Classical Dances - ENVIS Centre: Kerala

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Classical Dances
The difference between classical dancing and
folk dancing is mainly that there is a deliberate
attempt at artistry in the former.
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CLASSICAL DANCES
Classical dances are based fully or partly on the principles and
techniques embodied in the ancient Hindu scriptures and technical
text on dance and allied arts. The earliest of these known scripts is
Bharatha’s Natya Shastra believed to have been written around the
second century B.C. Most of the prevailing systems of classical dancing
governed by elaborate techniques with a high degree of refinement
have had their origin in the dances of the common people. The difference between classical
dancing and folk dancing is mainly that there is a deliberate attempt at artistry in the former.
Sophistication along the norms of the scriptures of advance theories on dance and dramaturgy
are strictly adhered to. The concept of portraying emotion, the grace of the individual dances and
the virtuosity of the isolated poses are all important in classical dances. Emphasis has been given
to different aspects of the dance, namely pure bodily movement, aids to dance like theme, song,
instrumental music, the expression of emotions, moods and sentiments, the dress, ornaments,
make up and the stage.
Koothu, Koodiyattom, Patakom, Ashtapadiyattom, Krishnanattom, Thullal,
Mohiniyattom and Kathakali are the most important classical dances.
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KOOTHU
This classical dance is performed by the members of the professional Chakyar caste and
that too only in Koothambalam of temples. It is one of the oldest of theatrical arts peculiar to
Kerala. The term koothu literally means dance which may be taken as an index of the importance
attached to dance in the original form of the art. As a matter of fact, the movements and facial
expressions and the signs and gestures employed by the actor in Koothu are said to approximate
most closely to the principles laid down in the authoritative Sanskrit treatise on the subject,
Bharatha’s Natya Sastra.
The actor recites stories from the epics (based on Sanskrit text) interpreting them in
Malayalam, enlivening his narration
with Thandava dance rhythms and
also gestures and bodily postures
which are clearly derived from Natya
Sastra.
The Koothu is very much
dominated by the comic element.
Impersonated through mime and
gesture and interspersed with
occasional dances, the narrative art
of the Chakyar is essentially
dramatic.
Humorous,
witty
analogies and allusions to topical,
political and social events are
brought in during the narration and
the dancer gets ample facilities for
criticizing men and things of local
interest. Seldom does he miss an
opportunity to make comic
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comments on contemporary life and
society. He ridicules the follies and
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foibles of the age with impunity.
In actual performance the dancer
stands on the platform of the Koothambalam
adorned with his special type of headgear and
peculiar facial make-up. He then offers prayers
to the presiding deity of the particular temple
where he is performing. After that he recites a
verse from the Sanskrit text from which he
intends to expound and then explains it in
Malayalam.
The instruments used are a pair
of cymbals and the mizhavu which is a big
copper drum. A member of the Nambiar caste
beats rhythm on the mizhavu at the required
intervals. The cymbals are played invariably
by women known as Nangiyars.
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Koothu presented as a solo item
by a Chakiyar is also known as Prabhandha
Koothu. Occasionally, it is presented by a Nangiyar woman, when it is called Nangiyar Koothu.
PATAKOM
This is another dance form similar to the Koothu in its technical content. But here the
dance element is almost given up and the narration is done through an alternating prose and
song sequences, the gestures being retained. A new literary form called Champu, which
accommodated more and more of Malayalam idiom and vocabulary was used as text for Patakom.
Literally means dissertation, Patakom is performed by Nambiyars even outside temple precincts.
The dancer has a red head-dress and on the wrist a red silk. There are garlands around the
neck and sandal paste lines across the forehead.
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KOODIYATTOM
Instead of single Chakiyar a number of performers get together and stage dance-drama.
That is why it is called Koodiyattom, literally “dancing together” (The beginning of Kerala’s
dramaturgy can be traced to this dance). Both men and women partake in this performance.
