A few years back I read an interesting novel Mistress by Anita Nair. The novel centres on Kathakali, a classical dance, exploring its tools, aesthetics, attitude, form, and subjects from the ancient Indian epics Ramayana and Mahabharata, intricately woven into the lives of the characters and influencing the narrative.
The novel is divided into nine sections, each named after the nine emotions evoked by Kathakali dancers: Sringaram (love), Hasyam (laughter), Karunam (sorrowful-compassion), Raudhram (fury), Veeram (valour), Bhayanakham (fear), Bheebhastham (disgust), Albhutham (wonder), and Shantham (calm, serenity). This sparked in me a desire to experience the dance-drama.
In Kathakali five different art forms come together—literature, music, painting, acting, and dance. Stories form the main part, and music enhances them. Performers use special paint for makeup and wear colourful costumes, bringing the characters to life. They use facial expressions and hand gestures to enact the stories. The dancing combines powerful energetic dance and gentle graceful dance. Artists take more than seven years to master the dance form. One can be a dancer, musician, or make-up artist.
History of Kathakali: In the 16th and 17th centuries, King Kottarakkara Thampuran sought to craft a unique form of temple art, drawing inspiration from the traditional ‘Krishnanattam’ performance narrating tales of Lord Krishna. This gave birth to Kathakali (meaning story play), a special dance that tells stories from mythologies and history.
Initially exclusive to kings and queens, Kathakali was showcased in grand temples and palaces. Over time, it became a part of religious celebrations lasting several days. Now, shorter one-hour shows are performed at Kathakali centres and hotels, catering to curious tourists.
During my recent visit to Fort Kochi (Kerala), I visited the Kerala Kathakali Centre to watch a live Kathakali show.
The Kerala Kathakali Centre, located near Santa Cruz Basilica in Fort Kochi, stands out as the most popular venue for experiencing the dance in Kochi. Hosting shows in a dedicated air-conditioned theatre, the centre features skilled performers who are graduates of the prestigious Kerala Kalamandalam. The shows take place from 6:00 to 7:00 pm, and the elaborate makeup process commences at 5:00 pm. The audience is treated to captivating displays, typically featuring three to four characters, with the added charm of live music accompanying the performances.
Kathakali is known for its unique makeup and heavy costumes, some weighing nearly 50 kilogrammes. The makeup is a significant task handled by professionals; it is a challenge for dancers too, as they need to stay still for about an hour or more while it is done. The Kerala Kathakali centre allows the audience to observe the makeup session.
The intricate process of makeup, sometimes lasting for hours, involves the use of colours—red, yellow, white, green, black, and blue—traditionally extracted from natural substances and herbs, with coconut oil as the base. Green signifies royalty, divinity, and virtue. Red patches adorning the sides of the nose also denote royalty. Black serves as a visual cue for evil and wickedness.
The makeup process has two stages: The first one involves the performer applying basic facial paintings; the second sees the makeup artist creating elaborate white ridges on the performer’s face.
The facial colours distinguish various characters of the story: pacha (green) for heroic and divine characters, kari (black) for lady demons or witches, and minukku (polished makeup) for heroines and servants. Thaadi (beard) also comes in different colours, white, red, or black, each representing a different character.
Before commencing the performance, the stage was set for the event. Light from a majestic brass oil lamp at the centre of the stage, aromatic scent from incense sticks wafting through the hall, and a brass bowl with water and marigold flowers contributed to a temple-like setting.
Once the stage was ready, musicians, donned in white, took their places with their instruments (different types of drums and cymbals), adding a musical dimension to the prelude. Then, an artist explained the hand gestures (mudras) and facial expressions (navarasas) portraying nine different emotions through precise facial muscle movements and expressive eye flickers, and how the dancers enact the story using these two techniques. This artistic introduction heightened the audience’s anticipation, setting the stage for the dance-drama.
We were handed a pamphlet with the English narration for the evening’s performance titled ‘Dushasana Vadham’— featuring four characters Lord Krishna, Dushasana, Draupadi, and Bhima—a segment of the great Kurukshetra War in the Mahabharata (revolving around two branches of a family the Pandavas and Kauravas).
The episode of Draupadi Vastraharan from the Mahabharata narrates how Draupadi (wife of the five Pandava brothers) is humiliated in the Kuru court by Dushasana’s attempt to forcibly disrobe her.
Draupadi prays to Lord Krishna for help, resulting in a divine intervention—her saree becomes never-ending, preventing Dushasana from succeeding in his vile act. In a symbolic act of defiance and determination, Draupadi vows never to fasten her hair until it is bathed in Dushasana’s blood.
Bhima, one of the Pandava brothers, vows to avenge Draupadi’s dishonour and the injustices perpetrated by the Kauravas.
In the war that ensues, Bhima confronts Dushasana, and eventually fulfils his vow by slaying him.
Then, as a symbolic retribution, he bathes Draupadi’s hair in Dushasana’s blood, sending a powerful message that justice has been served.
The venue’s beauty, impeccable acoustics, and talented performers, all contributed to an unforgettable evening. Watching the stunning transformation of the performers during the elaborate makeup session made me appreciate this dance form even better. I highly recommend the experience. Stepping out of the theatre, I felt as if I had just emerged from a captivating mythological tale!
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