Kathakali

Kathakali, the spectacular dance-drama form of the region of Kerala, in southern India, characterized by its complex language of mime and highly stylized and colourful make-up, resembling masks.

Kathakali derives from a rich folk culture, and from the plays traditionally performed in temples. It developed, more specifically, from Ramanattam, a masque-like form involving music, dance, and drama, which evolved in the 17th century as an effective vehicle for the plays of the Raja of Kottarakara, contemporaneous with similar artforms that were popular in Elizabethan England and continental Europe. These plays were written in Sanskritized Malayalam, making them accessible to a wider audience than classical Sanskrit works, and were based on themes from the Hindu epic, the Ramayana. Similar treatment in verse of themes from the Mahabharata (a grander and more colourful epic) by the Raja of Kottayam established the core repertoire of Kathakali. The art form, which became widely popular through royal patronage, soon evolved the highly sophisticated features of a classical dance style, and was performed not only in temple grounds, but in the houses of wealthy patrons. It suffered serious decline during the 19th century, however, and the current vigorous revival results from the efforts of the poet Vallathol, who was largely responsible for its re-establishment, especially through his founding of the major dance school of Kalamandalam, in Cheruthuruthi, near Trichur.

A Kathakali performance involves minimum props: the details of the scene are described in mime. Stories involve heroes, villains, gods, demons, and sages, and more subtle characterization such as those who commit evil but yet have a streak of valour in them. These characteristics are all indicated in the complex make-up, which can take a couple of hours to apply and highlights facial expression, a vital aspect of the art, while having the advantage of a mask in transforming the individual. The six-year training is arduous and the regular oil massages to adjust the shape of the spine can be painful. The dance element is athletic in nature, with dramatic leaps. Costume is colourful and includes highly decorated head-dresses associated with the parts played and voluminous white “skirts” enabling freedom of movement. The performers enact the story in mime, interspersed with pure dance sequences. Performances traditionally begin after dusk and continue throughout the night, building to a climax in the action by dawn, although individual scenes are now often put together as an evening performance for modern, urban audiences. The verses are rendered by two singers and musical accompaniment is provided by cymbals, gong, and the chenda and maddalam (two special types of drum).

Although Kathakali was originally an exclusively male art form, women are now actively involved as both performers and teachers. While the pure dance elements are themselves highly skilled, the quality of the performer is ultimately judged on their interpretation of the role in mime. Using mudras (hand gestures) and facial expression, the finest nuances of thought and feeling can be portrayed. Using as they do regional interpretations of the classic Hindu epics, the verses themselves are of great interest in their sometimes heterodox and challenging perceptions of traditional Hindu belief.