Kathakali Dance

2017·5.2 MB·English

by  Centre for Cultural Resources and Training

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Kathakali Dance
Kathakali Dance
RTTF ft RTF F?TF FT#R FFR % ftF? RR^ R# RT#R M<H<I TFT Dance in India has a rich and vital tradition dating back to
ancient times. Excavations, inscriptions, chronicles, genealogies
tl fafftH FF<# HR# falRTH#, #r1?!lfaF> F#R, TTRTRt
of kings and artists, literary sources, sculpture and painting of
FTT-FT*RTT FFT FRIFI# RlftfPcFF T##, HjtfeMI #T fRFFHI ft
different periods provide extensive evidence on dance. Myths
FRFT RRTT«R #ft f| #TTf#F ^«TTTT afrr RdFF# # ?TT fftFTT
and legends also support the view that dance had a significant
ff rr#t fr# t rtt#f frft # tjft fft rrtf ft rtf ft ftF place in the religious and social life of the Indian people.
RTTdMR TFTR FRTFT FTI RFfft RTF TT##F '-?TTT#F’ T# FT 'FF# # However, it is not easy to trace the precise history and evolution
TR ft #TPfd fftffttT Re# $ fftFFR R# PdflMd #ft?FR Fft #RTf#F of the various dances known as the 'art' or 'classical' forms
popular today.
frrt rtrtr r# %\
I
In literature, the first references come from the Vedas where
RlPflcF ft RFRT ft<?ft ft# % fftRFT %, R# *J?F F ft#F FF RFRR
dance and music have their roots. A more consistent history of
|| RTF FF ftF^ t3FTFT ft#PFF #ftFTR Hf!l4>Ml', RftF RTPF, Fftftcd
dance can be reconstructed from the epics, the several puranas
TTTf^ci) FFT RTRFft FF RR^ ^PH^t^FfF ft FF^F rIt RTRF^ # RR and the rich body of dramatic and poetic literature known as the
ft oil*} FTft ft, ft HdWWa ftpFT FT RFFTT 11 TrTT#F RTe£F *1 kf> nataka and the kavya in Sanskrit. A related development was
(fTRT) FF fftFFR ftF crfbfrT Pd FIR t, oft RfejPtd TT^F, RFT# #T the evolution of classical Sanskrit drama which was an amalgam
of the spoken word, gestures and mime, choreography, stylised
RRffft, ftftTFTfW F#R, ft#F FFT ##RF R Pd Pd fa FF ftF RffcRRR
movement and music. From the 12th century to the 19th
tl F# 12# R# ft 19# R# FF> RftF y|#VlF TR f, f##
century there were many regional forms called the musical play
41 #dlcHF ft^F FT R#F-RTRF F^FT olldl tl ft<flfllc*tF> ## ft ft
or sangeet-nataka. Contemporary classical dance forms are
FcfRTR TFTT#F d cF - <ph) FF RFF ^RTI known to have evolved out of these musical plays.
RTF# ft # Fftf# FFFST ft R# - ftF? #FF#F# FFF ftft Fftft ftft Excavations have brought to light a bronze statuette from
R# #T FTTTT F^MI FFF (2500-1500 #TT Fft) FF ftF? TFT 1TRT F? I Mohenjodaro and a broken torso from Harappa (dating back to
FF Ft# *1cF H 51 # #t RFF=11 FTF ft Hd<N RT^fft # RUFF # RR ft 2500—1500 B.C.). These are suggestive of dance poses. The
latter has been identified as the precursor of the Nataraja pose
?ft FFRTRT RFT, ft# RTR #T FT RTF FR# f^- gj t FFFTFT
commonly identified with dancing Siva.
oTRTr 11 FftRTcTFftTFF FTTF-YTTTF TTTT#FFrFFTFT#FFF#^F
The earliest treatise on dance available to us is Bharat Muni's
t RFTfaF t, oft FTTF>, <1cF #4 4T#F #t FFFT c# f#d FTcTF? tl
Natya Shastra, the source book of the art of drama, dance and
3TPT#T FT FF T#cPR ftpm RTFT t'ftp FF# F# tFTFt - FTI# TT#
music. It is generally accepted that the date of the work is
trr# 4TF ?TT FFft FF FFF 11 FTTF T1TTF #t FTFF FF # TF ft # RTFT
between the 2nd century B.C.—2nd century A.D. The Natya
FTFT tl RWF; # 3TFFK IFF TF FF FF f#PRT FT#F ft 9T3?, FIFFd Shastra is also known as the fifth veda. According to the author,
ft TT#F, FR#F ft FF# aftr 3T«##F % RTF #PT ftpFT tl FFT TRJ he has evolved this veda by taking words from the Rig veda,
FFFFT # t ftp RWF FFFT ft TFF FTTF ftF ft=TST t, ftFF# 36,000 music from the Sama veda, gestures from the Yajur veda and
emotions from the Atharva veda. There is also a legend that
T#ftP tl
Brahma himself wrote the Natya veda, which has over 36000
FTTF-TTTTF ft 4TFF4 TTTT#F FTTFTT # ## ft FTF #T ft#F verses.
FTTTP # 3T#FfttF RTF tl FTTF # FFTT ft W# F# H#HF ft# Fft
In terms of the classical tradition formulated in the Natya
W RTFT t ft# FFFTFTT TFF1 F^F? FFT FTFF #FT 11 FTFFFrrf TFF Shastra, dance and music are an inextricable part of drama. The
ftftft FF# Fft ft#fftF FTFT 11 FRF # RTF-RTF FRftp RTF RR# 3TTR art of natya carries in it all these constituents and the actor is
RTTF ft 3TTTF Ft FFT ft# TFFR FFT fftfftTR F^RT # TR ft wPdfti'd himself the dancer and the singer, the performer combined all
fRTI the three functions. With the passage of time, however, dance
weaned itself away from natya and attained the status of an
FT#F TftR-ftTF# # RFRK RTF ft #F FFRftf FT f#FTT ftPFT
independent and specialised art, marking the beginning of the
olldl t — FTTF, RTF ftr ^TTI RTTF ft RTT#tF FTF FT FFFTT FTRT 'art' dance in India.
