Kathakali..
INTRODUCTION
Kathakali is a traditional dance-drama from the Indian state of Kerala. It
developed as a distinct art form in the mid-seventeenth century, drawing
influences from a variety of other performance traditions. Men traditionally
played all roles, but women train and perform in some contemporary troupes.
The epic stories come from the Ramayana, Mahabharata, and Bhagavata
Purana. Characters are mostly superhuman archetypes: gods, demons, and
humans, plus a few animals. Kathakali can be performed in temple grounds
as well as in private and public areas, and there is implicit understanding that
Kathakali, like its forerunners, reinforces moral codes and glorifies the gods
through dramatic representation. The performance integrates drumming,
singing, cymbals, and dance marked by specific body stances, hand gestures,
facial expressions, and eye movements. These performance aspects are
developed through years of intensive training. Scholars refer to four separate
dramatic elements of Kathakali. Aharyabhinaya refers to the decorative
elements of the play, particularly costume, makeup, and accessories. The
others are Vachikabhinaya (speeches and songs), Angikabhinaya (dance,
body position, mudras/hand gestures, eye movements, etc.) and
Satvikabhinaya (the expression of psychic states associated with emotions).
Costumes and makeup are an important element of Kathakali, as they identify
characters, bring focus to expressive areas of the body, create worldliness
appropriate to the characters and stories, and provide extravagant spectacle
against a minimal set.
Midcentury and recent scholarship provides a wealth of information on various
aspects of Kathakali. Authors Bharatha Iyer and Avinash Pandeya provide the
best details of makeup and costume, including Pandeya‘s history and
symbology. Recent commentary on the complexity and subtlety of characters
beyond codified makeup types is provided by Phillip Zarilli. Most sources
identify makeup types and give at least a basic description of the facial
appearance. Several sources also describe costume types in general for each
character type. However, current literature is limited in clearly documenting
costume details for design and reproduction. This paper begins to fill that gap
by presenting documentation of specific authentic costume pieces worn by a
female strivesham and a male paccha character. And also other main and
supportive charecters costume in the kathakali drama.
PROBLEM STATEMENT
Health hazards and difficulties in KATHAKALI costume/make
up
OBJECTIVES
To study and analyze KATHAKALI costume
To figure out the problems in Uduthukettu (Skirt draping)
To understand the health hazards in face make up
SIGNIFICANCE
- The project will gives the precise documentation on KATHAKALI
costume.
- It will describe the connection between the dance and the costume.
- Understanding the problems and make awareness about it and come
up with the possible solution.
SCOPE OF STUDY
- The study of Kathakali was an interesting experience for me as a
design student. It is a beautiful Dance drama from Kerala. This
research project can be taken further by implementing the proposed
solutions
LIMITATION
- Face painting material could not be developed for experiment due to
time constrained.
RESEARCH PLAN
RESEARCH DESIGN, RESEARCH METHOD AND
RESEARCH METHODOLOGY
RESEARCH DESIGN
- It is a plan that specifies the sources and types of information relevant
to the research problem.
- It is a strategy specifying which approach will be used for gathering and
analyzing the data.
For this study Exploratory Research Design will be used involving: Literature
Survey, Experience Survey, and Study of insights stimulating examples
RESEARCH METHOD
- All those methods which are used by the researcher during the course
of studying the research problem are termed as research methods.
For this study a combination of qualitative (Descriptive) methods:
Library Research
Field Research: Non-participant, direct observation, Focused interviews, and
quantitative/qualitative methods will be used.
RESEARCH METHODOLOGY
- The various steps that are generally adopted by a researcher in
studying the research problem along with the logic behind them.
Video Recordings and its analysis, Reference and abstract guides, content
analysis, observing the activities with participating, Interviewing Kathakali
artist, Kathakali related people, and craftsmen.
What do I need
to know?
- An exploratory research on KATHAKALI costume
- Relationship between KATHAKALI art form and
costume
- Sustainable issues in it
- Problems in costume because of the replacement of
materials.
Why do I need
to know?
- To make more awareness about the aspects and
values of KATHAKALI costume.
- Make a better understanding of KATHAKALI
costumes and the draping style\
What kind of
data will answer
the question?
- Secondary data – books, reports, news etc..
Field research
- Qualitative – Primary data collection about the
costume, dance form, dancers, history, people who
involved in this area, institutions and crafts in it etc..
- Quantitative – dancers, institute, dance form etc..
- Participant and non-participant
- Focused interview
- Photographs
- Audio and video
Where can I find
the data?
- Institutions
- KATHAKALI Craft making units
- Shops which they providing rented costume
Whom do I
contact to
access?
- Institutions
- From the crafts man
- Dancers
- Interested people
- Research people
Who will be
interested to be
associated?
- KATHAKALI dancers
- Theatre costume designers
- KATHAKALI institutes, Research scholars
RESEARCH DESIGN: EXPLORATORY
- The type of study is exploratory hence; the overall research design is
flexible to provide opportunity for considering different aspects of the
problem
- As the sample selected consists of Kerala Kalamandalam Artists,
- The data collection was through observation method by photographs,
recording the Kathakali, make ups, focus interviews, discussions etc.
- As the overall design is flexible in nature the data collected would give
different aspects that might not have been considered before thus,
operational procedures will not be fixed.
