query: kathakali is the dance form of which state

pos: Kathakali Kathakali Kathakali () is one of the major forms of classical Indian dance. It is a "story play" genre of art, but one distinguished by the elaborately colorful make-up, costumes and facemasks that the traditionally male actor-dancers wear. Kathakali primarily developed as a Hindu performance art in the Malayalam-speaking southwestern region of India (Kerala). Kathakali's roots are unclear. The fully developed style of Kathakali originated around the 17th century, but its roots are in the temple and folk arts (such as "Kutiyattam" and religious drama of the southwestern Indian peninsula), which are traceable to at least the 1st millennium CE.

pos: Malayali religious" like Sanghakali, Krishnanattom etc., and (iii)"Secular" like Kathakali, Mohiniyattam, Thullal etc. "Kathakali" and "Mohiniyattam" are the two classical dance forms from Kerala. Kathakali is actually a "dance-drama". Mohiniyattam is a very sensual and graceful dance form that is performed both solo and in a group by women. Kutiyattam is a traditional performing art form from Kerala, which is recognised by UNESCO and given the status "Masterpieces of Oral and Intangible Heritage of Humanity". Ottamthullal is another performing art, which is also known as the "poor man's Kathakali", which was created by the poet Kunchan Nambiar as an alternative to

pos: Kerala Natanam government of India. Chandrasekharan married Mohanavalli Amma of Kalappurakkal family, Alangad Paravur, daughter of Gopala Panicker, assistant superintendent of police of former Travancore State. His wife took active participation in dance presentations. He died on 5 August 1998 at the age of 82. Kerala Natanam Kerala Natanam ( കേരള നടനം ) (Kerala Dance) is a new style of dance that is now recognised as a distinct art form evolved from Kathakali, a form of Indian dance-drama. The Indian dancer Guru Gopinath ( ഗുരു ഗോപിനാഥ് ) a well-trained Kathakali artist and his wife Thankamani Gopinath who was the first student of

pos: Kerala Natanam Kerala Natanam Kerala Natanam ( കേരള നടനം ) (Kerala Dance) is a new style of dance that is now recognised as a distinct art form evolved from Kathakali, a form of Indian dance-drama. The Indian dancer Guru Gopinath ( ഗുരു ഗോപിനാഥ് ) a well-trained Kathakali artist and his wife Thankamani Gopinath who was the first student of Mohiniyattam in Kerala Kalamandalam developed a unique structure for teaching and performing classical dance forms of India whose origins are from Kathakali. Solo, duets, dance dramas and traditional folk dances were the material they chose. Guru Gopinath and Thankamani's dance programs found traditional

pos: Guru Gopinath some innovative changes to make a new style of dancing from this ancient dance form known as 'Oriental dance', 'Kathakali Natanam' and later 'Kerala Natanam' (Keralanatanam), without sacrificing its essence and classicism. Kerala Natanam can be called a stylised form of Kathakali. Guru Gopinath developed his own style that was appealing to the masses who were then devoid of art and dance, without compromising on the classical background. He never tried to reform Kathakali and to tamper with the originality and purity it possessed. He was instrumental to bring Kathakali out from the courtyards of upper class Brahmins and rajas

pos: Malayali have special snake shrines called "Kavu". Sarpam Thullal is usually performed in the courtyard of houses having snake shrines. This is a votive offering for family wealth and happiness.Kerala Natanam ( കേരള നടനം ) (Kerala Dance) is a new style of dance that is now recognised as a distinct classical art form evolved from Kathakali. The Indian dancer Guru Gopinath ( ഗുരു ഗോപിനാഥ് ) a well-trained Kathakali artist and his wife Thankamani Gopinath developed this unique form of dance. Performing arts in Kerala is not limited to a single religion of the Malayali society. Muslim Mappilas, Nasranis and Latin Christians

pos: Culture of Kerala theatre and a UNESCO-designated Human Heritage Art. Kathakali (from "katerumbu" ("story") and "kali" ("performance")) is a 500-year-old form of dance-drama that interprets ancient epics; a popularized offshoot of "kathakali" is "Kerala natanam" (developed in the 20th century by dancer Guru Gopinath). Meanwhile, "koothu" is a more light-hearted performance mode, akin to modern stand-up comedy; an ancient art originally confined to temple sanctuaries, it was later popularized by Mani Madhava Chakyar. Other Keralite performing arts include "mohiniyaattam" ("dance of the enchantress"), which is a type of graceful choreographed dance performed by women and accompanied by musical vocalizations. "Thullal", "Thirayattam", "padayani", and

pos: Guru Gopinath Natana Gramam forms such as Kathakali can be enacted on the stage with the stories from the day-to-day life, apart from the stories from Hindu Mythology. Guru Gopinath was an artist who brought out the Kathakali dance form from the four premises of temples and palaces and made it simple enough for the ordinary people to understand and enjoy. Another contribution from this theater figure is the creation of modern dance style called Kerala Natanam, from Kathakali. Kerala natanam imbibed the Amgika abhinaya of Kathakali in toto, gave up its heavy costumes and embraced the simple and charactor oriented costumes (Aahaarya abhinaya)

pos: Guru Gopinath carved out a contemporary style of dancing, [Indian classical dance|classical] in form but popular in appeal, through which the fame of Kathakali spread far and wide in the beginning of the 1930s. He showed how Indian dancing could handle themes other than those from Hindu mythology. Indian classical dance is the language of humanity, the global language. He popularised it by choreographing dance and ballets having biblical social current and political themes. He was trained in both southern (Kaplingadan) and northern (Kalluvazhi) style of Kathakali. He was invited for higher studies when poet Vallathol Narayana Menon started Kerala Kalamandalam at

pos: Guru Gopinath Natana Gramam not contaminate the Kathakali art in the name of its reform, instead one should develop his/her style with a unique signature. Accordingly, as a creative mentor of this dance form, he developed a new style of dancing called Kerala Natanam. This new dance from was able to appeal to the masses without compromising on its classical background. This art form is called 'Kathakali simplified'. At the time of his death while playing the role of King Dasaradha in his epic ballet 'Ramayana' on stage in the year 1987, he was running a dance school Viswa Kala Kendra at a place

pos: Kathak and expansive. "Kathak" is normally performed in a standing form with legs and torso typically straight, while "Bharatanatyam" extensively utilizes bent knee form ("ara mandi", half sitting position that is somewhat similar to "Demi Plié" ballet move). "Kathak" is also different from "Kathakali", though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathakali emerged in the southwestern region of India (modern Kerala), and is distinctive in its elaborate codified colorful makeup, masks and costumes. Kathakali traditionally has been troupes of predominantly male actor-dancers, who dress

pos: Mohiniyattam which is a slow melodic style with roots in the "Natya Shastra". Mohiniyattam Mohiniyattam, also spelled Mohiniattam (), is one of the eight classical dances of India that developed and remain popular in the state of Kerala. The other classical dance form from Kerala is Kathakali. Mohiniyattam dance gets its name from the word Mohini – a mythical enchantress avatar of the Hindu god Vishnu, who helps the good prevail over evil by deploying her feminine powers. Mohiniyattam's roots, like all classical Indian dances, are in the "Natya Shastra" – the ancient Hindu Sanskrit text on performance arts. However, it

