (meaning black beard). Women and ascetics have lustrous, yellowish faces and form the fifth class. In addition there are modifications of the five basic sets described above such as Vella Thaadi (white beard) used to depict Hanuman (the monkey god) and Pazhuppe, which is used for the Sun God.
The make up is made from various mineral ores and pigments. They are ground on a stone and mixed with coconut oil before being applied on the face. Some characters also have their features enhanced, such as an enlarged nose or an elaborate mustache. There are made using elaborately cut paper which is stuck to the face with a mixture of rice paste and calcium carbonate. Dancers also often place a "chundanga seed" ( variety of eggplant which bears small fruits) under their lower eyelid before the performance to turn the white of their eyes red. In fact the "chundanga" is not really a seed and is prepared by removing the ovaries at the base of the flowers of this plant. The procedure used for preparing these seeds involves the rubbing of a bunch of these in your palm until they become black (starting from a white color) and nearly dehydrated. They often last long enough for a season (of around four months) in this condition.
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- Theyyam
- History :
The word Theyyam is derivative of Sanskrit Daivam meaning God. The Theyyams are the representations of folk and tribal deities worshipped in various forms. It is widely agreed that Teyyam existed before the arrival of the Aryans. Elaborate descriptions of such rituals are found in the Tamil literature of the Sangam period (500 BC - 500 AD). In the 8th century, Shakti-pooja was an extremely popular ritual which, towards the late 13th century, was influenced by the Vaishnavite movement. Prior to the Shakti-pooja, there existed a fertility cult of worshipping the mother goddess, and its association with Teyyam is well known.
- Performance :
The dance or invocation is generally performed in front of the village shrines . It is also performed in the houses as ancestor worship with elaborate rite and rituals.
Most Teyyam performances are public and are performed at temple festivals
to honour the spirits as well as for the general well being of all present. When the entire village commissions a performance, it is known as Otta Kolam . Apart from the costume, the performer wears profusion of ornaments and, in most cases, a distinctive crown. Every Teyyam presentation has two parts, the Tottam or Vellattam , which involves preliminary ceremonies, and the spirited calling upon the deity for inspiration, and the dance proper. The accompanied instruments include drums, pipes and cymbals. The Teyyam stories are sung and danced, dramatised and enacted in various colourful festivals associated with various village shrines. In Ayappan Tiyatta , a ritual performance in Kerala, the story of god receives special elaboration through a form of visual story telling prior to the visitation of the deity.
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- Mohiniyattam
- History :
Mohiniyattam is a traditional South Indian dance form from Kerala. It is a very graceful dance meant to be performed as a solo recital by women. The term Mohiniattam comes from the words "Mohini" meaning a woman who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The word "Mohiniattam" literally means "dance of the enchantress". There are two stories of the Lord Vishnu disguised as a Mohini. In one, he appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhi or Ocean of Milk. In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura. The name Mohiniaattam may have been coined after Lord Vishnu, and the main theme of the dance is love and devotion to God, with usually Vishnu or Krishna being the hero. Devadasis used to perform this in temples. But it also has elements of Koothu and Kottiyattom in it.
- Performance and Style :
The dance which has influences and elements from two South Indian dance forms, the Bharatanatyam and Kathakali, was formulated in the court of king Swati Tirunal by Vadivelu, one of the Thanjavur Quartet . The dance involves the swaying of broad hips and the gentle movements of erect torso from side to side. This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala, the land of Mohiniattam. There are approximately 40 different basic movements, known as 'atavukal', in Mohiniyattam.
The costume includes white sari embroidered with bright golden brocade (known as kasavu at the edges. The dance follows the classical text of Hastha Lakshanadeepika , which has elaborate description of Mudras (gestural expressions by the hand palm and fingers).
The vocal music of Mohiniattam involves variations in rhythmic structure known as chollu . The lyrics are in Manipravala , a mixture of Sanskrit and Malayalam.
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- Koodiyattam
- History : Koodiyattam (Koothiyattam) is derived from the Sanskrit word Kurd , meaning to "to play", and is considered to have been introduced in India by the Aryans. Koodiyattam is the oldest existing classical theatre form in the entire world, having originated much before Kathakali and most other theatrical forms. It is considered to be at least 2000 years old. This theatre form originated in Kerala but the exact date of its inception is not known. It is widely believed that Kulasekhara Varma Cheraman Perumal, an ancient King of Kerala, was the creator of Koodiyattam in the present form. His book ' Aattaprakaram ' is considered as the most authoritative work on the art form till date. The 10th century chronicles of the Varman dynasty record the art form in its advanced stages, pointing to its much earlier origin. The dance also finds a mention in Ilangovan's 1500-year old Tamil Classic Chilappathikaram as 'Kerala Chakkian Sivanadanam'. Experts consider Koodiyattam to be more advanced than Kathakali, the better-known classical art form of Kerala, in aesthetics and theatre practices. But it never captured the public imagination even in its home state and was limited to a few koothambalams or temple theatres.
