catalogue: concept and visualisation

The catalogue serves the purpose of a publication which informs the visitors about all the display in the museum. It gives them a deep insight about all tthe artefacts.

The catalogue cover is designed to convey the essence of the museum.

Its again lays emphasis on masks and makeup which are th core elements of any performance. Hence the focus has been on the face.Which give the expressions that highten the essence of any dance

.

The layout also had to be simple and easy to use and understand

poster: concept na visualisation

Poster is a medium of advertising or publicity. Therefore it had to be on the lines on which the museum is designed. That is like the display the poster also had to be dynamic and living, such that it is able to convey and converse on its own.

I choose to make the poster for the Museum of Performing Arts, Kerala. To make to poster dynamic the image had to be really strong. The imakge in a way should convey the display of the museum, as to what to expect out of the museum.

The image shows a man applying makeup on his face for a performance, which is a very important part and even the starting of any performance.

Hence in a way the image conveys what the museum is about, its not static but dynamic and living .

The poster should convey the what and how without being too explicit so as to retain the mystery of the museum.

Display: concept and visualisation

After exploring concepts for the Museum and its functions in the community the museum display was for developing an evolutive programme of thematic exhibitions and related activities.
We had to break away from the conventional method of display and instead considers what (and how many) elements should be combined in the museum display and according to which functional hierarchy they should be presented and apprehended.
I worked on the lines where the object shall not be the focus of the display instead it would be the essence that the object creates.
I choose to work on a masked dance of kerala "kummatti kali".
The main attraction of the dance is their leafy costumes made out of grass and mumerous colourfull masks which represent characters from mahabharat and ramayana. They dance to the rhythm of onavillu a sacred stringed bow.
My ideology was that in order to create an impact on the visitors its necessary they undestand all the parts which together combine to form the dance.The display had to be dynamic and alive. Since its a dance the only way you can get the essence of its vigour ,energy and movement is by seeing the dancers in performance. After considering several pros and cons and applying all possible permutation and combinations i came to the final display plan.

The room is divided into two areas
1- the display zone
2-the screening area

The display plan follows a circular pattern because that is the formation of the performance.during which the dances are in the center and the musicians on the periphery.

THE DISPLAY ZONE

The first thing that you notice when you enter the room are the display boxes.The display boxes are suspended from the ceiling using the alluminium cables at an eyelevel .This enables comfortable viewing as the object becomes the focus because its at an eyelevel.
Their are eight small boxes and one larger central one. Each small box is rectangular in shape and divided into two compartaments so that we can dispaly two separate objects hence utilizing resources.

THE BOXES

The boxes have glass on three sides (the front and the sides)so that you can get the front as well as the side view of the object. The box has a wooden framework to make it stable and strong.The box is divided into two partitions .The partition of the box has a mirrored surface so that the back of the object gets reflected in it. Hence this arrangement gives us a complete view of the object.
The bigger box also has the simmilar arrangment but with no partition. The back surface of the box has a mirror surface.

OBJECTS DISPLAYED

The smaller boxes display several masks and musical instuments used. The central bigger box display the complete attire worn during the dance.
The display boxes have been startegically placed so that the visitor has to navigate their way betwen the dispaly and then reach the screening area. In this way they have to see everything displayed and nothing gets missed.

THE SCREENING AREA
I proposed to have a screening area in the room where we could at times screen movies on the kummatti dance , and when ever possible have a live puppets show where the puppets are dressed as the kummatii dancers , perfomning on the rhythm of onavillu.

Such an experience will be entertaining and not educating then just the display. Screening area forms an important part of this display because here you can see the objects in motion.
This will help them analyse the dance and experience it in full form.Thus help recreting the experince through sound and visual.

Museums are usually considered as cemetries. The displays are usually dead, not conveying anything. This dispaly focuses on giving life to these objects, to animate them so that you can experience a conversation between the objects. The display here is interactive and alive .

how and why catalogues?

Why a Catalogue?

It is essential that we are able to find and identify every object in the collection. Every object has information associated with it. This might just be the name and address of the donor, and where the object was used; but in most cases it extends to a complete history of who made or collected the object, where, why, how, when, and for what purpose it was used.
We have to record, and then organise all this information so that we can retrieve it quickly and easily when we need to. This might be in order to write a label for the object in a display; or it might be to help someone with some research.

Unique Identities

Every object in the museum collections is allocated a unique identification number, which allows museums to keep track of the object and its information through a computer-based catalogue of all the objects. Once the information has been recorded on the computer, it is there for anyone who may need to see it in the future.

Public Access

a catalogue sis not only beneficial for the museum but a much compact and condensed version is good for the visitors also. catalogues provides them with the essential information about the object . an online catalogue can be acessible by anyone anytime.

problems faced

1. displaying costumes

• the costumes need to be displayed so that the display can recerate the feel of the time when they were wore.
• the display needs to be three dimensions i dont want to pinn the costume to the board for display.
• displaying on manequines has always been done in several museums.
• cuming up with an innovative way of displaying.
• but i feel the best way to display the costumes is through manequins . but to give they life the manequiens to atke up different postures of the dance, that might be visually intersting
• or we can have moving manequines that have slight movement of arms and neck. but that will be too slow and the dance is actually is full of energy.

