Kathakali: A Vivid Theatrical Art

Kathakali is a highly intricate and vibrant form of Indian classical dance and a cornerstone of Indian culture. More than just a dance, it’s a “play of verses” – a captivating blend of dance, drama, music, and acting. Performers bring stories, primarily from Hindu epics, to life through stylized movements, elaborate makeup, and intricate costumes.

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History of Kathakali

The history of Kathakali dates back to the 17th century when rulers of that time were much engaged as well as encouraged art forms. The crowned head upheld arts and praised the connoisseur with gifts and a degree. One day, the royal family of Kottarakkara (South Kerala) came to know about Manaveda Samoothiri’s  ( “Zamorian”  ) “Krishnanatam”,  the drama narrate story of “Krishna” in pure Sankrantham .The cultured prince of Kottarakkara expressed his wish to enact the art form in his palace and  invited the troup members to perform “Krishnanatam” on an auspicious occasion  in his  palace. Consciously, the king of Calicut rejected the offer and stated that there were no people in the south who were worthy to relish Krishnanatam. Obviously, the king of Kottarakkara was humiliated. To get rid of  that resentment, he penned  eight stories  based on  epic Ramayanam. As it was written on “Rama ” the same was christened as “Ramanattam” . Unlike “Krishnanatam”,  Ramanattam was written in “Manipravalam” a mix of Malayalam and “Sanskrit” . He carefully pitched “Pacha” Green  instead of the “Neela” Blue  to tint Rama and Krishna separately,and additionally used  Chundappu ( flower of chunda )to redden the eyes to make the characters look more unearthly and substitute the mask for Bakan and Hanuman with vivid  makeup. By which time, “Vettathu Sampradayam” as was formally  introduced by the Vettathu Rajat too came into being . The legend is honored with a museum entitled the “Kottarakkara Thampuran Memorial Museum of Classical Arts” in Kottarakkara for his exceptional contributions to Kathakali .


In the 18th century, the royal dynasty of Kottayam (Kannur) “Kottayathu Thampuran” added  new dimensions to “Ramanattam” . He included stories from Mahabharata, later widely acclaimed as Kathakali. It was “Kottayam Thampuran” who penned “Vandana Shloka” , composed in Raga “Kedaragowla,” often recited before the start of the Kathakali performance to glorify the  Goddess of ” Mridanga Saileshwari Temple”. The temple is believed to be the family deity of the royal dynasty of Kottayam (Kannur). Over and above, he has been greeted as the author of classic Kathakali  stories (Attakatha) like “Kalyana Saugandhikam” “Bakavadham” “Kirmeera Vadham” and  “Kalakeyavadham”  . His continuous efforts  paved stone to   ‘Kalladikkodan Sampradaayam”. There are two styles of Kathakali that are in vogue at present  viz “Thekkan chitta ” or  Kaplingadan Sampradayam ” (Southern style )  and   “Vadakkan chitta ” or “kalluvazhi ( Northern style)  . While,the Southern style follows “Lokadharmi ” a realistic representation of the art, th  Northern style “Natyadharmi ” depicts  stylized  representation . 

Kathakali was given a face-lift again  under Kaplingattu  Narayanan Namboothiri (1739-1789) , later stylized as “Kaplingadan Sampradayam” . He and his colleagues made noticeable changes to kathakali, like, “Chuttipu” on the nose and forehead for characters like “Kathi ” ” Chuvappu Thadi”, introduction of Chaamaram-hair pinned to the back of the crown, saint’s attire fitted with “Narada mudi” . His most significant accomplishment is the introduction of mudras that are based on “Hasthalakshana Deepika”.A few scholars are of the opinion that it is extracted from “ Koodiyattam”

What is widely popularized as Kathakali nowadays follows the methodical creation of ‘Kalluvazhi Sampradayam’ or ‘Vadakkanchitta Sampradayam’, which was precisely created by ‘Kalluvazhi Kuyilthodi Ittirarissa Menon’ at ‘Olappamanna Mana’, the heritage ancestral Nambuthiri home in Palakkad district , which later flourished under his disciple Pattikkamthodi Ravunni Menon (1881-1949) and his array of disciples  

