MUDRAS – SIGN LANGUAGE – basic alphabet

MUDRAS – SIGN LANGUAGE – basic alphabet

Pathakam

Mudraakhyam

Katakam

Musti

Kartharremukham


Sukathunddam


Kapidhakam

Hamsapaksham

Sikaram

Hamsassyam

Anjaly

Ardhachandram

Mukuram

Bhramara

Soochikamukam

Pallavam

Thripathaakam

Mrigaseersham

Sarpasirassu

Vardamanakam

Araalam

Oornanabham

Mukulam

Katakaamukham

THE HANDS - SIGN LANGUAGE OF KATHAKALI

THE HANDS - SIGN LANGUAGE:

The sign Language used in Kathakali is very important and is called MUDRAS –an ancient sacred sign language that originated in the Hindu temple ritualsthousands of years ago and later adapted into the dramatic language ofKathakali.

The Mudras are representative actions; emotional gestures and an actual signlanguage complete with an alphabet and sentence structure.

There are 24 basic Mudras used in Kathakali to tell the story – AsamyuthaMudras – using one hand and Samyutha Mudras – using both hands.

Just as letters of the alphabet become words when put together, these primaryhand shapes only develop into an actual language when put into context, withthe appropriate facial expression and a series of hand, arm and bodymovements.

With various combinations of the basic Mudras over 700 "words" are available tothe actor to tell a story.

THE TRAINING of KATHAKALI

THE TRAINING: KATHAKALI

The training of a Kathakali actor begins at an early age when young boys leavetheir homes to dedicate the entire lives to Kathakali.The rigorous training necessary for a Kathakali actor begins at 4.00am with eye and facial exercises followed with body exercises and the learning of the Kathakali plays.

In the monsoon season the actors undergo a daily painful session, whichinvolves body exercises followed by a special oil massage, called Uzichil. This makes the actor supple and physically prepared for the characters that he will eventually have to portray on stage.

There is a saying that summaries the Kathakali acting technique….

"Where the hands move, there the eyes follow,Where the eyes move the mind follows.Where the mind goods, the mood follows where the mood goes, there the Rasa [flavour] arises."

DRUMMERS, SINGERS, MAKE UP ARTISTS AND COSTUMERS all undergo years of specialised training guided by a Guru – Ashan. Eventually they will perform as a complex team of experts each bringing their own specialist contribution to the performance.

THE CHARACTERS: KATHAKALI

THE CHARACTERS: KATHAKALI

The characters are categorised into symbolic "personalities" ranging from the most

sanctified [Gods] to the most evil.

The characters represent the evolution of humanity and the sensitive relationship between

the individual, spirituality and society.

Situations are acted out where desperation and cruelty give way to truth and compassion. The

plays communicate on a deep and personal level intended to offer an example of how to

survive when enormous hardship is faced.

KATHAKALI CHARACTER TYPES are easily identified by specific make up, costumes and body language.

Two different characters belonging to the same category may "appear" visually the same, even

though performing in two separate plays. However, the story, slight changes in the make up

or costume will indicate the exact character on stage.


CHARACTERS

Pacha Katti
(Pure- Green face) Represents good, divinity, The gods and heroic Characters.
E.g: Lord Krishna, Lord Rama, Arjuna, Bhima and King Nala.

Kati
(Knife) - They are heroic but have lust, arrogance, a desire for power and cruelty.
Eg: Kichaka, Ravana, Duryodhana .

Red Beard
Cruel, evil, distructive, arrogant and a killer. E.g: Baka, Jarasandan,
Veerabhadra.

Kali
symbolises anger, cruelty and evil. Similar to Red Beard but a different
combination of colours.

Black Beard:
Black Berad - Represents Humour, violence. Primitive life E.g A forest dweller.

Kari: An evil Demoness

White Beard:
Hannuman - the devoted Monkey God.

Female( Minikku) Minikku: Soft and natural make up for the female character, Humans, Brahmins,Sages, Messengers, Narada Radiant and Priests.

Hamsam: The Golden Swan and Garuda both have special make up.

Lord Krishna or Lord Rama

BACKGROUND OF KATHAKALI

BACKGROUND OF KATHAKALI

Kathakali is ancient and classical in nature and holds centuries of tradition and culture. It is not simply a dance-drama but an act of devotion featuring the universal struggle between good and evil.