pos: Unnayi Variyar on Kathakali is on the emergence of the importance of Rasa (aesthetics) as against a more dominant Bhava Bhava abhinaya. Also Variyar through his Nalacharitham is widely acknowledged to have raised the dramatic value of Kathakali as an art form. Unnayi Variyar Unnayi Variyar (also Variar/Warrier/Warriar) was a poet, writer, scholar, dramatist who lived in Kerala, India during the later part of the 17th century. He gave immense contributions to the art of Kathakali, the classical dance-drama form of Kerala. He is widely renowned for his chef-d'oeuvre "Nalacharitham" aattakatha. There are only sketchy details available regarding Unnayi Variyar's real name,

pos: Kavungal Chathunni Panicker Kavungal Chathunni Panicker Kavungal Chathunni Panicker was an Indian classical dancer, known for his proficiency in Kathakali, the traditional dance form of Kerala. He was an exponent of the "Kavungal School of Kathakali" ("Kavungal Kalari"), noted for its rigorous training methods and overt physical interpretation of abhinaya. He is known to have brought innovations to the dance form, especially in the decorative movements ("kalasam") and his contributions are reported in the development of grammar and costumes for the Kavungal School. A recipient of the Sangeet Natak Akademi Award in 1973, Panicker was honored again by the Government of India, in

pos: Dance in India and other classical dances in India were ridiculed and suppressed during the colonial British Raj era. In the post-colonial period, it has grown to become the most popular classical Indian dance style in India and abroad, and is considered to be synonymous with Indian dance by many foreigners unaware of the diversity of dances and performance arts in Indian culture. Kathakali ("katha", “story”; "kali", “performance”) is a highly stylized classical dance-drama form which originated from Kerala in the 17th century. This classical dance form is another "story play" genre of art, but one distinguished by its elaborately colorful make-up, costumes

pos: Mohiniyattam Mohiniyattam Mohiniyattam, also spelled Mohiniattam (), is one of the eight classical dances of India that developed and remain popular in the state of Kerala. The other classical dance form from Kerala is Kathakali. Mohiniyattam dance gets its name from the word Mohini – a mythical enchantress avatar of the Hindu god Vishnu, who helps the good prevail over evil by deploying her feminine powers. Mohiniyattam's roots, like all classical Indian dances, are in the "Natya Shastra" – the ancient Hindu Sanskrit text on performance arts. However, it follows the Lasya style described in "Natya Shastra", that is a dance

pos: Guru Kelu Nair Guru Kelu Nair Guru Kelu Nair was a renowned Kathakali artist and teacher. He trained in Kathakali from Kerala Kalamandalam under gurus like Pattikkantodi Ravunni Menon and Guru Kunchu Kurup. He pursued higher studies in Rasa-abhinaya from Rasa-abhinaya maestro guru "Nātyāchārya Vidūshakaratnam Padma Shri" Māni Mādhava Chākyār. In 1936, he was invited by Sri Rabindranath Tagore to establish the first Kathakali curriculum at Visva-Bharati University, Santiniketan. There were no Kathakali accompanists during the time, and he composed Kathakali dance in Rabindra Nritya. Only after Kathakali arrived in Santiniketan, Tagore wrote the dance drama Shyama in which the characters Bajrasen and

pos: Kathakali the sponsorship of Sri Manavedan Raja, the ruler of Calicut (1585-1658 AD). The traditional legend states that Kottarakkara Thampuran (also known as Vira Kerala Varma) requested the services of a "Krishnanattam" troupe, but his request was denied. So Kottarakkara Thampuran created another art form based on "Krishnanattam", called it "Ramanattam" because the early plays were based on the Hindu epic "Ramayana", which over time diversified beyond "Ramayana" and became popular as 'Kathakali'. Another related performance art is "Ashtapadiyattom", a dance drama based on the Gita Govinda of the twelfth-century poet Jayadeva, told the story of Krishna embodied as a humble

pos: Kottakkal Sivaraman Kottakkal Sivaraman Kottakkal Sivaraman (1936 – 19 July 2010) was a performing artiste who revolutionised the portrayal of female roles in Kathakali, the classical dance-drama from Kerala in southern India. Kathakali, being a largely masculine dance form with an all-male presence (at least till the end of the first half of the 20th century), tended to give female roles a secondary status. This is despite some of its classical stories having dense and slow-paced songs (padams) set for female characters like Lalitha (in Kirmeeravadham, Bakavadham) or Urvashi (in Kalakeyavadham) besides characters like Damayanti (Nalacharitam) or Mohini (Rugmangadacharitam) or Sairandhri (or

pos: Surendra Nath Jena Nath Jena spent six months in Kolkata, to learn the art of Kathakali from Bal Krishna Menon. This Kerala dance form was highly sophisticated as compared to Jatra, which is why he decided to learn it. But he could not complete his learning due to lack of money. In the 1950s, Odissi developed a dance form that was rediscovered by Oriya artists, scholars, Gotipua Gurus and Maharis named Jayantika. He spent the first five years studying the style recreated from the testimony of old Devadasis/Mahari dance and gotipuas, or young boys dressed up as women who had replaced the Maharis.

pos: Pattikkamthodi Ravunni Menon Pattikkamthodi Ravunni Menon Pattikkamthodi Ravunni Menon (1880-1948) was a pivotal figure in the history of Kathakali, having played a crucial role in remoulding and refining its grammar in the famed Kalluvazhi tradition of the classical dance-drama from Kerala in south India. He was trained in the art form at a culture-patronising Namboodiri mansion in Vellinezhi near his home, even as his genius ensured that Menon later redrew the aesthetics of Kathakali and its future profile altogether. Young Ravunni, a native of Chethallur in present-day Palakkad district, was groomed in Kathakali by the renowned Kalluvazhi Kuyilthodi Ittirarissa Menon at Olappamanna Mana

pos: Sunanda Nair Sunanda Nair Sunanda Nair is an Indian dancer. She is a leading exponent of Mohiniyattam or Mohini Attam (an Indian classical dance form) and one of the few performers of this dance form. She was born in Mumbai. Nair took her initial training in Bharatanatyam at age six. She studied in Kathakali under Kalamandalam Krishnankutty Warrier. Nair is a disciple of noted Mohini Attam exponent Padmabhushan Dr.(Smt) Kanak Rele, credited for the revival and popularisation of this classical Kerala dance style. Nair was the first student to earn a master's degree in Mohiniattam. She was a student of Nalanda Nritya

pos: Onam and other epics. Kathakali dance is also commonly performed during this time, with dancers enacting famous mythological legends. A famous venue for this is at Valluvanad which is associated with the growth of Kathakali, and Cheruthuruthy, where Kerala Kalamandalam is located. Pulikali, also known as Kaduvakali is a common sight during Onam season. This dance showcases performers painted like tigers in bright yellow, red and black, who dance to the beats of instruments like Chenda and thakil. This folk art is mainly performed in the cultural district of Thrissur and thousands pour into the city to be a part of

pos: Malayalam 16th and 17th centuries that later Champu kavyas were written. Their specialty was that they contained both Sanskritic and indigenous elements of poetry to an equal degree, and in that manner were unique. Unnayi Varyar, whose Nalacharitan Attakkatha is popular even today, was the most prominent poet of the 18th century among not only the Kathakali writers, but also among the classical poets of Kerala. He is often referred to as the Kalidasa of Kerala. Although Kathakali is a dance drama and its literary form should more or less be modeled after the drama, there is nothing more in common

pos: Malayalam own hero with the "rasa" associated with that character. When that hero is portrayed he is given utmost importance, to the utter neglect of the main sentiment ("rasa") of the theme in general. However, the purpose of Attakkatha is not to present a theme with a well-knit emotional plot as its central point, but to present all approved types of characters already set to suit the technique of the art of Kathakali. The major literary output of the century was in the form of local plays composed for the art of kathakali, the dance dramas of Kerala also known as