Kathakali can be summarized as an extract of  various art forms such as “Kalaripayattu” “Koodiyattam,” “Krishnanattam,” “Chakyarkoothu,” “Mohiniyattam,” “Ashtapathiyattam,” “Yathrakali,” and folk dances like “Thirayattam,” “Padayani,” “Kolamthullal,” “Theeyattu,” “Mudiyettu” “Garudanthookkam” that existed in Kerala during those days. Infact, Kathakali can be interpreted as an act and dance; the artists use 24 “Mudras” and 9 “Nava Rasa” (facial expressions) to enact the story. This systematic sign language, “Mudras,” is based on “Hasthalakshana Deepika,” a manual on “hand gesture” language, while the “Nava Rasa” is inspired by  the “Natya Shasthra,” a treatise by sage “Bharata Muni.” In earlier times, Kathakali was  mostly performed in “Koothambalam” ( a rectangular shaped building especially constructed to perform traditional art in the premises of temples  ) Then in the 20th century, renowned poet Vallathol Narayan Menon and Manakkulam Mukunda Raja, established ‘Kerala Kalamandalam’ at  Cheruthuruthy  in 1930 on the banks of the river “Bharathapuzha,” also known as “Nila” . The name Kathakali has grown globally due to Kalamandalam’s efforts. 

Make up

A vibrant make up gives a larger than life appearance to Kathakali,and transforms the human face to epic characters of Mahabharata and Ramayana .It is classified into "Teppu", "Chutti ezhuthu" and "Uduthukettu", a three dimensional beautifying method . Fascinatingly, the performer himself does the Teppu whereas the chuttikuthu or ezhuthu is an art of rendering lines on the artist’s face ,rendered by an expert and he is known as "chuttikaran " . ‘Chutti’ a combination of rice paste mixed with lime in a ratio 3:1 lays the base of Kathakali make up . The green colour ‘Pacha’ is obtained by blending ‘Manayola’ a natural ayurvedic stone, yellow in color (Orpiment ) that is grinded and further mixed with Coconut oil to turn into a thin paste which is later mild mixed with Indigo dye ( a Natural dye ) . The yellow blends with blue , to turn into green. On the flip side, the red color is a fusion of ‘ Chayilyam’ (cinnabar ) and Coconut oil along with dried rice powder to subside the dark red into light red . ‘Chenchilyam’ is obtained from ‘Maruthu tree’ to give a shine to the color and acts as a glue when it is applied on the face . ‘Kohl’ or ‘Kerala kanmashi’ which is used to achieve the Black colour is obtained from sesame oil . ‘Chundappu’ (Solanum xanthocarpum) or the Chunda flower, is used to redden the eyes to give the character a larger than life appearance. ‘Kunkumam’ or Saffron is also widely used for make up these days. In 1920, Thiruvalla Rama Krishna Panicker, who was an artist too, introduced paper Chutti , which was a revolution .The third stage is "Uduthukettu". Kathakali is considered as a men dominated world when it comes to performers , musicians or make up artists. Kalamandalam Barbara Vijayakumar formerly Barbara , travelled all the way from United kingdom to Kerala in 1972 and became besotted with Kathakali. Subsequently she then enrolled in Kerala Kalamandalam and became the first non Indian chutti artist , later Barbara and her husband Kalamandalam Vijayakumar, a highly acclaimed Kathakali artist shifted to UK and paved the stone to establish the Kala Chethana Kathakali Company in the year 1987 . It is important to mention Vellinezhi village in Palakkad district ,while discussing Kathakali. The village is famous for crafting the extravagant headgear and ornaments for Kathakali. These are known as ‘Koppu’. Headgear is made from wood of a rare tree known as ‘kumizh’ (Gmelina arborea) mentioned in the ancient Ayurveda as a medicinal tree belonging to the group of ‘Dasamoolam’, which is durable as well as strong ,easy to carve, and then rolled up with stone , gilt , peacock feather , glass etc .The bangles, hasthakadakam (hand ornaments) , tholputtu,paruthikkamani,kazhutharam (gold strand beaded necklace) are also crafted with this wood .Kothavil Ramankutti, a native of Vellinezhi and predecessor of Kothavil Krishnan Achari is believed to be a master craftsmen in ‘koppu’ making and has won several awards . Each character in the Kathakali has been categorized on the basis of Gunaa, " Sattva" , " Rajo or Rajas Guna" ," Tamo Guna or Tamas Guna " respectively. As per Indian philosophy, these 3 Gunas or Thri Gunas are qualities that define human character, how they behave, their nature etc