- Performance and Style : Traditionally, Koodiyattam is presented by Chakyars, a temple caste of Kerala, and Nangiars, the women of Nambiar caste. Koodiyattam, unlike the most other theatre forms allows an active role for women . The Nangiars recite shlokas and play female characters. Recently, a Nangiar called Margi Sathi created history by penning an attaprakaram (guide for actors) for the play Sriramacharitham. It is
performed as a kind of visual sacrifice to the deity and is normally performed in koothambalams or temple theatres that are decorated with exquisite carvings. Conventional in its make-up, costume as well as form, it is an elaborate blend of symbolic gestures, stylised movements and chanted dialogue and verse in Sanskrit, Prakrit and Malayalam. Sanskrit plays of the 7th or 8th century AD like Bhasa's Abhishekanatakam , Mahendra Vikraman Pallavan's Mathavilasam and Kulasekhara Varma's Subhadra Dhananjayan are among the most commonly enacted Sanskrit plays in Koodiyattam. Plays of the 11th century AD like Kulasekhara Varma's Subhadra Dhananjayam and Sakthi Bhadra's Ascharyachoodamani are also staged. The musical instruments Mizhavu and Edakka provide the background music to Koodiyattam. Through sound modulation, the percussion instruments augment the effect of acting in this dance drama. In Koodiyattam, there is a Vidooshaka (Royal clown) who humourously narrates the thematic development of the text, to the audience in Malayalam. His words and actions convincingly portray the true character of the protagonist. In the past he was a social auditor. His diatribes against the establishment and those in power were a corrective force in the feudal-society.
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- Ottamthullal
- History and Performance : Ottamthullal is a type of performing arts from Kerala. Also known as the "poor mans Kathakali", Ottamthullal was created by the Malayali poet Kunchan Nambiar , as an alternative to the Chakyar koothu, as a protest against the prevalent socio-political structure and prejudices of the region. In Ottamthullal, a single actor wears colorful costumes, while reciting thullal (dance songs), all the while acting and dancing.
The art form is very satirical in nature, and the ability and freedom of the artist to invent and incorporate the humour and incidental satire makes this art form more popular among the common man. unlike Kathakali, the language is pretty simple, malayalam and very rhythmic in nature. A popular story about the creation of the art form relates it to an incident, where Kunchan Nambiar is said to have slept off during the Chakyar koothu program where he was accompanying on Mizhavu . It says that he created the art form overnight to perform the very next day.
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- Chakyar Koothu
- History and Performance :
Chakyar Koothu was traditionally performed inside a Hindu temple and the performer begins with a prayer to the deity of the temple. He then goes on to narrate a verse in Sanskrit before explaining it in the vernacular Malayalam . The narration that follows touches upon various current events and societal factors with great wit and humor.
Koothu was traditionally performed by the Chakyar community. Only two instruments accompany the performance - a mizhav and a pair of cymbals . Different from this is Nangyar Koothu which has only lady characters. It is performed by female performers called Nangyarammas and they belong to Nambiar caste.
Mani Madhava Chakyar a visionary and virtuoso of this art took Koothu and Kudiyattam outside the temples to the common people. He is considered as the greatest Koothu and Kutiyattam artist of modern times.
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- Sopanam
- History and Performance :
Sopanam is a form of Indian classical music developed in the temples of Kerala in the wake of the increasing popularity of the Jayadeva's 'Gita Govinda' or 'Ashtapathi'. Sopanasangitham is sung by the side of the steps (Sopanam) of Temple, with the accompaniment of the drum called 'Idakka'. The sopanasangitam in its traditional form is seen at its best among the Marars and Poduvals, who were hereditary Ambalavasi Ardha Brahmanas (Semi Brahmins) engaged to do the same.
Kerala's music is known as Sopanam. Sangeetam (Music) appears to have acquired its name from the 'Sopanam' which means 'Sanctum Sanctorum' of the temple. Its essential features were born out of a happy blending of the Vedic, the folk and tribal music of the region.
The structure of the Sopanam music is believed to reflect the experience of the devotee in ascending the heights of devotion. Sopanam music developed and became popular through the practice of singing invocatory songs in front of the 'Kalam' of Kali (floor drawing of Kali) and later on at the sanctum of the temple. There are a few powerful schools connected with the temples like Pazhoor, Thirumandhamkunnu, Guruvayoor, Ramamangalam. In these temples, this music had been hereditarily practiced by temple singers.
