10

KATHAKALI COSTUME STUDY AND ANALYSIS

By

CHAITHRA.K.V

Submitted to NIFT in partial

Fulfillment of the requirements for the

degree of

Master of Design

Department of Design Space

Faculty Guide: Susmita Das

NATIONAL INSTITUTE OF FASHION TECHNOLOGY

Mumbai 2015

11

KATHAKALI COSTUME STUDY AND

ANALYSIS

12

DECLARATION

The work presented in this project titled

Kathakali Costume study and analysis

Is authentic, original and is the outcome of my contribution and research.

The project was carried out under the guidance of

Ms. Susmita Das

At Post Graduation of Design Space (PGDS), Mumbai

No portion of this work has been submitted in support of an application for

another degree or qualification to NIFT or any other University or Professional

Organization.

Signature of the student:

Place: Mumbai

Date:

13

KATHAKALI COSTUME STUDY AND ANALYSIS

By CHAITHRA.K.V, M.DES

2013-2015

Submitted by Ms. Chaithra.K.V to NIFT in partial fulfillment of the requirement

of the degree of master in Design of the national institute of fashion

technology at Mumbai and here by certify that in the judgment of the following

members of jury it is worth of acceptance :-

Name

_____________________

_____________________

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_____________________

_____________________

Institute/Organization

_____________________

_____________________

_____________________

_____________________

_____________________

_____________________

Signature and date

_____________________

_____________________

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Remarks regarding fulfilling further requirements, If any:-

___________________________________________________________________________

___________________________________________________________

Signature of CC - Design Space

Date:

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ABSTRACT

KATHAKALI is a traditional dance-drama from Kerala developed in mid-

seventeenth century. KATHAKALI is emerged from "Krishnanattam―created

by Sri Manavedan Raja in Sanskrit language, the Zamorin of Calicut (1585-

1658 AD). Inspired from krishnanattam Kottarakkara Thampuran created‖

Ramanattam‖ in Malayalam language. Later Ramanattam transformedv into

―Aattakatha‖ in manipravalam (mix of Malayalam and Sanskrit). ―Attakatha‖

was presented to the world with the title 'Kathakali‗ (end of 17 th centuary).

The Kathakali performance integrates drumming, singing, cymbals, and dance

marked by specific body stances, hand gestures, facial expressions, and eye

movements. Men traditionally played all roles, but women train and perform in

some contemporary troupes. The epic stories come from the Ramayana,

Mahabharata, and Bhagavata Purana. Characters are mostly superhuman

archetypes: gods, demons, and humans, plus a few animals. Kathakali can be

performed in temple grounds as well as in private and public areas, and there

is implicit understanding that Kathakali, like its forerunners, reinforces moral

codes and glorifies the gods through dramatic representation. Performance

aspects are developed through years of intensive training. Four separate

dramatic elements of Kathakali- Aharyabhinaya refers to the decorative

elements of the play, particularly costume, makeup, and accessories. The

others are Vachikabhinaya (speeches and songs), Angikabhinaya (dance,

body position, mudras/hand gestures, eye movements, etc.) and

Satvikabhinaya (the expression of psychic states associated with emotions).

Costumes and makeup are an important element of Kathakali, as they identify

characters, bring focus to expressive areas of the body, create worldliness

appropriate to the characters and stories, and provide extravagant spectacle

against a minimal set.

Theppu (face painting) and Chutti (Beard making) are the two main

components in the face make up. All the colours used in the make-up are

obtained from natural substances and herbs. Now make up materials

changed from natural synthecs . Uduthukettu (skirt draping) is one of the

difficult and important elements of costume. Ulluvaal, puramval, pattuvaal are

the different cloth pieces used for getting the bulk look for the skirt. Ulluval is a

1 meter long starched cotton cloth. More than 50 pieces are needed to drape

inner skirt. Now cotton replaced by plastic sack.

The main objective of this research is a precise study of traditional

KATHAKALI costume and to figure out the problems in uduthukettu (Skirt

draping). The second objective is to find out the health hazards in face make

up due to changes in materials.

KEYWORDS: kathakali costume, Uduthukettu (Skirt draping), Theppu (face

painting), chutti (beard making

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ACKNOWLEDGEMENT

I am using this opportunity to express my gratitude to everyone who

supported me throughout the course of this M.DES project especially to NIFT.

I am thankful for their aspiring guidance, invaluably constructive criticism and

friendly advice during the project work. I am sincerely grateful to them for

sharing their truthful and illuminating views on a number of issues related to

the project.

I would also like to thank my project mentor Ms. Susmita Das (Assi. Professor

in Fashion Communication Dep.) for her aspiring guidance friendly advice

throughout my project and all the people who provided me with the facilities

being required and conductive conditions for my M.DES project.

I express my warm thanks to Padmasree Mr.GOPI and Mr. Arun for their

support and guidance at Kerala Kalamandalam. Also I would like to thank

Kalamandalam Ravi, Kalamandalam Arun, Kalamandalam Balan, Mr.Manoj

kumar, Dr.devidas-Ayurveda, Kalanilayam Gopinadan- Kathakali professor,

and Members of thrissur kathakali club to provide me great facilities and for

their support.

Thank you,

Chaithra.k.v

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TABLE OF CONTENT

SL.NO

TOPIC

PAGE NO.

REMARKS

I INTRODUCTION 10

I.1 Problem statement

11

I.2 Objectives

11

I.3 Significance

11

I.4 Scope of study

11

I.5 Limitation

11

II RESEARCH PLAN

12

Research design, research method

and research methodology

14

II.1 Research design

Research method

Research methodology

14

II.2

II.3

II.4 Research design: exploratory 16

II.5 Research methodology 17

III PHASE I 19

III -1 History 21

III- 2 Kathakali plays 22

III- 3 Music 23

III- 4 Performance 24

III- 5 Acting 24

III- 6 Notable training centres and masters

26

III- 7 Kathakali styles 26

III- 8 Characters Pacha

27

III-8.1

17

III-8.2 Kathi

Thadi

Kari

Minukku

III-8.3

III-8.4

III-8.5

III-9 Costumes 29

III-9 .1 Costume details 30

III.10 Picture gallery – accessories and costume

42

III.11 Process of making kireedam

(crown)

46

III.12 Make ups

Theppu and chutti (facepainting

and white beard making)

Chutty kuthal/ making white beard

Uduthukettu/ draped skirt

47

III-13 Make up products which is used now

55

IV PHASE II

56

IV-1 Analysis of data Production details with present

modifications

58

IV-1 .1

IV-1 .2 Interview feedback about face make up material

61

IV – 1.3 Findings

62

IV – 1.4

Problem identified in skirt draping

63

IV – 1.5 Interview feedback about

uduthukettu

63

IV – 1.6 Opportunity mapping 64

IV – 1.7 Design ideologies 64

IV – 1.8 Design sketch 65

IV – 1.9 Product descriptions 65

18

IV – 2 Conclusions 65

IV 3 Questionnaire for interview 66

V – 1 Bibliography 67

V – 2 Webliography 67

V – 3 Primary data collection references

68

19

I - INTRODUCTION

20

I - INTRODUCTION Kathakali is a traditional dance-drama from the Indian state of Kerala. It developed as a distinct art form in the mid-seventeenth century, drawing influences from a variety of other performance traditions. Men traditionally played all roles, but women train and perform in some contemporary troupes. The epic stories come from the Ramayana, Mahabharata, and Bhagavata Purana. Characters are mostly superhuman archetypes: gods, demons, and humans, plus a few animals. Kathakali can be performed in temple grounds as well as in private and public areas, and there is implicit understanding that Kathakali, like its forerunners, reinforces moral codes and glorifies the gods through dramatic representation. The performance integrates drumming, singing, cymbals, and dance marked by specific body stances, hand gestures, facial expressions, and eye movements. These performance aspects are developed through years of intensive training. Scholars refer to four separate dramatic elements of Kathakali. Aharyabhinaya refers to the decorative elements of the play, particularly costume, makeup, and accessories. The others are Vachikabhinaya (speeches and songs), Angikabhinaya (dance, body position, mudras/hand gestures, eye movements, etc.) and Satvikabhinaya (the expression of psychic states associated with emotions). Costumes and makeup are an important element of Kathakali, as they identify characters, bring focus to expressive areas of the body, create worldliness appropriate to the characters and stories, and provide extravagant spectacle against a minimal set. Midcentury and recent scholarship provides a wealth of information on various aspects of Kathakali. Authors Bharatha Iyer and Avinash Pandeya provide the best details of makeup and costume, including Pandeya‘s history and symbology. Recent commentary on the complexity and subtlety of characters beyond codified makeup types is provided by Phillip Zarilli. Most sources identify makeup types and give at least a basic description of the facial appearance. Several sources also describe costume types in general for each character type. However, current literature is limited in clearly documenting costume details for design and reproduction. This paper begins to fill that gap by presenting documentation of specific authentic costume pieces worn by a female strivesham and a male paccha character. And also other main and supportive charecters costume in the kathakali drama.

