KATHAKALI --- GREAT DRAMA DANCE OF KERALA

KATHAKALI

Kathakali is the classical dance-drama of Kerala, one of the most beautifull state situated in India, which dates from the 17th century 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

ORIGIN

Kathakali originated from Ramanattom (“Raman”= the hindu god, Sri Rama; “attom”= enactment”) and Krishnanattom ("Krishnan"= the hindu god, Krishna; “attom”= enactment). 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. Subsequently, Kottayam Thampuran (ruler of Kottayam, another province in Kerala) composed several plays on Mahabharatha thereby making these distinct from stories based on Ramanattom. Thus, Kathakali was born. Kathakali shares a lot of similarities to both Ramanattom and Krishnanattom. But it also incorporated several outside elements, which is thought to have contributed to its popularity. In particular, the increasing use of Malayalam, which is the local language (albeit as a mix of Sanskrit and Malayalam, called Manipravaalam) made it more popular among the masses. During its evolution, Kathakali also imbibed elements from folk and martial arts which existed at the time in Kerala. Characters with vividly painted faces and elaborate costumes re-enact stories from the Hindu epics, Mahabharatha and Ramayana. Kathakali is featured in the award-winning Indo-French-German produced film Vaanaprastham. Kathakali is traditionally performed in the Hindu temple, but nowadays may also be seen in theatre performances.

THE PLAY

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. In spite of being a classical art form, Kathakali can be appreciated by novices and connoisseurs. This is because of the frequent use of “Lokadharmi” (or the elaboration of folk elements)which allows novices to gain a foothold when they start watching Kathakali. In contrast “Natyadharmi” (which is based on the Natyasastra-the science of Natya and is the more classical component of the art form) delights the experience of novices and connoisseurs alike. It is good to have an idea of the story being enacted. This will help the spectators to appreciate the “personalization” of characters by individual actors. In fact one of the major attractions for traditional Kathakali connoisseurs is their ability to distinguish and debate on the "personalizations" that each actor brings about in his depiction of the story. Often this is a challenging task as most the characters ans stories are derived from Hindu epics, which are memorized for people from that region. Success/ failure of amateur Kathakali artistes is often decided by their sensibility to successfully personalize characters.
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, and Shakespeare's King Lear have also been adapted into Kathakali scripts

KATHAKALI 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

MAKE UP

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, 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.

PERFOMANCE

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. Kathakali is usually performed in front of a Kalivilakku (“kali”= dance; “vilakku”= lamp). Traditionally, the lamp used to provide light when the plays used to be performed inside temples, houses of nobles and palaces. 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). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak and use hand gestures, expressions and rhythmic dancing instead of dialogue

ACTING

stamina, gained from training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. Training can often last for 8-10 years. The training programme is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyasatra (the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 main mudras and numerous other lesser mudras. Each can again can be classified into 'Samaana-mudras'(one mudra symbolizing two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' ( 'Navarasas' in anglicised form )(literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaaram (amour), Haasyam (ridicule, humour), Bhayam (fear), Karunam (pathos), Rowdram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutham (wonder, amazement), Saantham (tranquility, peace).

MUDRAS

mudrā (Sanskrit, मुद्रा, literally "seal") is a symbolic gesture usually made with the hand or fingers. Along with āsanas (seated postures), they are employed in the yoga meditation practice of Hinduism. Each mudrā has a specific quality that is said to be imparted to the practitioner, and they are a central part of Hindu iconography. With the onset of Buddhism, many mudrā practices were absorbed into the culture. Common hand gestures are to be seen in both Hindu and Buddhist iconography. An example of a mudra done with the hands would be the outward-facing open palm known as Abhaya (without fear) mudrā, a gesture meant to dispel the fear of the devotee. An example of a mudra done without the hands would be Kechari mudra, done with the tongue.

TYPES OF MUDRAS

• ABHAYA MUDRA

The Abhaya "No-fear" Mudrā represents protection, peace, benevolence, and dispelling of fear. In the Theravāda it is usually made with the right hand raised to the shoulder's height, the arm bent and the palm facing outward with the fingers upright and joined and the left hand hanging down on the right side of the body while standing. In Thailand and Laos this mudrā is associated with the walking Buddha often shown having both hands making a double Abhaya mudrā that is uniform. The mudrā was probably used before the onset of Buddhism as a symbol of good intentions proposing friendship when approaching strangers. In Gandhāra Art it is seen used during showing the action of preaching and also seen in China during the Wei and Sui eras of the 4th and 7th centuries. The gesture was used by the Buddha when attacked by an elephant, subduing it as shown in several frescoes and scripts

• BHUMI SPARSA MUDRA

The Bhūmisparśa "Earth-touching" Mudrā literally represents the Buddha as taking the earth as witness. It represents the moment when Buddha took the earth as testimony when he had resolved the problem of cessation of suffering while he was under the peepal tree at Bodh-Gaya. Usually represented by the historical Buddha in the lotus position. The right hand touches the ground with the fingertips near the right knee extended or with only the index pointing down touching the ground with the left hand commonly resting on the lap with the palm facing up

• DHARMA CHAKRA MUDRA

The Dharmachakra Mudrā represents a central moment in the life of Buddha when he preached his first sermon after his Enlightenment, in Deer Park in Sarnath. Gautam Buddha is generally only shown making this Mudrā, save Maitrey as the dispenser of the Law. This Mudrā position represents the turning of the wheel of the Dharma. Dharmacakra Mudrā is formed when two hands close together in front of the chest in Vitarka having the right palm forward and the left palm upward, sometimes facing the chest. There are several variants such as in the frescoes of Ajanta, India the two hands are separated, and the fingers do not touch. In the Indo-Greek style of Gandhāra the clenched fist of the right hand seemingly overlie the fingers joined to the thumb on the left hand. In pictorials of Horyu-ji in Japan the right hand is superimposed on the left.

• DHYANA MUDRA

The Dhyāna Mudrā is the gesture of meditation, of the concentration of the Good Law and the Sangha. The two hands are placed on the lap, right hand on left with fingers fully stretched and the palms facing upwards, forming a triangle, symbolic of the spiritual fire or the Triratna, the three jewels

• VARADA MUDRA

The Varada Mudrā signifies offering, welcome, charity, giving, compassion and sincerity. It is nearly always used with the left hand for those whom devote oneself to human salvation. It can be made with the arm crooked the palm offered slightly turned up or in the case of the arm facing down the palm presented with the fingers upright or slightly bent. The Varada Mudrā is rarely seen without using another mudra used by the right hand, typically with the Abhaya Mudrā

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