Kathakali Costume Study and Analysis

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
10
KATHAKALI COSTUME STUDY AND
ANALYSIS
11
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:
12
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
Institute/Organization
Signature and date
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Remarks regarding fulfilling further requirements, If any:___________________________________________________________________________
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Signature of CC - Design Space
Date:
13
ABSTRACT
KATHAKALI is a traditional dance-drama from Kerala developed in midseventeenth century. KATHAKALI is emerged from "Krishnanattam―created
by Sri Manavedan Raja in Sanskrit language, the Zamorin of Calicut (15851658 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
14
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
15
TABLE OF CONTENT
SL.NO
TOPIC
I
INTRODUCTION
PAGE
NO.
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
REMARKS
Research design, research method
and research methodology
II.1
II.2
14
Research design
Research method
14
Research methodology
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
Kathakali styles
26
Characters
Pacha
27
III- 7
III- 8
26
III-8.1
16
III-8.2
III-8.3
Kathi
Thadi
Kari
III-8.4
Minukku
III-8.5
III-9
Costumes
29
III-9 .1
Costume details
30
III.10
Picture gallery – accessories and
costume
Process of making kireedam
42
III.11
46
(crown)
III.12
Make ups
47
Theppu and chutti (facepainting
and white beard making)
Chutty kuthal/ making white beard
Uduthukettu/ draped skirt
III-13
Make up products which is used
now
PHASE II
55
IV-1
IV-1 .1
Analysis of data
Production details with present
modifications
58
IV-1 .2
Interview feedback about face
make up material
Findings
61
IV
IV – 1.3
IV – 1.4
56
62
63
Problem identified in skirt draping
IV – 1.5
Interview feedback about
63
uduthukettu
IV – 1.6
Opportunity mapping
64
IV – 1.7
Design ideologies
64
IV – 1.8
Design sketch
65
IV – 1.9
Product descriptions
65
17
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
18
I - INTRODUCTION
19
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.
20
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.
21
II - RESEARCH PLAN
22
23
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.
24
What do I need
to know?




Why 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.
To make more awareness about the aspects and
values of KATHAKALI costume.
Make a better understanding of KATHAKALI
costumes and the draping style





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
What kind of
data will answer
the question?

25
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
26
II.5 RESEARCH METHODOLOGY
PHASE I
SECONDARY DATA

Source: Academic
Journals,
Conference
Proceedings,
Thesis, Research
papers, Articles,
Blogs, available on
the internet and
Books, Graduation
Projects.
PRIMARY DATA













About Kathakali
History
Related art forms
Make up
Costume
Modifications
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 nonparticipant 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
27
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
28
III - PHASE I
29
30
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
31
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
32
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
of Bhima going
build-up
to
get
to
it), Kalyanasougandhikam,
flowers
for
his
(the
story
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,
the Bible, Homer's Iliad,
such
and William
as
those
of Mary
Magdalenefrom
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.
33
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
34
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 antiheroes 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
35
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
Kalamandalam (located
Sangham (located
the
pre-Independent
era
India)
are Kerala
in Cheruthuruthy near Shoranur),PSV
in Kottakal near Kozhikode), Sadanam
Kathakali
Natya
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
36
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
37
III-8.2 KATHI
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
III-8.3 THADI
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
THADI
are the character types in which black
predominates in make-up and costume. These are the primitive beings - the
predominates
wild hunters and forest dwellers.
38
III-8.4 KARI
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
III-8.5 MINUKKU
It is used to represent women and sages.
Traditionally,kathakali
predominantly
being
male
a
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.
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.
39
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
40
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
41
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.
42
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 closefitted 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.
43
• 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
44
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
45
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.
46
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 handcarved 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.
47
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
48
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.
49
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
50
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
51
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
Tandappatuppu
Karithoda
Chilanga
Chevipoovu
Thoda
52
Mula kollaram
Kazhutharam
Tholpoottu
kollaram
Ottanakku
padiyaranjan
Parithikkamini
53
Vala
Vella Uthareeyam
Hasthakhadakam
Pattuval
Kuppayam
Chuttithuni
Chanthi
Chamaram
54
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)
55
III.11 PROCESS OF MAKING KIREEDAM (CROWN)
Wooden base made by
kumizh wood
Shells mold into
vandinthodu shape
Vandinthodu
(Wings of beetle)
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.
56
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
Face painting- Chutti
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 (bluetaken 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.
57
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).
Adding chundappu (Solanum surattense ) in
eye lid

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.
58
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.
Make up of Pacha
character
Make up of Minukku (Women character)
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
59
chutti.Chutti materials changed from rice paste to paper and even readymade
chutti.
3. Preparing paper Chutti
Chutti of Pacha character
Chutti of Kari character
60
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.
Uduthukettu nada
(8mtr Long stripe of cotton cloth
which is used to tie uduthukettu
Puramval(inner skirt)
61
Ulluvaal
pattuvaal (outer skirt)
PROCESS OF DRAPING
Hip pad
1. Tying hip pad around
the waist
2. Folding plastic fabric sack
62
3. Uduthukettu- Draping sack around waist
4. Outer skirt draping
63
Kathakali Pacha character in a complete make up
64
III-13 MAKE UP PRODUCTS WHICH IS USED NOW
Manayoa (arsenic)Yellow color natural stone
Zink oxide
Kattaneelam (indigofera tinctoria)Blue color, extracted from the
leaves neelamari
Chayam
Chayillyam (Cinnabar) – Red
natural stone
Chundappoo (Solanum surattense ) used to make red eyes
Manayola preparation
65
66
IV - PHASE II
67
68
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
69
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.
70
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.
71
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
Padmasree kalamandalam Gopi Ashan
got skin infection due to makeup materials.
1 Do you know some of the materials are harmful to the skin and body?
No
40%
Yes
60%
2 Then why do you still follows the same material?
72
IV – 1.3 FINDINGS
Sl
MATERIALS
BEFORE
NOW
SIDE EFFECTS
Manayola
Natural stone Chemical
Manayola: A mineral. Toxic
-yellow
material.
no
1
in stone
color
(Arsenic)
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 Chemichal
Chayillyam
(Cinnabar)-
red in color
stone
mineral of mercury -All forms
(Cinnabar)
of mercury are quite toxic, it
caused shivering, loss of
sense, and death.
3
Kattaneelam
Blue
color Indigo
Harmful to the skin
extracted
from
neelamari
(indigofera
tinctoria)
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.
73
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.
Deep folds and uneven draping
IV – 1.5 INTERVIEW FEEDBACKS ABOUT UDUTHUKETTU
Padmasree Gopi Ashan
74
Kalamandalam balan
Kalanilayam gopinadan
Kalamandalam arun
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
75
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
76
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?
77
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 report9. 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
78
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
sited
on
13/2/2014
11. en.wikipedia.org/wiki/Bharata_Natyam as sited on 13/2/2014
12. www.shubhanu.com/dance-costumestitching/bharatanatyam/bharatanatyam-stitching.htm
as
13/2/2014
13. www.patient.co.uk/doctor/Arsenic-Poisoning.htm
14. nopr.niscair.res.in/bitstream/123456789/10308/1/IJTK%209(4)%20635639.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
79
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
80