pos: Thrikkannamangal Communist parties dominate politics in the area. Thrikkannamangal has its own Kathakali Museum. Its situated in Thottam Junction. Kathakali is a dance form that originated in Kerala. One of the unique points of modern history tied to Thrikkannamangal is that it served as the launching pad for the Pentecostal movement that has now spread throughout India. American independent missionary George E. Berg received baptism of Spirit at Azusa street mission in 1908. He came to Thrikkannamangal along with other missionaries during 1909 and proclaimed the first Pentecostal message in the 20th century. Due to the objection of co-missionaries he came

pos: Origin of Malankara Church of God Thrikkannamangal of kathakali was conceived. It was also the capital of Elayidath Swaroopam. The mahaganapathi Temple famous for its unniappam is one of the most venerated Ganesh Temples in Kerala. It has people of many faiths and political leanings. There is strong Hindu as well as Christian presence. The Muslim population, though significant is not as large as the Hindu or Christian population. Kathakali has its own museum at Thrikkannamangal. It is a dance form that originated from this place by Kottarakkara Thampuran. There is an ancient Srikrishna Temple at Thrikkannamangal, its door was opened to lower caste people by Mahatma

pos: Kathakali conditioning and daily exercises, yoga and body massage to tone the muscles and sculpt the growing body, along with studies and dance practice. Per ancient Indian tradition, young students continue to start their year by giving symbolic gifts to the guru, such as a few coins with betel leaves, while the teacher gives the student a loin cloth, a welcome and blessings. Kathakali is still hugely male-dominated, but since the 1970s, women have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has a ladies' troupe (with members belonging to several parts

pos: Louise Lightfoot and Hindu dance. Lightfoot next spent five months in studying Kathakali dance at the Kerala Kalamandalam. On her return to Sydney in 1938, she staged her own production of "The Blue God". She then left her partnership with Burlakov and returned to India to study Kathakali and Bharatanatyam dance, living in Kerala and Tamil Nadu for the next five years. She also taught ballet to the children of the British Raj. She promoted Indian dance and organized tours for troupes in the region. In 1947, she arranged a tour of Australia for the Kathakali dancer Ananda Shivaram. In 1949, she

pos: Kolkali encouraged in the Christian feasts and celebrations. Kolkali Kolkali (Malayalam:കോല്കളി) is a folk art performed in North Malabar region of Kerala State in south India. The dance performers move in a circle, striking small sticks and keeping rhythm with special steps. The circle expands and contracts as the dance progress. The accompanying music gradually rises in pitch and the dance reaches its climax. Kolkali is now a popular event in Kerala School Kalolsavam, which is considered as the biggest cultural event of Asia. Many of the traditional performing art forms of Kerala like Kathakali, Velakali, Poorakkali and Thacholikali; Kolkali, also

pos: Kolkali Kolkali Kolkali (Malayalam:കോല്കളി) is a folk art performed in North Malabar region of Kerala State in south India. The dance performers move in a circle, striking small sticks and keeping rhythm with special steps. The circle expands and contracts as the dance progress. The accompanying music gradually rises in pitch and the dance reaches its climax. Kolkali is now a popular event in Kerala School Kalolsavam, which is considered as the biggest cultural event of Asia. Many of the traditional performing art forms of Kerala like Kathakali, Velakali, Poorakkali and Thacholikali; Kolkali, also have drawn elements from Kalarippayatt during their

pos: Rajesh Touchriver was later screened in the Spotlight on India section at the 2003 Cannes Film Festival. In 2013, he directed Na Bangaaru Talli which won four Nandi awards (from the state of Andhra Pradesh), the National Film Award for Best Feature Film in Telugu, Best Music Direction (Background Score), and five international awards. Rajesh Touchriver was born in Arakulam, Idukki district, Kerala, India as the youngest son of Mr Siva Sankaran Nair and Mrs Rukmini Amma. He inherited his flair for Kathakali, the classical dance-drama of Kerala, from Siva Sankaran Nair, his father who was a veteran Kathakali artist. He also

pos: Mankompu Sivasankara Pillai Natak Akademi Tagore Ratna. In 2006, Mankompu, with his brother C.K. Sivarama Pillai, brought out a book, "Kathakali Swaroopam", that deals with the evolution, grammar and aesthetics of the art form in the Travancore region. He died on 20 March 2014 due to a massive cerebral hemorrhage. Mankompu Sivasankara Pillai Mankompu Sivasankara Pillai, of Kerala in south India, was a reputed Kathakali artiste of the classical dance-drama's southern style. Noted for his consummate depiction of pachcha, kathi and minukku roles, he is a disciple of late maestro Chenganoor Raman Pillai. Born in Mankompu of Kuttanad belt in Alappuzha district, Pillai

pos: Jayadeva birth controversy Gita Govinda's influence outside Odisha is most felt in the southern states of Andhra Pradesh, Kerala and Tamil Nadu, where verses of the poet's work have been incorporated into the Kuchipudi, Kathakali and Bharatanatyam classical dance forms respectively. It is Jayadeva's ashtapadis that are sung in dance performances of Odissi, the classical dance of Odisha. Odia bhajans (devotional songs) and traditional Odissi Music are based on ragas and talas specified by Jayadeva's hymns. Jayadeva was a devotee of Krishna, and Krishna in the form of Jagannath is the central deity of Odisha, whereas the female deity Durga is prominent in

pos: Mohini the front, while the back of the icon is the female Jagan-Mohini ("one who deludes the world") or Mohini, with a female hairdo and figure. A "Sthala Purana" tells that the flower in Mohini's hair fell at Ryali ("fall" in Telugu) when Mohini was being chased by Shiva. Mohini has an important, dramatic role in several mythical works of South Indian drama like "Yakshagana and Kathakali". In Kerala, however, where Mohini's son Ayyappa is popular, the "Mohiniattam" ("the dance of Mohini") is honored as an independent dance form. Named after the goddess, it is a dance meant exclusively for women

pos: Mysore literature in Kannada Other art forms also grouped under Yakshagana are the "Nagamandalam", a dance meant to appease the deity Naga, and a variety of "bhuta" (spirit) dances. The "Yakshagana Tenkutittu" is more akin to the classical Kathakali of Kerala. According to modern Kannada writer Shivarama Karanth, the region between Udupi and Ikkeri could be where the Yakshagana of the northern style originated. However, he noted that the earliest forms of dance-drama, called the "Gandharagrama", are mentioned in the writing "Narada Siska" dated to 600–200 BCE. This primitive form developed into "Ekkalagana", a term which appears in the 12th century Kannada writings "Mallinathapurana"

pos: Thacholikali massage for the trainee. Many of the body postures, choreography and foot work of the Thacholikali characters are taken directly from Kalarippayattu. Thacholikali Thacholikali is a folk art performed during the 'Mandala Utsavam', forty-one day annual festival at the Lokanarkavu Bhagavathy Temple. Lokanarkavu temple is situated 5 km from Vatakara, a small town in Kerala state of south India. This dance, performed during the festival resembles the martial art Kalarippayattu. Many of the traditional performing art forms of Kerala like, Kathakali, Kolkali, Velakali etc. have drawn elements from Kalarippayatt during their stages of evolution. Kathakali has borrowed much from Kalarippayattu

