Kathakali is a highly stylised 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 southern state of Kerala during the 16th century AD, approximately between 1555 and 1605, and has been updated over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
History
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 and Krishna.
It was Kottarakara Thampuran (1555-1605) (ruler of the south Kerala province of Kottarakkara) who composed several plays on the Ramayana, which led to the evolution of Kathakali. Today, Ramanattam is extinct, but its storyplays continue to be a part of Kathakali.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called Manipravalam), has also helped the literature of Kathakali sound more transparent for the average audience. The characters with painted faces and elaborate costumes besides advanced choreography (primarily developed Kaplingad Narayanan Namboodiri - 1739-1789) to re-enact stories -- largely from the Hindu epics. Kathakali has traditionally been performed in temples and palaces, but over the past century it also finds venues in post-harvest paddy fields and, since the last few decades, in proscenium stages of public halls/auditoria and even in pagentry shows (in bits) of late.
Etymology
The name Kathakali derives from the Malayalam words "katha" (meaning: religious story) and "kali" (meaning: play or performance)
Elements of fine art
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)
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
Kathakali plays
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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"It didn't matter that the story had begun, because Kathakali discovered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don't deceive you with thrills and trick endings."
- The God of Small Things by Arundhati Roy[1] |
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The most popular stories enacted are Nalacharitam (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai.Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage.
Music
The language of the songs used for Kathakali is Manipravalam. Even though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
Like its acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an over-arching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Gangadharan, Ramankutty Varrier, Madambi Subramanian Namboodiri, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Venmani Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalanilayam Rajeevan, Kalamandalam Vinod and Kalamandalam Hareesh. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, the late Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinanthan.
Most music is traditionally formed in groups of up to 14 people. But usually the songs are composed with over 20 people.
Performance
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or even lesser. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of the late Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use "chengila" (gong made of bell metal, which can be struck with a wooden stick) and "ilathaalam" (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
Acting
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8-10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras -- the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
A performer applying makeup
A Kathakali performer as Krishna.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (kingly) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Chuvanna Thaadi (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called Kari/Karutha Thaadi (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
In fact the "chundanga" is not really a seed and is prepared by removing the ovaries at the base of the flowers of this plant. The procedure used for preparing these seeds involves the rubbing of a bunch of these in your palm until they become black (starting from a white color) and nearly dehydrated. They often last long enough for a season (of around four months) in this condition.