ofTFT 11 F?FF#t RTF-RTTF> RR # 3|PdP<Fd RTF RfftFlFT FTF-R# ft
As per the ancient treatises, dance is considered as having three
?R FFRFft^FFFTT ft FFT RTFT ofTFT 11 FTF ♦ftftlF’ 3Tfftc#ftR ft #T aspects : natya, nritya and nritta. Natya highlights the dramatic
i FF fftSTtF RR” ft T^cp ftrFF FT f#FTT FF FftlFTFF FR# # fftft FTFF ftpFT element and most dance forms do not give emphasis to this
RTFT 11 FTT ## ¥F ft FTft #F t, RFTTT#T #t FPdPdfft# R # ftp# aspect today with the exception of dance-drama forms like
Kathakali. Nritya is essentially expressional, performed specifi¬
RTF FF F#F FR# t, ^T F tt ft ftpftt Rft #t yPdMlPsd FR# 11 FTF
cally to convey the meaning of a theme or idea. Nritta on the
aftr RTTF Fft FRTFFF# FF ft FTFF FR# # fftft ftF Rcf#t Fft RFT# FF
other hand, is pure dance where body movements do not
RFTT FR# ft FfttR FtFT FlPpl^ I FF FFTR t — ^IK, FTTF, FRFRT,
express any mood (bhava), nor do they convey any meaning To
fttT, #F, RF, fttRTR, RF#T #T FTTF I present nritya and natya effectively, a dancer should be trained
R# #fft# FTTT FT#F FftlNpTR - FTFF 3ftr RTTF FF RFFRRT to communicate the navarasas. These are : love (shringar),
mirth (hasya), compassion (karuna), valour (veer), anger (raudra),
fcpFT RTFT tl FTFF FRFtfftF, ##fftF, fftftfe #T 3ftofT# tl RTTF
fear (bhaya), disgust (bibhatsa), wonder (adbhuta) and peace
T#FlPdd, FftRR TfFTTRFj 3# RFT tl RfftFF FT fftTFlfftF R«f
(shanta).
3TfVqi>d #I TOF 3rf^T«P,TrftT 3#T 3R#; cupTOTOVIN'l 3#R TO^TOR; 3i^i4, An ancient classification followed in all styles is of Tandava and
Lasya. Tandava, the masculine, is heroic, bold and vigorous.
tror 3#r an'cMv; 3#r OTfcdTO^TORf 3#r 3#TRro#RTOf tot fttt
Lasya, the feminine is soft, lyrical and graceful. Abhinaya,
^'-MlP'Sd #FTOI 3TRT #1
broadly means expression. This is achieved through angika, the
TO<d 3#R R^t^TORT-TOt yTOfel #TOTO>k1 % RcTO TOT ^<di ^ ROT # body and limbs; vachika, song and speech; aharya, costume and
fRTOTT #FTOT f, f#TT# RTRTO TOT#T TOT 3##3TO#R % TOTFR #T RTO # adornment; and satvika, moods and emotions.
rspxji ^iidi #i tot#t (3rt) ^ yto« hm#1to sr^ft eft ftrr, uro, ^h# 3#t Bharata and Nandikesvara, the two main authorities conceive of
f#R% 3nff #T TFT # cT«TT T5t# RR##T TOR# (RTF#) eft #Fft # #TOR TO#f dance as an art which uses the human body as a vehicle of
expression. The major human units of the body (anga) are
OTF #F# ^ R#t «rnff ROT 3RR T## 3#ft’ #T RTO # TFRR Tft Weft ^ I
identified as the head, torso, the upper and lower limbs,and the
RTRTO ^ ft 3)fdi#Rd RFTO yWTeftWrwT 3#T TO## ft TOT 11 TOFT
minor human parts (upangas), as all parts of the face ranging
3T(#m ft ft TOTOTT f, f#Rft RTR f - RTRTOOT#, 3ft TRRR TOT from the eyebrow to the chin and the other minor joints.
sfrqrofRF y'T-d^cFTui I 3#r tortt rRfot# to^ ott Rftro, TO«rf«rw^t, Two further aspects of natya are the modes of presentation and
y cffdTOlefl TOT yi^^lcF ft TFT # TO H TO I id d I TO## W dPd eft TOT TOR# # the style. There are two modes of presentation, namely the
TOtfe^TT fftTOT TO dTO>dl # — ftdft), RTTTO to f,to TO TTTOT # TOTTO 3RTFTO, Natyadharmi,'which is the formalised presentation of theatre
and the Lokadharmi sometimes translated as folk, realistic,
TOR ftf#TORTO; 3ROT#, 3#3R# 'RTOlfdd ; TROT# R«T TR# TOT fftOTTO
naturalistic or regional. The style or vrittis are classified into
fftTOT TOTH # RTO 3RRT sRTOd ROTTOR fftTOT TOTO # sftr OTT# ('TOTTfReF
Kaiseki, the deft lyrical more suited to convey the lasya aspects,
3TTOT) I
the Arbati, the energetic masculine, the Satawati, often used
TOMlP«ift' ft f#TOTR ft OTTO OTTR t T?T t?T ^ fcfTFR OT# # while depicting the rasas and the Bharati, the literary content.
f#TO#R fT3TTi TOT# 3R# RTOOT ftft # RR fftftTO TO#TT ftf TTOffeT TO# Nurtured for centuries, dance in India has evolved in different
TOFR fftTOT; Vlr#<T % 3(to# fftfVPRRT TORT fttI TOT: 'TOR# ftf 3T#TO> parts of the country its own distinct style,taking on the culture of
TOTS' TO##TTOT TO#; fft# TOT TOTO OTTRRTRTOR, OTTOOT#, #4##, OTTOOT, that particular region, each acquiring its own flavour. Conse¬
quently, a number of major styles of 'art' dance are known to us
TTfTOrfr, 3ftr R## ft TOT # 3TR# 11 TTTO TOf^TOTtt 3^TTO^tTO5M^
today, like Bharatnatyam, Kathakali, Kuchipudi, Kathak,
TOTO TTTO TO^fPTOF PdPdildlTt TOt TOTTO, 41 ^ p^fyyf HTOTTt?t, TOTTTO
Manipuri and Odissi. Then there are regional variations, the
3^T T3TO Wt ^ TOTO ^ 3TTOTTT ^ TOTOftlTO 11 3TRTOT3ff £ TOFTOFT
dances of rural and tribal areas, which range from simple,
3^T 3TRTOT3Tf TOt T I Id TOT^ ^ [4m, 4t TOTO pFt f11 TOTO TOFT joyous celebrations of the seasons, harvest or birth of a child to
TOTOPFtF TOTtTTTTTOF TOF ^ PTTO 4t TOFTOTTOuf ^ ftpFlTO tl dances for the propitiation of demons or for invoking spirits.
Today there is also a whole new body of modern experimental
dance
TOTOTOeft TOTO Kathakali Dance
e.
#TTO TTTOTMId TOTO TTTOT TOTO-TOTTOF ^tfPTTOf TOTO TOT 11 TOTTO TOTO^ Kerala is the home of several traditional dance and dance-
f'— TFTOTOTOft TOTO I drama forms, the most notable being Kathakali.