Kathakali takes place in a variety of places from a beautifully constructed Kootambalam – story temple – or in a simple temporary canopy made from coconut leaves covering a platform made of earth in a village temple or a garden. The dressing room would be close to the stage with the walls made from coconut leaves also.


The actual Kathakali performance usually starts between 9 and 10 pm with Arrangu Keli - a drumming piece played on the Madalam drum to ask the Gods for their blessings and to invite them to watch the performance. [To perform Kathakali is a great honour and performed to the Gods as an act of devotion.]


A large brass oil lamp called a Valika, is placed at the front of the stage. Lighting the lamp is highly symbolic act and when lit, it illustrates that there is divine prescence.


Todayam– is a dance ritual that is performed behind a large brightly coloured satin curtain held up by two men at the front of the stage and called a Tereshiela. Two junior actors perform a composition of pure dance accompanied by the SUDDHA MADALAM drum- solo Madalam.


Todayam is the first item to be learned by a young Kathakali student to test his ability to balance, keep classical positions, maitain rhythm, use Mudras and understand facial expressions.

The Vandana slokam is a prayer and follows Todayam to bless the stage and to receive the Gods. The first actors make their way to the stage but before leaving the dressing room they will go to all the senior artists, touch their feet and ask for their blessings, pray to the Valika – lamp – situated in a corner of the green room and finally go onto the stage that is now a holy place.

The actors make their journey from this world into the world of the Gods with dignity and humility.


Purappad
- means starting point and represents the beginning of the Kathakali performance, traditionally performed by students to develop their skills. The actors represent the main characters of the story - Krishna or Balarama and is performed as a piece of pure dance, sometimes accompanied by the relevant female partners.


Melepadam- is a musical master piece where senior singers and drummers are given an opportunity to perform their outstanding skills.


The singers express dedication and appreciation to Jaya Deva who wrote the great poemsof the Geetha Govindam in the 11th century. Singing his poems creates a melody of exquisite beauty. People travel many miles to see the top artists perform Melepadam as a piece of vibrant music in its own right.


The Kathakali play- the actual Kathakali story starts when Melepadam finishes. The audience have been stimulated by powerful drumming, bathed in superb singing and inspired by rituals and ceremonies. The whole experience is in preparation for the full impact of a Kathakali play to descends on to the stage and depict stories from the great Hindu epics.


Normally two or three plays are performed throughout the night starting with a love story or one featuring every day life, saving the last story for an almighty battle when good conquers evil. Just before the sun rises in the cool early morning sky this victory symbolises a new beginning as the light blesses the earth.


The temples hold annual festivals where the community is encouraged to live with more compassion and care for each other.Throughout the night the audience and artists have engaged in a universal journey where goodness prevails over evil to illustrate the path to a better life.

Danasi
Danasi is a dance ritual performed as the sun rises by one of the good characters in the story, usually Lord Krishna or Lord Siva. He asks for blessings on the audience and gives salutation to the Gods for the night that they came to earth.


After the performance it is a social time for the artists where everyone winds down, takes a bath in the temple tank or river, eat breakfast and move onto the next temple performance. It is extremely hard work to perform throughout the night and results in a close family atmosphere within the Kathakali group.

Many years of quality training and experience is required to create a Kathakali artist. Each one is respected for the specialised skills that they bring to the stage to present one of the most moving and unforgettable experiences of all.

DRAMA
Kathakali is very different from other classical Indian – drama styles and performed as a group with a variety of characters. A Kathakali performer is known as an actor and not a dancer and a performance is called a play. Kathakali plays are about complex human relationships with each character representing a different symbolic level of consciousness from the Gods to the most evil.

The actor translates the story through stylised body language, gesture and deep emotion.

Source: kathakali.net

Performances of Kathakali

Performances of Kathakali

Kathakali performances are not confined to a temple's courtyard; they are held in the open under the sky. Before a performance begins, chendakkaaran the instrumental musician, beats the drum to announce the news that a dance -drama will be held shortly. This nervous and insistent tattoo' is called Ke'likottu. The village folk-men, women and children begin to assemble and crouches on the land in a circle around chendakkaaran. The night's 'stadium' has the covering of a clear, star-studded sky; cool breeze rustling through the jagged patterns of palm fronds, children wandering back and forth aimlessly or running to a hawker or pestering their mothers or aping a character of a previous play; people discussing a role-type, an actor, a character, a story or a matter of current or religious interest. And those among the audience who are tired from the day's hard work on their fields go back and sleep until they are awakened by a relative or a friend or by the noise from the stage, to witness the favorite hero play or a climatic battle scene.

