Hindu Culture (Dance) -1

Hindu  Culture – Dance

Dance

Dance Indian classical dance is a relatively new umbrella term for various codified art forms rooted in Natya, the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni (400 BC).

Definitions are
Dances performed inside the sanctum of the temple according to the rituals were called Agama Nartanam. Natya Shastra classifies this type of dance form as margi, or the soul-liberating dance, unlike the desi (purely entertaining) forms.
 

 Dances performed in royal courts to the accompaniment of classical music were called Carnatakam. This was an intellectual art form.

Darbari Aattam form
For lack of any better equivalents in the European culture, the British colonial authorities called any performing art forms found in India as "Indian dance". Even though the art of Natya includes nritta, or dance proper, Natya has never been limited to dancing and includes singing, abhinaya (mime acting). These features are common to all the Indian classical styles. In the margi form Nritta is composed of karanas, while the desi nritta consists mainly of adavus.

The term "classical" (Sanscr. "Shastriya") was introduced by Sangeet Natak Akademi to denote the Natya Shastra-based performing art styles. A very important feature of Indian classical dances is the use of the mudra or hand gestures by the artists as a short-hand sign language to narrate a story and to demonstrate certain concepts such as objects, weather, nature and emotion. Many classical dances include facial expressions as an integral part of the dance form.

Eight classical dances
Sangeet Natak Akademi currently confers classical status on eight Indian dance styles
 

Dance form	State(s) of origin
Bharatanatyam	Karnataka, Tamil Nadu
Kathak	North Indian States
Kathakali	Kerala
Kuchipudi	Andhra Pradesh
Manipuri	Manipur
Mohiniyattam	Kerala
Odissi	Orissa
Sattriya	Assam
Yakshagana	Karnataka

 
Other Art Dances yet to be conferred as Classical Dances, whose theories can also be traced back to the Natya Shastra are-

1. Andhra Natyam - Telugu Art Dance
2. Vilasini Nrityam/Natyam - Telugu Art Dance

Out of the eight styles, the only two temple dance styles that have their origin in Natya Shastra and are prescribed by the Agamas are Bharatanatyam and Odissi. These two most faithfully adhere to the Natya Shastra but currently do not include Vaachikaabhinaya (dialog acts), although some styles of Bharatanatyam, such as Melattur style, prescribe the lip movements indicating Vaachikaabhinaya.

Bharata Natyam

Bharata Natyam (Tamil: பரத நாட்டியம்) is a classical Indian dance form that is popular and nurtured in the Indian state of Tamil Nadu.  This dance form denotes various 19th- and 20th-century reconstructions of Sadir, the art of temple dancers called Devadasis. Sadir in turn, is derived from ancient dance in the treatise Natya Shastra by Bharata of fourth or third century BCE
A possible origin of the name is from Bharata Muni, who wrote the Natya Shastra to which Bharathanatyam owes many of its ideas. This etymology also holds up to scrutiny better since Bharathanatyam is pronounced with short (kuril) forms of "bha", "ra" and "tha" whereas each of "bhavam", "ragam" and "talam" contain the long (nedil) forms. Hence the initialization proposed above is more probably a backronym.
Bharatanatyam is a reworked dance-form from the traditional "sadir" known for its grace, purity, tenderness, and sculpturesque poses. Today, it is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over the world.
Surviving texts of the golden age of Tamil literature and poetry known during the Sangam Age such as the Tolkappiyam   as well as the later Silappadikaram ( , testify to a variety of dance traditions which flourished in these times. The latter work is of particular importance, since one of its main characters, the courtesan Madhavi, is a highly accomplished dancer. The Silappadikaram is a mine of information of ancient Tamil culture and society, in which the arts of music and dance were highly developed and played a major role.
In ancient times it was performed as dasiattam by mandira (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are based on Bharatnatyam dance postures karanas. In fact, it is the celestial dancers, apsaras, who are depicted in many scriptures dancing the heavenly version of what is known on earth as Bharatnatyam. In the most essential sense, a Hindu deity is a revered royal guest in his temple/abode, to be offered the "sixteen hospitalities" - among which are music and dance, pleasing to the senses. Thus, many Hindu temples traditionally maintained complements of trained musicians and dancers, as did Indian rulers.
In Kali Yuga, the center of most arts in India is Bhakti (devotion) and therefore, Bharata Natyam as a dance form and carnatic music set to it are deeply grounded in Bhakti.Bharatnatyam, it is said, is the embodiment of music in visual form, a ceremony, and an act of devotion. Dance and music are inseparable forms; only with Sangeetam (words or syllables set to raga or melody) can dance be conceptualized. Bharatnatyam has three distinct elements to it: Nritta (rhythmic dance movements), Natya (mime, or dance with a dramatic aspect), and Nritya (combination of Nritta and Natya).
Tamil Nadu, especially Tanjore, has always been the seat and centre of learning and culture. It was the famous quartet of Chinnayya, Ponniah, Sivanandam and Vadivelu of the Tanjore Court during the Marathi King Saraboji’s time (1798–1824) which made a rich contribution to music and Bharatanatyam and also completed the process of re-editing the Bharatnatyam programme into its present shape with its various forms like the Alarippu, Jathiswaram, Sabdham, Varnam, Tillana etc. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatnatyam in Tanjore.
Bharatnatyam is considered to be a fire-dance — the mystic manifestation of the metaphysical element of fire in the human body. It is one of the five major styles (one for each element) that include Odissi (element of water), Kuchipudi (element of earth), Mohiniattam (element of air) and Kathakali (element of sky or aether). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame. Contemporary Bharatanatyam is rarely practiced as Natya Yoga, a sacred meditational tradition, except by a few orthodox schools (see Yoga and dance).
Bharatnatyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and tandava Ananda Thandavam (Tamil) (the dance of Shiva), masculine aspect, which is identical to the Yin and Yang in the Chinese culture.