Research Design Exploratory
Overall Design Flexible Design
Sampling Design Non-probability Sampling design
Statistical Design No pre-planned design for analysis
Observational Design Unstructured instruments for
collection of data
Operational Design No fixed decisions about the
operational procedures
HISTORY
Kathakali has its origins almost 1500 years ago in the early ritual folk dances
and dance dramas of Kerala, in southern India, such as the dances
associated with the cult of Bhagavathy (Thiyyattom, Mudiyettu, and
Theyyam), that were performed at religious festivals by actors wearing
elaborate masks, colorful costumes and headdresses, and intricately painted
faces; and socio-religious and material dances such as the Sastrakali and
Ezhamattukali. Ashtapadiyattom, a dance drama based on the Gita Govinda
of the twelfth-century poet Jayadeva, told the story of Krishna embodied as a
humble cowherd, his consort Radha, and three cow girls. In 1655,
Manavedan, the Zamorin Raja of Calicut, wrote Krishnagiti, a dance drama to
be performed as Krishnattom (Krishnan; attom (enactment)) on eight
consecutive nights, incorporating elements of Ashtapadiyattom and
Koodiyattam, another form of Sanskrit ritual dance drama. The performance
of Krishnattam was strictly restricted to the Guruvayur Temple, palaces of the
members of the Zamorin's family, and temples and houses of Namboodiri
Brahmins within the jurisdiction of the Zamorin's empire. Krishnattam told the
story of Krishna, using dance and mime, while the narrative was sung by
musicians. According to legend, Kottarakara Thampuran, the Raja of
Kottarakara (once a province of Kerala), a great admirer and promoter of
traditional art forms, invited the Zamorin to present Krishnattom in
Kottarakkara. The Zamorin refused, saying that Krishnattom was not for the
unsophisticated audience of southern Kerala. In response, Kottarakara
Thampuran composed several plays and created Ramanattom (Raman;
attom(enactment)), also performed on eight consecutive nights. At first,
Ramanattom enacted stories from Ramayana and other epics, but as it
evolved into Kathakali, it began to encompass many stories. Kathakali shared
similarities with both Ramanattom and Krishnanattom, but incorporated
several outside elements from the folk and martial arts of Kerala which
contributed to its popularity. The increasing use of the local language,
Malayalam (as a mixture of Sanskrit and Malayalam, called Manipravaalam)
made it more popular among the masses, who could not understand the
ancient Sanskrit language. In time, masks were discarded in favor of more
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elaborate facial make up. Around the seventeenth century, acting became
separated from singing, leaving the actors free to concentrate on dramatic
expression. Towards the end of the seventeenth century, Prince Kottayam
wrote four plays based on the Mahabharata, liberating Kathakali from
adherence to any particular Hindu epic and distinguishing it from
Ramanattom. Emotion expressed in the face became central to
performances, and he introduced a white frame around the face, and red
features on a green background, to emphasize movements of the facial
features. In the eighteenth century, Kapplingattu Nampoothiri introduced a
number of innovations that shaped Kathakali as it is performed today. He
improved the percussion accompaniment, and standardized the use of
alarrca, the inarticulate cries made by demons and animals. He further
borrowed mudras from Koodiyattam, and harmonized their use with body
movements. He clarified and defined the five types of character and
strengthened the use of three-dimensional makeup. He also developed the
―kathi,‖ (knife) character type, which combined noble features with evil
qualities, as the central role in Kathakali plays. Kathakali was traditionally
performed during religious festivals. Several Hindu ethnic groups participated
in the performance of Kathakali. In its early days, the Nair community
dominated because they were often well-versed in the martial art,
Kalarippayattu, which is used in Kathakali training and, in a mild form, on the
stage. Kathakali, as it is performed today, is just more than four centuries old.
It is no longer restricted to temples, palaces and religious festivals, but is often
presented in theaters and at special events as entertainment, and is
performed far more frequently than the older forms of dance drama to which it
is related.
KATHAKALI PLAYS
According to tradition there are 101 classical Kathakali stories, though less
than a third of these are commonly staged at present. Almost all of them were
initially composed to last a whole night. Nowadays, there is increasing
popularity for concise, or oftener select, versions of stories so as the
performance lasts not more than three to four hours from evening. Thus,
many stories find stage presentation in parts rather than totality. And the
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selection is based on criteria like choreographical beauty, thematic
relevance/popularity or their melodramatic elements. Kathakali is a classical
art form, but it can be appreciated also by novices—all contributed by the
elegant looks of its character, their abstract movement and its synchronisation
with the musical notes and rhythmic beats. And, in any case, the folk
elements too continue to exist. For better appreciation, perhaps, it is still good
to have an idea of the story being enacted.
Some of the popular stories enacted are Nalacharitham (a story from
the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war
after profiling the build-up to it), Kalyanasougandhikam, (the story
of Bhima going to get flowers for his wife Panchali),
Keechakavadham (another story of Bhima and Panchali, but this time during
their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the
Mahabharata), Karnashapatham (another story from the Mahabharata),
Nizhalkuthu and Bhadrakalivijayam authored byPannisseri Nanu Pillai. Also
staged frequently include stories like Kuchelavrittam , Santanagopalam
, Balivijayam , Dakshayagam, Rugminiswayamvaram , Kalakeyavadham
, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Bal
ivadham,Rugmangadacharitam, Ravanolbhavam, Narakasuravadham,Uttaras
wayamvaram, Harishchandracharitam, Kacha-Devayani andKamsavadham.