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I.1 PROBLEM STATEMENT

Health hazards and difficulties in KATHAKALI costume/make

up.

I.2 OBJECTIVES

To study and analyze KATHAKALI costume

To figure out the problems in Uduthukettu (Skirt draping)

To understand the health hazards in face make up

I.3 SIGNIFICANCE

The project will gives the precise documentation on KATHAKALI

costume.

It will describe the connection between the dance and the costume.

Understanding the problems and make awareness about it and come

up with the possible solution.

I.4 SCOPE OF STUDY

The study of Kathakali was an interesting experience for me as a

design student. It is a beautiful Dance drama from Kerala. This

research project can be taken further by implementing the proposed

solutions.

I.5 LIMITATION

• Face painting material could not be developed for experiment due to

time constrained.

22

II - RESEARCH PLAN

23

24

II - RESEARCH DESIGN, RESEARCH METHOD AND

RESEARCH METHODOLOGY

II.1 RESEARCH DESIGN

It is a plan that specifies the sources and types of information relevant

to the research problem.

It is a strategy specifying which approach will be used for gathering and

analyzing the data.

For this study Exploratory Research Design will be used involving: Literature

Survey, Experience Survey, and Study of insights stimulating examples

II.2 RESEARCH METHOD

All those methods which are used by the researcher during the course

of studying the research problem are termed as research methods.

For this study a combination of qualitative (Descriptive) methods:

Library Research

Field Research: Non-participant, direct observation, Focused interviews, and

quantitative/qualitative methods will be used.

II.3 RESEARCH METHODOLOGY

The various steps that are generally adopted by a researcher in

studying the research problem along with the logic behind them.

Video Recordings and its analysis, Reference and abstract guides, content

analysis, observing the activities with participating, Interviewing Kathakali

artist, Kathakali related people, and craftsmen.

25

What do I need

to know?

An exploratory research on KATHAKALI costume

Relationship between KATHAKALI art form and

costume

Sustainable issues in it

Problems in costume because of the replacement of

materials.

Why do I need

to know?

To make more awareness about the aspects and

values of KATHAKALI costume.

Make a better understanding of KATHAKALI

costumes and the draping style

What kind of

data will answer

the question?

Secondary data – books, reports, news etc..

Field research

Qualitative – Primary data collection about the

costume, dance form, dancers, history, people who

involved in this area, institutions and crafts in it etc..

Quantitative – dancers, institute, dance form etc..

Participant and non-participant

Focused interview

Photographs

Audio and video

Where can I find

the data?

Institutions

KATHAKALI Craft making units

Shops which they providing rented costume

Whom do I

contact to

access?

Institutions

From the crafts man

Dancers

Interested people

Research people

Who will be

interested to be

associated?

KATHAKALI dancers

Theatre costume designers

KATHAKALI institutes, Research scholars

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II.4 RESEARCH DESIGN: EXPLORATORY

The type of study is exploratory hence; the overall research design is

flexible to provide opportunity for considering different aspects of the

problem.

As the sample selected consists of Kerala Kalamandalam Artists,

The data collection was through observation method by photographs,

recording the Kathakali, make ups, focus interviews, discussions etc.

As the overall design is flexible in nature the data collected would give

different aspects that might not have been considered before thus,

operational procedures will not be fixed.

Research Design

Exploratory

Overall Design

Flexible Design

Sampling Design

Non-probability Sampling design

Statistical Design

No pre-planned design for analysis

Observational Design

Unstructured instruments for

collection of data

Operational Design

No fixed decisions about the

operational procedures

27

II.5 RESEARCH METHODOLOGY

SECONDARY DATA

Source: Academic

Journals, Conference Proceedings, Thesis, Research papers, Articles, Blogs, available on the internet and Books, Graduation Projects.

PRIMARY DATA

Qualitative – Data collection

about the costume, dance

form, dancers, history, people

who involved in it, institutions

and craftsmen etc..

Quantitative – dancers,

institute, dance form etc..

Participant and non-

participant observation

Focused interview – Kathakali

professors, Dancers

Photographs- Performance,

make up, dressing

Pilot study Analysis of Phase I

questionnaire – Problem faced in make-up, dressing

DATA ANALYSIS

PHASE I

About Kathakali History Related art forms Make up Costume Modifications

28

PHASE II

CONCEPTUALIZATION

Making mind-map of the factors observed during the pilot study to find solutions

Using the solutions as keywords to make another detailed mind-map

Discussing and

finalizing solutions with the concerned faculty

Implementing the solutions for

Uduthukettu (Skirt draping)

Feedback by faculty and dancers

Analysis of the feedback

CONCLUSION

29

III - PHASE I

30

31

III -1 HISTORY

Kathakali has its origins almost 1500 years ago in the early ritual folk dances

and dance dramas of Kerala, in southern India, such as the dances

associated with the cult of Bhagavathy (Thiyyattom, Mudiyettu, and

Theyyam), that were performed at religious festivals by actors wearing

elaborate masks, colorful costumes and headdresses, and intricately painted

faces; and socio-religious and material dances such as the Sastrakali and

Ezhamattukali. Ashtapadiyattom, a dance drama based on the Gita Govinda

of the twelfth-century poet Jayadeva, told the story of Krishna embodied as a

humble cowherd, his consort Radha, and three cow girls. In 1655,

Manavedan, the Zamorin Raja of Calicut, wrote Krishnagiti, a dance drama to

be performed as Krishnattom (Krishnan; attom (enactment)) on eight

consecutive nights, incorporating elements of Ashtapadiyattom and

Koodiyattam, another form of Sanskrit ritual dance drama. The performance

of Krishnattam was strictly restricted to the Guruvayur Temple, palaces of the

members of the Zamorin's family, and temples and houses of Namboodiri

Brahmins within the jurisdiction of the Zamorin's empire. Krishnattam told the

story of Krishna, using dance and mime, while the narrative was sung by

musicians. According to legend, Kottarakara Thampuran, the Raja of

Kottarakara (once a province of Kerala), a great admirer and promoter of

traditional art forms, invited the Zamorin to present Krishnattom in

Kottarakkara. The Zamorin refused, saying that Krishnattom was not for the

unsophisticated audience of southern Kerala. In response, Kottarakara

Thampuran composed several plays and created Ramanattom (Raman;

attom(enactment)), also performed on eight consecutive nights. At first,

Ramanattom enacted stories from Ramayana and other epics, but as it

evolved into Kathakali, it began to encompass many stories. Kathakali shared

similarities with both Ramanattom and Krishnanattom, but incorporated

several outside elements from the folk and martial arts of Kerala which

contributed to its popularity. The increasing use of the local language,

Malayalam (as a mixture of Sanskrit and Malayalam, called Manipravaalam)

made it more popular among the masses, who could not understand the

ancient Sanskrit language. In time, masks were discarded in favor of more

32

elaborate facial make up. Around the seventeenth century, acting became

separated from singing, leaving the actors free to concentrate on dramatic

expression. Towards the end of the seventeenth century, Prince Kottayam

wrote four plays based on the Mahabharata, liberating Kathakali from

adherence to any particular Hindu epic and distinguishing it from

Ramanattom. Emotion expressed in the face became central to

performances, and he introduced a white frame around the face, and red

features on a green background, to emphasize movements of the facial

features. In the eighteenth century, Kapplingattu Nampoothiri introduced a

number of innovations that shaped Kathakali as it is performed today. He

improved the percussion accompaniment, and standardized the use of

alarrca, the inarticulate cries made by demons and animals. He further

borrowed mudras from Koodiyattam, and harmonized their use with body

movements. He clarified and defined the five types of character and

strengthened the use of three-dimensional makeup. He also developed the

―kathi,‖ (knife) character type, which combined noble features with evil

qualities, as the central role in Kathakali plays. Kathakali was traditionally

performed during religious festivals. Several Hindu ethnic groups participated

in the performance of Kathakali. In its early days, the Nair community

dominated because they were often well-versed in the martial art,

Kalarippayattu, which is used in Kathakali training and, in a mild form, on the

stage. Kathakali, as it is performed today, is just more than four centuries old.