Spiritual symbolism

Bharatnatyam is the manifestation of the ancient idea of the celebration of the eternal universe through the celebration of the beauty of the material body. Some Bharatanatyam techniques can be traced back to the Kaisiki style. The Natya(I.44) reads, "... I have seen the Kaisiki style during the dance of the blue-throated lord (Shiva). It consists of elaborate gestures (Mridu Angaharas, movements of limbs), sentiments (Rasas), emotional states (Bhavas). Actions (Kriyas) are its soul. The costume should be charmingly beautiful and love (Sringara) is its foundation. It cannot be adequately portrayed by men. Except for women, none can practise it properly".
Apart from the Kaisikii style, Bharatnatyam imbibed some others. These reflect other yogis of spiritual revelations, such as the vision of two sages, Vyagrapada and Pathanjali in Chidambaram. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for Lord Shiva, the Hindu ascetic yogi and divine purveyor of destruction of evil. The symbolism of the dance of Shiva (in the form of Nataraja) is represented by the attitude called "Ananda Tandavam". Also known as the cosmic dancer, he is here the embodiment and manifestation of the eternal energy in five activities (panca-kriya): creation, pouring forth, unfolding; maintenance or duration (sthiti); destruction or taking back (smhara); concealing, veiling, hiding the transcendental essence behind the garb of apparations (tirobhava); and favoring, bestowing grace through a manifestation that accepts the devotee (anugraha). Shiva is depicted dancing on the dwarfish body of the demon Apasmara purusa, "forgetfulness, loss of memory" called in Tamil Muyalaka (PRIT) -- who represents ignorance, the destruction of which brings enlightenment, true wisdom, and release from the bondage of existences
Local kings often invited temple dancers (devadasi) to dance in their courts, the occurrence of which created a new category of dancers -- rajanarthakis—and modified the technique and themes of the recitals. A devadasi had to satisfy her own soul while she danced unwatched and offered herself (surrendered) to the Lord, but the rajanarthaki's dance was meant to be an entertainment.
The Natya Shastra-based margi elements, such as karanas, that were meant to spiritually enlighten the spectators, were gradually replaced by desi karanas which were later replaced by adavus. The Bharatanatyam recitals and ballets started more and more popularly viewed as a form of desi entertainment.
The quartet of Chinnayya Pillai, Ponniah Pillai, Sivanandam Pillai and Vadivelu Pillai of the Tanjore Court, during the rule of Maratha King Saraboji II (1798–1832), made a rich contribution to music and Bharatnatyam and also completed the process of re-editing the Bharathanatyam programme into its present shape with its various items. The descendants of these four brothers formed the original stock of Nattuvanars or dance teachers of Bharatnatyam in Tanjore. Some of the well known Nattuvanars were Guru Meenakshisundaram Pillai, Guru Muthukumara Swami Pillai, Guru Ramaiah Pillai, Guru Kittappa Pillai, Guru Kubernath Tanjorkar, Guru Dandayudhapani Pillai and others. The fall of the Hindu kingdoms in the South marked the eventual decline of Natya, as the Muslum invasion in the North has completely wiped out Natya there. The sacred dance, one of the constituents of the Sodasa Upacharam, was replaced by rice offerings

