Tholppavakoothu Dance

Tholppavakoothu Dance

Tholppavakoothu Dance, Kerala ToursLiterally meaning ‘leather puppet play’, Tholppavakkoothu is a ritual art performed during the annual festivals in the Kaali temples of Palakkad district.

The text of the play is based on the Kamba Ramayana, narrated in a diction that is a mixture of Malayalam and Tamil dialectical variations.

The play covers the whole gamut of events from Lord Rama’s birth to his coronation as the King of Ayodhya. The show is enacted on the ‘Koothumadom’, a specially constructed oblong playhouse.

The puppets are fashioned out of the hides of buffaloes and deer, the former for evil characters and latter for noble ones. Each puppet has an average height of 80 cms and is cut out in different postures.

The puppets are arranged behind a long white curtain, which is stretched across the Koothumadom. Behind this, on a split bamboo pole, is placed a row of wick lamps inside coconut halves.

The light from these lamps cast the glowing silhouettes of the puppets on the white curtain. The chief puppeteer is known as ‘Pulavan’. At present, this ritual art is confined to Ottappalam and Kavalappara in Palakkad district.

Thiruathirakkali Dance

Thiruathirakkali Dance in Kerala

Dance in KeralaIt is a dance performed by women for the everlasting marital bliss, on Thiruvathira day in the Malayalam month of Dhanu (December-January). It is a part of the old custom followed in nair joint families.

Thiruvathirakali is a dance performed by women, in order to attain everlasting marital bliss, on Thiruvathira day in the Malayalam month of Dhanu (December- January).

The dance is a celebration of marital chastity and female energy, for this is what brought Kamadeva (cupid of Indian mythology) back to his life after he was reduced to ashes by the fire of lord Shiva.

The sensuous movements executed by a group of dancers around a Nilavilakku, embody “Lasya” or the amorous charm and grace of the feminine. The dance follows a circular, pirouetting pattern accompanied by clapping and singing.

The women of the house dance elegantly around the ceremonial lamp or floral decoration on festive occasions to the accompaniment of the Thiruvathira Pattu (song). Today, Thiruvathirakali has become a popular dance for all seasons.

Mohiniattam Dance

Mohiniattam Dance

Mohiniattam is one of the major classical dance styles of India. Mohiniattam from Kerala is perhaps one of the most graceful dances and totally identifies with the green environment; gentle singing of the palm trees and the calm ocean waters of Kerala. Kerala has always preserved all traditional arts and the people of the state consider it an integral part of everyday life.

In the word Mohiniattam, Mohini means a maiden who charms the onlooker and attam means dance. Usually the legends in India links the name of Mohini to that of God Vishnu who had assumed the beautiful form of Mohini to entice Demon Bhasmasura and finally destroyed him. It is said that the demon had a boon, which granted him immortality. He could die only if a hand was placed on his head. Mohini danced and made Bhasmasura also dance with her and suddenly for a moment placed her hand on her head. Bhasmasura too followed without thinking and then came his end. There is a common belief that perhaps the dance form got its names from this episode.

The beauty of Indian classical dance is also its appropriate and relevant costume and jewelry. The traditional costume of Mohiniattam is white with gold. The distinctive style of Mohiniattam is the complete absence of heavy stamping and rhythmical tension. Footwork in Mohiniattam is gentle and soft and sliding. The movements are never abrupt, they are dignified, easy and natural, but the vertical line of the body is never broken. Hence, among the styles detailed by Bharata Muni in the ancient Indian treatise on dance, the Natya Sastra, Mohiniattam resembles the Kaisiki type meaning graceful.

Mohiniattam is a classical dance form of Kerala. Mohiniattam is derived from the words “Mohini” (meaning beautiful women) and “attam”(meaning dance). Thus, Mohiniattam dance form is a beautiful feminine style with surging flow of body movements. Mohiniattam dance in Kerala developed in the tradition of Devadasi system, which later grew and developed a classical status.