Abhinaya is the most important element in Koodiyattom. The texts are always in Sanskrit and
the performance is a prolonged affair. It may take anything from a few days to a number of
weeks.
KOODIYATTOM
All the four types of abinaya, viz. Angikarm, Vachikam, Sathvikam and Aharyam are
fully utilized in Koodiyattom.
The plays are performed only in temple precincts as votive offerings. Abhinaya or acting
is a three-fold or even four-fold process. Appropriate hand gestures and symbols are first shown
when the words of the verse are spoken in a typically modulated tone. As the music is begun, the
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meaning of the words are translated into a language of bodily postures, attitudes and facial
expressions. The third is a repetition of the first.
KOODIYATTOM
Koodiyattom is staged on the specially built temple theatre called Koothambalam. The
stage is decorated with fruit-bearing plantains and bunches of tender coconuts and festooned
with fronds of the coconut palm. A vessel overflowing with paddy is placed on the stage. Lighting
is done with a tall oil lamp made of brass. Within a railed enclosure on the stage is a large copper
drum called mizhavu with a high seat for the Nambiyar drummer. A Nagiyar woman plays the
cymbal and occasionally recites the verses. The musical element is very much suppressed in
Koodiyattom. At times special orchestral effects are introduced. The orchestra consists of an
edakka, maddalam, a conch pipe and horn.
There is facial make-up using colour schemes and patterns having symbolic value, though
strict standardization of types is absent. The make-up patterns as seen in the better known Kathakali
are borrowed from Koodiyattom.
In the actual performance, first the drum is sounded and then the Nagiyar woman recites
the invocatory verse, (Vandana slokam). After that a purificatory ritual of sprinkling holy water
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on the stage is done by the Nambiyar. Then there is an interlude of orchestra, after which the
dance ritual ceremony called Kriyachavittuka is performed by the Sutradhara. The next item is
the stapana of the particular act. The main character is introduced in the next stage called
Koothupurappadu in the background of the tense dramatic sense created by the full orchestra
fury. Nirvahana, the next part of the drama, follows. This itself consists of three phases, the
Anukrama, the Samkshepa and the Vistara respectively. Purushartha follows in which clown
(Vidushaka), caricaturing the moods, is the hero. This is a significant departure from tradition
and a remarkable feature of Koodiyattom. The drama proper now begins sluggishly and leisurely
through the long drawn out, detailed and elaborate abhinaya process.
The stage craft is simple, with hardly any stage setting. Koodiyattom is perhaps the
oldest dance-drama in existence in India.
KRISHNANATTOM
A refinement of Ashtapadiattom, evolved by Manavedan, the Zamorin was Krishnanattom.
The whole story of Krishna was cast into a drama-cycle which would need eight nights for serial
production.
Vilwamangalam, a
Krishna devotee,
helped in designing
the
costume
of
Krishna . The actors in
this dance drama have
to
conform
themselves to the
ballet element and
mimetic expression.
The narrative song is
KRISHNANATTOM
left to the musicians.
Krishnanattom was created as a votive offering and it survives in that capacity in the
temple of Guruvayoor where it is still performed. The dance drama is based on the text Krishna-
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Geetha which is in Sanskrit. Many of the
characteristics of the earlier ritual folk dances
such as Thiyyattom, Mudiyettu and Theyyam
are seen in Krishnanattom especially in the
painting of the face in intricate patterns, and
the use of masks and colourful, gorgeous
costumes and head-dresses. The make-up
costumes
and
ornaments
used
in
Krishnanattom are almost similar to that seen
in Kathakali, though in Krishnanattom some
of the characters are seen using painted masks
made of wood. The gestural language and
abhinaya are not very well developed. More
importance is given to pure dance (nritta) and
the stress is always on group movements and
group compositions. All the eight night plays
KRISHNANATTOM
are full of beautiful dances. In no other dance
could be seen so many characters performing the same dance with the same facial expressions,
eye movements, gestures, foot-work (and set to the same rhythm), with so much of co-ordination,
and grace, e.g., Mullappoothutal in Rasalila (Sree Krishna with Gopies) Kaliyamardana Nritham
etc.
