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STORY TELLING:
Kathakali is based on Hinduism and is a highly charged and powerful drama that combines devotion and physical virtuosity with symbolic storytelling, to produce one of the most impressive and vibrant forms of theatre in the world.
KATHAKALI is part of this eternal evolution of Asian theatre and has retained the storytelling heritage of India for the last 600 years.
Through these stories we have a detailed description of how people lived 3,000 years ago.
We are fortunate to have Kathakali as a window into the past, to understand the ancient traditions that have been preserved for centuries through the dedication of the Kathakali artists, the Brahmin families and the people of Kerala, South India.
The traditional stories of India were often told through dance and drama. They were passed from one generation to the next to be performed in the heart of the community.
The stories performed by Kathakali are an integral part of Hinduism and the ancient temple rituals.
In the mid 17th century improvements to the presentation of Kathakali were made by Vettathu Raja, the ruler of an area in Kerala north east of Kochi.
He introduced several important developments into Kathakali:
1] Two singers to invoke the harmonies within the voices.
2] The Chengila [cymbals] - to beat the Tala – rhythm.
3] The Chenda - a powerful drum played with sticks.
[The Chenda was originally played in the outdoor temple
ceremonies to accompany the Thol Pava Kuttu - shaddow puppets].
4] Two singers, Ponni Karan and Sinkidi Karan were introduced to add the '' Thiranukuu'' . A method of introducing the evil characters of the play to the audience from behind a large satin curtain called a tereshiela, held up at the front of the stage.
At the end of the 17thcentury a number of Kathakali troupes called a Kali Yogam - [Kali Yogam means group] - evolved and always had a lead actor called an Adiavasana Karan. He was responsible for the training and the rehearsals that took place during the monsoon season.
He also arranged the performances during the dry season when the outdoor temple celebrations were held throughout Kerala.
THE ORIGIN OF THE KATHAKALI STORIES
Inspired by the stunning sculptures of the temples Bharatha Muni wrote the Natyashastra,[The Science of Acting]. The Natyashastra became academic guideline for classical Indian dance, drama, music and the visual arts.
The ancient epic stories were memorised by the Brahmin families [Namboodiris] then passed unchanged onto the next generation, ensuring that the spiritual meaning was preserved.
Although Kings ruled the area, the Namboodiris had a lot of power, playing a vital role in protecting these stories, as art, education and spiritual development evolved.
As the Brahmins travelled they took their stories with them, eventually Kathakali started to perform the plays in the temple forecourt for the whole community to experience.
Through these symbolic stories we have a detailed description how our ancestors lived, their aspirations, spiritual evolution and a "code of behaviour" by which people survived.
Unfortunately Kathakali went into decline with the invasion of various nations including the British. But for the imagination and patronage of the Namboodiri families Kathakali would have been lost forever.
THE IMAGES OF KATHAKALI
Temple sculptures created thousands of years ago, depict characters from the great epic poems, the RAMAYANA & the MAHABHARATHA. In these ancient sculptures, we can still appreciate the characters, costumes and the beautifully proportioned poses that inspired the early classical arts of India.
INSPIRATION
Kathakali draws its inspiration from earlier forms of Sanskrit drama, in particular, Koodiyattam, probably the oldest surviving Sanskrit drama in the world and Krishnanattam, the sacred drama portraying the life of Lord Krishna and performed specifically in the sacred temple at Guruvyor, Kerala.
The evolution of Krishnanattam was inspired by the acting techniques, gestures, costumes and make up of Koodiyattam.
Koodiyattam and Krishnanattam played a vital role in the evolution of Kathakali, as we know it today.
ISLAMIC INVASION
The Islamic invasion was devastating for the temple culture of India resulting in a deterioration of the visual and performing arts leading to a period of almost 500 years, known as the dark-age.
THE REBIRTH
ASHTAPADI heralded the beginning of the Bakti Movement [Bakti means devotion]. Devotion became the foundation on which the ancient classical arts were based.
In the 11th Century JAYADEVA a devotee of Lord Krishna wrote eight PADAMS [poems] called the GEETHA GOVINDAM or Songs of Lord Krishna. The poems told the story of Lord Krishnas` life and was a new era for all the Indian classical art forms, including Kathakali.
