KATHAKALI COSTUME STUDY AND ANALYSIS

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 32 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 33 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 35 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 36 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 37 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 41 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 42 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  

• JACKET

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.  

• Skirt

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.

• Apron  

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.  

• Leg ornaments

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 45 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  

• Neck/Chest 

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 46 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 49 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 51 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 52 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) 60 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 

ANALYSIS OF DATA 

PRODUCTION DETAILS WITH PRESENT MODIFICATIONS  

Kathakali makeup and costume crafts are taught in the national Kathakali training center, Kerala Kalamandalam, and other schools, but the traditional carving skills are passed on through artisan families. Makers‘ marks are seen carved into the inside faces of the different pieces. Currently, there is only one family left making wooden based ornaments in his village in Kerala. Given the time-consuming nature of hand carving ornamental objects, it is not surprising that costume ornaments are recycled. The wooden bases are durable, so when the metallic foil tears or its gold color wears away, when wool fades, gems fall off, strings break, or the white pith cracks, the items can be stripped down and refurbished. Evidence of these practices is available on existing pieces. For example, the kiritam headdress still had its original iridescent beetle wings and metal beads as part of the circular decoration (like a nimbus), but the crown (head portion) had plastic strips substituted for the wings, plastic gems for glass, and silver colored plastic beads instead of metal ones. The women‘s ornaments showed definite wear and the need to replace the foil on the intricately carved beads. On the belt, one of the three strings of beads was missing (though holes remained to attach a set), and the remaining strings were not symmetrically balanced, indicating that some extra beads had been used to replace lost or broken ones (or that an inexperienced carver had made them—perhaps both). Those were three to four generations old, and some pieces were ready to be refurbished. Introduction of new materials is not surprising either Economics certainly plays a part in the formation of cultural artifacts. Originally glass gemstones, beetle wings, silver or silver toned metal beads, wool fabrics, and pith or a rice/limestone paste were used in the construction of ornaments. Since the twentieth century, however, factors of cost, ease, and durability have led plastics to replace glass, wings, metal, rice paste, and pith. Polyester has replaced wool for tassels and backing, and fiberglass castings are now replacing carved wood. Ownership of costumes and ornaments is varied. Some performers own their own costumes and bring them when hired to perform. Schools and theatres 70 may own costumes for their own performance needs when they are sufficiently established to have the financial resources or staff to provide them. Craft artisans make ornaments to order, and some have a small stock of items for sale or rent. As of 2014, rental costs are about Rs 3000 to 3500 per day per costume. Additionally, some artisans have begun making ornaments from non-traditional materials. While this practice may accelerate the loss of traditional skills, it also allows Kathakali to expand its reach around the world when less expensive costume pieces can be used. Materials for makeup, storage, and tools have also seen modernization. Precious materials such as lapis lazuli, turquoise, gold, and silver have been replaced by synthetic equivalents. Vegetable and/or mineral powders ground from indigo, chrome, zinc, limestone, rice paste, and mica are still used but are also available in synthetic forms as well. Soot used to make black makeup is still collected on tiles placed next to an oil lamp in the greenroom, or it is available as purchased charcoal powder. Coconut oil remains a staple for mixing powdered colors. Makeup is still applied with the spine of a coconut leaf. The time-consuming art of cutti applications is considerably shortened by the use of paper or plastic pieces that can be tied to the head with string and affixed to the face with a base of cutti paste, with spirit gum, or with medical adhesive. Styrofoam for cutti poove (white knobs) instead of pith/limestone paste constructions has also simplified the makeup process. Within the codified structures of makeup and costume, one wonders how much flexibility actors have in personalizing their performances. Facial differences among actors would require some modifications of the makeup, and the anchor points for facial designs would need to fluctuate to fit each face in order to allow the makeup to enhance and fortify facial expressions. Several authors refer to individual variations in makeup. However, variations would be subtle—hardly recognizable to Westerners—as the colors and divisions of faces as well as size and shape of headdress and costume are codified into specific roles and types. Symbolism of color, exaggeration of features and expressions, and decorations are prescribed for particular stories, characters, and situations. Variations based on schools or training methods, membership in a particular company, and personal preference, might exist. 