In its indigenous form, Kathakali has no stage in the modern sense. The centre of the stadium is the stage provided with a huge brightly polished brass lamp of coconut oil. The audience sits in darkness.

There are no back-curtains, no stills, no sceneries. But behind the lamp there is a simply designed 'tirasila', a rectangular silk curtain, held by two members of the troupe. Actors who have to appear first stand hidden behind it. During scenes the curtain is dropped to the ground and removed by the two men. The job over, these men go about on other errands of the stage, like pouring oil in the lamp-well ,adjusting the thick wicks which constantly threaten to gutter and burn out, arranging the banana tree trunk support against the wicks gliding down in the well, and assisting the actors on odd jobs. The stage is also provided with a small stool. This is used for many purposes. For instance, in the 'curtain look' the actor stands on it; on other occasions an actor may rest on it.

Musicians stand in a half circle behind the actors. They number four to twelve. Musicians do not wear any special costume. They are normally bare-chested. The actors are profusely dressed mostly in billowing skirts, crowned with massive head-dresses and provided with the accessories of the face and finger nails. The 'actresses' are adolescent boys, for they are nearest to feminity and have simple dress.

In the repertoric of its technique Kathakali has seven items to be presented in the following sequence:
1. To'dayam- the basic nritt;
2. Purappaadu- debut of the hero and the virtuous character;
3. Tirano'kku- 'curtain look' by evil characters and demons;
4. Kummi- permeable for the female character's appearance
5. Kathakali- the main play
6. Kalaasham- a passage of vigorous dance which serves as a hyphen between two pieces of verse-play and
7. The concluding benediction dance

The dance drama begins with the call of the drum which has rent the air at night. The audience is alerted.

Tirasiila is drawn by two men. Music begins. Drummers display their cleverness. Religious songs are sung. They purify the atmosphere. And dancers are behind the curtain. The preliminary dance behind the curtain is commonly refused to as Purva-ranga by Bharata in the Naatya saastra, in the language of Kathakali it is called To'dayam. The basic technique of Kathakali lies in To'dayam.

Purappaadu or the debut, signifies the first appearance of a character on the stage. It is a piece of a preliminary dance. It serves to announce the virtuous qualities of the hero. If a demon is to appear violent drumming of high pitch drums is incessant. The curtain is drawn as high as the arms of the attendants can stretch. The whole atmosphere is surcharged with earth-shaking and hair raising activities. The sound of quick and heavy foot steps can be heard from behind the curtain. Its synchronisation with the sound effect of the drums heightens the climax. The entire climate forebodes that a terrific personality is about to appear. Suddenly a coloured canopy appears over the curtain and a rumbling growling noise is heard. Drums burst into shattering sounds. Here is a shrick, and there a groan. But before the eyes can catch the character, fingers are seen rising in the centre of the curtain. The left hand fingers are covered with long thimbles. The two hands are kept about three feet apart. They clutch the curtain. Fingers glide across its top.

There is deafening drumming; but no singing.
To the accompaniment of the drums, the anti-hero shakes the curtain violently, and breathless the audience catches an occasional glimpse of the top of a glittering head-dress, which seems to be gyrating madly in some internal whirlwind. He pulls the curtain towards him; then plugs forward and fans flames. With gusto, the fire illuminates the character's face and enables the audience to spot him out by his weird makeup.

The feverish pitch of excitement over, the curtain is dropped and the whole figure of the character emerges after a great deal of suspense. The curtain is pulled off the stage from its right wing. Thus develop tirano'kku or 'curtain look'.

For male anti-heroes Tirano'kku is prescribed and for female characters there is another standard dance called Kummi. In it gestures and movements are modified and smoothened to lend gentleness and elegance. so much necessary for feminine characters. Paces are slow; roles are passive and subsidiary.

Kalaasams are pure dance passages performed in pure taandava style. They punctuate two verses; two scenes. It is here that in Kathakali an important role of nritta is discovered.

