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Kerala's culture is a blend of Dravidian and Aryan influences, deriving from both a greater Tamil-heritage region known as Tamilakam and southern coastal Karnataka. Later, Kerala's culture was elaborated upon through centuries of contact with neighboring and overseas cultures. Native performing arts include koodiyattom, kathakali – from katha ("story") and kali ("performance") – and its offshoot Kerala natanam, koothu (akin to stand-up comedy), mohiniaattam ("dance of the enchantress"), thullal, padayani, and theyyam. Other arts are more religion- and tribal-themed. These include chavittu nadakom, oppana (originally from Malabar), which combines dance, rhythmic hand clapping, and ishal vocalisations. However, many of these artforms largely play to tourists or at youth festivals, and are not as popular among most ordinary Keralites. These people look to more contemporary art and performance styles, including those employing mimicry and parody. Additionally, a substantial Malayalam fil m industry effectively competes against both Bollywood and Hollywood.
Malayalam literature is ancient in origin, and includes such figures as the 14th-century Niranam poets (Madhava Panikkar, Sankara Panikkar and Rama Panikkar), whose works mark the dawn of both modern Malayalam language and indigenous Keralite poetry. The "triumvirate of poets" (Kavithrayam: Kumaran Asan, Vallathol Narayana Menon, and Ulloor S. Parameswara Iyer) are recognised for moving Keralite poetry away from archaic sophistry and metaphysics, and towards a more lyrical mode. In the second half of the 20th century, Jnanpith awardees like G Sankara Kurup, S. K. Pottakkat, and M. T. Vasudevan Nair have added to Malayalam literature. Later, such Keralite writers as O. V. Vijayan, M. Mukundan, and Booker Prize winner Arundhati Roy—whose 1996 semi-autobiographical bestseller The God of Small Things is set in the Kottayam town of Ayemenem—have gained international recognition.
Kerala's music also has ancient roots. Carnatic music dominates Keralite traditional music; this was the result of Swathi Thirunal Rama Varma's popularisation of the genre in the 19th century. Raga-based renditions known as sopanam accompany kathakali performances. Melam (including the paandi and panchari variants) is a more percussive style of music; it is performed at Kshetram-centered festivals using the chenda. Melam ensembles comprise up to 150 musicians, and performances may last up to four hours. Panchavadyam is a different form of percussion ensemble, in which up to 100 artists use five types of percussion instrument. Kerala has various styles of folk and tribal music. The popular music of Kerala—as in the rest of India—is dominated by the filmi music of Indian cinema. Kerala's visual arts range from traditional murals to the works of Raja Ravi Varma, the state's most renowned painter.
Kerala has its own Malayalam calendar, which is used to plan agricultural and religious activities. Kerala's cuisine is typically served as a sadhya on green banana leaves; such dishes as idli, payasam, pulisherry, puttucuddla, puzhukku, rasam, and sambar are typical. Keralites—both men and women alike—traditionally don flowing and unstitched garments. These include the mundu, a loose piece of cloth wrapped around men's waists. Women typically wear the sari, a long and elaborately wrapped banner of cloth, wearable in various styles.
Several ancient ritualised arts are Keralite in origin; these include kalaripayattu (kalari ("place", "threshing floor", or "battlefield") and payattu ("exercise" or "practice")). Among the world's oldest martial arts, oral tradition attributes kalaripayattu's emergence to Parasurama. Other ritual arts include theyyam and poorakkali. However, Keralites are increasingly turning to more modern activities like cricket, kabaddi, soccer, and badminton. Dozens of large stadiums—including Kochi's Jawaharlal Nehru Stadium and Thiruvananthapuram's Chandrashekaran Nair Stadium—attest to the mass appeal of such sports among Keralites. Television (especially "mega serials" and cartoons) and the Internet have impacted Keralite culture. Yet Keralites maintain high rates of newspaper & magazine subscriptions— 50%—spend an average of about seven hours a week reading novels and other books, host a sizeable "people's science" movement, and participate in such activities as writers' cooperatives.