Costumes are still primarily made of the same traditional cotton fabrics for skirts, jackets, pants, and underskirts. The availability of machine- made, synthetic, and less costly materials is consistent with their usefulness, particularly as theatres struggle to maintain economic viability. The petticoat pieces are no longer only of palm fiber, but may be synthetic stiffened fabric such as plasticized tarpaulin. Veils for strivesham characters usually incorporate gold threads. Once they were woven with metal bullion; now the gold is frequently replaced with Mylar, Lurex, or other synthetic metallics. These newer textiles are much cheaper than real bullion, do not oxidize, and are more fluid in draping than their metalinfused counterparts. The most significant change in present day costuming is in the production of ornaments. Past use of golden bees wings and metal epaulettes. While it is highly unlikely that headdresses would be entirely covered in the real gold, silver, and gemstones that are fundamental to its decoration, the use of materials has changed. Gold leaf is replaced by gold-colored foil, silver beads by cheaper metals, then by toned plastic, real iridescent beetle wings by plastic tubing, glass gems by plastic jewels, and white pith by extruded plastic. The greatest change, however, is in the transition from intricately carved wooden pieces to molded fiberglass or other materials that are faster, easier, and cheaper to manufacture. This practice, while making ornaments available to tourists, foreign theatre groups, and others interested in Kathakali, has severely impacted the artisan base for traditional manufacture. Even though wooden pieces last for generations, and can be refurbished repeatedly, they are losing ground to inexpensive reproductions.

INTERVIEW FEEDBACK ABOUT FACE MAKE UP MATERIAL

• Face make up materials replaced into artificial
• Still some of the people believe its natural
• Purchasing all of the materials from Kerala and Mumbai  
• Purchasing all of the materials from Kerala and Mumbai 

Padmasree kalamandalam Gopi Ashan got skin infection due to makeup materials.  

FINDINGS

The materials which use now is very dangerous to the skin. Lack of awareness and traditional values make them stick on the same material. Knowingly unknowingly they blindly follow it. These materials can be replace by herbal products like Neem and Turmeric powder.

PROBLEM IDENTIFIED IN SKIRT DRAPING

• A single person can‘t drape it easily
• Minimum 2 or 3 people need to drape the garment  
• If it doesn‘t wear properly it makes uneven structure of outer skirt. 

INTERVIEW FEEDBACKS ABOUT UDUTHUKETTU 

Things should be taken care

• Easy to drape
• It should give the same aesthetics
• Should be cost effective  
• It should be in free size
• Weight should not be exceeded.
• Easy to carry all the way

DESIGN IDEOLOGIES 

• Stitched skirt- Ready to wear Less time consumption  
• New draping style
• Substitute with other materials  

DESIGN SKETCH

  PRODUCT DESCRIPTIONS

• Easy to drape  
• Time consuming
• Free size
• Cost effective

SOME MODERN KATHAKALI DESIGNS

 MANISH ARORA'S MUDHRA COLLECTION. INSPIRED BY KATHAKALI

CONCLUSIONS

The study gives the overall view of the costumes and its modifications through the years. Mostly the modification in this area is according to the changes in the usage of materials and according to the need of the wearer or if the garments or accessories get damaged they replace it according to the available materials. Even the makeup materials changed from natural to synthetics. The costume which they are using now is used by 3 to 4 generations. But still there is no adequate measures taken to reduce the weight of the skirt. The process of draping takes a lot of time even the garment itself is very huge. One thing which is prominently noticed that the 77 unawareness in the technicality of making garment is also a root cause for lack of modification in it. So there is a need for intensive study to find out the solutions to make the wearers more comfortable in the costume. According to that make possible modification to the costume without compromising the aesthetic.