Kathakali, as a dance form popular today, is considered to be of
3TFTO TFTOTOTft ttto TOTOpTOTT TOTO TOT ^ I TOTTOTTOF TOT ^ FTTTO ^t TO TOTOTO
comparatively recent origin. However, it is an art which has
4 TOTOTOTO ^3TT TORT TORT 11 FHlpF TOF T^TO TORT t, TOt TOF^R TOTOTO 4
evolved from many social and religious theatrical forms which
TOf SFifr TOTO"9Tt TO '/TOt H d TOFTT
existed in the southern region in ancient times. Chakiarkoothu,
TOTOR^ti FtoRTO, vfkmgH, fwiHigy 3ftr rrrmrpT-torto
Koodiyattam, Krishnanattam and Ramanattam are few of the
T^t TFT5 TORWpTTF pTWTOT TORTTT f, fTOTOTOTO TFTOTOTpt ^ TOTTOT 3^T ritual performing arts of Kerala which have had a direct
TTTOrottTF TOT T^ OTTO TOR I tttFTOTTFOT^ 3TTOTRTOTOTOTOftTOTO^TOTOtftTO'4 influence on Kathakali in its form and technique. Legend has it
TOTOt fWFnpr TOTOpTOR TOR# TOTTO TOTOF TOt TORTOTOtr ^ TOTO TOR that the refusal of the Zamorin of Calicut to send his Krishna¬
P<?TOI, eft TFt^TTTTOFTTT TOTO TTTOT TORT TOR Ft TOTOT #F RTt Tpf fddl nattam troupe to Travancore, so enraged the Raja of Kotta rakkara,
TOR# T^t #TTOT Ft TOT^I that he was inspired to compose the Ramanattam.
In the temple sculptures in Kerala and the frescoes in the
^TTO ^ TOf#Tt ^ fVFTOt 3#T TOTOTOTO 16#t TO I d I «Pl ^ TO^R##t #f#T ^
Mattancheri temple of approximately the 16th century, dance
f#ftrf#rot # TOrofroroR ttot torttttotot TftftrroT tofts# to# TOrofYfTT tor# toto
scenes depicting the square and rectangular basic positions so
^ TOTOR #T# TOT TRT# #, 3# TFTOF#t T#t R^ l d d I TOT TO# TRfVfrr TOR# # I
typical to Kathakali are seen. For body movements and
TO I Pi < T^t TOFT3# 3#R drTO TORT TPR!# TOTO#t ^ P#M, TFTOTOTO# ded TO l #1
choreographical patterns, Kathakali is also indebted to the early
TORTO T^t TOT#R TOF TF##t TORT3# T& TOP# 11
martial arts of Kerala.
TORTOTO# RTR, #t#TT 3#T 3Tf#TOTO TOTO ftRPT t 3#T FTO# srftRRR TOTTT#TO Kathakali is a blend of dance, music and acting and dramatizes
H6IFRgl%tftF^FFT3ifFrFlicftF<|J|faFTFRF|l FF 9^F4 FFT stories which are mostly adapted from the Indian epics. It is a
^ft t, FfaFF £ ftt fff- 3tftrw, 3m?f, difP*i, mfcw&ryfr stylised art form, the four aspects of abhinaya —angika, aharya,
dF, H r<t FFT Hliil Hp<^3Tf FT FcFFI ^fV-H FR f’ I FcfF 3(M^ Fl4) Ft vachika, satvika and the nritta, nritya and natya aspects are
FTFFFTFf 3fk £ FRTf # FfiRFRT FTFT t 3#T combined perfectly. The dancer expresses himself through
codified hastamudras and facial expressions, closely following
FFFTF (*FTW) FsUlcFF FTF ffaF t, fa^ FRF FRF 11 FFFfat FcF
the verses (padams)that are sung. Kathakali derives its textual
VI 4t 3^41 H^lMli-r^'^'M'^ <-41^(1 FFTTF *t<d*j 3^T fttd<d$iull <flPld>l
sanction from Balarama Bharatam and Hastalakshana
ttFTRTFfat tl
Deepika.
f rT^TT nVifW FFT3ff ^ FFT FRF t
The attakkathasor stories are selected from the epics and myths
3flr F^F TFftF FTFF FF FF ^ FHAJMF FRF 3 fa*F PTTFT # I andarewritten ina highly sanskritised verse form in Malayalam.
FFFfat FrffRF # faTFF TOT # FFFRTF FRF F FfRT ^ V tel FI ^ Many Malayalam writers have also contributed to the vast body
3RTFT VhiteM Pc;i|| ^ | of Kathakali literature.
FFFfat FcF FTTpftrr ^fa"F^ MlWKMld hIhM -H^td FT 3MTpu| FFFT Kathakali music follows the traditional sopana music of Kerala
11 Hhid VfIcI ^ apTPfrr Ffar # FTF F^ rj^ (ipF FST) ?£t FIT FRf It is said to be the ritual singing of the Ashtapadis on the flight of
steps leading to the sanctum sanctorum. Now Kathakali music
FR=ft dlr<p4l VT Mptn ill tR 3RSv/^F)’FT3|MtATfaFFTFFtcFt I FFFfat
also uses Karnataka ragas— the raga and tala conforming to the
FcF F%T # FFfcF Rnp ff *ff FFtF FRF I 3{\r FF^F TFT F FRRfF
bhava, rasa and dance patterns (nritta and natya). The orchestra
TFT FtTFTF, FTF, TF 3rfa FcF F^ FfFFFf FTT 3f)rTCT t£t Ffa:FT^f I
which is also used in other traditional performing arts of Kerala,
FK7 FF(T F, Ft FRFT t£t 3RF FTPRIFF fatFIdH FRTFf # tft FFfF #
normally comprises the Chenda, Maddalam, Chengila,
FFTT FRF ft, fFfildd Psi, HfdH, PPldl, $<drlMH, JFW3ftT 9TW
Hatha lam, Idakka and Shankhu.
fV FfaFfcRT faFT FRIT ^ I
Kathakali is a visual art where aharya, costume and make-up
FFFfat THR FFFTcFF FRT |, FFT FTF # 3FFTF 3^4: 3fa are suited to the characters, as per the tenets laid down in the
FFTT FRF WF # f^Hgtcff FT 3FHTffa ?tFT 11 FRF Ft FF5 FF? RF Natya Shastra. The characters are grouped under certain clearly
mPtFlP^ri y cm Pi ^ FtffrPrT PcFFT FRTT |t T^dT, <Ptf), dl<p\, cf>P FT defined types like the pacha, kathi, thadi, kari or minukku. The
fPd't'fi I FRTRTTT (drfdj) ^FF5 ?TT y +K FTfSFT FRTTf' FF? FF face of the artist is painted over to appear as though a mask is
tif; ft ftfttt%ft 11 Ftst, ^ift 3itr ffft Ft ffttf^ fFtiiFi worn. The lips, the eyelashes and the eyebrows are made to look
prominent. A mixture of rice paste and lime is applied to make
FRTT f' I FT djfl FFT% ^ Pcii< ^tT FTFF FT TtF 3^T FT
the chuttion the face which highlights the facial make-up.
