Kathakali

Kathakali 

Kathakali is a traditional dance-drama from the Indian state of Kerala, which was an originated in almost 1500 years ago. Kathakali said to have evolved from other art forms like Kutiyattam, Krishnanattam and Kalaripayattu.  Kathakali has its, Men traditionally played all roles, but women train and perform in some contemporary troupes. The epic stories come from the Ramayana, Mahabharata, and Bhagavata Purana. Characters are mostly superhuman archetypes: gods, demons, and humans, plus a few animals. Kathakali can be performed in temple grounds as well as in private and public areas, and there is implicit understanding that Kathakali, like its forerunners, reinforces moral codes and glorifies the gods through dramatic representation.

PRESENTATION SEQUENCE

Kathakali has seven items to act upon. They are:

1 .Todayam (basic dance)

2. Purappadu (debut of the main character)

3. Tiranokku (curtain look by evil characters or demons)

       4 .Kummi (preamble for the female character’s appearance)

5. Kathakali (the main play)

6. Kalaasam (passage of hyped dance as hyphen between two pieces of verse play)

7. Samaapanam (concluding benediction dance)

PURAPPAADU

This is preliminary dance on the stage by the main character. For Purappadu the curtain is held by the stretched up hands in maximum height. The atmosphere is surcharged with high pitch music. Sound of quick and heavy foot-steps from behind the curtain pierces through the atmosphere. At this time a colour-canopy appears over the curtain, when an extra ordinary noise is heard. Drums beat becomes at top vigour. Fingers of the character (left hand fingers covered with long thimbles) rise in the centre of the curtain. The hands hold the curtain on top end and fingers glide across. No singing at this moment, but the drum beat crosses tolerable limit.

Now is the turn of anti-hero. He shakes the curtain violently. The audience chances upon the upper portion of the headgear of the hero. Anti-hero draws the curtain towards him and surge forward. The face of the hero character is now exposed on the stage.

TIRANOKKU

The anti-hero drops the curtain and the hero is exposed in full view. At this stage the curtain is pulled off from the stage. This procedure is known as Tirano’kku.

KUMMI

This is preamble of female characters appearance. In Kummi (a sort of dance) the movements and gestures are not rigid. Gentleness and mildness with slow paces are Kummi’s specialties.

KATHAKALI

The main play, dance-drama, with full glory is staged.

KALAASAM

Kalaaasam is pure Thaandava style dance. It embodies two scenes and two verses.

CHARACTERS

Characters in Kathakali are divided by emotional capacity and defined by corresponding makeup types. They are grouped first by a few broadly differentiated types (satvik = heroic, pious, and virtuous, rajasik= passionate, heroic but aggressive, and tamasik =demonic, rude, evil). These broad character groups are then divided into seven types which share colors and styles of makeup (paccha/green, katti/knife, thadi/ bearded, kari/black, minukku/shining, and theppu/ special). Within each group there are variations for different characters and situations, but the primary pattern, color scheme, and headdress usually remain constant.

PACHA-The pacha vesham with its predominant green colour is used to portray noble male characters like kings and divine beings. These characters have a mix of satvic (pious) and rajsik (kingly) nature. The satvic element facilitates immense possibility for the artiste to explicate his acting talents. Characters like Lord Krishna and Lord Rama are examples of pacha vesham.

KATHI-Kathi characters are arrogant and evil but have a streak of valour in them. Though their make-up is basically green, denoting that they are high born, a red mark like an upturned moustache or knife is painted on the cheek to show that they are evil. They also have white knobs on the tips of their noses and on their foreheads, which add to their evil nature. Ravana, the demon king is a typical kathi character in Kathakali.

TAADI-Taadi or beard is created for both the characters – godly and demonic. For character-wise differentiation there are three colours of Taadi – white, red and black. For Taadi make-ups there shall be no white Chuttis.

WHITE TAADI-White Taadi make-up is for characters like Hanuman (monkey god) and the like. This make-up consists of white beard and a fur coat. Black ointment is applied on lips and upper half of the face. A white rosette with a red dot within is made in the middle of the chin and lower part of the lip and up-to the chin is red coloured.

Thin decorative coating of Chutti covers the black end portion of the face and meets the Chuttinata (hem of head dress). A white pattern is developed from green painted base of the nose to lead to either side of the cheeks by encircling the red spots. Two oval shaped red spots – one each on forehead and nose tip – complete the White Taadi.

