Kerala Dance

The term 'dance' means the rhythmic movement of the body in agreement with music and tola. It is a visual art or a drisyakala. It might have originated from the means of communication used by man during the very early periods - even from the pre-pa-leolithic age. It is believed that man employed actions to express himself before language was discovered - actions like jumping up and down to show happiness, crying to express sorrow and exhibiting facial expressions to indicate anger, hatred, fear etc.

The development in dancing is closely linked to the development of society itself. The cultural, spiritual religious and social developments of human beings influenced dancing so much that new styles were evolved from time to time. Dancing in the early days of our culture was practiced mostly in temple as part of religious festivals and ceremonies. Naturally, this art form was influenced to a great extent by the rites practised in temples. The temple architecture was also influenced by the styles of dancing practised there. Professional dancers known as 'devadasis' were engaged in temples. Often, they were asked to dance in the royal courts and other august assembllies. The devadasis being professional dancers, devoted great attention to the study and spread of this art form.

While folk dances are derived from various sources, the origin of all the classical systems has been the Hindu temple. It was in the temple that they were conceived and nourished, it was also in the temple that they attained their full stature. India alone has the concept of a God who dances, Siva is Nataraja, the king of dancers, who performs it in the Hall of consciousness and creates the rhythm of the Universe.
As in all Indian performing arts, so in dancing the concept of rasa,or aesthetic mood, holds the central place; Rasa is an impersonal sensation (different from emotion) which is shared by all. Nine 'rasas' have been generally recognized, Sringara or love in all its variations, devotion, humour, pathos, heroism, fury, terror, disgust, wonderment, and peace.
Kerala has one of the most glorious traditions in dancing and allied areas of artistic activity. In Kerala, we find three major kinds of dance forms.
The first is the highly sophisticated native folk dances; the second type is the 'Bharathanatya' which came from-the neighbouring areas of Tamil Nadu and the third is the modern Kathakali which is a combination of the folk and classical traditions in dancing.
Many of the local festivals of temples are celebrated with the help of different kinds of dances. Traditional dances are performed during festivals like Onam. Most of the traditional dances are accompanied by folk songs and instrumental music, often praising the deities of the hills and of the forests. These folk dances are considered to be the precursors of the later Kathakali.
Kerala gave an important place to the training of soldiers. This developed into special forms of dances where military prowess was made the central theme. The physical culture given in Kalaries was developed into beautiful forms of dances. Out of these arose a form of dance — drama meant as a creation for the soliders -- the 'Yatrakali' also known as 'singhakali' or 'Shastrakali'.
The scholarly discussions relating to the themes of the puranas gave shape to a new form of dance drama — the chakyar koothu. This was done by a trained group of men called' the 'Chakyars'. The chakyars learned the Sanskrit stories and tramatic methods of Bharatha natya from the Brahmins and re-interpreted them for the entertainment of the ordinary people. The chakyars become professional drama-dancers Their performances were limited to puranic stories performed in temples.
New techniques of expression came to be developed in Kerala. The classical emotions (rasa) were expressed with hands (Mudra, angya) reinforced by highly developed and classical facial expressions. A new style of rendering called 'Koodiyattam' came into being in Kerala. Here two or more performers took part unlike in the earlier form namely 'Kathaprasangam', which was performed by a single actor. It was from Koodiyattam that a new form of dance-drama called Krish-nanattam developed.
Somewhere about the 15th or 16th renturv, the technique of Krishnattom was mixed with the story of Rama and a new stage art called 'Ramanat-tom was brought into existence. The performance of Ramanattam was considered so important that it was divided into episodes and presented on eight consecutive days. Different costumes for a large cast were developed. Wooden masks were replaced by facial make-up. The use of mudras came to be improved. All these, finally resulted in a new dance-drama, namely 'Kathakali'; that has become one of the superior forms of dances which the world has ever seen.
Kathakali is a blending of the fine traditions of earlier dance - forms like Chakyarkoothu, Krishnattam and Ramanattam. Stories from the puranas or epics formed the subject matter of Koothu and Kathakali. Again the costumes of Krishnattam and the gestures of Ramanattam are also made use of in the kathakali. But these elements came to be blended in such a manner that a highly advanced and unique type' of dance drama came to be evolved.