ftTFF FFRIT FRTT t, PFTT^ FT FFTT FFT FT FRTT 11
Kathakali dance is chiefly interpretative. The characters in a
FFFTftFTFTRtRTF: TOFFTcFF FtcTT ^ I FFFrft FRRttFTF 'tf FIFt Ft Kathakali performance are broadly divided into satvika, rajasika
m! ^ eft < FT dlPrd^l, <Mpld> FtT F7F/^7FF^^f^FFTTftpFTFRTTf'l and tamasika types. Satvika characters are noble, heroic,
F7/cFFTFftFFTjtF, ##FT, FRT?ftF 3^TFpFFTTFttf I FR7^FTT generous and refined. In pacha, green colour dominates and
TFFFR^tTTT^ 3^T FTpf MI y PfiOd (HF<i) OTTFFT^'^l W 3flrTFT kirita (headgear) is worn by all. Krishna and Rama wear special
FtT FRf ^ FFFF fVsftF FF? F?F% ^ I t?, F^T #T%FFFt^FT5 crowns decorated with peacock feathers. The noble characters
FrftF (TTFTft) RTF FRT FTF^t^f I Fr# FFR ^ FTF RTFTTFF FTF like Indra, Arjun and the Devas are some of the pacha characters.
^ f FT Prt ^t t iMftlcb Ftf # 3RFfrT 3TT^ f I F^t-F^t ^ TIFF, The kathi type depict anti-heroes. Though they are of the
rajasika category, they are sometimes great warriors and
FFTF3^{VT?RFF^%FRFFrFT3ftTf%TF^tFtttl F^3ftT F^<-V
scholars such as Ravana, Kamsa and Sisupala to name a few.
FTFF T5t€t F5 (dIJ si) Ft FTF ^ FTTFFT 3^T 3RF Ft FT^ ^ ^tF ^
The moustache and the small knob called chuttippufixed on the
FFFTT FRF 11 FF Fr#FTF # FFR t£t iV^tFFT 11 c77#(F#) F^f #
tip of the nose and another in the centre of the forehead, is
FTF f- FFF7 c77#(fTF FT£)jrHldl£ (f^Pf FT#) FtT F^rF f77#
peculiar to the kathi character. The characters of the thadi
(fif) Frit)i JmiaKpl ftPtftp^ft#ftft -fTtf diFRFddi ffftf
(beard) category are the chuvanna thadi, (red beard), vellathadi
FTFlFTll FF^ftTTTtRfFFRT^t^FTFFTFT^FTF^ftFFFFTt I F^" (white beard) and the karutha thadi (black beard). Vellathadi or
Fff # FTF, FTFT TF PiRT^ ^FFF FT 3FSJTT ?tcTT t, F*T FRtt %^TFFT the white bearded character is generally that of Hanuman, the
FFF^ % sjtr ?F Ftf ^ FTF PnFrPt FT FFF FTTtt FT Ff^FTF FT^ ^ I $dF dancer also wears the costume of a monkey. Kari ate characters
FfrTpRRT FFT ^7FFF PFF Ff ^ FTF jft^ f, PiRTpr f^FFT 3^T whose make-uphavea black base, they wear black costume
FZfa-FpT FT^ f^l depicting a hunter or forest dweller. Apart from these, there are
minor characters like minukku which are the women and sages.
dld4td FFTF FcFF FT% # Pft ^fft sftr FFTT Pdfdd FFT
Kathakali costumes and make-up are elaborate a nd designed so
Ps'disd FFF FtFT 11 FFFrft FcF ^ ftRT s>fttt ^t F%FT Ft dw
as to give a super human effect. The make-up of Kathakali can
F^tFTT3^T RgFT^^F'ffFFpFFTtiTRFt I ctRFtFTTTFFTFF^tFT
be classified into the teppu, chuttikuthu and uduthukettu. The
4dl § I Fc^F FTF F FFTFR FT f^TF 6^dl f' I FFTT FT FFTT FFF
feppuisdone by the actor himself. Each character has a distinct
f^FtFStt SKI PFFI FRF |t, Ft FFTT/TrtF—TTTFT fVfVr^FT <fslcl
teppu. The second stage is done by experts who specialise in
FFT ^TFTT FTFTT (TF^) ?TT F?F Ft FT^ TTFF FFFT FRF f, fat
make-up. The wearing of huge bellowing skirts is called
^fW%FFTFRFtl uduthukettu.
WTJTTFFFFTFFtF'fcRTTFnFTt I FFFT^FFT A simple stage is used. A large oil-fed lamp is placed in front of
TFFF?Tr<;m <.<31 'Jiidl t the stage and two people hold a curtain called Tirasseela on the
tf^# i F?rf?#F# fm FrfF? ?f Ft £ <M r^-tf# t | stage, the main dancers stand behind it before the performance.
In no other dance style is the entire body used so completely as
F^FFT?^ ^fafV'td
in Kathakali. The technical details cover every part of the body
3T ^H^l F# Ft?TI ?F Fc? ^ft £ d^-flcfl f^TFTTF 3 ^T
from facial muscles to fingers, eyes, hands and wrists. The facial
Fi-H^iYrFt ^%fr ^‘i^idi, 3rr#, ftf 3f)r fh14fpjft^5 3ff ^TT11
muscles, play an important part. The movement of the eye¬
^ Hm^rVRTf ^ FFcFFTjf Ff*TFT Ftcft 11 FTTF TFTTF ^ F^rf? #
brows, the eye-balls and the lower eye-lids as described in the
TWFfrqdiHFI afkPHF^ 'HF>~( Natya Shastra are not used to such an extent in any other dance
^ did FT ^ddl y A|)m 'T^t fcRTT TTTFT, f^ddl F>FF^ ^ f£pzjy FTRTT ft I style. The weight of the body is on the outer edges of the feet
Trfk ft fttt ftt ^ri ^ ftf^ ftRnff dr fIttt t, Rt fPI ?r^ ftt 3rk Ft which are slightly bent and curved.
f'l H t I
Kalasamsare pure dance sequences where the actor is at great
&rrr?T*f fern? f?f # ftt Ftt #, ft?t ftfftt' tt tff Ft Tf^RFF? liberty to express himself and display his skills. The leaps, quick
turns, jumps and the rhythmic co-ordination make kalasams, a
FFt 3Tk 3fFtt F>FTTRTT3t FT F?Tf? FFt tt Ft W? Fttt ft1 dWM
joy to watch.