It is no longer restricted to temples, palaces and religious festivals, but is often

presented in theaters and at special events as entertainment, and is

performed far more frequently than the older forms of dance drama to which it

is related.

III-2 KATHAKALI PLAYS

According to tradition there are 101 classical Kathakali stories, though less

than a third of these are commonly staged at present. Almost all of them were

initially composed to last a whole night. Nowadays, there is increasing

popularity for concise, or oftener select, versions of stories so as the

performance lasts not more than three to four hours from evening. Thus,

many stories find stage presentation in parts rather than totality. And the

33

selection is based on criteria like choreographical beauty, thematic

relevance/popularity or their melodramatic elements. Kathakali is a classical

art form, but it can be appreciated also by novices—all contributed by the

elegant looks of its character, their abstract movement and its synchronisation

with the musical notes and rhythmic beats. And, in any case, the folk

elements too continue to exist. For better appreciation, perhaps, it is still good

to have an idea of the story being enacted.

Some of the popular stories enacted are Nalacharitham (a story from

the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war

after profiling the build-up to it), Kalyanasougandhikam, (the story

of Bhima going to get flowers for his wife Panchali),

Keechakavadham (another story of Bhima and Panchali, but this time during

their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the

Mahabharata), Karnashapatham (another story from the Mahabharata),

Nizhalkuthu and Bhadrakalivijayam authored byPannisseri Nanu Pillai. Also

staged frequently include stories like Kuchelavrittam , Santanagopalam

, Balivijayam , Dakshayagam, Rugminiswayamvaram , Kalakeyavadham

, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Bal

ivadham,Rugmangadacharitam, Ravanolbhavam, Narakasuravadham,Uttaras

wayamvaram, Harishchandracharitam, Kacha-Devayani andKamsavadham.

Recently, as part of attempts to further popularise the art, stories from other

cultures and mythologies, such as those of Mary Magdalenefrom

the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius

Caesar besides Goethe's Faust too have been adapted into Kathakali scripts

and on to its stage.

III-3 MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most

of the songs are set in ragas based on the microtone-heavyCarnatic music,

there is a distinct style of plain-note rendition, which is known as

the Sopanam style. This typically Kerala style of rendition takes its roots from

the temple songs which used to be sung (continues even now at several

temples) at the time when Kathakali was born.

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As with the acting style, Kathakali music also has singers from the northern

and southern schools. The northern style has largely been groomed by Kerala

Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan,

an overarching Kathakali musician of those times, was a product of the

institute.

III-4PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends

in early morning. Nowadays it isn't difficult to see performances as short as

three hours or fewer. Kathakali is usually performed in front of the huge

Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick

sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole

light when the plays used to be performed inside temples, palaces or abodes

houses of nobles and aristocrats. Enactment of a play by actors takes place to

the accompaniment of music (geetha) and instruments (vadya). The

percussion instruments used are chenda, maddalam (both of which

underwent revolutionary changes in their aesthetics with the contributions

of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty

Poduval) and, at times, edakka. In addition, the singers (the lead singer is

called "ponnani" and his follower is called "singidi") use chengila (gong made

of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of

cymbals). The lead singer in some sense uses the Chengala to conduct the

Vadyam and Geetha components, just as a conductor uses his wand in

western classical music. A distinguishing characteristic of this art form is that

the actors never speak but use hand gestures, expressions and rhythmic

dancing instead of dialogue (but for a couple of rare characters).

III-5 ACTING

A Kathakali actor uses immense concentration, skill and physical stamina,

gained from regimented training based on Kalaripayattu, the ancient martial

art of Kerala, to prepare for his demanding role. The training can often last for

8–10 years, and is intensive. In Kathakali, the story is enacted purely by the

movements of the hands (called mudras or hand gestures) and by facial

35

expressions (rasas) and bodily movements. The expressions are derived

from Natyashastra (the tome that deals with the science of expressions) and

are classified into nine as in most Indian classical art forms. Dancers also

undergo special practice sessions to learn control of their eye movements.

There are 24 basic mudras—the permutation and combination of which would

add up a chunk of the hand gestures in vogue today. Each can again can be

classified into 'Samaana-mudras'(one mudra symbolising two entities) or

misra-mudras (both the hands are used to show these mudras). The mudras

are a form of sign language used to tell the story.

The main facial expressions of a Kathakali artist are the 'navarasams'

(Navarasas in anglicised form) (literal translation: Nine Tastes, but more

loosely translated as nine feelings or expressions) which

are Sringaram (amour), Hasyam (ridicule,

humour), Bhayanakam (fear),Karunam (pathos), Roudram (anger,

wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder,

amazement), Shantam(tranquility, peace). The link at the end of the page

gives more details on Navarasas.

One of the most interesting aspects of Kathakali is its elaborate make-up

code. Most often, the make-up can be classified into five basic sets

namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between

these sets lie in the predominant colours that are applied on the face.

Pachcha (meaning green) has green as the dominant colour and is used to

portray noble male characters who are said to have a mixture of "Satvik"

(pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik

characters having an evil streak ("tamasic"= evil) -- all the same they are anti-

heroes in the play (such as the demon king Ravana) -- and portrayed with

streaks of red in a green-painted face. Excessively evil characters such as

demons (totally tamasic) have a predominantly red make-up and a red beard.

They are called Red Beard (Red Beard). Tamasic characters such as

uncivilised hunters and woodsmen are represented with a predominantly

black make-up base and a black beard and are called black beard (meaning

black beard). Women and ascetics have lustrous, yellowish faces and this

semi-realistic category forms the fifth class. In addition, there are

36

modifications of the five basic sets described above such as Vella Thadi

(white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu,

which is majorly used for Lord Shiva and Balabhadra.

III- 6 NOTABLE TRAINING CENTRES AND MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and

most masters are products of accomplished institutions that give a minimum

training course of half-a-dozen years. The leading Kathakali schools (some of

them started during the pre-Independent era India) are Kerala

Kalamandalam (located in Cheruthuruthy near Shoranur),PSV Natya

Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and

Classical Arts Academy (or Gandhi Seva Sadan located in Perur near

Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located

in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan

Kaliyogam at Parassinikkadavu in Kannurdistrict and RLV school at

Tripunithuraoff Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Koll

am district.etc..

Kathakali is still hugely a male domain but, since the 1970s, females too have

made entry into the art form on a recognisable scale. The central Kerala

temple town ofTripunithura has, in fact, a ladies troupe (with members

belonging to several part of the state) that performs Kathakali, by and large

in Travancore.

III- 7 KATHAKALI STYLES

1. Vettathu Sampradayam

2. Kalladikkodan Sampradyam

3. Kaplingadu Sampradayam

These are leading Kathakali styles that differ from each other in subtleties like

choreographic profile, position of hand gestures and stress on dance than

drama and vice versa. Of late, these have narrowed down to the northern

(Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the

legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented

in Kerala Kalamandalam (though it has also a department that teaches the

37

southern style), Sadanam, RLV and Kottakkal. Margi has its training largely

based on the Thekkan style, known for its stress on drama and part-realistic

techniques. Kalanilayam, effectively, churns out students with a mix of both

styles.

III- 8 CHARACTERS

Characters in Kathakali are divided by emotional capacity and defined by

corresponding makeup types. They are grouped first by a few broadly

differentiated types (satvik = heroic, pious, and virtuous, rajasik= passionate,

heroic but aggressive, and tamasik =demonic, rude, evil). These broad

character groups are then divided into seven types which share colors and

styles of makeup (paccha/green, katti/knife, thadi/ bearded, kari/black,

minukku/shining, and theppu/ special). Within each group there are variations

for different characters and situations, but the primary pattern, color scheme,

and headdress usually remain constant.

In practice there are also subtle adjustments of line weight and shape as the

patterns are mapped onto the individual‘s facial features. Colors hold symbolic

meaning, as do many of the features. This visual language informs the

audience of each character‘s nature. The importance of makeup and costume

is indicated in the level of transformation from performer to character; several

sources report that once a performer is in makeup and costume, he is no

longer addressed by his own name.

III-8.1 PACHA

The pacha vesham with its predominant green

colour is used to portray noble male characters

like kings and divine beings. These characters

have a mix of satvic (pious) and rajsik (kingly)

nature. The satvic element facilitates immense

possibility for the artiste to explicate his acting

talents. Characters like Lord Krishna and Lord

Rama are examples of pacha vesham. PACHA

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III-8.2 KATHI

III-8.3 THADI

Kathi characters are arrogant and evil but

have a streak of valour in them. Though their

make-up is basically green, denoting that they

are high born, a red mark like an upturned

moustache or knife is painted on the cheek to

show that they are evil. They also have white

knobs on the tips of their noses and on their

foreheads, which add to their evil nature.