2 sounds

• sound form an imp part of any dance. hence i wanted to incorporate sound along with my object.
• sound could be placed in form of audio as well as video. but that might just take the attention away from the object.
• sound gives the enegry to a dance form, dances like kathakalli have a slow beat to them but kummatti kali has a fast beat to it. even if the visitor does not see the video by hearing the sound he can analyses what type of dance form it will be.
• it helps recreate the same atmosphere which is important to undestant the context of the dance
• this audio does not have words to it. its a symphony of lots of instuments palying together. therefore the visitor will not have a traslation problem.

3 text

• text is essential part of undestanding anything new. when even we go to a museum we are curious about the exhibit. hence text has to be placed which gives you a jist of the object dispalyed.
• at times the signage is not visible to the tousrist. so the important fact is the placement of text so that its visible and at the same time does not over shadow the object.

4- lights

• the folk art museum we visited i felt the lights were not properly placed . they were getting reflected on the glass surface of the display.

5 overall dispaly

• the overall dispaly should be able to recreate the experience of the place.
• object and sound i feel should be placed together because the together distinguish them selves from the other dance forms.
• ito give life to the exhibit i want to palce iobjects relevant to the dance near it so that people can get a better understanding of what all is used.

6 interactivity

kummatti kali:trichur district

In Trichur District, Kummaattikkali begins on the dawn of Thiruvonam. The players and the people who play the musical instruments visit the temple and pay obeisance to God. They receive clothes as gifts from the local elder. Usually the Nairs perform Kummaatti.

attire and ritual

Groups of dancers donning masks and adorning themselves with leaves and grass go from house to house and dance. Each household pays them in cash or kind. Originally, only Nairs performed this dance, and it was common to find masks stored in Nair houses. Today anybody can participate.

The distinguishing feature of the Trichur Kummaattikkali is the use of a large variety of imposing masks. One popular character in the range is a toothless old woman known as talla (grandmother). The mask of the talla has the hair tied on the top of the head, like the old women of the past. The ear ornaments are huge round ones. Sometimes brinjals are hung instead of the ear ornaments called Kundalam. The talla enacts according to the song sequences in the song and makes the audience laugh.

music
The Kummaattikkali of Trichur is more attractive and appealing because of its music. The songs are melodious and deal with devotional themes. Songs relating to the story of Mahaabali, which is the basis of the Onam festival are particularly catchy. The rhythm for the singing is not provided by a drum but by vibrating the string of a bow-like instrument called onavillu. http://kerala.indiavideo.org/heritage/festivals/onavillu-the-ceremonial-bows-112.php The bow is made of arecanut wood. The string firmly tied to the two ends with slats and bamboo is beaten with a bamboo sliver.

No special or elaborate training is required to dance. The style, as in most folk dance forms, is, by and large, learned merely through participation.

The number of participants vary according to their financial position. The players don their faces with the masks of Puranic characters like Siva, Kiraatamoorthi, Naarada, Hanumaan, Darika, and Krishna. The costumes are made of grass.

The song for the Kummaattikkali is sung by the leader of the group. The masked Kummaattis do not sing.

kummatti kali: palghat

Kummaattikkali in Palghat District

In Ottapalam Taluk of Palghat District, Kummaatti signifies the beginning of the agricultural festival. The performers are washermen. Kummaatti begins soon after the Makaram Harvest that takes place in January.
They wear banana leaves as costume. The performers wear arecanut spathe or masks on their faces. Charcoal powder is applied on the body. They do not sing. This has been performed since ancient days as an offering.
origin
Kummaattikkali can today be seen in its pristine form in the Bhadrakaali Temple at Putusseri in Palghat District, where it is an important part of the annual festival. The festival begins on the first Wednesday after the new moon in the month of Makara (January-February), and Kummaattikkali is performed on its seventh day. It follows a brief performance by children, called Tö lKummaatti. Here, children paint their faces with a paste made of soot, and over this black base make designs with a mixture of rice flour and lime. They tie a white garment round the waste and adorn themselves with bunches of fresh leaves. Once dressed, they go round the temple in a dance like movement 'Kummol, Kummol,' led by an elderly man holding a mask.

