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.

Nangiar Koothu

Nangiar Koothu

. The dance form is presented only by women.Nanniar or Nangiar Koothu, is a dance form of the Koodiyattom. This performed in Kerala Temple.. The plot of the Nanniar Koothu staged by Nangiars or nanniar is the story of God Srikrishna (Krishna Charitham).

When the dancer performs, a vocalist recites the Sanskrit slokas (verses) The

instruments, mizhavu, edakka and thimila, as in Koodiyattom are used for this Dance.

PULLUVAN PATTU (SERPANT Dance and Songs)

Pulluvan Pattu(Serpant song)

The song conducted by the pulluvar in serpent temples and snake groves is called Sarppapaattu, Naagam Paattu, Sarpam Thullal, Sarppolsavam, Paambum Thullal or Paambum Kalam. The main aspects of this are Kalamezhuthu (Drawing of Kalam, a ritual art by itself), song and dance.

The form of the serpent is drawn with rice and colour powder.The serpents are worshipped in front of the Kalam and are offered Noorum Paalum (Lime and Milk). After the pooja, the head of the family which conducts the Sarppam thullal gives bunches of coconut flowers to the perfomers who start dancing rhythmically.They fall on the floor in a trance and rub off the Kalam at the end

Pulluvar songs are sung on Aayilyam Pooja, day which is considered to be very auspicious. The presiding deity of the Aayilyam is the serpent.

The musical instruments used by the Pulluvar are veena (a primitive stringed violin), kutam (earthernware pot with strings attached to it) and thaalam (bell-metal cymbals).These instruments are made by the Pulluvar themselves.

The main temples of Kerala where serpent is worshipped are Mannarassaala (Alappuzha District), Paambu Meykkaad (Trichur District), Trippara Temple (Kollam district) and Ametamangalam (Ernakulam District)Velor vattam(Chertala/Alapuzhz Dist)Nagaraja kshetram vadakkanchery. A very ancient temple where serpent worship is performed is Perasseri temple (Kannur District). The ritual is widely performed throughout Valluvanad.

RAMANATTAM

Actually, this was brought into being as a challenge to another form, the Krishnattam, which then held sway. As the name indicates, this play was based on Ramayana.

Ramanattam was introduced by the Kottarakkara Raja . Ramanattam was in Manipravala style and performed by the Raja himself and his Nayar soldiers.

It continued for eight days. Ramanattam is composed in eight parts, each suitable for one night's performance.

The art of creating very large pictures on floor, with coloured powders have been in vogue for ages as a ritual art form. It is typically Indian as it is a harmonic blend of Arian, Dravidian and Tribal traditions. As an art form it has found a significant place among our rich spectrum of fine arts. In most other parts of India this art exists as a domestic routine of Hindus, who consider it auspicious to draw certain patterns at the door step and courtyard to welcome a deity into the house. It is called by names like Rangoli, Kolam etc. Kalams are drawn in connection with the worship of Devi, Naga and Sastha. The drawing is done directly with the hand, that is, without using any tools

The usual items used are: Rice (white), Turmeric (yellow), Charcoal from paddy husk (black), blend of Turmeric powder and Lime (red) and powdered leaves (green). Although several leaves are found suitable, the most commonly used are those of Albizzia lebbek

The drawing starts at appointed time and shall be erased immediately after the rituals related to the Kalam are over.

1. Bhadrakali Kalam
2. Artist drawing Kalam
3. Bhadrakali Kalam with 32 hands
4. Bhadrakali Kalam with 16 hands
5. Bhadrakali Kalam with 8 hands

Bhadrakali of 64 hands with Vethalam

6. Work progressing on Kali's hands
7. Work progressing on Vethalam - 1
8. Work progressing on Vethalam - 2
9. Completed Bhadrakali of 64 hands with Vethalam

KUMMI

KUMMI

Performed by women, the dancers move in a circle with hand gestures signifying reaping and harvesting. (Like Thiruvathira kali)One of the women leads the singing while the rest take up the refrain. Each performer renders a new line in turn and the dancing stops when all get tired. In variations of the Kummi, in some areas men also participate. Here, the men with small sticks in their hands form a circle, inside which the women stand in a smaller ring. The beating of the sticks by men and the clapping of the hands by women are perfectly synchronised with the steps that they make and also with the rhythm of the songs.

