BUTTA BOMMALU

Butta Bommalu is a popular dance form in the state of Andhra Pradesh. It is the foster child of the West and East Godavari districts of Andhra Pradesh. The name Butta Bommalu literally means puppets made in the form of basket. Butta Bommalu or the basket puppets are made out of thin bamboo strips. These strips are woven into the shape of long spherical basket figures.

The performer of Butta Bommalu gets into the huge, hollow figure, the puppet. The performance starts with the dancer moving to the rhythm of four dappus, a musical instrument. It is generally performed in the open space. The puppet-figure is about eight feet tall and it has a radius of three feet. The figure is hollow at the bottom it is from there that the performer gets into the puppet. The puppet is tied down to the performer�s waist and shoulders.

Being made out of bamboo strips, the figures are very light. It becomes very easy for the performer to carry the figure easily. A paste of tamarind seeds is applied on the structure made of bamboo strips. Then, different bright colors are used to make the puppets look attractive.

In this incredible form of puppet dance, the puppets are adorned with appropriate costumes. Highlights in any religious procession, these huge dancing figures are a special attraction in the festivities in Andhra Pradesh.

The figures resemble different legendary heroes, the most popular of them being Rama, Hanumana, Satyabhama, Shakti, Krishna etc. It also depends on the festival during which Butta Bommalu is performed

VEERANATYAM......

The ordinary meaning of Veeranatyam is dance of the brave. This dance is accompanied with a lot of vigor and enthusiasm. The sole aim of the Veeranatyam is to pay homage to the divine God Shiva who is believed to be the oldest Vedic God. People also worship the Goddess Veerabhadra by performing this dance drama.

Actually performance of Veeranatyam occurs in almost every Shiva Temples of Andhra Pradesh and it involves skillful steps and dexterous hand movements. This dance is presently performed in the marriage functions and vow fulfillment ceremonies. The themes of the Veeranatyam mainly revolve around Dakshayagna.

During the Dakshayagna, a flame is lit and the bodies of the dancers are pierced with trident and spears. Since this needs skill and practice, the dancers require practicing their skills throughout the year. At the end of the ceremony the tridents are lit and Lord Shiva is offered homage by these flaming tridents.

Description of the Veeranatyam:
The Veeranatyam involves celebrations like Virabhadra Pallem in which the dancers use a big plate made of palm;the dance continues until the flame extinguishes completely. Throughout the entire dance performance, ritual chant by the pujaris continues. Another form of Veeranatyam involves dancing with a large bamboo pole which is smeared with vibhuti.

All these dances are mostly devotional and involves vigorous ritual practices and is owes its origin to the Veeramusti community. The people of this community claim direct descent from Lord Shiva.

The Veeranatyam dance involves Thambaru, Dolu, Thasha and Veeranam. The colorful dress worn by the dancers and their cheerful cries invigorates the entire atmosphere. Their worship finds expression through their nimble dance and their vibrant attires.

BURRA KATHA.....

Burra is referred to Tambura, a musical instrument with a hallow shell and attached strings. Katha means story.The name "Burrakatha" refers to same art in entire Andhra Pradesh, but there are also local names to the art in each region.
Coastal region - Jangam Katha
Rayalaseema - Tandana katha or suddulu
Telangana - Tamboora katha or sarada katha.
Burrakatha started as devotional songs of nomadic people and became a popular art form and is played on Radio and TV regularly in Andhra Pradesh. It is a new name (twentieth century) for the theater show known as Jangam Katha. The jangams were wandering minstrels who worshiped and sang of Siva. Two performers participated in these plays: the storyteller and his wife. With societal and cultural changes, the secular aspect was incorporated into this form. Modern form has three performers of any gender.
The main story teller(called as Kathakudu) narrates the story. He plays Tambura and dances to music. He also wears a metal ring called as andelu on his right thumb, holds another ring in his other hand and adds more music by colliding them frequently. The co-performers plays gummeta(also called as dakki or budike), earthen drums with two heads. All three or only kathakadu will be wearing anklets(also called as gajjelu), which add even more music when they dance.
The right side performer(called as the hasyaka, means joker) acts as a joker and cracks satires and jokes. The left side performer(called as the rajakiya, means politician) acts as a person who knows worldly ways and talks about politics and social issues. The main performer and co-performers constantly addressing each other. The co-performers interrupts him with doubts, and they sometimes add emphasis the main events in the story with short words similar to "Wow!" ,"aaha" and "That it it".
Whenever the main performer sings a song, he starts with "vinara veera kumara veera gadha vinara" followed by the co-performers singing "tandhana tane tandhana na", hence it is also called 'tandana katha'.