Recently, as part of attempts to further popularise the art, stories from other
cultures and mythologies, such as those of Mary Magdalenefrom
the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius
Caesar besides Goethe's Faust too have been adapted into Kathakali scripts
and on to its stage.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most
of the songs are set in ragas based on the microtone-heavyCarnatic music,
there is a distinct style of plain-note rendition, which is known as
the Sopanam style. This typically Kerala style of rendition takes its roots from
the temple songs which used to be sung (continues even now at several
temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern
and southern schools. The northern style has largely been groomed by Kerala
Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan,
an overarching Kathakali musician of those times, was a product of the
institute.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends
in early morning. Nowadays it isn't difficult to see performances as short as
three hours or fewer. Kathakali is usually performed in front of the huge
Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick
sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole
light when the plays used to be performed inside temples, palaces or abodes
houses of nobles and aristocrats. Enactment of a play by actors takes place to
the accompaniment of music (geetha) and instruments (vadya). The
percussion instruments used are chenda, maddalam (both of which
underwent revolutionary changes in their aesthetics with the contributions
of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty
Poduval) and, at times, edakka. In addition, the singers (the lead singer is
called "ponnani" and his follower is called "singidi") use chengila (gong made
of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of
cymbals). The lead singer in some sense uses the Chengala to conduct the
Vadyam and Geetha components, just as a conductor uses his wand in
western classical music. A distinguishing characteristic of this art form is that
the actors never speak but use hand gestures, expressions and rhythmic
dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina,
gained from regimented training based on Kalaripayattu, the ancient martial
art of Kerala, to prepare for his demanding role. The training can often last for
8–10 years, and is intensive. In Kathakali, the story is enacted purely by the
movements of the hands (called mudras or hand gestures) and by facial
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expressions (rasas) and bodily movements. The expressions are derived
from Natyashastra (the tome that deals with the science of expressions) and
are classified into nine as in most Indian classical art forms. Dancers also
undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would
add up a chunk of the hand gestures in vogue today. Each can again can be
classified into 'Samaana-mudras'(one mudra symbolising two entities) or
misra-mudras (both the hands are used to show these mudras). The mudras
are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams'
(Navarasas in anglicised form) (literal translation: Nine Tastes, but more
loosely translated as nine feelings or expressions) which
are Sringaram (amour), Hasyam (ridicule,
humour), Bhayanakam (fear),Karunam (pathos), Roudram (anger,
wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder,
amazement), Shantam(tranquility, peace). The link at the end of the page
gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up
code. Most often, the make-up can be classified into five basic sets
namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between
these sets lie in the predominant colours that are applied on the face.
Pachcha (meaning green) has green as the dominant colour and is used to
portray noble male characters who are said to have a mixture of "Satvik"
(pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik
characters having an evil streak ("tamasic"= evil) -- all the same they are antiheroes
in the play (such as the demon king Ravana) -- and portrayed with
streaks of red in a green-painted face. Excessively evil characters such as
demons (totally tamasic) have a predominantly red make-up and a red beard.
They are called Red Beard (Red Beard). Tamasic characters such as
uncivilised hunters and woodsmen are represented with a predominantly
black make-up base and a black beard and are called black beard (meaning
black beard). Women and ascetics have lustrous, yellowish faces and this
semi-realistic category forms the fifth class. In addition, there are
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modifications of the five basic sets described above such as Vella Thadi
(white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu,
which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES AND MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and
most masters are products of accomplished institutions that give a minimum
training course of half-a-dozen years. The leading Kathakali schools (some of
them started during the pre-Independent era India) are Kerala
Kalamandalam (located in Cheruthuruthy near Shoranur),PSV Natya
Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and
Classical Arts Academy (or Gandhi Seva Sadan located in Perur near
Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located
in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan
Kaliyogam at Parassinikkadavu in Kannurdistrict and RLV school at
Tripunithuraoff Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Koll
am district.etc..
Kathakali is still hugely a male domain but, since the 1970s, females too have
made entry into the art form on a recognisable scale. The central Kerala
temple town ofTripunithura has, in fact, a ladies troupe (with members
belonging to several part of the state) that performs Kathakali, by and large
in Travancore.
KATHAKALI STYLES
- Vettathu Sampradayam
- Kalladikkodan Sampradayam
- Kaplingadu Sampradayam
These are leading Kathakali styles that differ from each other in subtleties like
choreographic profile, position of hand gestures and stress on dance than
drama and vice versa. Of late, these have narrowed down to the northern
(Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the
legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented
in Kerala Kalamandalam (though it has also a department that teaches the
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southern style), Sadanam, RLV and Kottakkal. Margi has its training largely
based on the Thekkan style, known for its stress on drama and part-realistic
techniques. Kalanilayam, effectively, churns out students with a mix of both
styles.
CHARACTERS
Characters in Kathakali are divided by emotional capacity and defined by
corresponding makeup types. They are grouped first by a few broadly
differentiated types (satvik = heroic, pious, and virtuous, rajasik= passionate,
heroic but aggressive, and tamasik =demonic, rude, evil). These broad
character groups are then divided into seven types which share colors and
styles of makeup (paccha/green, katti/knife, thadi/ bearded, kari/black,
minukku/shining, and theppu/ special). Within each group there are variations
for different characters and situations, but the primary pattern, color scheme,
and headdress usually remain constant.
In practice there are also subtle adjustments of line weight and shape as the
patterns are mapped onto the individual‘s facial features. Colors hold symbolic
meaning, as do many of the features. This visual language informs the
audience of each character‘s nature. The importance of makeup and costume
is indicated in the level of transformation from performer to character; several
sources report that once a performer is in makeup and costume, he is no
longer addressed by his own name.
PACHA
The pacha vesham with its predominant green
colour is used to portray noble male characters
like kings and divine beings. These characters
have a mix of satvic (pious) and rajsik (kingly)
nature. The satvic element facilitates immense
possibility for the artiste to explicate his acting
talents. Characters like Lord Krishna and Lord
Rama are examples of pacha vesham.
KATHI
Kathi characters are arrogant and evil but
have a streak of valour in them. Though their
make-up is basically green, denoting that they
are high born, a red mark like an upturned
moustache or knife is painted on the cheek to
show that they are evil. They also have white
knobs on the tips of their noses and on their
foreheads, which add to their evil nature.