PADAYANI

Padayani or padeni in colloquial speech, is one of the most colourful and spectacular folk arts associated with the festivals of temples in southern Kerala mainly in Alappuzha, Kollam, Pathanamthitta and Kottayam districts. This folk art we have mainly a series of divine and semi-divine impersonations wearing huge masks or Kolams of different shapes, colours and designs painted on the stalks of arecanut fronds. The most important of the kolams usually presented in a padayani performance are Bhairavi (Kali), Kolam (god of death), Yakshi (fairy), Pakshi (bird) etc.

KRISHNATTAM

Krishnattom was created as a votive offering and it survives in that capacity in the temple of Guruvayoor where it is still performed.The whole story of Krishna was cast into a drama-cycle which would need eight nights for serial production. Vilwamangalam, a Krishna devotee, helped in designing the costume of Krishna. 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 that seen in Kathakali, though in Krishnanattom some of the charaters are seen using painted masks made of wood.

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.

the musical instruments used in this dance are Maddalam, elethalam and chengala.

KOODIYATTAM

Koodiyyattom is the oldest dance-drama in kerala/and in India.

Koodiyattom is staged on the specially built temple theatre called Koothambalam. The stage is decorated with fruit-bearing plantains and bunches of tender coconuts and festoned with fronds of the coconut palm. A vessel overflowing with paddy is placed on the stage. Lighting is done with a tall oil lamp made of brass. Within a railed enclosure on the stage is a large copper drum called mizhavu with a high seat for the Nambiyar drummer. A Nangiyar woman plays the cymbal and occasionally recites the verses. The musical element is very much suppressed in Koodiyattom. At times special orchestral effects are introduced. The orchestra consists of an edakka, maddalam, a conch, pipe and horn.All the four types of abhinaya, viz. Angikam, Vachikam, Sathvikam and Aharyam are fully utilized in Koodiyattom.

Both men and women partake in this performance. Abhinaya is the most important element in Koodiyattom. The texts are always in Sanskrit and the performance is a prolonged affair. It may take anything from a few days to a number of weeks.

There is facial make-up using colour schemes and patterns having symbolic value, though strict standardisation of types is absent. The make-up patterns as seen in the better-known Kathakali are borrowed from Koodiyattom.

SEEYHANKAN THULLAL

In Seethankan Thullal the metre and rhyme of the Thullal songs are a bit more slow than in Ottan Thullal and consequently dance is also slower in tempo. The dancer uses similar skirt as in Ottan Thullal. But the arms, wrists and head are adorned with ornaments made of fresh tender coconut fronds. There is no facial make-up except darkening of the eyes.

PARAYANTHULLAL

This has a slow narrative style for singing, with slow graceful elegant steps, movements and hand gestures.

The Parayan Thullal is the slowest in tempo. Even the stance of the dancer is different from the Ottanthullal andSeethankan thullal. Here the dancer almost stands erect and explains the meaning of the songs by gestures. There is very little of the dance element or of action. The costume is also different. A red, flowery clothe is worn around the waist. A crown of black clothe adorns the head. Necklaces are used on the chest. The face is painted with light yellow.The dancer smears the body with charcoal paste.

THULLAL

Thullal

A solo dance exposition, the Thullal is of three types. Its origin is attributed to Kunchan Nambiar, a veritable genius and one of the foremost poets of Kerala. Though based on classic principles of Natya Shastra the technique of this art is not rigid. The songs, written in simple Malayalam, frank to outspoken wit and humour, the simplicity of presentation and the direct appeal to every day life made Thullal very popular. Thullal is classified into three different types. Ottan, Seethankan and Parayan based on the difference in costume, dance and also the metre and rhyme of the Thullal songs.

