Mudiyettu

It is believed that various forms of arts worshipping goddess Bhadrakaali prevailed much before the origin of temples. Once the worship of gods and goddesses started at the temples, various types of arts used to be performed to please goddess Bhadrakaali at Bhadrakaali temples. By and

large, many of them were ruined while others continued to be performed systematically and in a more dramatic manner. "Mudiyettu" is one among them, a mixture of entertainment and devotion. The period of origin of Mudiyettu is un-traceable. This art is more of a ritual than dramatic. "Theeyaattu" is another ritual performed in Bhadrakaali temples. Mudiyettu is the story of the war of Bhadrakaali with the two notorious Asuras Daarikan and Daanavendran, eventually Killing them, while in Theeyaattu, Bhadrakaali reports to Lord Paramasiva after the assassination and briefs the whole incident. Mudiyettu, compared to other forms of temple arts, is presented without much of `mudras', facemasks and facial expressions, but with facial make-ups and `chutti' (artwork done on face with rice paste) which makes the characters simple and more acceptable to the viewers. Originally these characters used to perform with speech and dance, but later on rhythmic steps were introduced which gives more life to the characters and makes the performance more interesting.

Mudiyettu is a ritual art where viewers also participate in the performance. Once the artists get separated, ie, since they `come to the light', the scene becomes more dramatic. It can be inferred that the character `Kooli' in Mudiyettu is the first of its kind to amuse the viewers by comic speech and action.

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Poorakkali

Poorakkali is one of the prominent ritual art forms of northern Kerala, especially in Kasargod and Kannur district. It is staged by a group of artists in the Bhagavathy temple premises and in front of sacred Bhagavathy Kavus and shrines. This is an integral part of pooram festival celebrated during the month of Meenam i.e. during March-April. The festival lasts for 9 days, starting from Karthika day to Pooram day. Pooram is celebrated to mainly praise the god of love named Kamadeva. Though pooram is mainly meant for the women folk and maiden young ladies, this poorakkali is performed by men folk. It is said that in ancient days poorakkali was performed by women folk. A group leader who is well versed in the art and poorakkali songs leads the other artists in the group. This person is known as Panikkar. The song sung by the group leader is always repeated by the other artists and that too in chorus. This is a dance rhythmically around a sacred lamp with elegant steps. While dancing the players clap their hands uniformly to the tune of the song and according to the Thalam by the group leader. Poorakkali has got 18 different forms. These ritual songs sometimes narrate the stories from epic like Ramayana and easily able to attracts the older generation.

The ritual dance form authorizes intense training and good physical stamina. This dance form has some unique features, which can cater the attraction of the spectator very well like the forward and backward movements and the abrupt variations in the speed and directions.

This art also includes Marathukali. This is mainly a question answers session that is carried out by the opponent leaders and in this form the answers should be prompt and smart. This splendid ritual art form has become the monopoly of certain castes namely Yadavas or Maniyanis, Thiyyas or Ezhavas, Mukayas, Saliyas, etc. of Hindu religion.

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Pulikali / Kaduvakali

Pulikali is a colorful recreational folk art from the state of Kerala. It is performed by trained artists to entertain people on the occasion of Onam.

Pulikali, also known as Kaduvaakali, is a 200 year old art, carefully preserved by the artists of the state. Literal meaning of Pulikali is the 'play of the tigers' hence the performance revolve around the theme of tiger hunting. The folk art is mainly practiced in Thrissur (Trichur) and Palghat districts of Kerala. Best place to watch the show is Swaraj Ground at Thrissur on the fourth day of Onam, where Pulikali troupes from all over the district assemble to display their skills.

The Appearance
Striking feature of this folk art is the colorful appearance of the performers. To get the semblance of a tiger artists paint themselves in bright yellow with patterns of black and red. A tiger mask on the face completes the get up.

It is a painstaking job and artists spend a whole night prior to the performance day on their make-up. Patience of artists must be appreciated, as most paints contain toxic chemicals which create a burning sensation when applied on newly shaved bodies.