BHAMAKALPAM........

. Among the various forms of dance form popular in Andhra Pradesh, Bhamakalpam is one of them. The dance form of Bhamakalpam of Andra Pradesh mainly deals with the life of the Hindu mythological character Satyabhama. She was wife of Lord Sri Krishna, who was very beautiful but jealous. The word 'Bhamakalpam' has been derived by amalgamating two words 'Bhama' the original name of Lord Krishna's wife, and 'Kalpam' means complaint or jealousy. The dancers use stylistic hand gestures, body movements including subtle facial expressions and with more realistic acting. The Bhamakalpam Dance is quite similar to Kuchipudi Dance in terms of physical vigor.

Lord Krishna and Radha had a platonic relationship. Lord Krishna's wife Bhama, always used to mistrust Krishna, because of his intimate relationship with Sri Radha. She always used to feel insecure and jealous towards Radha and used to argue with her husband regarding this. The Bhamakalpam dance in Andra Pradesh is predominated by Lasya or the feminine movements, contrary to Tandava Movement or male movement, found in another Indian classical dance, Kathakali. During the 17th century Bhamakalpam was conceived by Siddhendra Yogi for the Kuchipudi dancers for devotional purpose.

KUCHIPUDI DANCE

Kuchipudi is a dance form given to the Indian dance platform by a small village in the Andhra Pradesh. Kuchipudi is not merely a dance form but is combination of dance, gestures, speech and song. A Kuchipudi dancer has to be well versed in dancing, acting, music, various languages and texts. Kuchipudi was born in a small village of Andhra Pradesh. There it developed as a tradition by the same name where it was born. Kuchipudi although now recognized as an independent dance form is related to Bharat Natyam. It was in the 17th century during the bhakti movement in South India that Siddendra Yogi the formulator of the dance form selected some boys from the village to perform dance drama. Thus came the Kuchipudi in this world. In those days Kuchipudi was performed once in a year and the dance form was cautiously kept out of the reach of Devadasis. From the first performers the technique and skills of this form got handed over the generations to acquire the present form. Some of the legendary performers and gurus were Kuchipudi Brahmins like Lakshmi Narayan Shastri and Chinta Krishna Murti who excelled in roles like Satyabhama in Bhamakalapam; later gurus include Vedantam Chinna Satyam.

DANCE FORMS OF ANDHRA PRADESH

1 Kuchipudi
2 Bhamakalpam
3 Burrakatha
4 Veeranatyam
5 Butta bommalu
6 Dappu
7 Tappeta Gullu
8 Lambadi
9 Bonalu
10 Dhimsa
11 Kolattam

JAGO......

Literally, "wake up!" When there's a marriage in the house, girls dance through the village streets carrying a pot (gaggar) decorated with lightened candles and singing jaagu songs. The theme of song in the 'Jago' is social and typically a bit of teasing (often aimed at elders) goes with the song.

LUDDI

This is also a male dance of Punjab. It is danced to celebrate a victory in any field. Its costumes are simple. Only a loose shirt (kurta) and a loincloth are used. Some tie a turban, other the Patka which is somewhat like a scarf tied across the forehead, while still others join in bareheaded. This is also a dance of gay abandon. The performers place one hand at the back and the other before the face copying the movement of a snake's head. This is also danced with the drummer in the center but sometimes the dancers dance before a throng of people and keep moving forward also. This dance is more popular across the Sutlej and in Pakistan it is almost as popular as the Bhangra. This dance has an historical background and pertains to that moment in history when Punjabi Sardars had begun to rescue Indian women that used to be forcibly taken in the direction of Basra in Middle East.
This dance is also the dance of slow movements and some teachers by integrating it into Bhangra have finished its individual identity.

