Kathakali - An Intoductory note

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Sri Rama Jayam

 

A BRIEF INTRODUCTION TO KATHAKALI -

 

- A. V. Jayanthan

(Written with the help of Kunnam Vishnu Namboothiripad)

(http://homepages.iitb.ac.in/~j_austine/pages/open/y2004/kathakali.html)

Among the connoisseurs of classical art across the world, Kathakali is glorified

to the superior-most art form. How can Kathakali claim to be the leader? The

main reason is its complexity and its incomparable synchronisation of various

disciples of arts such as literature, music, rhythm, dance, drama, drawing,

sculpture and hand crafts. Added to this is the four corners of its basic

grammar of stage performance leaving enough centre-space for each artists for

expression of his/her talent. Kathakali is therefore a visual, audio and

intellectual combination of art forms. The experts opine that even the other

most popular oriental art " Chinese opera " also stands second to it.

 

History

 

Perhaps the oldest art form today existent, is the ancient Sanskrit theatre

Koodiyattam, which has withstood the wear and tear of the time for over 2000

years. The inspiration of Kathakali is undoubtedly Koodiyattam. The legend goes

that Samoothiri, the ruler of a province in Kerala, designed a dance drama based

on the story of Sree Krishna and named it Krishnanattam and dedicated it to the

family deity Guruvayoorappan. Kottarakkara Thampuran, Ruler of another princely

state, wanted to see that. But Samoothiri turned down his request saying that

Krishnanattam can be played only in the precincts of Guruvayoor. Disheartened

Thampuran immediately created a new dance drama and called it Ramanattam, the

story of Sree Rama. Later, Vettathu Raja, another scholarly ruler of another

princely state, brought many modifications to Ramanattam, and named it

Kathakali. According to the then set up the artists of Ramanattam were the

warriors of the state who are well trained in martial arts Kalarippayattu. The

dancers used to sing and dance. The drummers were only giving rhythm. Vettathu

Raja assigned the task of singing to musicians and the dancers would only

perform on stage. This was only just the beginning. Another scholarly ruler,

Kottayam Thampuran wrote 4 stories from Mahabharatha and set a few important

grammar rules for presentation. Another scholar Kapplingattu Namboothiri made a

lot more modification to then existing form with the help of the prince of

Travancore. The latest in the list, the five leading performers and scholars of

middle Kerala who made many a revolutionary beautifications to the style, which

is later known to be the Kallu-vazhi-chitta. The contributions and deft touches

by many even later, like guru Ramankutty Nair etc. also has done to beautify the

nuances of Kathakali. The total history of Kathakali does not extent to more

than 400 years into the past.

 

Literature:

 

The text of Kathakali is basically a work of literary art. The poetic beauty in

many a stories are a bright example of the scholarly knowledge and poetic talent

of the author. In Malayalam, Kathakali works are a separate branch of literature

in itself, which deserves serious study and provides pleasant enjoyment.

Particular mention is to be made to the work of Unnai Varrier's Nalacharitham.

Originally most of stories were from the epics and puranas, but of late, stories

are adapted from Bible, western and other world classics.

 

Music:

 

In Kathakali, the characters do not speak - the dialogue presentation is done by

music. The music has an important position in Kathakali. The Music is basically

set to the ragas of Carnatic music. Even some Hindustani Ragas (like Des, Piloo,

Ahirbhairav etc.) are used. Also in vogue are some pure Kerala ragas (like

Paadi, Samantha Malahari, Puraneeru, Kanakurinji, etc.). Maintaining the basic

structure of Raga, the musicians have liberty to traverse through his talent and

knowledge in the raga, keeping aside the rigidity of the rules of pure classical

music. This system is called " sopana-sangeetham " style. It is the musicians who

give the mood and tempo to the scene through the audition by effectively acting

through their voice. There are always two singers - one who leads and the other

who follows.

 

Rhythm:

 

Kerala is rich in various art forms of rhythm. In Kathakali also rhythm is

always not an accompaniment to music. By raising and lowering the pitch and

tempo, the mood for the scene is mainly created by the rhythm. Chenda and

Maddalam are the two drum instruments, played by special artists supported by

Thaalam (cymbal) and Chengila (gong) played by the singers themselves. The sound

effects of the stage is also the function of the rhythm section. The rhythm is

set to the popular thaalas of Kerala, like chembada, chemba, thripuda, panchari

etc.