Kathakali is a form of Indian dance-drama. It originated in the Indian state of Kerala during the 17th century. Kathakali originated from Ramanattom (“Raman”= the hindu god, Sri Rama; “attom”= enactment”) and Krishnanattom ("Krishnan"= the hindu god, Krishna; “attom”= enactment).History has it that Raja (ruler) of Kottarakara (a province in Kerala) sculpted Ramanattom when the Zamorin (then ruler of Kozhikode, another province in Kerala) refused to allow a performance of Krishnanattom in the former’s palace.
Subsequently, Kottayam Thampuran (ruler of Kottayam, another province in Kerala) composed several plays on Mahabharatha thereby making these distinct from stories based on Ramanattom. Thus, Kathakali was born. Kathakali shares a lot of similarities to both Ramanattom and Krishnanattom. But it also incorporated several outside elements, which is thought to have contributed to its popularity. In particular, the increasing use of Malayalam, which is the local language (albeit as a mix of Sanskrit and Malayalam, called Manipravaalam) made it more popular among the masses. During its evolution, Kathakali also imbibed elements from folk and martial arts which existed at the time in Kerala. Characters with vividly painted faces and elaborate costumes re-enact stories from the Hindu epics, Mahabharatha and Ramayana. Kathakali is featured in the award-winning Indo-French-German produced film Vaanaprastham. Kathakali is traditionally performed in the Hindu temple, but nowadays may also be seen in theatre performances.
Kathakali whose name derives from the Malayalam words "katha" (meaning story) and "kali" (meaning play) is considered to be a combination of five elements of fine art:
* Expressions (Natyam, the component with emphasis on facial expressions)
* Dance (Nritham, the component of dance with emphasis on rythm and movement of hands, legs and body)
* Enactment (Nrithyam, the element of drama with emphasis on "mudras", which are hand gestures)
* Song/vocal accompaniment (Geetha)
* Instrument accompaniment (Vadyam)
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The Theyyam or Theyyattam is a popular ritual dance of north Kerala, south India, particularly presented in the Kolathunadu(of the present Kannur and Kasargode districts). As a living cult with centuries old traditions, ritual and custom, it embraces almost all castes and classes of Hindu religion in this region. The term Theyyam is a corrupt form of daivam or God. It is a rare combination of dance and music and reflects important features of a tribal culture.
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Mohiniaattam (also spelled as mohiniattom or mohiniyattam) is a traditional South Indian dance form from Kerala, India. It is a very graceful dance meant to be performed as a solo recital by women. The term Mohiniattam comes from the words "Mohini" meaning a woman who enchants onlookers and "aattam" meaning graceful and sensuous body movements. The word "Mohiniattam" literally means "dance of the enchantress". There are two stories of the Lord Vishnu disguised as a Mohini. In one, he appears as Mohini to lure the asuras (demons) away from the amrita (nectar of immortality) obtained during the churning of the palazhi or Ocean of Milk. In the second story Vishnu appears as Mohini to save Lord Shiva from the demon Bhasmasura. The name Mohiniaattam may have been coined after Lord Vishnu, and the main theme of the dance is love and devotion to God, with usually Vishnu or Krishna being the hero. Devadasis used to perform this in temples. Vallathol the great poet said that Mohiniattom was s implified form of Bharathanatyam. But it also has elements of Koothu and Kottiyattom in it. According to Rajashree Varier, a renouned Mohiniattom artist. it is a drama in dance and verse. She said so in an interviw published in Soorya Festival News published by Soorya Krishnamoorthy.
The dance which has influences and elements from two South Indian dance forms, the Bharatanatyam and Kathakali, was formulated in the court of king Swati Tirunal by Vadivelu, one of the Thanjavur Quartet. The dance involves the swaying of broad hips and the gentle movements of erect torso from side to side. This is reminiscent of the swinging of the palm leaves and the gently flowing rivers which abound Kerala, the land of Mohiniattam. There are approximately 40 different basic movements, known as 'atavukal', in Mohiniyattam.