The Play
It is a wonderful sight to see humans in the guise of tigers roaming in the streets. Children, specifically take great delight in their performance as the entertainers dance, pounce and walk like a tiger. Scenes of tiger hunting goats and tiger being hunted by a human beings are also beautifully depicted by them. Beat for the dance movement is provided by percussion instruments like 'udukku' and 'thakil'.

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Kolam Thullal

This is a ritual offering usually performed to get rid of the troubles caused evil - spirits. Here a number of characters, with hideous make-up and flat big head - gears dance to the accompaniment of primitive percussion instruments. The costumer of the dancers are highly decorative and rich in colour and brilliance. There is no accompanying song.

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Garudan Thookkam

Garudan Thookkam (Eagle Hanging) is a ritual art form performed in Kali temples of south Kerala, south India. The people who dress up as Garuda perform the dance. After the dance performance, the hang-designate dangle from a shaft hooking the skin on his back. In some places, the ritual is performed colorfully with Garudas taken in a procession on bullock carts or boats or hand pulled carts. It will be available in Devi temple during the festival of Meena bharani and Pathamudayam in Thiruvanchoor in Kottayam district.

Legend has it that even after slaying Darika, Kali remained insatiable and thirsty. At this time Vishnu sent Garuda to Kali to quench the thirst. A dancing and bleeding Garuda was taken to Kali and only after getting some drops of blood from Garuda, Kali was pacified. The ritual is performed based on this belief.

Garudan Thookam is submitted as a reward for the problems solved in the abode of Goddess Kali. This is more popular in the areas of Travancore and Kochi. There is a famous Garudan Thookam at the Elamkavu Devi temple at Vadayar in Vaikkom taluk of Kottayam district. During the Aswathi, Bharanthi days of Meenam Month (Malayalam), more than 40 to 50 numbers of Garudan in the Thooka chadus, decorated and floated in thoni vallams (big country-boats), travel behind the Attuvela - a wooden structure constructed in the form of a three storied building which is considered as the floating temple of the Goddess Kali in the Moovattupuzha river. This is one of the best sights, with illuminated Structures. After the night long performance with the help of scores of chenda experts, the Garudans - bleeding after the Choondakuthal (Piercing of the skin on their back with a sharp metal hook) will be hung on a tall pedestal-like structure and taken thrice around the temple by the devotees. This is seen at the Pazhaveedu temple at Alappuzha district. But here the performance is done on a chariot-like structure on the road.

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Panchavadyam

Panchavadyam, literally meaning an orchestra of five instruments, is basically a temple art form has evolved in Kerala. Of the five instruments, four -- timila, maddalam, ilathalam and idakka -- belong to the percussion category, while the fifth one, kombu, is a wind instrument. Much like any chenda melam, panchavadyam too is characterised by a pyramid-like rhythmic structure -- with a constantly increasing tempo coupled with a proportional decrease in the number of beats in cycles. However, in contrast to a chenda melam, panchavadyam uses different instruments (though ilathalam and kompu are common to both), is not related very closely to any temple ritual and, most importantly, permits a lot of personal improvisation while filling up the rhythmic beats on the timila, maddalam and idakka. Panchavadyam bases itself on the 14-beat adanta (also spelt atanta) thaalam (taal), but amusingly sticks to the pattern of the eight-beat chempata thaalam -- at least until its last parts. Its pendulum beats in the first stage total 1,792, and halves itself with each stage, making it 896 in the second, 448 in the third, 224 in the fourth and 112 in the fifth. After this, panchavadyam has a relatively loose second half with as many stages, the pendulum beats of which would now scale down to 56, 28, 14, 7 and three-and-a-half It was primarily the brainchild of late maddalam artistes Venkichan Swami(Thiruvillwamala Venkateswara Iyer) and his disciple Madhava Warrier in association with late timila masters Annamanada Achutha Marar and Chengamanad Sekhara Kurup besides, subsequently, by the late idakka master Pattirath Sankara Marar. They together dug space for a stronger foundation (the Pathikaalam), thus making pachavadyam a five-stage (kaalam) concert with an intelligent mixture of both composed and improvised parts. Spanning about two hours, it has several phrases where each set of the instruments complement the others in a manner that is more like harmony in the Western orchestra than the concept of melody in India. Much like in Panchari and other kinds of chenda melam, panchavadyam too has its artistes lined up in two oval-shaped halves, facing each other. However, unlike any classical chenda melam, panchavadyam seemingly gains pace in the early stages itself, thereby tending to sound more casual and breezy right from its start, beginning after three lengthy, stylised blows on the conch (shankhu).A panchavadyam is anchored and led by the timila artiste at the centre of his band of instrumentalists, behind whom line up the ilathalam players. Opposite to them stand the maddalam players in a row, and behind them are the kompu players. Idakka players, usually totalling two, stand on both sides of the aisle separating the timila and maddalam line-up. A major panchavadyam will have artistes totalling around 60.

