Kathakali

Kathakali ( IAST: Kathakaḷi Malayalam: കഥകളി

pronunciation ⓘ ) is a major form of classical Indian dance.[1] It is
a "story game" genre of art, but one distinguished by the elaborately
colourful make-up and costumes of the traditional male actor-
dancers.[2][3][note 1] It is native to the Malayalam-speaking
southwestern region of Kerala and is almost entirely practiced and
appreciated by Malayali people.[2][3][5]

Kathakali's roots are unclear. The fully developed style of Kathakali

originated around the 17th century, but its roots are in the temple
and folk arts (such as Krishnanattam and religious drama of the
kingdom of the Zamorin of Calicut) of the southwestern Indian
peninsula, which are traceable to at least the 1st millennium Shree Krishnan in Kathakali - FACT
CE.[2][6] A Kathakali performance, like all classical dance arts of Jayadeva Varma
India, synthesizes music, vocal performers, choreography and hand
and facial gestures together to express ideas. However, Kathakali
differs in that it also incorporates movements from ancient Indian
martial arts and athletic traditions of South India.[2][3][5] Kathakali
also differs in that the structure and details of its art form developed
in the courts and theatres of Hindu principalities, unlike other
classical Indian dances which primarily developed in Hindu temples
and monastic schools.[2][6]

The traditional themes of the Kathakali are folk stories, religious

legends and spiritual ideas from the Hindu epics and the Puranas.[7]
The vocal performance has traditionally been performed in
Sanskritised Malayalam.[6] In modern compositions, Indian
Kathakali troupes have included women artistes,[4] and adapted
Western stories and plays such as those by Shakespeare.[8]

Etymology and nomenclature

The term Kathakali is derived from katha (Malayalam: കഥ, from
Sanskrit) which means "story or a conversation, or a traditional Kathakali is one of the eight
tale", and kaḷi (Malayalam: കളി) which means "performance" or classical dances of India
"play". The dance symbolises the eternal fight between good and
evil.[9][10]

History
Elements and aspects of Kathakali are taken from ancient Sanskrit texts such as the Natya Shastra.[11] The
Natya Shastra is attributed to sage Bharata, and its first complete compilation is dated to between 200 BC
and 200 AD,[12][13] but estimates vary between 500 BC and 500 AD.[14]
The most studied version of the Natya Shastra text consists of about
6000 verses structured into 36 chapters.[12][15] The text, states
Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the
theory of rasa, of bhāva, expression, gestures, acting techniques,
basic steps, standing postures–all of which are part of Indian
classical dances including Kathakali.[11][12][16] Dance and
performance arts, states this ancient Hindu text,[17] are a form of
expression of spiritual ideas, virtues and the essence of
scriptures.[18]

The roots of Kathakali are unclear. Jones and Ryan state it is more
than 500 years old. Kathakali emerged as a distinct genre of
performance art during the 16th and 17th centuries in Kerala.[19] Hanuman in Kathakali (FACT
The roots of Kathakali, states Mahinder Singh, are more ancient Jayadeva Varma)
and some 1500 years old.[20]

Links to older performance arts: Kutiyattam and Krishnanattam

According to Farley Richmond and other scholars, Kathakali shares

many elements such as costumes with ancient Indian performance
arts such as Kutiyattam (classical Sanskrit drama) and medieval era
Krishnanattam, even though a detailed examination shows
differences.[21] Kutiyattam, adds Richmond, is "one of the oldest
continuously performed theatre forms in India, and it may well be
the oldest surviving art form of the ancient world".[22] Kutiyattam,
traditionally, was performed in theatres specially designed and
attached to Hindu temples, particularly dedicated to the Shiva and
later to Krishna.[23] The designs of these theatres usually matched
the dimensions and architecture recommended as "ideal" in the
ancient Natya Shastra, and some of them could house 500
viewers.[23]

Krishnanattam is the likely immediate precursor of Kathakali, states

Zarrilli.[24] Krishnanattam is dance-drama art form about the life
and activities of Hindu god Krishna, that developed under the
sponsorship of Sri Manavedan Raja, the ruler of Calicut (1585- FACT Jayadeva Varma
1658 AD). [24] The traditional legend states that Kottarakkara
Thampuran (also known as Vira Kerala Varma) requested the
services of a Krishnanattam troupe, but his request was denied. So Kottarakkara Thampuran created
another art form based on Krishnanattam, called it Ramanattam because the early plays were based on the
Hindu epic Ramayana, which over time diversified beyond Ramayana and became popular as
'Kathakali'.[24]