E.Krishna Iyer was one of those who raised the social status of Bharatnatyam and greatly popularized it. Rukmini Devi Arundale was also instrumental in modifying mainly the Pandanallur style of Bharatnatyam and bringing it to the attention of the West. E .Krishna Iyer said about Rukmini Devi, “There is no need to say that before she entered the field, the art was dead and gone or that it saw a renaissance only when she started to dance or that she created anything new that was not there before”. Rukmini Devi Arundale introduced group performances and staged various Bharatanatyam-based ballets. According to Shri Sankara Menon, Rukmini Devi raised Bharatnatyam to a puritan art form, divorced from its recently controversial past by "removing objectionable elements" (mostly, the Sringara, certain emotional elements evocative of the erotic, such as hip, neck, lip and chest movements) from the Pandanallur style, which was publicly criticized by Balasaraswati and other representatives of the traditional devadasi culture. Not all love was portrayed, at least outside parameters considered "chaste". Balasaraswati said that "the effort to purify Bharatnatyam through the introduction of novel ideas is like putting a gloss on burnished gold or painting the lotus". Having studied Bharatnatyam for three years, in 1936 Rukmini Devi Arundale founded the school Kalakshetra outside the city of Madras to teach it and to promote other studies in Indian music and art. She was one of first teachers to instruct a few men to perform the dance. The dance, at that time, was exclusively performed by women, while men, called Nattuvanars, had only been teaching Bharatnatyam without actually performing it. It is worth noticing that most of the contemporary Bharatnatyam dancers do not satisfy the criteria for a professional danceuse stated in the scriptures.
Dr.Padma Subrahmanyam, who was originally trained in the Vazhuvoor style of Bharatanatyam, was another figure that greatly influenced the development of Bharatanatyam. She started her research on karanas in early sixties, and later announced the creation of a new Bharatanatyam variety, Bharatanrityam, which was a Bharatanatyam-based reconstruction of Natya Shastra's technique. While the Pandanallur style, Tanjore or Thanjavur, Vazhuvoor, Mysore, Kancheepuram were based on the art of rajadasis and are exoteric in nature, some others, like the Melattur style and Balasaraswati's style grew out of the devadasis' distinctly different esoteric art.
The development of the Bharatnatyam dance form has therefore been surrounded by controversy as some including Ashish Khokar the Indian dance historian have seen it as a means by which many women, have appropriated certain Devadasi traditions while disassociating themselves with other aspects of the contemporary devadasis' practices.
At present, Bharatnatyam recitals are usually not performed inside the temple shrine but outside it, and even outside the temple compounds at various festivals. Most contemporary performances are given on the stage with a live ensemble. In popular culture, the adapted, or "semi-classical", Bharatnatyam has been exposed largely through depiction in popular movies and TV programs.
Learning Bharatnatyam normally takes many years before the arangetram (debut). There are academic and commercialized dance institutes in many countries. Many people choose to learn Carnatic music along with Bharatanatyam as they go together.
At present, not only the Hindus but many Christians and Muslims learn it, bringing it beyond the rigid forms of religious boundaries.

Bharatnatyam simplified

There are 3 types of dance; Nritta, Nritya and Natya. Nritta is a pure dance without any emotions, expressions or sahityam. E.g. Alarippu, Swarajathi, Jatiswaram. Nritya has sahityam ( a sentence which means something). It has emotions, expressions and has a meaning shown by the hastas. E.g. Ganeshakautvam, Ranganjali, Karthikeyakautvam. Natya is when a person is portraiting a character. E.g. All padams
There are types of abhinaya in dance, they are 1) Anghika - Physical or body movements. 2) Vachika - the song being played, poetry 3) Aaharya - Ornamentation of a character/dancer e.g. jewellery, costume 4) Satvika - Involuntary movements e.g. trembling, break of voice, tears.
Typically a performance includes:

• Alaripu

A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance.

• Kautuvam

Ancient temple dance item performed in the beginning of the recital, containing rhythmic syllables sung for jathis.

• Ganapati Vandana

A traditional opening prayer to the Hindu god Ganesh, who removes obstacles. See also Pushpanjali

• today mangalam

a starting dance in which we show respect towards the god

• Jatiswaram

An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body.

• Shabdam

The dancing is accompanied by a poem or song with a devotional or amorous theme.

• Varnam

The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.

• Padam

Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.

• Stuti

Hymn in praise of a deity that may contain a feigned mockery, etc. See also Stotra

• Koothu

Item containing a lot of dramatic elements.

• Javali

Javalis are relatively new, pure abhinaya types of compositions of light and pleasing nature. Like Padams the underlying theme of Javalis is Sringara Rasa depicting the Nayaka-Nayaki bhava.

• Tillana

The final section is a pure dance (nritta) when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.

Apart from these items, there are items such as Shlokam, Swarajathi, Krithi etc. The performance concludes with the chanting of a few religious verses as a form of benediction. Certain styles include more advanced items, such as Tharanga Nritham and Suddha Nritham. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram (debut).

• Angikam

This is a devotional song on Lord Shiva and an item dance in bharatnatyam. It can also be performed in byapti slow motion.

Other aspects

• Jewelry

Bharatanatyam dancers wear a unique set of jewelry known as "Temple Jewelry" during the performance.

• Dancers wear anklets called gajjalu, made of rope or leather with rows of sleigh-like (traditionally copper) bells attached on the anklet. The dancers talent is judged (along with style and presentation) by the amount ringing heard and the amount of bells on the anklet. The less ringing heard from the anklet then the better the dancer, which is seen as having control and fluid movement. Typically, beginners have 1-2 rows, mediocre dancers have 3 rows, and advance dancers have 4-5 rows.
• Costume

From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharatanatyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's sukshma sharira (cf.aura), in the material world.

• Music

The accompanying music is in the Carnatic style of South India.

• Ensemble

Mostly, South Indian instruments are used in the ensemble. These include, the mridangam (drum), nagaswaram (long pipe horn made from a black wood), the flute, violin and veena (stringed instrument traditionally associated with Saraswati, the Hindu goddess of the arts and learning).