Ravana, the demon king is a
typical kathi character in Kathakali.
THADI
There are three distinct types in the class
of thadi vesham viz. chuvanna thadi (red
beard as in the case of the character Bali - the
king of monkeys) vella thadi (white beard)
and karutha thadi(black beard). The red
beards are vicious and excessively evil
characters. Their faces are mainly painted
black on the top half and red on the lower. The
white beard represents a higher type of being
and is seen mainly in the character of
Hanuman, the monkey god. The black beards
are the character types in which black
predominates in make-up and costume. These are the primitive beings - the
wild hunters and forest dwellers.
KARI
Kari vesham is used for demonic characters,
portraying the most gruesome figures on the
Kathakali stage. Their faces are jet-black
with dotted red and white markings on
them. Minukkuvesham symbolizes
gentleness and high spiritual qualities (like
saints), which are in sharp contrast to the
preceding four classes.
MINUKKU
It is used to represent women and sages.
Traditionally,kathakali being a
predominantly male performance,the
female character are also performed by
men. This vesham is used to represent
gentleness and high spiritual standing and
is charectorised with yellow facial paint.
- Apart from these five main classes there are eighteen special characters
like Jatayu, Hamsamand Karkotaka whose make-up cannot be fitted into
COSTUMES
Kathakali characters‘ costumes have the same basic silhouette and
components. Most characters, both male and female, wear huge
hemispherical layered skirts (usually white with border stripes), one or more
layered jackets (most commonly red), and a series of ornate accessories.
These include four items on each arm, bells and pads on the lower legs, a
carved breastplate and cascade of gold necklaces, and two or more waist
ornaments of fabric, beads, and carved, decorated wood. Further layers
include between two and six lengths of pleated fabric at the neck and ornate
contrasting side panels from waist to hem. All performers have some form of
headdress—relatively simple for minukku, but extravagantly ornamented for
gods and demons. There are variations in color, headdress, and some
accessories for different characters and some types. In scale, the most
demonic characters have the most volume, while human characters are closer
to realistic size of dress. All costumes feature bright colors, and strong
contrasts, which helps them be more visible in the traditionally limited lighting
of nighttime performances. Also, the exaggeration in the costumes‘ designs
supports the dramatic storytelling, the forms, colors, and accessories for each
character are standard, so that each presentation of the character is visually
recognizable. The similarity is clear to new audiences; it takes time and
experience to learn the various subtle differences between characters.
Kathakali aficionados delight in reviewing the subtleties of movement,
expression, and personality of accomplished performers. Whether traditionally
crafted or contemporary in construction, Kathakali costumes are incredibly
effective in bringing attention to those attributes. From the basic similarities in
shape, color, and ornament of all costumes to the intricacies of makeup,
headdress, and details of specific characters, all visual choices are effective in
supporting the performance. They bring attention to the actor‘s eyes and facial
expressions; they emphasize movements of body, hands, and feet, and they
reinforce percussive sounds of the dance. It‘s a beautiful marriage of form and
function.
COSTUME DETAILS
The costume pieces are grouped by type and body placement and listed in
approximate dressing order. Costume pieces and ornaments are generally
designed to be adjustable in fit. The costumes are cut amply to allow freedom
of movement for any performer, and the ornaments, in addition to fulfilling a
visual function, are used to tie the costumes in place on the body. These
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items are typical in form, function, and consistency of use, although there is
some variation in details.
UNDERGARMENTS
PYJAMA - white, light-weight cotton pants, are loose fitting with a long
drawstring at the waist and a high rise. They are cut like most early trouser
forms with the side on a lengthwise fold, angled center seams, and
rectangular inset/gusset. In addition to providing absorbency and modesty,
the high waist protects the skin from chafing by the stiff petticoats, and their
wide gusset allows freedom of movement in the wide, low stances that are
common to Kathakali. The legs are tapered to about twelve inches at the
ankle, with a short inseam split, and are folded and wrapped snug to the
ankle, then held in place by small padded supports and the bells, which are
tied to the leg over the trouser.
UNDER-JACKET
Adikuppayam - a T-shaped cotton under-jacket is worn with the female
Kathakali costume. The body and sleeves are cut straight, with an overlapping
back closure cut in a straight line angling from shoulder/ neck line to cross
waist. Small underarm gussets provide mobility; simply bound/turned neckline
and back edge and simple hems finish the raw edges. The cut is the same as
for the outer jackets, male and female. Traditionally all characters are played
by men, so no darting is needed to accommodate the female form. The
majority of the jacket is covered by tied-on ornaments. The back is covered by
the wig and/or veil, and the performers nearly always face the audience, so
the gap at the back neck is not significant.
Ulluval - or ullunhari if sewn together, are a series of two to four dozen panels
of stiff cloth (val) that are tied on as petticoats Originally made of coconut
fibers, they could be made of any strongly stiffened fabrics. Dressing requires
two assistants. The performer holds one end of a width of sturdy cotton
around his waist, while one assistant holds the other end taut. A second
assistant folds each val in half over it, overlapping the pieces, then
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pushes/compresses/gathers the cloths together against the performer‘s body,
working the fabrics into a hemisphere and securing them to the waist by
winding them onto the body with the taut cotton strip.
This step is repeated until the desired fullness is reached. A knee length
group of panels may be used, as well as an additional longer layer of
petticoats, in order to achieve the same hem length on the body. The strip of
cotton cloth is used to tie the petticoats to the body and to wrap and smooth
the layers in place. It is used also to tie on the underskirt, skirt, and side
panels. This piece is at least eight yards long and about six inches wide, but
creased narrower from use.