BHANGRA

IT is a form of music and dance that originated in the Punjab region of India and Pakistan. Bhangra dance began as a folk dance conducted by Punjabi farmers to celebrate the coming of Vaisakhi, a Punjabi festival. The specific moves of Bhangra reflect the manner in which villagers farmed their land. This musical art further became synthesized after the partition of India, when refugees from different parts of the Punjab shared their folk dances with individuals who resided in the regions they settled in. This hybrid dance became Bhangra. The folk dance has been popularised in the Western World by South Asian communities and is seen in the West as an expression of Indian and Pakistani culture as a whole Today, Bhangra dance survives in different forms and styles all over the globe – including pop music, film soundtracks, collegiate competitions and even talent shows.

GIDDHA

Giddha (Punjabi: ਗਿੱਧਾ, giddhā) is a popular folk dance of women in Punjab region of India and Pakistan. The dance is often considered derived from the ancient dance known as the ring dance and is just as energetic as Bhangra and at the same time it manages to creatively display feminine grace, elegance and elasticity. IN India Giddha is seen mostly in the city of Amritsar whereas in Pakistan Giddha can be witnessed in the city rich with traditional Punjabi culture, Lahore.
Girls or women generally form a circle to start performing giddha. All of them clap their hands and sing small couplets (Punjabi: ਬੋਲੀਆਂ, bōlīāṁ) or boliyan or bolis. Then, two or three of them come to the centre and perform the dance. These boliyan, or two-line poems known as couplets, cover a variety of themes such as the excesses committed by husbands and mothers-in-law. The Punjabi salwar kameez (tunic top and loose fitting pants worn by women in India and Pakistan) or lehenga (colourful skirt worn by women in India) in bright and rich colours are typically worn by women in this dance. Normally, no musical instruments are accompanied with giddha, except sometimes a dholak (small two headed drum) and provides the rhythm for the dance. Women clap and/or clang spoons to keep the rhythm. The distinctive hand-claps of the dancers is a prominent feature of this art-form.
Mimicry is also very popular in Giddha. One girl may play the aged bridegroom and another his young bride; or one may play a quarrel-some sister-in-law and another a humble bride. In this way Giddha provides for all the best forum for venting of one's emotions. Giddha dance incorporate village life scenes of woman spinning cotton, fetching water from the well, grinding, etc. This is accompanied with appropriate boli and songs.

DANKARA

Dankara
Also called the Gaatka dance, this is a dance of celebration. Two men, each holding colorful staves, in rhythm with the drums dance round each other and tap their sticks together. This dance is often part of marriage celebrations.

JALLI

This dance associated with Muslim holymen called pirs and is generally danced in their hermitages (khangahs). This dance is mostly performed in sitting posture, sometimes it is also danced around the grave of a preceptor. A single dancer can also perform this dance. Normally the dancer wears black so is his head covered with black scarf. Sometimes, the murids (followers) also the tie ghungroos (Jingling bells) around their waists like the Bhangra dancers of yore. This dance is fast disappearing.

KARTHI

Karthi is the only mixed dance of men and women, which used to be more popular in the hills, than in the plains. While the Bhangra and the Jhumar are not preceded by any ritual to a deity, in the Karthi, offerings are first made to a deity, at a harvest time. This is followed by women leading the processions and singing songs. The men follow, and then a circle is formed with men and women alternating and linking hands. The accompanying songs are sentimental, and tell of battles fought and victories won, of the union and quarrels of lovers. The tempo of the Karthi is a slower than the tempo of the other two dances. There is much clapping of hands both singly and in pairs. While no wind instruments are used in the Bhangra and the Jhumar, a folk Shenai and other wind instruments are in evidence in the Karthi.