The Geetha Govindam was written and performed in North India and attracted artists from all over the country.
Performers, poets and writers took elements of the work, returned to their villages and developed their own way of performing the stories.
We can see the evidence of this creativity in the dances of Baratha Nattyam, Kuchupudi, Kathak, Manipuri and Odissi where each style is telling the story of Lord Krishna and his love through their own unique style.
In Kerala the eight Padams – poems - from Jayadeva`s Geetha Govindam were performed, possibly by the Koodiattam artists, however, there is some uncertainty as to who actually performed these plays.
The early performance techniques included a basic sign language, facial expressions and body language accompanied by local instruments:
MADALAM-a drum - made of animal skin - played with the hands
EDEKKA - a drum made of animal skin - played with both the hands and a stick.
MIRAVU- a drum made of clay and played with the hands.
These Padams performed in Kerala were known as ASTAPADI ATTAM , which means, eight Padams and sung in Sanskrit.
The Bakti Movement arrived in Kerala where a devotee called TUNCHATTU RAMANUJAN EZUTTACHAN - known as the farther of MALAYALAM - the local language of Kerala - designed the Malayalam alphabet and its structure.
ACCESS TO KNOWLEDGE– Tuchattu Ramaujan Ezuttachan translated the highly popular and sacred book,THE RAMAYANA, into Malayalam text to teach the entire community to read, write and understand the story of the Ramayana.
At the time there were no other books available in Malayalam, therefore, his innovative ideas, skill and wisdom provided access to knowledge and education for the wider community.
Prior to this the sacred books were written in Sanskrit and retained by the Namboodiri families and priests. When Tunchattu Ramanujan Ezuttachachan made his translation of the Ramayana in poetry style he was not supported by the Namboodiri priests and made a lot of enemies. Some of the Namboodiris refused to acknowledge his version of the Ramayana.
Learning through poetry and song was a common method used to access and remember knowledge and information.
THE LOCAL PEOPLE-the local people however, have used his book for centuries to develop their knowledge and understanding of the ancient text and even today many families in Kerala keep his version of the Ramayana in their homes.
The Bakti Movement became well established in the Velluvanard area of Kerala where a devotee of
Lord Krishna called MELPATTUR NARAYANA BATHATIRI was living. He decided to write devotional songs to Lord Krishna called Narayaniyam. The songs can still be heard today in the temples of Kerala to inspire the disciples.
Another Naboodiri, Sanskrit scholar and poet called Poothanam Namboodiri wrote SREE KRISHNA MRITAM or The Songs of LORD KRISHNA.
CHANGE: These crucial poetic works and the innovative ideas of Jayadeva made a huge differencein Kerala.
People could read, write and understand the ancient text, dance, sing, act and paint. Kerala was culturally liberated and educated due to the imagination of these early poets, visionaries and writers.
STORIES OF LORD KRISHNA- As devotion to Lord Krishna increased dance, drama, music and paintings flourished as artists expressed their reverence.
It was an ideal time for the King of Calicut - in north Kerala - called Manadevan to create KRISHNATTAM - the stories of Lord Krishna.
Krishnattam was an adaptation of Ashtapadi Attam and was divided into eight parts and performed over eight nights. The descendants of this great and respected King continue to this day to visit the Guruvyor temple in Kerala.
THE STORIES KRISHNATTM STORIES:
Krishnanattam stories are still performed inside the inner sanctum of the great temple of Guruvayor, Kerala, attracting pilgrims from all over India. The temple is so sacred that only Hindus are allowed to enter.
The stories are :
Avatarm
Lord Krishna`s birth.
Kaliyamardanam
The killing of Kaliyan - an evil snake who poisoned the river.
Rasakrida
Lord Krishna`s childhood.
Sayambaram
Lord Krishna`s marriage.
Banayodam
The war with King Bana -Lord Krishna's enemy.
Vividavadam
The killing of Vividan - an evil Monkey King.
Srgaroohanam
Lord Krishna's journey into heaven.
One of the people attracted to this new method of performing was the King of Kottarakara.
He was greatly inspired by the fact that two singers at the back of the stage sang the story in poetry form. This released the actor to focus all his energy into expressing the characters through gesture!