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- Sarpam Thullal
- History and Performance :
Sarpam Thullal is usually performed in the courtyard of houses having snake shrines. This is a votive offering for family wealth and happiness. The dance is performed by members of a community called Pulluvar. In the first stage the pulluvan draws a kalam (the field) in with two or more twining snakes in the courtyard. An oil lit traditional lamp and one full measure (nirapara) each of paddy and rice are then placed in front of the kalam. In the second stage, the idol of the snake is brought out from the Kavu in a procession called thalapoli to the uproarious tumult of percussion instrument (panchavadyam).
A number of girls with their hair pleated up like the hoods of snakes and reminiscent of the legend of the naga kanyakas partake in this procession. The idol is placed in the kalam and the poojari performs ritual offerings while the girls sit in two rows on the side of the kolam. The poojari then dances round the kolam to the rhythmic beating of para (a crude drum) and elathalam (bell metal cymbals). All the while a pulluvan and pulluvathi (male and female singers) sing special devotional songs set to tune and rhythm by nanduni (a primitive type of veena, a stringed musical instrument) and pulluvankudam (a primitive musical instrument consisting of an earthenware pot and strings) respectively. As the song gathers momentum the girls begin to dance, swaying their bodies slowly at first and steadily ascending in tempo. The dance finally erupts into a violent frenzy of rhythmic fervour, culminating in a trance.
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- Pullavan Pattu
- History and Performance :
A Pulluvan is a member of primitive Dravidian group. The term pullu means a bird of omen. The term pulluvan must have meant ‘a person who predicts from the sound of birds'. There are many sub-divisions within the Pulluva community. The majority among them are called Nagampatikal (People who sing snake-songs). There are pulluvars who are not Naagampatikal, as well. They are known as Pretampatikal (People who sing ghost songs).
Most of the art forms of the Pulluvar are ritualistic. Most of their songs are related to worship,ritual,custom and exorcism. The pulluva art is expressed in the background of snake-worship, ghost worship and magic.
One group among these people consider the snake gods as their presiding deity and perform certain sacrifices and sing songs. This is called 'Pulluvan Pattu'.
The song conducted by the pulluvar in serpent temples and snake groves is called Sarppapaattu, Naagam Paattu, Sarpam Thullal , Sarppolsavam, Paambum Thullal or Paambum Kalam. The main aspects of this are Kalamezhuthu (Drawing of Kalam, a ritual art by itself), song and dance.
The musical instruments used by the Pulluvar are veena (a primitive stringed violin), kutam (earthernware pot with strings attached to it) and thaalam (bell-metal cymbals).These instruments are made by the Pulluvar themselves. The Veena is made out of a hollow bamboo stick, coconut shell and brass wire. The Veena is played with a small arrow made out of a piece of bamboo. The kutam is made of a pot on whose bottom a hole is bored with calf skin is attached to the hole. Two small holes are made on the side where the skin is attached, and a string is tied to it. The other end of the string is tied to the end of a long stick. On the side where the string is attached to the stick is placed a small splint to elevate the stick. In orer to restrict the movement of the stick, the other end is stamped down by the foot of the player. The string is called theru .
Pulluvar songs are sung on Aayilyam Pooja, day which is considered to be very auspicious. The presiding deity of the Aayilyam is the serpent.
The main temples of Kerala where serpent is worshipped are Mannarassaala (Alappuzha District), Paambu Meykkaad (Trichur District), Trippara Temple (Kollam district) and Ametamangalam (Ernakulam District). A very ancient temple where serpent worship is performed is Perasseri temple (Kannur District).
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- Tolpava Koothu
- History and Performance : Tolpava Koothu is one of the traditional theatres of Kerala still surviving in rituals especially in Bhagavati and Bhadrakali temples in the State. The mythology has it that Kali fought with demon Darika and killed him at the time when Rama-Ravana battle took place. The Goddess was not able to see the fight, that is why the Ramayana story is enacted in her presence through the art, Tolpava Koothu. The theme for this art form is Ramayana, and the text is the one written by Chinnathampi Vadhyar who lived about 350 years ago. A mix of verses and prose (known as `adalpatt') in Tamil, Malayalam and Sanskrit, the work has 21 sections and is enacted over 21 days. The poems are known as `Koothukavigal' and most of these are taken from Kamba Ramayanam in Tamil. It is interesting to note that Arunachala Kavirayar's Ramanatakam, the musical play in Tamil, also has many parallels from the Kamba Ramayanam. In the beginning, the puppets were made of `ola' or palm-leaf and the theatre form was known as `olapavakoothu'. Now they are made of leather and the art has taken the name `tolpava koothu' or leather puppet theatre. The puppets are made of deer-skin and the process of making the puppets for the `Koothu' is given in detail, supported by a large number of photographs. The puppets are preserved in the temple at Puthur in Palghat district and also by a few families in Ottapalam, Puthusseri and Cherplasseri in Kerala. As for `Koothu Madam' or place of performance, there are permanent stages for this art in the temples of Kerala and they usually face the deity Bhadrakali. Regarding musical instruments and sound effects, drum Ezhupara, cymbals and Ilathalam, shankha (conch), chenda, maddalam, Chengila (gong), and Kurum Kuzhat (small flute) are used. Voice effects are also given for scenes where one character challenges the other and rhythmic syllables are used in fight sequences.