The costume includes white sari embroidered with bright golden brocade (known as kasavu at the edges. The dance follows the classical text of Hastha Lakshanadeepika, which has elaborate description of Mudras (gestural expressions by the hand palm and fingers).
The vocal music of Mohiniattam involves variations in rhythmic structure known as chollu. The lyrics are in Manipravala, a mixture of Sanskrit and Malayalam. The mohiniattam dance is performed to this accompaniment by the subtle gestures and footwork of the danseuse. The performer uses the eyes in a very coy yet sensual manner, the purpose being to enchant the mind without enticing the senses. Only beautiful women should play mohini. Kavi said Sundara naree thanu tharalitha jaghana Spanditha deshe mughdam mohitham aashu.
Koodiyattam is a traditional performing artform from Kerala, India. Recognised by UNESCO as a Human Heritage Art, this form of Sanskrit drama is considered to be at least 2000 years old. Kulasekhara Varma Cheraman Perumal, an ancient King of Kerala is known as the creator of Koodiyattam in the present form, and his Aattaprakaram is considered as the most authoritative publication on the art form.
Traditionally, Koodiyattam has been presented by Chakyars. The name Koodiyattam as its name suggests is a combined performance of Chakyar and Nangyar. Traditionally Mizhavu, a special percussion instrument was the only instrument used in Koodiyattam performances. Off late Edakka, another traditional drum has also been used as accompaniment. Chakyar is the main actor who performs the ritualistic Koothu and Koodiyattam inside the temple or in the Koothambalam. Their women ,Illotammas are not allowed to participate. The female roles are done by ladies of Nambiar community called Nangyaramma.Traditionally, a person belonging to Nambiar plays the Mizhavu. Nangyaramma accompany Nambiar with kuzhithalam(a type of cymbal).
Ottamthullal is a type of performing arts from Kerala, India. Also known as the "poor mans Kathakali", Ottamthullal was created by the Malayali poet Kunchan Nambiar, as an alternative to the Chakyar koothu, as a protest against the prevalent socio-political structure and prejudices of the region. In Ottamthullal, a single actor wears colorful costumes, while reciting thullal (dance songs), all the while acting and dancing.
The art form is very satirical in nature, and the ability and freedom of the artist to invent and incorporate the humour and incidental satire makes this art form more popular among the common man. unlike Kathakali, the language is pretty simple, malayalam and very rythmic in nature.
A popular story about the creation of the art form relates it to an incident, where Kunchan Nambiar is said to have slept off during the Chakyar koothu program where he was accompanying on Mizhavu. It says that he created the art form overnight to perform the very next day.
It has metres of medium cadence for the songs used and rhythm to suit. In contrast to the picturesque appearance of the dancer in Ottam Thullal, the dancer in Seethankam
Thullal has his face unpainted, except for a few black lines, on the eyebrows and eyelids to heighten the expression of the eyes. He wears a crown made out of the tender
leaves of coconut palm, with frills of the same material adorning his wrists.
This has a slow narrative style for singing, with slow graceful elegant steps, movements and hand gestures. The make-up of a Parayan is very simple except for an
ornamental headgear and a red cloth round his waist. The dancer smears the body with charcoal paste.
Kolam Thullalis a ritual dance form prevalent in south Kerala (south India) and this form of dancing is customary in houses and temples of Bhagavathy (Female deity). This is performed in relation with temple festivals and to drive away the bad spirit from the 'possessed' bodies.
Many ancient family houses in Kerala have special snake shrines called Kavu. Sarpam Thullal is usually performed in the courtyard of houses having snake shrines. This is a votive offering for family wealth and happiness. The dance is performed by members of a community called Pulluvar. In the first stage the pulluvan draws a kalam (the field) in with two or more twining snakes in the courtyard. An oil lit traditional lamp and one full measure (nirapara) each of paddy and rice are then placed in front of the kalam. In the second stage, the idol of the snake is brought out from the Kavu in a procession called thalapoli to the uproarious tumult of percussion instrument (panchavadyam).
