Home » DESTINATIONS » KATHAKALI: The Enigmatic Dance Drama of Kerala’s Cultural Heritage
Kathakali is a classical dance-drama form that originated in the southern Indian state of Kerala. It has a long and rich history dating back several centuries. The word “Kathakali” is derived from two Malayalam words – “Katha,” meaning story, and “Kali,” meaning performance or play. Thus, Kathakali literally means “story-play.” Kathakali is a traditional dance-drama form from the Indian state of Kerala that combines elements of dance, music, and acting to portray stories from Hindu mythology. The musical component of Kathakali includes various types of songs, called “Kathakali Krithis,” which are sung by the performers during the performance. These songs are usually in the Malayalam language and follow classical Carnatic music ragas and talas.
Historical Origins:
The origins of Kathakali can be traced back to the traditional performing arts of Kerala, including Krishnanattam and Ramanattam, which were temple-based dance forms. These temple arts were developed in the 17th century under the patronage of the rulers of the Kingdom of Travancore (present-day southern Kerala).
Evolution of Kathakali:
Kathakali evolved as a distinct art form by combining elements of the pre-existing temple arts with the local folk traditions, ritualistic and martial arts, and classical dance forms like Bharatanatyam and Koodiyattam. Over time, it absorbed various other influences, including the classical music system of Carnatic music, making it a complete theatrical experience.
Characteristics of Kathakali:
Kathakali is characterized by its elaborate makeup, costumes, facial expressions, hand gestures (mudras), and body movements. The performers wear heavy and colorful costumes, including huge headgear and elaborate facial makeup. The facial expressions, known as “Navarasas,” are an essential aspect of Kathakali, allowing the artist to convey various emotions effectively.
Performance and Themes:
Kathakali performances are usually based on stories from Hindu epics like the Ramayana, the Mahabharata, and other ancient texts and myths. The repertoire also includes stories from the Puranas (ancient Hindu scriptures) and other traditional folklore. These performances are usually enacted in the evenings and continue through the night until the early hours of the morning.
Training and Technique:
The training in Kathakali is rigorous and demands years of practice and dedication. Traditionally, it was performed exclusively by male artists, but in recent times, female artists have also started practicing this art form. The training includes learning the intricate footwork, hand gestures, eye movements, and body postures. It also involves training in vocal music, percussion, and acting.
Preservation and Recognition:
Kathakali faced challenges to its survival over the years, but it has been preserved and promoted by various cultural organizations and institutions. It gained international recognition as a significant art form representing India’s cultural heritage. Today, Kathakali is performed not only in Kerala but also in various cultural events and festivals across India and around the world.
Kathakali continues to enchant audiences with its unique blend of dance, music, and theater, and it remains an integral part of Kerala’s cultural identity and heritage.
KATHAKALI AND KERALA KALAMANDALAM
Kerala Kalamandalam is a prestigious institution located in the village of Cheruthuruthy in Thrissur district, Kerala, India. It is one of the most renowned centers for learning and promoting traditional art forms of Kerala, particularly Kathakali, Mohiniyattam, Koodiyattam, Thullal, and various forms of classical music.
History and Establishment:
Kerala Kalamandalam was founded in 1930 by the renowned Malayalam poet Vallathol Narayana Menon along with his close friend Manakkulam Mukunda Raja. They aimed to preserve and promote the traditional art forms of Kerala, which were facing challenges during that time due to changing socio-cultural trends. Vallathol Narayana Menon believed that preserving these art forms was crucial to conserving the essence of Kerala’s cultural heritage.
Preservation of Traditional Arts:
Kerala Kalamandalam focuses on the rigorous training and education of students in various traditional art forms. The institution provides a Gurukula system of education, where the students live on the campus, closely interacting with their gurus (teachers), and immerse themselves fully in the art form they are learning.
Courses and Training:
The institution offers comprehensive courses in Kathakali, Mohiniyattam, Koodiyattam, Thullal, and various musical instruments used in these art forms. The training involves learning the intricate techniques of the art, including body movements, facial expressions, mudras (hand gestures), and the traditional music and rhythm patterns associated with each art form.
Performances and Festivals:
Kerala Kalamandalam regularly organizes performances, festivals, and cultural events that showcase the talents of its students and renowned artists. These events attract art enthusiasts, scholars, and tourists from across the globe, contributing to the promotion and preservation of Kerala’s traditional arts.
Recognition and Legacy:
Over the years, Kerala Kalamandalam has produced numerous eminent artists who have made significant contributions to the field of traditional arts, both nationally and internationally. Many of its alumni have received prestigious awards and recognition for their artistry.
Government Patronage:
Kerala Kalamandalam has received substantial support and patronage from the government of Kerala and the central government of India. The institution is recognized as a Deemed University for Art and Culture by the University Grants Commission (UGC).
In conclusion, Kerala Kalamandalam plays a vital role in safeguarding and nurturing the traditional art forms of Kerala, ensuring that they continue to thrive and remain an integral part of the state’s cultural heritage. It stands as a symbol of Kerala’s rich artistic traditions and is a testament to the enduring legacy of its founders’ vision.
