radha&krishna

THOL PAVAKOOTHU(PUPPET PLAY)

THOL PAVAKOOTHU(PUPPET PLAY)




The puppets are arranged behind a long curtain.After each song, an entertaining description of the characters is made.





TholpavakoothuAlso known as Pavakoothu (puppet play) and Nizhalattam (shadow play).At least 4 persons are involved, usually Pulayanmar. Deer skin made puppets are arranged behind a white screen representing four characters from the Ramayana. Behind these are placed bright wick lamps that cause their shadows to fall on the screen.


This is known as Pavakoothu and Nizhalkoothu. Prevalent in Palakkad and Ponnani Taluks. This is handled, traditionally, Pulavanmars. The pavakal, or puppets are made of deer skin, to represent characters in the Ramayana epic.

KURATHIYATTOM

KURATHIYATTOM

This is interpreted with fluent mime. The gestures, body swerves and footwork, show perfect coordination and rhythmic grace. After this the Kuravan (male) enters and enact a mock quarrel with the Kurathi. Maddalam, kaimani etc. are the instruments used.
In this dance called Kurathiyattom, two Kurathis first enter dancing, in the guise of characters representing the wives of Lord Vishnu and Lord Shiva. Then they stage a controversy through songs over the exploits of their respective husbands. The favourable point in one's favour becomes the butt of ridicule at the other's hands and while one praises profusely the other condemns sarcastically. Kurathi are a set of gypsies who go about from place to place telling fortunes.

PARICHAMUTTU KALI

PARICHAMUTTU KALI

The performers dance with swords and shields in their hands. The movements of sword fight, leaping forward, stepping back and moving round, all the time striking with the swords and defending with shields.

This is martial folk-dance which had its origin during the day when kalaripayattu, the famous physical exercise of swordplay and defence, was in vogue in Kerala. .

KALRI PAYATTU

KALRI PAYATTU

Parasurama the mythical creator of Kerala, instituted 108 Kalaries all over the land. This legend on the origin of the institution propagated by Keralolpathi, still lingers in the minds of the Keralites. Some masters believe that the Kalari system originated out of the wrath of Lord Siva while in his fury, to destroy Dakhsayaga, Parasurama, Lord Siva's disciple, is supposed to have studied this art from his and have handed it over to his 21 disciples in Kerala. All such legends, propagate the theory that his martial art was brought to Kerala by the Brahmins.

The first historical interpretation of the origin of the Kalari system was given by Elamkulam Kunjan Pillai. The argument that Kalari was derived from Sanskrit is questionable, as the word 'Kalari' is seen repeatedly in early Tamil anthologies.

The Ballads of North Malabar, a collection of heroic songs, have reference to different types of Kalaries like Ankakkalari, Patanilam, Totuvorkalari, Totukalari and Cherukalari. Technical writings named the Kalaries on the basis of functional structures, viz., Netumkalari, Kurumkalari, Totukalari and Cherukalari. Apart from referring to local Kalaries like Matayikalari, Melurkalari, Chovvakalrai and Mayyazhikalari, the Ritualistic songs of Theyyam known as Tottam Pattukal refer to caste Kalaries like Tiyyar Kalari, Pular Kalari, Choyyikalari, Kanisan Kalari, Namboori Kalari and the like. The table given below highlights the different types of kalaries and their locations.

There were two distinct types of Kalaries; Kuzhikalari in the North and Nilakkalari in the south of Kerala

The Nilakkalaries of Southern Kerala are made by constructing mud or stone walls around the appropriate area to a height of 5 feet, and roofing it with coconut leaves.Kalarippayattu is designed in four successive stages of training Meippayattu, Koltari, Ankatari and Verum Kaiprayogam.

The Kalarippayattu course extended throughout the year. Today, most of the Kalaries except C.V.N Kalari, Thiruvananthapuram and Kozhikode and a few others, impart training through short term courses of three months duration.

ASHTAPADI ATTOM

ASHTAPADI ATTOM

This was a popular dance form based on the Gita Govinda of Jayadeva. It was more of a dramatic representation of the renowned lyrical play. Altogether there are only five characters, Krishna, Radha and three females.The dance drama is based on the text Krishna-Geeta which is in Sanskrit.
The make-up costumes and ornaments used in Krishnanattom are almost similar to this.

In no other dance could be seen so many charachers performing the same dance with the same facial expressions, eye movements, gestures, foot-work (and set to the same rhythm) with so much of co-ordination, and grace, e.g., Mullappoochutal in Rasalila (Sree Krishna with Gopoikas) Kaliyamardana Nritham etc.

Instruments like chenda, maddalam, elathalam, chengala are used for this dance performance.

KAAVADIYATTOM

Mainly performed as a votive offering in temples where the presiding deity is Lord Subrah

mania. Here a number of dancers dressed in yellow or rose clothes and smeared all over the body with ashes and each with an ornate kavadi on the shoulder, dance in a row to the rhythmic beatings of instruments like udukku, chenda, etc., Sometimes nagaswaramNadaswaram is also used.Usually performed in Lord murugan temple.