Modification :- made casings in the tarps to simplify the gathering process,
although the stiffness of the fabric was not conducive to gathering at a casing
so more layers were required to compensate for lack of overlap.
UNDERSKIRT
This straight length of white cotton, worn on the cross grain, is about forty
inches wide and five and a half yards long. The underskirt features a colored
band at the selvedge/hem edge (this stripe is golden yellow, one and a half
inches wide). This piece was washed and primitive pleated perpendicular to
the selvedge by twisting and tying with a string till dry. When dressing, the
center of the top edge is held and tucked in at the front waist at a length to
cover the petticoat. Then the back lower corners are drawn up around the
skirt across the back, overlapping and tucking in at the side waists. The effect
is like the edge of a palm leaf, with the hem band curving from the front
around the hem and up the back, overlapping to cover the petticoat. Extra
fabric length is tucked into the cotton band or tied by a string. The cotton band
used to tie on the stiff petticoats also anchors the underskirt and is tied off at
center front before continuing the dressing ritual. It will secure the skirt to the
body as well.
OUTER GARMENTS
The traditional color for most Kathakali jackets, kuppayam, is red, though
there are exceptions for Krishna (usually blue with a yellow skirt) and some
bearded characters (such as Hanuman‘s furry coat) or special characters. The
jacket for female characters is red and gold cotton metallic. The cut of this
jacket follows that of the under jacket previously described. It has a closefitted
round neck line, straight sides, slightly tapered sleeves, and back tie
closure. Color holds symbolic meaning, but in this case, according to
Vasudevan, its use is for its bright appearance in the traditional performance,
which until the 1960s was lit by a single devotional lamp. Wearing multiple
jackets helps balance the volume of the skirt and headdress
Modification:- Previously for hanuman and bali costume they were using
cotton stuffed jackets. After an international trip for kathakali they have notices
in western countries they were using fur jackets. After that they modify the
costume by using fur for the hanuman costume.
Although the names differ, the male skirt, ututtukettu, and female skirt,
lehengra or sari, are similar. They are traditionally made of a single long
length of white cotton, about a yard wide, and about seven and a half yards
long. It features a decorative red-striped hem about eight inches wide. The
red bands are often outlined in black to emphasize their contrast. The skirt is
set in one-inch accordion pleats while wet and tied to dry. It is tied onto the
body with the same cotton strip as the underskirt with a simple overlap in
back; the skirt gap may be held closed by a safety pin near the hem. The
assistants who help dress the performer must hold the cotton wrap snug to
the body while adjusting the lengths of each layer, and wrap the remaining
yards of cloth several times around the body to ensure a smooth and secure
arrangement.
The female costume also includes the sthree uttariam, a short, red-bordered,
accordion-pleated cloth, which is pinched at the top and tucked into the front
waist. Its bottom edge is spread and tucked to each side, creating a
semicircular line of red at the center front and rising to the waistline at the
side.
Chanthi: are pair of hip pads that support the width of the skirts like a pannier.
The pads are made of two crescent shaped pieces of heavy cotton bagged
out on the outer curve, with the inner curve sewn to a two-inch-wide twill tape,
which sits flat to the body. The points of the two crescents meet center back
and leave a little space center front. They sit low on the hips in order to leave
room for the volume of petticoats, underskirt, and skirts, all of which are
wrapped to the body.
Tantappatippu - small crescent-shaped shin pads, are worn by men and
women to hold the pants snug against the leg at the ankle, to prevent the bell
ornaments in female costumes from sliding down onto the foot, and for
decoration. The men‘s pads are of thick red wool with a blue cotton center
stripe and tips, two strands of small silver beads flanking the blue, and black
cotton twill tape sewn on as both backing and ties. The pads are stuffed with
coconut husk fibers. The female pads are red wool with black cotton tips and
center instead of blue, similar silver beads, and natural colored twill ties.
Sets of brass bells tied to the shins sound in concert with the performer‘s foot
movements. The male version, kecchamani, is oval, with deeper sounding
bells, set below the knee and tied above and below the fullest part of the calf
muscle. This set has a dozen brass bells on each; the bells are set in curved
rows of three, four, and five bells and are anchored to the upper egg-shaped
leather piece by metal split brads. The sharp tines of the brads are covered
with a layer of padding. Two sturdy cotton ties are threaded through the
leather top and out the sides of the backing. The female version, chilanka, has
lighter, higher sounding, and more numerous bells (thirty-four in all) worn at
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the ankle. These are set onto straight leather bands, also with split metal
brads which are covered on the inside with a padded cloth that also encases
the continuous cotton tie.
ORNAMENTS
The male character‘s chest plate, kuralaram or kotalaram, is carved, jeweled,
and pompommed. This impressive decoration is carved in ten major sections,
plus the two connecting beads and seventeen tassel tops. Each piece is
covered in red wool, gilded, and set with green and red gems and a series of
different colored tassels/ pompoms (green, maroon, blue, orange, and pink).
Worn by most male characters, it is tied around the neck over the jacket. The
female breast plate can have demure or exaggerated breast shape and size,
depending on the character. Most female characters use a normal sized
breast plate, mulakkuralaram, but Kari ogress characters wear extremely
pointed and exaggerated black breasts, mulamukku. This piece is carved of
wood, one piece for the breasts, plus five more sections for the lower shield.
Each piece is covered in red wool, and decorated at the neck, between the
breasts, and below with gilt, gems, beads, and thick wool tassels. Holes
drilled at the neck edge provide purchase for a cotton tape which ties around
the neck. The lower half is similar to the kuralaram breastplate of the male
costume.
