In
Kerala, development of many dance forms is from temples.
They are performed to please the Amman (Durga, Kali) deity
of coastal area and Ayyan of the hilly regions. In Durga
temples, Kalamezhuthu is one of the important ritual art
forms. An important part Kalamezhuthu is the revelation
of Velichappad (oracle). The thullal of Velichappad while
the revelations are made is a primitive form of dance. The
dance of Piniyal (one who is infested with the spirits)
while performing Pambinthullal (snake dance) is also an
oldest form of dance. Theyyam or Thira of North Kerala is
considered as one of the oldest dance forms with its spectacular
and diverse dance poses.
Arjunanritham
Arjunanritham
is the dance performed by men in the temples. It is performed
in night. The songs are related with the themes of epics.
Rhyme based songs called Kavithagal are sung while the dance
is performed. Musical instruments like the Chenda, Maddalam,
and Ilathalam are used in the background. It is also known
Mayilppeeli Nritham since the costume used is made out of
Mayilpeeli. The movements of the dance resemble the movements
of Kalaripayatu, the martial art of Kerala. Arjuna, the
third among the Pandavas was also a singer and dancer. It
is believed that Arjuna had presented dance before Goddess
Bhagavathy to please the Goddess and thereafter this dance
form is presented in Bhagavathy / Bhadrakali temples.
Chakkyar
Koothu
Chakkyar
Koothu is also called Koothu, which is one of the oldest
classical temple arts of kerala. It is believed that immigrant
Aryans introduced the art form in Kerala. The members of
Chakkyar community perform it. The performance begins with
a hymn to the deity of the temple. The story is generally
from the epics and it is recited in a dramatic style with
stress on fluent narrations with typical facial expressions
in accordance with the Natya Sastra. It is unique for its
comic style. The Chakkyar has the privilege to tease or
criticize anybody, even the King, while performing the Koothu
and it should not be questioned. The costume of Chakkyar
is colorful and peculiar with an odd head covering. The
instrument used in the background is Mizhavu played by a
Nambiar.
Duffmuttu
|
Duffmuttu
is a group performance by the Muslims. It is also
known as Aravanamuttu. Duffmuttu is staged during
festivals and ceremonies. It can be performed at any
time of the day. The leader of the group sings the
lead and others join in a chorus and they dance with
a circular movement accompanied by the beating of
a Duffu (a round percussion instrument) |
Kaniyarkali
Kaniyarkali
is an art form performed in Pallassana, Kizhakenjeri, Vadakkumchery,
Koduvayoor, Chiittoor and Nenmara areas of Palakkad District.
This is performed by Nairs. The dance form is a combination
of martial arts and folk dance. It is believed that the
dance form was originated to face the threat from the attack
of Konganpada, the military of the neighbouring Kongunadu
(Coiambatore). The Kaniyarkali is performed in the temples
in a specially built ‘pandal’. The performance
of dance lasts for four days. Each day’s performance
is known as Iravakali, Anadikoothu, Vallon and Malama. The
dance is accompanied by devotional songs and playing of
Chenda, Maddalam, Edakka Udukku and Ilathalom. In Bhagavathy
temples, the customary practice of ‘Vattakkali’
will be performed and outside the temple the entertainment
form known as ‘porattu’will be performed. It
commences at 9 in the night and last till early morning
of next day. The nairs of the village will participate in
the programme forming into two groups consisting of 10 to
20.
Kathakali
Kathakali
is a spectacular and exclusive classical dance-drama of
Kerala in which stories are narrated through gestures, facial
expressions and body movements to the accompaniment of chenda
and cymbals. Kathakali derives much from folk culture and
the religious plays traditionally performed in temples.
Kathakali is a beautiful blending of nrutha (pure dance)
and nrithya (expressional dance) with marvelous body movements,
facial expressions and well-designed costumes and ornaments.