• Languages

Tamil, Telugu, Kannada and Sanskrit are traditionally used in Bharatanatyam.

Ideal qualities of dancers

A professional Bharatanatyam dancer must demonstrate a number of qualities. As Sangitaratnakara puts it, the true dance is connected to the beauty of the body, therefore any other dance is simply a parody (VII.1246).
The AbhinayaDarpana has a sloka that describes Patra Prana Dasha Smrutaha — the ten essentials of the dancer: Javaha (agility), Sthirathvam (steadiness), Rekha (graceful lines), Bhramari (balance in pirouettes), Drishti (glance), Shramaha (hard work), Medha (intelligence), Shraddha (devotion), Vacho (good speech), and Geetam (singing ability).
A professional danseuse (patra), according to Abhinayadarpanam (one of the two most authoritative texts on Bharatanatyam), must possess the following qualities: She has to be youthful, slender, beautiful, with large eyes, with well-rounded breasts, self-confident, witty, pleasing, well aware of when to dance and when to stop, able to follow the flow of songs and music, and to dance to the time (thalam), with splendid costumes, and of a happy disposition
As Natya Shastra states the qualities required of a female dancer narthaki, "Women who have beautiful limbs, are conversant with the sixty-four arts and crafts (Kalā), are clever, courteous in behaviour, free from female diseases, always bold, free from indolence, inured to hard work, capable of practising various arts and crafts, skilled in dancing and songs, who excel by their beauty, youthfulness, brilliance and other qualities all other women standing by, are known as narthaki."

 

• Kathak - classical dance prevalent in Northern India
• Kathakali - classical dance of Kerala, largely performed by men
• Kuchipudi - Telugu classical dance
• Manipuri - classical dance from Manipur
• Mohiniaattam - classical dance of Kerala, largely performed by women
• Odissi - dance of Orissa
• Yakshagana - Kannada classical theatre
• Dance - An art form.
• Garba - Classical dance of Gujarat.

Kathak

Kathak   is one of the eight forms of Indian classical dances, originated from India. This dance form traces its origins to the nomadic bards of ancient northern India, known as Kathakars or storytellers. Its form today contains traces of temple and ritual dances, and the influence of the bhakti movement. From the 16^th century onwards it absorbed certain features of Persian dance and central Asian dance which were imported by the royal courts of the Mughal era.
The name Kathak is derived from the Sanskrit word katha meaning story, and katthaka in Sanskrit means he who tells a story, or to do with stories. The name of the form is properly   katthak, with the geminated dental to show a derived form, but this has since simplified to modern-day   kathak. kathaa kahe so kathak is a saying many teachers pass on to their pupils, which is generally translated, 's/he who tells a story, is a kathak', but which can also be translated, 'that which tells a story, that is 'Kathak'.
There are three major schools or gharanas of Kathak from which performers today generally draw their lineage: the gharanas of Jaipur, Lucknow and Benares (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.

Pure Dance (Nritta)

The structure of a conventional Kathak performance tends to follow a progression in tempo from slow to fast, ending with a dramatic climax. A short dance composition is known as a tukra, a longer one as a toda. There are also compositions consisting solely of footwork. Often the performer will engage in rhythmic play with the time-cycle, for example splitting it into triplets or quintuplets which will be marked out on the footwork, so that it is in counterpoint to the rhythm on the percussion.
All compositions are performed so that the final step and beat of the composition lands on the 'sam' (pronounced as the English word 'sum' and meaning even or equal, archaically meaning nil) or first beat of the time-cycle. Most compositions also have 'bols' (rhythmic words) which serve both as mnemonics to the composition and whose recitation also forms an integral part of the performance. This recitation is known as padhant. Some compositions are aurally very interesting when presented this way. The bols can be borrowed from tabla (e.g. dha, ge, na, 'ti' 'na' 'ka' 'dhi na') or can be a dance variety (ta, thei, tat, ta ta, tigda, digdig, tram theyi and so on).
Often tukras are composed to highlight specific aspects of the dance, for example gait, or use of corners and diagonals, and so on. A popular tukra type is the chakkarwala tukra, showcasing the signature spins of Kathak. Because they are generally executed on the heel, these differ from ballet's pirouettes (which are properly executed on the toe or ball of the foot). The spins usually manifest themselves at the end of the tukra, often in large numbers: five, nine, fifteen, or more, sequential spins are common. These tukras are popular with audiences because they are visually exciting and are executed at great speed. Other compositions can be further particularised as follows:

1. Vandana, the dancer begins with an invocation to the gods.
2. Thaat, the first composition of a traditional performance; the dancer performs short plays with the time-cycle, finishing on sam in a statuesque standing (thaat) pose.
3. Aamad, from the Persian word meaning 'entry'; the first introduction of spoken rhythmic pattern or bol into the performance.
4. Salaami, related to Ar. 'salaam' - a salutation to the audience in the Muslim style.
5. Kavitt, a poem set on a time-cycle; the dancer will perform movements that echo the meaning of the poem.
6. Paran, a composition using bols from the pakhawaj instead of only dance or tabla bols.
7. Parmelu or Primalu, a composition using bols reminiscent of sounds from nature, such as kukuthere (birds), jhijhikita (sound of ghunghru), tigdadigdig (strut of peacock) etc.
8. Gat, from the word for 'gait' (walk) showing abstract visually beautiful gaits or scenes from daily life.
9. Lari, a footwork composition consisting of variations on a theme, and ending in a Tihai.
10. Tihai, usually a footwork composition consisting of a long set of bols repeated thrice so that the very last bol ends dramatically on 'sam'.

