Ottan Thullal

Among the classical performing arts of Kerala, Thullal is distinct for its simplicity of presentation, wit and humour. It follows the classical principles of Natyasasthra (a treatise on art compiled in the 2nd century B.C). Ottanthullal is the most popular among its three varieties. The other two are Seethankan and Parayan Thullal. Thullal is a solo performance combining dance and recitation. Staged during temple festivals, the performer explicates the verses through expressive gestures. Themes are based on mythological stories. Humour, satire and social criticism are the hallmarks of this art form. The Thullal dancer is accompanied by a singer who repeats the verses. The orchestra consists of the Mridangam or the Thoppi Maddalam and a pair of cymbals.

Thullal was introduced in the 18th century by the famous Malayalam poet Kunchan Nambiar (1705 - 1770). A satirist, he is the man who brought literary wit and humour within the ken of common man. His innovative satiric art form Ottanthullal reflected his deep sense of social responsibility. Witticism and anecdotes from the life of this genius have become part of the lores and legends of the State.

There is an interesting story about the origin of the Thullal. Nambiar, who used to play the Mizhavu, (a percussion instrument) during Koothu performances, was once caught napping during a performance and the annoyed Koothu player sent him off the stage. To get his own back, the insulted young man created the new art form overnight and presented it himself the next evening. The audience were thrilled. However this story has been debated by scholar ever since, who believe that it is impractical to create a new art form Thullal overnight.

The Costume: The make up, though simple, is very much akin to that of Kathakali. The actor wears a long tape of white and red coloured clothes looped around the waist-string to form a knee-long skirt. The chest-piece is adorned by various coloured beads, glass and tinsel, and other ornaments. The face is painted green, the lips, red and the eyes emphasised with black paint. The headgear is colourful and richly decorated

Mohiniyattam :

Literally meaning the dance of the celestial enchantress, this sensual dance form of Kerela, contains elements of Bharathanatyam as well as the classical and folk dances of Kerela. Mohiniyattam is usually performed as a solo dance and is very lyrical in its rendering.

Slow, graceful, swaying movements of the body and limbs and highly emotive eye and hand gestures are unique to this dance form. The simple, elegant gold-filigreed dress, in pure white or ivory, is akin to the traditional attire of the women of Kerala. The origin of Mohiniyattom is rooted in Hindu mythology. Once the ocean of milk was churned by the gods and demons to extract the elixir of life and immortality. The demons made away with this divine brew.

Lord Vishnu came to the rescue of the panicky gods and assumed the female form of an amorous celestial dame Mohini. Captivating the demons with her charms, Mohini stole the elixir from them and restored it to the gods. This dance was adopted by the Devadasi or temple dancers, hence also the name 'Dasiattam' which was very popular during the Chera reign from 9th to 12th century.

Kathakali :

Kathakali

Kathakali literally meaning 'story-dance' is the dance-drama of Malabar which is now culturally and politically known as Kerala’s soul. Kathakali traced its origin to the ritualistic (tantric) period of the Vedic Age and connected its growth from the popular, folk dance dramas. The early Malabari danced in the forests: His dance was a power- a mixture of his passions, erotic pleasures and inner talks with the beauteous Nature, and his natural and graceful movements, elaborate gestures, picturesque costumes, grand harmonic make-up suggested by herbal plants of the forests and the vigorous and triumphant music emerging out of the crude instruments manufactured by him.

