Kerala owes its transnational fame to this nearly 300 years old classical dance form which combines facets of ballet, opera, masque and the pantomime. More »
A Christian art form of Kerala.
Evolved at the turn of the 16th Century AD during the Portuguese colonization and bears definite traces of the European Christian Miracle Play.
In this musical drama, the actors wear Greco-Roman costumes and even the stage props bear several foreign influences.
In the past, the Chavittunatakom was performed on open stages, though sometimes the interior of a church was also a venue.
The language is a colloquial mix of Tamil and Malayalam.
A dance form essential to the wedding entertainment and festivities of the Malabar Muslims.
Maidens and young female relatives sing and dance around the bride, clapping their hands.
The songs of Mappilappattu, are first sung by the leader and are repeated by the chorus.
The themes are often teasing comments and innuendoes about the bride's anticipated nuptial bliss.
Oppana is often presented as a stage item today.
A spectacle for both the scholar and the simple rustic. The visual effect is enhanced by varied and colourful facial make-up with larger-than-life-masks, made of light wood and cloth padding, for certain characters.
The sinuous dance of the enchantress, this is a distinctive classical dance form of Kerala. Slow, graceful, swaying movements of the body and limbs and highly emotive eye and hand gestures are unique to this dance form. More »
Kakkarissi natakom is a satirical dance-drama based on the puranic legends of Lord Siva and his consort Parvati when they assumed human forms as Kakkalan and Kakkathi - a nomadic tribe of fortune tellers.
The legend only serves as a skeletal framework for the play, which often turns into a subtle critique of contemporary society.
The language is a blend of Tamil and Malayalam. The chief characters are Kakkalan, Kakkathi, Vetan, Velichappadu, Thampuraan and the ubiquitous Jester.
The Dholak, Ganchira,Chenda and the Harmoniumprovide the background score.
Thiruvathirakali is a dance performed by women, in order to attain everlasting marital bliss, on Thiruvathira day in the Malayalam month of Dhanu (December- January).
The dance is a celebration of marital fidelity and the female energy, for this is what brought Kamadeva (the god of love) back to life after he was reduced to ashes by the ire of Lord Siva.
The sinuous movements executed by a group of dancers around a nilavilakku, embody 'lasya' or the amorous charm and grace of the feminine.
The dance follows a circular, pirouetting pattern accompanied by clapping of the hands and singing. Today, Thiruvathirakali has become a popular dance form for all seasons.
A folk art mainly of the agrarian classes, Kolkkali is a highly rhythmic dhey never miss a beat.
In Malabar, Kolkkali is more popular among Muslim men.
Thullal is a solo performance combining the dance and recitation of stories in verse. Staged during temple festivals, the performer explicates the verses through expressive gestures.
The themes are based on mythology. This satiric art form was introduced in the18th century by the renowned poet Kunchan Nambiar .
Humour, satire and social criticism are the hallmarks of Thullal. The make up, though simple, is very much akin to that of Kathakali.
The Thullal dancer is supported by a singer who repeats the verses and is accompanied by an orchestra of mridangam or thoppi maddalam (percussions) and cymbals.
There are three related forms of Thullal - Ottanthullal , Seethankanthullal and Parayanthullal - of which the first is the most popular. The three are distinguished by the costumes worn and the metre of the verses.
Thullal is usually performed in the premises of temples during festivals and provides for thought and entertainment to the thousands of people who gather at these events.
Kootiyattam literally means "acting together". This is the earliest classical dramatic art form of Kerala. Based on Sage Bharatha's 'Natyasasthra' who lived in the second century, Kootiyattam evolved in the 9th century AD.
Kootiyattam is enacted inside the temple theatre, there are two or more characters onstage at the same time, with the Chakkiars providing the male cast and the Nangiars playing the female roles. The Nangiars beat the cymbals and recite verses in Sanskrit, while in the background Nambiars play the Mizhavu, a large copper drum.
Vidushaka or the wise man, a figure parallel to the Fool in Shakespearean plays, enacts his role with the liberty to criticise anyone without fear. The costume of the jester sets him apart from the rest. The Kootiyattam performance lasts for several days ranging from 6 to 20 days. Themes are based on mythology.
The Koodal Manickyam temple at Irinjalakkuda and the Vadakkumnatha temple at Thrissur are the main centres where Kootiyattam is still performed annually. Ammannoor Madhava Chakkiar is an unrivalled maestro of this rare art.
Duffmuttu is also known as Aravanamuttu. It is a group performance popular among the Muslims of Malabar. Duffmuttu is staged as a social event during festivals and nuptial ceremonies.
The artistes beat on a quaint round percussion instrument called the Duffu, the leader of the group sings the lead, while the others form the chorus and move in circles. The songs are often tributes to martyrs, heroes and saints.
Duffmuttu can be performed at any time of the day and has no fixed time limit.