Of all Thullal dances the Ottan Thullal is the most popular. . The metre and rhyme of the Ottan Thullal songs are very fast, and the dance as such has a high tempo.

Costume and Dress

The costume is peculiar and impressive. A long tape of cloth of white and red color is hooked around a waist string to form a knee-length skirt. A chest plate adorned with various types of coloured beads, glass and tinsel and other ornaments is also used. Gaudily painted wooden ornaments are worn at the wrist, and on the shoulders. Tinkling bells are tied to the legs just above the calf. The fact is painted green, the lips are reddened and the eyes are emphasized with black paint. The head-dress is colourfully decorated.

It is to the dance that prime importance is given in Thullal. From the beginning to the end there is dance even though it lacks much of variety. To compensate for the monotony, sometimes the dancer executes some vigorous footsteps and rhythmic movements of the body.

KAIKOTTIKALI(Thiruvathira kali)

Kaikottikali, also known as Thiruvathirakali.This is a very popular, graceful and symmetric group-dance of the women. This is afestivel seasons like Thiruvathira and Onam. Typically dressed in Kerala style with mundu and neriyathu(Setmundu and blouse) and the hairbun bedecked with jasmine garlands the women dance in gay abandon, singing melodious Thiruvathira songs.. One of the performers sing the first line of a song while the rest repeat it in chorus, clapping their hands in unison. Moving in a circle, clockwise and at times anticlockwise, at every step they gracefully bend sideways, the arms coming together in beautiful gestures, upwards and downwards and to either side, in order to clap.

Life is precious, protect it

1. A cleaner place is a safer place.
2. A danger foreseen is an accident prevented. Follow the advice: it is time, tested.
3. Accident bring tears; Safety bring cheers
4. Accidents don’t happen; they are caused.
5. Accidents don’t happen…………….They are caused.
6. Action which is hasty may not lead safety.
7. Actions which are hasty may not lead to safety.
8. An ounce of forethought is worth a” tonne” of safety
9. Be wise, save your eyes, use goggle, the best device.
10. Be your own safety advisor, You may prevent a major disaster
11. Better to be safe than sorry, don’t be in unnecessary hurry.
12. Clean environment is the great gift you can give your children.
13. Confusion causes accident; Give clear instruction
14. Depend on safety, not on fate; Adopt safe ways, before it’s too late.
15. Do accidents happen to others only? It’s you sit down and think seriously
16. Don’t act like a fool, follow the safety rules.
17. Drive carefully and fare well, Drive carelessly and farewell!
18. Every workers Goal;totalAccident control.
19. Expect the un expected; be adequately protected.
20. Falls hurt; Stay alert.
21. Fire feeds on careless deeds
22. First Aid is better than no Aid.
23. Good supervision is the key to safety.
24. If you want to last get first aid fast.
25. In society ladies first; in industry safety first.
26. Keep pathways clean and clear; don’t forget safety, ever.
27. Know how to stop it before you start it.
28. Know how to stop it before you start.
29. Know safety………no pain; No safety………knows pain.
30. Life is precious, protect it
31. Little drops cause Big slip
32. Make everyday a holiday from accident
33. Make safety a thing to remember from January to December.
34. Make safety habit.
35. March 4^th safety day; March for safety days
36. Money can buy Safety item But not individual safety
37. Noise is damaging, pay attention, control the noise, and Wear ear protection.
38. On duty or Off duty safety is your responsibility.
39. Pollution prevention pays for itself.
40. Practice safety every day; Safety has no holiday.
41. Practice safety; it is a life saver.
42. Private or public sector, safety is common factor
43. Production is a must; But safety is first.
44. Regular time or overtime observe safety all the time.
45. Return home safely You kid need you badly.
46. Safe ever; Accident never
47. Safety and production are two sides of the same coin
48. Safety first; Speed afterwards
49. Safety in action and mind will leave accident behind.
50. Safety is a do it yourself project.
51. Safety is an year round job.
52. Safety is everybody’s business.
53. Safety needs team work; let us work together
54. Safety saves.
55. Short cut may cut short your life
56. Speed thrill;…..it also kill.
57. Stop fire before it starts.
58. The job is not safe unless the guard is in place.
59. The more you Talk of safety The less you near of accidents
60. The right way to do the job is the safety way.
61. The safety route; Always bears fruit
62. Train you body and the mind to work safely all the time.
63. Vigilance of everyone is safety to all; Negligence of anyone brings Danger to all
64. With you skill and will you can make accidents nil.
65. Work or play safety will pay.
66. Work safely; live happily.
67. You are careful it pays; otherwise you pay
68. You can earn a crown if you have a head to adorn
69. You cannot buy health but it is cheap to keep.
70. You haven’t a life to spare; look for hazards every where.
71. Your life is at stake with every chance you take.
72. Your plan for tomorrow depends on safety today.

