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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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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