A number of girls with their hair pleated up like the hoods of snakes and reminiscent of the legend of the naga kanyakas partake in this procession. The idol is placed in the kalam and the poojari performs ritual offerings while the girls sit in two rows on the side of the kolam. The poojari then dances round the kolam to the rhythmic beating of para (a crude drum) and elathalam (bell metal cymbals). All the while a pulluvan and pulluvathi (male and female singers) will be singing special devotional songs set to tune and rhythem by nanduni (a primitive type of veena, a stringed musical instrument) and pulluvankudam (a primitive musical instrument consisting of an earthenware pot and strings) respectively. As the song gathers momentum the girls begin to dance, swaying their bodies slowly at first and steadily ascending in tempo. The dance finally erupts into a violent frenzy of rhythmic fervour, culminating in a trance.
Garudan Hanging (Eagle Hanging) is a ritual art form performed in Kali temples of south Kerala, south India. The people who disguised as Garudas (Malayalam: eagles) perform the dance. After the dance performance, the hang-designate dangle from a shaft hooking the skin on his back. In some places, the ritual is performed colorfully with Garudas taken in a procession on bullock carts or boats or hand pulled carts.
The legend is that after slaying Dharika, Kali remained insatiable and thirsty even after killing Dharika. At this time Vishnu, one of the three primal Gods, sent Garuda to Kali to quench the thirst. A dancing and bleeding Garuda was taken to Kali and only after getting some drops of blood from Garuda, Kali was pacified. The ritual is performed based on this belief.
Poorakkali is a traditional dance ritual performed by men during the nine-day Pooram festival in Bhagavathy temples across Northern Kerala (formerly known as Kolathunadu), south India.
The Pooram festival begins with the Karthika asterism and concludes with the Pooram asterism of the month of Meenam according to the Malayalam calendar (corresponding to the sun sign Pisces according to the Julian Calendar) to honour Kamadeva, the god of love.
The Poorakkali dance itself is performed by a troop of young men decked in lion costumes around a huge, multi-tiered, lit lamp, also known as a "nilavilukku." The dance involves masculine movements and acrobatic, martial art steps. No singers or musicians accompany the dance; instead, the dancers themselves keep rhythm by singing, clapping and executing synchronised foot-thumping movements. The dancers usually observe a month of abstinence and undergo strenuous practice before the performance. Most of the songs sung are hymns from The Ramayana or The Bhagavata.
The performers come from different sects of society like Maniyani, Thiyyan, Mukkuvan, Meyon, Chaliyan, Aasari, Moosari, Thattan, Kollan, etc. The basis of Poorakkali essentially is the memories of [[Vasanthapooja]] performed by inmates of different worlds like heaven, earth etc. Poorakkali spreads knowledge and entertainment. The show steals the hearts of audience with melodious songs and befitting body movements.
Payyanur, Vengara, and Trikaripur are among the places in Kerala that are famous for this art form. The Panikkars are well-known names in the world of Poorakkali and have contributed much to the survival and expansion of this art form.
Mudiyett is a folk art popular in Kochi and Travancore and has some presence in central Kerala, south India. It is basically performed to appease Kali. This is also known as Mudiyeduppu. Mudi should mean hair made either of wood or metal. Karuppas are performers.This Mudiyett is mainly taken place in temples during only in the festival.This mainly in the durga temples because it is related to Durga Devi(goddess).Main characters are Dharikan,Dhanavendran etc,comedy character is (kooly).
It is a form of martial arts practised by Hindus. The available historical evidences date it back to the 12th Century and historians believe that it is the oldest form of martial art in the world. Probably, it is the source of the world famous Karate of Japan. 'Kalari' is a school of martial arts derivative of the Sanskrit word 'Kholoorika' meaning military training centre and 'payattu' the fight. There were Kalaris strewn around the state which are recognized by the Government as the official training centres for new recruits in the armed force.