pos: Thacholikali Thacholikali Thacholikali is a folk art performed during the 'Mandala Utsavam', forty-one day annual festival at the Lokanarkavu Bhagavathy Temple. Lokanarkavu temple is situated 5 km from Vatakara, a small town in Kerala state of south India. This dance, performed during the festival resembles the martial art Kalarippayattu. Many of the traditional performing art forms of Kerala like, Kathakali, Kolkali, Velakali etc. have drawn elements from Kalarippayatt during their stages of evolution. Kathakali has borrowed much from Kalarippayattu in its basic body preparative training of the actor not only in terms of technique in practice but also from the body

pos: Guru Gopinath and dance chambers of temples to the masses. His performances created a dance wave in Kerala, which had reprecations all over India in thirties and forties Ordinary people in India, who had no training knowledge in understanding classical dance started enjoying it and appreciating it, only after they had the opportunity of watching Gopinath perform. Guru Gopinath was a task master and perfectionist. He developed a shorter syllabus and duration of training for Kathakali. The 12 years long and rigorous Kathakali course was simplified and reduced to 6 years, without compromising its essence or deviating from its classical tradition. Guru

pos: Culture of India The Indian art of dance as taught in these ancient books, according to Ragini Devi, is the expression of inner beauty and the divine in man. It is a deliberate art, nothing is left to chance, each gesture seeks to communicate the ideas, each facial expression the emotions. Indian dance includes eight classical dance forms, many in narrative forms with mythological elements. The eight classical forms accorded classical dance status by India's "National Academy of Music, Dance, and Drama" are: "bharatanatyam" of the state of Tamil Nadu, "kathak" of Uttar Pradesh, "kathakali" and "mohiniattam" of Kerala, "kuchipudi" of Andhra Pradesh,

pos: Vazhenkada Vijayan is Rajalakshmi . Vazhenkada Vijayan Vazhenkada Vijayan is a senior Kathakali exponent and a retired principal of Kerala Kalamandalam, the performing art institute where he was trained in the classical dance-drama from Kerala in southern India. A son and disciple of late Kathakali artiste Padma Shri Vazhenkada Kunchu Nair, Vijayan is noted for his roles in the categories of the virtuous pachcha, the anti-heroic Kathi and the semi-realistic minukku roles. Vijayan won the Central Sangeet Natak Academy 2012 award for Kathakali. A native of Vazhenkada in Malappuram district, he now lives in the Kathakali village of Vellinezhi in Palakkad district.

pos: Vazhenkada Vijayan Vazhenkada Vijayan Vazhenkada Vijayan is a senior Kathakali exponent and a retired principal of Kerala Kalamandalam, the performing art institute where he was trained in the classical dance-drama from Kerala in southern India. A son and disciple of late Kathakali artiste Padma Shri Vazhenkada Kunchu Nair, Vijayan is noted for his roles in the categories of the virtuous pachcha, the anti-heroic Kathi and the semi-realistic minukku roles. Vijayan won the Central Sangeet Natak Academy 2012 award for Kathakali. A native of Vazhenkada in Malappuram district, he now lives in the Kathakali village of Vellinezhi in Palakkad district. His wife name

pos: Gandhi Seva Sadan Gandhi Seva Sadan Gandhi Seva Sadan is a Kathakali institution located in Perur village, some 12 kilometres east of Ottapalam in Palakkad district of north-central Kerala in southern India. It was founded in 1953 by the (late) Gandhian and freedom fighter K. Kumaran, equally known for his unflagging devotion to the promotion of the arts. Having celebrated its golden jubilee, Sadanam Kathakali and Classic Arts Academy is one of the four oldest schools providing training in the classical dance-drama of Kathakali in the traditional residential (gurukula) style. The most prominent among today's Kathakali exponents from Sadanam have all had tutelage

pos: Nelliyode Vasudevan Namboodiri Nelliyode Vasudevan Namboodiri Nelliyode Vasudevan Namboodiri or Nelliyod Vasudevan Namboodiri (born 5 February 1940) is a Kathakali artiste, noted primarily for his vibrant portrayal of the evil "chuvanna thaadi" ("red beard") roles of the classical Kathakali dance-drama from Kerala in south India. Nelliyode was born in 1940 in Cheranalloor in Ernakulam district. He joined the PSV Natyasangham in Kottakkal in 1957 and received training in Kathakali largely under Padma Shri Vazhenkada Kunchu Nair of the tradition. After a teaching stint in Kerala Kalamandalam, he joined as a Kathakali teacher at the Central High School in Thiruvananthapuram. Nelliyode lives in Poojappura

pos: Neelakantan Nambisan Neelakantan Nambisan Kalamandalam Neelakantan Nambisan (1919–85) was a trend-setter Kathakali musician who played a crucial role in remoulding the aesthetics of singing for the classical dance-drama of Kerala, south India. Nambisan imbibed a set of fresh musical ideas from his epoch-making guru Mundaya Venkitakrishna Bhagavatar, developed them to sound even better and handed them over to a set of disciples, most of whom gained name and fame sooner or later. Nambisan's weighty yet part-nasal music, which marked a quantum transition of Kathakali songs from its original Sopanam base to more of the Carnatic style, had such cascading effect on Kathakali

pos: Kanak Rele law from the University of Manchester. She also holds a Ph.D in dance from the University of Mumbai. Dr. Rele is also a Kathakali artiste having been trained under Guru "Panchali" Karunakara Panicker since the age of seven. Her initiation into Mohiniattam came much later under Kalamandalam Rajalakshmi. A grant from the Sangeet Natak Akademi and later the Ford Foundation helped her delve deeper into her interest in Mohinattam and during 1970–71 she traveled to Kerala filming exponents of the dance form such as Kunjukutty Amma, Chinnammu Amma and Kalyanikutty Amma. The project helped acquaint her with the nuances of

pos: Guru Kunchu Kurup four-century old classical dance-drama from the southern Indian state. He also won the Central Sangeet Natak Akademi fellowship in 1969. He was a paternal uncle of the Malayalam writer and Jnanpith winner Thakazhi Sivasankara Pillai. Guru Kunchu Kurup Guru Kunju Kurup (1881-1970) was one of the most famous Kathakali artistes to have born and celebrated in south Kerala, and gained popularity in central and north Kerala as well. Born in Poypallilkulam family of Thakazhi village of Kuttanad in present-day Alappuzha district, Kurup was initiated into Kathakali at the age of 13 by his own uncles Kochappi Panikker and Rama Panikker.

pos: K. Radhakrishnan Radhakrishnan is a Carnatic music and Kathakali enthusiast and performer. Radhakrishnan was drawn into the world of performing arts from childhood. After formal training in Kerala Natanam, under Professor Thrippunithura Vijayabhanu, he had training in Kathakali dance under Guru Pallippuram Gopalan Nair, Kalanilayam Raghavan and Shri T.V.A Varier. Also, he was trained in Carnatic music by eminent musicians like Prof. Vechoor Harihara Subramania Iyer, Dr. R.K. Srikantan, Dr. Nookala Chinna Satyanarayana; currently he is student of Vidwan R.S. Ramakanth. Dr. Radhakrishnan has performed at Bengaluru Sangeethotsav, Sankranthi Music Festival of RK Srikantan Trust, Swaralaya, Bangalore Centre for Kathakali and Arts,

pos: Methil Devika with a first rank and gold medal. She completed her Ph.D in Mohiniyattam from Bharathidasan University, Tamil Nadu, 2013. She has been a lecturer in the Department of Post-graduate Studies (Mohiniyattam/Kathakali/Koodiyattam) and at the Research Department, Kerala Kalamandalam Deemed University, Kerala. She has also worked as Head of the Department of International Students, Kerala Kalamandalam Deemed University. Methil Devika is an educator, scholar and proponent of the Indian Classical Dance Form of Mohiniyattam. Her dance concerts in the USA, Europe, Australia, Esplanade theatre Singapore, and for major festivals like the Kerala Fine Arts Society and the Ustad Bismillah Khan Yuva