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- Krishnanattam
- History and Performance : Krishnanattam is a colourful dramatic form based on the Krishna legend, which emerged around the mid-17th century. Krishna Attam is a cycle of eight plays which are performed for eight consecutive nights to unfold the entire story of Lord Krishna. The style is almost similar to Kathakali . The Krishna Geethi , written in 1684 by Prince Manaveda, the Zamorin of Calicut, serves as the dramatic text of this dance-drama.
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- Kakkarissi Natakam
- History and Performance : Prevalent among the Kuravas of Thiruvananthapuram district, this group dance is very vociferous because of the shoutings of the participants and also the wild beatings of primitive drums like para, veekkan chenda etc. Kakkarissi Natakam is one of the most interesting folk dramatic forms of entertainment in Kerala. Satirical in nature, it uses for expression the age-old formula of Indian folk theatre - song, music and dance.
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- Yakshagana
- History and Performance : Yakshagane is a classical folk art form of the state of Karnataka in India mostly popular in the districts of Uttara Kannada, Shimoga, Udupi , Dakshina Kannada and Kasaragod district of Kerala . This would be considered to be a form of opera in western eyes. Actors wear costumes and enact the various roles. Traditionally, Yakshaganas would go on all night. It is sometimes simply called as Aataa in both Kannada and Tulu (meaning play). A Yakshagana performance begins at the twilight hours with the beating of drums for up to a couple of hours before the 'actors' get on the stage. The actors wear resplendent costumes, head-dresses, and painted faces which they paint themselves. A performance usually depicts a story from the Hindu epics and puranas. It consists of a narrator who narrates the story in a song-like fashion, backed by musicians playing on traditional musical instruments as the actors dance to the tune, with actions that portray the story as it is being narrated. The actors have a limited dialog during the course of the performance.
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- Margam Kali
- History and Performance :
Margamkali is an entertainment form found among Suriyani Christian (Syrian Christian) folk in Kerala state, South India . Margamkali is a slant imitation of Sangamkali. The Christian soldiers used to pass time engaged in Margamkali and the subject usually is the arrival of Mar Thoma and his efforts to convert other people to Christianity in Kerala.
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- Dappu Kali
- History and Performance :
A group-dance of the Moplahs of Malabar. The performers from two rows of ten of twenty. They beat on the dappu which each dancer holds in his left hand and dance with exquisitely symmetrical swayings of the body and astonishing co-ordination of rhythm steps, flexion of body and timing of dappu.
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- Kolkkali
- History and Performance :
Kolkkali is a mixed dance in which both men and women participate. The performers move in a circle, striking small sticks and keeping rhythm with special steps. The circle expands and contracts as the dance progress. The accompanying music gradually rises in pitch and the dance reaches its climax.
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- Parichamuttu Kali
- History and Performance : Parichamuttu kali is martial folk-dance which had its origin during the day when kalaripayattu , the famous physical exercise of swordplay and defence, was in vogue in Kerala. The performers dance with swords and shields in their hands, following the movements of sword fight, leaping forward, stepping back and moving round, all the time striking with the swords and defending with shields.
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- Oppana
- History and Performance : Oppana
is a popular form of social entertainment among the Muslim community of Kerala, prevalent all over, especially in the northern districts of Kannur, Calicut and Malappuram.
Oppana is generally presented by females, numbering about fifteen including musicians, on a wedding day. The bride dressed in all finery, covered with gold ornaments is the chief spectator who sits on a peetam, around which the singing and dancing take place. While they sing, they clap their hands rhythmically and move around the bride using simple steps. Two or three girls begin the songs and the rest join in chorus.
Harmonium, Tabla, Ganjira and Elathaalam are the musical instruments employed for this performance. Only the Mappilapaattu will be sung on the occasion.
The word Oppana may have been derived from an Arabic form Afna . There are two types of Oppana, one is Oppana chayal another is Oppana murukkam . When Oppana chayal is performed, they do not clap their hands. If it begins with Chayal it would also end with Chayal only.
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