Ravana, the demon king is a

typical kathi character in Kathakali.

KATHI

There are three distinct types in the class

of thadi vesham viz. chuvanna thadi (red

beard as in the case of the character Bali - the

king of monkeys) vella thadi (white beard)

and karutha thadi(black beard). The red

beards are vicious and excessively evil

characters. Their faces are mainly painted

black on the top half and red on the lower. The

white beard represents a higher type of being

and is seen mainly in the character of

Hanuman, the monkey god. The black beards

are the character types in which black

predominates predominates in make-up and costume. These are the primitive beings - the

wild hunters and forest dwellers.

THADI

39

III-8.4 KARI

III-8.5 MINUKKU

III-9 COSTUMES

Kathakali characters‘ costumes have the same basic silhouette and

components. Most characters, both male and female, wear huge

hemispherical layered skirts (usually white with border stripes), one or more

layered jackets (most commonly red), and a series of ornate accessories.

Kari vesham is used for demonic characters,

portraying the most gruesome figures on the

Kathakali stage. Their faces are jet-black

with dotted red and white markings on

them. Minukkuvesham symbolizes

gentleness and high spiritual qualities (like

saints), which are in sharp contrast to the

preceding four classes.

KARI

It is used to represent women and sages.

Traditionally,kathakali being a

predominantly male performance,the

female character are also performed by

men. This vesham is used to represent

gentleness and high spiritual standing and

is charectorised with yellow facial paint.

MINUKKU

Apart from these five main classes there are eighteen special characters

like Jatayu, Hamsamand Karkotaka whose make-up cannot be fitted into

any particular category.

40

These include four items on each arm, bells and pads on the lower legs, a

carved breastplate and cascade of gold necklaces, and two or more waist

ornaments of fabric, beads, and carved, decorated wood. Further layers

include between two and six lengths of pleated fabric at the neck and ornate

contrasting side panels from waist to hem. All performers have some form of

headdress—relatively simple for minukku, but extravagantly ornamented for

gods and demons. There are variations in color, headdress, and some

accessories for different characters and some types. In scale, the most

demonic characters have the most volume, while human characters are closer

to realistic size of dress. All costumes feature bright colors, and strong

contrasts, which helps them be more visible in the traditionally limited lighting

of nighttime performances. Also, the exaggeration in the costumes‘ designs

supports the dramatic storytelling, the forms, colors, and accessories for each

character are standard, so that each presentation of the character is visually

recognizable. The similarity is clear to new audiences; it takes time and

experience to learn the various subtle differences between characters.

Kathakali aficionados delight in reviewing the subtleties of movement,

expression, and personality of accomplished performers. Whether traditionally

crafted or contemporary in construction, Kathakali costumes are incredibly

effective in bringing attention to those attributes. From the basic similarities in

shape, color, and ornament of all costumes to the intricacies of makeup,

headdress, and details of specific characters, all visual choices are effective in

supporting the performance. They bring attention to the actor‘s eyes and facial

expressions; they emphasize movements of body, hands, and feet, and they

reinforce percussive sounds of the dance. It‘s a beautiful marriage of form and

function.

III-9 .1 COSTUME DETAILS

The costume pieces are grouped by type and body placement and listed in

approximate dressing order. Costume pieces and ornaments are generally

designed to be adjustable in fit. The costumes are cut amply to allow freedom

of movement for any performer, and the ornaments, in addition to fulfilling a

visual function, are used to tie the costumes in place on the body. These

41

items are typical in form, function, and consistency of use, although there is

some variation in details.

UNDERGARMENTS

PYJAMA - white, light-weight cotton pants, are loose fitting with a long

drawstring at the waist and a high rise. They are cut like most early trouser

forms with the side on a lengthwise fold, angled center seams, and

rectangular inset/gusset. In addition to providing absorbency and modesty,

the high waist protects the skin from chafing by the stiff petticoats, and their

wide gusset allows freedom of movement in the wide, low stances that are

common to Kathakali. The legs are tapered to about twelve inches at the

ankle, with a short inseam split, and are folded and wrapped snug to the

ankle, then held in place by small padded supports and the bells, which are

tied to the leg over the trouser.

UNDER-JACKET

Adikuppayam - a T-shaped cotton under-jacket is worn with the female

Kathakali costume. The body and sleeves are cut straight, with an overlapping

back closure cut in a straight line angling from shoulder/ neck line to cross

waist. Small underarm gussets provide mobility; simply bound/turned neckline

and back edge and simple hems finish the raw edges. The cut is the same as

for the outer jackets, male and female. Traditionally all characters are played

by men, so no darting is needed to accommodate the female form. The

majority of the jacket is covered by tied-on ornaments. The back is covered by

the wig and/or veil, and the performers nearly always face the audience, so

the gap at the back neck is not significant.

Ulluval - or ullunhari if sewn together, are a series of two to four dozen panels

of stiff cloth (val) that are tied on as petticoats Originally made of coconut

fibers, they could be made of any strongly stiffened fabrics. Dressing requires

two assistants. The performer holds one end of a width of sturdy cotton

around his waist, while one assistant holds the other end taut. A second

assistant folds each val in half over it, overlapping the pieces, then

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pushes/compresses/gathers the cloths together against the performer‘s body,

working the fabrics into a hemisphere and securing them to the waist by

winding them onto the body with the taut cotton strip.

This step is repeated until the desired fullness is reached. A knee length

group of panels may be used, as well as an additional longer layer of

petticoats, in order to achieve the same hem length on the body. The strip of

cotton cloth is used to tie the petticoats to the body and to wrap and smooth

the layers in place. It is used also to tie on the underskirt, skirt, and side

panels. This piece is at least eight yards long and about six inches wide, but

creased narrower from use.

Modification :- made casings in the tarps to simplify the gathering process,

although the stiffness of the fabric was not conducive to gathering at a casing

so more layers were required to compensate for lack of overlap.

UNDERSKIRT

This straight length of white cotton, worn on the cross grain, is about forty

inches wide and five and a half yards long. The underskirt features a colored

band at the selvedge/hem edge (this stripe is golden yellow, one and a half

inches wide). This piece was washed and primitive pleated perpendicular to

the selvedge by twisting and tying with a string till dry. When dressing, the

center of the top edge is held and tucked in at the front waist at a length to

cover the petticoat. Then the back lower corners are drawn up around the

skirt across the back, overlapping and tucking in at the side waists. The effect

is like the edge of a palm leaf, with the hem band curving from the front

around the hem and up the back, overlapping to cover the petticoat. Extra

fabric length is tucked into the cotton band or tied by a string. The cotton band

used to tie on the stiff petticoats also anchors the underskirt and is tied off at

center front before continuing the dressing ritual. It will secure the skirt to the

body as well.

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OUTER GARMENTS

• Jacket

The traditional color for most Kathakali jackets, kuppayam, is red, though

there are exceptions for Krishna (usually blue with a yellow skirt) and some

bearded characters (such as Hanuman‘s furry coat) or special characters. The

jacket for female characters is red and gold cotton metallic. The cut of this

jacket follows that of the under jacket previously described. It has a close-

fitted round neck line, straight sides, slightly tapered sleeves, and back tie

closure. Color holds symbolic meaning, but in this case, according to

Vasudevan, its use is for its bright appearance in the traditional performance,

which until the 1960s was lit by a single devotional lamp. Wearing multiple

jackets helps balance the volume of the skirt and headdress.

Modification:- Previously for hanuman and bali costume they were using

cotton stuffed jackets. After an international trip for kathakali they have notices

in western countries they were using fur jackets. After that they modify the

costume by using fur for the hanuman costume.

• Skirt

Although the names differ, the male skirt, ututtukettu, and female skirt,

lehengra or sari, are similar. They are traditionally made of a single long

length of white cotton, about a yard wide, and about seven and a half yards

long. It features a decorative red-striped hem about eight inches wide. The

red bands are often outlined in black to emphasize their contrast. The skirt is

set in one-inch accordion pleats while wet and tied to dry. It is tied onto the

body with the same cotton strip as the underskirt with a simple overlap in

back; the skirt gap may be held closed by a safety pin near the hem. The

assistants who help dress the performer must hold the cotton wrap snug to

the body while adjusting the lengths of each layer, and wrap the remaining

yards of cloth several times around the body to ensure a smooth and secure

arrangement.

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• Apron

The female costume also includes the sthree uttariam, a short, red-bordered,

accordion-pleated cloth, which is pinched at the top and tucked into the front

waist. Its bottom edge is spread and tucked to each side, creating a

semicircular line of red at the center front and rising to the waistline at the

side.

