Friday, 29 July 2016

Kerala Medical Tourism

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Medical Tourism is the synergy between hospitals and the Tourism industry. The state is all set for a leap in medical tourism. More and more hospitals are joining hands with the tourism industry to benefit their services. The high priority for health in Kerala is bound to make this relatively new aspect of tourism into a multi crore industry in future.

Kerala is already being marketed as a popular health destination for its famous ayurveda health packages. Medical tourism is marketed along with ayurveda and other health packages. Major hospitals are joining hands with the Government in promoting medical tourism. Health insurance companies are beginning to play a major role in medical tourism. Globalization and economic liberalization have given a boost to the medical service sector, especially in Kerala. The medical treatment for various packages form part of recuperative leisure packages at world class tourist resorts. Airport pickup, hotel accommodation, transportation, food etc are offered along with medical treatment at the best hospitals.

Kerala Jews History Museum

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A prime destination in Muziris Heritage Project

The Jewish communities who came here in different periods settled in and around Kodungallur were involved in trade. Synagogues are Jewish places of worship. They received special rights and privileges from the kings to build these Synagogues. Innumerous aspects of Kerala culture were absorbed by them. Repeated attacks by Portuguese, Dutch and Mysore inflicted damages on the Synagogues. When Israel came into being, many Jews returned in groups. The Synagogues were left unattended, and worship there stopped.

One of the oldest such Synagogues is the Paravur Synagogue. The Paravur Jewish Synagogue Museum presents the history of Jews and their Synagogues along the Kerala coast, their modes of worship and so on from the point of view of the Jews.

The Paravur Synagogue is the most expansive and complete among synagogues in Kerala. It is a construction that has several parts that are linked to each other in specific ways. It consists of a porch with two rooms, very spacious front yard, long corridor, huge doors and stairs made of wood, whitewashed walls built with laterite blocks and a mixture of lime, and the wooden chamber with intricate carvings. The influence of Kerala style is evident in the special seats designed for females in the second floor, the hanging lamps that decorate the prayer room etc. The shape of the fan on the front wall of the prayer hall resembles Portuguese style.

Found on the erstwhile Jewish street in Paravur, this Synagogue was built in 1615. It is one among the largest surviving synagogues in Kerala. The building is located in the former Jewish Street of the Paravur region. It served as the place of worship for the Jewish community that settled very close to the Paravur Market. Though the users of the synagogue have all but faded away, both the market and the synagogue still exist. The Paravur market opening to the river Periyar still functions twice a week, a boat jetty has been constructed there, and the Jew street still goes by that name, though one of its two pillars at the entrance has been knocked down. With the opening of the Paravur visitor centre, the synagogue will be within walking distance from there.

Architectural Features

The structure of the Paravur synagogue is a brilliant confluence of Jewish tradition and 'Kerala-ness.' Notable is the direction of the 'path' that comes in from the outer lane, and which goes in through the Padippura' (A frontal structure at the entrance), and further on through the frontal aisle, right up to the Bema; also of significance is the relation that the Bema has with other areas of the synagogue. One unique feature of the synagogues in Kerala is the space exclusively accorded for women to assemble and sit; there is a special ladder from outside the structure, for women to come in. Another ladder exists inside the sanctum; it is used to come up for the torah recital done from the second Theva.

Exhibits

The museum will speak about the history of the Jews in Kerala, about how they came and settled here, their occupation, the deterioration of the community and also about the present status of the people who left from this community. The synagogue is a great study of Jewish life, the social hierarchies, native cultural influences on the immigrant Jewish community evident in the architecture.