Another, and more important performance of Kummaattikkali takes place on the ninth day of the festival. This is given in a spirit of competition between two groups of people from two opposite parts of the village. An interesting legend lies behind this observance.
Mythology behind it
A long time ago, a devotee of the temple at Putusseri, Naanu Nair, was mistaken for a mad man and the people from two parts of the village bound him, kept him immersed in a pond and eventually drowned him. The Goddess of the temple, Bhadrakaali, swelled with rage. An epidemic broke out in the village and only then did the people realize that they have had committed a crime and offended the Goddess. So to atone for the sin and appease Bhadrakaali they began the practice of performing Kummaattikkali at the temple every year, wearing masks resembling the face of Nanu Nair. That marked the inauguration of the annual Kummaattikkali dance in the temple.
ritulas
In the festival, the two groups of people proceed to the pond where Naanu Nair is said to have been drowned. Holding masks in their hands, they stand on opposite sides of the pond. The masks are identical in size, shape and design. The participants first run around the temple and then go from house to house, receiving coconut, jaggery and rice by way of offerings. By now, it is evening, and they return to the temple in procession, with a small idol of the Devi carried on elephant-back to the accompaniment of music, torches and fireworks. There is dancing in the procession, and when this reaches the temple the celebration comes to an end.

another version of kummatti kali

Kummaattikkali, is also a key feature of the Konganpata festival held in the month of Makara (January-February) every year in Chittur, Palghat. This festival has a historical association. It is said that once the ruler of Palghat had to face a fierce attack from the Kongu king. The ruler of Chittur in a gesture of help sent his men to ward off the attack. It is in commemoration of this event that the Konganpata is celebrated annually. However, the participants in this are only children. It is believed that Chittur Bhagavati also took part in the war, donning the garb of a Yoddha (soldier), and killed the king.

rituals followed

The Kummaattikkali associated with the Konganpata festival is usually conducted on a Friday. The whole village assemble at the Devi temple to witness this. As a result of Divine Ordinance, two people are selected as Commanders in Chief. They are known as Muppatti. Many boys, in their early teens are ready to play their role as warriors. When the temple flag is hoisted, these young warriors along with the Muppatti walk south-west ward to Palathulli which is the boundary of Chittoor. This is to commemorate the soldiers who went to Palathulli to consult magicians in order to ensure victory in the war. By 10 A.M the boys called Kummaattikkuttikal (Kummaatti children) bathe in the Palathulli river and start walking, with slogans of victory.

The children assemble at the Bhagavati's Alttara (Platform of a banyan tree) before dusk. The Bhagavati Niyogam (Representative of Bhagavati) also gets ready for way. She wears colourful costume anklet, gold ornaments and holds a shining sword in 'her' hand, and walks in front of the army. The villagers, walk behind them with lighted torches, and the Kummaatti boys too follow the Bhagavati Niyogam with victorious cheering. This procession reveals the unity of the little village. The group go up to the puvattunkavu, from where the Bhagavati and the people disperse. Only the Muppatti's and the Kummaattis remain there. At midnight, the Kummaatti's return to Chittoor Temple.

The festival at the Devi Temple at Munduur, 11km. from Palghat town, is conducted in a different manner. The Devi is said to have once decapitated a washerman for practising black magic, and the Kummaattikkali at Munduur is in remembrance of this event.

In a tender sprout of the plantain tree are placed small pieces of a special wood strung together. One end of the sprout is adorned with a sprig of flowers, including some from the arecanut tree. This entire arrangement is then tied to the back of the performer so that the flowers peep over his head. Performers who wear this are called Mutikuttikal and escort the Velichappadu (oracle) through the village receiving offerings from the devotees on the way. On the following day, the Mutikuttikal come to the temple and dance in the company of the Velichappadu.

sacred art:onavillu

‘Onavillu’: A spiritual tradition revered through the ages

‘Onavillu,’ a ceremonial bow that is offered to the deity at the Sri Padmanabha Swamy temple here as part of the annual rituals during Onam festival season. Considered a symbol of prosperity, the ceremonial bow is in great demand from devotees who take it home to be carefully preserved.
The art and craft of making the Onavillu is the sole preserve of the traditional artists of the Vilayil Veedu family at Karamana in Thiruvananthapuram.. The ‘Onavillu’ is a broad piece of wood, tapering on both sides, on which miniature paintings of Ananthasayanam, Dasavatharam, Sreerama Pattabhishekam, and Sreekrishnaleela are portrayed.
The consecration of ‘Onavillu’ at the temple is an age-old tradition that has continued over the years from the 16th century. The main artists who continue the work today include Umeshkumar, Binkumar, and Sudarsanan. The family members observe a 41 days penance prior to commencement of the work. The ‘villu’ is available in three measures — 4.5, 4 and 3.5 feet long and 6, 5.5 and 4 inches wide.
The wood of Kadambu, maruthu, jack fruit, and aanjili trees are preferred for making the ‘villu.’ The wood is cut to the required dimension before applying the colours. The red tassels used to adorn the ‘villu’ are made by the convicts in the central jail at Poojappura here.
The ‘villu’ are first offered to the family deity at the Valiya Veedu for three days. They are then taken to Sri Padmanabha Swamy temple on Thiru Onam day and displayed at the Natakasala before being offered to the deity. While the Ananthasayanam version of the villu is consecrated to Lord Padmanabha, the one with the Dasavathram painting is offered to Lord Narasimha and the ‘villu’ showing the Krishnaleela is dedicated to Lord Krishna.
The one with the painting of Sreerama Pattabhishekam is consecrated to the idol of Sree Rama. The ‘villu’ are removed on the third day. The Temple Trust then distributes the ‘Onavillu’ to devotees.

kummatti kali- the mask dance

Kummatti kali - The Mask Dance

Kummattikali is the famous colorful mask-dance of Kerala, South Malabar in particular. During the festival of Onam, Kummattikali performers move from house to house collecting small gifts and entertaining people.Most interesting facet of Kummattikali is a peculiar way in which Kummati performers clad themselves.