Mohiniattam is a solo female dance (in a single costume), where musical melody and the rhythmical swaying of the dancer from side to side and the smooth and unbroken flow of the body movement is the striking feature. The Mohiniattam dance focuses mainly on feminine moods and emotions. Usually, the theme of Mohiniattam dance is “sringara” or love. Subtle subjects of love are executed with suggestive abhinaya, subtle gestures, rhythmic footwork and lilting music. The legend of Vishnu as “Mohini”, (the enchantress) forms the core of Mohiniattam dance.

Krishnattam Dance

Krishnattam Dance

Krishnattam Dance KeralaKrishnattam dance is another form of Kathakali, representing the various life stages of Lord Krishna. In Kerala, krishnanattam dance form still flourishes in the famous Guruvayoor Temple and other temples dedicated to Lord Krishna. The traditional Krishnattam dance is enacted as a series of 8 plays indicating the 8 main stages of lord Krishna’s life. These 8 stages are:

* Avataram
* Kaliyamardanam
* Rasakrida
* Kamsavadham
* Swayamvaram
* Banayuddham
* Vividavadham
* Swargarohanam

The dancers use an elaborate set of gestures and movements and the make up is similar to that of kathakali. The dancer expresses himself through these elaborate movements and gestures. The dances are usually performed by a group of artists instead of solo performers. The music is usually sung by singers and each line is repeated several times to give the artists ample time to express themselves as vividly as they can.

A spectacle for both the scholar and the simple rustic. The visual effect is enhanced by varied and colourful facial make-up with larger-than-life-masks, made of light wood and cloth padding, for certain characters.

The characters who do not wear masks have specific facial colours applied within the frame of a white chutti.

The predominant colours used are dark green, flesh tint and deep rose. Most of the characters wear red vests and flowing ‘Uthariyams’. The characters of Krishna, Arjuna and Garuda wear dark blue vests.

The traditional performance lasts for eight days and covers the whole span of Krishna’s life from his birth to ‘Swargarohanam’ or ascension to the heavens.

Orchestral accompaniments are Maddalam, Ilathalam and Chengila. Krishnanattom, though boasting of a unique choreography, assumes more the nature of a Morality Play, seldom presuming to lay claim to the theatrical sophistry so integral to Kathakali and Kootiyattam.

Kootiyattam

Kootiyattam Dances

Koodiyattam is the earliest classical dramatic art form of Kerala. Evidence show that this dance form was in vogue in all major temples from ninth century, and it became a full-fledged dramatic presentation before the fifteenth century. Koodiyattam literally means “acting together”. Koodiyattam used to be a combined dance drama conducted by the Chakkiyars (a caste among Hindus), who provided the male cast and the Nangiars (women of the Nambiyar caste), playing the female roles. Koodiyattam performance lasts for several days ranging from 6 to 20 days. Themes are based on Hindu mythology.

Koodiyattam is enacted inside the temple theatre, known as the Koothambalam, with two or more characters onstage at the same time. Vidushaka, a figure parallel to the Fool in Shakespearean plays, sometimes explains in simple Malayalam the background of the story and gives a live image of characters in the minds of the spectators. Often humorous, he enacts his role with the liberty to criticize anyone without fear.

Koodiyattam is a dramatic presentation in Sanskrit, with the exception of the vidushaka, who is the only character speaking in Malayalam. Roleplaying in Koodiyattam includes stylized form of vocal recitation coupled with a complete hand-gesture language and highly evocative facial expressions.
Koodiyattam Make-up and Costume

The make-up and costume of Koodiyattam are not so elaborate. Heroic characters are distinguished by the green colour and the small curved paper frame on their face. Costumes have a blend of brilliant colours, predominantly red, black and white. The costume of the vidushaka (jester) sets him apart from the rest. He has special make-up, small head-gears and costume that vividly display his clownish features.

