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Haasam laughter is the predominant emotion of this rasa. When the actor portrays the Haasya rasa, he lifts one eyebrow, pulls the pupils of his eyes inward, tightens his nostrils slightly to make the nose smaller, pulls his eye-lids down half-way and takes on an expression of happiness and pleasure. Athbhutha is the manifestation of the wonder and amazement felt at witnessing unusual or incomparable objects and events.
When the eyebrows are raised, the gaze is slowly directed outwards, the eyelids are stretched to the sides, the chin and neck are lightly thrust forward and the face displays an expression of delight, you have athbhuta rasa. Bhayanaka is the feeling of panic and dread brought on by the anticipation of danger.
It denotes a weakness of heart and a want of strength in character. Fear is the base emotion of the Bhayanaka rasa. To portray Bhayanaka, the actor widens his pupils and pushes them forcefully outwards. With eyes quivering, he raises his eyebrows one at a time and then together, pulls his lips inward, flares his nostrils, and looks from side to side like a deer that has caught the scent of danger.
The darkly reddened face conveys the adrenaline rush of extreme fear This rasa represents the revulsion that the character feels, on seeing unpleasant sights or things. Jugassa or disgust is the basic emotion here. While portraying this rasa, the character stoops his neck forward slightly, pulls his eyes inward to make them smaller, lowers his eyebrows, blinks his eyes, and pushes his cheeks and lips downward, all in a highly exaggerated fashion.
The rasa that is evoked when one is greatly wronged or humiliated. The base emotion is rage, and is manifested through a readiness to protest and resist, through verbal aggression, and through violence and war. To portray this rasa, the actor keeps his eyes wide open, his eyelids aflutter and his eyebrows lifted up.
Flared nostrils, quivering lips and clenched teeth also add to the intensity of the emotion on his face reddened by rage. Shantha is the emotion experience by a content mind filled with peace and with an absence of desire for material comforts. Detachment is the emotion that best expresses this rasa.
The state of Shantha is brought about by liberation from desires and detachment from the material world in combination with strong faith in God. To portray Shantha, the actor focuses his eyes on the tip of his nose, keeps his eyelids still and half closed and maintains an expression of realistic calm.
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Kathakali music is the music used during the performance to convey the story line or the dialogues between the actors. The dancers dance to the Aattakatha, the story, that unravels through a musical delivery by the playback singers. Of the two singers, one is the lead singer — the Ponnani — and the other repeats the verses sung by the lead.
He is known as the Shingidi. The verses are sung repetitively to allow the actor to convey an idea or express an emotion to his complete satisfaction.
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The distinctive music of Kathakali was born out of Sopana Sangeetham or Sopana Purappadu is one of the ritualistic elements of the play that signal the beginning of a Kathakali performance. The Purappadu comes after the Thodayam and the Vandana sloka. The main elements of this ritual include a sloka as a preface or introduction which is the purappadu sloka in Raag Bhairavi, and a padam that describes the heroic qualities of the main character.
During the rendering of the sloka and the pallavi, a pacha or heroic character and a female character enters the stage from behind the half-curtain that is held up by two people standing on both sides of the Ekalochanam is one of the extraordinary feats mastered by very few Kathakali artistes, wherein the artiste portrays anger in one eye and sadness in the other.
The commonly used alternative by performers is to shift This is a ritual performed as part of the performance when kathi, kari and thaadi characters enter the stage. Before they start acting, these characters, when standing behind the half-curtain, hold the curtain on the top with fingers spread out and look out at the audience. In actuality, they are looking at the flame of the lit lamp kept on the stage.
This is followed by the actor looking to both sides of the stage, after which the ritual is complete and the curtain removed. During the thiranottam of the kurumkathi characters who enact romantic scenes, a head ornament is held Aattavilakku vilakku means lamp is the traditional bell metal lamp that is kept lit on the stage during the entire Kathakali performance.
The lamp chosen for this is required to be no less than four feet tall. The top part of the lamp that will hold the wick or wicks should be around one and a half feet in diameter. The flame The Arangukeli comprise the initiatory rituals associated with a Kathakali performance. These include the Keli and the Arangukeli.
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Keli is the ritual to publicise an upcoming performance whereas the Arangukeli is the introductory ritual of the actual performance. As soon as the lamp kept on the stage is lit, the Arangukeli begins. Other descriptive names given to the Arangukeli include Shuddhamaddalam, Kelikkai and Ganapathikkyu Koduka.
The only two instruments used are the maddalam and the ilathaalam. The Arangukeli starts with the performers facing the audience. After a few minutes of playing on the maddalam, the artiste moves to one side and One of the techniques employed in the Indian acting tradition.