(Fj?), Rett t PlF Rlt Fit F4fk (fhm), T5TTFt 3^T <rt FI cH F ddl'dd
FF tHF>< FFTW^FFTt fl ?t tert t FTT 3TTFT tl A Kathakali performance begins with the kelikottu, calling the
audience to attention followed by the todayam. It is a devotional
FFFrt????TF?Rf? ^ff-j'cblddn 3TR«TFfFT|,ftrrt ?RT ?!ffFt Ft number performed where one or two characters invoke the
TIfNcI Ffti Tldl t I idt FT? algi/H FtFTft I FF £tlWf> FcFFtFTt, blessings of the gods. Kelikottu is the formal announcement of
idd t T>R FT ?f FTTTFTT FFFTF t TT9 tdddl Ft RFF F><t [Vu* the performance done in the evening when drums and cymbals
FTt?TFFt#l cfiPpictidd TfTFFtFtt?rt FltshF Ft 3^^!^<F^ F|qu|| are played for a while in the courtyard. A pure nr/ffapiece known
Ftttftl FFFFFRtTFFTFTF>l4F*t c£f TFF FT FtR ttr Ftt TTlt as the purappaducomes as a sequel to this. Then the musicians
RTt f I FF# FFFFT # FF t FTFW FTFF T^P ftW FTT R^T and drummers hold the stage entertaining the audience with an
exhibition of their skills in melappada. Tiranokku is the debut on
y dfTt?f#FTRIFTt I SdFiFT? 4<vt/'-V<?F if 'H'iidF^KTFTFfRFTFF’FF
the stage of all characters other than the pacha or minukku.
FT arcpff FRTRFT FT F?rf? FR ??f?Ff FF ddlidd F?T^ f | /cHmI^,
Thereafter, the play or the particular scene of the chosen play
W FT /%VF># 3TRTFT F^f FFTFFTf FT FF FT F^F Ft?T 11 FF^
begins.
FFFTF FTTF’ FT F^ ^ ^TFF; FT T^p f^FF ?TF FTTTF FfFT 11
Ilakiattam is that part of the performance when the characters
?TW^PF7|FF?TfF FT FTFTffFFF FT FF FFT t, RFT FFRPR (FTF) F^f get an opprtunity to demonstrate their excellence in abhinaya.
FfiTFF ^ FF^ Fff F?Mt FF% FT 3TFFT FTF FtF 11 F?-?fF ^ For the most part of the performance the dancers engage
3TftRPFT FFF ^T dcid’ FTTTFTT TFF' F^f ■*flfr<?im<ZH if SFTcT TRtTT ff I themselves in cholliattam which means acting in strict con¬
FFf? FFF FF^ FT^ F^fFPTTf FTTT FT^ F^ FFf # TT^f FT #f FTF FF formity to the words in the padams sung by the accompanying
# 3TfiTFF FTFTI musicians.
Thanks to the service done by the poet Vallathol, this classical
'pfd FF?r?tF^^F3jt^FfiFTFTFFF ?F TTTT^fF FTF FF % F^f TfTFT
dance form received a new impetus and today many innovations
FTFT ^ 3^ 3TTF FFTF # Ft% FT^ FfiFcfFf ^f 3nF?FFFT3ff # 3TFFF,
are also being made to suit the needs of a changing society.
F^T W FfrfcpTF ^ff F^ f I
tjrat TTOT 3T«nq^t f?TIT ^ifrlfcjftT^'l
CREATIVE ACTIVITIES FOR STUDENTS AND TEACHERS
q?qqqTqTdd qfafaruql'q^qryiftd d| f+Pdq> 4il ?0qqT^TdTSHTT q?T The Cultural Packages on dance and the suggested activities aim
P'l'M fqq4l % cPTFTT |f : at familiarising the students with:
— ^TTTcff^r q?q faf^ET qtfkqt TTTftfcq> qfrTf4fk qq sqTqqqT 3?k — the grammar and technique of body movement of different
| styles of Indian dance.
— fldK fcTTT dcq trq? dlp-1 cfc ^T *f — dance as a vehicle for communication.
— ^^|®c!ld^^’T^(TOTT)3flT^teTTch»K<M|3flr)^frmid^fqT — the range of dance vocabulary and how closely it is related to
^Idd0 3^T^ ctjpipriil)' £|<| qi^dPd<+> 4)dd ^ Pdqxi |f; real life — through stories of kings, super-humans or
animals and flowers;
qtqqqi
— the study of the historical evolution of dance forms through
literary and visual sources.
q?T qr ^ JlPdPdiVqf q?TT^ Tf^ t; qr w qTTF # q^ Pqqf <#,
eRF-dTF f^TSTTcq^ 3?k ^ MP<ftqPd4)' 3 qqqq qFT $t A few activities have been suggested, however, there is scope
for using the illustrations in this package in a variety of teaching
qqrqqTtl kTOTq^Tp 3Tqrtqtfot ^«-cM ^q^qrr^qTkfTCqqrq-
and learning situations. The teachers are requestedto use these
Pdddl 'if y dlq q <*iiq I -dPrf qq 'jftq?TTqkdT^TTdTf'f^P%qtftcTd^Td^
in as many school disciplines as possible. They are also advised
^didf!iP<<+ qfnsm#faqq4qq-ddT*qi qq*qqqq qm'Pdd qki orqf
to invite dancers to the school for practical demonstration in
q^, dPs qqd dt, ded ^ qq <gu^ FPioi^ qT qq>^ ff, dlPd> qqt
music and dance. Students may be taught small dance pieces, if
dnftfkP qftr ^ qrq qq, #ipkr sfk qrq qq qqq qqqq qqq ft qq i
possible, for them to have a first-hand experience of rhythm,
music and expression through body movement
1. dKd ^q^Pt^ilf^Pld Hcq qqMkify|ct>q?qT3Tf 3fky c£pd ^fkTTiFP
faqqf ^ ft qqrt f i %4t ddT ^qqrqf, q«4t qq qqqq,
q^fad?krfa*Tqqf 3nf^^dk^fchE!|Pdi|liq?Tcq^qT3ptddTddT 1. All classical dance forms in India revolve mainly around
q^dTsff ^ q^t qqft f qk faq q?q srt qqqq fedT didT 11 themes from mythology and nature Stories about gods and
goddesses, the origin of the earth, different aspects of
TSTdt dt qd dFrddyf ^f=Tdf/yi^Pdd> ^dFdf 3TddT ddf 4)dd
nature, etc are selected from myth and legend and then
dkkdkrdf d^ qd% # fair qqtT qT dddT t, kpt drd 3
communicated through dance. The students may be asked
%TTT ^1 qqTqqqptf
to choose important deities, natural forms or real life
— fVrd, f^d, d’jprr, mi44I, ddf, qTTqrfri
situations which they have seen in dance,as for example,
— ddedd^f dfcTdT, qf4d q$T, Sdqqrq ypd'P dT q^Pddedd’ d^rit
— Shiva, Vishnu, Ganesh, Parvati, Durga, Saraswati.
f> dTd djd I
— important rivers, sacred trees, flowers with
fW V5i 41 =pt y<4)<*> dTd ddTkd y|<.iP,iq> 3^T dd didTsilr ck
symbolic messages or wearing ornaments.
l^Pdd # fkir cPFT dT dddTT 11 ddTFdd £ dk dT-
They may then be asked to collect all the mythological
— m«1 9T ck (cpq y cPk dT5*?!' dd f^T V41 '-cl ^dT, stories and legends connected with each. For example;
— ddd # ddd dT ddT mP<«IIH dT,
— how Ganesh got the head of an elephant,
— drq^ # dq ^ ^ dd d’dTTT 3TT^ I
— what was the outcome of the churning of the oceans,
— legends linked with the lotus flower, etc.