Another related performance art is Ashtapadiyattom, a dance drama based on the Gita Govinda of the
twelfth-century poet Jayadeva, told the story of Krishna embodied as a humble cowherd, his consort
Radha, and three cow girls.[25] Kathakali also incorporates several elements from other traditional and
ritualistic art forms like Mudiyettu, Theyyam and Padayani besides folk arts such as Porattu Nadakam that
shares ideas with the Tamil Therukoothu tradition.[26][27][28] The south Indian martial art of Kalarippayattu
has also influenced Kathakali.[28][29]
Despite the links, Kathakali is different from temple-driven arts such as "Krishnanattam", Kutiyattam and
others because unlike the older arts where the dancer-actor also had to be the vocal artist, Kathakali
separated these roles allowing the dancer-actor to excel in and focus on choreography while the vocal
artists focused on delivering their lines.[24] Kathakali also expanded the performance repertoire, style and
standardized the costume making it easier for the audience to understand the various performances and new
plays.[24]

Repertoire
Kathakali is structured around plays called Attakatha (literally, "enacted story"[3]), written in Sanskritized
Malayalam.[28][30] These plays are written in a particular format that helps identify the "action" and the
"dialogue" parts of the performance.[30] The Sloka part is the metrical verse, written in third person – often
entirely in Sanskrit - describing the action part of the choreography.[3][30] The Pada part contains the
dialogue part.[30] These Attakatha texts grant considerable flexibility to the actors to improvise. Historically,
all these plays were derived from Hindu texts such as the Ramayana, the Mahabharata and the Bhagavata
Purana.[31][32]

A Kathakali repertoire is an operatic performance where an ancient story is playfully dramatized.[28]

Traditionally, a Kathakali performance is long, starting at dusk and continuing through dawn, with
interludes and breaks for the performers and audience.[3] Some plays continued over several nights, starting
at dusk every day. Modern performances are shorter. The stage with seating typically in open grounds
outside a temple, but in some places, special theatres called Kuttampalam built inside the temple
compounds have been in use.[33]

The stage is mostly bare, or with a few drama-related items.[28] One item, called a Kalivilakku (kali
meaning dance; vilakku meaning lamp), can be traced back to Kutiyattam. In both traditions, the
performance happens in the front of a huge Kalivilakku with its thick wick sunk in coconut oil, burning
with a yellow light.[33] Traditionally, before the advent of electricity, this special large lamp provided light
during the night. As the play progressed, the actor-dancers would gather around this lamp so that the
audience could see what they are expressing.[33]

The performance involves actor-dancers in the front, supported by musicians in the background stage on
right (audience's left) and with vocalists in the front of the stage (historically so they could be heard by the
audience before the age of microphone and speakers).[28][33][note 2] Typically, all roles are played by male
actor-dancers, though in modern performances, women have been welcomed into the Kathakali
tradition.[4][28]

Costumes

Of all classical Indian dances, Kathakali has the most elaborate

costuming consisting of head dresses, face masks and vividly
painted faces.[10][34][35] It typically takes several evening hours to
prepare a Kathakali troupe to get ready for a play.[36][37] Costumes
have made Kathakali's popularity extend beyond adults, with
children absorbed by the colors, makeup, lights and sounds of the
performances.[24]
Kathakali artist K.G. Vasudevan Nair
The makeup follows an accepted code, that helps the audience
easily identify the archetypal characters such as gods, goddesses,
demons, demonesses, saints, animals and characters of a story.[38] Seven basic makeup types are used in
Kathakali, namely Pachcha (green), Pazhuppu (ripe), Kathi, Kari, Thaadi, Minukku and Teppu (red).[38]
These vary with the styles and the predominant colours made from rice paste and vegetable colors that are
applied on the face.[10][39] Pachcha (green) with lips painted brilliant coral red portrays noble characters
and sages such as Krishna, Vishnu, Rama, Yudhishthira, Arjuna, Nala and philosopher-kings.[40]

Thaadi (red) is the code for someone with an evil streak such as Dushasana and Hiranyakashipu. Some
characters have a green face (representing heroic or excellence as a warrior) with red dots or lines on their
cheeks or red-coloured moustache or red-streaked beard (representing evil inner nature), while others have
a full face and beard while others have a full face and beard coloured red, the latter implying excessively
evil characters.[41] Kari (black) is the code for forest dwellers, hunters, and middle ground character.[42]
Demonesses and treacherous characters are also painted black but with streaks or patches of red.[42]