pos: Kalamandalam Kalyanikutty Amma Kalamandalam Kalyanikutty Amma Kalamandalam Kalyanikutti Amma (1915–1999) was an epoch-making Mohiniyattam danseuse from Kerala in southern India. A native of Thirunavaya in Malappuram district of the state, she was instrumental in resurrecting Mohiniyattam from a dismal, near-extinct state into a mainstream Indian classical dance, rendering it formal structure and ornamentation. Kalyanikutti Amma, one of the early-batch students of Kerala Kalamandalam, was married to the late Kathakali maestro Padma Shri Kalamandalam Krishnan Nair. Of the two books Kalyanikutti Amma has authored, "Mohiniyattam - History and Dance Structure" is considered as an elaborate and only authentic documentation on Mohiniyattam. Noted among her

pos: Ramankutty Nair Ramankutty Nair Kalamandalam Ramankutty Nair (25 May 1925 – 11 March 2013) was a performer of Kathakali, who practiced the Kerala art form for more than seven decades. His guru was Pattikkamthodi Ravunni Menon, his only teacher in his entire career. Both hail from Vellinezhi, which is still known for producing many Kathakali artistes, in Palakkad district. Ramankutty Nair had served in his alma mater, Kerala Kalamandalam, and went on to become its principal. Born in 1925, Ramankutty Nair hailed from a family with no Kathakali pedigree. But Ravunni Menon, a resident tutor at the renowned (a mansion of the

pos: India "garba" and "dandiya" of Gujarat, "ghoomar" of Rajasthan, and the "lavani" of Maharashtra. Eight dance forms, many with narrative forms and mythological elements, have been accorded classical dance status by India's National Academy of Music, Dance, and Drama. These are: "bharatanatyam" of the state of Tamil Nadu, "kathak" of Uttar Pradesh, "kathakali" and "mohiniyattam" of Kerala, "kuchipudi" of Andhra Pradesh, "manipuri" of Manipur, "odissi" of Odisha, and the "sattriya" of Assam. Theatre in India melds music, dance, and improvised or written dialogue. Often based on Hindu mythology, but also borrowing from medieval romances or social and political events, Indian theatre

pos: Vellinezhi Rigveda), the late poet Mahakavi Subrahmanian Nambudiripad (simply Olappamanna, his pen name and ancestral home name) and author-scholar Dr O.M. Anujan. In the early 20th century, it was in Olappamanna Mana that the legendary Pattikkamthodi Ravunni Menon redefined the aesthetics of the Kalluvazhi tradition of Kathakali. Revolving around the cultural patronage of the Olappamanna Mana and the locally famous temples like Sri *Kanthalloor kshethram and Chenginikottu Kavu, Vellinezhi has grown in stature as the homestead of a few classical Kerala art forms. Primary among them is the dance-drama, Kathakali, the technical precision and aethetic quality of which rose to great

pos: Kalanilayam Balakrishnan Kalanilayam Balakrishnan Kalanilayam Balakrishnan (also known as Kochu Balan and Balasan) is a well-known actor-dancer, scholar and a popular teacher of Kathakali, a unique theatre-dance of Kerala in South India. In 1965 at the age of 13, Balakrishnan began his Kathakali training at the famous Unnayi Warrier Smaraka Kalanilayam at Irinjalakkuda in Thrissur district of Kerala. He has received best traditional Kathakali training from grand masters such as Palluppuram Gopalan Nair, Keezhpadam Kumaran Nair, Kalamandalam Kuttan, Kalanilayam Raghavan etc. Several years of his intensive regular practices with the rigorous training and deep interests, love to learn and listen properly from

pos: Kudamaloor Karunakaran Nair of Kottakkal Sivaraman, who further made female roles an important slot in Kathakali. A winner of the awards by the Central Sangeet Natak Akademi and that of the Kerala Sangeetha Nataka Academy, Kudamaloor died on October 17, 2000. Kudamaloor Karunakaran Nair's legacy is continued by his disciple "Maryse Noiseux" ,his son-in-law Mathoor Govindan Kutty and grandson Kudamaloor Muralikrishnan. http://satsangam.org/maryse.html Kudamaloor Karunakaran Nair Kudamaloor Karunakaran Nair (1916-2000) was a pioneering Kathakali artiste who brought to prominence female characters in the classical dance-drama from Kerala in south India. Kathakali gained a lot through Karunakaran Nair's artistic contributions as his professional career coincided

pos: Sankaran Embranthiri Sankaran Embranthiri Kalamandalam Sankaran Embranthiri (1944–2007) was one of the most popular Kathakali musicians, credited with initiating a new wave in the rendition of songs for the classical dance-drama from Kerala in south India. His shruti-aligned music was glistened by a velvety voice, easy reach of the three octaves and command over stage proceedings that won him massive fan following even as his form received an abrupt setback in 1990 when he suffered a major ailment from which he could never recover fully. Embranthiri was born in Vellayoor village of Malappuram district in Malabar. After completing his schooling, during which

neg: Marthandam function, the players generally begin the dance with an invocation for heavenly aid and conclude the dance with a torch - dance using lighted torches. This folk dance exhibits the artistic and recreative life of the country side. Kathakali is a unique form of drama, which has its origin in Travancore. Kathakali (story-dance) is a relatively recent (fifteenth or sixteenth century) development of earlier dances, which, like dances every where, arose out of religious expression through symbolical action. In this art-form, the characters express their ideas not by words, but by significant gestures. In Kanyakumari District, it is now played

neg: Kathakali masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized gestures while the costumes communicate the nature of the characters in a "Noh" performance, as in Kathakali. In both, costumed men have traditionally performed all the roles including those of women in the play. The training regimen and initiation of the dance-actors in both cultures have many similarities. Kabuki, another Japanese art form, has similarities to Kathakali. Jīngjù, a Chinese art of dance-acting ("zuo"), like Kathakali presents artists with elaborate masks, costumes and colorfully painted faces. Kathakali Kathakali ()

neg: Kathakali A Kathakali performance, like all classical dance arts of India, synthesizes music, vocal performers, choreography and hand and facial gestures together to express ideas. However, Kathakali differs in that it also incorporates movements from ancient Indian martial arts and athletic traditions of South India. Kathakali also differs in that the structure and details of its art form developed in the courts and theatres of Hindu principalities, unlike other classical Indian dances which primarily developed in Hindu temples and monastic schools. The traditional themes of the Kathakali are folk mythologies, religious legends and spiritual ideas from the Hindu epics and the

neg: Kathakali of the state) who perform Kathakali, by and large in Travancore. The theory and foundations of "Kathakali" are same as other major classical Indian dances, traceable to Sanskrit texts such as the "Natya Shastra", but the expression style in each is very different and distinctive. "Kathakali" is different from a similar-sounding "Kathak", though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathak is an ancient performance art that emerged in North India, with roots in traveling bards retelling mythical and spiritual stories through dance-acting. Kathak

neg: Kathakali is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances including Kathakali. Dance and performance arts, states this ancient Hindu text, are a form of expression of spiritual ideas, virtues and the essence of scriptures. The roots of