They don a heavily painted colourful wooden mask depicting faces of Krishna, Narada, Kiratha, Darika or hunters. These masks are usually made out of saprophyte, jack fruit tree, Alstonia Scholaris, Hog Plum tree or the Coral tree. Dancers wear skirts woven out of plaited grass. Some performers cover their whole body with bunches of grass for a more bushy appearance. The semblance is made more joyful with the 'talla' attached externally to the mask giving the appearance of a toothless open mouth.

Dancers also hold and manipulate long sticks of residuary agricultural produce called 'Kummattikali', it is from this that the dance derives its name. Their dance is related to Shaiva myth. 'Thamma' (an old woman) walks in front with the help of a stick. Thamma is symbolic of mother of every being and everything.

Rhythm for the dance movements is provided by vibrating the string of a bow like instrument called onavillu. Arecanut wood is used to make the bow and the strings are beaten with a narrow bamboo stick.

Kummatti dancers are a sight to watch as they move around from house to house collecting jaggery, rice, or small amounts of cash. Onlookers, specially children take great delight in their performance.

Themes of Kummattikali are mostly taken from the stories of Ramayana, Darika Vadham, the story of Shiva and folk tales like Manjan Nayare Pattu.

It may be noted that folk art of Kerala can be classified into two broad categories - ritualistic and non-ritualistic. Ritualistic can be further divided into - Devotional, performed to please a particular god and goddess and Magical Art Forms. Theyyam, Thira, Poothamthira, Kanyarkali, Kummattikali, etc. are some of devotional art forms. Kummatti dances are more rampant in Trichur District, during Onam. Pristine or original form of Kummattikali can be seen in the Bhadrakali temple in Palghat district.

ritual art forms of kerala

Theyyam :

A ritual dance form of Kerela, glorifying the goddess. Themes revolve around the triumph of the goddess over the demon Daruka and other evil characters. Always performed by men, they also enact female roles wearing exotic make up and colorful costumes.
Theyyam also known as Kaaliyattam, it is a ritual dance popular in north Kerala or the erstwhile Kolathunadu. 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. Of the over 400 Theyyams performed, the most spectacular ones are those of Raktha Chamundi, Kari Chamundi, Muchilottu Bhagavathi, Wayanadu Kulaveni, Gulikan and Pottan. These are performed in front of shrines, sans stage or curtains, by persons belonging to the Vannan, Malayan and other related castes.
'Thudangal' (the beginning) and 'Thottam' (the invocation) are the introductory rituals of the Theyyam or the Thira, as it is known in south Malabar. The headgear and other ornamental decorations are spectacular in sheer size and appearance. Karivalloor, Nileswaram, Kurumathoor, Parassini, Cherukunnu, Ezhom and Kunnathoorpadi in north Malabar are places where Theyyams are performed annually from December to April.

Patayani :

Patayani is a week- long ritual dance, held in Kaali temples on the banks of the Pamba river during the Malayalam months of Meenam and Medam (March - April). The choice theme of the dancers is the slaying of the demon Daarikan by the goddess Kaali. The steps and movements of the dance vary according to each Kolam or character. Thappu is the major percussion instrument accompanied by a few Chendas. Patayani masks are made with the fresh spathe of arecanut palms. Bhairavi (Bhadrakaali), Yakshi, Pakshi (bird) and Kaalari (Siva) are the main characters. Various communities targetted for criticism are represented by jestures. Kadammanitta, Kadalimangalam and Othara in Pathanamthitta district are famous for annual Patayani performances.

Poothanumthirayum :

This ritual offering to Goddess Kaali is performed in many places of South Malabar. A troupe of dancers dress up as Kaali (the Thira) and the accompanying spirits (the Poothams) who were created along with the goddess for the destruction of the evil demon, Daarikan. The Thira wear masks while the spirits don semi-circular wooden crowns. The dance is performed from house to house and on the premises of village shrines between November and May every year.

Mudiyettu :

Mudiyettu is a ritual dance performed in some Kaali temples of Ernakulam and Kottayam districts (central Kerala). The dance celebrates the goddess's triumph over the demon Daarikan. Mudiyettu is performed by the Kuruppu or Marar who belong to the temple bound communities of Kerala.
The Kalamezhuthu, a ritual drawing of the goddess Kaali is made on the floor with dyed powders, before the performance. Then the chorus sings hymns in praise of the goddess.
Before the actual performance, the dancer erases the Kalam with tender palm fronds. The performer in the role of Kaali is aided by 'Koimpata Nayar', the local guide and Kooli, the attendant.
Legends say that Daarikan, the epitome of evil, challenged Kaali to a duel. Kaali slayed Daarikan, with the blessings and grace of Lord Siva.
The performers of Mudiyettu are all heavily made up and wear gorgeous attire with conventional facial paintings, tall headgears etc, to give a touch of the supernatural. The wooden headgear has a mask of Kaali. An ornamental red vest and a long white cloth around the waist complete the attire