Maddalam, elethalam and chengala are the musical instruments used.
RAMANATTOM
Legends have it that as an offshoot of the rivalry between the Zamorin and the Raja of
Kotarakara, the later created the Ramanattom, the dance-drama on the life of Rama. It was also
for serial enactment on eight successive days. Here facial abhinaya and hand gestures were given
more importance. The songs were all in Malayalam. In course of time the masks were discarded
and a richer variety in facial make-up was developed. It was this Ramanattom that developed
into Kathakali.
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ASHTAPADI ATTOM
This was popular dance form based on the Gita Govinda of Jayadeva. It was more of a
dramatic representation of the renowned lyrical play. Altogether there are only five characters,
Krishna, Radha and three females. This form is now almost extinct (instruments chenda,
maddalam, elathalam, chengala)
KATHAKALI
Unique among the
Indian dance forms, Kathakali
is the classical dance-drama of
Kerala. Vivid and eloquent in
its characteristics mudras
(hands signs), natural and
impressive in gesture, graceful
and rhythmic in movement,
pleasing in choreography and
above all delightful in wealth
of imagery, Kathakali ranks
high among the Indian dance
forms.
For themes Kathakali
draws upon the inexhaustible
treasure trove of the ancient
Puranas chronicling the lives,
loves and conflicts of the gods
and supermen of Indian
mythology.
Noted for its archaic
KATHAKALI
costumes, weird make-up and
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grand head gears, Kathakali is perhaps the only dance form in India in which the masculine
aspect of the dance is preserved in its elemental vigour.
Kathakali as it is known today is not more than three to four hundred years old, even
though its actual roots can be traced to at least 1500 years earlier. Kathakali marks the culmination
of a long process of evolution during which the various histrionic arts of Kerala had their birth
KATHAKALI
and development and paved the way for the eventual emergence of this composite art. Kathakali
also symbolizes a blending of the Aryan and Dravidian cultures, for in shaping its technique this
dance form assimilated various elements which is borrowed freely from the dances, dramas and
ritual performances associated with these cultures.
In reconstructing the history of Kathakali it is necessary to take into consideration
practically every type of formalized dance, drama and dance-drama that existed in Kerala prior to
the genesis of this art. Such a study should include the earliest types of stylized dance and drama
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in
Kerala
such
as
the
Chakiarkoothu and Koodiyattom,
various ritual dances associated
with the cult of Bhagavathi, such
as the Mudiyettu, Thiyyattam and
Theyyam, the socio-religious and
martial dances such as the Sastrakali
and Ezhamattukali and the latterly
evolved dance-dramas such as the
Krishnanattom and Ramanattom.
The art of Kathakali incorporates
the characteristic features of many
of these dances and dramas and it
is safe to surmise that Kathakali
evolved out of these earlier forms.
Kathakali is a complete art
constituting three fine artsAbhinaya (acting), and Nritya
(dancing) and Geetha (music). It
KATHAKALI
KATHAKALI
is pantomime in which the actors
do not speak or sing, but interpret
their emotions through highly sensitive medium of appropriate gestures, picturesque hand-poses
and vivid facial expression perfectly intelligible even to the uninitiated. Kathakali is both dramatic
and a dance art. But primarily it is the former. Histrionics or Abhinaya predominates and that
too is of a far profounder type than ordinary dramatic acting. It is not realistic art but belongs to
the imaginative type spoken of in Bharatha’s Natya Shastra.
Every feeling is idealized and expressed on the face with an intense vividness, which more
than compensates for the absence of the spoken word. And every shade of such expression on the
face is made to harmonise with the rhythm of the dance and melody of the music. Acting in
Kathakali is not merely the expression of the subjective emotions of the human heart, but also an
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objective realization of the person, scenes,
creatures and things around. It actually
involves impersonation through the medium
of art and herein consists the essential
expensiveness of Kathakali, its pictorial
splendour and its poetic sublimity.
