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KathakaliMohiniyattamTheyyamMartial Arts


	Kathakali ("story play") is the classical dance drama of Kerala, which dates back to 17th century and is rooted in Hindu mythology. Kathakali has a unique combination of literature, music, painting, acting and dance. Kathakali draws heavily from drama and is performed with elaborate masks and costumes. Kathakali recitals are generally long and while other dance forms are more emotive than narrative, Kathakali is both. It combines dance with dialogue to bring myth and legend to life in the temple courtyards of Kerala. The dancers use their stunning costumes and make-up, with the accompaniment of drums and vocalists, to create various moods and emotions.


	Kathakali has a harmonious combination of Sahithyam (literature), Sangeetham (music), Chithram (painting), Natyam (acting) and Nrithyam (dance). All the five forms of art have a very important place in this combination. Its literature is narrative, poetic and dramatic. Costumes are of vivid colours, facial makeup is done by the artist himself and a distinct headgear made of wood is worn during the play.


			The make-up colours and names denote nature of the characters. The Aharya (Make-up) has many faces like Pacha / Green (Symbolizes godly or virtuous character), Kathi / Knife (portrays villainous characters), Thadi / Beard (based on the colour of Beard depicts demoniac, aborigines, saints characters), Minukku / Prettying up (Women character) and Kari / Black (she-demons). The make-up is complicated, requiring several hours to apply. Dancers place a chilli seed under their lower eyelid before the performance to turn the white of their eyes red. During the drama the dancers do not speak, but the hand movements known as 'Mudras' and unique facial expressions all imbibe to a sign language. All the drama and dance are accompanied by powerful vocal music. Drummers provide a rhythmic background to the drama. Kathakali performances usually begin with a musical note called Thiranottam. The dance extravaganza lasts all through night to dawn.

There are 24 Basic Mudras (hand gestures) in the "Hasthalakshana Deepika", the book of hand gestures, which Kathakali follows. 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.

1. Pathaaka (Flag) 2. Mudraakhyam 3. Katakam (Golden Bangle) 4. Mushti (Fist) 5. Kartharee Mukham (Scissor's sharp point) 6. Sukathundam (Parrot's peek) 7. Kapidhakam (The fruit of a tree) 8. Hamsa Paksham (Swan's wing) 9. Sikharam (Peak) 10. Hamsaasyam (Swan's peek) 11. Anjali (Folded hands in Salutation) 12. Ardhachandram (Half moon) 13. Mukuram (Mirror) 14. Bhramaram (Beetle) 15. Soochimukham (Needle's sharp point) 16. Pallavam (Sprout) 17. Thripathaaka (Flag with three colours) 18. Mrigaseersham (Deer's head) 19. Sarpasirassu (Serpent's head) 20. Vardhamanakam (Seedling) 21. Araalam (Curved) 22. Oornanabham (Spider) 23. Mukulam (Bud) 24. Katakaamukham.

It was one of the Rajas (Chieftain) of Kottarakkara, who wrote the first play intended for Kathakali performance. They form a cycle of eight stories based on Ramayana. The performance for each story was designed to last for six to eight hours. The performed stories were then known as Ramanattom (play pertaining to Rama), which later came to be called as Kathakali. Stories based on other epics and puranas like Mahabharata and Bhagavata Purana were added to its repertoire in later period

The term Mohiniyattam comes from the words "Mohini" meaning a woman who enchants onlookers and "yattam" meaning graceful and sensuous body movements. The word "Mohiniyattam" literally means, "dance of the enchantress". This classical solo dance form combines the graceful elegance of Bharatanatyam with the vigour and dynamism of Kathakali, to create a mood that is predominantly sringara (erotic). The performer uses the eyes in a very coy yet sensual manner, the purpose being to enchant the mind without enticing the senses.

The dance involves the swaying of broad hips and the gentle movements of erect torso from side to side. This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala.

The traditional costume worn in Mohiniyattam is white saree embroidered with bright golden brocade (known as kasavu) at the edges and gold ornaments are worn. The unique coiffure with hair gathered on the left side of the head and adorned with jasmine flowers reflect it's aesthetic appeal, making it distinct from the other dance forms of India.

The legends in India links the name of Mohini to that of God Vishnu who had assumed the beautiful form of Mohini to entice Demon Bhasmasura and finally destroyed him. It is said that the demon had a boon, which granted him immortality and the power to turn into ash anyone whom he touches with his right index finger. Mohini danced and made Bhasmasura also dance with her and suddenly for a moment placed her index finger on her head. Bhasmasura too followed without thinking and thus came his end. There is a common belief that perhaps the dance form got its names from this episode.

