On a quiet evening in a village in Kerala, the sound of chenda ringing in the ears as the crowds are awaiting for the painted figure to emerge, with their eyes wide with emotion, each action rich with meaning. He doesn’t speak, but narrates the story with every dance step and expression. This is Kathakali not just a dance, but a powerful storytelling tradition that has wondered audiences for centuries.
Introduction : The origin of Kathakali
In the 17th century, Kathakali first appeared in southwest of Kerala. It originated at a period when performing arts were encouraged by local rulers such as the Zamorins of Calicut, and it was rooted in the traditions of temple arts and classical Sanskrit theater. Kathakali draws inspiration from previous forms such Krishnattam (a dance drama based on Lord Krishna’s story, established by Prince Manavedan of Calicut) and Ramanattam (based on the Ramayana, developed by Kottarakkara Thampuran). These customs blended and changed over time to become what we today refer to as Kathakali.
This was traditionally performed in temple courtyards and the village grounds, Kathakali literally means “story-play” (Katha = story, Kali = play), Kathakali is a narrative art form that presents ancient tales of good vs evil via dance, music, acting, and elaborate movements.
Dancers, musicians, and narrators (Chakyars) together to create the show. The performances, which are typically held at night and might go on for hours or even until dawn, are mostly performed by men.
Four Aspects of Abhinaya
Kathakali performances are guided by the Natyashastra, an ancient text on performing arts, written by Bharata around 200 BCE to 200 CE. Kathakali are based on the four types of abhinaya (expression):
- Angika Abhinaya: Angika means gestures and abhinaya means act ,involves the use of gestures and postures, including mudras, to convey meaning.
- Vachika Abhinaya: Vachika means Vocal ,refers to vocal expression, though in Kathakali, this is performed by off-stage singers.
- Aharya Abhinaya: This expression utilizes costumes and makeup to reflect the character’s nature.
- Sattvika Abhinaya: This means Emotional expression, the most challenging one depicting inner feelings.
Symbols and Motifs in Kathakali
Kathakali is not merely a visual spectacle; it is a deeply symbolic performance where every gesture, color, and facial line has a story to tell. Two of the symbolic systems in Kathakali are the Navarasas and the Chutti (makeup)
1.Navarasas
The Navarasas are not just expressions, but emotional universes that the performer must fully embody. Śṛṅgāra (Love), Hāsya (Comedy), Karuṇā (Sorrow), Raudra (Anger), Vīra (Heroism), Bhayānaka (Fear), Bībhatsa (Disgust), Adbhuta (Wonder), Śānta (Peace)In Kathakali, these rasas are conveyed primarily through facial expressions, especially through the eyes.
2.Chutti
Kathakali is visually striking with costumes and vibrant, coloured make up .The dancers wore, large layered skirts, ornate headgear, and heavy jewelry. The Chutti is the white frame around the face made with rice paste and paper. It evolved during the 17th century, the Chutti is a to define the moral nature and role of character on stage.
In Kathakali, makeup isn’t cosmetic, it’s each color, shape, and line has specific meaning:
- Green (Pacha): Represents divinity, heroism, and moral superiority. Used for gods, kings, and virtuous characters like Lord Rama.
- Red (Kathi): Worn by villainous yet powerful characters shows arrogance and brutality.
- Black (Kari): Associated with forest dwellers, demonesses, and evil spirits figures of chaos and disorder.
- White (Minukku): Indicates purity, wisdom, and inner peace. Used for sages, Brahmins, and female characters.
- Bearded Types (Thadi):
- Red Beard (Chuvanna Thadi): Ferocious characters like rakshasas.
- White Beard (Vella Thadi): Hanuman-like divine figures.
- Black Beard (Karutha Thadi): Evil hunters or forest characters.
Historically, the symbolic use of color in Kathakali are from Ayurvedic and Tantric traditions, where colors were believed to have specific energetic properties.
Kathakali Music
Kathakali is not just visual, it’s deeply musical. Its stories are told through a mix of vocal music and percussion.
1.Vocal Music in Kathakali
Mostly the vocals are in Manipravalam, a mix of Malayalam and Sanskrit. The songs narrate the story and are written in the form of padams (lyrical verses) adapted from epics like the Mahabharata and Ramayana. Two vocalists Ponani and Shankidi sit at the side of the stage and sing from the beginning to the end of the performance.
2.Instruments in Kathakali
Chenda: It is a cylindrical drum played with sticks bend at the end. It is played by placing them vertically, slung over the shoulder. Produces a loud, rhythmic, and aggressive sound as the stick beats on the chenda. It is used to create dramatic impact, especially during fight scenes, entrances, and intense emotional moments.
Maddalam
It is barrel-shaped drum, played with bare hands and by sitting cross-legged, with the drum tied around their waist. Produces deep, resonant sounds as a supporting instrument to chenda, as it offers a rhythmic foundation that helps to highlight graceful movements or expressions that are difficult to understand.
Elathalam
It is small hand-held cymbals. As the metals clang by striking together it produces a sharp sound to maintain tala. This helps to adjust the timing for singers and the dancer.
Chengila
It is a large metal disc with a turned rim which is held and struck with a stick and produces a deep, ringing tone. Mainly to mark the transitions.
Vallathol Narayana Menon: The Revivalist
Over the centuries, many scholars and artists like Kunjan Nambiar and Vallathol Narayana Menon contributed to Kathakali’s growth.
Later on, Vallathol played a huge role in the revival of Kathakali in modern times (1878–1958), he was a poet and cultural visionary. He co-founded the Kerala Kalamandalam in 1930 along with Mukunda Raja. This institution became the heart of Kathakali training and research, ensuring its survival and growth in the modern era.
“Vallathol reimagined Kathakali not just as an art form, but as a cultural heritage to be preserved.”
Current Status of Kathakali
Kathakali today holds a prestigious place on the global cultural stage, thanks to the tireless efforts of artists like Balakrishnan Nair, who played a significant role in introducing the art form to international audiences. Renowned institutions such as Kerala Kalamandalam, along with global cultural festivals, have further contributed to its visibility and preservation. Kathakali is now part of academic programs, regularly showcased in cultural tourism, and performed across continents. But today, there is a straight decline in young artists willing to pursue Kathakali as a full-time profession, primarily due to financial uncertainty and the growing dominance of digital entertainment, which competes for attention in the modern cultural landscape.
Kathakali in Popular Culture
(image source: on manorama)
Kathakali’s visual appeal has led to its use in films, advertisements, and literature. Movies like Vanaprastham (1999) by Shaji N. Karun, which explores a Kathakali artist’s life.
International platforms such as Cirque du Soleil have drawn inspiration from Kathakali’s costume design.
It has been featured on stamps, tourism campaigns, and art festivals worldwide.
Conclusion
Kathakali is not just a dance; it is a living archive of Kerala’s cultural soul. Through stories told without words, it captures the timeless struggles and triumphs of gods and men. In its painted faces and powerful silences, Kathakali teaches us the beauty of patience, discipline, and expression. As long as stories live, so will Kathakali in Kerala’s courtyards, in global stages, and in the hearts of those who witness it.
References:
- Zarrilli, P. B. (1992). Kathakali Dance-Drama: Where Gods and Demons Come to Play. Routledge.
- Menon, A. Sreedhara. (2007). Cultural Heritage of Kerala. DC Books.
- Kerala Kalamandalam Official Website: www.kalamandalam.ac.in
- Department of Culture, Government of Kerala: www.keralaculture.org
- https://richardarunachala.wordpress.com/2011/04/05/kathakali-an-evening-of-traditional-kerala-dance/