Kathakali
The new dance form that took shape in Kerala, Kathakali, is Kerala's unique contribution to dancing. The term kathakali is derived from the idea Or presenting a story in the form of a play.
It is believed that the new style of dancing was invented by Kottarakkara Thampuran from South Kerala. He requested the Zamorin of Calicut to send his Krishnattam troupe to present a dance programme in southern Travan-core. But the Zamorin refused saying that the people of South were not fit enough to enjoy the sophisticated Krishnattam. The Tampuran felt insulted. He retaliated by writing a work based on the story of Rama and trained some people to present it as a dance-drama. This came to be known as Ramanattam. This form of dance-drama gradually developed into the new dance form called kathakali.
Three basic types of characters are presented in Kathakali. They are the Satya, the Rajasa, and the Thamasa types. The different characters are presented in different costumes. The pdcha(green), the Kathi (knife), the Th-adi (bread)/and Kari (Black) denote characters of district qualities. The female characters are presented in Mi-nukku make up. It is the facial dressing that mainly divides the category of characters. Brave and virtuous characters are presented in pacha, while villains are presented with kathi and Thadi; and rakshasas and devils are denoted in Kari. Kathi is of two types - Nedumkathi and Kurum kathi. Thadi is also of three varieties - Vellathadi (white beard), Chuvannathadi (Red beard) and Karutha thadi (black beard), Minukku is also utilised for Brahmins and Rishis in addition to women.
Unnay Warrier, Irayimman Thampi, Kottayam Thampuran and Kottarakkara Thampuran were the eminent composers of Kathakali texts, called the Attakkathas.
Unique among the Indian dance forms is Kathakali, the classical dance-drama of Kerala. Vivid and eloquent in its characteristic mudras (hand signs), natural and impressive in gesture, graceful and rhythmic in movements, pleasing in choreography, and above all delightful in wealth of imagery, Kathakali draws upon the inexhaustible treasure-trove of the ancient puranas chronicling the lives, loves and conflicts of the Gods and supermen of Indian mythology. Kathakali is perhaps the only style in India in which the masculine aspect of the dance is preserved in its elemental vigour.

After a period of successful development Kathakali declined. But a revival of the art began with the establishment of the Kerala Kalaman-dalam under the patronage of Ma-hakavi (great poet) Vallathol Naray-ana Menon. With the rise of schools teaching native dances, kathakali has once again staged a come back as the chief art of Kerala with its artistic uniqueness and technical perfection. Kathakali has drawn students from other parts of India and abroad. The kathakali themes are drawn from the epics and the puranas, but some non-Hindu themes are also have been presented on the reformed stage. Instead of being an all-night affair as before it is now performed for three or four hours or even less time.

Thullal
Thullal is a solo-dance exposition which is more or less of the nature of a one-man ballad opera. The simplicity of presentation, outspoken wit and humour and the direct appeal to every day life of contemporary society have made Thullal very popular. Thullal is classified into three types Ottan, Parayan and Seethankan. Ottan Thullal in which a reciting dancer, a singer and cymbalist play their roles. The story is told in Malayalam verse. The costume is not elaborate as that of Kathakali except for the head dress. This form of entertainment is also very popular in Kerala.

Mohiniyattorn
A form of popular classical dance that is peculiar to Kerala is Mohiniyattorn. It belongs to the lasya type of dance. This is a seductive dance performed by women. Lyrical in the extreme and sensual in appeal, its keynote is coquetry. The name Mohiniyat-tom means "the dance of Mohini". Lord Vishnu took the form of an enchantress called Mohini. The swinging graceful movement of lasya dance are characteristic features of Mohiniyattom. The costume and jewellery used for Mohiniyattom are attractive and beautiful. The theme of the song is the love between a Nayika and a divine Nayaka. The theme deals with the expression of love for God, ie. Srin-gara Bhakthi. The predominant rasas underlying the songs are soka and Bhakthi.

Yakshagana
Yakshagana is a typical style of Kerala art. This is also a temple art. It resembles Kathakali in matters of dress, songs, constumes and other make-up. Kasaragod is the cradle of Yakshagana form of art. Prathi-subha was looked upon as the father of Yakshagana.