neg: Kathakali The expressive part of the performance, which constitutes the dance-drama, is split into four tyes: "Kalasam" (major and most common), "Iratti" (special, used with battles-related "Cempata" rhythm), "Tonkaram" (similar to "Iratti" but different music), and "Nalamiratti" (used for exits or link between the chapters of the play). Entrance of characters onto the Kathakali stage can be varied. Many of these ways are not found in other major Indian classical dance traditions. Kathakali employs several methods: 1) direct without special effects or curtain; 2) through the audience, a method that engages the audience, led by torch bearers since Kathakali is typically

neg: Sunanda Nair the "Srutilaya Institute of Fine Arts" which trains students in both MohiniAttam and Bharatanatyam. SPARC is now in its 10th year of operation in the US. At SPARC, the rich tradition of Indian Classical Dance is passed to new dancers. Sunanda Nair Sunanda Nair is an Indian dancer. She is a leading exponent of Mohiniyattam or Mohini Attam (an Indian classical dance form) and one of the few performers of this dance form. She was born in Mumbai. Nair took her initial training in Bharatanatyam at age six. She studied in Kathakali under Kalamandalam Krishnankutty Warrier. Nair is a disciple

neg: Indian aesthetics Indian aesthetics Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically. The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others. Expressing "Rasa" in classical Indian dance form is referred to as Rasa-abhinaya. The "Nātyasāstra" carefully delineates the "bhavas" used to create each "rasa". The expressions used in Kudiyattam or Kathakali are extremely exaggerated theatrical expressions. The opposite of this interpretation is Balasaraswathi's school of subtle and understated abhinaya of the

neg: Kathakali "one of the oldest continuously performed theatre forms in India, and it may well be the oldest surviving art form of the ancient world". "Kutiyattam", traditionally, was performed in theatres specially designed and attached to Hindu temples, particularly dedicated to the Shiva and later to Krishna. The designs of these theatres usually matched the dimensions and architecture recommended as "ideal" in the ancient "Natya Shastra", and some of them could house 500 viewers. "Krishnanattam" is the likely immediate precursor of Kathakali, states Zarrilli. "Krishnanattam" is dance-drama art form about the life and activities of Hindu god Krishna, that developed under

neg: Kathakali a night performance; 3) tease and suspense called "nokku" or "tirassila" or "tiranokku", where the character is slowly revealed by the use of a curtain. The "tease" method is typically used for characters with hidden, dangerous intentions. The play is in the form of verses that are metered and lyrical, sung by vocalists whose voice has been trained to various melodies ("raga"), music and synchronized with the dance-acting on the stage. The vocalists not only deliver the lines, but help set the context and express the inner state of the character by modulating their voice. For example, anger is expressed

neg: Indian aesthetics view. Poets like Kālidāsa were attentive to rasa, which blossomed into a fully developed aesthetic system. Even in contemporary India the term "rasa" denoting "flavor" or "essence" is used colloquially to describe the aesthetic experiences in films. Indian aesthetics Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically. The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others. Expressing "Rasa" in classical Indian dance form is referred to as Rasa-abhinaya. The

neg: Arts and entertainment in India Tamil Nadu (400 BC). The Natya Shastra is the most important ancient treatise on classical Indian dance. It is also called the fifth Veda in reference to the foundation of Hindu religion and philosophy, from which sprang the related South Indian musical tradition of Carnatic music. Its various current forms include Bharatanatyam, Odissi, Manipuri, Kathakali, Kuchipudi, Mohiniaattam, Kathak and Sattriya. Bharatanatyam is a classical dance form originating in Tamil Nadu. It is thought to have been created by Bharata Muni. In ancient times Bharatanatyam was performed by mandir (Hindu temple) Devadasis. Many of the ancient sculptures in Hindu temples are

neg: Arts and entertainment in India based on Bharatanatyam dance postures karanas. Odissi is one of the oldest surviving forms of dance, with depictions of Odissi dancing dating back as far as the 1st century BC. Like other forms of Indian classical dance, the Odissi style traces its origins back to antiquity. Dancers are found depicted in bas-relief in the hills of Udaygiri (near Bhubaneswar) dating back to the 1st century BC. The Natya Shastra speaks of the dance from this region and refers to it as Odra-Magadhi. Kathakali ("katha" for story, "kali" for performance or play) is a form of dance-drama. It originated in the

neg: Krishna any part of "Krishna Lila" is an act of remembering the dharma in the text, as a form of "para bhakti" (supreme devotion). To remember Krishna at any time and in any art, asserts the text, is to worship the good and the divine. Classical dance styles such as Kathak, Odissi, Manipuri, Kuchipudi and Bharatnatyam in particular are known for their Krishna-related performances. Krisnattam (Krishnattam) traces its origins to Krishna legends, and is linked to another major classical Indian dance form called Kathakali. Bryant summarizes the influence of Krishna stories in the "Bhagavata Purana" as, "[it] has inspired more derivative

neg: Classical Indian musical theatre gracefulness, the very soul which thereby creates as it were the “Idol of the Beautiful”. While Bharatanatyam, Odissi and Kuchipudi are the orthodox styles that claim to preserve the knowledge of the Natya Shastra most faithfully, Kathak is different from other styles as it is a mixture of the Persian dance and the Indian folk dance movements. It derives its name from the community of Kathaks, who are custodians of the art. It is from this house (ghar) or family that this form has taken its origin. The words Kathak and Kathakali are derived from katha meaning storytelling and kali

neg: Dharma Raja subsidiary force of the East India Company was to be stationed in Travancore. Besides, the Maharajah was also to help the British during times of need. As the composer of Kathakali Plays ("attakadha"). He set a systematic curriculum for teaching Kathakali. Being a good vocalist and scholar in music and dance, he composed excellent Kritis which have enriched Carnatic music. He was perhaps the first violinist from the royal family. He has to his credit nearly 150 compositions. It was with the advent of the Kathakali plays of Karthika Thirunal that many reforms were brought in Kathakali. Changes were implemented

neg: Guru Chandrasekharan luck." Guru Chandrasekharan Guru Chandrasekharan (1916–1998) was an Indian classical dancer, choreographer and instructor of Kathakali. He was born in Trivandrum, India in 1916. His father was N.K. Nair, an artist and notable oil painter. Guru Chandrasekharan held tenure at the Visva Bharati University (Santiniketan) from 1947 to 1950, where he was a Professor of Classical Dance, focusing on Kathakali. While studying at university, the young Chandrasekharan started practising dance without informing his parents and studied Kathakali under the guidance of Guru Gopinath. During that period Guru Gopinath received Royal Patronage from the Palace of Travancore and a dance studio

neg: Guru Chandrasekharan Guru Chandrasekharan Guru Chandrasekharan (1916–1998) was an Indian classical dancer, choreographer and instructor of Kathakali. He was born in Trivandrum, India in 1916. His father was N.K. Nair, an artist and notable oil painter. Guru Chandrasekharan held tenure at the Visva Bharati University (Santiniketan) from 1947 to 1950, where he was a Professor of Classical Dance, focusing on Kathakali. While studying at university, the young Chandrasekharan started practising dance without informing his parents and studied Kathakali under the guidance of Guru Gopinath. During that period Guru Gopinath received Royal Patronage from the Palace of Travancore and a dance studio titled

neg: Kerala Natanam his parents. He studied Kathakali dance under the guidance of Guru Gopinath. During that period, Gopinath received royal patronage from the Travancore palace and a dance school named Sri Chithrodaya Nartha Kalalayam was established by the government at Poojappura, Travancore. Chandrasekharan was one of the first students. After some time, Chandrasekharan learnt Kathakali under Nedumudi Narayana Kurup who was also a palace kathakali artiste. Later, he organized his own troupe and conducted performances around India. Social themes were rarely used in classical dances at the time. He has directed and choreographed several social themes in dance. In 1943, on an

