Classical Dances i The difference between classical dancing and folk dancing is mainly that there is a deliberate attempt at artistry in the former. Dances of Kerala 59 CLASSICAL DANCES Classical dances are based fully or partly on the principles and techniques embodied in the ancient Hindu scriptures and technical text on dance and allied arts. The earliest of these known scripts is Bharatha’s Natya Shastra believed to have been written around the second century B.C. Most of the prevailing systems of classical dancing governed by elaborate techniques with a high degree of refinement have had their origin in the dances of the common people. The difference between classical dancing and folk dancing is mainly that there is a deliberate attempt at artistry in the former. Sophistication along the norms of the scriptures of advance theories on dance and dramaturgy are strictly adhered to. The concept of portraying emotion, the grace of the individual dances and the virtuosity of the isolated poses are all important in classical dances. Emphasis has been given to different aspects of the dance, namely pure bodily movement, aids to dance like theme, song, instrumental music, the expression of emotions, moods and sentiments, the dress, ornaments, make up and the stage. Koothu, Koodiyattom, Patakom, Ashtapadiyattom, Krishnanattom, Thullal, Mohiniyattom and Kathakali are the most important classical dances. Dances of Kerala 60 KOOTHU This classical dance is performed by the members of the professional Chakyar caste and that too only in Koothambalam of temples. It is one of the oldest of theatrical arts peculiar to Kerala. The term koothu literally means dance which may be taken as an index of the importance attached to dance in the original form of the art. As a matter of fact, the movements and facial expressions and the signs and gestures employed by the actor in Koothu are said to approximate most closely to the principles laid down in the authoritative Sanskrit treatise on the subject, Bharatha’s Natya Sastra. The actor recites stories from the epics (based on Sanskrit text) interpreting them in Malayalam, enlivening his narration with Thandava dance rhythms and also gestures and bodily postures which are clearly derived from Natya Sastra. The Koothu is very much dominated by the comic element. Impersonated through mime and gesture and interspersed with occasional dances, the narrative art of the Chakyar is essentially dramatic. Humorous, witty analogies and allusions to topical, political and social events are brought in during the narration and the dancer gets ample facilities for criticizing men and things of local interest. Seldom does he miss an opportunity to make comic comments on contemporary life and KOOTHUKOOTHU society. He ridicules the follies and Dances of Kerala 61 foibles of the age with impunity. In actual performance the dancer stands on the platform of the Koothambalam adorned with his special type of headgear and peculiar facial make-up. He then offers prayers to the presiding deity of the particular temple where he is performing. After that he recites a verse from the Sanskrit text from which he intends to expound and then explains it in Malayalam. The instruments used are a pair of cymbals and the mizhavu which is a big copper drum. A member of the Nambiar caste beats rhythm on the mizhavu at the required intervals. The cymbals are played invariably by women known as Nangiyars. NANGIARNANGIAR KOOTHUKOOTHU Koothu presented as a solo item by a Chakiyar is also known as Prabhandha Koothu. Occasionally, it is presented by a Nangiyar woman, when it is called Nangiyar Koothu. PATAKOM This is another dance form similar to the Koothu in its technical content. But here the dance element is almost given up and the narration is done through an alternating prose and song sequences, the gestures being retained. A new literary form called Champu, which accommodated more and more of Malayalam idiom and vocabulary was used as text for Patakom. Literally means dissertation, Patakom is performed by Nambiyars even outside temple precincts. The dancer has a red head-dress and on the wrist a red silk. There are garlands around the neck and sandal paste lines across the forehead. Dances of Kerala 62 KOODIYATTOM Instead of single Chakiyar a number of performers get together and stage dance-drama. That is why it is called Koodiyattom, literally “dancing together” (The beginning of Kerala’s dramaturgy can be traced to this dance). Both men and women partake in this performance. Abhinaya is the most important element in Koodiyattom. The texts are always in Sanskrit and the performance is a prolonged affair. It may take anything from a few days to a number of weeks. KOODIYATTOM All the four types of abinaya, viz. Angikarm, Vachikam, Sathvikam and Aharyam are fully utilized in Koodiyattom. The plays are performed only in temple precincts as votive offerings. Abhinaya