Kathakali is a famous dance from the State of Kerala in India. It is literally a story play depicted in the dance form.

1. The convergence of Dance, Music, Theatre and Visual Art

7. HISTORY
Kathakali (Malayalam: കഥകളി,
kathakaḷi; Sanskrit: कथाके ळ िः, kathākaḷiḥ) is a stylized
classical Indian dance-drama noted for the attractive
make-up of characters, elaborate costumes, detailed
gestures and well-defined body movements presented in
tune with the anchor playback music and complementary
percussion. It originated in the country's present day state
of Kerala during the 17th century and has developed over
the years with improved looks, refined gestures and added
themes besides more ornate singing and precise
drumming.

8. Kathakali Dance
Kerala Historically, as
far back as the 3rd
century BC, Egyptians,
Phoenicians, Chinese
and Babylonians had
trade relation with
Kerala.

10. Mural painted kathakali on Kerala saree

12. A close-up of Kathakali artist

14. Kathakali stage

15. PERFORMANCE
Traditionally, a Kathakali performance is usually conducted during the night and ends in
early morning. Currently, it isn't difficult to see performances as short as three hours or
fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance;
vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally,
this lamp used to provide sole light when the plays used to be performed inside temples,
palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors is
accompanied by music (geetha) and instruments (vadya). The percussion instruments
used are chenda maddalam (both of which underwent revolutionary changes in their
aesthetics with the contributions of Kalamandalam Krishnankutty
Poduval and Kalamandalam Appukutty Poduval and, at times, edakka.In addition, the
singers (the lead singer is called "ponnani" and his follower is called "singidi")
use chengila (gong made of bell metal, which can be struck with a wooden stick)
and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to
conduct the Vadyam and Geetha components, just as a conductor uses his wand in
western classical music. A distinguishing characteristic of this art form is that the actors
never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue
except in case of a couple of rare characters.

16. AS A STAGE PERFORMANCE IN
THE MODERN DAY
Kathakali, as it is performed today, is just
more than four centuries old. In the
modern times, it is no longer restricted
to temples, palaces and religious
festivals, but is often presented in
theaters and at special events as
entertainment, and is performed far
more frequently than the older forms of
dance drama to which it is related.

18. KALARIPAYATTU
It is a martial art originated in 13th Century in Kerala. It is considered to be one of the
oldest fighting form in existence. Kalaripayattu includes strikes, kicks, grappling, preset
forms, weaponry and healing methods.

19. ELABORATE MAKE-UP
One of the most interesting aspects of Kathakali is its elaborate make-up code.
Most often, the make-up can be classified into five basic sets namely Pachcha,
Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the
predominant colours that are applied on the face. Pachcha (meaning green) has
green as the dominant colour and is used to portray noble male characters who are
said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness)
nature. Rakshas characters having an evil streak ("tamasic"= evil) -- all the same
they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed
with streaks of red in a green-painted face.
Excessively evil characters such as demons (totally tamasic) require to have a
predominantly red make-up and a red beard. They are called Red Beard (Red
Beard).Tamasic characters such as uncivilized hunters and woodsmen are
represented with a predominantly black make-up base and a black beard and are
called black beard (meaning black beard). Women and ascetics have lustrous,
yellowish faces and this semi-realistic category forms the fifth class. In addition,
there are modifications of the five basic sets described above such as Vella Thadi
(white beard) used to depict Hanuman and Pazhuppu, which is majorly used for
Lord Shiva and Balabhadra.

22. Kathakali performer applying make-up

27. Kathakali Female Character from Keechaka
Vadham

28. Keechakavadam performed by the artists

29. A drummer playing for the Kathakali
performance

30. Drummer plying Madhalam for the Kathakali
performance

31. MUSIC
The language of the songs used for Kathakali
is Manipravalam. Though most of the songs are set
in ragas based on the microtone-heavy Carnatic
music, yet there is a distinct style of plain-note
rendition, which is called as the Sopanam style. This
typically Kerala style of rendition takes its roots from
the temple songs which used to be sung (continues
even now at several temples) at the time when
Kathakali was born.

32. ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from
regimented training based on Kalaripayattu , the ancient martial art of Kerala, to
prepare for his demanding role. The training can often last for 8–10 years, and is
intensive. In Kathakali, the story is enacted purely by the movements of the hands
(called mudras or hand gestures) and by facial expressions (rasas) and bodily
movements. The expressions are derived from Natyashastra (the book that deals with
the science of expressions) and are classified into nine as in most Indian classical art
forms. In order learn control of their eye movements, dancers also undergo special
practice sessions.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in
anglicised form) (literal translation: The nine Tastes, stand for nine feelings or
expressions) which are termed as:
•Sringaram (amour)
• Hasyam(ridicule, humour)
• Bhayanakam (fear)
• Karunam(pathos)
• Roudram (anger, wrath)
• Veeram (valour)
• Beebhatsam (disgust)
•Adbhutam (wonder, amazement)
• Shantam (tranquility, peace).

34. A Kathakali performer

35. AATTAKATHA
Aattakatha is a literary genre in Malayalam language comprising of the text used for the
Indian classical dance drama kathakali. The word aatta-katha literally means "story for
dancing and acting"(atu "to dance" + kathā "story"). The narrative framework
of aattakatha consists quatrains in Sanskrit metres dialogue part, however, is made up
of where the diction also is heavily Sanskritised; the padas, which can be set
to raga (tune) and tala (rhythm) and have to be rendered by means of gestures and
body movements by the actors while being sung by musicians from behind. The origins
of aattakatha literature dates back to the 12th century and it emerged as a literary
genre in the 17th century.
The earliest of the aattakathas is believed to be a cycle of eight Ramayanastories
(collectively known as Ramanattam), composed by Kottarakkara Tampuran and about
whose date there is an ongoing controversy. Next in importance are the works of
Kottayathu Tampuran belonging to the middle of the seventeenth century. Since the
four aattakathas he wrote Bakavadham,
Kalyanasaugandhikam, Kirmeeravadham and Kalakeyavadham meticulously conform to
the strict rules of kathakali, they are particularly favoured by orthodox artistes and their
patrons. Another poet of this category is Irayimman Thampi (1783-1863).Unnayi
Variyar’s Nalacharitham Aattakatha is one of the most famous works in this genre.

36. RAVANA KATHAKALI

37. KATHAKALI POTRAYAL IN FILMS
Kathakali also finds portrayal in Malayalam feature films
likeVanaprastham, Parinayam, Marattam, and Rangam,
Besides documentary films have also been shot on Kathakali
artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan
Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty
Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

41. Ms. Dayamani Surya holds Master’s Degree in the English Literature from Osmania
University, Hyderabad, Post Graduate Certificate in Teaching of English from CIEFL, Post
Graduate Diploma in Teaching of English from CIEFL, Bachelor’s degree in Science and
Bachelor’s degree in Education.
She holds online professional certifications:
•Project Management
•Human Resource Management
•Financial Accounting
• Management and Accounting
• Business Process Outsourcing
•Advance Learning Certificate in English Literature Analysis from Ireland.
As a Research Associate in the District Centre for English Scheme, Department of Training
and Development, The English and Foreign Languages University, Hyderabad since 1 May
2007, her work focuses on administration, curriculum development and teaching in the
International Training Programme for Foreign Students at the University.
At the personal level, she works online as a mentor, helps the scholars in their project work,
compilation of articles and papers, contributes to the publication of articles and journals.
She is interested in writing diaries, blogs , biographies and short stories. Her areas of
interest are Humanities, Art and photos, Indian Heritage and Culture, World History,
Fashion designing, Multimedia and Journalism.

42. REFERENCES
1. Wikipedia
2. “Aattakatha “ Public Relations
Department Kerala, Govt. of Kerala
Retrieved May 24, 2013
3. The confluence of dance, music, art and
visual theatre by Saveen Varma
www.slideshare.net