Music and Orchestration of Koodiyattam Dance Form

Mizhavu is the major musical instrument used in Koodiyattam. It is a big jar made of either clay or copper, with a narrow mouth covered by leather and is played by both hands. Mizhavu is played only by the nambiyars. The Nangiars beat the cymbals and recite verses in Sanskrit. Edakka lends bhava and laya for a vivid portrayal of the soft sentiments of both male and female characters in Koodiyattam.

Koodiyattam is a temple art and probably the only surviving form of the traditional presentation of Sanskrit drama. The Koodal Manickyam temple at Irinjalakkuda and the Vadakkumnatha temple at Thrissur are the main centers where Koodiyattam is still performed annually.

Recently UNESCO (United Nations Educational Scientific and Cultural Organization) honoured Koodiyattam by declaring the art form as one among the “Masterpieces of the Oral and Intangible Heritage of Humanity”, which should be protected and preserved. This was the first time that the UN body had conferred the heritage status on anart form.

Koothu

Koothu

Koothu Dance, Kerala VacationsNangiar Koothu is an art performed by the Nangiars or the female members of the Chakkiar community.

This is a solo dance drama mainly centred on the legends of Krishna. Verses are sung and interpreted through mime and dance.

The ‘Mudras’, though the same as in Kootiyattam, are even more elaborate.

It is still performed in temples like Vadakkunnatha Temple at Thrissur, Sri Krishna Temple at Ambalappuzha, Koodal Manickyam Temple at Irinjalakkuda and Kumaranalloor temple at Kottayam.

Kathakali

Kathakali

Kathakali is the classical dance-drama of Kerala, South India, which dates from the 17th centuryKalamandalam Ramankutty Nair and is rooted in Hindu mythology. Kathakali has a unique combination of literature, music, painting, acting and dance. In the following pages we have placed photographs and videos of Kathakali performances and songs by famous Kathakali singers.

The themes of the Kathakali are religious in nature.  They typically deal with the Mahabarat, the Ramayana and the ancient scriptures known as the Puranas.  This is performed in a text which is generally Sanskritised Malayalam.

A Kathakali performance is a major social event.  They generally start at dusk and go through out the night.  Kathakali is usually performed only by men.  Female characters are portrayed by men dressed in women’s costume.  However, in recent years, women have started to become Kathakali dancers.

Kathakali has a long tradition.  It dates back to the 17th century.  It was given its present form by Mahakavi Vallathol Narayan Menon, who was the founder of the Kerala Kala Mandalam.

The actors rely very heavily on hand gesture to convey the story.  These hand gestures, known as mudra, are common through out much of classical Indian dance.

COSTUME -

The costume is the most distinctive characteristic of Kathakali.  The makeup is very elaborate and the costumes are very large and heavy.

There are several kinds of costume.  There are: Sathwika (the hero), Kathi (the villain), Minukku (females), and Thatti.  These basic divisions are further subdivided in a way which is very well known to Malayali (Keralite) audiences.  Each character is instantly recognisable by their characteristic makeup and costume.

The makeup is very elaborate.  It is so elaborate that it is more like a mask than makeup in the usual sense.  The materials that comprise the makeup is all locally available.  The white is made from rice flour, the red is made from Vermilion (a red earth such as cinnabar).  The black is made from soot.  The colours are not merely decoration, but are also a means of portraying characters.  For instance, red on the feet is used to symbolise evil character and evil intent.

MUSIC -

The music of Kathakali has some similarity to the larger body of South Indian classical music (Carnatic sangeet); however the instrumentation is decidedly different.

Chavittunatakom

Chavittunatakom

Chavittunatakom Dance, Kerala TravelA sensual blend of wide-ranging cultures is tangible in Chavittunatakam. Literally means ‘Stamping Drama’, its history begins with advent of the Portuguese to the Malabar coast of Kerala.

Chavittunadakam has a story to tell. When the Portuguese came to Kerala, they felt a vacuum in the cultural arena. What they needed was a medium to spread the myths and the legends they held dear.

They felt Kathakali impressive, but their ego did not permit them to graft their legends on it. Hence created a distinctive dance drama of their own.