Tribal Dances
There are about 35 different types of tribal people in Kerala. Centuries have failed to change them completely and they are unique examples of isolated existence still preserving their way of life, customs and manners almost untarnished by the advancing waves of urban civilization. Their artistic experience evidently reflects the distinct secluded and primitive social structures and still survives in the triabl hamlets of the hilly tracts. In the background of the mystery-shrouded nature, tribal celebrations orginate and their dances which work up intoxicating excitement are physical expressions of their joys, hopes and fears. 'Elelakkarandi', Kadarkali, Kurum-barkali, Paniyarkali, Mankali, Par-vathikali, Koorankali, Thavalakali, Edayarkali and Mudiyattom are some of the most important tribal dances of Kerala.

Folk Dances
Kerala has a rich variety of folk dances, social religious and martial. Many of them are performed to the accompaniment of songs and dramas. In several dances, the performers form a circle and clap as they dance. Sometimes instead of clapping, they strike small sticks which they hold in their hands. The costumes and ornaments which are usually very colourful and gaudy are peculiar to the locality to whcih they belong. There are more than fifty well known folk dances in Kerala. Of them Kaliyattom, Mudiyettu, Kolamthullal, Kolkali, Poorakali, Kam-padavukali, Velkali, Parichamuttukali, Kaikoitikali, and Kummi etc. are the most popular.

Teyyam
The Teyyam or Theyyattom is a popular ritual dance of North Kerala, particularly now found in the traditional Kolathunadu, of the present Cannanore and Kasaragod districts. As a living cult with centuries old traditions, ritual and custom, it embraces almost all castes and classes of Hindu religion in this region. The term Teyyam is a corrupt form of 'deivam' or God. It is a rare combination of dance and music and reflects irnportant features of a tribal culture.
Under the impact of Aryan religions, the cult of Teyyam had changed substantially incorporating new trends and subscults along with its tribal character. In a different way, it can be stated that all prominent characterstics of primitive tribal religious workship had widened the stream of Teyyam cult and made it a deep-rooted folk religion of the millions. For instance, the cult of mother Goddess had an important place in Teyyam. Besides this, the practice like spirit-worship, hero-worship, masathi-worship, tree-worship, ancestor-worship, animal worship, serpent-worship, worship of the Goddesses of diseases and gramadevata-worship are included in the mainstream of Teyyam cult. Under the influence of Aryan myths and legends, a large number of Brahminical Gods and Goddesses had infiltrated as separate cults into Teyyam. Along with those Gods and Goddesses there exist innumerable folk Gods and Goddesses. Most of these Goddesses are known as Bhagavatis as a matter of Sanskritisation.
As a sacred theatre followed with elaborate rituals, the Theyyam performance has a different meaning and social content, entirely different from other theatrical forms. The village shrines and groves and cult-spots are maintained by the caste councils or village elders for bringing prosperity to the village. In such place, the village Goddesses or Bhagavatis named after that particular locality are propitiated as an ancient practice. The elaborate rituals observed in these shrines including the preparation of square or 'kalam' are intended for the blessings of the supernature.
These rituals are responsible, as being believed, for the blessings of the supernature for prosperity in men and women, cattle and wealth. There is a close resemblance between the Teyyam art and the Kathakali in make up, costume dance and musical instrument. Generally there is a tendency among scholars to identify Teyyam as a folk dance. Although, it incorporates some folk aspects, it is a developed art-form and a systematic stylization had taken place in the course of its development.

Theatre in Kerala

Kuthu and Koodiyattom are the earliest theatrical arts of Kerala. These two art forms represent the earliest known histrionic art of Kerala. Kuthu enlived by numerous witty analogies and allusions to current events. Koodiyattom is a dance-drama form of the Chakiar Koothu. The post-sangam Tamil epic Silappadikaram made reference about the performance of kuthu. The Chera King Senkuttuvan ,gave enormous encouragement to this art. It is a mono-act in which the actor known as Chakiar acts the role of all the characters. In this art Nambiar, who plays the mizhavu and Nangiar plays the cymbals. It is the Chakiar's privilege to crack jokes. He delineat puranic stories drawing parallels from contemporary events. Chakiar sarcastically explains the morals from the stories he is narrating. There are three types of Kuthu, viz., Prabandham kuthu, Nangiarkuthu, and Kudiyattom. Kudiyattom literally means acting together. Kudiyattom is a theatrical presentation in which both the Chakiar and Nangiar act together. There is a clown or Vidushaka who recites the verses enacted by the Chakiar.
The make-up and cosumes in Koodiyattom vary according to the characters. Usually only plain clothes are worn by the Nangiar. Vidushaka has an antiquated costume, comprised of a crimson cloth turban and silk embossments. The performance lasts from six to twenty days. Kudiyattom is not today much popular as in early times. Nowadays it is performed only in a few temples of Kerala such as Irinjalakuda, Perumanam, Kottiyoor etc.