The instruction and practical training in this art is imparted inside the Kalari, a specially constructed hall with ample space of fighting floor with idols of all the presiding deities of the art and photographs of the entire lineage of Gurus. The idols and Gurus are worshipped before the beginning of the practice with all rituals and singing of hymns as in a temple. The master reverently addressed as 'Gurukkal' is deemed the representative of the God of war and the present link with the long line of Gurus gone deified into the back of beyond.
The pupils are trained in self-discipline and physical culture. Before the pupils are initiated into the techniques of warfare, their bodies are toned pliable, agile and versatile by regular massage by feet and hands with medicated oil. Then taught to wield Kuruvadi (short sticks), spear, dagger, sword, shield, etc. The last and sophisticated piece in the weaponry is 'Urumi' a thin springy three-meter long double edged sword worn around the waist locked like a belt drawn unwound in a flick of a moment when required. It is highly lethal for an adept wielder can aim it to swirl around the neck of the opponent and, at the slightest jerk, the head will roll on the floor of the arena.
Flying feats, daring onslaughts and dodging with dexterity are the ways in combat. Defensive and offensive strikes with lightning speed are its peculiarity. There are customarily eighteen 'adavu' (tricks) in this warfare. Seventeen, fighting with all the weapons one by one, the eighteenth being 'Poozhikkadakan', a feat producing a cover of whirlwind of dust around the combatant by stamping the earth and swift circular movement to camouflage him from the opponent and to take him by surprise with sudden retaliatory deathblow.
Thiriyuzhichil is a dance ritual performed by Pulluvas in Kerala (South India) to alleviate the fear of snakes, to appease the snake and to be blessed with babies. This is more popular in the districts of Trichur, Calicut and Palghat and it is performed in Hindu Temples and shrines meant for snakes. By performing this, the queen of snakes could be appeased. The performer starts dancing holding a torch in his hand using various types of music instruments.
Marathukali is a variant of Poorakkali. Poorakkali is a traditional dance ritual performed by men during the nine-day Pooram festival in Bhagavathy temples across Northern Kerala (formerly known as Kolathunadu), south India. Marathukali is a form of Poorakali performed by two parties competently. The ordinary play lacks the competent mood displayed in Marathukali. Big disputes ensue between two parties while performance is on and learned people dissuade both parties from further confrontation.
Malayikkuthu (Malayikuthu, Malayikkuth) is a dance ritual performed by the people of Malayi sect in Kerala, South India. Devakanni and Narada are two characters that comprise Malayikkuthu. Davakanni's costume consists of gold and silver ornaments, pleated cloths and doted dresses. Narada has silver, and other colorful clothes on. The face is decorated with turmeric and body paint. It is performed in front of a lighted lamp. Devakanni enters first. Other designates too accompany. Narada enters later and they dance together.
The theme of Malayikkuthhu is as follows: Seven virgins descended on earth to collect flowers. One lost her way and could not join others. Others headed back to heaven. A wandering Narada happened to see her and he wanted her to continue in this world itself.
Malayikkuth is performed in the district of Kannur at Cherukunnu Thekkumpadath. This is also known as Devakkuth.
Charadupinnikali or Urikkali is a dance form practiced in the districts of Trivandrum, Kottayam, Alapuzha and Idukki. The play is performed holding the cords hung at the place of performance. At the end of play, the cords become a rough form of uri and later the uri is undone. This makes a part of Thiruvathira.
Kothammuriyattam is a village folk art form of North Kerala, India. It is in fact Godavariyattom. Basically it is a theyyam with the image of a cow-face attached to mid part of the body. Usually a boy is selected to do this. Special hair work, face pack, and costumes accompany this. And paniyas too accompany the main character as his aides. It is believed that, after this play, the country becomes prosperous with more yields and increased number of livestock. The drum gives the music. The speech is stained with humor and other social aspects in a reviewer way.