Mulakkaccha (breast cloth) - or gatrika (scarf), a red bordered white cotton,
about four by two feet, is hand pleated lengthwise and set around the neck
and over the breastplate, covering the breasts (which may be revealed in the
story). The mulakkaccha can also be a red cloth with black border.
Kazhutharam - gold strand beaded necklaces, are set by the dozens onto a
lightly padded neck band in cascading U shapes. The outside strand is of
larger diameter beads, and another strand of larger faceted beads is set a
third of the way in from each end. Each of these larger bead strands has a red
wool pompom at its base. The full length is eighteen inches including the neck
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band of horizontal beads. They can be used by the actors to gesture, as when
the demoness Poothana tries to cajole baby Krishna.
Kashuthu nada - is a collar for male and female costumes which holds the
breastplate down and the kazhuttharam up. It is threaded under strands of
bigger beads and a pompon strand at the outside edge of the kazhuttharam.
The kashuthu nada is made of black cotton with decorative rows of silver
beading one-half to five-eight inches wide along the center line.
Uttariya - also uthareeyam or uttarya, are scarves of primitive pleated white
cotton organdy, tied over a form to pleat into ball. The banded ends are
released from pleats that fan out into a ―flower.‖ The colored ends usually are
similar to those on the skirt; these include red and gold bands edged in black.
The first is tied to the sleeves with the upper arm ornaments while the arms
are outstretched. The remaining ones are sometimes looped through the
upper back ties of the jacket to control their length as well as to anchor them
behind the neck. In order to reach to the waist/hip, they are about a yard wide
(pleated down to approximately three inches) and about two yards long. The
fullness is controlled by small ties (string or thread) set at intervals along the
cloth. They are sometimes used to gesture and to accentuate the subtle body
movements as they hang in contrast to the shifting lines of the body.
Kotta uttariyam - a contrasting colored scarf, has mirrors in the decorative
ends. The color of the cotton generally matches the jacket and pattu val,
swaths of fabric which hang at the sides of the skirt. The ends of the cloth are
attached to solid cup shaped supports, set in with three-inch round mirrors,
and trimmed with braid, horizontal pleats, and an edging of wool yarn fringe in
several colors (pink, blue, gold, green). They are used practically by the
actors offstage to check their makeup, but also are interesting in that they
throw reflected light around the theatre, enhancing the magical atmosphere.
Both male and female characters wear uttariyam.
Marumala - a waist length floral garland, is worn over the uttariyam by some
characters; Vana mala is an enormous garland of flowers worn by Krishna.
WAIST/HIPS
Pattu val (silk fabric), or choppu val (red fabric) - are side panels hung from
waist to hem on the sides of the skirt. They often match the colors of the skirt
stripes, enhancing the color theme of the costume, but are more ornate than
the other fabrics. These red ones are woven with gold vertical stripes, banded
with brocaded ribbons, edged with yellow, and hemmed with multicolored yarn
fringe. Nine inches by thirty-nine inches, they are tied in with the skirt
wrappings to meet the hem of the skirt, and any remaining fabric is folded into
the waist and secured with the cotton wrappings.
Katibandha - is a two-part waist ornament for male and female characters
which includes the ottanakku and the patiarannanam. The ottanakku is a
stiffened red wool apron panel with silver crescents, beads, woolen fringe,
and pompom (kalanchi) decorations. It is tied to the waist directly over the
skirt at the center front. Visually it carries the complex color and texture down
through the figure. It measures eighteen inches long, about six inches wide,
and is backed with cotton and bordered with black bias, neither of which is
visible from the front but which provide structural support.
Patiarannanam, or patiarayan - refers to the carved beaded belt. There are
seven graded sections in the main belt. Each is carved, covered in wool, and
decorated on the raised surfaces with metallic foil and plastic gems. The end
sections have three holes in the lower rim through which strings of handcarved
and gilded beads are suspended. The woman‘s belt which Puligari
brought has only two strings of beads. While the third string is missing, there
are holes to support one, so it presumably existed at one point and is likely to
be replaced when this set is next refurbished. Red cotton cords hold the
pieces together and fasten the belt to the performer‘s waist over the ottanakku
and side panels.
ARMS AND HANDS
Men‘s and women‘s arm treatments are similar in construction, function, and
aesthetic. Of the two examples we had, the female character‘s accessories
were slightly smaller in scale than the men‘s, and/or had fewer beads.
Tolputtu - epaulette-like upper arm ornaments, are carved of wood and tied
onto the actor‘s arm below the bicep and around the chest as well. It is tied on
while the arm is raised to secure the sleeve to the body. Carved in six pieces,
the upper part has a shield or rosette-shaped decoration on a base shaped
like a section of a dome. The rectangular area below is made of five shaped
rectangles, similarly adorned with red wool or flocking, gold foil, stamped
brass rosettes, silver toned beads, and gemstones. The one pictured below
measures three and a half inches wide, five inches tall, and one and a quarter
inch deep.
Paruttikkaimani - are tied immediately below the tolputtu at the bicep. They
consist of three strands of wooden beads covered with metallic foil. A center
row of seven carved baubles (each one inch in diameter by one and a half
inches long) is flanked by two relatively plain globe strands. The center row of
baubles is ogee shaped on the protruding side and slightly flattened on the
bottom/ arm edge. Red cotton cord ties secure it to the arm and are tucked
into the tolputtu.
Kalases - are worn on both wrists. Each wooden bangle is carved as a single
three-inch section of a cone but reads as a row of four circlets. The piece is
covered in metallic foil, with a row of small silver beads defining the edges of
the carved circlets. The jacket sleeve is folded to pleat on the outside of the
forearm, and the bangle slides over the jacket sleeve to secure it.
Hastakatakam - meaning ―hand ornaments,‖ are tied immediately below the
bangles to secure the sleeve at the wrist and to keep the bangles in place.