JHUMAR

humar or Jhoomar is a lively form of music and dance that originated in the Multan and Balochistan region in Pakistan, but thrived in Punjab (Pakistan) & Sandalbar areas. It is slower and more rhythmic form of bhangra. Jhumar comes from Jhum - which means swaying. The songs evoke a quality which reminds of swaying. Though the content of these songs is varied- they are usually love with emotional songs too. The Jhummar is a dance of ecstasy.
Jhumar is a folk dance performed during the harvest season in Punjab. It is a living demonstration of the happiness of men. The dance is mostly performed by the Baluchi and Seraiki people of Southern Punjab.
Any time is Jhummar time especially during Melas, weddings and other major functions and celebrations. The emphasis of Jhumar is recreating the gaits of animals and birds. The movement of animals, the ploughing of the field, sowing of seeds and harvesting are shown in the original progression. The dance is also performed in circle, to the tune of emotional songs. The costumes of the dancers are very colorful.

KIKLI

Kilkli, is more of a sport than a dance, is generally popular with young girls. The dance performed in pairs, is a favourite of young girls. It can be done by any even number of performers starting with two. Before beginning the dance, the two participants stand face to face with their feet close to each other’s and their bodies inclined back. Standing in this pose with their hands interlocked firmly and arms crossed the dancers are able to stretch their arms fully and arch their backs to the maximum limit. The dance is performed when the pairs, maintaining this pose, wheel round and round in a fast movement at the same spot with their feet serving as the pivotal points. The girls sing as they swirl around with their colorful ‘orhnis’ or ‘daupttas’ fanning out from their heads and flutering in the wind while their anklets produce tinkling melodies.
There is a rich repertoire of traditional songs available that are used to accompany the ‘kikli’ dance. Most of these songs consist merely of loosely rhyming lines without any underlying theme. One of the examples is:
Kikli kleer di,
Pag mere vir di,
Daupatta mere bhai da,
Phitte mun jawai da.

SAMMI.....

The fairy dancers of the court of lord Indira are reputed to have taught the technique of Giddha and Sammi to the girls of this earth. The fairy which taught Giddha was known as Giddho while the one who taught Sammi was named as such. This kind of dance form is popular in Sandal Bar which now is in Pakistan. Sammi has not been able to gain popular acceptanceand is breathing its last in the huts of the tribals. Women of Baazigars, Rai Sikhs, Lobanas and Sansi lot tribes dance in this medium. This is also danced in the privacy of women.

This women’s dance is also performed like ‘Giddha’. The dancers stand in a circle and swing their hands, bringing them up from the sides, right in front up to the chest level and clap: they take their hands down in accordance with a rythem and clap again. Repeating this gesture, they bend forward and clap again, and go round and round in a circle. As the rythem is maintained with the beat of the feet, various kinds of swinging movements are performed with the arms. Most of the gestures are confined to the movement of the arms, clicking and clapping. No instrument is required as an accompaniment to this dance. Rythem is kept up with the beating of the feet and clapping.

Special make-up is done by its performers. They knit their hair into thin plaits all over their head into intricate patterns and tie the remaining length of the hair in one full plait. In the middle of their head they fix a domed ornament shaped like an inverted lotus called phul-chowk or Suggiphul (flower of the crossings of the plaits). The performers wear a unisex kurta (male shirt) and the tehmet (lower cloth) and cover their head with a thick cloth of loose rectangular dimension, called -Bhochhan-. Chutki is a frictional sound of single note created by pressing and then sIiding the thumb and the index or the middle finger and is used to keep the beat in this lance. The background song of this dance is also called sammi. This is also a dance of controlled movements. It is said that even the Devtas (angels) get inebriated while seeing this dance

FOLK DANCES OF PUNJAB

1.SAMMI
2.KIKLI
3.JHUMAR
4.KARTHI
5.JULLI
6.DANKARA
7.DHAMAL
8.GIDDHA
9.BHANGRA
10.JAAGO
11.LUDDI
12.TEEYAN

Thitambu Nrityam

North Kerala has many rich art traditions, of which "Thitambu Nritham" is one. It is mainly performed by Namboothiris of this part of Kerala, and rarely other Braahmanan communities, say for example, Embranthiris. Late Vethiramana Sreedharan Namboodiri could easily be called the "Father of Thitambu Nritham". Luckily this ritualistic art form has not died out with his withdrawal from the stage. Experts in this field like sri Matamana Sankaran Embranthiri and his disciple Brahmasree Puthumana Govindan Namboothiri are carrying on the great tradition in the north.

