Kathakali

Kathakali literally means playing the story. You can see performers, percussionists and singers on the stage. Stories are being derived from Indian epics Ramayana and Mahabharata. Here Mudras (gestures) dominate the song sung. Even if you do not understand the story, you will be grabbed by the elegant costumes and make-up.

The adornments and jewellery used in Kathakali are proudly rich. Rasas or the emotions performed in the dance form are of nine basic kinds. The colours used for face make-up are of five kinds and there is a glittering crown and a fitting like an eclipse shaped down the cheek. Another factor you will notice is an umbrella shaped object down the waist. All these unreal objects contribute to the instinct characteristic of Kathakali - exaggeration and expressionism.

The history of Kathakali is related with another art form Ramanattam. It is believed that Ramanattam transformed through changes until Kathakali was shaped. In 1600 AD, the literature source for Ramanattam - Ramanatta Kathakal were written by a King Kottarakkara Thampuran. Another art-loving King, Kottayam Thampuran, wrote Attakktha, the literary source of Kathakali based on epic stories. Then various efforts were put together to realise this text into new visual theatre - Kathakali.

On stage Nilavilakku, the oil lamp, is placed in front. The singers have to stand behind the performers and they play instruments - Chengila and Elathalam - while singing .The percussionists are placed on the left side to the performers and the instruments used are Chenda and Maddalam.

There can be two separate male and female characters on stage or even sometimes the male characters plays the female part as well. The characters are broadly divided as Pachcha, Kathi, Kari and Thadi and there are different wardrobes and mannerism for every group.

Pachcha means Green colour and these characters are virtuous and godly. Kathi are arrogant and Kari are wretched. Thadi (beard) is divided into Chuvanna Thadi (red beard) depicting aggressive and demoniac characters; Karutha Thadi (black beard) depicting aborigines, cavemen and foresters; Vella Thadi (white beard) represent saints, preceptors and other intellectuals. Another kind of characters - Minukku (refined) presenting women and Brahmins.

Koodiyattam

Koodiyattam is one of the few age-old classic art forms in the entire world. The theatre art is around 2000-years-old. Elanko’s literature work Chilambathikaram, written in the fourth century, has the mention of Koodiyattam.

Koodiyattam means combined dance. It is the theatre adaptation of Sanskrit plays. Shaktibhadra’s Aashcharyachudamony and Bhasa’s Abhishekam and Prathima are the Ramayana plays performed in Koodiyattam.

In fact, 365 days are required to perform these three plays because of the subtle acting used. Koodiyattam has a special distinction among other Indian classical arts due to this kind of Sukhmabhinayam, the subtle and detailed acting. Therefore only selected act of the plays are enacted in a performance and thus the performance is called after the name of that act.

Different stages of a performance are Purappadu, Nirvahanam and Koodiyattam. In first stage, a character enters and in second stage he himself transforms to narrator through a turning called Pakarnattam. In this stage, the narrator recapitulates the story. In final phase all the characters of the act enter stage and the rest of story enacted.

Nangiarkoothu

Nangiarkoothu is one of the classical theatre forms of Kerala with an ancient tradition. For centuries, this unique form, involving only women performers, has continued to be staged in temple theatre called Kootahambalams. It was part of the rituals assigned to certain families of Nambiars, to be performed exclusively by Nangiars, the female members of the Nambiar caste.

There is an interesting story about the inception of this art form. A king by name of Kulashekara Varman happened to marry a Nangiar because of her talents as an actress. But some members of the society treated her children as out castes. When the King heard about this, he gave them special right to perform Koothu in temples within his kingdom. He wrote the text of Sri Krishnacharitam and made Nangiars perform the part. To meet the expense of the performances, properties were arranged free of tax. In time, the community gained its status and all the concerned people agreed to accord equal status to Nangiars.

Chakyarkoothu

Chakyarkoothu is performed by male artistes of Chakyar family, who once were the upper caste in the society. While Nangiarkoothu is in Sanskrit, Nangiarkoothu is presented in indigenous language - Malayalam. Chakyar could be resembled to messenger or soothsayer who sarcastically mocks society while describing the actual story. The stories are taken from epics and the dancer tactfully uses figures of speeches to bring that story relevant in present situation.

Mohiniyattam

Mohiniyattam, the Dance of the enchantress, is another classical art. It implies more importance to dance than acting. This form constructed on Lasya, the amour and love emotions of women and is performed only by them.

The form, in its inception, was performed inside temples by Devadasis, who were servile to the temple god. It was Swathi Thirunal, the King of Travancore dynasty who explored the artistic aesthetics in Mohiniyattam and wrote many works to be enacted in Mohiniyattam. His court man Irayimman Thambi is also credited for uplift of this classical art form.

The Mudras used in Mohiniyattam are somehow similar to Kadhakali. The song is in Manipravalam, the combined language of Malayalam and Sanskrit. Initially, Carnatic music was used but today many artistes are using traditional Kerala music - Sopanam. The verses illustrate epic story where women emotes love, amour, motherhood, dejection and sensuality.