Pacha

‘Pacha’or the ‘Green Face’ falls under "Sattva Guna" ( pious ). They are gentle in behavior , brave , harmonious and balanced . The face is painted with Pacha ( green color ) , eye brows lined with black color and widened black strip beneath the eye lid ."Urdhva Pundra" , is a symbol representing Lord Vishnu" on the center of forehead and with lips painted with bright red colour. "Kiritam" or " Keshabharam" (Podippu chamaram ) is worn by all excluding “Krishna" and " Rama". For them the headgear is replaced with " Mudi", a crown decorated with Peacock feather . Protagonists from the epics Ramayanam and Mahabharata like Rama , Lakshmana , Lava and Kusha , Dharmaputhra ,Bhima , Arjuna , Nalan ,Indra ,Anirudha come under this . Pacha character given more space for facial expressions as compared with the rest of the characters.

Kathi

Kathi" ( Kurum Kathi) - "Knife " denotes the character of "Rajo Guna" that is Darkness. They are a combination of greed , violence, lust , thirst, material acquaintances etc . The make-up is quite similar to Pacha except a pattern called ‘kathi’ bearing resemblance to a knife, painted vertical on either side of the cheeks in red, with a white globe called ‘chuttippu’ on the tip of the nose . Prominent characters like Duryodhana and Keechaka of Mahabharata and King of Lanka Ravanan of Ramayanam , Kamsa ( maternal uncle of Krishna ), and Sisupalan are examples

Kari

Kari’ or Black face is listed under "Tamo Guna" or "Tamas" . It can be described as the quality of darkness and undoubtedly in contrast to "Sattva" . The Kari characters are categorized as ‘Aan kari’ the male version and ‘Penn kari’, the female version . Kari or Black face can be differentiated by its Black face and a flower on the tip of nose referred to as ‘chuttipoov’ .Starting from the sharp pointing end of the eyebrows and stretching towards the cheek, the red paint is a definite crescent shape formation that turns the kari colorful , with a white border on the edges. With a black colored costume and bucket shaped headgear . Whereas the character of " Kattalan " ( person living in the forest ) in Kiraatham is considered as a highlighted Kari character, "Karkkodakan "( a character appearing on Nalacharitham 3rd day ) stands next to it . Likewise, personas like “Hidimbi” of Mahabharata and “Shoorpanaka” along with "Poothana" from "Ramayana "are listed under female Kari characters.

Thaadi

"Thaadi" (Beard ). The character Thaadi has multiple dimensions, like "Chuvappu thadi" or the red beard, "Velutha thaadi" or the white beard and the " Karutha thaadi " which is the black beard.

"Chuvappu thaadi", or the red beard fits into "Tamo guna" , An enormous white mustache is the highlight of Chuvappu thadi , a red beard made of wool along with a much widened crown, a head wear, known as ‘Kuttichamaram’ . In addition to this, a white knob on the nose tip and the forehead is adorned to project a daunting appearance, to either portray an atrocious character like "Dushasanna "( Brother of Duryodhana) or wicked Rakshasas like " Bakan ", "Jaraasandhan" ,"Sisupalan" ( Mahabharata) and the monkey king "Bali" , "Sugreeva" ( Ramayana) . They are the well known Chuvappu Thaadi or red beard characters

"Vella Thaadi or Veluppu thaadi " , the white beard - comes under "Sattva guna". A circle shaped Kiritam on head is often specified as "Vattamudi " ( a round-shaped crown ) much similar to a widened hat . The monkey king "Hanuman" in Ramayanam can be a reference to the white beard and another one is "Nandikeshwaran " . Interestingly, the characters of Hanuman, take more time for make-up compared with other characters in Kathakali. Surprisingly , it takes two hours to complete the make-up of Hanuman.