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Kerala Nadanam

Kerala Natanam (Kerala Dance) is a new style of dance that is now recognised as a distinct art form evolved from Kathakali a form of Indian dance-drama. The Indian dancer Guru Gopinath a well trained Kathakali artist and his wife Thankamani Gopinath who was the first student of Mohiniyattam in KeralaKalamandalam developed a unique structure for teaching and performing classical dance forms of India whose origins are from Kathakali. Solo, duets, dance dramas and traditional folk dances were the material they chose.

Even though during his lifetime Guru Gopinath did not give a name to his style after his passing away the movement to give his style a name gained momentum. In 1993, during the Global Conference on Guru Gopinath and Kerala Natanam held in Trivandrum, a Sanskrit definition was given to this style by his students. KERALEEYA SHAASTRIYA SARGAATHMAKA NRITTHAM- "A traditional creative dance style originating from Kerala."

Kerala Natanam can be performed in three ways : Ekamga Natanam ie solo, Samgha Natanam ie group, Nataka Natanam ie. dance drama enacting a story. Male female pair dancing( duet) is also a distinct style in Kerala natanam. So also he has extended the dance drama to 5 or six hours long dance performance called Indian ballets.

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Arabana Muttu

Aravana muttu or arabana muttu is an art form prevalent among Muslims in Kerala state of south India, named after the musical instrument of the same name, which is a drumlike instrument or made of wood and animal skin, similar to the daff but a little wider and smaller.

This is a more difficult art than the duff. There are traditional and modern method of playing the aravana. The traditional method is by sitting in a semicircle. The leader of the group will start singing and when the initial song is over, the players will start to play folllowing the song of the leader and beating on the aravana musically; others will beat in the same way by giving chorus to the song.Even thou the duff and Aravana are two different types of arts, they are used inter changeably for the word duff and not Aravana. It is because duff is more familiar than the Aravana

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Duffmuttu

Duffmuttu is an art form prevalent among Muslims in Kerala state of south India. Basically Duff or Dubh is a music instrument made of wood and skin of animal(mostly of goats and ox skin). It is also called Thappitta. Participants play this and dance.The tradition method of playing this is by standing in a u shape,then singing byth i.e. the traditional Arabic song and then playing according to the song, and the modern way is by singing any islamic song and by putting steps according to the song and then playing. This is also performed in Madina in Saudi Arabia and in almost all of gulf in a different method .

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Kolkali

Kolkali is a folk art performed in Kerala a small state in south India. The dance performers move in a circle, striking small sticks and keeping rhythm with special steps. The circle expands and contracts as the dance progress. The accompanying music gradually rises in pitch and the dance reaches its climax.

Many of the traditional performing art forms of Kerala like Kathakali, Kolkali, Velakali, and Thacholikali have drawn elements fromKalarippayatt during their stages of evolution. Kathakali has borrowed much from Kalarippayattu in its basic body preparative training of the actor not only in terms of technique in practice but also from the body massage for the trainee. Many of the body postures, choreography and foot work of the Kolkali characters are taken directly from Kalarippayattu.