Thitambu Nrityam is pure dance, completely absorbed in, and regulated by, rhythm (Thaalam) which is "Layam". Surprisingly, it has not been included among the temple arts of Kerala, though connoisseurs admit that this is an art, and a ritualistic one. As the dancer comes out carrying the replica of the idol on his head, the "Maaraar" (hereditary drummer in temples) makes the characteristic drumming when Thaanthric rites are performed.The word "Thitambu" suggests the direct manifestation of the deity. Idols being carried on top of elephants during festivals as also replicas beings held on shoulders while dancing to the rhythm of percussion instruments are a common sight in Kerala. But, dancing with the replicas on the heads, is a unique feature in the North. The origin of Thitambu Nritham cannot be easily traced. Some Braahmanans who had migrated to the North of Kerala at the time of Chirakkal Raja may have introduced this dance from Karnataka where a form of "Nritham" called "Darsana Bali" was in vogue.
Replicas are made of bamboo with which a beautiful frame with intricate designs is created. The priestly dancer, clad in the traditional style after performing the usual rituals, comes out of the sanctorum, and standing under the flag, holds aloft the replica weighing about 10 kg-30 kg on his head and starts the divine dance.The dance begins with "Kotti Urayikkal" (drumming to make the dancer possessed). The drumming in different Thaalams accompanied by scintillating music coaxes the performer to dance to each rhythm, creating a holy atmosphere. Each circumlocution is regulated by a different Thaalam. Thitambu Nritham has undergone some changes in accordance with the trend of the times,. The changes are in the Thaalams, though the basic one remains unchanged. The innovation adds to the novelty and variety of this art.

Kaikottikali or Thiruvathirakali - Symmetric group dance of Kerala

Thiruvathirakali, also known as Kaikottikkali, is a very popular group dance of Kerala. Thiruvathirakali is performed by the women of Hindu community, often during festive seasons like Onam and the Thiruvathira day in the Malayalam month of Dhanu (December- January). Performed by maids in order to attain everlasting marital bliss, Thiruvathirakali is a simple and gentle dance with the lasya element or the amorous charm predominating. The dance is performed around a nilavilakku (a ceremonial lamp) or a floral decoration especially during Onam. The dancers move in a circular pattern, accompanied by rhythmic clapping of the hands, to the tune of the Thiruvathira pattu. One of the performers sings the first line of the Thiruvathira pattu (song) while the rest repeat it in chorus. The songs are often narrations from the folk epics. . Today, Thiruvathirakali has become a popular dance form for all seasons and also a popular stage item.

