Ottanthullal

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

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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.


Mohiniyattam is a dance form said to have originated in Kerala. It is closely related to Bharathanatyam of Tamil Nadu, which was originally called ‘Dasiyattam’. Originated as the temple dance performed by Devadasis, it portrays feminine love in its myriad forms – carnal, devotional and maternal- with accent more on Lasya and Bhava. In the main items Cholkettu, Padavarnam and Padam, Mudras and facial expressions are more important than the rhythmic steps. Costumes and ornaments of Mohiniyattam have much in common with female characters of Koodiyattam and Kathakali.Once Mohiniyattam was performed only in Temples premises and royal courts. The first reference to Mohiniyattam is found in ‘Vyavaharamala’ composed by Mazhamangalam Narayanan Namboodiri, of 16th century AD. Major contributions to this art form were given by Maharaja Swathi Thirunal, Irayimman Thampi and Kuttikunju Thankachi.

After Swathi Thirunal’s period there was a downfall of Mohiniyattam. It somehow degenerated into eroticism to satisfy the Epicurean life of a few provincial satraps and landlords. The renowned Malayalam poet Vallathol revived it and gave it a status in modern times through Kerala Kalamandalam which is presently doing its best for the development and popularity of Mohiniyattam.

Kalamandalam Kalyanikutty Amma (wife of famous Kathakali artist, late Padmashree Kalamandalam Krishnan Nair) and Chinnammu Amma are well known Mohiniyattam performers. Among the present day artists Kalamandalam Sathyabhama, Kalamandalam Kshemavathi, Bharathi Sivaji, Kanak Rele, Sunanda Nair etc.. are well known artists. Smt. Kanak Rele deserves a special mention as she is not a Malayalee. She has established a Nritya Mahavidyalaya in Mumbai to promote Mohiniyattam along with other dance forms.

Most of the component items of Mohiniyattam are similar to Bharatnatyam and Kuchipudi, though subtle differences of style is obvious. The language used in the lyrics is a pleasant mixture of Malayalam and Sanskrit, known as Manipravalam. Formerly, the Padams were specially composed to include only Sringararasa. Now a days artists are using any classical or semi-classical compositions, even from other language. The real beauty of Mohiniyattam comes through only when mature ladies enact the romantic padams specially written to present the Ashta Nayikas: Swadheena Bharthruka, Khanditha, Abhisarika, Vipralabdha, Kalahandtharitha, Vasakasajja, Proshithabharthruka, Viraholkhanditha.

The accompaniments for Mohiniyattam are Vocal, Veena, Venu, Maddalam and Idakka. Other instruments are also not unusual.

Compared most other dance forms, Mohiniyattam gives more importance to gestural and facial acting. The Mudras (hand gestures) are almost always same as those employed in Kathakali. The artists try to enact the lyrics almost in its entirety, like in Kathakali.

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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.

COSTUME -

The costume is the most distinctive characteristic of Kathakali. The makeup is very elaborate and the costumes are very large and heavy.

There are several kinds of costume. There are: Sathwika (the hero), Kathi (the villain), Minukku (females), and Thatti. These basic divisions are further subdivided in a way which is very well known to Malayali (Keralite) audiences. Each character is instantly recognisable by their characteristic makeup and costume.

The makeup is very elaborate. It is so elaborate that it is more like a mask than makeup in the usual sense. The materials that comprise the makeup is all locally available. The white is made from rice flour, the red is made from Vermilion (a red earth such as cinnabar). The black is made from soot. The colours are not merely decoration, but are also a means of portraying characters. For instance, red on the feet is used to symbolise evil character and evil intent.

MUSIC -

The music of Kathakali has some similarity to the larger body of South Indian classical music (Carnatic sangeet); however the instrumentation is decidedly different. Its local colour is strongly achieved by the use of instruments such as chenda, idakka, and shuddha madalam.

CONCLUSION -

Is Kathakali classical? If we look at our benchmarks to see if it is classical, it only scores modestly. It is definitely old, but this is one of the least important of the criteria. It is not necessarily something that upper classes use to define their identity, indeed the opposite is probably true. Its most glaring deficiency is seen in its inability to transcend its attachments to the Keralite community. The average Indian (non-Malayali) has only a vague knowledge that it exists, and will live their entire life without ever even seeing a Kathakali performance. Therefore from a sociological standpoint it is probably more correct to call Kathakali “traditional” instead of classical.

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