 

Dance:

 

Kathakali is basically a form of Dance-Drama. The total performance is basically

set to dancical steps but drama has the prominence. There are occasions of pure

dances. Like pallavi and anupallavi in music, Kalasam, a pure dance

presentation, is performed during the rendition of music supported performance.

It is an important part of the grammar of Kathakali performance. Kalasam

indicates a semi colon or a full stop of a part. There are occasions when the

characters are allowed to perform to their mind's wit without the music.

Further, the acting in Kathakali is basically based on the kinetics of body

movement and postures.

 

Drama:

 

Abhinaya (acting) are of two types - Satvika and Angika. Satvika Abhinaya is the

trump card of Kathakali. The total expression on the face is brought out by

deliberate maneuvering of facial muscles attained by rigorous training and

relentless practice. The miming supported with the abhinaya can create wonders.

Angika Abhinaya is expression through body language and hand gestures. The total

dialogue presentation is done through gestures - mudras. There are 24 basic

mudras based on based on Balaramabharatham and they are totally different from

the mudras of Bharathanatyam which is based on Abhinayadarpana. With 24 mudras,

two hands and three positions, the total communication and dialogue becomes

possible.

 

In most cases, even the female characters are presented by males. The drawings

on their face and with other make up, most of the time, it becomes hard to

believe that the 'female' on the stage is actually 'male'.

 

Drawing, sculpture and hand crafts:

 

The Kathakali is more known for its colourful dress and make up. The facials are

done by natural colours and not by body paints. Chutti, gives an essential

border to the face. The face colouring is done by the Artist himself. The making

of the attire, headgear and ornaments is an art in itself and there are great

artists in that field too. There are over 50 items to be adorned on the body

before a character appears on stage and the total make up takes 3 to 4 hours.

 

Stage:

 

The stage of Kathakali is perhaps the simplest setting. The border on the left

is marked by the standing drummists and back is set the musicians and the

resultant square is the stage. The curtain is a colourful piece of cloth held by

two assistants whenever necessary. The front of the stage is imminently adorned

by a wick lamp. The lamp represents, the lord ganesha, devi saraswati and the

gurus. According to the belief of the Kathakali, the performance they do is

first watched by ganesha, saraswati and their gurus and no performance is ever

the ultimate before them. What better an ideology can there be for never ending

effort of improvement by the artists.

 

If you are a layman in Kathakali, you may particularly notice:

 

1. When the music is played the rhythm provides the percussion to the music at

the same time supporting the actor on the stage in his movements.

 

2. The sound effects are supplied by the rhythm section by anointing the proper

sounds from the drums and cymbals.

 

3. The singers uses the octaves and audition befitting the mood of the

situation. Even the raga selection is a nuance. It is true that the ragas are

preset by the gurus, but the singer has ample opportunity to show his talent. A

music lover has a lot to enjoy, in so far as the songs alone can be cherished

like a concert.

 

4. The actor generally follows the idea from the songs. But, there are occasions

between songs when the actor has to speak his mind out - but, of course through

the language of mudras. Once you start following mudras, one can fathom the

knowledge and spontaneity of the actor in presenting very new ideas. A perfect

actor's performance is really enthralling, not only for an intellectual

connoisseur, but also for beginners.

 

5. Even though there are set standards for the facial make up, two facials on

the same face by the same artist twice are hardly alike. The beauty in colouring

the face, is the artistic presentation of the actor. So even the body make up

and the attire, headgear and the ornaments, the artistry in the making, is a

point of observation for a sharp observer.

 

6. Frankly speaking for a sharp observer, there is no limit to his/her

appreciation. Every part of Kathakali has its element for appreciation.

Kathakali is a team work and the contributions by many artists are involved.

This gives kaleidoscopic permutations for one who wish to behold and cherish.

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At the lotus feet of Sri Guruvayoorappan ............

Hare Krishna Hare Krishna Krishna Krishna Hare Hare

Hare Rama Hare Rama Rama Rama Hare Hare

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