With the help of the available historical evidences, the present practicing traditions origin can be traced back to the 12th century A.D. The word 'Kalaripayattu' literally means 'combat training inside the gymnasium'. The word kalari has been derived from the sanskrit 'kholoorika' meaning a military training ground. The traditional training of Kalaripayattu is always done inside a 'Kalari' which is a specially constructed practicing area, where the presiding deities of the art and the entire line of gurus of the tradition is ritualistically represented. Not only is the Kalari a temple of learning, it is also a temple of religious worship with a cult and ritual of its own. The master who is addressed as the 'Gurukkal' is revered as the representative of the deity and is considered as the living embodiment of a long line of gurus.
The training consists of self-disciplinary training an physical culture. The pupils are given regular physical exercises and training in the use of such weapons as Kuruvai (short stick), spear, dagger, sword shield etc. The most promising of the trainees are taught the Marmas, viz the vulnerable points in the human system. The Kalaripayattu training aims at the ultimate co-ordination of minds and body.
The traditional training of the Kalari Gurukkal includes as can be seen in
some other martial arts, specialization in indigenous medical preparations
and techniques of treatment and healthcare. Based on the Ayurvedic system of
medical practice the old masters of Kalaripayattu has indigenously developed
methods of treatments for Kalari related injuries like bruises, fractures
etc. known as kalarichikilsa. The training of the gurukkal also includes the
special system of full body oil massage to develop flexibility and muscular
texture and also the stimulate circulation to maintain general health and
blood. Many of the traditional performing art forms of Kerala like Kathakali, Koodiyattam, Valakali etc. have drawn elements from Kalaripayattu during their stages of evolution. Kathakali has borrowed much from Kalaripayattu in its basic body preparatory training of the actor not only in terms of techniques in practice but also from the body massage for the trainee. Many of the body postures, choreography and footwork of the Kathakali characters are taken directly from Kalaripayattu.
Kalaripayattu declined after the 17th century but in recent times it has staged a revival.
KERALA DANCE FORMS AND TRADITIONS
The
Raja of Kottarakkara who felt humiliated, immediately conceived of
Ramanattam as an alternative of Krishnanattam. He composed a regular
'Attakatha' in Malayalm in eight cantos with Ramayana as its theme for the
purpose of staging in a new dance form. This came to be known as
'Ramanattam' which has since been recognised as the immediate progenitor of
Kathakali, the famous drama of Kerala. Kathakali represents a happy synthesis of all that is best in dance, drama and music and it has been recognised by connoisseurs of art the world over as 'a total art form of immense sophistication and power'. A number of enthusiasts of the art patronised it and introduced significant innovations with a view of making it more popular and attractive.
Kathakali is distinguished by several unique features. It combines within itself both the 'tandava' and 'lasya' elements of dancing. It is almost an all night performance in which the male characters dominate. The actors of Kathakali do not speak, but enact dialogues called 'padams' sung by singers from behind. The acting is done through facial expressions and 'hasthalakshanas', popularly known as 'mudras' (hand guestures). The art of Kathakali excels in the presentation of the most beautiful and the most violent scenes with equal skill.
It is the impression created by the makeup and the costumes that make Kathakali a visual par excellence. The whole face of the artists is painted over and it would appear as though he is wearing a mask. According to the character enacted, the makeup changes.
Mohinitattam is a typical dance form of Kerala which has had a chequered history. Literally it means 'the dance of the enchantress'. In Mohiniyattam it is the 'lasya' element that is dominant. The origin of Mohiniyattam is traced to the Dasiyattam developed by the Devadasis, in Kerala temples in the past. Swati Tirunal who was generous patron of all fine arts extended his patronage to Mohiniyattam as well. In spite of the encouragement given by Swati Tirunal, Mohiniyattam did not win much respectability as an art form. It was left to Malayalam poet Vallathol to extend his patronage to this art by including it in the syllabus of the Kerala Kalamandalam.
OTTAM TULLAL
Ottam Thullal is a typical solo-dance in which the humorous element from
Kuthu and the musical elements from Kathakali are combined. In Ottam Tullal
a single actor wears colourful costume as in Kathakali and recites Tullal or
dance songs to the accompaniment of acting and dancing. According to popular
traditions Ottam Tullal was evolved by Kunjan Nambiar as an alternative to
Chakiarkuthu. Nambiar developed Ottam Thullal into the most popular folk
art, presented in Kerala temples. In Ottam Tullal also the symbols and
guestures used in Kathakali find a place. A single actor plays many parts,
the acting being accompanied by his own singing unlike in Kathakali.
Neverthless, in Ottam Tullal a muscian stands behind and gives the lead to
the actor, another plays on the 'maddalam' or elongated drum and a third
keeps the rhythm with a pair of cymbals. The popularity of Ottam Tullal as a
dance form has continued undiminished to this day.