The contribution of Koodiyattom for the evolution of the Kerala stage is unique. Kudiyattom is performed in specially constructed theatre known as Kuthambalams. These Kuthamblams are built by experts according to Bharatamuni's Natyasastra. The Kuthambalams in Trichur Vadak-unnathan temple, Irinjalakuda Tirunakkara temple, Haripad temple. Kidangur etc. are famous for then-construction. These Kuthambalms are decorated with carvings and parintings depicting scenes from the epics and the puranas. According to K.V. Soundara Rajan. The Kuthambalam is, in fact, "one of those religio-cultural adjuncts of Kerala temple life, introduced by the genius of the local people who are adepts in gesture drama, whose another flowering is Kathakali."
Kuthambalams are no longer constructed in Kerala temples, because Kudiyattum is becoming an obsolete art. The Kuthambalam architecture has recently influenced the construction of a unique theatre or Natyagriha in the Kerala Kalamandalam at Cheru-turuthi. This Natyagriha, opened in 1977, symbolises the revival of the Kuthambalam. This Natyagriha which was inaugurated in 1977 in connection with the celebration of the centenary of the birth of Mahakavi Val-lathol, who contributed much for the Kathakali and Mohiniyattom arts. Koodiyattom, Kathakali, Ottanthullal, Kuthu, Mohiniyattam etc. performing arts can be staged here.

Chavittunatakam
Chavvittunatakam was evolved as a Christian alternative to the Kathakali. In olden times, Kathakali which was performed in temples, only Hindu themes were enacted and only the Hindus were permitted to see the performance. In the sixteenth and seventeenth centuries the Christian missionaries evolved these new theatrical art known as Chavittunatakam. The Chavittunatakam was evolved with the object of presenting Christian or Biblical themes for the sake of Christian audiences. In Chavittunatakam, the actors not only speak and sing but also stamp on the wooden platform with their feet to the time of songs and beating of drums. Women were not allowed to act in Chavittunatakam. The actors must undergo massage applying medicinal oils to tone up their system. The stories connected with Charlemagne, Napoleon, the lives of Christian saints and the history of Christianity were usually presented by the Chavittunatakam troupe. The costumes and make-up and stage-settings show unmistakable traces of western influences.

Modern Drama
In modern times the Malayalam drama as a form of popular entertainment has acquired considerable popularity. The presentation of the Malayalam drama started with the translation of Abhijana Sakuntalam by Kerala Varma Valia Koil Tampuran in 1890 and it was presented on the stage. The drama toupe from Tamil Nadu to Kerala also accelerated the drama movement in Kerala.
Modern Malayalam theatre of drama opened with C.V. Raman Pillai's historical themes. He opened an amateur club at Trivandrum. Recently, dramas with social themes receive greater acceptance. V.T. Bhattathiripad's Adukkalayilninnu Arangathekku (From Kitchen to the Scene of Action) and K. Damodaran's Pattabakki (Arrears of Rent) deserves special mention. N. Krishna Pillai, Thoppil Bhasi, G. Sankara Pillai, C.N. Sreekantan Nair are the recent play-writes in Malayalam. Their dramas have been staged successfully all over Kerala. Professional troupes like the K.P.A.C. (Kerala People's Arts Club) and the Kalidasa Kala Kendram have made their mark in the field of drama. The KPAC founded in 1954, presented a number of popular plays. Now-a-days more professional troupes emerged in the various parts of the state. These professional theatres have come to acquire a dignified place in the social and cultural life of Kerala. The Sangita Nataka Akademi set up by the State Government has been doing its best to revive the theatrical tradition in Kerala. Currently, the State Government has been extending its helping hand in popularising professional drama by instituting awards, cash awards and other disinctions.