Koothu :

Koothu is a socio-religious art performed in the Koothambalam or the Koothuthara of temples, either independently or as part of Kootiyattam. It is a solo narrative performance interspersed with mime and comic interludes. The Chakkiar dons the role of ' Vidushaka' or the wise jester. Through his inimitable narration of stories from the epics ( The Ramayana and The Mahabharatha), the Chakkiar satirises the manners and customs of the time. No one is above the butt of his ridicule. His wit ranges from innocent mockery to veiled innuendoes, barbed pun and pungent invectives. Koothu is intermittently accompanied by the percussion instrument Mizhavu.
The Nangyar Koothu is a variation of the Koothu performed by the Nangiars or the female members of the Chakkiar community. This is a solo dance drama mainly centred on the legends of Sree Krishna. Verses are sung and interpreted through mime and dance. The mudras, though the same as in Kootiyattam, are even more elaborate. The art form is still performed in temples like Vadakkumnatha temple at Thrissur , Sri Krishna temple at Ambalappuzha , Koodal Manikyam temple at Irinjalakkuda and Kumaranalloor temple at Kottayam.

Arjuna Nritham :

Arjuna nritham (the dance of Arjuna) is a ritual art performed by men and is prevalent in the Bhagavathy temples of Kerala. Arjuna, the most valiant of the five heroic brothers - the Pandavas - of the epic Mahabharatha, was also a renowned singer and dancer and is said to have propitiated goddess Bhadrakaali by a devotional presentation.
Arjuna nritham is also called Mayilppeeli nritham as the costume includes a characteristic garment made of mayilppeeli (peacock feathers). This garment is worn around the waist in a similar fashion as the uduthukettu of Kathakali . The performers have their faces painted green and wear distinctive headgears. The all night performance of the dance form is usually presented solo or in pairs.
The songs which are strictly rhythm based are called Kavithangal and deal with various themes of the Puranas (ancient Hindu scriptures). Each Kavitham is composed to suit a specific rhythm. Before each song the dancers explain the intricacies of the particular rhythm about to be employed and how this rhythm is translated into dance movements.
The various dance movements are closely similar to Kalarippayattu techniques. Percussion instruments like the chenda, maddalam, talachenda and ilathalam (cymbal) form the musical accompaniment.

Kannyarkali :

Kannyarkali, also known as Desathukali, is a folk art exclusively practised by the Nair community of the Palakkad area. It owes its origin to the pursuit of martial arts in this region which was under constant threat of attack from neighbouring Konganadu.
Kannyarkali was born when dance and comedy were pitched in to add vigour and colour to the martial training sessions. The art form combines the agile movements of martial arts with the rhythmic grace of folk dance performed around a nilavilakku.
Performed during March-April in temples as well as in places called the ' Thara', a venue for informal gatherings, this art form is accompanied by devotional folk songs and the loud beat of percussion instruments. The orchestra includes ilathalam or cymbal and percussion instruments like chenda, maddalam, edakka and udukku.
A team of Kannyarkali dancers varies from six to twenty in number and a performances usually lasts for four days. Each day's performance is known by a different name: Iravakali, Anadikoothu, Vallon and Malama. The last day's performance is presented by hill tribes, in which women also participate.

Velakali :

This spectacular martial dance is performed by men in some of the temples of southern Kerala. The dancers, clad in the traditional clothes and colourful headgear of the medieval Nair soldiers, engage in vigorous movements and dexterous sword play, to the accompaniment of an orchestra comprising the maddalam, ilathalam, kombu and kuzhal. Velakali originated in Ambalappuzha where Mathoor Panicker, chief of the Chempakasserri army, promoted it to boost the martial spirit of the people. The dance form is a regular feature of the annual festivities at the Ambalappuzha Sree Krishna temple in Alappuzha district

Kalamezhuthu :

The kalam is a unique drawing also called dhulee chithram or powder drawing. The artist uses the floor as his canvas. Kalamezhuthu pattu is performed as part of the rituals to worship and propitiate gods like Kaali, Ayyappan or Vettakkorumakan.This ritualistic art is a common feature of temples as well as noble households. The kalams or drawings are erased at the end of the ritual to the accompaniment of musical instruments like ilathalam, veekkan chenda, kuzhal, kombu and chenda.The coloured powders used for the kalam are prepared from natural products only. The pigments are extracted from plants - rice flour (white), charcoal powder (black), turmeric powder (yellow), powdered green leaves (green), and a mixture of turmeric powder and lime (red). It often takes more than two hours to finish a kalam drawing with appealing perfection. Decorations like a canopy of palm fronds, garlands of red hibiscus flowers and thulasi or Ocimum leaves are hung above the kalam.The figures drawn usually have an expression of anger, and other emotions. Kalamezhuthu artists are generally members of communities like the Kurups, Theyyampadi Nambiars, Theeyadi Nambiars and Theeyadi Unnis. The kalams drawn by these people differ in certain characteristics.The Kalamezhuthu is a forty-day ritualistic festival beginning with the first of Vrischikam (Scorpio) in most Bhagavathy temples in Kerala