Koodiyattam - UNESCO honoured Dance form of Kerala

Koodiyattam is the earliest classical dramatic art form of Kerala. Evidence show that this dance form was in vogue in all major temples from ninth century, and it became a full-fledged dramatic presentation before the fifteenth century. Koodiyattam literally means "acting together". Koodiyattam used to be a combined dance drama conducted by the Chakkiyars (a caste among Hindus), who provided the male cast and the Nangiars (women of the Nambiyar caste), playing the female roles. Koodiyattam performance lasts for several days ranging from 6 to 20 days. Themes are based on Hindu mythology.
Koodiyattam is enacted inside the temple theatre, known as the Koothambalam, with two or more characters onstage at the same time. Vidushaka, a figure parallel to the Fool in Shakespearean plays, sometimes explains in simple Malayalam the background of the story and gives a live image of characters in the minds of the spectators. Often humorous, he enacts his role with the liberty to criticize anyone without fear.
Koodiyattam is a dramatic presentation in Sanskrit, with the exception of the vidushaka, who is the only character speaking in Malayalam. Roleplaying in Koodiyattam includes stylized form of vocal recitation coupled with a complete hand-gesture language and highly evocative facial expressions.
Koodiyattam Make-up and Costume
The make-up and costume of Koodiyattam are not so elaborate. Heroic characters are distinguished by the green colour and the small curved paper frame on their face. Costumes have a blend of brilliant colours, predominantly red, black and white. The costume of the vidushaka (jester) sets him apart from the rest. He has special make-up, small head-gears and costume that vividly display his clownish features.
Music and Orchestration of Koodiyattam Dance Form
Mizhavu is the major musical instrument used in Koodiyattam. It is a big jar made of either clay or copper, with a narrow mouth covered by leather and is played by both hands. Mizhavu is played only by the nambiyars. The Nangiars beat the cymbals and recite verses in Sanskrit. Edakka lends bhava and laya for a vivid portrayal of the soft sentiments of both male and female characters in Koodiyattam.
Koodiyattam is a temple art and probably the only surviving form of the traditional presentation of Sanskrit drama. The Koodal Manickyam temple at Irinjalakkuda and the Vadakkumnatha temple at Thrissur are the main centers where Koodiyattam is still performed annually.
Recently UNESCO (United Nations Educational Scientific and Cultural Organization) honoured Koodiyattam by declaring the art form as one among the "Masterpieces of the Oral and Intangible Heritage of Humanity", which should be protected and preserved. This was the first time that the UN body had conferred the heritage status on an art form.

THULLAL...

The word 'Thullal' means 'Caper' or 'to leap or jump about playfully'. This art form emerged in the eighteenth century. A solo performance combining both dance and recitation, thullal is the explication of a tale - normally drawn from the puranas, narrated in verse. Kunchan Nambiar, renowned poet of the eighteenth century, first introduced this art form. Unlike Kathakali and Koodiyattom, the humorous and satiric mode of presentation and the use of simple Malayalam language made thullal very popular among the ordinary people.
Thullal Make-up
The make up, though simple, is very much similar to that of Kathakali. The face is painted with yellow arsenic mixed with blue. The eyes are blackened and lips reddened. The full painting of the face is retained for the expressive advantage. The dancer wears a breast-plate adorned with golden pearls, necklaces and colourful tassels. The white waist clothes resemble skirts. The head-gear is small, made of light wood, studded with bright stones and decorated with golden paper. The bracelets, amulets and waistlets are almost the same as in Kathakali.
Thullal Music and Orchestration
A solo performance, thullal is a tale narrated in verse. The thullal performer sings and he is supported by another singer who repeats the verses and is accompanied by an orchestra of mridangam, harmonium and cymbals. The performer through the classical acting techniques, portrays the various characters in an episode and does the narration.
Three forms of thullal - Ottan Thullal, Parayan Thullal and Seethankan Thullal, evolved in course of time. The three forms are differentiated on the basis of make-up, styles of narrative singing, rhythms of dancing and foot work. Of the three Ottan Thullal is the most popular.
Kunchan Nambiar, the founder and a major exponent of this dance form, tried to bring out through his performance the social conditions of his time, criticism against the malignant tendencies of the age and sarcasm against the wealthy and the aristocrats. Unlike Kathakali and Koodiyattom which could be appreciated only by the elite of the society, this performing art was able to communicate directly with the common people. Usually performed during festivals in the temple premises, thullal did not require a stage or any other formal arrangements.
Realistic acting and the perfect blend of humor, satire and music establishes an easy rapport between the performer and beholder. Thullal is yet another example of Kerala's cultural and artistic heritage.