Expressive Dance (Nritya)

Aside from the traditional expressive or abhinaya pieces performed to a bhajan, ghazal or thumri, Kathak also possesses a particular performance style of expressional pieces called bhaav bataanaa (lit. 'to show bhaav or 'feeling'). It is a mode where abhinaya dominates, and arose in the Mughal court. It is more suited to the mehfil or the darbar environment, because of the proximity of the performer to the audience, who can more easily see the nuances of the dancer's facial expression. Consequently, it translates to the modern proscenium stage with difficulty. A thumri is sung, and once the mood is set, a line from the thumri is interpreted with facial abhinaya and hand movements while seated. This continues for an indefinite period, limited only by the dancer's interpretative abilities. Shambhu Maharaj was known to interpret a single line in many different ways for hours but all the Maharaj family (Acchan Maharaj, Lachhu Maharaj, Shambhu Maharaj and Achhan Maharaj's son Birju Maharaj) have found much fame for the naturalness and innovativeness of their abhinaya.

History of Kathak

The story of Kathak begins in ancient times with the performances of professional story-tellers called kathakas who recited or sang stories from epics and mythology with some elements of dance. The traditions of the kathakas were hereditary, and dances passed from generation to generation. There are literary references from the 3^rd and 4^th centuries BCE which refer to these kathakas. The two texts are in the archives of Kameshwar library at Mithila.
An extract runs as follows:

maggasirasuddhapakkhe nakkhhate varanaseeye nayareeye uttarpuratthime diseebhage gangaye mahanadeeye tate savvokathako bhingarnatenam teese stuti kayam yehi raya adinaho bhavenam passayi (Prakrit text, 4th century BC).
Translation:
in the month of margashirsha, in the shukla-paksha nakshatra, to the north west of Varanasi, on the banks of the Ganges, the shringar dance of the kathaks in praise of God pleased Lord Adinatha.

anahat...nrityadharmam kathakacha devalokam...
Translation:
...sound...and the Kathaks whose duty is dance for the divine peoples

Kathakscapare rajan sravanasca vanaukasahadivyakhyanani ye ca'pi pathanti madhuram dvijaha
(Mahabharata, verse 1.206.2-4, Adiparva)
Translation:
With the king on the way to the forest were the Kathakas pleasing to the eyes and ears as they sang and narrated sweetly.

With the king on the way to the forest were the Kathakas pleasing to the eyes and ears as they sang and narrated sweetly.

Noted Kathak dancer Shovana Narayan, recipient of the Padma Shri

Shovana Narayan notes: 'Here the emphasis on ‘pleasing to the eyes’ is indication of the performing aspect of the Kathakas.' The other verse is in the Anusasanika Parva. In the post-Christian era, there is also reference to Kathak in the Harshacharita of Bana.
By the 13^th century a definite style had emerged and soon technical features like mnemonic syllables and bol developed. In the 15^th-16^th century at the time the Bhakti movement, Rasalilas had a tremendous impact on Kathak. The form of dance even made its way to the Kathavachakas who performed in temples.

Change in the Bhakti Era

During the era of fervent worship of Radha-Krishna, Kathak was used to narrate tales from the lives of these figures. Popular performances included Sri Krishna’s exploits in the holy land of Vrindavan, and tales of Krishna-Leela (Krishna’s childhood). It was in this time, the dance moved away from the spirituality of the temple and began to be influenced by folk elements.

In the Mughal Period

It was when the dance reached the Mughal court after the 16^th century that Kathak began to acquire its distinctive shape and features. Here it encountered other different forms of dance and music, most especially dancers from Persia. Dancers were enticed from the temples to the courts by gifts of gold, jewels and royal favour. Patronage soared as a social class of dancers and courtiers emerged in the royal palaces, where dance competitions were held frequently. The environment of the North Indian Mughal courts caused a shift in focus for Kathak, from a purely religious art form to court entertainment. Dancers imported from the Central Asia spread their ideas to Kathak dancers, as they borrowed ideas from Kathak to implement in their own dance. Kathak absorbed the new input, adapting it until it became an integral part of its own vocabulary.
Kathak began to shift away from other traditional Indian dances, such as Bharatanatyam. The demi-plié stance of most other Indian dance forms gave way to straight legs taken from the Persian dancers. To emphasize the flamboyant and elaborate rhythmic footwork as many as 150 ankle bells on each leg were worn. It was also during this period that the signature 'chakkars' (spins) of Kathak were introduced, possibly influenced by the so-called whirling dervishes. The straight-legged position gave a new vitality to the footwork, which wove percussive rhythms in its own right, whether together with or in complement to the tabla or pakhawaj. By this stage, the varied influences had introduced great flexibility into Kathak in terms of presentation and narrative dance. As it moved away from the temple through folk dances to the court, it gathered many accretions of the themes on which the narrative dance could treat, resulting in a broader catchment of material for abhinaya pieces, and a less stylised and slightly informal presentation style which often incorporated improvisation and suggestions from the courtly audience. The fusion of cultures developed Kathak in a singular manner, but although it was by now substantially different from the other Indian dance forms, the roots of the style remained the same, and as such it still displays a consanguineity with the others, particularly in the hand-formations during story-telling, and some of the body-postures, for example the tribhangi position, which is common to most Indian dance forms.