It is believed that this elaborate art form was developed
in the 17th century A.D. Kathakali has many similarities
to Yakshagana of Karnataka. The basic principles of Kathakali
are taken from the Natysasthra of Bharathamuni, the ancient
thesis on dance and drama. This elaborate art is an integral
part of all temple and cultural festivals in Kerala. Kathakali
has originated from Ramanattom, an earlier dance form. Kottarakkara
Thampuran, ruler of a princely state in Kerala was the founder
of Ramanattom. At that time, Krishnattom, another dance
form was staged in Guruvayoor temple. It was not allowed
to stage anywhere outside the Guruvayoor temple. Once, Kottarakkara
Thampuran went to Guruvayoor under disguise and enjoyed
the dance form. After seeing Krishnattom, he decided to
create another art form that could be enjoyed by all. Thus
he found out Ramanattom. Vettathu Thampuran, who ruled the
neighbouring state between 1630 and 1640, developed the
Ramanattom into Kathakaliin its present form. It was Kottayam
Thampuran who prescribed the rules and regulations for the
stage performance of Kath Kali. The rules so prescribed
are Keli, Kelikai, Thodayam, Vandanaslokam, Purappad, Melappadam
and Kottikkalasam. Kathakali is usually performed during
night hours. It starts after dusk and continues up to dawn
of next day. The actors neither speak nor sing. They perform
their acts through mudra (sign), movements and expressions
in accordance with the background music. More than 800 symbolic
meanings and descriptions can be conveyed through 24 mudras.
The costumes and makeup are ornamental, elaborate and designed
to give a superhuman effect to the actors. The faces of
Gods, heroes, and Kings are always painted green with ridges
of white rice paste around the edges, while demons have
red beards, white mustaches, and knobs on their noses. Pacha,
Kathi, Thadi and Kari are the prescribed make up forms of
characters. Costumes are colorful and include decorated
headdresses associated with the parts and white skirts.
The stories of Kathakali are derived from the epics and
myths. Stories involve heroes, villains, gods, and demons.
Chenda, Maddalam, Chengila and Ilathalam are the musical
instruments played while Kathakali is staged.Kathakali became
widely popular through royal patronage, soon developed as
a classical dance-drama. In the 18th century Kathakali became
a theater art of all people and performed outside temples
also. During the British rule Kathakali suffered a serious
set back. However, the constant and almost single-handedly
efforts of Vallathol Nayayana Menon, the great poet of Kerala,
regained the glory of Kathakali and attracted national international
audiences. Kerala is highly indebted to Vallathol for his
outstanding contributions for the revival of this great
art form and for the establishment of Kerala Kalamandalam
at Cheruthuruthi where Kathakali training is imparted.
Kavadiyattam
Kavadiyattam
is a ritualistic dance form usually offered in Subramanya
temples. The devotees wearing yellow dresses smeared with
bhasmam (sacred ash) all over the body and perform dances
with Kavadis (colorful bow shaped wooden structures having
different heights decorated with peacock feathers) on their
shoulders. Different Kavadis such as Ambalakavadi (temple
like structure), Pookavadi (made of colorful papers, flowers
arranged in a pyramid shape) are used. The Udukku, Chenda,Thakil
and Nadaswaram are the musical instruments that played while
the dance is performed.
Kolamthullal
Kolamthullal is a ritual dance performed by Ganaka or Kaniyan
community to eradicate evil spirits from the body and mind
of people. It is also performed as a part of Padayani, Kalamezhuthu
etc.
Kolkali
Kolkkali
is a rhythmic dance with the dancers wielding short sticks.
Kolkkali is a popular dance form among Muslims. Hindus also
perform this dance. The dance is the thandava version of
Kaikottikkali with a difference that instead of hands, small
sticks known as Kol are used for striking. Men only participate
in this dance form, as the performance of the dance requires
basic martial training. The steps resemble movements of
Kalarippayattu. The rhythm of this dance is set by synchronization
of tapping feet to the striking of sticks. The movement
of dancers is circular and they sing and dance striking
the sticks.