Chanthi: are pair of hip pads that support the width of the skirts like a pannier.

The pads are made of two crescent shaped pieces of heavy cotton bagged

out on the outer curve, with the inner curve sewn to a two-inch-wide twill tape,

which sits flat to the body. The points of the two crescents meet center back

and leave a little space center front. They sit low on the hips in order to leave

room for the volume of petticoats, underskirt, and skirts, all of which are

wrapped to the body.

• Leg ornaments

Tantappatippu - small crescent-shaped shin pads, are worn by men and

women to hold the pants snug against the leg at the ankle, to prevent the bell

ornaments in female costumes from sliding down onto the foot, and for

decoration. The men‘s pads are of thick red wool with a blue cotton center

stripe and tips, two strands of small silver beads flanking the blue, and black

cotton twill tape sewn on as both backing and ties. The pads are stuffed with

coconut husk fibers. The female pads are red wool with black cotton tips and

center instead of blue, similar silver beads, and natural colored twill ties.

Sets of brass bells tied to the shins sound in concert with the performer‘s foot

movements. The male version, kecchamani, is oval, with deeper sounding

bells, set below the knee and tied above and below the fullest part of the calf

muscle. This set has a dozen brass bells on each; the bells are set in curved

rows of three, four, and five bells and are anchored to the upper egg-shaped

leather piece by metal split brads. The sharp tines of the brads are covered

with a layer of padding. Two sturdy cotton ties are threaded through the

leather top and out the sides of the backing. The female version, chilanka, has

lighter, higher sounding, and more numerous bells (thirty-four in all) worn at

45

the ankle. These are set onto straight leather bands, also with split metal

brads which are covered on the inside with a padded cloth that also encases

the continuous cotton tie.

ORNAMENTS

• Neck/Chest

The male character‘s chest plate, kuralaram or kotalaram, is carved, jeweled,

and pompommed. This impressive decoration is carved in ten major sections,

plus the two connecting beads and seventeen tassel tops. Each piece is

covered in red wool, gilded, and set with green and red gems and a series of

different colored tassels/ pompoms (green, maroon, blue, orange, and pink).

Worn by most male characters, it is tied around the neck over the jacket. The

female breast plate can have demure or exaggerated breast shape and size,

depending on the character. Most female characters use a normal sized

breast plate, mulakkuralaram, but Kari ogress characters wear extremely

pointed and exaggerated black breasts, mulamukku. This piece is carved of

wood, one piece for the breasts, plus five more sections for the lower shield.

Each piece is covered in red wool, and decorated at the neck, between the

breasts, and below with gilt, gems, beads, and thick wool tassels. Holes

drilled at the neck edge provide purchase for a cotton tape which ties around

the neck. The lower half is similar to the kuralaram breastplate of the male

costume.

Mulakkaccha (breast cloth) - or gatrika (scarf), a red bordered white cotton,

about four by two feet, is hand pleated lengthwise and set around the neck

and over the breastplate, covering the breasts (which may be revealed in the

story). The mulakkaccha can also be a red cloth with black border.

Kazhutharam - gold strand beaded necklaces, are set by the dozens onto a

lightly padded neck band in cascading U shapes. The outside strand is of

larger diameter beads, and another strand of larger faceted beads is set a

third of the way in from each end. Each of these larger bead strands has a red

wool pompom at its base. The full length is eighteen inches including the neck

46

band of horizontal beads. They can be used by the actors to gesture, as when

the demoness Poothana tries to cajole baby Krishna.

Kashuthu nada - is a collar for male and female costumes which holds the

breastplate down and the kazhuttharam up. It is threaded under strands of

bigger beads and a pompon strand at the outside edge of the kazhuttharam.

The kashuthu nada is made of black cotton with decorative rows of silver

beading one-half to five-eight inches wide along the center line.

Uttariya - also uthareeyam or uttarya, are scarves of primitive pleated white

cotton organdy, tied over a form to pleat into ball. The banded ends are

released from pleats that fan out into a ―flower.‖ The colored ends usually are

similar to those on the skirt; these include red and gold bands edged in black.

The first is tied to the sleeves with the upper arm ornaments while the arms

are outstretched. The remaining ones are sometimes looped through the

upper back ties of the jacket to control their length as well as to anchor them

behind the neck. In order to reach to the waist/hip, they are about a yard wide

(pleated down to approximately three inches) and about two yards long. The

fullness is controlled by small ties (string or thread) set at intervals along the

cloth. They are sometimes used to gesture and to accentuate the subtle body

movements as they hang in contrast to the shifting lines of the body.

Kotta uttariyam - a contrasting colored scarf, has mirrors in the decorative

ends. The color of the cotton generally matches the jacket and pattu val,

swaths of fabric which hang at the sides of the skirt. The ends of the cloth are

attached to solid cup shaped supports, set in with three-inch round mirrors,

and trimmed with braid, horizontal pleats, and an edging of wool yarn fringe in

several colors (pink, blue, gold, green). They are used practically by the

actors offstage to check their makeup, but also are interesting in that they

throw reflected light around the theatre, enhancing the magical atmosphere.

Both male and female characters wear uttariyam.

Marumala - a waist length floral garland, is worn over the uttariyam by some

characters; Vana mala is an enormous garland of flowers worn by Krishna.

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WAIST/HIPS

Pattu val (silk fabric), or choppu val (red fabric) - are side panels hung from

waist to hem on the sides of the skirt. They often match the colors of the skirt

stripes, enhancing the color theme of the costume, but are more ornate than

the other fabrics. These red ones are woven with gold vertical stripes, banded

with brocaded ribbons, edged with yellow, and hemmed with multicolored yarn

fringe. Nine inches by thirty-nine inches, they are tied in with the skirt

wrappings to meet the hem of the skirt, and any remaining fabric is folded into

the waist and secured with the cotton wrappings.

Katibandha - is a two-part waist ornament for male and female characters

which includes the ottanakku and the patiarannanam. The ottanakku is a

stiffened red wool apron panel with silver crescents, beads, woolen fringe,

and pompom (kalanchi) decorations. It is tied to the waist directly over the

skirt at the center front. Visually it carries the complex color and texture down

through the figure. It measures eighteen inches long, about six inches wide,

and is backed with cotton and bordered with black bias, neither of which is

visible from the front but which provide structural support.

Patiarannanam, or patiarayan - refers to the carved beaded belt. There are

seven graded sections in the main belt. Each is carved, covered in wool, and

decorated on the raised surfaces with metallic foil and plastic gems. The end

sections have three holes in the lower rim through which strings of hand-

carved and gilded beads are suspended. The woman‘s belt which Puligari

brought has only two strings of beads. While the third string is missing, there

are holes to support one, so it presumably existed at one point and is likely to

be replaced when this set is next refurbished. Red cotton cords hold the

pieces together and fasten the belt to the performer‘s waist over the ottanakku

and side panels.

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ARMS AND HANDS

Men‘s and women‘s arm treatments are similar in construction, function, and

aesthetic. Of the two examples we had, the female character‘s accessories

were slightly smaller in scale than the men‘s, and/or had fewer beads.

Tolputtu - epaulette-like upper arm ornaments, are carved of wood and tied

onto the actor‘s arm below the bicep and around the chest as well. It is tied on

while the arm is raised to secure the sleeve to the body. Carved in six pieces,

the upper part has a shield or rosette-shaped decoration on a base shaped

like a section of a dome. The rectangular area below is made of five shaped

rectangles, similarly adorned with red wool or flocking, gold foil, stamped

brass rosettes, silver toned beads, and gemstones. The one pictured below

measures three and a half inches wide, five inches tall, and one and a quarter

inch deep.

Paruttikkaimani - are tied immediately below the tolputtu at the bicep. They

consist of three strands of wooden beads covered with metallic foil. A center

row of seven carved baubles (each one inch in diameter by one and a half

inches long) is flanked by two relatively plain globe strands. The center row of

baubles is ogee shaped on the protruding side and slightly flattened on the

bottom/ arm edge. Red cotton cord ties secure it to the arm and are tucked

into the tolputtu.

Kalases - are worn on both wrists. Each wooden bangle is carved as a single

three-inch section of a cone but reads as a row of four circlets. The piece is

covered in metallic foil, with a row of small silver beads defining the edges of

the carved circlets. The jacket sleeve is folded to pleat on the outside of the

forearm, and the bangle slides over the jacket sleeve to secure it.

Hastakatakam - meaning ―hand ornaments,‖ are tied immediately below the

bangles to secure the sleeve at the wrist and to keep the bangles in place.