Margom Kali :

Margomkali is a ritual folk art of the Syrian Christians of Kottayam and Thrissur districts. A dozen dancers sing and dance around a lighted wick lamp ( Nilavilakku), clad in the simple traditional white dhoti and sporting a peacock feather on the turban to add a touch of colour.This is an allegorical enactment with the lamp representing Christ and the performers his disciples. The performance is usually held in two parts and begins with songs and dances narrating the life of St.Thomas, the apostle. It then takes a striking turn with a martial play of artificial swords and shields.The narration is stark without musical accompaniments. The songs date back to a period much before the Portuguese invasion. Today, Margomkali is only performed as a stage item by women.

Theeyattu :

Theeyattu is a solo dance-drama performed in front of the Kalam or Dhooli Chitram (ritual drawing with coloured powders). It is enacted in some Bhagavathy temples of Thiruvalla, Kottayam, Thripunithura and neighbouring areas. The ritual starts with the invocation of Lord Ganapathy, Lord Siva and goddess Saraswathy, after which the performer dons a crown smaller but similar to the one used in Mudiyettu.
The most popular story narrated through a Theeyattu performance is that of the duel between goddess Kaali and the demon Daarikan. The dance form is usually performed by a small group of temple bound communities called the Unni. Theeyattu is still a ritual offering made every Friday at the Pallippurathu Kaavu temple near Kottayam town.

performing arts of kerala

Kathakali :

Kathakali is the most popular sacred dance-drama of Kerela. Kathakali evolved across the last 400 years. This classical dance of Kerela requires lengthy and rigorous training to attain complete control of the body and a sensitivity to emotion so as to be able to render all its nuances through facial expressions and hand gestures.
Kerala owes its transnational fame to this nearly 300 years old classical dance form which combines facets of ballet, opera, masque and the pantomime. It is said to have evolved from other performing arts like Kootiyattam, Krishnanattam and Kalarippayattu. Kathakali explicates ideas and stories from the Indian epics and Puranas.
Presented in the temple precincts after dusk falls Kathakali is heralded by the Kelikottu or the beating of drums in accompaniment of the Chengila (gong). The riches of a happy blending of colour, expressions, music, drama and dance is unparallelled in any other art form.
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.
Thullal :

Thullal is a classical solo dance form, of Kerela, which comes closer to contemporary life, and is marked for its simplicity, wit and humour.
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 .
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.
Koodiyattom :
Koodiyattam is a dance traditionally enacted in temples. Koodiyattam is Kathakali's 2000 year old predecessor and is offered as a votive offering to the deity.
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.
Thiruvathirakali :
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.
Oppana :
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.
Kolkkali :
A folk art mainly of the agrarian classes, Kolkkali is a highly rhythmic dance with the dancers wielding short sticks. The rhythm of this dance is set by a harmonious synchronisation of the tapping of the feet to the striking of sticks. The movement is circular and the artists sing as they dance and strike the sticks in unison. Though the dancers break away to form different patterns, they never miss a beat. In Malabar, Kolkkali is more popular among Muslim men.
Duffmuttu :
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.
Krishnanattom :
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 characters who do not wear masks have specific facial colours applied within the frame of a white chutti. The predominant colours used are dark green, flesh tint and deep rose. Most of the characters wear red vests and flowing 'Uthariyams'. The characters of Krishna, Arjuna and Garuda wear dark blue vests.
The traditional performance lasts for eight days and covers the whole span of Krishna's life from his birth to 'Swargarohanam' or ascension to the heavens. Orchestral accompaniments are Maddalam, Ilathalam and Chengila. Krishnanattom, though boasting of a unique choreography, assumes more the nature of a Morality Play, seldom presuming to lay claim to the theatrical sophistry so integral to Kathakali and Kootiyattam

history of kerala

Origin


Mythological Background

- Parasurama - founder of Keralam.Parasurama, the short-tempered warrior-sage regarded as the incarnation of Vishnu. After defeating the Kshathriya Kings, the sage approached the wise men for penance. As a Self-mortification he was advised to create a land for Brahmins. He readily agreed and meditated at Gokarnam, (considered to be the end of land).

After getting the booms from Varuna, the God of the Oceans and Bhumidevi, the Goddess of earth, he proceeded to Kanya Kumari (Cape Comorin) and threw his battle-axe northwards across the waters. The waters subsided and what was left over was called the land of Parasurama, that is today's Kerala.


Scientific Theology

Geologists have pointed out that the elevation of Kerala from the sea was the result of some seismic activity, either suddenly or gradually.Another Thoughts prevailing in scientific society is the rivers of Kerala emptying into the Arabian seas bring down enormous quantities of silt from the hills. The ocean currents transport quantities of sand towards the shore. The coastal portions could well be due to the accumulation of this silt over thousands of years.