The ornament is carved in a curved shape to follow the wrist, about three
inches wide and two inches tall at the center circle. It is decorated with
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metallic foil, red wool felt, red and green plastic jewels, and green tassels.
Four wool pompoms or tassels anchor the corners. Red cotton cord is used to
tie them on.
Vellinakam or nakham - are fingernails. Long polished silvertoned tips are
added to the left hand after completing the other preparations. They serve to
lengthen the fingers and draw attention to the mudras (hand gestures) which
are a critical part of the storytelling. Performers‘ personal rings may also be
worn. A small amount of bright pink or gold powder can be rubbed between
the palms before entering the stage to bring attention to the hands. Henna is
also used for this and to highlight the edges of the feet.
HEADDRESS
FEMALE
Strivesham (female) characters are veiled rather than in ornate headdress.
Their head coverings include several items. The headband, chutti thuni, is
eight and a half inches by one-half inch of black cotton and red wool over
cotton tape with rows of silver toned beads. The cap, kontakettu, has a black
cotton base with an oval top and straight cut/hemmed band gathered into the
crown. The left side has a stuffed cylinder projecting up and to the side. This
is decorated with a thick fringe of multicolored yarns, and is used to support
the veil. The cap splits center back and ties to fit the individual actor‘s head
Katila are eggplant-shaped earrings worn by female characters. One and
three-quarter inches by three and three-quarter inches, they tie onto the head
above and below the jawline. They are decorated with foil, plastic gems, and
silver beads. Veils are finished lengths of rectangular yardage or scarves,
about one yard by two yards long, enough to fall past the waist on both sides.
They are used as an expressive tool by the performer of female roles. A
gilded fabric such as tissue lamé is preferred. Sometimes a length of cotton
twill or bias is sewn to the center edge of the veil to help anchor it on the
forehead.
Kurunira, a decorative black cotton head band, covered by narrow silver
cylinders and dangling diamond shaped spangles, is put on over the base cap
to meld the cap and makeup lines, as well as to bring sparkle to the facial
area. The eyebrows of Kathakali performers are a particularly expressive tool,
so bringing focus to this area of the face is important. A second narrow band
of silver bead strands holds both the veil and the ties from the earrings (katila)
in place over the hat base (kontakettu).
Mookkuthi, a small nose ring, provides the final touch for female Kathakali
characters.
MALE
After a male character‘s makeup is complete and the costume in place, the
performer begins the process of dressing the head. First a length of black
cotton is folded on the bias and used to wrap the head from hairline to nape,
providing a means to absorb sweat and begin padding to make the headdress
more comfortable and stable. The head cloth is called netti (forehead) nada
(any piece of long cloth a few inches wide). The paper or plastic chutti are tied
to the face over the head wrap and secured to the face with spirit gum or rice
paste.
Modification: - Readymade plastic cutti instead of traditional paper fold chutti
and spirit gum is using to fix instead of rice paste.
Chevippuvu - are ear ornaments worn by all male characters. These ornately
carved concave wooden discs are set above the ears and tied to the head
with cotton cord. Another black cotton cloth, also netti nada, is wrapped over
the ties to secure them and to pad the head for the crown. A shaped
headband, chuttittuni, of red wool backed with cotton and decorated with rice
paste is tied on to bridge the space between makeup and headdress. Some
characters add cutti poove (white knobs) or a devotional naman bindi
decoration to this headband. There is a variety of large ornamental
headdresses for characters in Kathakali. The types and shapes are part of a
codified system of identification, and all of them bring focus to the performer‘s
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face as well as balancing the volume of the costume and providing a visual
contrast to the angular positioning of the performer‘s limbs. They are carved
of one or more pieces of wood and ornately decorated with metallic foil,
gemstones, and metallic beads. Originally pith (from peacock quills) or rice
paste was used to build up white detail, and wings of a particular beetle
provided a shimmering green texture in some areas. Both now are replaced
with plastic materials. Because of the complexity of the headdress, each one
is stored in a protective heavy cotton bag. Putting on the headdress is an
almost sacred part of the transformation to character. Before unwrapping the
headdress, the dresser makes a brief devotion to the gods. Also, before
putting on his headdress, each performer says a prayer of thanks and
reverence to his teachers. The kesabharan kiritam recognizable by the
circular back portion, is worn by most paccha characters and some others.
Chamaram - is false hair. The wig is roughly forty inches long, by eight to
eleven inches wide at the top, where multiple strands of jute are half hitched
to a cotton tape, then braided and stitched to a tie. In the female costume, the
wig is tied around the head and the padded cylinder that supports the veil on
the left. On the paccha costume, the wig strings are tied through pierced
areas of the side decorations on the kiritam crown but could have been tied
directly to the head instead. The wig rustles as the character moves (not
usually heard over the drumming), and can be thrown wildly about as in the
transformation of a demoness from her beautiful disguise to her natural
fanged state, or in the death of a character. The wig covers the overlapping
back closures of the jacket, though a performer would not likely turn his back
to the audience.
Thalekkettuval - the decorative headband seen at the edge of the headdress,
has three rows of silver beads on a black cotton band one-half to five-eighth
inches wide. It fills the gap and keeps the crown from rocking
Thoda - are large round convex ear ornaments, tied to side projections on the
headdress at about temple height above the chevippuvu. As with the other
accessories, ornaments, and headdress, they are carved of wood, covered in
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red wool and metallic foil, and decorated with silver beads and red and green
gemstones. Cotton cords and a stabilizing rod are used to secure them in
place. In all, the performer and his assistants will have more than sixty ties to
fasten during the dressing process.