neg: Mayilpeeli Thookkam around the waist in a similar fashion as the "uduthukettu" of Kathakali. The various dance movements are closely similar to Kalarippayattu techniques. The dance in mayilpeelithookkam is known as "Pyattu".The performers have their faces painted green and wear distinctive headgears. The all night performance of the dance form is usually presented solo or in pairs. The strictly rhythm based songs called as "Kavithangal" and deal with various themes of the Puranas (ancient Hindu scriptures). Each "Kavitham" is composed to suit a specific rhythm. Before each song, the dancers explain the intricacies of the particular rhythm about to be employed and

neg: Kathakali traditionally has included female actor-dancers, unlike Kathakali which has traditionally been performed by an all-male troupe. Kathak deploys much simpler costumes, makeup and no face masks. Both dance forms employ choreography, face and hand gestures traceable to the "Natya Shastra", but "Kathak" generally moves around a straight leg and torso movements, with no martial art leaps and jumps like Kathakali. Kathak uses the stage space more, and does not typically include separate vocalists. Both deploy a host of similar traditional Indian musical instruments. Kathakali-style, costume rich, musical drama are found in other cultures. For example, the Japanese "Noh" (能) integrates

neg: Classical Indian musical theatre using the face expression is a pure marvel of accomplishment. Some ancient masters of this dance have such control of their facial muscles that they can laugh with one side and cry with the other. Every Kathakali must be master of both tandava (vigorous masculine style at changing from one style to another). Lasya is divided into two categories; one suitable for men (for presenting love scenes, displays of sympathy and sentimed and so on) and the other for women who take female roles. Therefore, women may study Kathakali but do not take part in the pure dance drama which

neg: Astad Deboo Astad Deboo Astad Deboo (born 1947) is an Indian contemporary dancer and choreographer, who employs his training in Indian classical dance forms of Kathak as well as Kathakali to create a dance form that is unique to him, and has become a pioneer of modern dance in India. Throughout his long and illustrious career, he has worked with various prominent performers such as Pina Bausch, Alison Becker Chase and Pink Floyd, and performed in many parts of the world He has been awarded the Sangeet Natak Akademi Award in 1996 and Padma Shri in 2007, awarded by the Government of

neg: Nrityagram Nrityagram Nrityagram is India's first modern Gurukul (residential school) for Indian classical dances and an intentional community in the form of a dance village, set up by Odissi dancer Protima Gauri in 1990. The residential school offers training in Indian classical dance forms, Odissi, Mohiniattam, Kathak, Bharatnatyam, Kuchipudi, Kathakali and Manipuri, eight hours a day, six days a week for seven years, following the ancient Guru-shishya tradition. Designed by famous Indian architect Gerard da Cunha, the community is situated near Hesaraghatta Lake 30 km from Bengaluru. Today the Nrityagram Dance Ensemble has performed across India and in many countries abroad.

neg: Nrityagram panels depicting the elements, dance motifs, mudras and designs from costumes and ghungroos. Inside is a granite rock scooped out to hold water and a flame that stays lit." Nrityagram Nrityagram is India's first modern Gurukul (residential school) for Indian classical dances and an intentional community in the form of a dance village, set up by Odissi dancer Protima Gauri in 1990. The residential school offers training in Indian classical dance forms, Odissi, Mohiniattam, Kathak, Bharatnatyam, Kuchipudi, Kathakali and Manipuri, eight hours a day, six days a week for seven years, following the ancient Guru-shishya tradition. Designed by famous Indian

neg: History and Culture of Kottarakkara History and Culture of Kottarakkara Kottarakkara, a compound word made up of the words "Kottaram", meaning "palace", and "kara" meaning "land", literally means "land of palaces". The area which had several palaces was thus named "Kottarakkara." Kathakali traced its origin to the ritualistic (tantric) period of the Vedic Age and connected its growth from the popular, folk dance dramas.It was believed that Kathakali was conceived from Krishnanattam, the dance drama on the life and activities of Lord Krishna created by the Samoothirippadu (Samoothiri, Swamy Thirumulpad or Zamorin) of Calicut. The legend is as follows: Once Kottarakkara Thampuran the Raja of

neg: Sadanam K. Harikumaran 2008 he is principal of Gandhi Seva Sadan (Sadanam Kathakali Akademi), he is basically an actor-dancer of Kathakali, but also sings for it besides writing storyplays for the classical dance-drama. Padma Shri Keezhpadam Kumaran Nair is his main Kathakali guru. Harikumaran is an All India Radio-certified Carnatic musician, having been chiefly guided in that art by the late Prof C.S. Krishna Iyer. He also used to perform Bharatanatyam and Mohiniyattam (guru: Kalamandalam Leelamma) during his college days. Harikumaran has penned seven Kathakali storyplays (attakathas). They are Sapamochanam, Karnaparvam, Abhimanyu, Manikantacharitam, Charudattam (based on the story of Julius Caesar), Chitrangada,Puruvamsodayam., Hidumpi,

neg: Kingdom of Tanur to more than Rs 35,000, the difference was paid to the EIC. The Tanur raja died on 24May, 1793. With no natural or adoptive heirs to succeed him, his kingdom was declared forfeit to the EIC. The temple of the Tanur royal family was transferred to the Zamorin of Calicut in 1842. The Bettut tradition of the dance drama Kathakali is attributed to a raja of Tanur (1630-1640). He introduced several important developments into the presentation of Kathakali; Kingdom of Tanur The Kingdom of Tānūr (, Veṭṭattunāt - literally "kingdom of light") was a coastal city-state in south-western India that

neg: Khajuraho Dance Festival Khajuraho Dance Festival Khajuraho Dance Festival, organised by the Madhya Pradesh Kala Parishad, is a one-week festival of classical dances held annually against the spectacular backdrop of the magnificently lit Khajuraho temples in Chhatarpur district of Madhya Pradesh state in central India. The festival is conducted in February from the 20th to the 26th. This cultural festival highlights the richness of the Indian classical dance styles such as Kathak, Bharathanatyam, Odissi, Kuchipudi, Manipuri, and Kathakali with performances of some of the best exponents in the field. Modern Indian dance has been added recently. The dances are performed in an open-air

neg: Rasa (aesthetics) a wide range of means, and the ancient Indian texts discuss many such means. For example, one way is through the use of gestures and facial expressions of the actors. Expressing "Rasa" in classical Indian dance form is referred to as Rasa-abhinaya. The theory of rasas forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, and others. In Indian classical music, each "raga" is an inspired creation for a specific mood, where the musician or ensemble creates the "rasa" in the listener. However, predominantly all "ragas" and musical performances

neg: Kathakali In modern days, Kathakali artists have been producing new plays based on not only traditional Hindu mythologies, but also European classics and Shakespeare's plays. Recent productions have adapted stories from other cultures and mythologies, such as those of Christianity, Miguel de Cervantes, Johann Wolfgang von Goethe and William Shakespeare. Kathakali has lineages or distinctive schools of play interpretation and dance performance called "Sampradayam". These developed in part because of the Gurukul system of its transmission from one generation to the next. By the 19th-century, many such styles were in vogue in Malayalam speaking communities of South India, of which two