From the sequence detailed Kathakali's basic characteristic of a dance-cum-drama is unfolded. How the various limbs of sangiitha have been synthesized to bring about an underlying unity of all Indian dramatic arts in Kathakali is unique. It is the only form of the histrionic arts in India, which adumbrates in principle, the three essentials of the Sanskrit drama, naatya, nritya and nritt.

Make-up of Kathakali

Make-up of Kathakali

The make-up of Kathakali character is peculiarily native to the Kerala folk-art. In folk theatrical varieties, huge marks and make-ups were as much prevalent during the historic span of time. Elaborate make- up heightens dramatic effects. Colour symbolism reflect certain categories of emotions and gunas. The green colour represents Saattvika reveals godliness, white represents spirituality. Red represents Rajasic reveals violence. Black represents Tamasic reveals evil. Yellow represents the combined character of Saatvika and Rajasic. Thus Kathakali characters are grouped into five major role-types, each having a specific make-up and costume. These role types are Minukku, Paccha, Katti,taadi (has three varieties viz. Velupputaadi, Chuvannataadi and Karupputtadi) and Kari.

Minukku
Minukku is the polished variety of facial make-up consisting in smoothening the actor's face with a coating of a mixture of yellow and red pigments. The composition obtains 'a self' (or natural skin) complexion colour. It reflects the characters usually found in Brahmins, Rishis and Virtuous women. The eyes and eye-lashes are painted and contours elongated with the black unguent and greasy collyrium. Sometimes the face is decorated with white or cream colour dots, running from the cheeks to the fore-head in a bow-shape. The lips are reddened and the forehead is decorated with a caste mark. This colour scheme serves to give a symbolic glow of piety to a devotee character. Women role-types are given delicate touches of the make-up.

Paccha
Paccha or predominantly deep green face role- types, are Gods, celebrated mythological heroes, and virtuous personages, symbolising inner refinement poise, heroism and moral excellence. This include heroes of a play and noble characters, Indra, Krishna, Rama, Lakshmana, Bharata, Satrugnan, Harischandra and Nala. The front part of their faces is given smooth deep green base on which chuttis (white rice-paste curves) run from the centre of the chin,covering the lower jaw, to either side of the face. The eyes and the eye-lashes are painted black and the lips bright red. It assumes the shape of a broad-blade saber or of a sweeping curve of a bow. The forehead, above the bow-tie shaped painted portion, is covered by a red ribbon of the gilded head gear.

Katti
As compared to paccha, the make-up of Katti role-types is complicated. This term literally means the knife, because in its make-up the shapes of colour positions resemble sharply bent daggers. Evil, demoniac and fierce characters standing against the hero of a play. Pratinayakaas such as Asuras (the enemies of the God's) ambitious and arrogant Raavana, Keechaka, Kamsa and Dussaasana are distinctively treated with this make-up. Their faces are given a foundation with green colour, the sides of their noses are painted in red. The red paint round the nose rises up to the forehead above the eye-brows. It is like a patch, an upturned moustache, covering the upper jaw. Its border lines are treated in white. On the green base of the rest of the face, a chutti runs along the jaw-bones from the middle of the cheek. Two white knobs, called chuttippuvus, are placed on the face. These vary in size with the degree of the fearsome appearance of some demoniac characters like Raavana and Dussaasana, two long protruding canine teeth(called dhamshtras)are perched on either side of the mouth. These drop over the lower lips. Katti make-up characters stand in a singular position.

taadi (Beard)
Those who have the taadi make-up are again, good godly and evil-demoniac. To differentiate one from the other, three taadi make-ups are in vogue: Veluppu taadi (white beard), Chuvanna taadi (red beard) and Karuppu taadi (black beard) In these make-ups white chutti is not planted on the face.

Veluppu taadi
It consists of a white beard and a fur coat. It is a realistic make-up for characters like Hanumaan, the son of God Vaayu, and other monkey sages and warriors. The upper half of the face-the neither part of the eyes -and lips are treated with a black ointment. The chin at the middle is decorated with a white rosette, bearing a red dot within. Red paint is applied to the lower part of the lower lip, up to the chin. A thin coating of chutti decoratively encloses the black-end part of the face and meets the chuttinata - the hem of the head dress. Another white pattern develops on either side of the cheeks and circling the red spots, starting from the base of the green painted nose. On the tip of the nose and the forehead two oval-shaped spots are given in red.