?q qf^d # qrdd^ ^ qd«f ^qq, q^d qrdfkpf ^ qT^TTedR
qq^, dT^dTFTd P)Pd -P<.di41 P^T^dd sftq qrf^P d>4d>iu4) Reference from books, interviews with senior citizens, the
'qn+ld dF<T dT qqRfr 11 observation of traditional customs and rituals can be various
ways in which to gather information.
qq q«TTq T5Tdf # dMdlPl d^rd ^f qdTddT qkdT I dd dTdTpt
This exercise will help the students widen their knowledge.
T^pq # qqTdTT dd dt^ dT qqfVfd # dT qqqfr 13fk dTd ^f qq^f
The material can be exhibited on the bulletin board and
# fkiT q% qfkrPddT drqq; d^ qq ^f ddTdT dT q^PdT 11
made into a project book for later reference.
2. dfekt 3^r qddTddf ^ qTdkrq? qqq dTdtfkd dT qd^ f, 2. Periodic excursions may be organised to temples and
dTkPd^t(Vrqd3fkPddddTd?f4ddtdTdq^l dtf^dtddd^ museums so that children may be exposed to sculpture and
drd ^ qidktJd f, qddd foTFdR # dTddd fedT dTdT dT%TT | painting. Those specifically related to dance should be
Wl4l q4 q^rii 44 — qSTdfrT^ dTd, H5iq, qkrqTTT, ^TTddT, drd studied in detail. The students should be encouraged to note
down various aspects regarding each work of art — facial
Tddnt 3ftq dTqdTq qq «ridi«Kd, qrk # q?^ dr4 # krfVd
expressions, mudras, postures, costumes, dance
dFd3ff afk KdTd %% ^ fkTT ylrtiiPpn Ppqi dTdT -qiPpq I
formations and even the surroundings and environment.
fq^H ^ wi4l qjf drdqq 3^rfVrqqddT Pqqq^qi P4fVd?
C\ c Students from the senior school may be asked to make a
dfd3ff cfc 4)q q^d^q dq dEddd q><.4 ^ PdM, q>pi dT qqqTT f'I study of the relationship between the dance form and
Vwm
trrt Prof, Prof, rrt PtottI ^ rtr #rtt specific items of sculpture and painting.
r^l RT tlRRI ^ I (Vsi4) RT Hc4 <?m) cfr^TT^T Mp(J4a cf<.qi«) cPPRir A folder with photographs, pictures, observations and
w rt +i4?hM 3n4tfjrcT rr^ % r^ ^r- ^ Pro Rrft comments may be prepared. (Pictures from this package
tor tP rto 3 ■tft rrPr t rttt rt rtftP f i) may be used similarly in the class room before organising an
excursion in order to make the students familiar with the
3. vsi4l R^P ^«i4> gKi RTT Hcav'TO *P yM'fd fHP qi?Pl TT'tft' rqPqSJ forms).
totrP rt su^ricto tiRd) ^Prr rr^rtr^Prr q-ii'l ^
3. Students may be asked to make large drawings or collect
fH", toi rt TOTTT ^ I hiohPtr RR5TT ^ RTR TTR> tot 4P^ ^RTT
pictures of all the differentmudrasor symbolic actions used
Fr-mi rt tort ^ i y<r4q> tot rrrt Prrt?to> y t-dPa tor cfc in the dance form they have seen A large board may be
TO^RTOTRTR, R«f 3jk JMRlPldl Pof <4 ^ Ri Ph U R£l RTTORTtI I prepared with traditional decorations. Under each mudra or
q-|) R5TT ^ V9I4, RFI RT TOT / RTR RRRR Pd’4 r4 ff, R7T TRTR RR pictorial representation, they may be asked to write its name
RfftTcR RT 4Pr Ri TFR (3TRRk)Rp? TOR) f I R# TOT/RTR RT) and meaning and what it is used for. Senior students can
PrfR?j qf^afcRff Pr rrPr 4 rt^ £ farr tort fapRr rtrt r#tt i add the Sahitya or verses of the songs where the
mudra/action is used. An attempt should be made to project
4. RTO^RTR(^Ft#RTR)- 3TfTOR^RTT^RFcRTOfffR7TT the use of the same mudra/action in different situations.
tl 3TUIi4c4l FTTT vsir) R^rF 'to’ TOStl*) RlPf^l Pqq<u| RT q'jfq
4 Facial expression —Abhinaya, forms an important part of
V2I q) ^ 3TTR Rf ^ pFdiq Tp f^TRT '4P Ft RRTTT ^ I dance The teacher should explain the nine rasas to the
students. The details of explanation can vary with each age
RT^ R? TRp RpTOR 3HlH-qiPrq> <s)r Ft d4>dl ^ I V9iq) Tpt <-qd:
group.
<ddl4R^ Mptft-RfcTRT d’PI'Fl RRTF RTRR5pRR'TOPiRTTO TO*) ^
An interesting informal game can follow this. The students
fair RtjR RT TORT 11 R^RT £ RTT& V5TRp rI RFF-ft RRT R7T TO
can be asked to mime a mood in a self-created situation or
3TfTOR#TOTO'TR’RT)RRT^fPTTrRTFTRTRTRlPFU,l 'to’^RT
story. The rest of the class may be asked to interpret the story
TO # RTR RTf, TOTFTOT*f ^T TOR RTRRfPFRTRT TORT t- 3TSPP
and name the rasa that it portrays. Bhaya or fear can be
3fk RTp RRR *P FTTORTTF yPrJVRfcT *P RRFT FjRT TRp RTOT 3^T Trg;
depicted at length, for example, as a child trapped in a
RTRRT RTRR RT RT 4tT5T RRRT ^3TT I TO RTR Rt TRR R5T3ff 3#T
dangerous situation in a dark and gloomy forest with a
RRR Rf^^dPdddT gKl yfdPdfdd Pd>4l RT RpRT ^ I
fearsome animal chasing the child. Simple movements and
prominent expressions can reflect the mood.
