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:

1. 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'
2. 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