Chuvanna taadi
This make-up is given to hideous characters. The face is painted red, with black contour lines drawn round the eyes, lips and chin. This adds to the ferocity of less evil characters like Baali, Sugriiva, Kaalakeya and Dussaasana. The eye-brows and lashes are not elongated, no chutti is applied to the Chuvanna taadi. The face is dubbed in red and treated with black lines. Around the eyes, almost a square patch of deep black colour is provided to give to the eyes a fiendish look of a evil designer. Lips painted in black, are given a hilly curve to give the role type a lucid image of a beastly character. Running from the upper lip are two white paste bristled rows throwing the black patch round the eyes in bold relief and adding ferocity to the fiery red eyes, and demarcating the black portion from the remaining nether part of the face is red. Chuttippuvus (white blobs) on the tip of the nose and the fore-head are bigger in size than those put on by kathi characters. It is the most impressive of all make-ups in Kathakali.

Karuppu taadi
The third type of bearded characters make-up is with a black beard and coat. These characters include Kali, Kaattaalan (hunter), brigands and robber chieftains. In their make-up, the face is first coated with black unguent. The eyes are bracketed within oval-shaped white border lines, the area between two such lines being painted in red. Small white bristles adorn the ridges. Lips are in red. The tip of the nose bears a chuttippuuvu.

Kari
This make-up reveals the vile and evil characters, such as Suurpanakha and Simhika. Their faces are painted in black and the cheeks have a red crescent in the middle. A pair of damshtraas are provided. Shiva in the role of Kiraata (hunter) is also given this type of the make-up.

A remarkable feature of the Kathakali make-up is the reddening of the white of the eyes of all characters by putting in a few young seeds of chunda puuv (sollanum pubescence) crimson eyes stand in contrast to the colour scheme of the face. The practice is usually followed in pacha and minukku faces.

Make-up in the 'Green room'
Kathakali make-up is an elaborate process lasting for over three hours. It helps in giving a super human look to the actors. Whether it is a man's make-up or the woman's, the work is conducted by a make-up expert. Paints used in Kathakali make-up are freshly prepared and applied to ensure correctness of rhythmic curves and precision.

The make-up of the male characters other than saints is tedious. The role-type lies flat on a matted floor and the expert starts drawing 'the designs' on the face with a thin rod. The face part being complete, the role type gives the finishing touches himself. Thereafter he stands up for putting on the costume. The skirt is a well starched and pressed into-frills garments. But before the skirt is put on, the actor ties 20 to 40 pieces of short cloth round his waist by the help of a long cloth twisted rope in order to give the skirt an oval shape. He then puts on the jacket, etc. The finishing touches to the costume are given by the costume attendant. The actor is profusely ornamented with garlands of beads, armlets, cupped mirrors etc. Fully decorated , the actor gives the last minute touches to his make-up with the help of the cupped mirror. His head-dresses are huge and often unwidely .These are tied by an attendant.
The last part of the costuming is the tying up of the anklet bells. Women fancy to have the silver paijaebs (an ornament) and then tie the bells. In the case of male characters a decorative woolen is tied immediately above the anklet and the bells fixed on a leather pad or tied right below the knee.

Kathakali make-up traditions today widely differs from what it was in the seventeenth century.

Training to the Kathakali dancers
An intensive dance training is needed to make the body flexible and supple in order to respond to unusual forms weaved in the course of dancing.

To achieve fluidity, a Kathakali pupil undergoes extensive and vigorous training from an early age. A complete alteration in the behavior of the body is effected. Massages and oil-baths are an essential aid to awaken muscles, joints and nerves and to control their behavior.

Between the age of 11 and 14 years the pupil goes to an Aasaan, the teacher of a Kalari (a kind of gymnasium) and offers to him daanam (a present) either in cash or in kind clothes and with his guru-diksha (benediction) he enrolls himself for training.

Source : malayalamresourcecentre.org

The Art of Kathakali

The Art of Kathakali

Kathakali employs the four abhinayas, viz Sattvika, expression of thoughts by the efforts of the mind (Bhaava and Rasa). Aangika, conveyance of ideas by the movements of the various parts of the body (gestures).,Vaacika, spoken words, singing, shrieking, etc., and Aharya, the dress and deportment.