5. 3TOTITO RTOTTO TiPdPdfPjRt 3|14FP3TR RR^ WRlf Rt TO^F TO RT
RRT’ Tpf TTSTR^^f^RTT ylr^llPpd RR*TOc) |F I T5TRtRtRT^TT^RR 5 The teacher can encourage the students to improve their
RR^ ^ fWlT cpRT RT TTORT RRT R RTRprp RTOf RRT TOTtRcF rhythm and tala by organising simple activities. The
TOf RTRT3ff (RTR) ^ RTOIcTO TO ^ RRR f^RT TOT Ft I students should be asked to prepare charts where the beats
of the rhythmic pattern are visually represented using
f^RT-fVR RTO RRTt ^ PdM, f^RT-f^RT d4H TOtR ^ RTTT RT^-
attractive motifs. Different motifs should be used for each
dlfpu | (rt^ 4ffeTOTTR4RTptR’pRFtRRF^RR,TOT^^^TOTP^
different time cycle. (A key can be made to explain the value
R^t (RtR dlPdd’l) RRT^RT TTRpt ^ I) Rftjcp RRTT^t T5TRt Tpt 3^T
of the symbols shown in the chart).
3RR ■‘iPdPdftjRT ^t RT RRft |f I
More experienced students may be given another graded
y r^t d> T5TR R?t 'J,d> Pd R d d <sd I ^ d 4 4 RTRR’ F^ 4 Rpt dlPpi^ 3(1y activity. Each student may be allotted afixed numberoftime
rr 3^r (iPd4l # Mrr h F^dRat 3ftr TOtRRf ^ toFr ^ bars and be asked to create rhythmic patterns within the
given time frame, using vanous permutations and
tt4 RTO R5 FT% # TptR RRTrTO RR% #RR ^ ftTTT ^PRT RTRT
combinations of speeds and rhythm. This activity will bring
RlPFTi I RF aPdPdftj TRTHlfTO TRRTcTORT TPt RTR% RTT^ft 3fk
out the inherent creativity and develop precision and
TT^RT RRT Ttrrrt R Pdd>lti R^Tpt I
concentration.
6. 3TOTTO T5TRt Tpt tPTO ^tRR ^ RRT ^RT RftRtRRT-f^TO ^ TO^ 6. The teacher may give the students a project topic, such as
fl T5TRf Tpt 3TR# 3TTR-RRT # #Rf ^t 3Tf^oi|P<+d4t RRT 'Dance in daily life' The students may be asked to observe
fsFRT-TpRTRt RT f^T^RT RR^ ^ FH U R>FT RT RpRT ^ I f^FR T5TR the actions and expressions of the people around them.
4?llPdd> RrR RT TOT3Tf c^t TTcp TT^t TTcpf^TR TO tld>cl tp Rt 5Fdd> Students can then compile a list of scientific dance
^RR^TORRFt^tf RtT% d d cpT 444 R y fdftjR ^ dPdPdPTOt^ movements that are akin to those in daily life and trace their
^5 Rcp^ f I VS Id) R^t TO RTR ^ 3TRRR TOTRT dlPpi^ RTO TO origin in every day actions and mannerisms. The students
must be made to realize that art forms and real life are
^tr tPrsp 4)44— RlRt 3TTTO # RF^ Rf |f I FT3RTR, TO5
closely linked to each other. Infact, they may be asked to pick
RRTR TORT TO^ ^ ftTR; RRT RT TORT t 3ftr ftp?; % Rv%
out a few common gestures and convert them into aesthetic
aVd4frHR> RrR TOT3ff ^ 3TR^ft RTORT ^ 3TRRTT mPtrPFr TO
dance movements, using their imagination.
rR>c) |F I
7. During important religious and social festivals, the students
7 RRcRTOf arftfaFRRTRTpTO?rftFRt^ 3TRTORRT5TRt^tRR'J?Rt may be asked to compose short dances depicting — the
T^t TORT TOR ^ frTTT TOT RT TOkTT t, P^d4 rdlpK ^ Hprd R5t relevance of the festival, for example, birth of Jesus, Lord
FFTFTFFTFt I 'd<JI£<<Jll*f ^TT cfr oKH, V(NH «<<; ^>-h1cFF •IldT Buddha, the Nativity play, the story of Holika and the manner
in which the festival is celebrated. These dances may be
3^T ^TtfVicr>i c^t <^pi4) FFT cfIpk Ft *HI*) ^ ci(l<*>, Flf?Ft yt-qa
presented at the school assembly on the day of the festival.
f^FFT FT FF^TT 11 ?F FFir Ft cF^R # ftF 4FF # FFT # TO
This activity make the students aware of how the concept of
Iffi FTTlFdl ^1 FFFfcTfaftjTSTFFt^FFTF^'FFFFFTRft^fcF
goodness and truth permeates all religions.
ftfTT FF1T F^5(4 3ffc F?F FT faFTT Ftft FFf FT FFTT FFTF
In order to discover the creativity of the students, the teacher
^Mdl ^1
must involve them in interesting activities related to life, in
8. VSMl <.FHIcRT>dl Ft <9^^ ^ FH *f FUHH^ cpt % general The teacher may therefore distribute carefully
Ft£fHI-F FFt, ^tFF Tt F^tTF bPFF< FfdMtjFt Tt Ft# I selected topics on relevant issues from newspapers and
3Tcf: 3TOTTFF 3(<g«i i0" 3^T Ff^TFTFf # 441«i 54i4Im4f F% F^ magazines, for example,
dFFl'fl fWr T5TFt Ft % FFTt 11 FFFTFT«f- — the necessity for peace,
— the futility of violence,
- TITpF # FTFFFFFT - TF#tF tT^cTT — social inequalities,
- f#FT ^ - FFh<«i Frem — national integration,
- FFlPdF FFF1FFTTT — conservation of the environment.
Groups of 10 to 15 students may be asked to form tableaus
10 Tt 15 F5TFt # FF#f Ft 3TTF*fF FFT FFIFFlCt ^T % trjp
in an appealing and effective manner. The planning and
FlicftF <pfF fTRfr FF^ ^ fair F?T FT FFFT 11 STFfrT&FtFFT
designing of the tableaus should be done by the student
3^T f^FT^F FTF-F5FT Fife T51Ft ^ FF#t{TTTT #t c£t FT#t FlfeTTT I
group themselves. The aim of the activity is to create
TF ^r^rirfer FT Fi(TF Wl#l *t ^ddl FFTFT f' 3^T ^Hcfl <*5<?u(-e'*>
awareness among the students and use their artistic talent.
y fd FT FT FFFtF <P4dl ^ I ^F STTftpFf F^tTT^£fF f<TFFt 3TFFT fil'd
These tableaus may be presented on national days or on
P<1F4I ^ FFFT FT yfidd f^FFT FT FFFT ^ I sports day.
