Kathakali is a classical dance-drama from the State of Keralam. The art blends painted faces, epic storytelling and martial arts together. It remains a living cultural epic, rooted in the temple traditions, yet evolving into the modern theatre. Kathakali originated in the 16th and 17th century. This dance form developed from the earlier temple and folk arts, like Krishnanattam and Ramanattam. The King of Kottarakara created new plays based on the Ramayana. These further evolved into Kathakali. The word itself combines Katha (story) and Kali (performance/play).
- Roots, Royals and Patronage
- Kathakali is Unique
- Kathakali is Famous
- History Hides the Forgotten Layers
- Powerful Innovations Create Improvements
- Artisan’s voice:
- Kalamandalam Ravi Kumar
- Nelliyode Vasudevan Namboodiri
- A renowned Kathakali artist from Chemancheri.
- The modern conflict
- Kathakali dramatizes Hindu epics.
Roots, Royals and Patronage
Other classical dances were rooted mainly in the temples. Kathakali flourished in the royal courts and temple forecourts. This made sacred stories accessible to the common people. By the 19th century, the colonial disruptions weakened the royal patronage. Small troupes (Kali Yogams) and Namboodiri families kept the art alive until modern revival movements. It fuses painted faces, epic storytelling, martial arts and music. This enables the art into a single ‘total theatre’. Its elaborate costumes and powerful facial expressions are famous. It has the ability to transform myths into living performances.
Kathakali is Unique
It depicts painted faces as symbolic language. The makeup (chutti) uses colours to instantly identify the characters. Green is for noble heroes, red for villains, black for hunters/demons and yellow for saints. This visual code makes Kathakali instantly recognizable. Unlike other classical dances, Kathakali dramatizes the entire episodes from the Ramayana, Mahabharata and Puranas. That is why it is also considered as the living epic. Movements draw from Kalaripayattu, the martial art from the State of Keralam. This gives Kathakali its athletic dynamism and combat-like choreography. The performers are trained for the years to master nine facial expressions (navarasas) – love, valour, anger, fear, wonder, peace etc., creating emotional depth unmatched in the other forms of art.
Kathakali is Famous
The elaborate costumes and headgear enable it. Towering crowns, layered garments and intricate jewellery make Kathakali spectacular to watch. The grandeur of the art mesmerizes the audiences worldwide. Keralam’s kings and temple festivals support it. Kathakali became a ‘golden art form’ (suvarna kala). It is deeply connected into the cultural identity of Keralam
History Hides the Forgotten Layers
These are the royal rivalry, temple innovation and community resilience. Kathakali’s fame is built on centuries of survival against decline, colonial disruption and cultural shifts. In the 17th century, the King of Kottarakara invited the Krishnanattam troupe from Calicut. They refused and therefore, the King of Kottarakara created Ramanattam, based on the Ramayana. Later on this, evolved into Kathakali. It proved that the art can emerge from the political rivalry also. Early performances used Sanskrit, which limited access for the commoners. The King of Kottarakara introduced Malayalam lyrics. This made Kathakali accessible to common people in the temple forecourts. The Curtain Ritual – Thiranukuu was incorporated. The characters were introduced from behind a satin curtain (Tereshiela). This dramatic reveal pioneered in the 17th century. It gave Kathakali its theatrical suspense.
Powerful Innovations Create Improvements
The survival of the art is through patronage by the families. By the 19th century, colonial rule and loss of royal patronage nearly destroyed Kathakali. Small troupes (Kali Yogams) and Namboodiri families, like Olappamanna sustained it for 300 years. This kept the art alive. The artists also introduced musical innovations.Vettathu Raja introduced two singers, cymbals (chengila) and the temple drum (chenda). These innovations gave Kathakali its powerful rhythm and soundscape.
The people often overlook the cultural layers. The main part of the training is in the monsoon. The performers rehearsed during the monsoon season of Keralam. This linked art to nature’s rhythm. There is a shared community ownership for Kathakali. Unlike Bharatanatyam (temple-centric), the courts and villages share belongingness for the art of Kathakali. This bridges the gap between the elite and common audiences. Eye Exercises (Netra Abhinaya) are of utmost importance. The performers are trained to control their eye movements. This is a skill unique to Kathakali.
These facts show Kathakali as tool of political resistance, cultural democratization and community resilience. The art’s fame in the modern days consists of grand costumes, painted faces or epic narratives. However, it rests on centuries of adaptation and survival. Kathakali is the living epic of the State of Keralam. It is shaped by forgotten kings, families and rituals.