As in earlier dramatic forms, Raamanaattam players also sang the padas. But for the vigorous Kathakali, demanding tremendous physical exertion, singing by the actors was exacting and tiring. A change in the practice was conceived by Prince Vettathu Thampuran, who introduced a few fundamental innovations. He provided seperate singers and introduced the chenda, a percussion instrument, to announce a performance and give background sound effect. This drum's powerful and penetrating sound heightened the acting of supernatural characters appearing on the stage in hideous and fantastic make-ups. The religio-theatrical reforms brought Raamanaattam performances outside the temples for the enjoyment of all sections of the community. Masks were replaced by make-up; Mudras were accentuated, a variety of percussion instruments and characteristic costumes were introduced; singers and musicians formed an independent part of a show.
Symbols of the hand have played an important role in the art of Kathakali. With the help of Mudras, the hand poses are called in Sanskrit, a whole literary expression is reduced to elementary notions. There are sixty-four basic hand poses which connote five hundred words, while the alphabet of the eyes express emotions. Their permutations can be employed to convey any number of meanings requiring any detailed explanation in the modern concept of story-telling.

In the art of Kathakali, all emotional qualities, and psychic conditions acquire remarkable outward manifestation and mukhabhinaya (facial mime) is cunningly, sometimes lightly employed. While the Kathakali use elaborate similes and hyperboles, and fingers permute into mudras to represent words of comparison such as like, as if and same as, the eye-balls roll evanescently to tell the miracles. The face becomes the open drama in which the story is drawn in successive shades and touches of lineament.

According to the theme, a Kathakali song suggests the use of a particular Bhaava and Rasa (aesthetic delights) and the dance and mimicry are rendered most effectively in harmony with these aesthetic appeals. The powerful music heightens the moods of the actor and adds life to acting. He dances to the melodies of the song and executes the various passages with well- defined Padaghats (foot work). It provides scope for the amplification of an emotion and the abridgement of the climax of a story. The powerful footwork trembles the earth below and cuts short the final action.

As Kathakali is a story-play, interpreting a drisya kaavya, its various contrasting characters are presented. There are good and bad characters, demons and gods, wordly and unwordly role-types according to their castes, quality and nature. Each group is distinguished from the other by specific make-ups.

Source : malayalamresourcecentre.org

Origin of Kathakali

Origin of Kathakali

It was believed that Kathakali was conceived from Krishnanaattam, the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of Kottarakkara who was attracted by the tone of the Krishnanaattam requested the Zamorin for the loan of a troupe of performers on the eve of some festive occasion. Due to internal feuds and political rivalry between them, the Zamorin refused to send the performers and insulted with the remarks: ”It is useless to depute the troupe, because Kottarakkara Thespian’s court would be neither able to appreciate nor understand anything of the highly artistic Krishnanaattam and the high standard of the performance".

Here the political rivalry between the two chieftains leads to the art rivalry. So Kottarakkara Thampuran initiated a parallel mode of entertainment, which he called Raamanaattam which was later transformed into Aattakatha, and yet later into Kathakali while Krishnanaattam based on the story of Lord Krishna's activities, Raamanaattam described the complete story of Lord Raman. Krishnanaattam was written in Sanskrit, "the language of the Gods". Raamanaattam was in Malayalam, the language of the people. By the end of the seventeenth century, the finished product of Raamanaattam was placed before the world under the tittle Kathakali.

The costume of Kathakali has been much influenced by Chaakkyaar koothu and Koodiyattam the two older forms of dramatic representations in vogue in Kerala. The history of their origins dates back to the period of Perumals i.e. much earlier to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting) and the use of Mudras (hand poses) and gestures were bodily adopted in Kathakali from them in addition to its borrowing and refinement of facial make-up and costume. The use of colour, costume, and make-up present a unique show and create an unearthly atmosphere. Kathakali became more attractive and popular than the Chaakkyaar koothu and Koodiyattam. Moreover ,its performance was not restricted to the precincts of the temples. Kathakali had a golden period between 1665 AD and 1743 AD.

Remarkable contributions were also made by Kaartika Thirunal, the king of Travancore, to Kerala's literature, art and dance. His efforts were also directed to popularising Kathakali among the people. He instituted a tradition of arranging Kathakali performances at various festivals and on the Navaratri night.

Source: malayalamresourcecentre.org

About KATHAKALI

KATHAKALI



Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and the Mahabharata.