Music is an important and
essential element in Kathakali. The orchestra
in it is composed of two vocal musician, one
keeping time with a resounding gong called
chengala and the other with a pair of
clanking cymbals called elathalam, a chenda
player and maddalam player. The chenda is
a cylindrical drum with a loud but sweet
sound while the maddalam has the
appearance of a big mridangam.
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Kathakali music has developed
into a distinctive type of singing known as
the sopana style which is of a very slow tempo. There is neither raga, ragaalapana as such nor are
there elaborations like niraval and swaral singing. Preserving the broad features of the ragas and
adhering meticulously to the talas they sing the songs in such a manner as to give the actors full
scope for abhinaya. There are two vocal musicians in Kathakali of whom the main one is known
as ponani and the minor partner as the sinkidi. The kathakali songs couched in rich poetic
diction are among the gems of Malayalam literature.
The mudras (hand gestures) used as a substitute for spoken language are as much suited,
if not more, for the purpose of dance and drama. To the accompaniment of the chenda, the
maddalam, the chengala and the elethalam the musicians sing the words of a dialogue from
behind, the meaning of which is vividly translated by the actors into the silent language of facial
expressions, bodily attitudes and poses and figurations of the hands. As these songs proceed, the
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actors mute of word but eloquent of
expression recreate the epic and bring
to life a dream world to sheer fantasy.
The actors act and dance in harmony
with the rhythm as well as with the
sense of the songs. The mudras form
and inseparable part of the nrithya and
abhinaya.
The characters in Kathakali
are all mythological and so the
question of their make-up cannot be
settled on a realistic basis. They all
have set modes of make-up and attire
and adornment and are reduced to
five main types, according to their real
character or qualities. These types are
usually known by the predominant
KATHAKALI
colour applied to the face or its
pattern. These are pacha (green),
kathi (knife), thadi (beard), kari (black) and minukku (polished).
Virtuous and noble characters are in pacha. Proud aggressive and unrighteous characters
belong to the kathi type. The bearded type known as thadi are of three varieties. The most
aggressive and demoniac are known as chuvanna thadi (red beard), mythical and fabulous beings
like the monkey-gods are known as vellathadi (white beard); aboriginals, forest-men and cavedwellers are known as karutha thadi (black beards). The lowest type of beings like the aggressor
are classed as kari (black). The gentle and spiritually inclined character (like women, sages,
Brahmins etc) come under the type known as minukku (polished).
The costume and ornamentation are elaborate and designed to heighten the superman
effects. The large overcoats, the flowing scarves, the bulging skirts, the antique ornaments, the
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strikingly opulent head dresses with streaming hair flowing down to the waist and covering the
back-all create enlarged figures well befitting the sculptured facial features and produce
tremendously impressive impersonations.
THULLAL
A solo dance exposition, the Thullal is of three types. Its origin is attributed to Kunchan
Nambiar, a veritable genius and one of the foremost poets of Kerala. Though based on classic
principles of Natya Sastra the technique of this art is not rigid. The songs, written in simple
Malayalam, frank to outspoken wit and humour, the simplicity of presentation and the direct
appeal to every day life made Thullal very popular.
The instrucments used in Thullal are the maddalam and cymbals. The cymbal player who
tunes the rhythm, also assists the actor dancer (Thullalkaaran) in singing.
In actual performance the cymbal player first sings the invocation song when the dancer
faces the orchestra and does obeisance. After that,
with his back still to the audience the dancer does
a slick flourish of step and body movements. Then
he turns to the audience and the dance proper is
begun. He first sings a verse and while the lines
are being repeated by his musical assistance, he
brings out the meaning through facial
expressions, hand gestures and bodily postures.
The roles of the raconteur and actor are
perpetually interchanged with tremendous
aesthetic efforts. In one moment he is the narrator
but in the next he completely identifies himself
with the narration.