Tuesday, 26 July 2016

St. Angelo Fort @ Kannur, Kerala

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Introduction

St. Angelo Fort is also famous as Kannur Fort or Kannur Kotta. Kannur is a city of Kerala state, South India. The fort is also known as Kannur Fort and it is one of the prominent tourist attractions of Kerala, is crafted entirely out of laterite and thus it sports an old sporadic look. The fort is an architectural epiphany, with its massive triangular design and it adjoining bastions. The protected monument is replete with a big moat which runs around the fort. This famous fort was constructed by the first Portuguese viceroy in India, Don Francesco de Almeida in the year 1505. The fort is situated just 3km west from the town of Kannur. From the fort one can run his eyes on the Moppila Bay and Dharmadom Island, which are situated near the fort. The beautiful Dharmadom Island is a small island just five acres in area and is located just 100 meters away from the coast in the Arabian Sea. The Moppila Bay is a natural fishing bay, which is until now used for the same purpose. St. Angelo's Fort, which faces the Arabian Sea, provides a mesmerizing view of the Sea during sunrise and sunset.

History

St. Angelo's Fort has an interesting historical background, as it has seen a number of rulers and invaders. This fort has also seen a number of battles almost all were fought for gaining the possession of this fort. After the construction of this fort in 1505 by Don Francesco de Almeida, it constantly remained under attacks from a number of native rulers in the Siege of Kannur in 1507. However, all their efforts were in vain, as the Fort provided its inhabitants security from any kind of attack. Later on, Almeida refused to surrender the fort to Afonso de Albuquerque who came to supersede himself as the new Governor. Almeida instead captured Afonso de Albuquerque and imprisoned him inside the Fort.

In the year 1663, the Dutch captured the Kannur Fort from the Portuguese. They modernized the fort by adding the bastions Hollandia, Zeelandia and Frieslandia which are the major features of the present structure of St Angelo's Fort. The original Portuguese Structure was pulled down later. The Dutch later on sold the fort to a native king Ali Raja of Arakkal, in the year 1772. But in 1790 the British seized the Fort, renovated it into a military base and used it as their chief military station in Malabar. Today, St. Angelo’s Fort or Kannur Fort is a protected monument under the Archaeological Survey of India, which takes care of its maintenance.

Attractions

Kannur Fort, after much renovation, remains a classic example of Portuguese architecture, though modernization throughout time makes it more of a fusion of various European architectural styles. St. Angelo's Fort has an interesting feature which is worth mentioning, when it comes to its architecture. A wall protruding from the Fort separates the saline sea water of the Arabian Sea from the inland water. The Moppila Bay is now turned into a modern fishing harbor with modern fishing equipments, which is an Indo-Norwegian Project. The adjoining bastions, which give the fort a triangular form, are a piece of architectural mastery.

How to Reach

By Road

The network of road is well set and it is ideal to visit Kannur Fort by road. However, one is advised to book a private vehicle or a taxi to visit this Fort, as this is located in interiors of Kannur.

By Rail

The nearest railway station is the Kannur Railway Station, which is located about 3 km from the Fort. One can board on a train to any major city of India.

By Air

The nearest airport to St. Angelo’s Fort is Karipur International Airport, located at Kozhikode, which is 93kms away from the fort. From here, you can take flight to almost all the major domestic and international destinations.

Thursday, 21 July 2016

Baypore in Kerala

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Beypore in Kozhikode

Beypore is located in Kozhikode at the mouth of the Chaliyar River. Historically, it has a special place as being one of the prominent ports and fishing harbours, and was also an important trade and maritime centre during the days of the early Arab and Chinese travellers and later the Europeans. Soon after gaining prominence as a port and trade centre, Beypore slowly began to flourish as a centre for shipbuilding, since ships were in great demand merchants from Western Asia. The shipbuilding yard at Beypore port is famous for its traditional construction of the Uru or the Arabian trading vessel. This tradition of shipbuilding is nearly 1,500 years old, and the craftsmanship of the workers here is exceptional.