RED TAADI-Red Taadi make-up is for mild evil characters like Sugriva, Baali etc. In this make-up the face is coloured red, while chin, lips and around the eyes black lines are drawn. Lips coloured black. To add ferocious look to the fiery red eyes, two bristled white rows are drawn from the upper lip to the black lines around the eyes. This separates the black portion from the red portion of the face. On the forehead and nose tip Chuttipuvus (flower-like white knobs) in larger size than for any other characters are also shown.

BLACK TAADI-Black Taadi is for the characters like Kaali, Kaattalan (hunter), robber chieftains, brigands etc. This make-up is with black beard and black coat. The face is coloured black. White lines in oval shape are drawn around the eyes with red colour in between the lines. White bristles are placed on the ridges, while lips are coloured red. Nose tip bears a Chuttipuvu of normal size.

Kari-Kari vesham is used for demonic characters, portraying the most gruesome figures on the Kathakali stage. Their faces are jet-black with dotted red and white markings on them. 

MINUKKU -It is used to represent women and sages. Traditionally,kathakali being a predominantly male performance,the female character are also performed by men. This vesham is used to represent gentleness and high spiritual standing and is charectorised with yellow facial paint.

INSTRUMENTS & MUSIC -A ‘Kathakali’ performance includes various instruments that encompass three major drums namely ‘Itaykka’, ‘Centa’ and ‘Maddalam’. Music plays a significant role in this form of classical art creating variations of tones setting and corresponding to the mood of a particular scene. Clifford and Betty elucidate some of the important musical arrangements typifying and going in line with the mood of the scene. These include ‘Cempata’ that is used in different sequences like during combat between good and evil and while concluding a scene; ‘Atanta’ during scenes consisting of divine and virtuous characters; ‘Muri Atanta’ during heroic, comic and light-hearted acts; ‘Triputa’ in scenes involving teachers and sages; ‘Pancari’ during repugnant scenes; and ‘Campa’ during scenes portraying clash, argument, tension and discord between lovers.

The voice artists also contribute significantly in the entire act with not only delivering the relevant lines but also setting the mood and context of the scene by modulating their voice to express the temperament of the character. In case of expressing anger the artist would deliver the lines in clear and sharp high tone while in case of a plea the artist applies a more delicate and exhausted ton

NAVRASAM

Navrasam - Facial Expressions are important in Kathakai dance, there are total nine main facial expressions and they are used to convey various emotions through a variety of facial expressions and had gestures. The nine emotions are Sringara (amour/love), Hasyam (comic), Karunam (pathetic), Raudram (furious/anger), Viram (heroic), Bhayanakam (terrible), Bibhatsam (odious),Adbhutham (wonder) and Santam (tranquility/peace). Here are nine images represnets expressions

MUDRA-Mudra is a stylised sign language used to depict an idea, a situation or a state of being. A Kathakali actor enacts his ideas through mudras. For this the actor follows a systematic sign language based on Hastalakshana Deepika, a treatise on the language of hand gestures. There are 24 main mudras and numerous lesser mudras. Each mudra can be classified into samaana-mudras(one mudra symbolizing two entities) or misra-mudras (mudras requiring the use of both the hands). The mudras are a form of sign language used to tell the story

Kathakali-Training-From its inception, Kathakali artists and training schools (kaligoyams) were supported by royal patrons who often contributed artistically. In the late nineteenth and early twentieth centuries, the traditional system of patronage collapsed as royal families lost much of their wealth and status, and as Western cultural influences eroded respect for Indian artistic traditions. In 1922, the poet Vallotol began an initiative to restore Kathakali by introducing ticketed performances and an institutionalized training center, the Kalamandalam. The most popular Kathakali artists have obtained their training from one the four oldest training centers, which follow the traditional "gurukula" style:

Students of Kathakali have to undergo rigorous training replete with oil massages and separate exercises for eyes, lips, cheeks, mouth and neck. Abhinaya or expression is of prime importance as is nritya or dance and geetham or singing.

Training centers for Kathakali

·         Kerala Kalamandalam (located in Cheruthuruthy, near Shoranur, Kerala)

·         PSV Natya Sanghom (located in Kottakal, near Kozhikode, Kerala)

·         Gandhi Seva Sadan Kathakali and Classic Arts Academy (located in Perur, near Palakkad, Kerala)

·         Unnayi Varier Smaraka Kalanilayam (located in Iringalakuda, near Thrissur, Kerala)

REFERENCE

1. Chaithra.K.V, 2015 Kathakali Costume Study And Analysis (project). National Institute Of Fashion Technology,80p.

2. http://www.karmakerala.com/guide/kathakali.html

3. https://www.behance.net/gallery/25971147/NAVARASA-Facial-Expressions-in-Kathakali-Drama-Dance

4. http://www.dsource.in/gallery/characters-kerala-dances