Later court influences

Many emperors and princely rulers contributed to the growth and development of Kathak into different gharanas, or schools of dance, named after the cities in which they developed. The Nawab of Oudh, Wajid Ali Shah, not only enjoyed giving patronage to dancers, but danced himself, taught by Durga Prasad. He himself choreographed a dance, Rahas, that he danced himself with the ladies of his court. He brought teachers to his palaces, aiding the expansion of technical vocabulary, and formed the basis of the Lucknow gharana, emphasizing sensuous, expressive emotion. The Lucknow gharana placed emphasis on the abhinaya and natya elements or expressional qualities of the dancing; it was famed for its subtlety and grace (nazakat). This contrasted sharply with the Jaipur gharana, which became renowned for highly intricate and complex footwork, and fast, sharp, and accurate dancing. Even after the Mughuls, courts in Rajasthan enjoyed Kathak as a sophisticated art form, fostering the growth of the Jaipur gharana. The Benares gharana was also created in this time.
During this period, Kathak was also extensively performed by tawaifs, who themselves developed the art in parallel to its refinement in court. They frequently performed abhinaya on lighter classical music of such as dadra, kajri and tappa as well as thumri. Given the tawaifs' environment, their performance style of Kathak also differed from the court style, involving more of what in Kathak is termed nakhra (mischievous playfulness). As the dance teachers of these tawaifs were also often the dance teachers of the court dancers, there was a fairly free interchange of ideas between the two milieus, and this helped consolidate the repertoire of Kathak.

During the Raj

The advent of British Rule in India sent Kathak into sharp decline. The Victorian administrators publicly pronounced it a base and unlovely form of entertainment, despite often privately enjoying the pleasures of the tawaif. Indeed, by associating Kathak solely with the tawaifs and then associating the tawaifs with out-and-out prostitution, Kathak acquired an unwholesome image: the entirely British concept of nautch. Kathak was, to Victorian eyes, an entertainment designed solely for the purposes of seduction. During these times of cultural hardship, the role of the tawaifs in preserving the art forms should not be underestimated. Famous tawaifs such as Gauhar Jan were instrumental in the maintenance and continuation of Kathak, even as it was officially denigrated by the prevailing political opinion. Kathak first received world's attention in the early 20^th century through Kalka Prasad Maharaj, whose sons Acchan, Lacchhu and Shambhu Maharaj, went on carry forward the tradition for the next generation, both as dancers in their own right and later as dance gurus.

Today

Today, Kathak has regained its popularity after the period of decline during the rule of the British Empire (where it was frowned upon by Victorian administrators), and it is now one of the eight officially sanctioned classical dance forms of India. Kathak's current form is a synthesis of all the input it has had in the past: court and romantic aspects sit comfortably side-by-side with the temple and mythological/religious. The work of the Maharaj family of dancers (Acchan Maharaj, Shambhu Maharaj, Lachhu Maharaj and one of the great current dancers still alive today, Birju Maharaj) and his students including Saswati Sen have been very successful in spreading the popularity of Kathak. Another disciple of Acchan Maharaj is Sitara Devi, daughter of Sukhdev Maharaj of Banaras. Her lively, zestful and fiery performances have impressed many audiences. Shambhu Maharaj also trained Smt. Kumudini Lakhia, who, along with Birju Maharaj, has introduced the relative innovation of multi-person choreographies in Kathak, which was traditionally a solo dance form. She has gained a strong reputation for combining purely classical movements and style with distinctly contemporary use of space. Dr. Pandita Rohini Bhate from Pune, enriched Kathak repertoire creating a large corpus of dance compositions. Disciple of the most eminent Gurus of Lakhnau (Lachhu Maharaj) and Jaipur (Mohanrao Kalianpurlkar) she brought the best of both in her style. Her creation of several new Taals and her understanding of Layakari is also an immense contribution to Kathak. Rajashree Shirke, a disciple of Madhurita Sarang (who in turn is a disciple of Birju Maharaj), is playing a pioneer role in reviving the age-old of tradition of story telling in temples by Kathakars.