Safety

Safety is the state of being "safe" (from French sauf), the condition of being protected against physical, social, spiritual, financial, political, emotional, occupational, psychological, educational or other types or consequences of failure, damage, error, accidents, harm or any other event which could be considered non-desirable. This can take the form of being protected from the event or from exposure to something that causes health or economical losses. It can include protection of people or of possessions.

Paniya,nayadi,TRIBAL DANCES

1.TRIBAL DANCES

The primitive inhabitants of Kerala, are only about two hundred thousand now and they are scattered in the jungles and hills of the state prominants. There are about 30 to 35 different types of the tribals, among them being the Kurichiyar, Nayadi, Mullakurumbar, Uralikurumbar, Paniya, Mudaga, Irula, Ernadar, Kadar, Muthuvan, Kanikkar, Uralees, Paliyan, Malavedan, Vettuvar, Eravallan, Veda and Malayan,etc. They are unique examples of communities in isolated existence, still preserving their life, customs and manners almost untarnished by the advancing waves of urban civilization. Though adapted to different dialects and customs, their artistic expression evidently reflects the distinct, secluded and primitive social structure and nature of the people and it still survives as virile a state as ever in the tribal hamlets of the hilly tracts.

Each of these aboriginal tribes has its own distinct dance tradition and invariably all of them are interwoven with the life of the people who dance it, so much so that it seems that some of their daily tasks are given to rhythmic pattern. In the background of mystery shrouded nature, tribal celebrations originate and the dances work up intoxicating excitement physical expressions of their joys and griefs, hopes and fears.

Some times the dancing is extremely simple and consists of little more than shuffling of the feet or waving of the hands. At other times it is swaying of the body to the clapping of hands or beating of primitive drums to mark time. Yet another form shows only the monotonous movement of the hands and feet. But generally speaking, a wide range of movement involving all parts of the body, the head back hips, arms, fingers and the feet and even facial muscles are utilized in tribal dances.

There are very complicated tribal dances as well in which dancing harmonises gesture, expressing the whole gamut of sentiment, where rhythm is kept by swaying the body and intricate steps executed with adept foot-work. Usually the dances have a slow beginning, but gather momentum and work up to a heavy tempo of the vociferous climax of the drums, and the ecstacy of the ever-mounting rhythm of spontaneous music. Many of these dances are heroic or martial in character.

Some tribes have songs to accompany their dances. Either the dancers themselves sing or the on-lookers sing and thus participate. Special musical instruments are sometimes used, but the drum is almost an indispensable feature. The costumes of the dancers vary from approximate nudity to full attire and ornaments which are extremely colourful.

Like all tribal arts, Kerala's tribal dances are and spontaneous. It is the most direct expression of the inner most spirit of a people and the instinct of rhythm is an natural and basic as human nature.