THEYYAM

Theyyam other wise known as Kaliyattam or Thirayattam, is one of the most outstanding folk arts of Kerala. Just as the name Kaliyattam indicates, it is a sacred ritual dance performed to glorify the goddess Kaali. The term 'Theyyam' is supposed to be the corrupt form of the Malayalam word 'Daivam', meaning God. According to legends, Parasuram, the creator of Kerala, sanctioned the festival Kaliyattam to the people of Kerala. It earned the name Thirayattam as every thira or village performed this ritualistic art at the village temple known as kaavu.
Theyyam is a popular ritual dance form of North Kerala, particularly in Kannur and Kasargod districts. The Theyyam represents a mythological, divine or heroic character. Theyyam is always performed by men. They also enact female roles wearing exotic make up and colorful costumes. There are over 350 Theyyams performed in northern Kerala, of which Raktha Chamundi, Kari Chamundi, Muchilottu Bhagavathi, Wayanadu Kulaveni, Gulikan and Pottan are the most spectacular. Unlike other dance forms of Kerala which are onstage performances, Theyyam is performed in front of village temples, without stage or curtains.
Theyyam Costume and Make-up
Costume of the Theyyam is what lends flamboyance to this spectacular dance form. Different costumes like leaf dress, headdress, breast plates, arm ornaments, bangles, garland and other body decorations are to be prepared by the artists for performance. Some of the costumes are made up of tender coconut leaves and they are used only for single performance. Preparation of these items requires proper skill and craftsmanship.
Make up of Theyyams is done by specialist. There are different types of face painting for which primarily and secondary colours are used. Therefore it is essential that the makeup man should have perfect knowledge of primary and secondary colour combinations. Sometimes, it takes hours to paint the faces as per the strict rules of tradition.
Theyyam Performance
First part of the performance is usually known as 'Thottam' (the invocation). It is performed at night without proper make up or decorative costume. Only a small red head dress is worn on this occasion. The second stage is the performance of various ceremonies before the actual manifestation. The last is the most serious and important part of the Theyyam. It is the actual manifestation of the divine spirit. Here the dancer reappears in proper make up and costumes. As mentioned earlier, the Theyyam represents a mythological or divine character. The spirit of that Theyyam migrates into the artist who has assumed that spirit and it is a belief that the god or goddess comes in the midst of the gathering through the medium of the possessed dancer. The dancer throws rice on the audience and distributes turmeric powder as symbols of blessings. It is believed that the Theyyam has curative powers.
Karivalloor, Nileswaram, Kurumathoor, Parassini, Cherukunnu, Ezhom and Kunnathoorpadi in north Kerala are places where Theyyam is performed annually from October to May.

KATHAKALI........

Originated over 500 years ago, Kathakali is a spectacular classical dance form of Kerala. It is a combination of drama, dance, music and ritual. Kathakali is one of the oldest theatre forms in the world. The word 'Katha' in Malayalam means Story and 'kali' means Play. Thus Kathakali literally means 'Story-Play'.
The Kathakali dancer's with their elaborately painted faces, peculiar attire and tall headdresses enact stories from the Indian folk epics and the Puranas, especially the Ramayana and the Mahabharata.
Kathakali Costume and Make-up
Kathakali performers use a luxuriant costume. Characters have their faces elaborately painted and they wear stylized costumes and tall headdresses. Great importance is laid on the Vesham or make-up which are of five types - Pacha, Kathi, Thadi, Kari and Minukku. The colours used in the make-up are determined by the nature of the characters. The costumes in Kathakali represents the three qualities of nature viz. satya (nobility), rajas (aggressiveness) and tamas (darkness) represented by pacha, kathi and thadi respectively.
Pacha Vesham (Green) in Kathakali Dance
The faces of noble male protagonists, such as virtuous kings, the divine hero Rama, etc., are predominantly green.
Kathi Vesham (Knife)
Kathi vesham portrays villainous characters. Characters of high birth who have an evil streak, such as the asura king Ravana, are also given a similar green make-up, slashed with red marks on the cheeks.
Thadi Vesham (Beard)
Superhuman monkeys like Hanuman, and Nandikeswara are characterized by Vella Thadi (White beard).
Chuvanna Thadi (Red beard) is used to portray extremely angry or excessively evil characters.
Forest dwellers such as hunters are represented with a predominantly black make-up called Karutha Thadi (Black beard).
Kari Vesham (Black)
Kari vesham is used to portray she-demons.
Minukku Vesham
Minukku vesham represents women and ascetics who have lustrous, yellowish faces.
There are specialists in the green room who help the actors in their dressing. In fact, the makeup is so luxuriant that it is more like a mask than just make-up. These extraordinary costumes and make-up serve to raise the performers above the level of mere mortals that, the audiences are taken into an ecstatic world that the characters replicate onstage.