Koodiyattom
Koodiyattom
means dancing together. Koodiyattom is a classical dance
form that claims two thousand year old tradition. It is
the primitive form of Sanskrit drama. Koodiyattom is performed
in Koothambalams (special theatre) attached to temples to
make the people aware of epics, classics and to teach moral
values. Koodiyattom is a forerunner of Kathakali. Thiraseela
(curtain), make up, ornaments and costumes used for Koodiyattom
performance are almost that of Kathakali. Chakkiyar narrates
stories and interprets its meanings in simple and humorous
way. Nambiar and Nangiar handle Mizhavu and Kuzhithalam
respectively. The style of acting, playing of different
roles by same actor, stories and sub-stories, nethrabhinaya
(eye expressions), mukhabhinaya (facial expressions), angikabhinaya
(body movements), dialogues in Sanskrit and Malayalam etc.
make this art form unique. Nangiar (Female dancer) also
participate in the dance enacting the female roles. The
UNESCO has recognised Koodiyattom.
Krishnanattom
Krishnanattom
is a complete dance form exclusively performed at the Sree
Krishana Temple at Guruvayoor as an offering. This pantomime
was originated by one of the Zamorins of Kozhikode. It is
a forerunner of Kathakali. Performance of Krishnanattom
lasts for eight days and describes the story of Lord Krishna.
Colorful facial make-up with colors of dark green, flesh
tint and deep rose and clothe padding, red vests and flowing
'Uthariyams' increase the visual effect of the dance form.
Krishna, Arjuna and Garuda are the main characters. Maddalam,
Ilathalam and Chengala are the musical instruments played.
Kuthiyottam
|
Kuthiyottam
is an offering made in the Devi Temples of South Kerala.
At Chettikulangara and Attukal Devi temples this was
performed in connection with temple festivals. Boys
perform the ritual. Practice to perform Kuthiyottam
starts from the Bharani day of Kumbham (February-March)
month. Boys ornamented with caps, garlands are taken
in a procession to the temple and they perform the
dance in front of the deity. |
Margamkali
 |
Margamkali
is a folk dance performed by Christians. It is a group
dance developed by the Syrian Christians of Kerala.
The word 'Margam', means pathway or religion and the
word ‘Kali’ means play or dance. It is
believed that the Margamkali was originated to convey
the message of Christianity, i.e., the way (margam)
of Christian life. This dance form is performed mainly
during festive and marriage occasions. Dressed in
traditional Syrian Christian style, the dancers move
in a circle around a Nilavilakku (lighted bell metal
lamp). The dancers sing themselves. No background
instruments are used. |
Mohiniyattom
Mohini
in Malayalam means seductress and attam means dance. So
Mohiniattaom can be considered as a seductive dance. Sringara
(passion) and Lassya are the major elements of the dance.
Woman performs Mohiniyattom. It is a solo performance. The
origin of Mohiniattom is from Dasiattom, the dance of the
temple courtesans. Later it was refined according to the
natyasasthra by Swathi Thirunal, the Maharajah of Travancore.
There is an opinion that it was a Kerala version of Abhinayakoothu
of Tamil Nadu. Legend says that God Vishnu once incarnated
as a Mohini (beautiful lady) to rescue God Siva from Bhasmasura,
a demon. Mohini performed gorgeous dance before the demon
and seduced him. The dance so performed by Mohini is the
Mohiniyattom. The costume as well as the hairstyle of the
dancer is of typical Kerala tradition. The background song
is of the classical style. Madhalam, Kuzhithalam, Kuzhal
are the musical instruments played along with the song.
Mudiyettu
|
Mudiyettu
is a ritual dance form performed in Bhagavathy temples
of Central Kerala. The dance is performed in memory
of rejoice the Goddess's victory over the demon Darika.
The Kuruppu performs Mudiyettu. Nangiar KoothuNangiar
Koothu is a ritual dance form presented by Nangiar,
women of Nambiar community. Usually Nangiar Koothu
is performed in temples during daytime. The biography
of Lord Krishna is the theme of the dance form. |
Nangiar
Koothu
Nangiar
Koothu is a ritual dance form presented by Nangiar, women
of Nambiar community. Usually Nangiar Koothu is performed
in temples during daytime. The biography of Lord Krishna
is the theme of the dance form.