Gharanas

Because of the linear nature of the passing of knowledge from guru to shishya, certain stylistic and technical features began to fossilise and became hallmarks of a particular school, guru or group of teachers. The different styles are known as gharanas, and these are:

Lucknow Gharana

The Lucknow Gharana of Kathak dance came into existence mainly in the court of Nawab Wajid Ali Shah the ruler of Awadh in the early 19^th century. It was in this period that the Lucknow Gharana of Kathak attained maturity and perfection. This was due to the pioneering efforts of Thakur Prasad Maharaj, the court dancer and guru of Nawab Wajid Ali Shah and subsequently by his illustrious sons Bindadin Maharaj and Kalkadin Maharaj. Kalkadin Maharajji’s sons Achchan Maharaj, Lachu Maharaj and Shambhu Maharaj also contributed to the further development of this gharana style.
The Lucknow style or Kathak dance is characterized by graceful movements, elegance and natural poise with dance. Artistically designed dance compositions, emotive vocal compositions like thumris, dadras, horis along with abhinaya (expressional acting) and creative mprovisions are the hallmarks of this style. Presently, Pandit Briju Maharaj (son of Achchan Maharajji) is considered the chief representative of this gharana.

Jaipur Gharana

The Jaipur Gharana developed in the courts of the Kachchwaha kings of Jaipur in Rajasthan. Importance is placed on the more technical aspects of dance, such as complex and powerful footwork, multiple spins, and complicated compositions in different talas. There is also a greater incorporation of compositions from the pakhawaj, such as parans.

Benares Gharana

The Benares Gharana was developed by Janakiprasad. It is characterized by the exclusive use of the natwari or dance bols, which are different from the tabla and the pakhawaj bols. There are differences in the thaat and tatkaar, and chakkars are kept at a minimum but are often taken from both the right and the left-hand sides with equal confidence. There is also a greater use of the floor, for example, in the taking of sam.

Raigarh Gharana

This was established by the Maharaja Chakradhar Singh in the princely state of Raigarh in Chhatisgarh in the early 20^th century. The Maharaja invited many luminaries of Kathak (as well as famous percussionists) to his court, including Kalka Prasad (the father of Acchan, Lacchu and Shambhu Maharaj) and his sons, and Pandit Jailal from Jaipur gharana. The confluence of different styles and artists created a unique environment for the development of new Kathak and tabla compositions drawn from various backgrounds. Some of renowned dancers of this gharana are Late Pt. Kartik Ram, Late Pt. Phirtu Maharaj, Late Pt. Kalyaandas Mahant, Late Pt. Barmanlak, Pt. Ramlal, Yasmin Singh, V. Anuradha Singh, Alpana Vajpeyi, Suchitra Harmalkar, Monica Pandey Bohre, Mohini Moghe, Bhagwaandas Manik, Bhupendra Bareth, Vaasanti Vaishnav, Annapurna Sharma, etc.

Relationship with other art forms

Kathak Yoga

Kathak Yoga is a technique common in Kathak that was named by Pandit Chitresh Das. The dancer has to recite the taal, sing a melody, and perform complex footwork and spins in the same composition; frequently two or more of these elements occur simultaneously. The aim is to unify the various aspects of Kathak, so the dancer is constantly aware of the precise relationship of whatever composition is being danced (whether a song or a dance composition) to the rhythm cycle.

Flamenco

There are many striking similarities between Kathak and Flamenco, a southern Spanish dance style that received much influence from the local gypsies, most notably in the lack of much deviation from the vertical axis, percussive footwork, and dependence on (sometimes complex) rhythmic cycles.
It is generally supposed that the Romani people emigrated from India sometime in the 11^th century. One group entered Spain via Eastern Europe, having first passed westward through Iran (then Persia) and the fringes of the Ottoman Empire. In these places, they encountered the very same influences that were to later arrive in India through the Mughal incursions and have such an impact on Kathak. Thus, Flamenco and Kathak received the similar stylistic influences in two very different circumstances: The itinerant Romanis carried their Indian art forms' traditions with them and absorbed new influences as they traveled, while Kathak stayed rooted in India and received the same input as a result of those influences (Persian) being imported by a new regime. The similarity of Kathak and Flamenco is therefore explained by the same process — the grafting and mixing of Persian dance elements on to an Indian base — working in two ways.
Now the two traditions have had some seven or eight centuries in which to diverge; yet it is remarkable that the similarities between the two remain such that there have been many successful collaborative performances between Kathak and flamenco dancers (notably Sandra La Espuelita) without much need to dilute either style to accommodate the other.

Ghunghru

Ghunghru or ghunghroo are the small bells the dancer ties around his or her ankles. The Kathak bells are different from those of other Indian dance styles, as they are not affixed to a pad or strip of leather, but rather are individually woven along a thick string. The usual number of bells is 100 on each ankle, although for the initial stages of learning or for children, 25 and 50 belled strings are widely available to allow the dancer to get used to them.
There is a more or less accepted upper ceiling of 150 bells on each ankle. Greater figures than this tend to involve the topmost circle of bells being tied further and further up a dancer's calf. This is generally regarded as unsuitable, because it is at some distance from the point of impact, giving rise to the upper levels of bells being prone to delayed sounding given the intervening space and amount of leg. Greater numbers are also unnecessarily difficult to control since they are more likely to sound at unwanted moments, being affected by the movement of the whole of the lower leg, rather than just the ankle.