Kathakali Mudras - Symbols used in Kathakali
A Kathakali actor enacts his ideas through Mudras. There are 24 main mudras and numerous other lesser mudras and these can be again classified into 'Samaana-mudras' (one mudra symbolizing two entities) or misra-mudras (both the hands are used to show these mudras).
Kathakali Music and Orchestration
The Kathakali music provides a perfect background to the performance. Chenda, maddalam, chengila and elathalam are the four instruments used to provide the instrumental background (melam) for kathakali. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopana sangeetham (Sopana Music). Of the two singers, the first singer (pinnani) keeps the steady beat of the thala (rhythmic pattern) by using the chengila (gongs), made of bell metal.
The Kathakali show is usually conducted at night and ends in early morning. The most popular stories enacted are Nala Charitam (Story of a king betrayed by Gods), Duryodhana Vadham (from Mahabharata), Kalyanasowgandhikam (Mahabharata), Keechaka Vadham (Mahabharata), Kiratham (Mahabharata), Karna Shapadham (Mahabharata) etc.
As part of popularization of the dance form, Shakespeare's King Lear, the Biblical story of Mary Magdalin etc... were composed in Kathakali script recently.
Kathakali which symbolizes the visual art of Kerala has now developed to be qualified as a universal art. The main reason for its appeal is its attractiveness gained by the perfect blending of numerous varieties of fine arts.

MOHINIATTAM....traditional dance of kerela

Mohini Attam is the feminine dance form of Kerala, a state in the south western most part of India. It is danced by women and is known for its very sensual themes. Mohini Attam has an extremely, slow seductive quality. It has only been in recent decades that Mohini Attam has risen in popularity and acceptability
There is a typical costume for Mohini Attam. It is generally simple and white, or off-white. Usually there is a gold brocade, possibly with a border of red. One of the most characteristic signs of the Mohini Attam dancer is the bun of hair worn off-centre. This is very much a characteristic of women from Kerala.
The myth of Mohini is central to the performance. According to the story, Brahma tells the other Gods how they can obtain amrit (celestial ambrosia); amrit bestows immortality and great power. He informs them that they can do so by churned up the ocean of milk. Unfortunately, the job is so great that the gods are forced to seek the assistance of the demons. The demons agree to help, but are secretly plotting to keep it all for themselves.

So the fateful day finally comes. The amrit has been rendered, but only after many difficulties. Vishnu finds out about the plot to steal the amrit. He knows that it would be disastrous for the demons to obtain such powers.
Vishnu decides to thwart the demons in their plans to steal the amrit. He takes the form of a beautiful celestial nymph (apsara), and by way of her amorous charms distracts them from their plans. By means of this distraction the amrit is given to the gods, and the world is saved from the demons.
Mohini Attam is just beginning to be accepted outside of Kerala. One is starting to find it used at toward the end of Bharat Natyam perfomances. Therefore, one is starting to find instruments that are normally associated with Bharat Natyam (e.g., mridangam, vina, venu). However more traditional forms use instruments such as shuddha madalam and edakka (uddaku).
Although there is a general tendency to call Mohini Attam classical, this is probably not justifiable. It is more appropriate to call Mohini Attam a traditional dance form.; We have three benchmarks to, help us decide whether something is classical; age, the ability to cross ethnic boundaries, and upper class associations. Mohini Attam clearly fails two of these benchmarks. It is very old, so this is not an issue. However, it has a very limited acceptance in the non-Malayali (non Keralite) communities. Furthermore, until recently it was generally looked down upon in "polite" society, so it was not something that had upper class connotations.

Musical Instruments Used To Accompany Mohini Attam
• Shuddha Madalam
• Mridangam
• Manjira
• Saraswati Vina (South Indian Vina)
• Violin
• Kanjira
• Surpeti
• Venu
• Tanpura