Some of the more known tribal dances of Kerala are Elelakkaradi, Kadarkali, Kurumbarkali, Paniyarkali, Edayarkali, Mudiyattam and Vedarkali.

THEYYAM

A ritual dance performed in temples by appointed people in fulfillment of vows of devotees. Theyyam is the corrupted form of the word Daivam meaning the God. It is purported to be the dance by the Goddess Herself. The dancers are men in feminine attire wearing colourful costumes made usually of palm leaves, cloth and brass jewellery, ferocious masks and big head gear, often extending up to forty feet in height.

The pace of the dance is set to the beating of Chenda (drum). The artiste invested by the goddess in his person falls in a trance, dances deliriously to the mounting tempo and conveys, as an oracle, the goddess's acceptance of the vow and blessings or otherwise.

MUDIYETT

MUDIYETTU

It is believed that various forms of arts worshipping goddess Bhadrakaali prevailed much before the origin of temples. Once the worship of gods and goddesses started at the temples, various types of arts used to be performed to please goddess Bhadrakaali at Bhadrakaali temples. By and large, many of them were ruined while others continued to be performed systematically and in a more dramatic manner. "Mudiyettu" is one among them, a mixture of entertainment and devotion. The period of origin of Mudiyettu is un-traceable. This art is more of a ritual than dramatic. "Theeyaattu" is another ritual performed in Bhadrakaali temples. Mudiyettu is the story of the war of Bhadrakaali with the two notorious Asuras Daarikan and Daanavendran, eventually Killing them, while in Theeyaattu, Bhadrakaali reports to Lord Paramasiva after the assassination and briefs the whole incident. Mudiyettu, compared to other forms of temple arts, is presented without much of `mudras', facemasks and facial expressions, but with facial make-ups and `chutti' (artwork done on face with rice paste) which makes the characters simple and more acceptable to the viewers. Originally these characters used to perform with speech and dance, but later on rhythmic steps were introduced which gives more life to the characters and makes the performance more interesting.

Mudiyettu is a ritual art where viewers also participate in the performance. Once the artists get separated, ie, since they `come to the light', the scene becomes more dramatic. It can be inferred that the character `Kooli' in Mudiyettu is the first of its kind to amuse the viewers by comic speech and action.

The sequence of Mudiyettu is as follows:

1. Kotti Ariyippu (Drum beat announcement)

This done in the morning, usually after the morning poojas in the temple. This is how the performance on that particular day is announced. The instruments used are `Chenda' (High-pitch drum), `Veekkan' (Low-pitch drum) and `Elathaalam' (Two round heavy brass cymbals with flexible string handles in the center).

2. Kalamezhuthu

This is usually done in the afternoon. A colourful and artistic portrait of Bhadrakaali is made on the floor about the size of 5 meters X 3 meters. It is assumed to be how Naarada Maharshi demonstrated the should-be figure of Bhadrakaali to Lord Paramasiva. Natural pigments in powder form are used for this purpose. These are burnt husk of paddy (black), rice powder (white), dried and powdered leaves of `Vaaka'- Acacia (green), turmeric powder (yellow) and a mixture of turmeric powder and quick lime (red).

3. Kalam Paatu

Devotional songs in praise of Bhadrakaali are sung by the main artist in front of the `Kalam' after the night poojas in the temple. Bhadrakaali is extolled here in all her ferocity. After the song, the `Kalam' is wiped off by the main artist assuming the character of Bhadrakaali is fully absorbed in to him.

4. Chutti Kuthal (Make-up)

After `Kalam maayikkal' (wiping off of the portrait) the artists undergo `chutti kuthal'. Other make-ups resemble that in Kathakali including head gears.

5. Vilakku Vaipu (Lighting of the stage lamp - `arangu vilakku')

Once the `chutti kuthal' is over, a big oil lamp (similar to `Kathakali vilakku) is lighted in the centre of the temple yard. The performance is carried out centralising this `Arangu vilakku'.

