My Science School

Theyyam is a ritualistic dance form wherein pantheistic deities are summoned to the body of the performer. The performers are generally men and they perform in a kaavu (small rain forest) manifesting varied aspects of nature. The performers are decorated with leaves, garlands, flowers and fruits. The headgear is really big and personifies Chamundi Theyyam who is the goddess invoked. Particularly prevalent in North Malabar, there are several types of Theyyam, and the dance is performed near temples. There are particular communities that follow this custom with strict adherence.

Puli Kali is the play of the leopard or tiger; dancers are attired with masks and are completely made-up like tigers. It is performed by men, women and children during festivals like Onam. Pot-bellied men practically shake their bellies that are painted with the face of the tiger! It has more of recreational value of fun and frolic and is prevalent in many districts of Kerala.

 

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The word ‘Ottam’ mean ‘running’ and ‘Thullal’ means a form of ‘dancing’. In other words Ottam Thullal is a playful dance with entertainment, accompanied by a message and with plenty of puns and satire. Kunjan Nambiar was a great promoter of this art, who also composed the lyrics in Malayalam which can be understood by the common people. For instance “Ottam Thullal thulli Verumbo, Veetil Kanji KudikyanIlla, Ethera Valliye Vanna Thadiyan, Yedenna Kollam, Yendena Kollam, Ullokeya Polay Oru Thannine Kollam” (After the Ottham Thullal, the artiste returns home but has no food to eat, what is the use of being such a big man when he is unable to take care of his basic needs). Known as the ‘poor man’s Kathakali’, the make-up, costume and technique of performance is comparatively quite simple.

Another interesting thing is that the Thullal dancer himself plays the role of both the storyteller and the performer and the way he manages both the role is quite fascinating. And the entire performance provides for thought and entertainment for the audience.

 

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Chakyar Koothu for generations has been performed by the traditional family of Chakyars. Chakyar and Nangiars are two particular communities of Kerala that have developed their lives to the propagation and promotion of this unique performing art. The artiste is attired in a strange style that symbolises a bird, and gives a comic touch to the personality of the artiste. The artiste is known as a court jester or vidhushak who has a distinct role to perform.

While narrating varied stories from epics, the performer also portrays, enacts and narrates various ills of the society that need to be corrected for the betterment and welfare of the people. During the days of royal patronage, it was not easy for common people to reach the king; hence they would face several problems regarding their survival, and were exploited by rich landlords or feudal lords. Hence this art form was used as a social corrective, so as to attract the attention of the king. While narrating the stories with wit and humour, they would also be related to contemporary society and at times make fun of people from the audience in a different context. While Chakyar Koothu is performed by men, Nangiar Koothu is performed by women.

 

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Koodiyattam is considered the mother of Kathakali, and also the greatest form of Sanskrit theatre that led to the development of the dramatic and form of Kerala. Koodiyattam literally means dancing together and is also based on the ‘sastras’, and the language of hand gestures is derived from Hasta Laksha Deepika and is the original form of dance drama and theatre. Kathakali is considered the refined and decorated form of Koodiyattam that portrays stories of Hindu mythology in a dramatized form. While the costume and make-up of Koodiyattam is comparatively simpler, Kathakali moves forward with stylised make-up and costumes that changes according to the character portrayed.

Inscriptions related to the dramatized dance worship services known as Koothu are available in temples at Tanjore, Tiruvidaimaruthur, Vedaranyam, Tiruvarur, and Omampuliyur. They were treated as an integral part of worship services alongside the singing of tevaram and prabandam hymns. There are mentions in epigraphs those forms of Koothu that are called aariyam when they use languages other than Tamil such as Sanskrit, Pali or Prakrit for plays.

 

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