KATHAKALI: The Most Scientifically Refined and Imaginatively Defined Dance Drama of Kerala

The literal meaning of "Kathakali" (katha = story; kali = dance or performance) is story-performance by vocally and artistically acting to define stories from epics and mythologies. The performer elaborate the stories through mime, hand gesture, and eye movements in conjunction with highly complicated foot-steps. The dance is enriched with symbolic and stylish expressions based on an ancient science by name "Natyasasthra".

The origin and the refinement of this traditional dance was believed to be occurred in 13th to 15th centuries during the period when ‘Malayalam’ (try to read the word backwards!!!), the mother tongue of Kerala began to diverge from ‘Sanskrit’ and ‘Tamil’. The very first story telling dance format is introduced by the great Kottarakara Raja Raja Varma Thamburan by the name ‘Rama Charitham". Immediately followed by his first master-piece he introduced another well received story by name; ‘Bhagavatham’. Within the next two centuries, several other master-pieces from his contemporaries such as ‘Nalacharitham’ from Unnayi Warrier, ‘Utharaswayamvaram’ from Irayimman Thampi, ‘Duryodhana vadham’ from Moosad truly flourished the field of Kathakali.

In ancient times, Kathakali was performed only in Hindu temples and in houses of county celebrities. It is also unique that the only lighting on stages during the Kathakali performances is a brass made huge lamp. It is also very important to realize that the actor in modern times never sings on the stage. The actors will only act. The musicians in the background do the singing part whenever it is needed. A few musical instruments were used in the background to play with the musicians. The typical instruments include ‘Chenda’ a cylindrical drum, ‘Madhalam’ another type of drum that produces a softer and relaxed sound along with ‘Chengila’, a large bronze cymbal. The actor performs his foot-steps on a coarse mat on an elevated stage with an area of approximately 144 square feet.

The actual schedule of ‘Kathakali’ is as follows. At about 6 P.M. the announcement about that night’s program will come. This procedure is called ‘Kelikottu’. The announcement will be thundered with Chenda, Madhalam, Chengila and Elathalam. The actual functions usually start at about 10 P.M. by the opening announcement called ‘Arangukeli’. A program abstract will then be announced by junior artists. This part is named as ‘Thudayam’. As part of the opening ceremony ‘Vandhanaslokam’ (opening prayer) will be performed. Immediately after that, the main actors will be introduced to audience. This part of the program is called ‘Purappad’. Just before the actual performance a little piece of ‘Mellappadam’, a musical extravaganza by vocalists (using Elathalam) and drummers alone will be aired. Then comes the ‘Kathakali’ dance that keeps on going until dawn. The end of the performance is marked by a pure dance called ‘Dhanasi’.

In order for one to truly grasp the hidden meanings of the actor’s expressions, hand gestures and foot steps they should be able to read out certain fundamental lessons of expressions. These lessons are parts of ancient 64 ‘Kalakal’ (science of arts) called ‘Natyasasthram’. Various Natyasasthras include ‘Agnika’ meaning pertaining to the limbs and body, ‘Vachika’ meaning related to proper pronunciation and percussion, ‘Sathvika’ representing physical conditions, and ‘Aharya’ related to costume and make-up.

Among which ‘Sathvika’ and ‘Aharya’ are very significant and pivotal to understand this art. ‘Sathvia’ or ‘Sathvikabhav’ deals with various facial and bodily expressions and foot-steps that the actor uses to deliver the message that he intends to convey. The emotions are categorized into ‘Rasabhinaya’ and corresponding ‘Sathyabhav’. They are as follows:

Rasabhinaya                                                                  Sathyabhavu

Srigaram (erotic or in love)                                                   Rati (love)

Hasya (humor)                                                                   Hasa (laughter)

Karuna (kindness, tragic)                                                   Soka (sorrow)

Rudra (angry)                                                                   Krodha (furious)

Veera (brave)                                                                   Visaha (energy)

Bhayangara (horrible)                                                           Bhayam (fear)

Adbhutham (surprise)                                                            Vismayam (astonishment)

Similarly the ‘’Aharyabav’ is also crucial to understand the significance behind various painting they apply on their faces or on the head masks.

‘Pacha’ (green) meaning heroic or divine, ‘Kathi’ (knife) meaning heroic but arrogant; ‘Thadi’ (beard) meaning evil, ‘White’ meaning admirer, ‘Black’ meaning hunter, ‘Kari’ (thick black) meaning demon, ‘Munnuku’ (shining) meaning it is actress but not demoness, ‘Teppu’ (special make-up) birds or fearful character.

The performers usually dress up themselves. However, in few instances special framing of faces will be done by specially trained personnel. One of Kerala's ever memorable poets 'Vallathol Narayana Menon’ revolutionized this art after he witnessed its decline. He built one of all time famous institutions near Thrissur, by the name ‘Kerala Kalamandalam’. Kerla Kalmandalam is popular than ever at present time by attracting thousands of foreigners to receive rigorous training on site. There are several international institutions around the world too working hard for providing the best available lessons to devotees of this art.

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