This episode seems to be picturesquely represented in the first item of the Mohiniyattam called 'Colkkettu' which begins with a pose of the dancer showing her right hand, the murder of Bhasmasura with her index finger pointing to her own head.


	The accompaniments for Mohiniyattam are Vocal, Veena, Venu, Maddalam and Idakka. Occasionally other instruments are also used.

Theyyam also known as Kaliyattam, is popular in North Kerala or the erstwhile Kolathunadu. Theyyam is a ritualistic dance with its rare and grotesque make-up and costume, lively footwork, gymnastic fervor and ritualistic vitality. Theyyam represents a glorious period of folk life in Kerala and the souls of the dead heroes of the land and the gods and goddesses are supposed to come in our midst through the medium of the possessed dancers and converse with us on matters of even contemporary significance. It is the worship of spirits by invoking them to the mortal body of the dancer who impersonates them and gives blessing to the believers.

One of the salient features of Theyyaattam is that the dancers are men in feminine attire wearing colourful costumes and ferocious masks.

The typical waist dress is made out of splices of bamboos or coconut or palm leaves and covered by red cloth. Above the waist dress, the naked body and face is painted with different native colours that differ from Theyyam to Theyyam.


	The headgear or Mutis are made out of bamboo splices and wooden planks that are covered with coloured cloth, flowers and coconut leaves. In new Mutis, peacock feathers are also used. Some of the headgears go up to 50 or 60 feet high. Silver and gold is also used in the decoration of Bhagavathi Theyyam.

The female deities wear ornaments and a wooden breast called mularu. All male and female Theyyams wear bangles called Katakam and Chutakam and small anklets on the feet. In the case of Bhagavathis in Roudra mood, (fearful appearance) torches are appended to the waist and the crown produces a terrible appearance.

The pace of the dance is set to the beating of Chenda (drum). The artiste invested by the goddess in his person falls in a trance, dances deliriously to the mounting tempo and conveys, as an oracle, the goddess's acceptance of the vow and blessings or otherwise.

Theyyam incorporates dance, mime and music and enshrines the rudiments of ancient tribal cultures which attached great importance to the worship of heroes and the spirits of ancestors. 'Thudangal' (the beginning) and 'Thottam' (the invocation) are the introductory rituals of the Theyyam or the Thira, as it is known in south Malabar.


	Kalaripayattu or Kalari, the martial art form of Kerala is regarded as the mother of all martial arts and also is the oldest and most scientific in the world. The inherent beauty of this art form lies in the harmonious synergy of art, science and medicine. Kalaripayattu incorporates strikes, kicks, grappling, and weaponary, as well as healing techniques. Malabar is considered to be the home of Kalaripayattu. Kalari literally means - a parade place for military exercises. It is used to mean both military training center and a place for acquisition of knowledge. 'Kalari' also means an assembly or a business place or a temple where the family deity presides.

The principles of Kalari education stipulate that training in martial art begins with an oil massage of the body, which goes on until the body is agile and supple. The training is mainly divided into four parts consisting of Meithari, Kolthari, Ankathari and Verumkai. Meithari is the beginning stage with rigorous body sequences involving twists, stances and complex jumps and turns. The next stage is the introduction to fight with long wooden weapons (Kolthari). The student then proceeds to Ankathari (literally "war training") starting with metal weapons, which require superior concentration due to their lethal nature. Only after achieving mastery with all weapons is the practitioner taught to defend his/her person with bare-handed techniques. These include arm locks, grappling, and strikes to the Pressure Points (Marmam), the vital points of the body. Person who has learnt Marmams can disable or kill their opponents by a mere touch in a Marmam (vulnerable parts of the human body).

'Kalari Marma Chikitsa', a developed system of medicine, practiced in all Kalaris has earned wide popularity and is considered to be a branch of Ayurveda.

Kalaripayattu has strongly influenced the evolution of several of Kerala's theatre and dance forms, most prominently Kathakali and Theyyam. Kalari practice gives any dancer, female or male, proper grounding for developing skill and flexibility of the body.

One of the peculiarities of the concept of movement in the Kalari system is that it is conceived as a kind of expression of an inner urge or 'bhava'. The term 'Sarirabhava' generally used in Kalari rightly emphasises this point and it has great relevance to Indian concept of acting. The four components of Kalari are angika, aharyya, vachika and satvika; though the practice of 'Sarirabhava' teaches the rudimentary lessons of the combination of angika and satvika.


			In former days, for training in Kalaripayattu, the trainees used to wear a particular dress or clothing called the �Katcha', which is a long strip of cloth. Wearing the Katcha during practice session provides tautness to the hips and the abdomen and enhances the agility of movements and leaps.