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Mappila Songs

Mappila Paattu or Mappila Song is a folklore Muslim devotional song genre rendered to lyrics in Arabic-laced Malayalam, by Muslims or (Mappilas) of the Malabar belt of Kerala in southIndia. Mappila songs have a distinct cultural identity, as they sound a mix of the ethos and culture of Kerala as well as West Asia. They deal with themes such as religion, love, satire and heroism.
Significantly, the first gramophone record in Malayalam language was a Mappila song. That was cut in 1925, when Gul Mohammed, father of celebrity artist K.G. Sathar, recorded his voice in gramophone. Many Mappila songs have been released thereafter on records, though very few of them are considered authentic. The first Muslim lady to render Mappila songs is Sara Gul Mohammed (wife of Gul Mohammed). The couple have also a number of gramophone records to their credit, they are the parents of famous music director Aziz Bava.

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Oppana

Oppana is a popular form of social entertainment among the Mappila community of Kerala, prevalent all over, especially in the northern districts ofKannur, Calicut and Malappuram.

Oppana is generally presented by females, numbering about fifteen including musicians, on a wedding day. The bride dressed in all finery, covered with gold ornaments and her palms and feet adorned with an intricately woven pattern of mylanchi (henna), sits amidst the circle of dancers. She is the chief spectator sitting on a peetam (chair), around which the singing and dancing take place. While they sing, they clap their hands rhythmically and move around the bride using simple steps. Two or three girls begin the songs and the rest join in chorus.

Sometime Oppana is also presented by males to entertain the bridegroom. It usually takes place just before the

bridegroom leaves for the bride's residence where the Nikah (marriage) takes place or at the time he enters the Maniyara. Harmonium, Tabla, Ganjira and Elathaalam are the musical instruments employed for this performance. Only the Mappilapaattu will be sung on the occasion. The word Oppana may have been derived from an Arabic form Afna. There are two types of Oppana, one is Oppana chayal another is Oppana murukkam. When Oppana chayal is performed, they do not clap their hands. If it begins with Chayal it would also end with Chayal only.

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Mohiniyattam

Mohiniyattam also spelled Mohiniattam is a traditional South Indian dance from Kerala, one of the eightIndian classical dance forms. It is considered a very graceful dance meant to be performed as a solo recital by women. The term Mohiniyattam comes from the words "Mohini" meaning a woman who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The word "Mohiniyattam" literally means "dance of the enchantress". There are two stories of the Lord Vishnu disguised as a Mohini. In one, he appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhi or Ocean of Milk. In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura.

The costume includes white sari embroidered with bright golden brocade (known as kasavu at the edges. The dance follows the classical text ofHastha Lakshanadeepika, which has elaborate description of Mudras (gestural expressions by the hand palm and fingers).

The vocal music of Mohiniyattam involves variations in rhythmic structure known as chollu. The lyrics are in Manipravalam, a mixture of Sanskritand Malayalam. The Mohiniyattam dance is performed to this accompaniment by the subtle gestures and footwork of the danseuse. The performer uses the eyes in a very coy yet sensual manner, the purpose being to enchant the mind without enticing the senses.

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Theeyaattam

Theeyaattam also known as Theeyaattu (Tiyattu) is a traditional dance form performed by the peoples of Theeyaattunni and Thiyaadi Nambiar,a sub-caste of Ambalavasi community inKerala

of southwestern India. There were two types of Theeyaattam - Bhadrakali Theeyaattu and Ayyappan Theeyaattu. Bhadrakali Theeyattu is performed by Theeyaattunnis (a Brahmin community in Kerala) whereas Ayyappan Theeyaattu is performed by Tiyyadi Nambiars (Ambalavasi).

The performers of Bhadrakaali Theeyattu are located only at a few places across Kerala. One of the dominant Theeyattu families is Nedumprom Panavelil Madhom located at Thiruvalla in Pathanamthitta Dist.(Kerala).They have centuries old tradition in performing Theeyattu. Brahmashri V Subrahmania Sharma and Brahmashri S.K.Sharma are the chief performers from this age-old Brahmin family. Family is well-known for Tantric and Mantric Poojas,Guruthi, Astrology etc. Other performer is Brahmashri Sasidhara Sharma from Ullala along with his brother Brahmashri Narayana Sharma. There are some other performers spread across other parts of Kerala too