In this method of acting known as Angikaabhinayam, hand gestures are used to convey ideas and emotions. To convey a single idea, sometimes a variety of hand and finger positions are used. Every mudra or hand gesture has a particular meaning. In Kathakali, hasthamudrakal form the most important part of Angikaabhinayam. The hand gestures mentioned The eight day celebration is marked by the line-up of 21 caparisoned elephants. Traditional musical ensembles like panchavadyam and pandimelam add more charm to the festivities.
Peruvanam Pooram is noted for its antiquity and is held at the Peruvanam temple dedicated to Lord Shiva.
It is believed that the sanctum sanctorum of the temple was built at the spot where Lord Shiva is believed to have meditated under a tree. The festival in the beginning here was different from what it is now. Due to unknown reasons, the conduct of the festival changed to Peruvanam and Aarattupuzha festivals. The version of Peruvanam festival as we witness today is of years old.
The festival takes place during the Malayalam month of Meenam March-April. Highlight of the festival This is the very first ritual associated with a Kathakali performance and is carried out to publicise an event that is to take place shortly. The first keli is usually performed in a crowded place so that the people of places in and around the venue, are made aware of the event; as such it need not take place on the stage. The instruments used for the kelikottu are the chenda, the chengila, the maddalam and the ilathaalam.
This tradition originated at a time when there was no other medium to publicise Kathakali performances. Today, however, it is a mere ritual. A festival of colours and tuskers held every year, the Chinakkathoor Pooram is held at Sree Chinakkathoor Bhagavathy temple, Palappuram in the district of Palakkad in north Kerala. The highlight of the festivities at Chinakkathoor Bhagavathy temple is the day-long pooram. The pooram day is marked by a grand procession of caparisoned elephants and also features traditional orchestra like the panchavadyam and various art forms like vellattu, theyyam, poothanum thirayum, kaalavela, kuthiravela, aandi vedan, karivela and so on.
This ritual, in meditation of Shiva and Parvathi, focuses on dance, and involves two characters, one male and the other female. Actors who enact the roles of younger versions of the characters, dressed in pleated dhotis, dance behind the half-curtain. First of all, the actors enter the stage, bow, and then move towards the percussionists, playing on the chengila, A rare confluence of different cultures of modernity and traditional can be witnessed in this five-day long festival.
The people here owe their prosperity and happiness to Kavil Amma, the presiding deity. The festival days bring a great deal of joy to the devotees. The highlight of the festival is the procession on the concluding day. It would feature richly decorated kuthira kolams effigies of horses , ceremoniously brought to the temple by the devotees as offerings. The procession is accompanied by players of traditional percussion instruments and it culminates Vandanashlokam refers to the verses sung in praise of the Goddess and comes after the ritual of Thodayam.
One example of a vandanashlokam is that written by the famous Kathakali story writer, Kottayatthu Thampuraan, who, after finishing four stories without any hitches, composed one remembering his guru. The rules laid down by Vellaattu Chaathupanikkar, who was a guru at the kalari Kathakali school of Kottayathu Thampuraan, form the foundation of this change in format. Panikkar ushered in the new style by bringing about a lot of changes to the Vettatthu tradition, prevalent at the time.
These included changes in various components of the art form like the costume, the use of the stage, make up and the dance routines. Champakkulam Moolam Vallam Kali vallam kali means boat race is held at Champakkulam village in the taluk of Kuttanad in Alappuzha district. The race is held on the Champakkulam river, a tributary of River Pamba.https://pt.hevemepo.tk
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The race has various categories like the chundan snake boat , veppu, iruttu kuthi, churulan etc. Cutting across religious faiths, people take part in this event.
The Kapplingaadan Sampradayam refers to the reformation in the style and format of Kathakali put in place by Kapplingaattu Namboodiri, with the patronage of the erstwhile Travancore royal family. Kapplingaattu Namboodiri was a native of Nedumpura village in Thallappalli taluk of Thrissur district.
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This is a stage presentation style in Kathakali, the famous Indian classical dance drama form from the state of Kerala. There are three basic styles in Kathakali called sampradayams Vettathu Sampradayam, Kalladikkodan Sampradyam and Kaplingadu Sampradayam These styles differ from each other in subtleties like choreographic profile, stress on dance than drama and position of hand gestures.. The kalluvazhichitta adopts its style by mixing two basic styles called Kalladikodan and kaplingadan. This style is propounded by Ittiraricha Menon who belonged to the village Kalluvazhi near Vellinezhi in Palghat district and hence the name.
This style is mainly seen in central Kachakettu - putting on of the costume and make up is the very first lesson taught in as part of training in Kathakali.