6. Keli Kottu

This is to announce the starting of the performance. The thaalam (rhythm) used here is `Kuntanaachi', a mixture of `Atantha' and `Champa' thaalams.

The story of Mudiyettu goes like this: Daarika and Daanavendra were two notorious Asuras, born to Daarumathi and Daanamathi. In order to achieve more powers, they performed severe penance and Lord Brahma was finally forced to appear before them. They demanded the boon for immortality, but Lord Brahma declined this request as death was inevitable for anybody once taken birth. The Asura brothers then compromised with the boon that no males can ever kill them. Lord Brahma then asked them why they did not demand that females also could not kill them. The asuras enraged by the pride of the boon they got, retorted "It is a disgrace to us and our community to demand likewise.How how dare a female kill us as long as we are strong enough for anyone to harm us?". Annoyed by the pride of these Asuras and sensing their evil intentions, Lord Brahma curses them-"Let you be killed by a female". This part of the story is not performed in Mudiyettu. Following are the sequence of scenes presented.

1.Siva Naarada Samvadam (Discussion between Siva and Naarada)

2.Daarikan Purappadu (Triumphant march of Daarika)

3.Kaali Purappadu

4.Koyimpata Nayar

5.Kooli Purappadu

6.Koodiyattam (Yudham or Battle)

7.Daarika Vadham (Killing of Daarika)

Auspicious occasions:

1. Kaali, after Kooli Purappadu but before Koodiyattam, takes infants among the viewers to the Arangu Vilakku, rotates the child around it thrice, and offers Prasaadam (flower from the garland on the head gear). This rite is supposed to immunise the child from contagious diseases (especially small pox), a long healthy life and to help the child to drive away all unwanted fear in mind.

2. Thelli Eriyal (Throwing pine resin powder to the cotton torch)

Cotton torches are an unavoidable part of the ritual during the Purappadus as well as the battle. Dried and powdered resin of pine wood (`Thelli') is thrown on to the flame of the cotton torch which inflates highly and adds to the seriousness of the scene. Further, this has proven medical values as the smoke emitted cleans and refreshes the atmosphere and destroys harmful elements which cause contagious diseases.

3. Pantham Uzhiyal

After Killing the Asuras, Kaali performs a pooja in front of the Arangu Vilakku worshipping Lord Siva. The cotton torch used on this occasion is is then taken amidst the viewers, `Thelli' is thrown on its flame and the viewers inhale the smoke which is considered to be the most auspicious act of this ritual.

4. Mudi Uzhiyal

All the viewers leave the scene after `Pantham Uzhiyal', but the person who offered the performance stays back along with his kith and kin for the next rite - Mudi Uzhiyal. Kaali takes off her head gear, encircles it near the face of the person and his family members thrice, offers Prasaadam (again the flowers from the garland on the head gear), receives `Dakshina' (supposed to be the reward for the performance) and concludes the ritual.

List of Performing arts of Kerala

FOLK PERFORMANCES OF KERALA

BY WOMEN

Ammanattam	Kolkali	Oppana
Champazhukkakali	Koythu Nritham	Pakkanar Kuuthu
Chittukali Nritham	Krishnaleela	Pentharumokkali
Daivakkali	Kudamuthu	Parunthattam
Kadar Nritham	Kumbhattam	Pattichikali
Kaikottikkali	Kummi	Poochakali
Killiyadikali	Pulayarkali	Sarpam Thullal
Kinnamkali	Thiruvathirakali	Thumbi Thullal
Thalipeeli	Uripinnikkali	Valakali
Unjalikali	Mudiyattam	Vattakkali

BY MEN AND WOMEN

Adiyanthirakali	Kolattam Kiliyadikkali	Parayan Pooppada
Chattu	Kurathiyattam	Pulayankali
Chavittulaki	Malavettuvan Nritham	Sarpam Thullal
Chavittunatakam	Malayikkuthu	Seethangan
Edaya Nritham	Mannankuthu	Thacholikkali
Irula Nritham	Otten	Thullel
Gaddika	Paniyarkali	Vattakkali
Kakkarassi Natakam	Paravallikali	Koithu Nritham