Traditionally, Arabs constitute the major chunk of buyers. They place orders with their specifications and needs. Unlike modern day shipbuilding involving the development of blueprint and machinery to facilitate manufacturing of ships, here, at Beypore everything is conceived in the minds of the shipwrights, who as a team execute the highly intricate woodwork to perfection. It is an amazing aspect if one is to observe the manner in which the Uru takes shape with minimum sophistication in production. The entire team observes certain work ethics, of which discipline is the foremost. A visit to this historic place is a must in order to have a close look at some of the deft fingers and alert minds, measuring and fixing different parts of the ship to perfection.

Today, not many vessels are launched from Beypore and the artisans have taken to crafting little wooden models of their gigantic masterpieces. These four inch to eight foot 'Model Vessels' crafted out of teak wood would cost you anything from 2$ - to 700$.

Marine shops - You can get fresh and used marine vessel parts from this city shops. But you should be good in bargaining.

Beypore Beach

Beypore beach is an ideal beach destination for tourists as well as of historians. Located at the mouth of river Chaliyar about 10 kilometres away from Kozhikode town (Calicut) in Kerala, The charming beach is just like a treasure of peace and tranquility with its picturesque atmosphere, wide stretches of golden sands and fascinating coconut trees; swaying tenderly in the cool breeze. This beach is pristine and perfect for a quiet escapade. Take a short break from your busy life and embark on Beypore beach where you can pamper yourself eternally with Ayurvedic massages, indulge in various adventurous water sports activities, or simply strolling along the shoreline. So, relax and take part in all activities and enjoy holidaying in Beypore with full pleasure. You may also take a leisurely walk all around the beach where you may get the traditional village culture of Kerala.

Beypore – As per Wikipedia

Beypore or Beypur is an ancient port town and a Municipality town in Kozhikode district in the state of Kerala, India. The place was formerly known as Vaypura / Vadaparappanad. Tipu Sultan, ruler of Mysore, named the town "Sultan Pattanam". There is a marina and a beach while Beypore port is one of the oldest ports in Kerala, which historically traded with theMiddle East. Beypore is noted for building wooden ships, known as dhows or urus in the Malayalam language. These ships were usually bought by Arab merchants for trading and fishing but are now used as tourist ships. According to Captain Iwata, founder member of the Association of Sumerian ships in Japan, Sumerian ships might have been built in Beypore. There is evidence to prove that Beypore had direct trade links with Mesopotamia and was a prominent link on the maritime silk route.

Things to Do at Beypore Beach

Tourists from all across the world visit Beypore to enjoy water adventurous activities and to explore several beaches. Whether it's about beach lovers or adventure freaks, this place offers wonderful experience to all the visitors seeking peace, adventure activities, shopping, basking, eateries, and many more.

Water Sports- Adventure enthusiasts can indulge in various activities like surfing, parasailing, skiing, swimming, angling, kayaking, sunbathing and many more.

Shopping and Food Corners- There are some areas like Sweat Meat Street, which is known to be one of the fussiest cities to shop many things. You can taste the very popular 'Kozhikodan Halwa', which is available in many shops over here. The colourful and delicious halwa with banana chips are desirable items for visitors shopping from Kozhikode. Another spice market located on the Big Bazaar Road, is another renowned shopping areas where you can buy various varieties of Keralan spices at wholesale rates. Beside all these, there are plenty of eateries that offer huge varieties of delicacies. The seafood and traditional Malabari cuisine are too good and worth to have it once if you are here. Chilled beer is also available in many hotels & restaurants.

Other Activities- Beypore beach is not only famous for its immense beauty of nature, water sports, and sunbathing, but also for other activities like ayurvedic massage. The rejuvenating ayurveda massage is one of the major attractions, which draws thousands of visitors from different parts of the world.

Some major tourist attractions in Beypore are:

Beypore Harbour– The best time to visit here is early in the morning as you can see the fisherman busy in their own work.

Beypore Port- It's an ancient port that has a historical meaning as it was the port where trading was started between Asia and the Middle East and later on known as a major maritime and trade centre.