POPULAR KRITHIS IN KATHAKALI PLAY
KALYANA SOUKANDHIKAM
This song describes the meeting between Lord Hanuman and Sita in the Ramayana, where Hanuman gives her Lord Rama’s ring.
“Kalyana Sougandhikam” is a popular Kathakali play that portrays an episode from the ancient Indian epic, the Ramayana. The story revolves around Lord Hanuman’s encounter with a flower called Sougandhika (also spelled as Sougandhikam), which plays a significant role in the narrative.
Summary of “Kalyana Sougandhikam” in Kathakali:
Introduction:
The play begins with an invocation (Vandana) seeking the blessings of the gods for a successful performance. The actors make their entrance and take their positions on the stage, and the performance begins.
Setting the Scene:
The story is set during Lord Rama’s exile period in the Dandakaranya forest. Lord Hanuman, the devoted monkey warrior and devotee of Lord Rama, is wandering in the forest with the purpose of finding Sita, Lord Rama’s abducted wife.
Hanuman’s Journey:
As Hanuman continues his search, he comes across a beautiful flower garden belonging to a demoness named Surpanakha. In the garden, he sees a captivating flower known as Sougandhika. Hanuman decides to pluck the flower for Lord Rama, as he believes it will be a perfect offering to please his beloved Lord.
The Misunderstanding:
Surpanakha, the demoness, enters the scene and sees Hanuman plucking the Sougandhika flower from her garden. She becomes furious and confronts Hanuman, accusing him of trespassing and stealing her precious flower.
Hanuman’s Wit:
Hanuman tries to explain to Surpanakha that he meant no harm and that he intended to offer the flower to Lord Rama. He reasons with her and praises the beauty of the flower, hoping to calm her anger.
The Fight:
Despite Hanuman’s attempts to pacify her, Surpanakha becomes even more enraged and attacks Hanuman. A fierce battle ensues between them, showcasing the intricate and dynamic movements of Kathakali’s fight sequences.
Hanuman’s Victory:
In the end, Hanuman defeats Surpanakha and emerges victorious. He then proceeds to pluck the Sougandhika flower and prepares to continue his quest for Sita.
Conclusion:
The performance concludes with a Thodayam (concluding piece) and a Mangalam (auspicious prayer), expressing gratitude to the audience and the gods.
“Kalyana Sougandhikam” is a well-loved Kathakali play that captures the essence of devotion, valor, and loyalty of Lord Hanuman towards Lord Rama. The colorful costumes, intricate makeup, and expressive dance movements make it a captivating and memorable performance for the audience.
POOTHANA MOKSHAM
This song depicts the episode of the demoness Poothana being killed by baby Krishna.
“Poothana Moksham” is another popular Kathakali play that depicts an episode from the Indian epic, the Bhagavata Purana, specifically the childhood of Lord Krishna. The story revolves around the demoness Poothana and her encounter with the infant Krishna.
Summary of “Poothana Moksham” in Kathakali:
Introduction:
As with any Kathakali performance, “Poothana Moksham” begins with an invocation seeking the blessings of the gods and a Vandana (prayer) to set a divine ambiance for the performance.
Setting the Scene:
The play is set in Gokul, the village where the infant Krishna was brought up. In the story, Poothana, a demoness disguised as a beautiful woman, arrives in Gokul with the intention of killing Krishna by offering him poisoned milk from her breast.
Poothana’s Deception:
Poothana disguises herself as an attractive young woman and skillfully deceives the villagers, including Mother Yashoda, who believes her to be a noble and innocent lady.
The Encounter with Krishna:
Poothana approaches baby Krishna’s home, where he is lying in a cradle. She offers him her poisoned milk with the intention of causing his demise.
Krishna’s Divine Nature:
As Krishna drinks the milk, he reveals his divine nature and cosmic form. He transforms into his Vishnu avatar, showing the entire universe within his tiny mouth.
Poothana’s Demise:
As soon as Poothana’s true intentions are revealed, Krishna’s divine power takes effect, and the demoness meets her end. Poothana assumes her original monstrous form and is unable to harm Krishna any further. He liberates her soul by granting her liberation or Moksha, hence the name “Poothana Moksham.”
Conclusion:
The performance concludes with a Thodayam (concluding piece) and a Mangalam (auspicious prayer), expressing gratitude to the audience and the divine forces.
“Poothana Moksham” is a poignant and powerful Kathakali play that showcases the divine nature and protection of Lord Krishna, even as an infant. The performance highlights the victory of good over evil and the compassionate nature of the Lord, offering liberation even to a demoness who sought to harm him. The colorful costumes, intricate makeup, and expressive gestures make “Poothana Moksham” an engaging and spiritually uplifting experience for the audience.
KUCHELA VRITHAM
The song narrates the story of the friendship between Lord Krishna and his poor Brahmin friend, Kuchela (Sudama).