"Karutha thaadi " or Black beard , as the name translates. This character's make-up has a black base . A forest dweller and his face is characterized as coal black with a flower on the nose tip and bucket-shaped headgear adorning the Kattalan as "mudi". They wear black costumes portraying a hunter. The only character in Kathakali with a black beard, is referred to as "Nalan", and is featured in the story "Nalacharitham".

Minukku

"Minukku" (Radiance) appears less stylized when compared with Pacha, Kathi, or Thadi. represents mostly female characters, sages and Brahmins . Minukku has yellow highlights. Female characters use 'Kohl' Kanmashi. Pigment lips however of sages like "Parasuraman " "Durvasavu " "Shukran " have long black beard and moustache, while "Naradan" and "Vasishttan" posess white moustache and beard .

Kathakali sangeetham - Kathakali music

Kathakali music, also known as 'kathakali padam', plays a pivotal role in Kathakali and is an integral part of it . In earlier years, the performer himself used to handle the song or ‘Padam’. Later they were separated. The music is in a way similar to ‘Sopana sangeetham’ or ‘Abhinaya sangeetham’ which was performed in the sanctum sanctorum of the temples in Kerala during puja in a distinctive way. Kathakali music's specialty lies in the ability of an individual raga to express diverse emotions. "Raaga", "Tala", "Swara", and "Bhava" combine in a seamless blend of the music of Kathakali. More or less, it can be spelled out as emotive music . The chief songster known as "Ponnani Bhagavathar" holds a Gong "Chengila" to vocalize the tone in a stentorian and melodious way, whereas his aide named "Shingidi " iterates what the principal vocalist intonates by wielding a pair of Cymbals "Ilathaalam" . Percussion instruments are "Madalam" "Chenda" ( Asura vadhya ), "Chengila" and Ilathaalam. However , amongst these, supremacy is given to Madalam . Whenever a supreme female character enters the stage ‘Idaykka’ replaces "chenda" meanwhile the ‘Shankh’ or the conch is played on the occasion of "Arangukeli " to lit up the lamp or whenever a divine character Krishna or similar is introduced on the stage. The reverberating sound of the Shankh adds a dramatic mood to the situation . In the beginning of the 1930s, renowned poet Vallathol Naraya Menon introduced Mundaya Venkitakrishna Bhagavathar to Kerala Kalamandalam. Affectionately addressed as "Bhagavathar", he gave a new dimension to Kathakali music in its present form . Bhagavathar had a strong background in Carnatic music , he eventually wove Carnatic ragaas into Kathakali padam after careful research and rework. There are a handful of Carnatic ragaas used in the kathakali music, such as "Khamas", "Darbar", "Kapi", "Sindhubhairavi","Chenchurutti " "Kedaragowla", "Kamboji", " Padi " "Punnagavarali" , "Bhairavi". Raga "dwijavanti" represents a pleading while "Punnagavarali" conveys sorrow . It was Bhagavathar who introduced ‘Shruti box’ "or ‘shruthi petti’ into the world of Kathakali .Kalamandalam Neelakandan Nambeesan,follower of Bhagavathar, in every sense became a leading figure in Kathakali music .

Performance Rituals

Rituals in Kathakali  also known as “Ashttangangal ” refers to 8 ( eight) rites in  Kathakali starting  with “Kelikottu ,”Arangukeli or Kelikkai ” ” Thodayam” “Vandana Shlokam” ” Purappad” “Melappadam ” “Kathaarambham” and “Dhanashi ” 


 

Kelikottu

Kathakali , in the earlier years unlike other forms of art, starts at dusk and lasts until dawn .It's interesting that few stories are continuously performed as episodes for two or three days. "Nalacharitham attakatha" is divided into four days, for instance .In modern times, Kathakali is reduced to one and a half to three hours by carefully extracting a portion of the story and performing it accordingly. Kathakali starts with "Kelikottu" by late evening , a formal herald accompanied by percussion instruments like Chenda , Mandalam, Chengila and Ilathaalam " Cymbals " .Formally, the purpose of the Kelikottu was to inform the villagers that a kathakali is about to happen that Night . Prior to Kelikottu, the actors start their make up.