Origin of Kathakali

It was believed that Kathakali was conceived from Krishnanaattam, the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of Kottarakkara who was attracted by the tone of the Krishnanaattam requested the Zamorin for the loan of a troupe of performers on the eve of some festive occasion. Due to internal feuds and political rivalry between them, the Zamorin refused to send the performers and insulted with the remarks: ”It is useless to depute the troupe, because Kottarakkara Thespian’s court would be neither able to appreciate nor understand anything of the highly artistic Krishnanaattam and the high standard of the performance".
Here the political rivalry between the two chieftains leads to the art rivalry. So Kottarakkara Thampuran initiated a parallel mode of entertainment, which he called Raamanaattam which was later transformed into Aattakatha, and yet later into Kathakali while Krishnanaattam based on the story of Lord Krishna's activities, Raamanaattam described the complete story of Lord Raman. Krishnanaattam was written in Sanskrit, "the language of the Gods". Raamanaattam was in Malayalam, the language of the people. By the end of the seventeenth century, the finished product of Raamanaattam was placed before the world under the tittle Kathakali.
The costume of Kathakali has been much influenced by Chaakkyaar koothu and Koodiyattam the two older forms of dramatic representations in vogue in Kerala. The history of their origins dates back to the period of Perumals i.e. much earlier to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting) and the use of Mudras (hand poses) and gestures were bodily adopted in Kathakali from them in addition to its borrowing and refinement of facial make-up and costume. The use of colour, costume, and make-up present a unique show and create an unearthly atmosphere. Kathakali became more attractive and popular than the Chaakkyaar koothu and Koodiyattam. Moreover ,its performance was not restricted to the precincts of the temples. Kathakali had a golden period between 1665 AD and 1743 AD.

Remarkable contributions were also made by Kaartika Thirunal, the king of Travancore, to Kerala's literature, art and dance. His efforts were also directed to popularising Kathakali among the people. He instituted a tradition of arranging Kathakali performances at various festivals and on the Navaratri night.


The Art of Kathakali

Kathakali employs the four abhinayas, viz Sattvika, expression of thoughts by the efforts of the mind (Bhaava and Rasa). Aangika, conveyance of ideas by the movements of the various parts of the body (gestures).,Vaacika, spoken words, singing, shrieking, etc., and Aharya, the dress and deportment.

As in earlier dramatic forms, Raamanaattam players also sang the padas. But for the vigorous Kathakali, demanding tremendous physical exertion, singing by the actors was exacting and tiring. A change in the practice was conceived by Prince Vettathu Thampuran, who introduced a few fundamental innovations. He provided seperate singers and introduced the chenda, a percussion instrument, to announce a performance and give background sound effect. This drum's powerful and penetrating sound heightened the acting of supernatural characters appearing on the stage in hideous and fantastic make-ups. The religio-theatrical reforms brought Raamanaattam performances outside the temples for the enjoyment of all sections of the community. Masks were replaced by make-up; Mudras were accentuated, a variety of percussion instruments and characteristic costumes were introduced; singers and musicians formed an independent part of a show.
Symbols of the hand have played an important role in the art of Kathakali. With the help of Mudras, the hand poses are called in Sanskrit, a whole literary expression is reduced to elementary notions. There are sixty-four basic hand poses which connote five hundred words, while the alphabet of the eyes express emotions. Their permutations can be employed to convey any number of meanings requiring any detailed explanation in the modern concept of story-telling.
In the art of Kathakali, all emotional qualities, and psychic conditions acquire remarkable outward manifestation and mukhabhinaya (facial mime) is cunningly, sometimes lightly employed. While the Kathakali use elaborate similes and hyperboles, and fingers permute into mudras to represent words of comparison such as like, as if and same as, the eye-balls roll evanescently to tell the miracles. The face becomes the open drama in which the story is drawn in successive shades and touches of lineament.
According to the theme, a Kathakali song suggests the use of a particular Bhaava and Rasa (aesthetic delights) and the dance and mimicry are rendered most effectively in harmony with these aesthetic appeals. The powerful music heightens the moods of the actor and adds life to acting. He dances to the melodies of the song and executes the various passages with well- defined Padaghats (foot work). It provides scope for the amplification of an emotion and the abridgement of the climax of a story. The powerful footwork trembles the earth below and cuts short the final action.
As Kathakali is a story-play, interpreting a drisya kaavya, its various contrasting characters are presented. There are good and bad characters, demons and gods, wordly and unwordly role-types according to their castes, quality and nature. Each group is distinguished from the other by specific make-ups.