Artisan’s voice:
Dr. Ramakrishnan, is a sixth-generation Kathakali artist. He is the secretary of a 43-year-old ‘Natishala Vidyam’. His main idea about the art is “Take the story out.” He emphasized on what it truly means to become a Kathakali artist. He explains how an art form survives, transforms and struggles across generations. It is not merely about performance, but also about the lives lived beneath the paint. He speaks about understanding how the natural pigments are ground and mixed for makeup. Kathakali also traces the mythological epics that the body comes to narrate.
Kalamandalam Ravi Kumar
A Kathakali – vesham teacher named ‘Kalamandalam Ravi Kumar’, expressed his views “Kathakali is an artwork based on Hindu legends. The biggest specialty of Kathakali is that is synthesizes music, vocal performers and choreography. The hand and facial gestures express these stories. Facial and eye movements are very important in conveying expressions in Kathakali. So, the control of eyes is developed through practice. Students who attend that Kathakali school are 13 years old. It is approximately 12 years of study. Costumes and make up are beyond imagination. It takes about 4 hours to prepare for the performance. Traditional art forms help in cultivating the culture within us.”
Nelliyode Vasudevan Namboodiri
Eminent Kathakali actor ‘Nelliyode Vasudevan Namboodiri’ has about six decades of experience in the art of Kathakali. His interventions in the age-old dance drama are flavoured with great intensity of thought. He specializes in thadi (beard) characters. His innovations in the make-up or performance have led to the development of his signature style. This has consistently won critical acclaim. In conversation with V. Kaladharan, he talks about “his beginnings in the field and how he came to perform thadi veshams”. He says that “his borrowing of certain elements from Kutiyattam led to the enrichment of his thadi characters”. He also talks about “his innovations in various aspects of the art form, like the attam, costume and make-up”.
A renowned Kathakali artist from Chemancheri.
Chemancheri Kunhiraman Nair is a renowned Kathakali artist from Chemancheri. He completed 95 years in 2013. Chemancheri Kunhiraman Nair spent the last eighty years in learning Kathakali and teaching it. He has done the role of Krishna alone more than a thousand times. The Government of India awarded him with the fourth highest civilian honour of the Padma Shri in 2017.
The modern conflict
The modern conflict in Kathakali lies in its adaptations to contemporary realities. It was once restricted to the male performers. The art now embraces inclusivity with women artists stepping onto the stage. Global troupes expand its reach by reinterpreting Shakespearean plays and even Christian narratives. This proves Kathakali’s versatility and universal appeal. At the same time, its deep roots remain visible through links to the Keralam’s older theatre art form, Koodiyattam. UNESCO recognizes as a Masterpiece of Oral and Intangible Heritage of Humanity. Together, these shifts highlight the tension between preserving tradition and embracing modern transformation.
Kathakali dramatizes Hindu epics.
The artists perform the stories of the Mahabharata and the Ramayana through gestures, expressions and rhythmic footwork. Painted faces and towering headgear symbolize heroes, villains, hunters and saints. This transforms performers into living myths. The movements draw strength from Keralam’s martial art Kalaripayattu. This gives Kathakali its athletic dynamism. The music in Sanskritised Malayalam with drums and cymbals, fuses sound and gesture into total theatre.
The Keralam Kalamandalam, founded in the 20th century, saved Kathakali from the decline and trained generations of performers. School for Kathakali – Keralam Kalamandalam – http://kalamandalam.ac.in/
Some artists have played significant roles in preserving and promoting the tradition globally.
Few of the most influential Kathakali performers from Kerala include:
Balakrishnan Nair, Sadanam Puthiya Veettil Balakrishnan popularly known as Sadanam Balakrishnan popularized the art internationally.
The legendary actor-manipulator G. M. V. S. Nair, is known for his innovative character portrayals.
Kottakkal Sivaraman is celebrated for his mastery in the portrayal of divine roles and for training numerous successful artists.
Kalamandalam Gopi is renowned for his emotive performances and contributions to choreography. These artists have enriched Kathakali with unique interpretations, enhanced training methods, and
Some contacts who support and promote Kathakali:
https://www.instagram.com/yakshagana.kathakali_artist_pg?igsh=MWoyZHhnZjZpb3YyNw==
https://www.instagram.com/_.story_of_dance._?igsh=MWRhNjBwZTR0bTQ5eA==
https://www.instagram.com/kerala.kalamandalam?igsh=ZjRrM3d3a25jZjc3
Check out our latest article “Bandhani, Dupatta or Kolhapuri Chappals Crossing Borders Rule“