Arangukeli " or "Kelikkai

Arangukali starts by late evening, by lighting up the ‘kalivilakku’ a six foot long lamp made of bronze that is filled with coconut oil and two thick wick floating in it , one wick facing the audience and second one towards the stage. This was the only source of light before the electricity powered lights were widely acclaimed, "Kali "representing play and "Vilakku" depicting lamp. Arangu keli starts with playing the 'Madalam', also referred to as "Shudha Madalam". Except'chenda' all musical instruments are accompanied in Arangukeli

Thodayam

Thodayam performed by two novices, wearing a ‘Mund’ , a dhothi in earlier years , (a substitute to Pant) and a colourful shawl tied around the waist in a less stylized " Minukku" appearance .The purpose was to express gratitude to God for the blessing and flawless performance of the Kathakali that is about to commence . In days of yore, it was performed behind a "Thiraseela " ( a rectangular multi coloured cloth ) held by two assistants to create an illusion

Vandana shlokam

Vandana Shlokam, is recited at the stage before every Kathakali performance to praise the God. The stanza starts with "Mathangananam Abjavasaramanim" penned by Kottayam Thampuran composed in Raga "Kedaragowla "

Purappad

Entry of the main character,based on the story about to play, can be depicted as "Purappad. These characters are usually depicted as "Pacha" and divine in nature. It is pure ‘Nritha’ dance that takes place behind a ‘Thiraseela’ performed by young aspirants attired as Krishna (revered as ‘Virat purush’ or a universal person) accompanied by his wife Rukmini or Balrama and Subhadra .Chenda accompanied along with ‘Melappu’ ( a colourful canopy ) and ‘Alavattam’ ( Ornamental hand held fans) with the resonant sound of the "Conch " make the performance vibrant .

"Melappadam " a musical extravaganza

According to hearsay , the ceremony was brought to stage by Govinda Swamikal, who is believed to be the master of Kottayathu rajav( prince of Kottayam, Kannur ), Once the Swamikal was invited by the prince to watch his newly composed "Kirmeera vadham " attakatha ( Story )During that play he felt a brief gap between the segment ,so to relieve the boredom in the arena ,he intonated the verse "Manjuthara" from "Githagovindam " which he daily sang as ritual while the percussionist harmonized him. In honour of his beloved maestro , the Prince directed that Manjuthara should be sung before the start of a story .In Kathakali, the percussionist and vocalist face limitation to demonstrate their skills. Melappadam can be described as an opportunity given to the vocalist as well as percussionist to bring their talent to the fore .

Kathaarambham

" Katha" denotes story meanwhile ‘Arambham’ means to start . It starts with the vocalist reciting Rangavathrana padhya , a verse in Sanskrit unlike padam in Malayalam . Sattvik Persona like Pacha( green) , Minukku (Radiance) and and Vella thadi ( White beard ) needs no self introduction while Kathi ( Knife ) and Chuvappu thadi ( red beard) has to be introduced themselves . Called "Thiranottam " these characters roar behind the Thiraseela( rectangular multi coloured cloth ) and bring down the curtain looking at the lamp then gaze at the either side of audience accompanied with resonant sound of Conch, Melappu ( Colourful canopy) and Alavattam(decorated circular fan made of Peacock feather) Based on the characters. It was Kottayathu rajav who introduced Thiranottam into Kathakali

Dhanashi

According to hearsay , the ceremony was brought to stage by Govinda Swamikal, who is believed to be the master of Kottayathu rajav( prince of Kottayam, Kannur ), Once the Swamikal was invited by the prince to watch his newly composed "Kirmeera vadham " attakatha ( Story )During that play he felt a brief gap between the segment ,so to relieve the boredom in the arena ,he intonated the verse "Manjuthara" from "Githagovindam " which he daily sang as ritual while the percussionist harmonized him. In honour of his beloved maestro , the Prince directed that Manjuthara should be sung before the start of a story .In Kathakali, the percussionist and vocalist face limitation to demonstrate their skills. Melappadam can be described as an opportunity given to the vocalist as well as percussionist to bring their talent to the fore .

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