Yellow is the code for monks, mendicants, and women. Minukka (radiant, shining) with a warm yellow,
orange or saffron typifies noble, virtuous feminine characters such as Sita, Panchali and Mohini.[42] Men
who act the roles of women also add a false top knot to their left and decorate it in a style common to the
region.[42] Vella Thadi (white beard) represents a divine being, someone with virtuous inner state and
consciousness such as Hanuman.[41] Teppu is for special characters found in Hindu mythologies, such as
Garuda, Jatayu and Hamsa who act as messengers or carriers, but do not fit the other categories.[42] Face
masks and headgear is added to accentuate the inner nature of the characters. The garments colours have a
similar community accepted code of silent communication.[43]

The character types, states Zarrilli, reflect the Guṇa theory of

personalities in the ancient Samkhya school of Hindu
philosophy.[44] There are three Guṇas, according to this
philosophy, that have always been and continue to be present in all
things and beings in the world.[45] These three Guṇas are sattva
(goodness, constructive, harmonious, virtuous), rajas (passion,
aimless action, dynamic, egoistic), and tamas (darkness, destructive,
chaotic, viciousness). All of these three gunas (good, evil, active)
are present in everyone and everything, it is the proportion that is
different, according to the Hindu worldview.[45][46][47] The
interplay of these gunas defines the character of someone or
something,[45] and the costumes and face colouring in Kathakali
often combines the various colour codes to give complexity and
depth to the actor-dancers.[44][48]

Acting

Like many classical Indian arts, Kathakali is choreography as much Minukka, the feminine character
as it is acting. It is said to be one of the most difficult styles to
execute on stage, with young artists preparing for their roles for
several years before they get a chance to do it on stage. The actors speak a "sign language", where the
word part of the character's dialogue is expressed through "hand signs (mudras)", while emotions and
mood is expressed through "facial and eye" movements.[3] In parallel, vocalists in the background sing
rhythmically the play, matching the beats of the orchestra playing, thus unifying the ensemble into a
resonant oneness.[3]

Several ancient Sanskrit texts such as Natya Shastra and Hastha Lakshanadeepika discuss hand gestures or
mudras. Kathakali follows the Hastha Lakshanadeepika most closely, unlike other classical dances of
India.[3][5]
There are 24 main mudras, and numerous more minor ones in
Kathakali.[10][49] There are nine facial expressions called
Navarasas, which each actor masters through facial muscle control
during his education, in order to express the emotional state of the
character in the play.[49] The theory behind the Navarasas is
provided by classical Sanskrit texts such as Natya Shastra, but
sometimes with different names, and these are found in other
classical Indian dances as well. The nine Navarasas express nine
Bhava (emotions) in Kathakali as follows: Sringara expresses Rati
(love, pleasure, delight), Hasya expresses Hasa (comic, laugh,
mocking), Karuna expresses Shoka (pathetic, sad), Raudra
expresses Krodha (anger, fury), Vira expresses Utsaha (vigor,
enthusiasm, heroic), Bhayanaka expresses Bhaya (fear, concern,
worry), Bibhatsa expresses Jugupsa (disgust, repulsive), Adbhuta Sringara, one of the nine facial
expresses Vismaya (wondrous, marvel, curious) and Shanta expressions mentioned in
expresses Sama (peace, tranquility).[50] Natyasastra

Sequence

A Kathakali performance typically starts with artists tuning their instruments and warming up with beats,
signalling to the arriving audience that the artists are getting ready and the preparations are on. The
repertoire includes a series of performances. First comes the Thodayam and Purappadu performances,
which are preliminary 'pure' (abstract) dances that emphasize skill and pure motion.[51] Thodayam is
performed behind a curtain and without all the costumes, while Purappadu is performed without the curtain
and in full costumes.[51]

The expressive part of the performance, which constitutes the dance-drama, is split into four types:
Kalasham (major and most common), Iratti (special, used with battles-related Chempata rhythm),
Thonkaram (similar to Iratti but different music), and Nalamiratti (used for exits or link between the
chapters of the play).[51]

The entrance of characters onto the Kathakali stage can be varied. Many of these ways are not found in
other major Indian classical dance traditions. Kathakali employs several methods: 1) direct without special
effects or curtain; 2) through the audience, a method that engages the audience, led by torchbearers since
Kathakali is typically a night performance; 3) tease and suspense called nokku or thirasheela or tiranokku,
where the character is slowly revealed by the use of a curtain.[52] The "tease" method is typically used for
characters with hidden, dangerous intentions.[52]