The Early Civilisation


The earliest inhabitants of Kerala were the Pulayas, Kuravas and Vetas. It is at a much later time that migratory Aryan populations from the north landed and subjugated them through caste system.By the beginning of the Christian era, the Cheran Dynasty was spread up to Western Ghats. The armies of Mauryan Dynasty could not enter the lands of the Cheras. With time the rule of Cheran Dynasty declined, it coincided with the rise of the Brahmins in Kerala. By the 10th century, they were powerful entity from Gokurnum (North Kerala) to the Cape Comorin.

These land owning class of Brahmins were well on their way to great wealth and power. To consolidate their power, they developed Caste System (segregation between classes of people). Lands were leased out to next higher castes for share-cropping, and these in turn would further be leased out to those lower on the caste hierarchy and to non-Hindus. The lowest castes of course were only laborers and were traded along with the land. In such a rigid hierarchy, the all-powerful Namboothiries were the unquestioned rulers.
The Christians who had arrived from the Middle East in the 3rd century AD and the Muslims who arrived in the 8th century were generally traders and were not involved in this social segregation and generally kept aloof from the ambit of caste politics.

The Jews who arrived Kerala in the early years of the Christian era were given privileges to trade and became an influential part of the melting pot of Kerala's population. Gradually Kerala entered a phase of feudal chieftains or warlords (naduvazhis).

The Namboothiries anointed some. At the turn of the 11th century AD there was a power struggle in the caste system supported by the Landlords and ruled by the warlords. This in turn gave rise to instability in the absence of strong central leadership. Wars and conflicts were common. Ultimately three warlords emerged with some semblance of authority in their regions - the Zamorin of Calicut (Samuthiri of Kozhikode) to the North, Moopins of Perimpadappu (near modern day Kochi) in the central regions and chieftain of Kollam.

This is precisely what the Europeans who found a sea-lane to the fabled land of spices and gold did. There was nothing anyone could do to stop the next five centuries of colonial rule.

Discovery of India - European conquest

Ancient Kerala occupied a unique place in the commercial world. There are traces of teak found in the ruins of Ur, which must certainly have come from the Malabar Coast.

This means trade flourished around 3000 BC. Cotton from this region was a favourite in Egypt; the Phoenicians visited the coast of Malabar around the same time to trade in ivory, sandalwood and spices. King Solomon is said to have sent his commercial fleet to Ophir which is said to be somewhere in Southern Kerala. Muziris (Kodungalloor or Cannonade) was reputed to be the ancient world's greatest trading center in the East for such highly prized possessions as pepper, cinnamon, cardamom, ginger and other spices. Pliny, the younger is said to have lamented the fact that trade with the East was draining the treasury of Rome. The trade flourished by ships riding on the monsoon winds from Africa and back to Arabia, from where the overland caravan took the prized items to the markets along the Mediterranean ports.India was known as fabled land of spices and gold. It was during this time Europe was busy in exploration and Voyages to unknown land. Route to India was a dream of most of the voyager. Many attempts were made, but most could reach only up to "Cape of Good hope" in Africa. In 1498, Vasco da Gama, a Portuguese naval Captain found the easiest way to India by bribing the Arab pilot when his ship anchored off Kenya at Port Malindi. Following the centuries old route taken by the Arab traders and riding on a monsoon wind, he sailed the Sao' Gabriel to land at Kappad near the town of Calicut or Kozhikode. The entire history of the East was to change from that day.
The Zamorin or Samuthiri received the Portuguese, (known locally as parungees) warmly. Trade concessions were granted to the Portuguese. But sensing the rivalries from the Arabs and the local kings, the Portuguese immediately set about engaging themselves in consolidating their positions at sea. There was resistance from the local Kings. Notable among the Samuthiri's Admirals is Kunjali Marakkar, still a revered hero in Kerala. He succeeded in checking the Portuguese expansionism to certain extent. But could not hold for long against the supremacy of Portuguese weapons and sea prowess. An interesting sidelight is the Portuguese behavior towards the thriving community of Christians in Kerala. Tradition has it that these Christians were converted by St. Thomas the Apostle in the 1st Century AD. The Portuguese were annoyed that the local Christians were more Hindus in their outlook, culture and traditions and never heard of the Pope in Rome. In 1599,the Synod of Diamper (present day Udayamperoor near 14 Kms from Kochi) decreed that all Christians should revert to the Pope in Rome as the Supreme Spiritual head and not the Pontiff at Antioch. This led to a revolt by a section of Syrian Christians. History depicts that the revolters took oath by tying themselves to a Cross-at Kochi on 15 January 1653. This is known as the "Koonan Cross Oath" and is still revered as a turning point among the Syrian Christians. But the Portuguese had some success in proselytizing and did manage to convert some communities into Latin Catholics. Today this community is one of the influential sections in Kerala.