Kuchela Vritham,” also known as “Kuchela Charitam,” is a famous Kathakali play that depicts the heart-touching story of the friendship between Lord Krishna and his childhood friend, Kuchela (Sudama). The story is based on an episode from the Indian epic, the Mahabharata.
Summary of “Kuchela Vritham” in Kathakali:
Introduction:
The performance begins with an invocation seeking the blessings of the gods and a Vandana (prayer) to set a divine atmosphere for the play.
Setting the Scene:
The story is set in the town of Dwaraka, where Lord Krishna resides as a prince. Kuchela, his dear friend from childhood, lives in a humble house and struggles with poverty.
Kuchela’s Visit:
Kuchela, overwhelmed by his financial hardships, decides to visit his old friend Krishna to seek his help. He carries with him a humble gift of beaten rice (poha) as an offering for Krishna.
The Meeting with Krishna:
Upon reaching Dwaraka, Kuchela is hesitant and apprehensive to present his modest gift to the opulent Krishna. However, Krishna warmly welcomes his friend with great affection and treats him like a long-lost brother.
The Offering:
Kuchela hesitatingly offers the beaten rice to Krishna, who accepts it with immense joy and delight. Krishna relishes the simple gift as if it were the most exquisite delicacy.
The Exchange of Affection:
During their meeting, Kuchela and Krishna reminisce about their cherished childhood memories, evoking feelings of love and nostalgia between the two friends.
The Divine Blessing:
Krishna realizes that Kuchela has come with a deep sense of devotion and pure love, rather than seeking material gains. Impressed by his friend’s selflessness and loyalty, Krishna grants him abundant wealth and prosperity without Kuchela directly asking for it.
Conclusion:
The performance concludes with a Thodayam (concluding piece) and a Mangalam (auspicious prayer), expressing gratitude to the audience and the divine forces.
“Kuchela Vritham” is a touching and spiritually uplifting Kathakali play that celebrates the essence of true friendship, selfless devotion, and the divine grace of Lord Krishna. The colorful costumes, elaborate makeup, and soulful expressions of the artists bring this heartwarming tale to life, leaving the audience with a sense of joy and emotional connection to the story.
NARAKASURA VADHAM
This song portrays the killing of the demon Narakasura by Lord Krishna.
DURYODHANA VADHAM
The song describes the final battle of the Mahabharata, where Bhima defeats Duryodhana.
KIRATHAM :
This song presents the Kiratham (Arjuna’s penance) episode from the Mahabharata.
KARNA SHAPADHAM
The song tells the tragic story of Karna from the Mahabharata, particularly focusing on the part where he is cursed by his Guru Parashurama.
DAKSHA YAGAM This song depicts the story of Daksha Yagna and the subsequent self-immolation of Sati, Lord Shiva’s consort.
BALI VADHAM
The song narrates the story of Lord Vamana (an incarnation of Lord Vishnu) and the defeat of the demon king Bali.
KEECHAKA VADHAM
This song portrays the episode of Bhima killing Keechaka to avenge Draupadi’s humiliation.
Keechaka Vadham, also known as Keechaka Vadha, is an important episode from the Indian epic, the Mahabharata. It narrates the story of the Pandavas’ thirteenth year of exile when they were living incognito under the guise of commoners. During this time, they resided in the kingdom of Virata, with each of them assuming different identities to avoid detection.
The central character of the Keechaka Vadham episode is Draupadi, the wife of the Pandavas. In Virata’s kingdom, Draupadi took the disguise of Sairandhri, the queen’s maid.
Keechaka, the antagonist of the story, was the brother of Queen Sudeshna, who ruled over Virata’s kingdom. He was known for his immense strength and arrogance. Keechaka’s character is portrayed as a lustful and power-hungry man who becomes infatuated with Sairandhri (Draupadi) upon seeing her beauty. Despite Draupadi’s refusal and protestations, Keechaka relentlessly pursues her.
Draupadi seeks help from her co-workers and fellow servants, the Pandavas, who are disguised as ordinary people in Virata’s court. However, they must maintain their anonymity during their exile. So, Draupadi decides to reveal her predicament to King Virata himself.
Virata, upon hearing Draupadi’s plea, assigns the task of protecting her and dealing with Keechaka to Bhima, the second of the Pandava brothers. Bhima assumes the disguise of a cook named Ballava and takes up the responsibility of confronting Keechaka.
In a dramatic sequence, Bhima confronts and challenges Keechaka in a wrestling match. Bhima, using his true strength while disguised as Ballava, defeats and kills Keechaka, putting an end to the threat he posed to Draupadi and the Pandavas’ identity.
Keechaka Vadham is a significant episode in the Mahabharata as it highlights Draupadi’s courage and resilience in the face of adversity. It also showcases the valor of Bhima, who, despite being in disguise, stood up to protect Draupadi and his brothers.
This episode forms an essential part of the narrative in the Mahabharata and illustrates the complex and intricate relationships between the characters during the Pandavas’ exile period.