- KATHAKALI
ORIGIN OF KATHAKALI
| It was believed that Kathakali was conceived from Krishnanaattam, the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of Kottarakkara who was attracted by the tone of the Krishnanaattam requested the Zamorin for the loan of a troupe of performers on the eve of some festive occasion. Due to internal feuds and political rivalry between them, the Zamorin refused to send the performers and insulted with the remarks: ”It is useless to depute the troupe, because Kottarakkara Thespian’s court would be neither able to appreciate nor understand anything of the highly artistic Krishnanaattam and the high standard of the performance". | ||||
| Here the political rivalry between the two chieftains leads to the art rivalry. So Kottarakkara Thampuran initiated a parallel mode of entertainment, which he called Raamanaattam which was later transformed into Aattakatha, and yet later into Kathakali while Krishnanaattam based on the story of Lord Krishna's activities, Raamanaattam described the complete story of Lord Raman. Krishnanaattam was written in Sanskrit, "the language of the Gods". Raamanaattam was in Malayalam, the language of the people. By the end of the seventeenth century, the finished product of Raamanaattam was placed before the world under the tittle Kathakali. | ||||
| The costume of Kathakali has been much influenced by Chaakkyaar koothu and Koodiyattam the two older forms of dramatic representations in vogue in Kerala. The history of their origins dates back to the period of Perumals i.e. much earlier to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting) and the use of Mudras (hand poses) and gestures were bodily adopted in Kathakali from them in addition to its borrowing and refinement of facial make-up and costume. The use of colour, costume, and make-up present a unique show and create an unearthly atmosphere. Kathakali became more attractive and popular than the Chaakkyaar koothu and Koodiyattam. Moreover ,its performance was not restricted to the precincts of the temples. Kathakali had a golden period between 1665 AD and 1743 AD. | ||||
| Remarkable contributions were also made by Kaartika Thirunal, the king of Travancore, to Kerala's literature, art and dance. His efforts were also directed to popularising Kathakali among the people. He instituted a tradition of arranging Kathakali performances at various festivals and on the Navaratri night. |
THE ART OF KATHAKALI
| Kathakali employs the four abhinayas, viz Sattvika, expression of thoughts by the efforts of the mind (Bhaava and Rasa). Aangika, conveyance of ideas by the movements of the various parts of the body (gestures).,Vaacika, spoken words, singing, shrieking, etc., and Aharya, the dress and deportment. | ||||
As
in earlier dramatic forms, Raamanaattam players also sang the
padas. But for the vigorous Kathakali, demanding tremendous
physical exertion, singing by the actors was exacting and tiring.
A change in the practice was conceived by Prince Vettathu Thampuran,
who introduced a few fundamental innovations. He provided seperate
singers and introduced the chenda, a percussion instrument,
to announce a performance and give background sound effect. This drum's
powerful and penetrating sound heightened the acting of supernatural
characters appearing on the stage in hideous and fantastic make-ups.
The religio-theatrical reforms brought Raamanaattam performances
outside the temples for the enjoyment of all sections of the community.
Masks were replaced by make-up; Mudras were accentuated, a
variety of percussion instruments and characteristic costumes were
introduced; singers and musicians formed an independent part of a
show. |
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| Symbols of the hand have played an important role in the art of Kathakali. With the help of Mudras, the hand poses are called in Sanskrit, a whole literary expression is reduced to elementary notions. There are sixty-four basic hand poses which connote five hundred words, while the alphabet of the eyes express emotions. Their permutations can be employed to convey any number of meanings requiring any detailed explanation in the modern concept of story-telling. | ||||
| In the art of Kathakali, all emotional qualities, and psychic conditions acquire remarkable outward manifestation and mukhabhinaya (facial mime) is cunningly, sometimes lightly employed. While the Kathakali use elaborate similes and hyperboles, and fingers permute into mudras to represent words of comparison such as like, as if and same as, the eye-balls roll evanescently to tell the miracles. The face becomes the open drama in which the story is drawn in successive shades and touches of lineament. | ||||
| According to the theme, a Kathakali song suggests the use of a particular Bhaava and Rasa (aesthetic delights) and the dance and mimicry are rendered most effectively in harmony with these aesthetic appeals. The powerful music heightens the moods of the actor and adds life to acting. He dances to the melodies of the song and executes the various passages with well- defined Padaghats (foot work). It provides scope for the amplification of an emotion and the abridgement of the climax of a story. The powerful footwork trembles the earth below and cuts short the final action. | ||||
| As Kathakali is a story-play, interpreting a drisya kaavya, its various contrasting characters are presented. There are good and bad characters, demons and gods, wordly and unwordly role-types according to their castes, quality and nature. Each group is distinguished from the other by specific make-ups. |
MAKE UP OF KATHAKALI
The make-up of Kathakali character is peculiarily native to the Kerala folk-art. In folk theatrical varieties, huge marks and make-ups were as much prevalent during the historic span of time. Elaborate make- up heightens dramatic effects. Colour symbolism reflect certain categories of emotions and gunas. The green colour represents Saattvika reveals godliness, white represents spirituality. Red represents Rajasic reveals violence. Black represents Tamasic reveals evil. Yellow represents the combined character of Saatvika and Rajasic. Thus Kathakali characters are grouped into five major role-types, each having a specific make-up and costume. These role types are Minukku, Paccha, Katti,taadi (has three varieties viz. Velupputaadi, Chuvannataadi and Karupputtadi) and Kari.