Oppana
|
Oppana
is a Muslim folk dance performed by the women on the
eve of Nikah (marriage). Usually friends and other girls
of the bride’s age are the performers. The performers
wear typical Muslim dress. They form a circle round
the bride and sing oppanappattu to the rhythm of clapping
hands and dance being towards the bride and outwards.
Harmonium and Thabala are the musical instruments played
while dance is performed. Mappilapaattu is also sung
on the occasion. |
Pamputhullal
(Sarppamthullal)
Pamputhullal
or Sarpamthullal is performed in the Kavu (snake shrines).
This is a temple offering. Pulluvan perform the dance before
the Sarppakkalam. A Nilavilakku (bell metal lamp) and Nirapara
are also arranged in front of the Kalam. The idol of the
snake is brought from the Kavu and placed in the Kalam and
the Pulluvan performs ritual offerings. He then dances round
the Kalam while Pulluvan and Pulluvathi sing devotional
songs to the tune and rhythm of Nanduni and Pulluvakudam.
The girls, who are present on the occasion, also start to
dance swinging their body in ascending pace. The dance concludes
in an emotion of rhythmic zeal.
Padayani
Padayani
is a festival in the Devi Temples of central Kerala celebrated
from Medam (April-May) 1st to 10th. It is also known as
Padeni. Scholars are of the opinion that it may be ‘Padasreni’
that was converted as ‘Padayani’. Legend say
that God Shiva accompanied by other Gods performed the dance
by wearing masks to please and calm the Goddess Durga who
was returning furiously after killing of Darika. The Goddess
was pleased on the dance performance and became quite. Padayani
is a ritualistic dance wearing huge masks of different shapes
with round large eyes and big ears, which give an excellent
look. The masks are made using spadix of areca nut tree
and painted with a fantastic touch of various designs. The
characters appear in Padayani are known as Ganapathykolam,
Yakshikolam, Pakshikolam, Kalankolam, Pisachukolam, Madankolam,
Maruthakolam, Bhairavikolam, Gandharvakolam, Mukilankolam
etc. The whole village community participate in the performance
directly or indirectly. Thappu, Chenda, Mani are the accompanying
musical instruments.
Pakkanarattom
Pakkanarattom
is a dance form performed by Paraya community. Men disguised
as Pakkanar (one of the sons of Vararuchy, the famous astrologer
and King) and his wife visit houses and perform the dance.
Para and thudy are the musical accompaniments.
Paana
|
Paana
or Pallippaana, is a function organised in Bhadrakali
(Durga - Bhagavathy) temples. It is as like Mudiyettu.
The killing of Darika is the theme of the subject.
Pana festival lasts for four days. The art form is
popular in the districts of Thrissur, Palakkad and
Malappuram. It is performed in a specially constructed
pandal of 64 sq. feet with 64 poles cut from the Pala
tree (Alstonia scholaris) and adorned with tender
palm fronds. This is erected near the shrine of the
Goddess. Song praising Lord Ganapathy, Lord Sastha,
Kali (Durga) and about Darika, the demon is sung in
the pandal. This is known as Thottam Pattu. On completion
of Thottam Pattu, the oracle will proclaim the commands
of the Goddess and the pandal will be demolished.
|
Theeyattu
|
Two
types of Theeyattu are there. Kali Theeyattu and Ayyappan
Theeyattu. Kali Theeyattu is a dance-drama performed
in Bhagavathy temples. The right to perform the Theeyattu
is vested with Theeyattunnis, an Ambalavasi community.
It is presented in front of the Kalam. The ritual
starts with the invocation of Lord Ganapathy, Lord
Siva and Goddess Saraswathy. The performer recites
the story of duel between Goddess Kali and Daarika.