One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Characters of high birth who have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base. Women and ascetics have lustrous, yellowish faces.

The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes a strenuous course of training, and special periods of body massage.

The dancers wear large head dresses, and the contours of the face are extended with moulded lime. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.

The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the start of the show.

A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil. Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.

Kathakali literally meaning "story dance" is the pantomimic dance drama,the dancing and the acting being blended together into an inseparable form.It is a combination of facial expressions and body movements which brings out the thought and emotion of the character.

Kathakali is predominantly a male art and the dancing is mostly of the masculine type.The position taken by the actor is angular.He never stands erect while acting,his knees being spread out and his legs forming a rhombus,his hands bent at the elbow and his palms on his hips.The outer feet are never flat on the ground and still the actor maintains a perfect balance.The female character is lasya which is gentle and grateful.This is particularly evident in love scenes

The traditional performance begin at 8 pm and goes until dawn the following morning.It is preceded at sunset by the Kelikottu which is the playing of drums,Gong and cymbals to inform the local people about the performance.Now a days performances are given in halls with footlight and microphones etc. which will not last more than 3 to 4 Hrs. Kathakali plays are mainly based on the stories from the hindu epic Mahabharata,Ramayana and Bhagavata purana and characters represent the mythological being of the 3 world.The upper(devas or gods),the middle world of humans and the nether world(asuras or demons).The costume and make-up transform the actor mentally and physically to portray the character Kathakali's origin and development owe gratitude to the Royal family of Travancore.The Raja of Kottarakara(17 century) is the earliest exponent of this art.During his time Kathakali plays were staged continuously for 24 hours without any break.

A person to enjoy the Kathakali performance he should be aware about Hindu mythology,the character,The make up,the costume,the mudras and finally the slokas or verses sung by the singers.

Source : artindia.net

Varuna Mudra

Varuna Mudra


Bend the little finger of your right hand until the tip touches the ball of your right thumb; place the thumb of your right hand on it. Press the little finger and thumb slightly with your left thumb. At the same time, your left hand encircles the right hand lightly from below.

Do as needed, or practice three times a day for 45 minutes. Keshav Dev says that the Varuna Mudra should always be done when too much mucus or secretion collects in the stomach or lungs. Congestion can settle in the frontal sinuses, lungs, and the entire digestive tract from the stomach to the large intestine. Most allergic reactions are ultimately mucous congestion triggered by specific irritating substances. When we catch a cold, we are usually in a rut in other ways as well. I find this to be 100 percent true for myself. Since I have recognized this fact, I can also do something to relieve the situation (I reduce my workload and my obligations). Mucous congestion, no matter where it occurs in the body, is always related to overstimulated nerves, inner tensions and unrest, triggered by overstraining, being pressed for time, being aggravated,
or experiencing fear. In addition to practicing the Varuna Mudra, it is always important to make a new life plan. Including other people in it is usually good! Perhaps you should rethink your tasks and obligations and reassign some of them to you partner, your child, and/or your parents. People who suffer from mucous congestion are often too conscious of responsibility and think that everything depends on them or that they must do everything alone.

Prithvi Mudra

Prithvi Mudra
Place the tips of the thumb and ring finger on top of each other, using light pressure. Extend the other fingers. Do this with each hand. Do as needed, or use three times a day for 15 minutes.

The Prithivi Mudra can eliminate an energy deficit in the root chakra. Whether or not you feel psychologically or physically strong and vital is largely dependent upon this energy. This finger position also intensifies the sense of smell and is good for the nails, skin, hair, and bones. If you feel uncertain of your steps while walking, the Prithivi Mudra can restore your equilibrium and trust. This mudra also activates the root chakra, in which our elemental force resides. We can compare this chakra to the grafting knot of a rose. The potential for the appearance and nature of the plant is found here; the roots sprout into the ground from this point to give the plant stability and absorb the nutrients. The stem and leaves grow upward from this point to connect with the light, to blossom and bear fruit. Without reservation, this image can be applied to human beings as well. We also need stability and nourishment to grow and be effective in our place in the world. The purpose of our lives is to connect with the Divine, which means we must also orient ourselves toward the light and open up like a flower that is being pollinated. For us, this may mean experiencing grace. So this mudra can give us everything that we need for a meaningful life. I use it when I feel insecure and need inner stability and self-assurance. Moreover, it stimulates the body temperature, the liver, and the stomach.