or acting is a three-fold or even four-fold process. Appropriate hand gestures and symbols are first shown when the words of the verse are spoken in a typically modulated tone. As the music is begun, the Dances of Kerala 63 meaning of the words are translated into a language of bodily postures, attitudes and facial expressions. The third is a repetition of the first. KOODIYATTOM Koodiyattom is staged on the specially built temple theatre called Koothambalam. The stage is decorated with fruit-bearing plantains and bunches of tender coconuts and festooned with fronds of the coconut palm. A vessel overflowing with paddy is placed on the stage. Lighting is done with a tall oil lamp made of brass. Within a railed enclosure on the stage is a large copper drum called mizhavu with a high seat for the Nambiyar drummer. A Nagiyar woman plays the cymbal and occasionally recites the verses. The musical element is very much suppressed in Koodiyattom. At times special orchestral effects are introduced. The orchestra consists of an edakka, maddalam, a conch pipe and horn. There is facial make-up using colour schemes and patterns having symbolic value, though strict standardization of types is absent. The make-up patterns as seen in the better known Kathakali are borrowed from Koodiyattom. In the actual performance, first the drum is sounded and then the Nagiyar woman recites the invocatory verse, (Vandana slokam). After that a purificatory ritual of sprinkling holy water Dances of Kerala 64 on the stage is done by the Nambiyar. Then there is an interlude of orchestra, after which the dance ritual ceremony called Kriyachavittuka is performed by the Sutradhara. The next item is the stapana of the particular act. The main character is introduced in the next stage called Koothupurappadu in the background of the tense dramatic sense created by the full orchestra fury. Nirvahana, the next part of the drama, follows. This itself consists of three phases, the Anukrama, the Samkshepa and the Vistara respectively. Purushartha follows in which clown (Vidushaka), caricaturing the moods, is the hero. This is a significant departure from tradition and a remarkable feature of Koodiyattom. The drama proper now begins sluggishly and leisurely through the long drawn out, detailed and elaborate abhinaya process. The stage craft is simple, with hardly any stage setting. Koodiyattom is perhaps the oldest dance-drama in existence in India. KRISHNANATTOM A refinement of Ashtapadiattom, evolved by Manavedan, the Zamorin was Krishnanattom. The whole story of Krishna was cast into a drama-cycle which would need eight nights for serial production. Vilwamangalam, a Krishna devotee, helped in designing the costume of Krishna . The actors in this dance drama have to conform themselves to the ballet element and mimetic expression. The narrative song is KRISHNANATTOM left to the musicians. Krishnanattom was created as a votive offering and it survives in that capacity in the temple of Guruvayoor where it is still performed. The dance drama is based on the text Krishna- Dances of Kerala 65 Geetha which is in Sanskrit. Many of the characteristics of the earlier ritual folk dances such as Thiyyattom, Mudiyettu and Theyyam are seen in Krishnanattom especially in the painting of the face in intricate patterns, and the use of masks and colourful, gorgeous costumes and head-dresses. The make-up costumes and ornaments used in Krishnanattom are almost similar to that seen in Kathakali, though in Krishnanattom some of the characters are seen using painted masks made of wood. The gestural language and abhinaya are not very well developed. More importance is given to pure dance (nritta) and the stress is always on group movements and group compositions. All the eight night plays KRISHNANATTOM are full of beautiful dances. In no other dance could be seen so many characters performing the same dance with the same facial expressions, eye movements, gestures, foot-work (and set to the same rhythm), with so much of co-ordination, and grace, e.g., Mullappoothutal in Rasalila (Sree Krishna with Gopies) Kaliyamardana Nritham etc. Maddalam, elethalam and chengala are the musical instruments used. RAMANATTOM Legends have it that as an offshoot of the rivalry between the Zamorin and the Raja of Kotarakara, the later created the Ramanattom, the dance-drama on the life of Rama. It was also for serial enactment on eight successive days. Here facial abhinaya and hand gestures were given more importance. The songs were all in Malayalam. In course of time the masks were discarded and a richer variety in facial make-up was developed. It was this Ramanattom that developed into Kathakali. Dances of Kerala 66 ASHTAPADI ATTOM This was popular dance form based on the Gita Govinda of Jayadeva. It was more of a dramatic representation of the renowned lyrical play. Altogether there are only five characters, Krishna, Radha and three females.