The ornament is carved in a curved shape to follow the wrist, about three

inches wide and two inches tall at the center circle. It is decorated with

49

metallic foil, red wool felt, red and green plastic jewels, and green tassels.

Four wool pompoms or tassels anchor the corners. Red cotton cord is used to

tie them on.

Vellinakam or nakham - are fingernails. Long polished silvertoned tips are

added to the left hand after completing the other preparations. They serve to

lengthen the fingers and draw attention to the mudras (hand gestures) which

are a critical part of the storytelling. Performers‘ personal rings may also be

worn. A small amount of bright pink or gold powder can be rubbed between

the palms before entering the stage to bring attention to the hands. Henna is

also used for this and to highlight the edges of the feet.

HEADDRESS

•Female

Strivesham (female) characters are veiled rather than in ornate headdress.

Their head coverings include several items. The headband, chutti thuni, is

eight and a half inches by one-half inch of black cotton and red wool over

cotton tape with rows of silver toned beads. The cap, kontakettu, has a black

cotton base with an oval top and straight cut/hemmed band gathered into the

crown. The left side has a stuffed cylinder projecting up and to the side. This

is decorated with a thick fringe of multicolored yarns, and is used to support

the veil. The cap splits center back and ties to fit the individual actor‘s head.

Katila are eggplant-shaped earrings worn by female characters. One and

three-quarter inches by three and three-quarter inches, they tie onto the head

above and below the jawline. They are decorated with foil, plastic gems, and

silver beads. Veils are finished lengths of rectangular yardage or scarves,

about one yard by two yards long, enough to fall past the waist on both sides.

They are used as an expressive tool by the performer of female roles. A

gilded fabric such as tissue lamé is preferred. Sometimes a length of cotton

twill or bias is sewn to the center edge of the veil to help anchor it on the

forehead.

50

Kurunira, a decorative black cotton head band, covered by narrow silver

cylinders and dangling diamond shaped spangles, is put on over the base cap

to meld the cap and makeup lines, as well as to bring sparkle to the facial

area. The eyebrows of Kathakali performers are a particularly expressive tool,

so bringing focus to this area of the face is important. A second narrow band

of silver bead strands holds both the veil and the ties from the earrings (katila)

in place over the hat base (kontakettu).

Mookkuthi, a small nose ring, provides the final touch for female Kathakali

characters.

•Male

After a male character‘s makeup is complete and the costume in place, the

performer begins the process of dressing the head. First a length of black

cotton is folded on the bias and used to wrap the head from hairline to nape,

providing a means to absorb sweat and begin padding to make the headdress

more comfortable and stable. The head cloth is called netti (forehead) nada

(any piece of long cloth a few inches wide). The paper or plastic chutti are tied

to the face over the head wrap and secured to the face with spirit gum or rice

paste.

Modification: - Readymade plastic cutti instead of traditional paper fold chutti

and spirit gum is using to fix instead of rice paste.

Chevippuvu - are ear ornaments worn by all male characters. These ornately

carved concave wooden discs are set above the ears and tied to the head

with cotton cord. Another black cotton cloth, also netti nada, is wrapped over

the ties to secure them and to pad the head for the crown. A shaped

headband, chuttittuni, of red wool backed with cotton and decorated with rice

paste is tied on to bridge the space between makeup and headdress. Some

characters add cutti poove (white knobs) or a devotional naman bindi

decoration to this headband. There is a variety of large ornamental

headdresses for characters in Kathakali. The types and shapes are part of a

codified system of identification, and all of them bring focus to the performer‘s

51

face as well as balancing the volume of the costume and providing a visual

contrast to the angular positioning of the performer‘s limbs. They are carved

of one or more pieces of wood and ornately decorated with metallic foil,

gemstones, and metallic beads. Originally pith (from peacock quills) or rice

paste was used to build up white detail, and wings of a particular beetle

provided a shimmering green texture in some areas. Both now are replaced

with plastic materials. Because of the complexity of the headdress, each one

is stored in a protective heavy cotton bag. Putting on the headdress is an

almost sacred part of the transformation to character. Before unwrapping the

headdress, the dresser makes a brief devotion to the gods. Also, before

putting on his headdress, each performer says a prayer of thanks and

reverence to his teachers. The kesabharan kiritam recognizable by the

circular back portion, is worn by most paccha characters and some others.

Chamaram - is false hair. The wig is roughly forty inches long, by eight to

eleven inches wide at the top, where multiple strands of jute are half hitched

to a cotton tape, then braided and stitched to a tie. In the female costume, the

wig is tied around the head and the padded cylinder that supports the veil on

the left. On the paccha costume, the wig strings are tied through pierced

areas of the side decorations on the kiritam crown but could have been tied

directly to the head instead. The wig rustles as the character moves (not

usually heard over the drumming), and can be thrown wildly about as in the

transformation of a demoness from her beautiful disguise to her natural

fanged state, or in the death of a character. The wig covers the overlapping

back closures of the jacket, though a performer would not likely turn his back

to the audience.

Thalekkettuval - the decorative headband seen at the edge of the headdress,

has three rows of silver beads on a black cotton band one-half to five-eighth

inches wide. It fills the gap and keeps the crown from rocking.

Thoda - are large round convex ear ornaments, tied to side projections on the

headdress at about temple height above the chevippuvu. As with the other

accessories, ornaments, and headdress, they are carved of wood, covered in

52

red wool and metallic foil, and decorated with silver beads and red and green

gemstones. Cotton cords and a stabilizing rod are used to secure them in

place. In all, the performer and his assistants will have more than sixty ties to

fasten during the dressing process.

III.10 PICTURE GALLERY – Accessories and Costume

Kachamani

Chilanga

Tandappatuppu Chevipoovu

Thoda

Karithoda

53

Parithikkamini

Tholpoottu

Kazhutharam

padiyaranjan

Ottanakku kollaram Mula kollaram

54

Vala

Hasthakhadakam

Chanthi Chamaram

Pattuval

Kuppayam Chuttithuni

Vella Uthareeyam

55

1 PROCESS

Making Kireedam( Crown)

Theppu (Face Make up)

Chutti (white beard)

Uduthukettu (Skirt draping)

2 MATERIALS

3 MODIFICATION

Theppu (Face Make up)

Chutti (white beard)

Uduthukettu (Skirt draping)

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III.11 PROCESS OF MAKING KIREEDAM (CROWN)

Wooden base made by kumizh wood

Vandinthodu (Wings of beetle)

Shells mold into vandinthodu shape

Golden foil

Finished Kireedam

―Kumizhu ―is a medicinal wood which is used to make kireedam . It is

light weight wood compared to other wood. The wooden base of

Kereedam covered with golden foil paper and decorate it with stones

and peacock feather stem. ‗Vellinezhi ‗is the only one place in Kerala

where they working on these kind of accessories. One kereedam is

about Rs 60,000. Now it is also available in fiber but it cannot

renewable.

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III.12 MAKE UPS

III-12.1 THEPPU AND CHUTTI (FACEPAINTING AND WHITE

BEARD MAKING)

In Kathakali, the make-up creates the superhuman effect. It takes nearly three

to four hours to complete the make-up which is done in stages, and the

duration varies according to the character and complexity of the costume.

Theppu is the first stage

where the artiste himself

applies the basic facial

paintings. After this the

Chuttikkaran (make-up

man) puts the Chutti which

forms the second stage of

make-up.

The Chutti plays a crucial

role in differentiating the

characters and their personality .All the colours used in the make-up are

obtained from natural substances and herbs. For example, the red and yellow

colours are made by powdering stones like Chaayilyam(Cinnabar) and

Manayola (Arsenic) respectively. A mixture of lime and rice flour serves for

white. The green colour is produced by mixing Manayola and Neelam (blue-

taken out fron neelamari plant/indigo). Coconut oil is used as the base for

mixing these stone powders. Another stone, Chenchilyam is powdered and

applied in order to protect the skin from burns.

Kanmashi or Kajal (the black substance) is prepared by burning gingelly oil.

Cotton wicks immersed in oil is burnt and the smoke of the flame is collected

on the inside surface of an earthen pot kept upside down over the flame. The

lamp black deposited on the surface is scratched out slowly and kept for uses.

Face painting- Chutti

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Kumkumam or saffron is also used for the make-up. However, now-a-days

many of these colour mixing processes have been replaced by easily

available material.

CHUNDAPU/SOLANUM SURATTENSE

This flower is also called

Punyaha Chunda as the

flower is used for

preparing Punyaham (Holy

Water) in Kerala temples

and household deities.

This plant comes under

the category of eggplant

(Brinjal).