Beypore lighthouse - Beypore port had the trade links with Europe, Arabia and the ports on Indian coast. It was also the base port for Laccadive group of Islands (Androth, Agatti, Kavaratti, Suhelipar and Kalpeni) and continues even now to be the base for Machine Cum Sailing vessels of Lakshadweep. Thelighthouse used as a navigation object for sea vessels.

Traditional boat(Urus)-building yard - A part in the mouth of Beypore river, a road terminus, traditional boat(Urus)-building yard, old port, fishing harbour.

Dolphin's Point - Just 15 minutes away from the town centre is Dolphin's Point, where you can view dolphins playing in the sea early morning. But you have to walk from main road terminus aroun 2Kms. But I guarantee this will be a memorable one. Stone laid down into sea around 2 kms long. You can call it a stone pier. At this point, you can also explore a Lions Club, Calicut Town Center, and a lighthouse.

Kozhikode (Calicut) Town - Kozhikode was earlier the major region of Malabar but today it has become an interesting location for tourists as the place has the tranquil beaches, lush green countryside, wildlife sanctuaries, historic sites, rivers, hills, and an unparalleled culture along with friendly ambience..

Kozhikode (Calicut) Beach Mananchira - It's an architectural grandeur shrouded with green grass and encircled by ethnic edifices.

Kappad Beach :-

For the people of Kozhikode, this pleasant stretch of rock-studded beach is ‘Kappakkadavu’. To the tourist it is one of the most charming of Kerala's beaches. “Kappad” finds mention in history and geography texts as the gateway to the Malabar Coast. Here, 501 years ago on 27th May 1498, 170 men led by the Portuguese navigator Vasco da Gama (1460-1524) sailed in and stepped into Kerala to create a new chapter in history; the story of a long and tumultuous socio-political relationship between India and Europe.

Other must-see attractions in and around Beypore include Muchunthi Palli, The Art Gallery of Kozhikode, The Krishna Menon Museum, Pazhassi Raja Museum and Art Gallery, Thusharagiri waterfalls, Mananchira Square, etc.

Things to Learn

Learn the traditional hand weaving technique which is world renowned. TASARA -an Institution dedicated to creative weaving, is situated In Beypore. Founded in 1989, Tasara (weaver's shuttle in Sanskrit) is an extension of Spider Weavers, which was established in 1977. The Centre endeavors to deliver a contemporary touch to this age old form of art, by bringing together artists and weavers in an inspiring ambience, enabling both to break through the limitations of their own mediums. Check their official website for more detail

Where to Stay

There are huge accommodation options at Beypore ranging from luxury to budget hotels that offer all kinds of facilities like massage, yoga, ayurvedic therapies, etc.

Few popular hotels located nearby Beypore are:

· Sea Queen Hotel

· Kadavu Resorts

· Fortune Hotel Calicut

· TAJ Residency

· Hotel Maharani

· Hotel Span Calicut

· Asma Tower Hote

How to Reach

By Air – The nearest airport is Karipur International airport. Calicut airport (23 km) is also nearby from Beypore.

By Rail- The nearest railway station is at Kozhikode, which is well connected to all the major cities of India.

By Road- State transport buses are available on regular basis between Beypore and all the major neighboring cities in Kerala. Well, it's is just 11 km from Calicut by road.

Best Time to Visit- October to March

So, come on guys! Plan next trip to Beypore Beach and choose the best offers available on Kerala holiday packages at Trips – Any Time Any Where. Travel to Beypore and explore the natural beauty of the place. Roll around, make sand castles and take one selfie with your friends or family members on the sea-kissed sands of Beypore beach.

Tuesday, 19 July 2016

Kathakali - The pride of Kerala

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Introduction

The dancer on the stage, in front of the drummers, wears a large carved wooden head dress for this performance of Kathakali, one of India's most recognizable male-led dance-dramas. His eyes are wide and red, the contours of his face extended with a mask of moulded rice paper. His painted green face tells the audience he is their Sathwika, their hero. It is part-dance and part-mime, Kathakali originated in the state of Kerala between the 16th and 17th centuries, around the same time as Shakespeare. Kathakali means a story play or a dance drama. Katha means story. Belonging to the South-Western coastal state of Kerala, Kathakali is primarily a dance drama form and is extremely colourful with billowing costumes, flowing scarves, ornaments and crowns.