Chakyar Koothu is a type of performing arts from Kerala, south India. It is a kind of mono act. It is the traditional equivalent of a stand-up comic act. However, unlike the stand-up comics, the performer has a wider leeway in that he can heckle the audience.
"Koothu" means dance - which is a misnomer, since there is minimal choreography involved in the art form; facial expressions are important, though. Traditionally, it was performed inside a Hindu temple and the performer begins with a prayer to the deity of the temple. He then goes on to narrate a verse in Sanskrit before explaining it in the vernacular Malayalam. The narration that follows touches upon various current events and societal factors with great wit and humor.
Koothu was traditionally performed by the Chakyar community. The part of Koodiyattam, which involves only lady characters are performed by women of Nambiar caste, Nangyarammas are called as as Nangyar Koothu, which has nothing to do with Chakyar Koothu. Only two instruments accompany the performance - a mizhav and a pair of cymbals. Chakyar Koothu was performed only in Koothambalams of Hindu temples.
Sopanam is a form of Indian classical music developed in the temples of Kerala in the wake of the increasing popularity of the Jayadeva's 'Gita Govinda' or 'Ashtapathi'. Sopanasangitham is sung by the side of the steps (Sopanam) of Temple, with the accompaniment of the drum called 'Idakka'. The sopanasangitam in its traditional form is seen at its best among the Marars and Poduvals, who were hereditary Ambalavasi Ardha Brahmanas (Semi Brahmins) engaged to do the same.
Kerala has shared the general musical culture of peninsular India from the earliest times. South Indian music is generally known as Carnatic music because of its common features. Each region of the south has its own culture. Kerala's music is known as Sopanam. Sangeetam (Music) appears to have acquired its name from the 'Sopanam' which means 'Sanctum Sanctorum' of the temple. Its essential features were born out of a happy blending of the Vedic, the folk and tribal music of the region.
The characteristic features of this music are, simple structure and peculiar forms of expression.
The structure of the Sopanam music is believed to reflect the experience of the devotee in ascending the heights of devotion. Sopanam music developed and became popular through the practice of singing invocatory songs in front of the 'Kalam' of Kali (floor drawing of Kali) and later on at the sanctum of the temple. There are a few powerful schools connected with the temples like Pazhoor, Thirumandhamkunnu, Guruvayoor, Ramamangalam. In these temples, this music had been hereditarily practiced by temple singers. Neralattu Rama Poduval of Thirumandhamkunnu bani, Janardhanan Nedungadi of Guruvayoor, Damodara Marar belonging to the Mudiyettu bant of Pazhoor are some of the most effective experts.
Sopanam music as it is practiced in different schools, maintains its rustic nuances with the feeling of devotion as its basic quality. From the temple sanctum this music has taken many diversions and grown as dance music in Ashtapadiyattam; the mold of which was later adopted by Krishnanattam, devotional music in Kalam pattu and dramatic music in Mudiyettu and Kathakali. In spite of its ramified developments, it failed to become pure concert music.
Thacholikali is a folk art performed during the 'Mandala Utsavam', forty-one day annual festival at the Lokanarkavu Bhagavathy Temple. Lokanarkavu temple is situated 5 km from Vatakara, a small town in Kerala state of south India. This dance, performed during the festival resembles the martial art Kalarippayattu.
Many of the traditional performing art forms of Kerala like, Kathakali, Kolkali, Velakali etc have drawn elements from Kalarippayatt during their stages of evolution. Kathakali has borrowed much from Kalarippayattu in its basic body preparative training of the actor not only in terms of technique in practice but also from the body massage for the trainee. Many of the body postures, choreography and foot work of the Thacholikali characters are taken directly from Kalarippayattu.
A Pulluvan is a member of primitive Dravidian group. The term pullu means a bird of omen. The term pulluvan must have meant ‘a person who predicts from the sound of birds’. There are many sub-divisions within the Pulluva community. The majority among them are called Nagampatikal (People who sing snake-songs). There are pulluvars who are not Naagampatikal, as well. They are known as Pretampatikal (People who sing ghost songs).