Preparation

The Ovule Receptacle (seed) part of the Chunda flower is used for

Kathakali. After plucking the flowers which are fully or partly flourished,

remove it's petals and green part around it's Ovule Receptacle (Seed)

carefully. The seed shouldn't be scratched or broken. Then gently rub

and roll the seed in your inner hand with a touch of cow ghee. First 30

minutes it need to be gently rubbed and later on increse the pressure.

The effect of the flower during the performance depends on the time

taken to rub and prepare the flower (Normally 3-4 hours). Then the

seed becomes soft,dark brown or even black. Put that in a small air

tight container along with some ghee (recommended for long term

use). Else it can be stored in a roll of cloth and knot it tightly.

Usage

Once the facial makeup is over and just before starting the body

costume, the performer need to put the flower seed in the eyes. He

places his eyeballs up, and gently put the flower seed in lower eyelid.

Adding chundappu (Solanum surattense ) in

eye lid

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Then he gently pinches the lower eyelid and drag forward. The flower

seed goes inside and stays there. The performer closes the eyes and

roll his eyeballs. When he/she opens his eyes, the eyes turns red in

colour.

Logic of red eyes in Kathakali

The facial makeup of Kathakali is so colorful and a white eye doesn't

look good. The red eye adds an unearthly ambience to the face. Eye

movements along with hand and body movements are unavoidable in

Kathakali as it completes the beauty and elegance of Natya and Nritha.

III-12.2 CHUTTY KUTHAL/ MAKING WHITE BEARD

A mixture of rice paste and lime is applied to make the chutti on the face

which highlights the facial make-up. which is different for different characters.

Theppu is the first stage where the artiste himself applies the basic facial

paintings. On this the Chuttikkaran (make-up man) puts the Chutti(a series of

white ridges built up from the chin to the either side of the cheek) which forms

the second stage of make-up.

The actor lies flat on a matted floor and the expert starts drawing ―the

designs‖ on the face.The most elaborate part of the makeup is the

Make up of Pacha

character Make up of Minukku (Women character)

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chutti.Chutti materials changed from rice paste to paper and even readymade

chutti.

3. Preparing paper Chutti

Chutti of Kari character Chutti of Pacha character

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III-12.3 UDUTHUKETTU/ DRAPED SKIRT

Uduthukettu, the third stage of kathakali make up. Ulluvaal, puramval,

pattuvaal are the different cloth pieces used for getting the bulk look for the

skirt. For ulluval draping more than 50 pieces of cotton fabric each of the

fabrics are about 1 meter long. A straight length of white cotton, worn on the

cross grain, is about forty inches wide and five and a half yards long. The

underskirt features a colored band at the selvedge/hem edge (this stripe is

golden yellow, one and a half inches wide). This piece was washed and

primitive pleated perpendicular to the selvedge by twisting and tying with a

string till dry. When dressing, the center of the top edge is held and tucked in

at the front waist at a length to cover the petticoat. Then the back lower

corners are drawn up around the skirt across the back, overlapping and

tucking in at the side waists. The effect is like the edge of a palm leaf, with the

hem band curving from the front around the hem and up the back, overlapping

to cover the petticoat. Extra fabric length is tucked into the cotton band or tied

by a string. The cotton band used to tie on the stiff petticoats also anchors the

underskirt and is tied off at center front before continuing the dressing ritual. It

will secure the skirt to the body as well.

Puramval(inner skirt) Uduthukettu nada (8mtr Long stripe of cotton cloth which is used to tie uduthukettu

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PROCESS OF DRAPING

Ulluvaal pattuvaal (outer skirt)

1. Tying hip pad around the waist

2. Folding plastic fabric sack

Hip pad

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3. Uduthukettu- Draping sack around waist

4. Outer skirt draping

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Kathakali Pacha character in a complete make up

65

III-13 MAKE UP PRODUCTS WHICH IS USED NOW

Manayoa (arsenic)- Yellow color natural stone

Chayillyam (Cinnabar) – Red natural stone

Zink oxide

Chayam

Chundappoo (Solanum surattense ) - used to make red eyes

Kattaneelam (indigofera tinctoria)- Blue color, extracted from the

leaves neelamari

Manayola preparation

66

67

IV - PHASE II

68

69

IV-1 ANALYSIS OF DATA

IV-1 .1 PRODUCTION DETAILS WITH PRESENT MODIFICATIONS

Kathakali makeup and costume crafts are taught in the national Kathakali

training center, Kerala Kalamandalam, and other schools, but the traditional

carving skills are passed on through artisan families. Makers‘ marks are seen

carved into the inside faces of the different pieces. Currently, there is only one

family left making wooden based ornaments in his village in Kerala. Given the

time-consuming nature of hand carving ornamental objects, it is not surprising

that costume ornaments are recycled. The wooden bases are durable, so

when the metallic foil tears or its gold color wears away, when wool fades,

gems fall off, strings break, or the white pith cracks, the items can be stripped

down and refurbished. Evidence of these practices is available on existing

pieces. For example, the kiritam headdress still had its original iridescent

beetle wings and metal beads as part of the circular decoration (like a

nimbus), but the crown (head portion) had plastic strips substituted for the

wings, plastic gems for glass, and silver colored plastic beads instead of metal

ones. The women‘s ornaments showed definite wear and the need to replace

the foil on the intricately carved beads. On the belt, one of the three strings of

beads was missing (though holes remained to attach a set), and the

remaining strings were not symmetrically balanced, indicating that some extra

beads had been used to replace lost or broken ones (or that an inexperienced

carver had made them—perhaps both). Those were three to four generations

old, and some pieces were ready to be refurbished. Introduction of new

materials is not surprising either Economics certainly plays a part in the

formation of cultural artifacts. Originally glass gemstones, beetle wings, silver

or silver toned metal beads, wool fabrics, and pith or a rice/limestone paste

were used in the construction of ornaments. Since the twentieth century,

however, factors of cost, ease, and durability have led plastics to replace

glass, wings, metal, rice paste, and pith. Polyester has replaced wool for

tassels and backing, and fiberglass castings are now replacing carved wood.

Ownership of costumes and ornaments is varied. Some performers own their

own costumes and bring them when hired to perform. Schools and theatres

70

may own costumes for their own performance needs when they are

sufficiently established to have the financial resources or staff to provide

them. Craft artisans make ornaments to order, and some have a small stock

of items for sale or rent. As of 2014, rental costs are about Rs 3000 to 3500

per day per costume. Additionally, some artisans have begun making

ornaments from non-traditional materials. While this practice may accelerate

the loss of traditional skills, it also allows Kathakali to expand its reach around

the world when less expensive costume pieces can be used. Materials for

makeup, storage, and tools have also seen modernization. Precious materials

such as lapis lazuli, turquoise, gold, and silver have been replaced by

synthetic equivalents. Vegetable and/or mineral powders ground from indigo,

chrome, zinc, limestone, rice paste, and mica are still used but are also

available in synthetic forms as well. Soot used to make black makeup is still

collected on tiles placed next to an oil lamp in the greenroom, or it is available

as purchased charcoal powder. Coconut oil remains a staple for mixing

powdered colors. Makeup is still applied with the spine of a coconut leaf. The

time-consuming art of cutti applications is considerably shortened by the use

of paper or plastic pieces that can be tied to the head with string and affixed to

the face with a base of cutti paste, with spirit gum, or with medical adhesive.

Styrofoam for cutti poove (white knobs) instead of pith/limestone paste

constructions has also simplified the makeup process. Within the codified

structures of makeup and costume, one wonders how much flexibility actors

have in personalizing their performances. Facial differences among actors

would require some modifications of the makeup, and the anchor points for

facial designs would need to fluctuate to fit each face in order to allow the

makeup to enhance and fortify facial expressions. Several authors refer to

individual variations in makeup. However, variations would be subtle—hardly

recognizable to Westerners—as the colors and divisions of faces as well as

size and shape of headdress and costume are codified into specific roles and

types. Symbolism of color, exaggeration of features and expressions, and

decorations are prescribed for particular stories, characters, and situations.

Variations based on schools or training methods, membership in a particular

company, and personal preference, might exist.

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Costumes are still primarily made of the same traditional cotton fabrics for

skirts, jackets, pants, and underskirts. The availability of machine- made,

synthetic, and less costly materials is consistent with their usefulness,

particularly as theatres struggle to maintain economic viability. The petticoat

pieces are no longer only of palm fiber, but may be synthetic stiffened fabric

such as plasticized tarpaulin. Veils for strivesham characters usually

incorporate gold threads. Once they were woven with metal bullion; now the

gold is frequently replaced with Mylar, Lurex, or other synthetic metallics.