Origin and History of Kathakali

Popular belief is that Kathakali is emerged from "Krishananattam", the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanaattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Raamanaattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

Elements of Fine Arts in Kathakali

Kathakali is a combination of five forms of fine art like:

1. Natyam (Acting or Expressions)

2. Nritham (Dance)

3. Nrithyam (Enactment)

4. Sangeetham (Music)

5. Vadyam (Instrument accompaniment)

Even though the lyrics/literature would qualify as another independent element called "Sahithyam", it is considered as a component of Geetha, as it plays only a supplementary role to Nritham, Nrithyam and Natyam. Along with Fine Arts elements, the macro and micro movements of the face, the movements of the eyebrows, the eyeballs, the cheeks, the nose and the chin are minutely worked out and various emotions are registered in a flash by a Kathakali actor-dancer. Often men play the female roles, though of late women have taken to Kathakali.

Mudra

The most striking feature of Kathakali is its overwhelming dramatic quality. But its characters never speak. It is danced to the musical compositions, involving dialogues, narration and continuity. It employs the lexicon of a highly developed hand-gesture language to convey the story along with the facial expressions and unfolds the text of the drama. These hand gestures, known as mudra, are common throughout much of classical Indian dance.

There are 24 Basic Mudras (hand gestures) in Kathakali. There are ‘Asamyutha Mudras’ (that is shown using single hand) and ‘Samyutha Mudras’ (mudras shown in double hands) in each Basic Mudras, to show different symbols. Considering all these Mudras and their separations there are totally 470 symbols used in Kathakali. The demonstration of “elephant” for example, that used one hand in the “musti” shape as the end of the trunk. This was moved around to very convincingly show the elephant eating, spitting on the audience, etc. The actors’ other hand, in the “hamsapaksham” shape was the elephant’s ears that waved around in different ways to show the elephant’s emotions (happy, angry, etc).

Along with the facial expressions, the mudras express 9 emotions (“rasas”), which are: serenity, wonder, kindness, love, valor, fear, contempt, loathing and anger. We saw a demonstration of all 9, and the meanings were very clear. The audience would know the 24 mudras and the veshams of all the characters and so could decipher the meaning as the story play proceeded.

There are two types of Mudras:

Samaana Mudras (Same Mudras):- That is, the same Mudra is used to show two different symbols. For example the Mudra "Karthareemukham" is used to show both the symbols 'Time' and 'Near'
Misra Mudras (Mixed Mudras): That is, some symbols are shown using two different Mudras in both hands. There are 68 Mixed Mudras. For example to show the symbol "Indra", the Mudra "Sikharam" in one hand and the Mudra "Mushti" in the other hand; for 'Sivan' the Mudras used are "Mrigaseersham" and "Hamsapaksham"; etc

Navarasas in Kathakali

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicized 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),

· Albhutam (wonder, amazement),

· Shantam (tranquility, peace).

Kathakali Plays

The world of Kathakali is peopled by noble heroes and demons locked in battle, with truth winning over untruth, good over evil. The stories from the two epics, the Mahabharata and the Ramayana, as well as the Puranas constitute the themes of the Kathakali dance dramas. There are about 101 Kathakali stories. The stories were composed for the whole night in the old times. But due to the increasing demand for the concised versions, now the plays are composed for 2-4 hours instead of the whole night. It is good for one who watches Kathakali to have an idea of the story being played. Success or failure of amateur Kathakali artistes is often decided by their sensibility to successfully personalize characters.