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Theyyam

Theyyam or Theyyattam is a popular Hindu ritual of worship in North Kerala state., predominant in the Kolathunadu area (consisting of present-day Kannur and Kasargod districts). As a living cult with several thousand-year-old traditions, rituals and customs, it embraces almost all the castes and classes of the Hindu religion in this region. The performers of Theyyam belong to the indigenous tribal community, and have an important position in Theyyam. This is unique, since only in Kerala, do both the upper-caste Brahmins and lower-caste tribals share an important position in a major form of worship. The term Theyyam is a corrupt form of Devam or God. People of these districts consider Theyyam itself as a God and they seek blessings from this Theyyam.A similar custom is followed in the Tulu Nadu region of neighbouring Karnataka known as Bhuta Kola
The dance or invocation is generally performed in front of the village Shrine. It is also performed in the houses as ancestor-worship with elaborate rites and rituals.
There is no stage or curtain or other such arrangements for the performance. The devotees would be standing or some of them would be sitting on a sacred tree in front of the shrine. In short, it is an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The chief dancer who propitiates the central deity of the shrine has to reside in the rituals. This may be due to the influence of Jainism and Buddhism. Further, after the sun sets, this particular dancer would not eat anything for the remainder of that day (again possibly on account of a legacy of Jainism). His make-up is done by specialists and other dancers. The first part of the performance is usually known as Vellattam or Thottam. It is performed without proper make-up or any decorative costume. Only a small, red headdress is worn on this occasion.

Again after a short interval he appears with proper make-up and costumes. There are different patterns of face-painting. Some of these patterns are called vairadelam, kattaram, kozhipuspam, kotumpurikam, and prakkezhuthu. Mostly primary and secondary colours are applied with contrast for face painting. It helps in effecting certain stylization in the dances. Then the dancer comes in front of the shrine and gradually “metamorphoses” into the particular deity of the shrine. He, after observation of certain rituals places the head-dress on his head and starts dancing. In the background, folk musical instruments like chenda, tuti, kuzhal and veekni are played in a certain rhythm. All the dancers take a shield and kadthala (sword) in their hands as continuation of the cult of weapons. Then the dancercircumambulates the shrine, runs in the courtyard and continues dancing there. The Theyyam dance has different steps known as Kalaasams. Each Kalaasam is repeated systematically from the first to the eighth step of footwork. A performance is a combination of playing of musical instruments, vocal recitations, dance, and peculiar makeup and costumes. The stage-practices of Theyyam and its ritualistic observations make it one of the most fascinating theatrical arts of India.

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Koodiyattam

Koodiyattam Koodiyattam or Kutiyattam is a form of sacred theater traditionally performed in Hindu temples in the state of Kerala, India.
Performed in the Sanskrit language or an early form of Prakrit, it is believed to be at least two thousand years old, making it the oldest living theater tradition in the world. Koodiyattam blends ritual, sacred traditional precepts, and rehearsed elements with creative improvisation. Complicated gesture language, chanting, and exaggerated expressions of the face and eyes are complemented by elaborate headdresses and makeup. Until the 1950s, Koodiyattam was performed only by men of the Chakyar caste and women of the Ambalavasi Nambiar caste in sacred theaters, called Koothambalam, on the grounds of the Hindu temples of Kerala. Concerned about preserving the tradition, Koodiyattam master Mani Madhava Chakyar began staging performances outside the temple in 1955. Mani Madhava Chakyar’s troupe performed all over India and helped to popularize the art form. In 2001, Koodiyattam was officially recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity.

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Kathakali

Kathakali is a highly stylized classical Indian dance-drama noted for its attractive make-up of characters, their elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century AD and has been updated over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
Kathakali originated from a precursor dance-drama form called Ramanattam and owes it share of techniques also to Krishnanattam. The word "attam" means enactment. In short, these two forerunning forms to Kathakali dealt with presentation of the stories of Hindu gods Rama andKrishna.
Kathakali is considered to be a combination of five elements of fine art:
- Expressions (Natyam, the component with emphasis on facial expressions)
- Dance (Nritham, the component of dance with emphasis on rhythm and movement of hands, legs and body)
- Enactment (Nrithyam, the element of drama with emphasis on "mudras", which are hand gestures)
- Song/vocal accompaniment (Geetha)
- Instrument accompaniment (Vadyam)



Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Sure, Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

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