Shunya Mudra

Shunya Mudra
Bend the middle finger until it touches the ball of your thumb. Lightly press down on the middle finger with your thumb. The other fingers are extended. Do this with each hand. Do as needed, or use three times daily for 15 minutes as a course of treatment.

This is a special exercise against ear and hearing problems. The Shunya Mudra can also quickly heal earaches (and almost all diseases of the ear) when used for a longer period of time, according to Keshav Dev.

Hearing problems are related to a person who is no longer able to hear or who even doesn't want to hear. This can be a blessing or a catastrophe. Poor hearing can protect us from unpleasant things or even from disagreeable sounds or information that find their way into us. On the other hand, we can also no longer hear beautiful things. Not wanting to hear is sometimes based on a particular kind of stubbornness that can lead to disaster. Consequently, if we are willing to scrutinize the reason for our hearing problems, this can lead us one step further toward a richer life.

The middle finger is associated with the sky (ether). This is the gateway to the higher dimensions—the gateway to Heaven. The ancient myths say, if we want to get to Heaven, we first need to be thoroughly purified. This is why it may be appropriate to "look within" and make amends for old offenses. I know that it can sometimes be very difficult to forgive another person; but I also know that forgiveness truly opens up new gateways - gateways that lead into the light and into a lightness of the life ahead of us. It is as if we have thrown off our old burdens and then continued happily on our path.

Vayu Mudra of Wind

Vayu Mudra of Wind
With each hand bend the index finger so that its tip touches the ball of the thumb. Then press the thumb lightly onto the index finger. Extend the other fingers in a relaxed way.

For chronic complaints, do this mudra three times daily for 15 minutes; otherwise, use it until it has an effect. This position prevents "wind" (meaning flatulence), and a sensation of fullness, in all parts of the body. Ayurvedic medicine assumes that there are 51 types of wind in the body that produce numerous disorders.

These include gout, sciatica, flatulence, rheumatism, and trembling in the hands, throat, and head. If you use the Vayu Mudra within 24 hours after an outbreak of a disorder or disease caused by wind, you can very quickly count on improvement. For chronic complaints, the Pran Mudra (Number 6) on page 70 should be practiced. The Vayu Mudra must be discontinued as soon as the disease disappears.

Too much wind in the body can be caused by inner waste substances, particularly in the intestines, or inner tensions that are in turn based on states of agitation. Frequently, the normal breathing rhythm (which is different for each individual) is also disrupted. As an additional measure, the "stomach contractor" can also be practiced.

To do this, assume the "cat posture." Inhale and lift your head some what; exhale and lower your head again while vigorously pulling in the abdominal wall at the same time. During the pause in breathing, pull in the abdominal wall and let go of it several times. Then inhale deeply again; raise your head again. Repeat the whole exercise a number of times. In addition, the following visualization can help against tensions and states of agitation.

Surabhi Mudra of COW

Surabhi Mudra of COW
The little finger of your left hand touches the ring finger of your right hand. The little finger of your right hand touches the ring finger of your left hand. At the same time, the middle fingers of both hands touch the index fingers of the other. The thumbs remain extended. Do three times a day for 15 minutes.

The Surabhi Mudra is very effective against rheumatism and arthrosis. Since these diseases are usually chronic, or at least have existed within the person long before any outbreak or pain is perceived, this mudra must also be practiced for a longer period of time.

At first, mainly concentrate on your exhalation and imagine how a dark cloud leaves your body each time you exhale. This cloud contains your spent energy, all the waste substances, and every pain. Most importantly, it also contains all your negative thoughts and feelings. After about 20 breaths, also pay attention to your inhalation, and imagine each time that you are absorbing light, which makes your entire body shine. Gradually let the cloud that you exhale become lighter and lighter. In conclusion, let yourself be filled with the brightest light and surrounded by a cloak of light that radiates far out into your environment.

Affirmation
Purifying light fills me and burns away everything that oppresses and hurts me. From the bottom of my heart, I seek cleanliness in my body, clarity in my mind, and purity in my soul.

Complete Chart of Mudras- Mudras detailed chart

Complete Chart of Mudras- Mudras detailed chart

Complete Chart of Mudras- Mudras detailed chart

Complete Chart of Yoga Mudras