The King decided to develop this technique and create stories about Lord Rama. He called the art form Ramanattam.
The King was a devotee of Lord of Ganesh, therefore, the first performance of Ramanattam was presented in the Kottaraka Ganesh Temple in South Kerala.
ACCESS FOR ALL:
The Hindu epic stories were initially restricted to the inner sanctum of the temple, performed in Sanskrit and excluded all but the Brahmin priests.
Kathakali unlocked the mystery of Sanskrit poems and made them available to the whole community regardless of caste.
The Kottaraka King made significant changes to the existing performing techniques to make the Hindu epics accessibly to the whole community.
1] He introduced the local language of Malayalam into
the Sanskrit singing
2] Transfered the performance from the inner sanctum
of the temple into a “story temple” called a
Kootambalam in the temple forecourt.
As classical drama and dance evolved, poets were encouraged to write new plays from the other Hindu epics such as the Mahabharatha, therefore, the name had to changed accordingly to STORY PLAY - "KATHA" meaning STORY and "KALI" meaning PLAY.
KATHAKALI as we know it was born.
The birth of Kathakali ment that more stories could be written and Kathakali, as asorytelling drama, based on Bakti, flourished.
SYMBOLISM
Spiritual, social and personal issues are the basis of the Kathakali stories and include war, government, power, society, single parent families, gambling, homelessness, failure, rape, murder, theft, love, marriage, trust, forgiveness, devotion, loyalty and self realisation.
HINDU TEMPLE:
The temple forecourt remains the traditional place where Kathakali is performed. At dusk the temples are illuminated with lights and the Kathakali musicians provide a drumming session called Keli to announce that there will be a performance that night.
The heat of the day has passed, the elaborate make up preparation is underway and the performance is about to begin.
Characters completely transformed by colourful costumes and an elaborate three dimensional make up called CHUTTI fill the stage with colour, to act out the stories through gesture, emotion and expression.
To experience the power of a Kathakali drama is life changing as the spirituality and the skill unite to create a masterpiece of sacred theatre.
Kathakali enjoyed patronage by the Kings and flourished for many generations amongst an educated and appriciative audiences of Kerala.
Unfortunately, Kathakali went into decline as the Kings eventually removed their support and the arrival of the British.
THE KERALA KALAMANDALAM in the early part of the 20th Century Kathakali was almost extinct. Without the devotion of the poet Vallathol Narayana Menon and Mukunda Raja, a member of the Royal family of Kerala, Kathakali would not have survived.
Together they founded the Kerala Kalamandalam to
re-establish the classical arts of Kerala in the village of Cheruthuruthy, North East of Kochi where the most celebrated Kathakali artists in the world have been created.
A KATHAKALI PERFORMANCE IN KERALA:
A Kathakali performance in Kerala is often accompanied by a procession of elephants adorned with golden orniments and standing in place of honour in front of the temple.
The whole village is involved as a feast of activities take place – Mohiniattam – dance, Bharathanatyam – dance, Ottanthulal – story teller, Village dancers, Panchavadayam – percussion, Theyambakka – drumming.
A Kathakali play traditionally starts after sunset and ends as the sun rises the following day with the killing of an evil character, to symbolise that good always prevails over evil.
The night is long with the artists working as a team of specialists to present the performance. Each one aware of the historical journey that Kathakali has travelled and the great honour that it is to contribute to the performance.
THE FUTURE OF KATHAKALI:
The future of Kathakali will depend completely on the dedication and sincerity of the practitioners. As tourism takes young artists away from the temples, Kathakali enters a new era outside its original sanctuary.
The training must maintain the highest standards divulged only through the infinite wisdom and affection of a great Ashan – guru.
Devotion must remain the foundation on which Kathakali evolves. If devotion does not continue to be the absolute essence of Kathakali, we may loose this extraordinary and exceptional art-form.
However, Kathakali will always survive change, because its sacred soul is greater than the people who step into its shadow for a moment in time.
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KATHAKALI
1 Holland Road
Woolston
SOUTHAMPTON
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SO19 9FW
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Tel: 00 44 [0] 23 80 420114
Fax: 00 44 [0] 23 80 444468. e-mail: info@kathakali.net
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