Arrival of Dutch

The Portuguese finally met their match in the Dutch. The Dutch known locally as Lanthakar, was in the race for evicting the Portuguese from the lucrative Eastern spices trade. Strategic alliance with the Samuthiri helped the Dutch to drive out the Portuguese once and for all by 1663.They proclaimed the Kochi Maharaja as the titular head and drove the Portuguese out. With aim of total control over the Eastern Spices trade, the Dutch East India Company was set up in 1602. Stefan Van Hegena set sail with 13 ships and reached Kannur (Cannanore) in 1604. But from then on it was the same old story of the former allies falling out. This phase ended with the Dutch gaining undue advantages and gaining foothold over most of the coastal areas and towns, prominent being Kannur and Kochi. By 1717 a treaty was established. But it could not save the Dutch from defeat in 1741 at the hands of a resurgent king of Thiruvithanmkur, Marthanda Varma in the battle of Kolachel. By 1795, the Dutch were so weakened, that the British did not have much trouble evicting them permanently from the Kerala landscape once and for all. The Portuguese and the Dutch introduced many novel agricultural crops to Kerala, notable among them being pineapple, papaya, tapioca, rubber and scientific farming methods for coconuts. To this day, the Kerala farmers are critically dependent on these crops for survival in the agrarian economy of the state.
The Bolgatty palace at Kochi, the Dutch Governor's mansion (later the British Resident's mansion) and the Dutch Palace at Mattancherry, Kochi are some of the reminder of Dutch conquest on India soil. During this time, the most famous ruler was Marthanda Varma, King of Thiruvithamkur. His success started with the subjugation of the local warlords and Dutch. Later he expanded his rule by subjugating all principalities of the southern tip of Kerala up to Kodungalloor up in the North. He was a great warrior and administrator. He carried out revolutionary reforms in his kingdom like converting the captured lands into state lands, centralising foreign trade to generate government incomes, improving living conditions of farmers, and most importantly reducing the powers of the government servants who till then were exclusively from certain castes and families. He took an unusual step of employing competent people from all castes and for the first time recognised competence over birthright.

Britisher's Entry

It was after Marthanda Varma, the Britisher's conquest reached Kerala. With the defeat of Tipu Sultan of Mysore in 1799, the British became the de facto rulers of North Kerala. The rise of the British was bitterly opposed by the local warlords or naduvazhis. In 1802 Pazhassi Raja, a local chieftain revolted and fought a determined campaign against the British. In a similar fashion, Velu Thampi Dalawa also rose up against what was seen as British attempts at total control of local power centres. Velu Thampi Dalawa had allied himself with the Dewan of Kochi Paliyath Achan in the armed campaign against the British. But these were isolated and did not have the necessary military might to fight a sustained campaign against an emerging World Super Power. After almost a year of sporadic battles, Velu Thampi Dalawa fled the kingdom. With that the power the British residents grew immensely. The Maharaja had to be content with an honorary role in the affairs of State. Once the British military effectively crushed these revolts, no more was heard from these naduvazhis or warlords again.During the same time there was a different story as far as the peasantry were concerned. There were serious outbreaks of unrest especially in North Kerala against the landlords and the British. These are now called the moppilla lahala or Muslim Revolt. It was ruthlessly suppressed. Today it is a part of the local folklore.

Freedom Struggle

The first signs of freedom struggle surfaced after First World War. In 1922 the students protested against the fee hike in educational institutions.

Khilafat Movement brought out the issue more forcefully. Hindus and Muslims stood as one against the British and the Landlords in the Malabar region. Severe police action and Martial law followed. The British gained complete supremacy by ruthless deployment of police, notably the Malabar Special Police, which to this day is a feared symbol of colonial oppression.

The Salt Satyagraha found its echo here. The Vaikom temple entry Satyagraha for permitting lower castes entry into the temple gained the recognition as a direct challenge to the existing political and hierarchical supremacy of the rulers and by extension the British rule. The Samyukata Rashtriya Congress consisting of an alliance of Christian's -Muslims - Ezhavas (a powerful community of Kerala) formed an alliance to seek reservations in Government. This is the first time community based party system came into Kerala's landscape. The Thiruvithamkur State Congress was founded by Pattom Thanu Pillai to fight against the high handedness of the last Dewan of Thiruvithamkur, Sir C P Ramaswamy Iyengar (popularly known as Sir CP). The movement started in 1938 and led to widespread violence all over the state. The Congress was outlawed. After Independence, on 01 Jul 1949, a new state "Thirukochi" was formed consisting of old princely states of Thiruvithamkur and Kochi, moves towards reunification of Malayalam speaking population. The Malayalam-speaking regions of Malabar and Thirukochi were joined together as one state on 01 November 1956 and christened KERALA.

Post Independence

Kerala's post independence history is a saga of Leftist movement and Indian National Congress. The deep social, communal and economic division in Kerala was on the boil. The Communist Movement which initially began as naxalite movement, waged a full might against the Suppression. EMS Namboothiripad, AK Gopalan and P Krishna Pillai were the unquestioned leaders of the Communist Movement. By 1957, they had become the first democratically elected Communist Government anywhere in the world. The story of Kerala after 1959 is a story of many governments of the Congress-led or Left-led parties coming and going at regular intervals. Kerala has seen no fewer than 17 Ministries till now.