Kathakali Sadanam
Kathakali Sadanam
http://www.kathakalisadanam.com/
Kathakali is a form of dance drama. Elements of music, dance , painting, poetry and drama blend in a unique way to make this art form stand out amongst other classical dance forms. Kathakali has evolved from classical dance forms such as Koodiyattam and also imbibed elements of several folk art forms that existed in Kerala. The many aspects of traditional rituals and ceremonies that Kathakali picked up on its evolutionary course from various folk arts, has since then become its integral part.
The classical elements of this art form comprise Natya (enactment-histronics), Nritha (Pure Dance), Nrithya(the element of dance with emphasis on expressions of emotions).
Geetha (song, vocal) and Vadya (accompanying instruments) supplement these elements to perfection to yield a complete theatrical art form.
Kathakali is better appreciated and understood with an understanding of Mudras - gestures of hands. The actors in a sense, translates background music into dance and drama. A story is frame-worked within an intricate array of lyrics and poems. Arts Dec 17, 2006
The classical elements of this art form comprise Natya (enactment-histronics), Nritha (Pure Dance), Nrithya(the element of dance with emphasis on expressions of emotions).
Geetha (song, vocal) and Vadya (accompanying instruments) supplement these elements to perfection to yield a complete theatrical art form.
Kathakali is better appreciated and understood with an understanding of Mudras - gestures of hands. The actors in a sense, translates background music into dance and drama. A story is frame-worked within an intricate array of lyrics and poems. Arts Dec 17, 2006
Other Kerala Arts websites
Indian non-profit non govermental organization (NGO) for the promotion of art, photography, heritage and nature. With rapid urbanization, a cultural shift towards the material world with rejection of and disregard for the spiritual and emotional facets of life has slowly invaded the average person causing disinterest and neglect of the traditional and contemporary arts, which, during the period of spiritual intimacy and personal attachments, have been major exhibits of human imagination and spiritual expression. Though this generalization is not universally applicable, the situation is not much different in most of the societies around the globe. The arts have come to be a vanity ornament of the affluent alone. There is a palpable gap between the arts and the community as a whole, especially in the days of increasing consumerism, with the community psyche increasingly inclining towards the lines of pure materialism. As social beings we have always felt the need for revival of community interest in the arts and cultural practices, and thus in humanities, so that a certain degree of enjoyment and spiritual fulfillment is derived from such emotional and intellectual experiences rather than from pure material and transient pleasures alone.An art form preserved expresses its thanks by enriching our generations. We hope to synthesize a deep community awareness in the preservation of folk and classical traditions of visual arts. The survival of craftsmen, artisans and artists is an expected by-product of this awareness. The insight of the traditions, when aptly assimilated, feeds the birds of contemporaneity.
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2. Mohiniyattam
The swaying coconut trees in the gentle breeze is reminiscent of the soft and languorous movements of Mohiniyattam - the feminine classical dance form of Kerala. Literally meaning the Dance of the Enchantress, it is deeply rooted in femininity, GRACE (Lasya) and BEAUTY (Sringara) forming the quintessence of this dance form.Of all the classical South Indian styles, Mohiniyattam can be singled out with admirable distinction, for it's characteristic body movements, marked by the graceful sway of the torso. What is unique is the easy going rise and fall of the body, with emphasis mainly on the torso. The movements are never abrupt, but dignified, easy, natural, restrained and yet subtle. The glances, postures, gait employed are so subtle and graceful that they convey the infinite suggestiveness of radiant love.The traditional costume worn in Mohiniyattam is white with a gold border, and gold ornaments are worn. The unique coiffure with hair gathered on the left side of the head reflect it's aesthetic appeal, making it distinct from the other dance forms of India. The regional system of music that Mohiniyattam follows is the SOPANA style which in it's lyricism is evocative of the spiritual element.It was during the reign of the great Poet King, Maharaja Swati Tirunal that Mohiniyattam received considerable patronage. After his untimely demise, adverse circumstances led to the decline of this dance form till when in the 1930's Mahakavi Vallathol founded the Kerala Kalamandalam and once again revived the dance form. More recently, relentless efforts of exponents and researchers like Guru Padmashri Smt. Bharati Shivaji have contributed significantly in ensuring Mohiniyattam's place on the world map.
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3. Padayani.com
Padayani is the annual ritualistic festival celebrated in Bhadrakali temples of Central travancore zone with due dedications. It may be regarded as the remains of ancient Dravidian God concept and mode of worship offering Rathi (lust), Raktham (Blood) and Lahari (toxic mood) The very spirit of central travancore finds its appearance in Padayani as that of Malabar in Theyyam. All the Sixty Four art forms play their own vital role in Padayani. Actully this is a mixture of music, dance , painting, satire etc. Padayani reflects the ancient socialist society before Ayryanization and four caste system. So in Padayani all the villagers take active part without racial discriminations. Each and every Padayani Karappuram (centers or village celebrating Padayani) observe padayani in their own way. In different aspect such as observation of rituals, order of performance and span of Padayani days difference noticed is ofcourse very huge.Padayani is celebrated during the months of Kumbham, Meenam, Medam ( Approximately February, March and April) Kolamezhuthu, Kolamthullal, Kolappattu, Thappumelam, Vinodam (satire) are the essential parts of Padayani. Kolams are folk deities drawn on well processed green areca leaf sheath with natural colours. Kolappattu (lyrics) include prayers, admirations and requests to deities. Thappu is the �Asuravadya� made by covering round frame of Jacktree hardwood with buffalohide. Kolamthullal is the rhythmic footsteps and dances that a performer makes in tune with Kolappattu and Thappumelam. Vinodam includes satire and protest targeting social evils and vanities. Bearing Palakkolam singing Kolappatu, dancing with the thalam of thappu , the whole villagers pray to God to bring in prosperity, to eradicate the ill effects of wicked deities, to ensure goodies from crops and so on. It is a way of worship with no intermediary betweenman and God. Further, we find true man leading eco-friendly life, worshipping nature disregard of the philosophy of exploitation.
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