Minuku
KATHAKALI ACTORS/ACTRESS
1. Pariyanampatta Divakaran 2. Kalamandalam Kesavan Namboodiri 3. Kalamandalam Sivadas 4. Kalamandalam Sajan 5. Kalamandalam Vijayakumar 6. V.P. Ramakrishnan Nair 7. Kottarakkara Ganga 8. Kottakkal Sasidharan Nair 9. Kalamandalam Prasanth 10.Kalamandalam Gopalakrishnan 11.Kalakendram Muraleedharan 12.Kalluvazhi Vasu 13.Chandramana Govindan Namboothiri 14.Chandramana Narayanan Namboothiri 15.Kalamandalam Vasu Pisharody 16.Kalamandalam Sreekandhan Nair 17.Dr. A.K. Sabhapathi 18.Margi Vijayakumar 19.Mathoor Govindan Kutty 20.Muraleekrishnan G. 21.Nelliyodu Vasudevan Namboodiri 22.Kalamandalam Rajasekharan 23.Kalamandalam Ramachandran Unnithan 24.Kalamandalam Balasubrahmanian 25.Kalamandalam Vijayakrishnan Unnithan 26.Vembayam Appukuttan Pilla 27.A. Gopakumar 28.Kottakkal Ravi Kumar 29.Fact Chandrasekharan Nair 30.N. Mukundan 31.Madavoor Vasudevan Nair 32.Kalamandalam Krishnaprasad 33.Kalanilayam Rajasekharan |
34.Kalamandalam Ravi Kumar 35.Kottakkal Appu Namboothiri 36.Kalamandalam Sreekumar 37.Kalamandalam Saseendran 38.P.M. Kesavan Embrandiri 39.Chettikulangara Unnikrishnan 40.Kalamandalam Haridasan 41.R.L.V. Usha Priyadarsini 42.Kalamandalam Rajeev 43.Kalamandalam Venkitt 44.Keerthy Unni 45.Thalavady Gopinathan 46.FACT Padmanabhan 47.R.L.V. Radhakrishnan 48.C.R. Ranjith 49.Kalamandalam Vasunni T.S. 50.Kalamandalam Balasubramanian 51.Thonnakkal Peethambaran 52.Kottakkal Chandra Sekhara Warrier 53.Ratheesh C.R. 54.Krishnan Namboothiri P.R. 55.Kalamandalam Krishnakumar 56.Kottakkal Nadakumaran Nair 57.Ettumanoor P Kannan 58.Kalamandalam Shiju 59.Sadanam. K. Harikumaran 60.Ganesh Iyer 61.Kalanilayam Sasikumar 62.Kalamandalam Biju 63.Suresh Kumar 64.Thara Varma 65.Master Chandramana Krishnadas |
| Singers
1. Palanad Divakaran 2. Kottakkal Parameswaran Namboothiri 3. Kalamandalam M. Gopalakrishnan 4. Nedumpally Ram Mohan 5. K.S. Rajeevan 6. Kalamandalam Surendran 7. Meledam Narayanan 8. Kalamandalam Hyder Ali 9. Kottakkal Madhu 10.Kalanilayam Ramakrishnan 11.Kalanilayam Unnikrishnan 12.Kalamandalam Mohanakrishnan 13.Athippatta Ravi 14.Kalamandalam Gangadharan 15.Kalamandalam Sankaran Embranthiri 16.Cherthala Thankappa Panickar 17.Mrs. T.N.Aryadevi 18.Mattakkara Balachandran 19.Pathiyoor Shankarankutty 20.Tirur Nambissan 21.Kottakkal Narayanan Chenda 1. Sadanam Divakaran 2. Kalamandalam Unnikrishnan 3. Kalanilayam Kunchunni 4. Kalanilayam Gopalakrishnan 5. Kalamandalam Nandakumar 6. N.P. Sankaranarayanan 7. Kalamandalam Vijayakrishnan 8. Kalamandalam Gopakumar 9. Kalamandalam Raman Namboothiri 10.Kalamandalam Krishnadas 11.Sadanam Vasudevan 12.Kalamandalam Unnikrishnan 13.Kalamandalam Sreekanth Varma 14.Kandalloor Unnikrishnan |
Maddalam
1. Manoj Kumar. P. 2. Kalamandalam Kochukuttan Nair 3. Kalanilayam Rajan 4. Kalamandalam Harinarayanan 5. Kalamandalam Achutha Warrier Chutti 1. Kalamandalam Barbara Vijayakumar 2. Kalamandalam Satheesan 3. Viswanathan Nair |
2.MOHINIYATTAM
The
swaying coconut trees in the gentle breeze is reminiscent of the soft
and languorous movements of Mohiniyattam - the feminine classical
dance form of Kerala. Literally meaning the Dance of the Enchantress,
it is deeply rooted in femininity, GRACE (Lasya) and BEAUTY
(Sringara) forming the quintessence of this dance form.
Of
all the classical South Indian styles, Mohiniyattam can be singled
out with admirable distinction, for it's characteristic body movements,
marked by the graceful sway of the torso. What is unique is the easy going
rise and fall of the body, with emphasis mainly on the torso. The movements
are never abrupt, but dignified, easy, natural, restrained and yet subtle.
The glances, postures, gait employed are so subtle and graceful that they
convey the infinite suggestiveness of radiant love.
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The
traditional costume worn in Mohiniyattam is white with a gold border,
and gold ornaments are worn. The unique coiffure with hair gathered on