Collaborating with Malayalee scholars they moulded librettos extorting the heroic exploits of legendary Christian warriors. Chavittu nadakam characters don glittering dress which evinces fashion of medieval age.

They sing loudly with exaggerated gestures and pound the wooden stage. The play is considered success if at the finale, the stage cave into the pressure of heavy pounding.

Vijnana Kala Vedi Cultural Centre

Vijnana Kala Vedi Cultural Centre, Aranmula

Vijnana Kala Vedi Cultural Centre, Aranmula, established in 1977, is one of the pioneering institutes that attempts at preserving the ancient Indian Culture. Inaugurated by a French artist, Louba Schild, the main objective of this organization is to impart aesthetic sense amongst the Indian populace.

Learn and Teach at the same time in India. Learn Indian Arts, Crafts, Languages and teach English to poor village children and thereby have a genuine Experience of India, her Culture, her People and her Traditions, all in the beautiful back drop of a village at the Vijnana Kala Vedi Cultural Centre.
At the Centre, you can learn, for short or long term as you wish, two subjects, chosen from a list of 18 subjects ranging from Music, Dance, Theatre, Crafts, Languages like Sanskrit, Hindi and Malayalam to Yoga, Martial Art and even Cooking. Most of the lessons are one to one and hence you can make maximum use of your stay.

You will have single accommodation and freshly prepared Kerala vegetarian food provided in the Centre.
The setting of Village adds to the charm of the centre. Vijnana Kala Vedi centre has been introducing Indian and Foreign visitors into Indian arts, crafts and languages since 1977. The centre is the only private organization in Kerala described as a Cultural Educational Institution by the Government of Kerala.
Centre receives students from around the world since 1977 and is also an excellent place to make good friends with people around the world. As our students say, centre mostly attracts only nice people and you will have lots of nice friends in the centre.

Natana Kairali Research & Performing Centre

Natana Kairali Research & Performing Centre for Traditional Arts, Thrissur

Conceived with the idea of preserving and popularizing the various traditional art forms of Kerala that were on the verge of decline, the Natana Kairali Research & Performing Centre for Traditional Arts was set up in Thrissur by Gopal Venu. Over the years, this cultural center of Kerala has contributed immensely to the growth and development of diverse art forms that reflect the rich cultural heritage of the land.

In fact the Natana Kairali Research & Performing Centre for Traditional Arts, Thrissur has imparted a new lease of life to some of the art forms. They are credited with taking the initiative of reviving these disappearing art forms.

It is indeed commendable that a lot of research work has been undertaken along with providing training to the young art students at the Natana Kairali Research & Performing Centre for Traditional Arts, Thrissur. This helps the students to know more about the traditional art forms of Kerala. The teachers themselves put up performances to enable these youngsters with potential to learn better. Workshops are also organized for their benefit.

The personal level of interaction that is seen between the teachers and the students is a rarity in any other art institution. All kinds of artistic and educational activities are encouraged and promoted at the Natana Kairali Research & Performing Centre for Traditional Arts, Thrissur.

Koodiyattam, a form of Sanskrit theatre, Nangiar Koothu, yet another form of Sanskrit drama, puppetry shows Pavakathakali and Tolpavakuttu have all been nurtured and revitalized at the Natana Kairali Research & Performing Centre for Traditional Arts, Thrissur.

The founder director of this Kerala cultural center is himself trained in Koodiyattam and has contributed immensely to its development. Works of Kalidasa have been staged over and over again at the Natana Kairali Research & Performing Centre in Irinjalakuda. These eclectic performances have received world wide praise and appreciation.

An annual festival is held in the month of January at the Natana Kairali Research & Performing Centre for Traditional Arts, Thrissur and this gives the visitors a chance to witness programmes put up by the talented artistes. They also have the privilege of participating in short appreciation courses.

Endeavors like the Natana Kairali Research & Performing Centre in Thrissur, Kerala are indeed admirable.

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