9. f^WP FcF, #F TFF # FlftfF feFF FFT% FFFT 3FF fa# 9 A thematic dance ballet can be prepared for the school
annual day celebrations or any other function. The teachers
FFTTfa # fair ^FTT faFT FT FFFT ft1 F# FSFTFF TT^ FTF
can work together and organise a show involving 400-500
fFFFTFTFF7-FF?t t #T 400-500 T5TTT FT ^FTTnp FrFFF
students. Themes of topical interest like conservation of
(FTt) y<-dd FR FFfa ^ I ?Tffa fHU yidTW t>Pd ^ Fddd ^Nt—
nature and culture, literacy, hunger and poverty, the
T^fa #T Ffc^Pd FTTRSTF, FTWFT, FW #TFft#, 3#T|tFll>IF)'
problems of slum-dwellers, etc. may be enacted. Such a
^FFTFTTT3TTfcrFitFTTFTTRPFrtl ^TT (V^TTF^PTF f^FfF T^F
mammoth production will reach out to the school and the
FFT PTRFPT F^F FFTTT I
community as well.
10. 3FF F^F FFTFF’rf irfrff^ftTFT T5TFt ^ ftTTl FFTlf^RT FT TTcpp¥t 10 Another very important activity must be organised for the
f I TT^ 3T^TTTT^FFT^FcF-FFif#F%^TFf tT^FFFT^ students. In order to awaken in them an interest in all the
^F F^F^FTFTFTf^f^tP^FrFTF%Ff^Ff,FF^3FF other classical and folk dance-forms, the students must be
<jr9 FFt ?f>[ d<dHI Tp^ | encouraged to compare other dances with the style they are
familiar with.
FT.Fl.F.^. SKI HrF FT FmT fpJT dFf?l ^ FtTTFFT SI41 fdFd ?J By studying all the packages on dance prepared by CCRT, a
FcPR MPd^F^TT FnTtf^lF FT FFTfl |f, FTFFkcFIf dcF variety of activities may be organised. In addition,
FFf ^ yfd V9IF) FTFcPTfl F^T% ^ KfXT PffI, FT^, ^THfFT, exhibitions with pictures, charts, costumes, musical
d'^d FITTf 3^T FTcTFt ^ FFS iTd d I FFT^ FT Fchrfl ^ | instruments, and books can be arranged to widen the
knowledge of the students regarding Indian dance forms.
11. FTFFRT, ^FT^ F^ft FFS' FFTl f^TFf^TF FF ^ FrF-FrFFt FT
11. Nowadays, dance festivals are conducted regularly in all the
FTFtFF fFFT FT TFT 11 fFF^t^FFf#, FFTIFT. fFFFTF,
major cities of the country. In recent years, the temples of
c»5)uiicj5 Flft’TFFt ^ fTs< HpcdF^f drF FrFFt ^^Ff ^ FF ^
Khajuraho, Chidambaram, Konark etc. have risen as centres
FFT^TFTF% 3TT^ff I T^TP^^^TTRlTlF rfl ^jt^FFTl^T^Ft^
for important Dance festivals. The Spic Macay festival
V9If) d<4> F^F^ ff I ?F T>i4»hI FT fd4<^d Tnft FFTFTT
reaches even the students of schools in small towns.
FFf^ff^FTFTFT^ I vsnl Ft«hi-fk Fdl ^"?F<ti4<?>h1 ^«mT0
Extensive reporting is done in all newspapers. The students
FFT% tr^jf^F FT^ FT% FFFT FPFFF FT% 3ftT Ff^^T ^ THFrf should be asked to collect newspaper cuttings, study them
^F TTFTF FT T^% ^ f^Ttr cp^T FRT FT%^ I FTF FFfFFt ^ % and keep a record for future reference. Names of artists and
yftl^FFTFTTlfFFTFFTFFlr^dlH,ferfYnsiFTS^FytdTddl fI<. famous accompanists, information regarding rare or special
FTF, FTF TFT FfFFF FT Tif^FT fe’FpFFT (tl4lS5TT) M.T'f^d items in the performances and interesting comments on
FT*ft ft%it ttft ffft fpfff Pffi FTFT FT%TT | tala, bhava and abhinaya may be collected and studied.
12. Lists of dancers, their styles of dance, the institutions where
12. FTfFf (^rFFFTFITf) c^tFfFFt, FF^^cF^t ^P^FT, TRT3F F?t they work, the academies of dance, books on dance-forms,
t FTFFT^ f, ^rF^FPFTF, ^^FfFTTFTF#, F^TFITT, FT^TF magazines/journals on the subject, may be compiled. This
Ff^TFTTT TTg^F # FT FFTft 11 ^HT faFfacT FF % fcPFT FT FFFT may be an ongoing programme in which additional
ft, Pjiti^f yfrl F'f Ffcrf^FcT FTFFlft Fpit FT TTF^t % I information can be noted every year.
3IPITT : §<i<T *|*1<1 t>T< , *T^ Pc^fl Acknowledgement : International Centre for Kathakali, New Delhi
e.
«pf w?ifd #fPwrr fewr WRTT11 W?WWRpP ^ WSTTp 3)W44d; tTq;gTW
^PW5T3ft; dd«td;gpwf WTWp^PTT5T3TPWTfPTPRT; WfP-nPwd W7T3R
SKI UsiVd c^P WRfP ff I
13. wwpww# WTTWcfcpTPp wp^pwWTPPRWTWp^
1. WRiw-<>fl^<ri-hi*i ETRT^^>cr><£1^^ ’iil\'M<ri
^ fel ip WRSSffew feWT 'Jtlcll t, ?7p famlqrt'rq; W>pl WRIT?P I WW t^pwf #<s4P' d'-dHSI WpTWfPfwWKTP^WepTTWf, P7
<(31 '■nidi t WpTWW'l fefpip Wj«K1 WiPP >P1mw> WW 'PWTWRlTtl W7WWSR77 £ftr&rmiHV\W # trw; trot t, wP
'pPs'-llgd 3fk WTSRprPP 3 WRRT5T WTWT ^ f^TTT 3RTIR TRRT WRTpP
WT VI<+>l ^T WW h=phm TWfW WPWT WTI Wp ^wfad 3TTWWTWWT T? Wp
tl
MW>scl t, Pdi) w>6l WRITt I WW5fPrfeWWWTWptfcWWWT
wfew ^ (<dlt WWWW I*W> id Ply 3Tsf f' | 14. WWpWW^WTWTpRTppPprg-^iPf, *)4>3RrwwTiT^?tppEqTW^
I WW wfwfp WWT TWT t, wwfpp TTEfT ^T 3pk wftrT # WW^P
2. =ll«l *1 HR ip, Wt wk<d ^P 3RW WTTWTTWW feWTWW WRff3pp ip Tpp
WTWPP TTW T^P 11
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