Most of the art forms of the Pulluvar are ritualistic. Most of their songs are related to worship,ritual,custom and exorcism. The pulluva art is expressed in the background of snake-worship, ghost worship and magic.
The pulluvar of Kerala are closely connected to the serpent worship. One group among these people consider the snake gods as their presiding deity and perform certain sacrifices and sing songs. This is called ’Pulluvan Pattu’. This is performed in the houses of the lower castes as well as those of the higher castes, in addition to serpent temples.
The song conducted by the pulluvar in serpent temples and snake groves is called Sarppapaattu, Naagam Paattu, Sarpam Thullal, Sarppolsavam, Paambum Thullal or Paambum Kalam. The main aspects of this are Kalamezhuthu (Drawing of Kalam, a ritual art by itself), song and dance.
Panchavadyam is a classic performance of different musical instruments that are unique to Kerala state of south India, where five instruments are involved in a breathtaking-fastmoving percussion performance (Pancha in Sanskrit means five). The five instruments are Timila, Shudha Madhalam, Kombu, Edakka & Elathalam, Timila, Shudha Madhalam and Edakka are different types of drums. The Elathalam is a cymbal and the Kombu is a type of trumpet. Earlier, different instruments were used in Panchavadyam, but Thiruvilwamala Venkichan Swamy, Annamanada Peethambara Marar, Annamanada Achutha Marar, Annamanada Parameswara Marar and Pattarath SanKara Marar evolved the modern-day Panchavadyam with these five instruments and evolved a new structure.
Panchavadyam is performed during the festivals of the Temples in Kerala, mainly in Central Kerala. The most famous performance is that during the
Thrissur Pooram, known as the "Madathil Varavu" Panchavadyam. It is performed by the Thiruvambadi Temple camp.
Pandi melam is a classic performance (melam) of different musical instruments that are unique to Kerala state of south India. The most traditional of all melam's is 'Pandi Melam' which is generally performed outside the temples. Another melam called Panchari melam, which is similar to Pandi melam is played when you are inside the temple.
Panchari melam is a classic performance (melam) of different musical instruments that are unique to temples of Kerala state in south India. The most traditional of all melam's is 'Pandi Melam' which is generally performed outside the temples. But 'Panchari Melam', which is similar to Pandi melam is played inside the temple.
The instruments involved in Pancharimelam are the Chenda (kettle drum), the kuzhal (a kind of trumpet), the ilathalam (cymbals) and the kombu (another kind of trumpet). The most famous Pancharimelam performance in Kerala is that which is performed during the Temple festival at Sri Edakkunni Bhagavathy temple in Ollur , Thrissur District during March - April and in November-December (Vrischikam) at the Sree Poornathrayeesha Temple, Thrippuntithura, in Ernakulam district. Other Places include Peruvanam, Irinjalakuda temples.
Thayambaka is a solo Chenda (drum) performance that are unique to Kerala state of south India, where the performer uses one stick and the other hand to play the instrument (Chenda) instead of the usual two sticks.
Thayambaka is generally performed by a lead drummer surrounded by about 3-4 assistant drummers(Veekku Chenda) , and 3-4 Elathalam players. It is a concert like performance of percussion instruments alone lasting approximately 90-120 minutes.
Duff Muttu (also: Dubh Muttu) is an art form prevalent among Muslims in Kerala state of south India. Basically Duff or Dubh is a music instrument made of wood and ox skin. It is also called Thappitta. Participants play this and dance. In certain areas, instead of Duff or Dubh, Arabana is used. This was performed in Madina in Saudi Arabia.
Kolkali is a folk art performed in Kerala a small state in south India. The dance performers move in a circle, striking small sticks and keeping rhythm with special steps. The circle expands and contracts as the dance progress. The accompanying music gradually rises in pitch and the dance reaches its climax.