Songs and musical instruments

The play is in the form of
verses that are metered and
lyrical, sung by vocalists
whose voice has been trained
to various melodies (ragas),
music and synchronized with
the dance-acting on the Three types of drums of Kathakali: Maddalam (left), Chenda and Idakka (right)
stage.[53] The vocalists not
only deliver the lines, but help set the context and express the inner state of the character by modulating
their voice. For example, anger is expressed by the use of sharp high voice and pleading is expressed by the
use of a sad tone.[54]

Music is central to a Kathakali performance. It sets the mood and triggers emotions resonant with the nature
of the scene.[54] It also sets the rhythm to which the actor-dancers perform the choreography and scenes.
Some major musical patterns, according to Clifford and Betty, that go with the moods and content of the
scene are: Chempada (most common and default that applies to a range of moods, in battles and fights
between good and evil, also to conclude a scene); Chempa music (depict tension, dispute, disagreement
between lovers or competing ideas); Panchari (for odious, preparatory such as sharpening a sword);
Triputa (thought-provoking, scenes involving sages and teachers); Adantha (scenes involving kings or
divine beings); Muri Adantha musical style (for comic, light-hearted, or fast-moving scenes involving
heroic or anger-driven activity).[54]

Many musical instruments are used in Kathakali. Three major drums found are Maddalam(barrel-shaped),
Chenda (cylindrical drum played with curved sticks) and Idakka (Idakka, hourglass-shaped drum with
muted and melodious notes played when female characters perform).[55]

Traditional plays
Over five hundred Kathakali plays (Aattakatha) exist, most of
which were written before the 20th century.[56] Of these, about four
dozen are most actively performed.[57] These plays are
sophisticated literary works, states Zarrilli, and only five authors
have written more than two plays.[57] The late 17th century Unnayi
Variyar, in his short life, produced four plays which are traditionally
considered the most expressive of the Kathakali playwrights. SreeRama Pattabhishekam
Typically, his four plays are performed on four nights, and they Kathakali
relate to the mythical Hindu love story of Nala and Damayanti. [57]
The Nala-Damayanti story has roots in the texts of 1st millennium
BCE and is found in the Mahabharata, but the Kathakali play version develops the characters, their inner
states, the emotions and their circumstances far more than the older texts.[57]

A tradition Kathakali play typically consists of two interconnected parts, the third-person Shlokas and first-
person Padams. The Shlokas are in Sanskrit and describe the action in the scene, while Padams are
dialogues in Malayalam (Sanskritized) for the actors to interpret and play.[3] A Padam consists of three
parts: a Pallavi (refrain), Anupallavi (subrefrain) and Charanam (foot), all of which are set to one of the
ancient Ragas (musical mode), based on the mood and context as outlined in ancient Sanskrit texts such as
the Natya Shastra.[3][58] In historic practice of a play performance, each Padam was enacted twice by the
actor while the vocalists sang the lines repeatedly as the actor-dancer played his role out.[58]

The traditional plays were long, many written to be performed all night, some such as those based on the
Ramayana and the Mahabharata written to be performed for many sequential nights. However, others such
as the Prahlada Charitham have been composed so that they can be performed within four hours.[59]
Modern productions have extracted parts of these legendary plays, to be typically performed within 3 to 4
hours.[60]

Offshoots and modern adaptations

Kathakali is still practiced in its Traditional ways and there are experimental plays based on European
classics and Shakespeare's plays. Recent productions have adapted stories from other cultures and
mythologies, such as those of Miguel de Cervantes,[61] Johann Wolfgang von Goethe and William
Shakespeare.[8][62]

Styles: Sampradayam
Kathakali has lineages or distinctive schools of play interpretation and dance performance called
Sampradayam. These developed in part because of the gurukula system of transmission from one
generation to the next.[63] By the 19th-century, many such styles were in vogue in Kerala, of which two
major styles have crystallized and survived into the modern age.[63][64]

The Kidangoor style is one of the two, that developed in Travancore, and it is strongly influenced by
Kutiyattam, while also drawing elements of Ramanattam and Kalladikkotan.[65] It is traditionally attributed
to Nalanunni, under the patronage of Utram Tirunal Maharaja (1815-1861).[65]

The Kalluvazhi style is second of the two, which developed in Palakkad (Olappamanna Mana) in central
Kerala,[66] and it is a synthesis of the older Kaplingadan and Kalladikkotan performance arts.[63][64] It is
traditionally attributed to Unniri Panikkar, in a Brahmin household (~1850), and became the dominant style
established in Kerala Kalamandalam – a school of performance arts.[63]