It is to the dance that prime importance
is given in Thullal. From the beginning to the
OTTA M THULLAL
end there is dance even though it lacks much of
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variety. To compensate for the monotony,
sometimes the dancer executes some vigorous
footsteps and rhythmic movements of the
body.
Thullal is classified into three
different types. Ottan, Seethankan and Parayan
based on the difference in costume, dance and
also the metre and rhyme of the Thullal songs.
Of all Thullal dances the Ottam
Thullal is the most popular. The costume is
peculiar and impressive. A long tape of cloth
of white and red colour is hooked around a
S HE E T H A N G A N T H U L L A L
waist string to form a knee-length skirt. A chest
plate adorned with various types of coloured
beads, glass and tinsel and other ornaments is also used.
Gaudily painted wooden ornaments are worn at the wrist,
and on the shoulders. Tinkling bells are tied to the legs
just above the calf. The face is painted green, the lips are
reddened and the eyes are emphasized with black paint.
The head-dress is colorfully decorated. The meter and
rhyme of the Ottam Thullal songs are very fast, and the
dance as such has a high tempo.
In Seethankan thullal the metre and rhyme of
the Thullal songs are a bit more slow than in Ottam
Thullal and consequently dance is also slower in tempo.
The dancer uses similar skirt as in Ottam Thullal. But
the arms, wrists and head are adorned with ornaments
made of fresh tender coconut fronds. There is no facial
make-up except darkening of the eyes.
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OTTA M THULLAL
The Parayan Thullal is the slowest in tempo. Even the stance of the dancer is different
from the other two. Here the dancer almost stands erect and explains the meaning of the songs
by gestures. There is very little of the dance element or of action. The costume is also different.
A red, flowery cloth is worn around the waist. A crown of black cloth adorns the head. Necklaces
are used on the chest. The face is painted with light yellow.
MOHINIYATTOM
Mohini the temptress, is a recurring character in Hindu mythology. Attom means dance.
It is seductive dance performed by women, sensuous in its appeal. In technique Mohiniyattom
lies somewhere between kathakali and Bharathanatyam, lyrical in the extreme key-note is coquetry.
The symmetrical patterns of emotion flow in balanced nuances with smooth footwork, somewhat
quickened body movements and
special music.
Parallel
to
the
Bharatnatyam of Tamil Nadu, solo
Mohiniyattom dance is performed
only by women. The music is
classical carnatic.
As the name implies it is
the dance of the charmer. Its origin
is a matter of conjecture, but it retains
a lovely fusion of the parallel streams
of dance in the eastern and western
regions of South India. Combining
the formal grace and elegance of
Bharathanatyam, with the earthy
vigour and dynamism of Kathakali
the petalled nritha hands of the one
MOHINIYATTOM
with the wide stance of the other, the
delicate expressions of the one with
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the stylized eye movements of the other, it coordinates the instinct with charm, subtle allure
and seductive appeal. In the rendering of this
style there is enchantment, grace, delicacy and
passion.
The technical structure of Mohiniyattom
is fairly similar to that of Bharathanatyam. There
are no abrupt jerks or leaps in Mohinyattom nor
is there any inordinately hard stamping of the
foot. The gesture language of Mohiniyattom is
largely similar to that of Bharathanatyam but it
also incorporates elements from Kathakali
MOHINIYATTOM
tradition. And again, like Bharathanatyam,
Mohiniyattom too has items of nritta, pure
dance, as well as nritya, expressional dance.
Mohinyattom is mainly the Lasya
dance performed strictly according to
scriptures of Natya Shastra. The repertory
of Mohiniyattom as it is presented now
consists of Cholkettu, Varnam, Padam,
Thillana, Kaikaottikali, Kummi and
Swaram. It is well evident that the
Kaikottikali and Kummi are later additions.
Because of the special type of instruction
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associated with it, the dance presents
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