Many of the traditional performing art forms of Kerala like Kathakali, Kolkali, Velakali, and Thacholikali have drawn elements from Kalarippayatt during their stages of evolution. Kathakali has borrowed much from Kalarippayattu in its basic body preparative training of the actor not only in terms of technique in practice but also from the body massage for the trainee. Many of the body postures, choreography and foot work of the Kolkali characters are taken directly from Kalarippayattu.
Kuthu Ratheeb is a religious ritual performed by some sections of the Muslim population in Kerala state of South India.
Weapons are used in this ritual. Sometimes it spills over and actual injury is inflicted. Common acts in Kuthu Ratheeb include piercing the tongue, the ear and stomach with iron rods. Byths are hymns that are sung during Kuthu Ratheeb. There are more than twenty Byths and each are different.
Although some Keralites portray Kuthu Ratheeb as a folklore art, many Muslim scholars consider it as a dark innovation (bid'ah) that has crept into the religion of Islam and they strongly oppose such practices.
Mappila Paattukal or Mappila Songs are folklore Muslim devotional songs in the Malayalam language. These are sung by Muslims (Mappilas) of Malabar.
The first Gramaphone record in Malayalam Language was a Mappila song. In 1925, Gul Mohammed, father of celebrity artist KG Sathar recorded his voice in Gramaphone. Even though millions of Mappila songs were released thereafter on records, only few of them are considered as authentic Mappila Songs.
Mappila songs are composed in colloquial Malayalam and are sung in a distinctive tune. They are composed in a mixture of Malayalam and Arabic and have a special charm of their own. They deal with diverse themes such as religion, love, satire, heroism, etc.
Oppana is a popular form of social entertainment among the Muslim community of Kerala, south India, prevalent all over, especially in the northern districts of Kannur, Calicut and Malappuram.
Oppana is generally presented by females, numbering about fifteen including musicians, on a wedding day. The bride dressed in all finery, covered with gold ornaments is the chief spectator who sits on a peetam, around which the singing and dancing take place. While they sing, they clap their hands rhythmically and move around the bride using simple steps. Two or three girls begin the songs and the rest join in chorus.
Sometime Oppana is also presented by males to entertain the bridegroom. It usually takes place just before the bridegroom leaves for the bride's residence where the Nikah (marriage) takes place or at the time he enters the Maniyara.
Harmonium, Tabla, Ganjira and Elathaalam are the musical instruments employed for this performance. Only the Mappilapaattu will be sung on the occasion.
The word Oppana may have been derived from an Arabic form Afna. There are two types of Oppana, one is Oppana chayal another is Oppana murukkam. When Oppana chayal is performed, they do not clap their hands. If it begins with Chayal it would also end with Chayal only.
Chavittu Nadakam is a folklore art practiced by Christians in some parts of Kerala state of south India.
Offshoot of theatre, this form of play was prevalent among the Christian community spanning from Kodungallur to Ambalappuzha. Training is provided to performers before staging the play. The master is known as Annavi. The whole play is performed through musicals.
The main characters sport broached dress, headdress and crowns. The soldiers sport hats fitted with quills. The bell and drum are two instruments used as back ground score. Most of the times the stories related to Christianity or Western history or Biblical stories are played.
Mangalamkali is a dance ritual related to marriage functions as a form of entertainment. Usually Pulayas (a tribe in Kerala state of south India) perform this. Certain music instruments too are used like Para and Kannupara. The dance is very fast.
Margam Kali is an art form popular among the Syrian Christian community of the erstwhile Travancore. This consists of group dances and martial arts like Parichamuttu Kali. The theme of the songs revolves round the life of St.Thomas.
Margamkali is an entertainment form found among Suriyani Christian (Syrian Christian) folk in Kerala state, South India. Margamkali is a slant imitation of Sangamkali. The Christian soldiers used to pass time engaged in Margamkali and the subject usually is the arrival of Mar Thoma and his efforts to convert other people to Christianity in Kerala.