Costume

As the dance style itself has changed to reflect the different milieus in which it found itself, so too has the costume and performance dress of the dancers.

Female costume

Traditional (and perhaps more specifically Hindu) costume sometimes consists of a sari, whether worn in an everyday style, or tied up to allow greater freedom of movement during dance. However, more commonly, the costume is a lehenga-choli combination, with an optional odhni or veil. The lehenga is loose ankle-length skirt, and the choli is a tight fitting blouse, usually short-sleeved. Both can be highly ornately embroidered or decorated. The lehenga is sometimes adapted to a special dance variety, similar to a long ghaghra, so that during spins, the skirt flares out dramatically.
Mughal costume for women consists of an angarkha (from the Sanskrit anga-rakshaka 'limb-keeper') on the upper body. The design is akin to a chudidaar kameez, but is somewhat tighter fitting above the waist, and the 'skirt' portion explicitly cut on the round to enhance the flare of the lower half during spins. The skirt may also be cut on the round but beginning just below the bust; this style is known as 'Anarkali' after the eponymous dancer who popularised it. Beneath the top, the legs are covered by the chudidaar or figure hugging trousers folded up giving the look of cloth bangles. Optional accessories are a small peaked cap and a bandi or small waistcoat to enhance the bust-line. A belt made of zari or precious stones is also worn on the waist.

Male costume

The traditional costume for men is to be bare-chested. Below the waist is the dhoti, usually tied in the Bengal style, that is with many pleats and a fan finish to one of the ends (although it is not unknown for dancers to tie the garment more simply). There is the option of wearing a men's bandi too.
The Mughal costume is kurta-churidar. The kurta can be a simple one, or again, adapted for dance to incorporate wider flare, but is usually at least knee-length. Men may also wear an angarkha (see Female costume, above). Particularly older variety costumes include the small peaked cap too.

Prominent Artists and SNA Awardees

1. Shambhu Maharaj 1955
2. Baijnath Prasad “Lacchu Maharaj” 1957
3. Sunder Prasad 1959
4. Mohan Rao Kallianpurkar 1962
5. Birju Maharaj 1964
6. Damayanti Joshi 1968
7. Sitara Devi 1969
8. Gauri Shankar Devilal 1974
9. Roshan Kumari 1975
10. Rohini Bhate 1979
11. Kartik Ram 1982
12. Kumudini Lakhia 1982
13. Durga Lal 1984
14. Uma Sharma 1987
15. Reba Vidyarthi 1991
16. Ramlal Bareth 1995
17. Rani Karnaa 1996
18. Sunderlal Sathyanarayan Gangani 1998
19. Shovana Narayan 1999-2000
20. Rajendra Gangani 2002
21. Sunayana Hazarilal Agarwal 2003
22. Urmila Nagar 2003
23. Saswati Sen 2004
24. Tirath Ram Azad 2005
25. Munna Shukla 200
26. Geetanjali Lal 2007
27. Shashi Sankhla 2008
28. Prerana Shrimali 2009
29. Malabika Mitra
30. Anuradha Thakur Chopra
31. Umair Arif 2006-today
32. Pratishtha Sharma
33. Shambhavi Vaze
34. Soniaa Gupta
35. Sharadini Gole
36. Hasita Oza
37. Amala Shekhar
38. Chitresh Das
39. Satya Narayana Charka
40. Sonia Parchure
41. Sharvari Jamenis

Kathakali

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकेळिः, kathākēḷiḥ) is a highly stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

History

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

Kathakali plays

Further information: Aattakatha

Kathakali stage

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

Music

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

Performance

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

Acting

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras -- the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

Kathakali performer applying makeup.

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

Notable training centres and masters

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Harippad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

Kathakali styles

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

1. Vettathu Sampradayam
2. Kalladikkodan Sampradyam
3. Kaplingadu Sampradayam

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon - 1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

Other forms of dance and offshoots

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character.
Kottayam thamburan's way of presenting kathakali was later known as Kallikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kallikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kallikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

Noted Kathakali villages and belts

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

Awards for Kathakali artistes

Main article: Awards for Kathakali artistes

• Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
• Nambeesan Smaraka Awards-- For artistic performances related kathakali{1992-2008}

Kathakali Attams [Elaki Attams]

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

Vana Varnana: Bhima in Kalyana Saugandhika

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

Udyana Varnana: Nala in Nalacharitham second day

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

Shabda Varnana: Hanuman in Kalyana Saugandhikam

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

Thandedattam: Ravana in Bali Vadham

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

Ashrama Varnana: Arjuna in Kiratham

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

An Attam Based on a Sloka

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

A Conversation based on a sloka

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

Swarga Varnana: Arjuna in Kalakeya Vadham

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

Tapas Attam: Ravana in Ravana Ulbhavam

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

Scene1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

Scene2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

Kailasa Uddharanam: Ravana in Bali Vijayam

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

Om Tat Sat

                                                        

(Continued...) 

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