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.
Click here to find out Ottanthullal and Mohiniyattam
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.
Click here to find out Ottanthullal and Mohiniyattam
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ReplyDeleteBeautifull..........