Important stories enacted in Kathakali are 'Nala Charitham' (Story from Mahabharatham about King Nala and his wife Damayanthi), 'Duryodhana Vadham' (Another story from Mahabharata about the killing of Duryodhana by the Pandava brother Bhima in Kurukshetra), 'Kalyanasowgandhikam' (Bheema's encounter with Hanuman when the former set out in search for the flower Kalyanasaugandhikam for his wife Draupadi), 'Keechaka Vadham'(Story of the killing of Keechaka by Bhima when the Panadavas were in disguise), 'Kiratham' (Story of Arjuna and Lord Shiva's fight), and 'Karna Shapadham' (story of Karna from Mahabharata).

Characters in Kathakali

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. In practice there are also subtle adjustments of line weight and shape as the patterns are mapped onto the individual‘s facial features. Colors hold symbolic meaning, as do many of the features. This visual language informs the audience of each character‘s nature. The importance of makeup and costume is indicated in the level of transformation from performer to character; several sources report that once a performer is in makeup and costume, he is no longer addressed by his own name.

Pachcha

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

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. Minukkuvesham symbolizes gentleness and high spiritual qualities (like saints), which are in sharp contrast to the preceding four classes.

Thadi

There are three distinct types in the class of thadi vesham viz. chuvanna thadi (red beard as in the case of the character Bali - the king of monkeys) vella thadi (white beard) and karutha thadi(black beard). The red beards are vicious and excessively evil characters. Their faces are mainly painted black on the top half and red on the lower. The white beard represents a higher type of being and is seen mainly in the character of Hanuman, the monkey god. The black beards are the character types in which black predominates in make-up and costume. These are the primitive beings - the wild hunters and forest dwellers.

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

These basic divisions are further subdivided in a way which is very well known to Malayali (Keralite) audiences. Each character is instantly recognizable by their characteristic makeup and costume.

The materials that comprise the makeup are all locally available. The white is made from rice flour; the red is made from Vermilion (a red earth such as cinnabar). The black is made from soot. The colours are not merely decoration, but are also a means of portraying characters. For instance, red on the feet is used to symbolise evil character and evil intent.

Costume

Kathakali characters‘ costumes have the same basic silhouette and components. Most characters, both male and female, wear huge hemispherical layered skirts (usually white with border stripes), one or more layered jackets (most commonly red), and a series of ornate accessories. 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. Minukkuvesham symbolizes gentleness and high spiritual qualities (like saints), which are in sharp contrast to the preceding four classes. KARI 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 characterized with yellow facial paint. MINUKKU apart from these five main classes there are eighteen special characters like Jatayu, Hamsamand Karkotaka whose make-up cannot be fitted into any particular category. 40 These include four items on each arm, bells and pads on the lower legs, a carved breastplate and cascade of gold necklaces, and two or more waist ornaments of fabric, beads, and carved, decorated wood. Further layers include between two and six lengths of pleated fabric at the neck and ornate contrasting side panels from waist to them. All performers have some form of headdress—relatively simple for minukku, but extravagantly ornamented for gods and demons.

There are variations in color, headdress, and some accessories for different characters and some types. In scale, the most demonic characters have the most volume, while human characters are closer to realistic size of dress. All costumes feature bright colors, and strong contrasts, which helps them be more visible in the traditionally limited lighting of nighttime performances. Also, the exaggeration in the costumes‘ designs supports the dramatic storytelling, the forms, colors, and accessories for each character are standard, so that each presentation of the character is visually recognizable. The similarity is clear to new audiences; it takes time and experience to learn the various subtle differences between characters. Kathakali aficionados delight in reviewing the subtleties of movement, expression, and personality of accomplished performers. Whether traditionally crafted or contemporary in construction, Kathakali costumes are incredibly effective in bringing attention to those attributes. From the basic similarities in shape, color, and ornament of all costumes to the intricacies of makeup, headdress, and details of specific characters, all visual choices are effective in supporting the performance. They bring attention to the actor‘s eyes and facial expressions; they emphasize movements of body, hands, and feet, and they reinforce percussive sounds of the dance. It‘s a beautiful marriage of form and function.