Ayyappan Theeyattu is staged to propitiate Lord Sastha. |
Theyyam
Theyyam
|
Kulavan
|
Kundoor
chamundi
|
Panchuruli
Thira
|
Pullikurathy
|
Raktheswari
|
Wayanad
Kulavan
|
Vedan
Theyyam
|
Vishnumoorthy
|
Yalkshan
Theyyam
|
Bhairavan
|
Bhagavathy
theyyam |
Vasoorimala
|
Gulikanthira
|
Pottantheyyam
|
Theyyam
is the corrupt form of Daivam or God. It also involve hero
worship, ancestor worship etc. In the performance of Theyyam,
the performer personifies the deities propitiated. It is
believed that the Gods and souls of dead ancestors and heroes
are arriving through the performers and discuss with the
people. Theyyam, the ritualistic and sacred dance form,
is performed in Kasargode, Kannur and Wayanad districts
of Kerala. In every village of these districts, there are
Kavus (sacred grove shrines), where the theyyam dance is
performed. The theyyam is presented during Makaram, Kumbham
and Meenam (January, February and March) months. The main
deity is the God or Goddess of the local Kavu or temples.
Muthappan, Kuttichathan, Gandharvan, Pisachu are the mionor
Gods appear in Theyyam. Thira represents the great heroes
of the past. The performers in colourful costumes decorated
long and large headdresses and facial make-ups impersonate
all Gods or Goddess. Decorated headdresses made out of wood
distinguish Tira from Thyyam. The theyyam performance commences
with the song praising the god to be presented in the form
of Theyyam. At the end, the performer appears as the Theyyam
and dances to the tune of background instruments like Chenda
and Elathalam. Men belonging to Mavilar, Peruvannan, Paravan,
Velan communities are generally performing the Theyyam and
Thira dance forms. Theyyam is evolved from the art form
Kaliyattam practiced by tribes of northern Malabar. Kaliyattam
is an annual festival attached to the temples or shrines
known as Muchilod, Kavu, Palliyara, Mundya, Tanam, Madhapura
of Malabar region. Kaliyatoom has similar to Kathakaliin
several aspects. Like Kathakali, Kaliyattom begins with
Keli and ends with Kottikkalasam.
Thullal
Thullal
is a combination of the dance and recitation of stories
in verse. It is a solo performance. The renowned Malayalam
poet Kunchan Nambiar is the founder of Thullal. Nambiar
introduced this satirical art form in the 18th century A.D.
Wit and humour in simple Malayalam make thullal a most popular
art form. Dance, which includes movements of the body with
rhythm footsteps, is the main part of Thullal. According
to a story, Kunchan Nambiar while beating Mizhavu to accompany
Koothu at Ambalapuzha temple fell asleep and the Chakkyar
insulted him. Nambiar who could not tolerate the insult,
wrote a Thullal story on the same night and performed on
next day evening while the Chakkyar, who insulted him previous
day, started his Koothu. The entire audience present for
Chakkyar Koothu was attracted by the new art from. Inspired
by the overwhelming applause, Nambiar wrote more Thullal
stories and presented before the audience. Thus he started
a new art form and a new literature branch in Malayalam.
In fact, Kunchan Nambiar was bringing the classical themes
and art forms out of temple culture and introducing social
satire to the common masses breaking the monopoly of upper
classes over the arts and culture. Some scholars are of
opinion that Nambiar had restructured the already existing
Thullal art form in other art forms like Padayani etc.Thullal
is now categorised into three viz., Parayan Thullal, Seethankan
Thullal and Ottan Thullal. A red decorative cloth that reaches
up to knee, a crown and chest ornament are the costume for
Ottan Thullal. The make up is like that of Kathakali, but
very simple. Face is used to be paint with green colour.
It has fast footsteps unlike the other two types. There
is a version that Ottam (running) Thullal was converted
into Ottan Thullal. Among the three forms, Ottan Thullal
is most popular. In Seethankan Thullal, the ornaments are
made of fresh coconut fronds. No facial colours are given.
In Parayan Thullal, red flowers form part of the costume.
The face is painted with yellow colour and head is covered
with a crown. Generally Ottan Thullal is performed during
temple festivals and in courts of princes. The performer
explains the verses through expressive gestures. The story-themes
are based on Hindu mythology. Satire, social criticism and
humor are the characteristic features of Thullal. A singer
repeats the verses of the dancer accompanied by an orchestra
of Mridangam and Cymbals. It provides for thought and entertainment
to the thousands of people who witness the performance.