the left side of the head reflect it's aesthetic appeal, making it distinct
from the other dance forms of India. The regional system of music that
Mohiniyattam follows is the SOPANA style which in it's
lyricism is evocative of the spiritual element.
It
was during the reign of the great Poet King, Maharaja Swati Tirunal that
Mohiniyattam received considerable patronage. After his untimely demise,
adverse circumstances led to the decline of this dance form till when
in the 1930's Mahakavi Vallathol founded the Kerala Kalamandalam and once
again revived the dance form. More recently, relentless efforts of exponents
and researchers like Guru Padmashri Smt.
Bharati Shivaji have contributed significantly in ensuring Mohiniyattam's
place on the world map.
3.KALARIPAYATTU
Kalarippayattu is the only form of the most ancient traditional systems of physical, culture, self-defence and martial techniques still in existence. It is believed to have had its origin in Kerala, the tiny state situated South West of India
| It was believed that the ‘Nayakanmar’ were given the charge of Kalaris. These Nayakanmar gradually came to be called the ‘Nayars’, in some regions, special titles like ‘Kurup’, ‘Nambiar’, ‘Panikar’ etc. The ‘Nayar’ who had charge of a particular Kalari or group of Kalaris for the training and upbringing of warriors was called the ‘Gurukkal’ (meaning teacher or instructor) of the Kalari or Kalaris. Kalaris were established in all the ancestral homes of those Nayars to impart training in the methods of welfare. | ||
| In Sanskrit language, the word ‘Khaloorika’ denotes a place where weapon training is practiced. It is believed that it was from the Sanskrit term ‘Khaloorika’, that the word ‘Kalari’ came into use in Malayalam for similar institutions imparting training in martial arts. Such institutions were there throughout the country where similar training was imparted. In each region, they are known by different names according to the differences, in the regional languages as ‘Akhad’, ‘Garadi’ etc. All these terms are believed to have originated from the Sanskrit term ‘Khaloorika’ as in the case of the ‘Kalari’. The system of physical and weapon training imparted within the Kalari came to be called ‘Kalarippayattu'. |
| person trained in Kalarippayattu was supposed to risk even his life for causes considered noble during the old days. Qualities like courage and confidence embodied in an austere sense of discipline was instilled along with the training. For this purpose, an arc-shaped seven stepped platform is constructed in the south-west corner inside the Kalari. This is called the ‘Poothara’. Those who practice Kalarippayattu, first worship these deities irrespective of their religion, caste or creed. The Poothara can be said to be the sanctum-sanctorum of the Kalari. An arc is drawn on the Kalari floor with the corner, where walls on the southern and western sides join as the centre of the arc. This will be in the shape of the arc, seven steps are constructed. The seventh step is used as the platform on which the idol made in the stone and having the shape of lotus-bud is installed. The idol above the seventh step is the abode of the presiding deity of the Kalari (Kalari Paradevata or Goddess of Kalari). | ||
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| Next to the ‘Poothara’ on the western end of the Kalari is the abode of Lord Ganapathi (who is fabled to be the god who clears all obstacles in the path of any endeavor. This is the Ganapathi Peedham or the Ganapathi Thara (the seat of Lord Ganapathi). The space between the Poothara and the Ganapathi Thara is dedicated to the ‘Naga God’ (Snake God). There is no platform for this. To a little north of the Ganapathi Thara, two small square platforms with four supporting feet for each made in wood are placed. These are called Guru Peedhams. The first one is dedicated to the four traditions and 21 Gurus and the second one to the Gurukkal, the chief instructor of the Kalari. In addition to the above, each corner is dedicated to gods or goddesses of war and weapons. | ||
