Further reading: J. C. Chatterji, Kashmir Shaivism
(Albany: State University of New York Press, 1986); Mark
Dyczkowski, The Doctrine of Vibration: An Analysis of the
Doctrines and Practices of Kashmir Shaivism (Albany: State
University of New York Press, 1987).
Kathakali
Kathakali (katha, story, kali, performance) is a
special type of Indian dance-drama. It originated
in the state of Kerala in South India more than 500
years ago. It combines drama, dance, music, and
ritual. Characters with vividly painted faces and
elaborate costumes reenact stories from the epics
MAHABHARATA and RAMAYANA and the Puranas. The
most popular stories enacted are “The Death of
DURYODHANA,” “The Story of Nala,” “The Fight
between ARJUNA and SHIVA,” and “The Story of
Devayani and Kacha.”
As has happened for centuries new stories
are added to the Kathakali repertoire from time
to time when they become sufficiently popular.
In recent times stories from the Bible or Shake-
speare have been added to appeal to modern
audiences.
The dramatic form is based, somewhat as
opera is, on the notion that the audience is fully
familiar with the stories being told. In the play
the elaborately costumed actors (all male, even
for female roles) do not speak; they pantomime
the dialogue, while accompanists sing the lyrics.
The language is an amalgam of Malayalam and
SANSKRIT. The traditional Kathakali show begins
at night and lasts till dawn; in the modern urban
context in India and abroad the plays last only
several hours.
The actors in Kathakali are always accompa-
nied by drummers and singers; the lead singer
controls the entire show with a special rhythm
instrument. The story is conveyed purely through
hand gestures (MUDRAS), facial expressions, and
body movements. Complete control over facial
muscles is a prerequisite for this demanding
dramatic art form. It takes a minimum of eight
to 10 years for a Kathakali dancer to become
fully trained. The training is very demanding
and includes the study of one of the traditional
martial arts of Kerala to create stamina, con-
centration, and physical flexibility. It also, not
incidentally, prepares the actors for the many
dramatic fight scenes in the epics. There are 24
main mudras in Kathakali and a number of less
commonly used ones.
Kathakali uses a set “color code” for the
makeup of the characters. Noble characters such
as ARJUNA have their faces painted green. Evil
characters who have heroic roles will have green
makeup with red marks on the cheeks. Very angry
or very evil characters will have red makeup and
a red beard. Women and mendicants have yellow
painted faces. Hunters and forest dwellers have
primarily black painted faces. As in most other
classical Indian forms, such as BHARATA NAT YA M,
facial expressions for Kathakali actors accord with
the nine RASAS (sentiments): love, humor, com-
passion, fear, disgust, anger, wonder, valor, and
tranquility.
With elaborate costumes projecting larger-
than-life images, loud music with a heavy percus-
sive element, and very vigorous dance steps that
require great stamina and balance, the Kathakali
is the most powerful of dramatic instruments:
the audience is left not merely enthralled but
often completely mesmerized. This art form had
its roots in shamanic costumed possessions that
were taken up by Sanskritic culture and adapted
to the Sanskrit language and sensibility. The pri-
mordial element, surviving from traditional pre-
ARYAN Kerala culture, is quite palpable in these
performances.Further reading: David Bolland, A Guide to Kathakali
(New Delhi: National Book Trust, 1980); Clifford R.
Jones and Betty True Jones, Kathakali: An Introduction
to the Dance-Drama of Kerala (San Francisco: Ameri-
can Society of Eastern Arts, 1970); Phillip Zarrilli, The
Kathakali Complex: Actor, Performance and Structure
(New Delhi: Abhinav, 1984).K 230 Kathakali