These newer textiles are much cheaper than real bullion, do not oxidize, and

are more fluid in draping than their metalinfused counterparts.

The most significant change in present day costuming is in the production of

ornaments. Past use of golden bees wings and metal epaulettes. While it is

highly unlikely that headdresses would be entirely covered in the real gold,

silver, and gemstones that are fundamental to its decoration, the use of

materials has changed. Gold leaf is replaced by gold-colored foil, silver beads

by cheaper metals, then by toned plastic, real iridescent beetle wings by

plastic tubing, glass gems by plastic jewels, and white pith by extruded plastic.

The greatest change, however, is in the transition from intricately carved

wooden pieces to molded fiberglass or other materials that are faster, easier,

and cheaper to manufacture. This practice, while making ornaments available

to tourists, foreign theatre groups, and others interested in Kathakali, has

severely impacted the artisan base for traditional manufacture. Even though

wooden pieces last for generations, and can be refurbished repeatedly, they

are losing ground to inexpensive reproductions.

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IV-1 .2 INTERVIEW FEEDBACK ABOUT FACE MAKE UP MATERIAL

• Face make up materials replaced into artificial

• Still some of the people believe its natural

• Purchasing all of the materials from Kerala and Mumbai

• So many people getting skin infections due to the makeup material

1 Do you know some of the materials are harmful to the skin and body?

2 Then why do you still follows the same material?

Padmasree kalamandalam Gopi Ashan got skin infection due to makeup materials.

Yes

No 40%

60%

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IV – 1.3 FINDINGS

Sl

no

MATERIALS

BEFORE

NOW

SIDE EFFECTS

1 Manayola

Natural stone

-yellow in

color

Chemical

stone

(Arsenic)

Manayola: A mineral. Toxic

material. Traditional

manayola has no side effect

because that taken out from

the earth and it contains

impurities that makes it

nontoxic. Arsenic has been

used in medicines, as a

pigment, a pesticide, and as

a weapon of murder, use for

hair removal products. It

causes skin infections.

2 Chayillyam

Natural stone

red in color

Chemichal

stone

(Cinnabar)

Chayillyam (Cinnabar)-

mineral of mercury -All forms

of mercury are quite toxic, it

caused shivering, loss of

sense, and death.

3 Kattaneelam

Blue color

extracted

from

neelamari

(indigofera

tinctoria)

Indigo

Harmful to the skin

The materials which use now is very dangerous to the skin. Lack of

awareness and traditional values make them stick on the same material.

Knowingly unknowingly they blindly follow it. These materials can be replace

by herbal products like Neem and Turmeric powder.

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IV – 1.4 PROBLEM IDENTIFIED IN SKIRT DRAPING

A single person can‘t drape it easily

Minimum 2 or 3 people need to drape the garment

If it doesn‘t wear properly it makes uneven structure of outer skirt.

IV – 1.5 INTERVIEW FEEDBACKS ABOUT UDUTHUKETTU

Deep folds and uneven draping

Padmasree Gopi Ashan

75

IV – 1.6 OPPORTUNITY MAPPING

Things should be taken care

Easy to drape

It should give the same aesthetics

Should be cost effective

It should be in free size

Weight should not be exceeded.

Easy to carry all the way

IV – 1.7 DESIGN IDEOLOGIES

Stitched skirt- Ready to wear

Less time consumption

New draping style

Substitute with other materials

Kalamandalam balan

Kalanilayam gopinadan

Kalamandalam arun

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IV – 1.8 DESIGN SKETCH

IV – 1.9 PRODUCT DESCRIPTIONS

Easy to drape

Time consuming

Free size

Cost effective

IV – 2 CONCLUSIONS

The study gives the overall view of the costumes and its modifications through

the years. Mostly the modification in this area is according to the changes in

the usage of materials and according to the need of the wearer or if the

garments or accessories get damaged they replace it according to the

available materials. Even the makeup materials changed from natural to

synthetics. The costume which they are using now is used by 3 to 4

generations. But still there is no adequate measures taken to reduce the

weight of the skirt. The process of draping takes a lot of time even the

garment itself is very huge. One thing which is prominently noticed that the

77

unawareness in the technicality of making garment is also a root cause for

lack of modification in it. So there is a need for intensive study to find out the

solutions to make the wearers more comfortable in the costume. According to

that make possible modification to the costume without compromising the

aesthetic.

IV 3 Questionnaire for interview

Name:

Age:

Occupation:

1. What is more important in kathakali according to you?

2. What is the important of colors in kathakali?

3. What is the important of uduthukettu( draping of under skirt)?

4. How much time will take to drape it?

5. Is it possible to drape dancers itself?

6. Have you ever thought of making changes in it?

7. If it is a stitched one how much it will helpful to the dancers?

8. Do you know the different characters in kathakali?

9. How do you differentiate different characters in kathakali?

10. What do you think about the kathakali costume,is it very heavy?

11. Have you ever think about the weight of the costume?

12. Is it really comfortable to the wearer?

13. If it is not, do you want any changes in it?

14. What do you think about the face make up in kathakali?

15. Do you know it is harmful to the skin?

78

V – 1 BIBLIOGRAPHY

1. D.Appukuttan Nair, K.Ayyappa Paniker, ed. Kathakali The art of non -

worldly, Morg publications.

2. Michael Tobia, India 24 hours , cmm Ltd.in association with Mapin

publishing pvt.Ltd.

3. Venu Alappuzha, ―Gopi chaayakal‖, mathrubhumi varanthappathippu,

22 March 2015, section.1 ,page 4.

4. ―Kathakaliyile mattangal kathakalikku yojikkunnathakanam

kalamandalam Gopi‖, Mathrubhumi 24 january 2015, section.1 ,page 2.

5. ―Kerala kalamandalam piravi kunnamkulathu‖ Kunnamkulam vartha ,

November 2012, section.1,page 1

6. 'nepadyam‗

7. Kathakali attaprakaram'

8. 50th suvarna jubili smaranika by kathakali club thrissur

Newspaper report-

9. Mathrubhumi , (kathakali mattangal kathapatrathinu

yojikkunnathakanam-kalamandalam Gopi) jan 24/2015

10. Kunnamkulam vartha patrika ,(kerala kalamandalam piravi

kunnamkulathu) nov-2012

V – 2 WEBLIOGRAPHY

1. mchalepac.lcsc.k12.in.us/winspr04.html as sited on 12/1/15

2. www.livemint.com/Leisure/Jvw9v1oxTY6cJUdUV3G5HP/Photo-Essay-

-The-texture-of-dance.html as sited on 12/1/15

3. www.youtube.com/watch?v=IgMAs9BqQ8g as sited on 12/1/15

4. www.usitt.org as sited on 10/1/15

79

5. en.wikipedia.org/wiki/Kathakali as sited on 13/2/2014

6. ccrtindia.gov.in/kathakali.php as sited on 13/2/2014

7. www.bhavalaya.com/art%20and%20culture/bharat_natyam.html as

sited on 13/2/2014

8. www.cyberkerala.com/kathakali/rituals.htm as sited on 13/2/2014

9. www.dsource.in/gallery/gallery-0468/fullview.html as sited on

13/2/2014

10. www.kathakalischool.com/Kathakali-Costumes.htm as sited on

13/2/2014

11. en.wikipedia.org/wiki/Bharata_Natyam as sited on 13/2/2014

12. www.shubhanu.com/dance-costume-

stitching/bharatanatyam/bharatanatyam-stitching.htm as sited on

13/2/2014

13. www.patient.co.uk/doctor/Arsenic-Poisoning.htm

14. nopr.niscair.res.in/bitstream/123456789/10308/1/IJTK%209(4)%20635-

639.pdf

15. hen.wikipedia.org/wiki/Cinnabar

16. en.wikipedia.org/wiki/Mercury_sulfide

17. kerenvis.nic.in/Database/Medicinalplants_1290.aspx?format=Print

V – 3 PRIMARY DATA COLLECTION REFERENCES

Face to face interview with

1. Padmashree kalamandalam Gopi Ashan

2. Kalamandalam Ravi

3. Kalamandalam Arun

4. Kalamandalam Balan

80

5. Mr.Manoj kumar

6. Members of thrissur kathakali club

Event attended

1. Seminar at Thrissur kathakali club

2. kathakali arangu at thrissur paramekkavu temple

3. kathakali arangu at kunnamkulam siva temple.

Telephonic interview with

1. Dr.devidas-Ayurveda

2. Kalanilayam Gopinadan- Kathakali professor

Photography

Chaithra K V