| After completion of constructions of the Kalari building, worship is offered for all the above deities by a priest. The Gurukkal conducts floral worship at the Poothara and all other places dedicated to each deity before resuming his duties. Similarly, the students (trainees) also have to bow down to and worship all the Kalari deities before they start practicing. They also have to bow down and touch the feet of the Gurukkal in reverence before starting each course of training and before and after the training on any particular day. | ||
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| The trainees, after entering the Kalari placing their right foot inside first and paying homage to the Kalari and Kalari deities, smear the body with oil (usually gingelly oil) and start practicing in right earnest. This practice is always started from the eastern end of the Kalari. The positions of the Guru is at the western end. This convention regarding the positions of the Guru and the disciple is to be followed throughout the training in the Kalari. | ||
| While practicing the various exercises for physical control, the trainee has to move from one end of the Kalari to the other and back length-wise. For any movement the trainee has to stand first at the eastern end facing the west and then move to the western end doing the exercises. When he reaches the western end, he will turn back facing the east and repeat the exercises necessary, till he reaches the eastern end. There again, he will turn back facing the west. In this way, the exercises will go on over and over again. | ||
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| After the training for the day is over, the students leave the Kalari first, the Guru being the last person to do so. In old days, the Guru, before leaving the Kalari after the students, used to perform certain rituals and lock the door of the Kalari after coming out. It was the convention that no one should enter the Kalari after the Guru left, and only on the next day, after the Guru opened the door and entered the Kalari would the trainees get inside. The flowers offered in worship of the deities on the previous day would be picked up and after lighting the lamps worship done afresh with offer of fresh flowers. This is observed as a daily ritual even today in Kalaris. | ||
| Apart from the physical abilities qualities like concentration, confidence, bravery and fearlessness are achieved by the rigorous training in Kalarippayattu. Boys and girls from the age of seven onwards were enrolled in the Kalari and underwent years of training and continued regular practice even after they were trained. | ||
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| As given to the Kathakali artists, a special type of massage is given to the Kalari trainees. For this special kind of massage medicated oil is used. This massage is done by the Guru who employs his feet. While on the face and other parts, massaging is done only by the hands. This type of massaging is special to Kalaris and it enables the trainee to attain an ease of movement. The sense of discipline is instilled in the minds of the trainees by virtue of the practice of this system. The trainee obeys the commands of the Guru not only inside the Kalari, but also even outside it. The Guru is also responsible for creating and cultivating virtues among his disciples and shall himself be a model of nobility and virtue worthy of emulation by the disciples. | ||
| in short, Kalarippayattu is a unique and magnificent art of physical culture and self-defense. | ||
| Methods of fighting with the weapons like Dhanus (bow and arrow), Sword, Spear, Churika (a different type of sword), Dagger, Urumi (a kind of flexible sword), Mace etc were practiced in the Kalaris. |
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wonderful article....
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