neg: Kalamandalam Satyabhama Kalamandalam troupe, where she performed Bharatanatyam, Mohiniyattam and Kathakali. After completing the course, she joined Kalamandalam as a junior teacher. She also had a stint of training from the doyen of classical dance, Kalamandalam Kalyanikutty Amma. It was during this time, Satyabhama met Kalamandalam Padmanabhan Nair, the noted Kathakali "guru", widely regarded as the master of Kathakali grammar. Their acquaintance soon took a romantic turn, resulting in their marriage. Satyabhama and Padmanabhan Nair, at the time of the latter's death, had four daughters of which two are active in mohiniyattam. She died on 13 September 2015, aged 77, at a

neg: Anandabhadram of his country: "We have a rich visual culture and even in Ananthabhadram, I have used certain aspects from Theyyam dancers and Kathakali to create the wizard Digambaran's image. The colour, long nails, kohl-lined eyes and so on were inspired from Theyyam and Kathakali." The sequence between Manoj K Jayan using Riya Sen as a channel for black magic, choreographed by Aparna Sindhoor, the dance director of the film, uses Kathakali movements in particular, which has been an inspiration for major Indian films like director Shaji Karun's "Vanaprastham" (1999) and director Adoor Gopalakrishnan's "Kalamandalam Ramankutty Nair" (2005). Kalarippayattu: The film

neg: Oyoor and the Kaithakkal Devi Temple. Kottarakara Ganapathi Temple is easily accessible. Oyoor resident Kochu Govinda Pillai (1916–2008) was a great Kathakali artist who trained Kathakali under the great Sri. Chennithala Kochu Pillai Panicker and Sri. Kurichi Kunjan Panicker and winner of the Sangeet Natak Akademi Award for 1989. The Sri Ramavilasam Kathakali school, under Sri Vasukutty, a former Kalamandalam Principal Sri. Kalamandalam Gangadharan Nair (Kathakali music), is located nearby in Veliyanallur. Kalabharathi Kathakali school is also close by at Pakalkuri. Award-winning Kadhakali performers namely Kalamandalam Ratheesan and Kalamandalam Ramachandran hails form this village. Kalamandalam Ratheeshan is well famous for his

neg: Sattriya other major classical dances such as Odissi, Kathakali, Bharatanatyam and others found in south and north India. Some basic elements and features of Sattriya match those found in the Manipuri dance found in neighboring Manipur state. "Sattriya Nritya" is a genre of dance drama that tells mythical and religious stories through hand and face expressions. The basic dance unit and exercise of a Sattriya is called a "Mati Akhara", equal 64 just like in "Natya Shastra", are the foundational sets dancers learn during their training. The Akharas are subdivided into Ora, Saata, Jhalak, Sitika, Pak, Jap, Lon and Khar. A

neg: Kathak up as hero, heroines, gods, goddesses, demons, demonesses, priests, animals and daily life characters. Both dance forms employ elaborate footwork, choreography and hand gestures, but "Kathakali" integrates south Indian martial arts movements such as leaps and jumps. Both dance forms trace their roots to classical Sanskrit texts, but "Kathakali" has relatively more recent origins, more closely follows the "Hastha Lakshanadeepika" text and began flourishing in the 16th century. While each has a different musical and dance language, both deploy a host of similar traditional Indian musical instruments. According to Miriam Phillips, the Indian Kathak and the Spanish Flamenco dance share

neg: Parvati are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh, the Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family. From sculpture to dance, many Indian arts explore and express the stories of Parvati and Shiva as themes. For example, "Daksha Yagam" of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva.

neg: Guru Gopinath Rasa (the nine emotions) is featured in major museums in US, France, Germany and Switzerland. Kathakali style of dancing and training was a male monopoly. It was Guru Gopinath who experimented and proved that girls can perform Kathakali. He was appointed as the palace dancer and principal of the dance institution run by the royal family. The Natananiketan in Chennai and the Viswa Kala Kendra in Trivandrum the International Kathakali Centre in Delhi were institutions founded by him. Malayalam film history has noted Guru Gopinath as one among the actors of the beginning years. He has acted in the movie

neg: Dappan koothu time. Particularly in this hill, there is a saying that god feels happy if his believers dance for him. Dappan koothu Dappan Koothu (also known as Dappanguthu, or simply koothu) is a folk dance and music genre with an emphasis on percussion performed in the South Indian state of Tamil Nadu. It is one of several popular genres employed in film music, mainly in Tamil cinema and other South films, filmed and produced by people of Tamil culture. Unlike classical Indian dances such as bharatanatyam or kathakali, koothu is relatively informal in that it has no structured, repeated steps and

neg: Ileana Citaristi spent three rigorous months studying Kathakali before she went to Odisha on the advice of her Kathakali guru, Krishnan Namboodari. Since 1979, she has been living in Odisha. She holds a Doctorate of Philosophy with a thesis on 'Psychoanalysis and Eastern Mythology'. Citaristi studied Odissi under Guru Kelucharan Mohapatra and started her own school of dance in 1994. Citaristi is also an exponent of the Mayurbhanj Chhau, which she learnt under the tutelage of Guru Hari Nayak and holds the title of an acharya of Chhau from the Sangeet Mahavidyalya of Bhubaneswar. She founded the Art Vision Academi in 1996,

neg: Dappan koothu Dappan koothu Dappan Koothu (also known as Dappanguthu, or simply koothu) is a folk dance and music genre with an emphasis on percussion performed in the South Indian state of Tamil Nadu. It is one of several popular genres employed in film music, mainly in Tamil cinema and other South films, filmed and produced by people of Tamil culture. Unlike classical Indian dances such as bharatanatyam or kathakali, koothu is relatively informal in that it has no structured, repeated steps and dancers do not learn through formal dance classes. It shares its emphasis on percussion with older folk dances of

neg: Dance in India and face masks wearing actor-dancers, who have traditionally been all males. Kathakali primarily developed as a Hindu performance art, performing plays and mythical legends related to Hinduism. While its origin are more recent, its roots are in temple and folk arts such as "Kutiyattam" and religious drama traceable to at least the 1st millennium CE. A Kathakali performance incorporates movements from the ancient martial arts and athletic traditions of south India. While linked to the temple dancing traditions such as "Krishnanattam", "Kutiyattam" and others, "Kathakali" is different from these because unlike the older arts where the dancer-actor also had to

neg: Keezhpadam Kumaran Nair this span, Kumaran Nair also worked closely with the film icon M.G. Ramachandran, who later switched over to politics and became the state's chief minister. He soon returned to Kalamandalam as a tutor, where circumstamces subsequently forced him to work with the dance section. An unhappy Kumaran Nair quit his alma-mater. He later worked with several Kathakali schools like PSV Natyasangham, Kottakkal; Kalasadanam, Chunangad and Varanakkottu Kaliyogam, Payyannur; but his longest stints were in Gandhi Seva Sadan (Sadanam Kathakali and Classical Arts Academy) at Peroor in Palakkad district and the International Centre for Kathakali in New Delhi. Kumaran Nair is

neg: Guru Chandrasekharan 'Sri. Chithrodaya Nartha Kalalayam' was established by the Travancore Government in Poojappura in his honour. Chandrasekharan was a student of that school. Having left Guru Gopinath after some time, Chandrasekharan practised Kathakali under Nedumudi Narayana Kurup who was also an artist under the patronage of the Royal Palace of Travancore. Later he organised his own troupe and conducted performances in major cities in India. Chandrasekharan was one of the pioneers of using current social themes in creating classical dance productions. He has directed and choreographed several social themes in dance form. In 1943, on an invitation from the British Government