Music

The pure dance element in Kathakali is limited to kalasams, decorative dance movements alternating with an expressional passage where the actor impersonates a character, miming to the liberetto sung by the musician. One of the major distinguishing features of Kathakali is the absence of oral communication. A considerable part of the script is in the form of lyrics, sung by vocalists. The only accompaniments are percussion instruments. Chenda(Drum played with sticks) Maddalam(Drum played with fingers), Chengila(Gong) and Ilathalam(Cymbals). It is not unusual that a Kathakali performance take the form of a Jugalbandi (Duet) of singing and acting.

Drumming especially of Chenda is the salient feature of Kathakali. Formerly considered an “Asura Vadyam” meaning one that cannot go in harmony, Chena has become the most important feature. Artists are capable of producing a range of sounds varying from the gentle rattle of dry leaves in a breeze to reverberating thunder on Chenda. The music of Kathakali has some similarity to the larger body of South Indian classical music (Carnatic sangeet); however the instrumentation is decidedly different.

Make-up

In Kathakali, the make-up creates the superhuman effect. It takes nearly three to four hours to complete the make-up which is done in stages, and the duration varies according to the character and complexity of the costume.

Theppu is the first stage where the artiste himself applies the basic facial paintings. After this the Chuttikkaran (make-up man) puts the Chutti which forms the second stage of make-up. The Chutti plays a crucial role in differentiating the characters and their personality.

All the colours used in the make-up are obtained from natural substances and herbs. For example, the red and yellow colours are made by powdering stones like Chaayilyam(Cinnabar) and Manayola (Arsenic) respectively. A mixture of lime and rice flour serves for white. The green colour is produced by mixing Manayola and Neelam (bluetaken out fron neelamari plant/indigo). Coconut oil is used as the base for mixing these stone powders. Another stone, Chenchilyam is powdered and applied in order to protect the skin from burns. Kanmashi or Kajal (the black substance) is prepared by burning gingelly oil. Cotton wicks immersed in oil is burnt and the smoke of the flame is collected on the inside surface of an earthen pot kept upside down over the flame. The lamp black deposited on the surface is scratched out slowly and kept for uses. Face painting- Chutti 58 Kumkumam or saffron is also used for the make-up. However, now-a-days many of these colour mixing processes have been replaced by easily available material.

Structure of the Performance

In olden days Kathakali performance mostly took place on temple premises or at the house of a local landlord. For a typical performance, a simple temporary pandal (canopy made of thatched roof) will be erected. The stage will be decorated with coconut leaves, bunches of areca nuts etc. The only source of light is a big bell metal lamp placed down the center stage. The level of the stage used to be the same as that of the ground where people used to squat while witnessing the performance.

Conclusion

Is Kathakali classical? If we look at our benchmarks to see if it is classical, it only scores modestly. It is definitely old, but this is one of the least important of the criteria. It is not necessarily something that upper classes use to define their identity, indeed the opposite is probably true. Its most glaring deficiency is seen in its inability to transcend its attachments to the Keralite community. The average Indian (non-Malayali) has only a vague knowledge that it exists, and will live their entire life without ever even seeing a Kathakali performance. Therefore from a sociological standpoint it is probably more correct to call Kathakali "traditional" instead of classical.

Kathakali Schools in Kerala

It was originally taught in old live-in boarding schools, under the strict mentorship of a teacher, or ashan.

· 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)

There also several relatively new centers:

· Vella Kathakali Vidyalayam

· Kalabharathi Kathakali Vidyalayam

· FACT Kathakali School

· RLV Kathakali Vidyalayam

· Margi, located in Tiruvanantapuram

Detailed Study on Kathakali

http://14.139.111.26/jspui/bitstream/1/219/1/Kathakali%20Costume%20Study%20and%20Analysis.pdf