BY MEN

Aleprem Thullal	Kolam Thullal		Paavakkathakali
Adivedan		Kolkkali	Pallukali
Aluvelakkali		Koorankali	Paniyarkali
Andiyattam		Kothamuri	Pakkanarkali
Aravanamuttu		Kothamuriyattam	Parichamuttukali
Arjuna Nritham		Kovi Nritham	Patayani
Chathankali		Kozhipporukali	Pavakkuthu
Chavittukali		Kumba Nritham	Poorakali
Chavittunatakam		Kummatti	Poothamkali
Chavu Thullal		Kuthirakali	Porattukali
Chozhikkali		Kuthiyottam	Sanghakali
Dappukali/Daffumuttu		Kuttichathanattam	Sarpam Thullal
Ezhamathukali		Kurumarkali	Suuramporu
Garuda Nritham		Kuruvarkali	Taalamkali
Garudan Thukkam		Kuuliyattam	Teyyam
Golgandiyattam		Maankali	Thampurankali
Ivarkali		Malamkali	Thappukottikali
Kaalakali		Malayankettu	Thedikkottikali
Kaduvakali		Margamkali	Theyyannam
Kampeladikali		Mariyattam	Theyyattu
Kambadikali		Mudiyettu	Thumbithullal
Kanalattam		Naikkarkali	Thidambu Nritham
Kannyarkali		Narikkolam	Tirayattam
Karadiyattam		Nagachuttu	Vattakali
Kavadiyattam		Nayadikkali	Vedan Thullal
Kayyamkali		Ochirakali	Velakali
Kiliithattukali		Paana	Villadichan Pattu

MOHINIYATTAM

MOHINIYATTOM

Mohini the temptress, is a recurring character in HIndu mythology. Attom means dance. It is seductive dance performed by women, sensuous in its appeal. In technique Mohiniyattom lies somewhere between Kathakali and Bharathanatyam, Lyrical in the extreme its keynote is coquetry. The symmetrical patterns of emotion flow in balanced nuances with smooth footwork, somewhat quickened body movements and special music.

Parallel to the Bharatanatyam of Tamil Nadu, solo Mohiniyattom dance is performed only by by women. The music is classical carnatic.

As the name implies it is the dance of the charmer. Its origin is a matter of conjecture, but it retains a lovely fusion of the parallel streams of dance in the eastern and western regions of South India. Combining the formal grace and elegance of Bharathanatyam, with the earthy vigour and dynamism of Kathakali the petalled nrita hands of the one with the wide stance of the other, the delicate expressions of the one with the stylized eye movements of the other, it co-ordinates the instinct with charm, subtle allure and seductive appeal. In the rendering of this style there is enchantment, grace delicacy and passion.

The technical structure of Mohiniyattom is fairly similar to that of Bharathanatyam. There are no abrupt jerks or leaps in Mohiniyattom nor is there any inordinately hard stamping of the foot. The gesture language of Mohiniyattom is largely similar to that of Bharathanatyam but it also incorporates elements from Kathakali tradition. And again, like Bharathanatyam, Mohiniyattom too has items of nritta, pure dance, as well as nritya, expressional dance.

Mohiniyattom is mainly the Lasya dance performed strictly according to scriptures of Batya Shastra. The repertory of Mohiniyattom as it is presented now consists of Cholkettu, Varnam, Padam, Thillana, Kaikottrikkali, Kummi and Swaram. It is well evident that the Kaikottikali and Kummi are later additions. Because of the special type of instruction associated with it the dance presents striking bodily poses and attitudes and exquisitely graceful foot-work. In its gestures and also with regard to the expression of the eye, Mohiniyattom is indebted to Kathakali.

If in Bharathanatyam the predominant moods are santham and veeram, in Mohiniyattom it is sringaram.