PICTURE GALLERY – Accessories and Costume
1.PROCESS
- Making Kireedam( Crown)
- Theppu (Face Make up)
- Chutti (white beard)
- Uduthukettu (Skirt draping)
2.MATERIALS
3.MODIFICATION
- Theppu (Face Make up
- Chutti (white beard)
- Uduthukettu (Skirt draping)
PROCESS OF MAKING KIREEDAM (CROWN)
―Kumizhu ―is a medicinal wood which is used to make kireedam . It is
light weight wood compared to other wood. The wooden base of
Kereedam covered with golden foil paper and decorate it with stones
and peacock feather stem. ‗Vellinezhi ‗is the only one place in Kerala
where they working on these kind of accessories. One kereedam is
about Rs 60,000. Now it is also available in fiber but it cannot
renewable.
MAKE UPS
THEPPU AND CHUTTI (FACEPAINTING AND WHITE
BEARD MAKING)
In Kathakali, the make-up creates the superhuman effect. It takes nearly three
to four hours to complete the make-up which is done in stages, and the
duration varies according to the character and complexity of the costume.
Theppu is the first stage
where the artiste himself
applies the basic facial
paintings. After this the
Chuttikkaran (make-up
man) puts the Chutti which
forms the second stage of
make-up.
The Chutti plays a crucial
role in differentiating the
characters and their personality .All the colours used in the make-up are
obtained from natural substances and herbs. For example, the red and yellow
colours are made by powdering stones like Chaayilyam(Cinnabar) and
Manayola (Arsenic) respectively. A mixture of lime and rice flour serves for
white. The green colour is produced by mixing Manayola and Neelam (bluetaken
out fron neelamari plant/indigo). Coconut oil is used as the base for
mixing these stone powders. Another stone, Chenchilyam is powdered and
applied in order to protect the skin from burns.
Kanmashi or Kajal (the black substance) is prepared by burning gingelly oil.
Cotton wicks immersed in oil is burnt and the smoke of the flame is collected
on the inside surface of an earthen pot kept upside down over the flame. The
lamp black deposited on the surface is scratched out slowly and kept for uses.
Kumkumam or saffron is also used for the make-up. However, now-a-days
many of these colour mixing processes have been replaced by easily
available material.
CHUNDAPU/SOLANUM SURATTENSE
This flower is also called
Punyaha Chunda as the
flower is used for
preparing Punyaham (Holy
Water) in Kerala temples
and household deities.
This plant comes under
the category of eggplant
(Brinjal).
Preparation
The Ovule Receptacle (seed) part of the Chunda flower is used for
Kathakali. After plucking the flowers which are fully or partly flourished,
remove it's petals and green part around it's Ovule Receptacle (Seed)
carefully. The seed shouldn't be scratched or broken. Then gently rub
and roll the seed in your inner hand with a touch of cow ghee. First 30
minutes it need to be gently rubbed and later on increse the pressure.
The effect of the flower during the performance depends on the time
taken to rub and prepare the flower (Normally 3-4 hours). Then the
seed becomes soft,dark brown or even black. Put that in a small air
tight container along with some ghee (recommended for long term
use). Else it can be stored in a roll of cloth and knot it tightly.
Usage
Once the facial makeup is over and just before starting the body
costume, the performer need to put the flower seed in the eyes. He
places his eyeballs up, and gently put the flower seed in lower eyelid. Then he gently pinches the lower eyelid and drag forward. The flower
seed goes inside and stays there. The performer closes the eyes and
roll his eyeballs. When he/she opens his eyes, the eyes turns red in
colour.
Logic of red eyes in Kathakali
The facial makeup of Kathakali is so colorful and a white eye doesn't
look good. The red eye adds an unearthly ambience to the face. Eye
movements along with hand and body movements are unavoidable in
Kathakali as it completes the beauty and elegance of Natya and Nritha.
CHUTTY KUTHAL/ MAKING WHITE BEARD
A mixture of rice paste and lime is applied to make the chutti on the face
which highlights the facial make-up. which is different for different characters.
Theppu is the first stage where the artiste himself applies the basic facial
paintings. On this the Chuttikkaran (make-up man) puts the Chutti(a series of
white ridges built up from the chin to the either side of the cheek) which forms
the second stage of make-up.
The actor lies flat on a matted floor and the expert starts drawing ―the
designs‖ on the face.The most elaborate part of the makeup is the
Make up of Pacha
character
Make up of Minukku (Women character)
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chutti.Chutti materials changed from rice paste to paper and even readymade
chutti.
UDUTHUKETTU/ DRAPED SKIRT
Uduthukettu, the third stage of kathakali make up. Ulluvaal, puramval,
pattuvaal are the different cloth pieces used for getting the bulk look for the
skirt. For ulluval draping more than 50 pieces of cotton fabric each of the
fabrics are about 1 meter long. A straight length of white cotton, worn on the
cross grain, is about forty inches wide and five and a half yards long. The
underskirt features a colored band at the selvedge/hem edge (this stripe is
golden yellow, one and a half inches wide). This piece was washed and
primitive pleated perpendicular to the selvedge by twisting and tying with a
string till dry. When dressing, the center of the top edge is held and tucked in
at the front waist at a length to cover the petticoat. Then the back lower
corners are drawn up around the skirt across the back, overlapping and
tucking in at the side waists. The effect is like the edge of a palm leaf, with the
hem band curving from the front around the hem and up the back, overlapping
to cover the petticoat. Extra fabric length is tucked into the cotton band or tied
by a string. The cotton band used to tie on the stiff petticoats also anchors the
underskirt and is tied off at center front before continuing the dressing ritual. It
will secure the skirt to the body as well.
MAKE UP PRODUCTS WHICH IS USED NOW