Training centres and awards

[67] Kathakali has traditionally been an art that has continued from
one generation to the next through a guru-disciples (gurukkula[68])
based training system.[69] Artist families tended to pick promising
talent from within their own extended families, sometimes from
outside the family, and the new budding artist typically stayed with
his guru as a student and treated like a member of the family.[69]
The guru provided both the theoretical and practical training to the
Kerala Kalamandalam is a major
student, and the disciple would accompany the guru to formal
centre for Kathakali studies.
performances.[69] In modern times, professional schools train
students of Kathakali, with some such as those in Trivandrum
Margi school emphasizing a single teacher for various courses, while others such as the Kerala
Kalamandalam school wherein students learn subjects from different teachers.[69] Kathakali schools are
now found all over India, as well as in parts of Western Europe and the United States.[69]

A typical Kathakali training centre auditions for students, examining health and physical fitness necessary
for the aerobic and active stage performance, the body flexibility, sense of rhythm and an interview to
gauge how sincere the student is in performance arts.[70] A typical course work in Kathakali emphasizes
physical conditioning and daily exercises,[71] yoga and body massage to tone the muscles and sculpt the
growing body,[72] along with studies and dance practice.[70] Per ancient Indian tradition, young students
continue to start their year by giving symbolic gifts to the guru, such as a few coins with betel leaves, while
the teacher gives the student a loincloth, a welcome and blessings.[70]
Kathakali is still hugely male-dominated, but since the 1970s, women have made entry into the art form on
a recognisable scale. The central Kerala temple town of Tripunithura has a ladies' troupe (Tripunithura
Kathakali Kendram Ladies Troupe) who perform Kathakali. The troupe won a national award, i.e. Nari
Shakti Puraskar, for their work.[73]

Awards for Kathakali artistes

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards — For artistic performances related kathakali (1992–2008)[74]
International Centre for Kathakali Award

Related dance forms

The Japanese performance arts Kabuki/Noh and Chinese performance art Peking Opera are similar in many
ways to Kathakali.

The theory and foundations of Kathakali are same as other major classical Indian dances, traceable to
Sanskrit texts such as the Natya Shastra, but the expression style in each is very different and distinctive.[4]
Kathakali is different from a similar-sounding Kathak, though both are Indian classical dance traditions of
"story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas.
Kathak is an ancient performance art that emerged in North India, with roots in traveling bards retelling
mythical and spiritual stories through dance-acting.[9][75] Kathak traditionally has included female actor-
dancers, unlike Kathakali which has traditionally been performed by an all-male troupe.[3][76] Kathak
deploys much simpler costumes, makeup and no face masks. Both dance forms employ choreography, face
and hand gestures traceable to the Natya Shastra, but Kathak generally moves around a straight leg and
torso movements, with no martial art leaps and jumps like Kathakali. Kathak uses the stage space more, and
does not typically include separate vocalists. Both deploy a host of similar traditional Indian musical
instruments.[3][77]

Kathakali-style, costume rich, musical drama are found in other cultures. For example, the Japanese Noh
能
( ) integrates masks, costumes and various props in a dance-based performance, requiring highly trained
actors and musicians. Emotions are primarily conveyed by stylized gestures while the costumes
communicate the nature of the characters in a Noh performance, as in Kathakali.[78] In both, costumed men
have traditionally performed all the roles including those of women in the play.[79] The training regimen
and initiation of the dance-actors in both cultures have many similarities.[80][81]
Kabuki, another Japanese art form, has similarities to Kathakali.[82][83] Jīngjù, a Chinese art of dance-
acting (zuo), like Kathakali presents artists with elaborate masks, costumes and colorfully painted
faces.[84][85] Balinese dance also shares similarities.

See also
Koodiyattam
Krishnanattam
Mohiniyattam
Chakyar koothu
Nangiar koothu
Garudan Thookkam
Ottan Thullal
Koothambalam
Kerala Kalamandalam
Panchavadyam
Kabuki
Peking Opera
Noh
Bugaku

Notes
1. The gender exclusivity is one of the significant differences between Kathakalī and other
classical Indian dances which either included or favored female actor-dancers.[4]
2. Modern performances with microphone and speakers sometimes position the vocalists in
the back.

References
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8239-3179-8.
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8. Daugherty, Diane (2005). "The Pendulum of Intercultural Performance: Kathakalī King Lear
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ttps://archive.org/details/kathakalidancedr0000zarr). Routledge. pp. 25 (https://archive.org/de
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u31924012568535#page/n5/mode/2up). Harvard University Press. p. 4.; Also see chapter
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13109-4.
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External links
Media related to Kathakali at Wikimedia Commons

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