{"search_results":[{"field_paragraph":"","field_popup_image":"","field_type":" \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_1%28Kerala%29.jpg\u0022 width=\u00223876\u0022 height=\u00222820\u0022 alt=\u0022Styles of Kathakali\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n","field_video_path":"","field_video_audio":""}],"facets":[],"facets_metadata":[]}, {"search_results":[{"field_paragraph":"\u003Cp style=\u0022text-align:justify;\u0022\u003EKathakali is renowned for its powerful physical vocabulary. While its elaborate costumes, makeup, and music often attract immediate attention, the foundation of Kathakali lies in its codified system of postures and poses. Every stance, bend, and gesture is deliberate and symbolically charged. The actor\u2019s body becomes a sculptural medium, capable of embodying gods, demons, warriors, sages, and celestial beings.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe theoretical basis for Kathakali\u2019s physical vocabulary can be traced to the \u003Cem\u003ENatyashastra\u003C\/em\u003E, attributed to Bharata Muni (c. 200 BCE\u2013200 CE). The \u003Cem\u003ENatyashastra\u003C\/em\u003E codifies body positions (\u003Cem\u003Ebhanga\u003C\/em\u003E), leg movements (\u003Cem\u003Echari\u003C\/em\u003E), and expressive gestures (\u003Cem\u003Emudras\u003C\/em\u003E), many of which Kathakali absorbs, combining them with Kerala\u0027s regional aesthetics and martial traditions, particularly Kalarippayattu. The strength, balance, flexibility, and dynamic lunges seen in Kathakali owe much to this martial discipline.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EKathakali training begins at a young age and spans 8 to 10 years before a performer is considered professionally accomplished. The regimen combines physical exercises and massages with medicated oils to build the elasticity needed for wide-legged stances, bent-back positions, and sustained squatting postures, alongside leg-strengthening and flexibility routines. Equal emphasis falls on facial and ocular control: specific drills train the eye muscles for exaggerated eye movements, and exercises for the brows, lips, neck, and cheeks develop the expressive range required for performance, all practised in coordination with music and mudras. This sustained conditioning is essential for the physical endurance demanded by performances that traditionally ran all night, requiring actors to hold difficult poses for extended periods.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EKalasams\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E\u0026nbsp;\u003C\/strong\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe \u003Cem\u003EKalasam\u003C\/em\u003E is the foundational rhythmic movement phrase in Kathakali\u0027s \u003Cem\u003Enritta\u003C\/em\u003E (pure dance) sections, punctuating and animating the drama. The knees are turned outward, the spine is erect, and the chest is expanded. The feet are firmly grounded, creating a stable base for sudden shifts and dramatic movements.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003EKalasams\u003C\/em\u003E are embedded within the dramatic context, and each carries an emotional quality or \u003Cem\u003Ebhava\u003C\/em\u003E shaped by the scene. They exist in several forms, increasing in scale and complexity. Smaller doubled units build into longer phrases, often culminating in compositions called \u003Cem\u003Earaddis\u003C\/em\u003E, typically structured in multiples of three. Other kalasams include the \u003Cem\u003EBaliya Kalasams\u003C\/em\u003E used in high dramatic tension; the \u003Cem\u003EVattam Vachchu Kalasam\u003C\/em\u003E, with circular spatial patterns and the \u003Cem\u003EAsthakalasam\u003C\/em\u003E, a stringing together of eight distinct movement units set to the ten-beat \u003Cem\u003EChampa tala\u003C\/em\u003E (rhythm) cycle.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EIn addition to the \u003Cem\u003Ekalasam\u003C\/em\u003E, the other units of the performance include \u003Cem\u003Eiratti, nalamiratti\u003C\/em\u003E and \u003Cem\u003Etonkaram\u003C\/em\u003E.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe face functions as a dynamic extension of bodily posture. Even when the body remains still, micro-movements in the eyes and cheeks sustain dramatic tension. Kathakali uses nine primary facial expressions (based on the \u003Cem\u003Enavarasas\u003C\/em\u003E-nine emotional states) and head movements, six eyebrow movements, eleven eye movements, four neck positions and many more micro-movements of the face. Kathakali is especially famous for its extraordinary eye movements. Actors undergo rigorous training to control eyeball rotation, pupil isolation, and eyelid fluttering.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cstrong\u003EFoot Movements in Kathakali\u003C\/strong\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe foot movements, exaggerated jumps and vigorous stamping are adapted from Kalarippayattu and are partially hidden from view by the heavy costumes donned by the actors. While they are sparingly used in the performance, their dynamism enhances the performance.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EIn Kathakali, the dancer must rely entirely on physical means to convey meaning. The feet participate in this expressiveness in a remarkably nuanced way with varying degrees of force, each manner of contact projecting a distinct personality or mood. A foot may be stamped firmly, hammered down, brought down with a chopping action along its outer edge, or simply allowed to graze the floor. Each of these qualities communicates something different about the character being portrayed. Interestingly, the foot in Kathakali is kept curved rather than flat during stamping, a practice distinct from other dance forms, as it is believed repeated stamping on flattened feet could damage the nerve endings in the feet.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EMudras\u003C\/strong\u003E\u003C\/em\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003ESpecial emphasis is placed on gesturing, divided into three forms: \u003Cem\u003Eprakritik\u003C\/em\u003E (natural or emotive), \u003Cem\u003Epratirupi\u003C\/em\u003E (imitative or representative), and \u003Cem\u003Eprasarit\u003C\/em\u003E (amplified or spread outward, such as in worship or benediction). These gestures are executed through coordinated control of the head, limbs and mudras.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe governing text for this gestural vocabulary is the \u003Cem\u003EHastalakshana Deepika.\u0026nbsp;\u003C\/em\u003ETranslating to \u0022The Lamp Showing the Purpose of Hand Gestures\u0022, this text is the principal manual of \u003Cem\u003Emudras\u003C\/em\u003E for the classical performance traditions of Kerala, including Kathakali, Koodiyattam, and Mohiniattam. However, its authorship remains unknown.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EInterestingly, while many gesture names overlap with those in the \u003Cem\u003ENatyashastra\u003C\/em\u003E and \u003Cem\u003EAbhinaya Darpana\u003C\/em\u003E, the actual forms differ. An example is what the \u003Cem\u003ENatyashastra\u003C\/em\u003E tradition calls \u003Cem\u003Epataka\u003C\/em\u003E, an open, extended hand which is known in Kathakali as the \u003Cem\u003Ethripatakam\u003C\/em\u003E. This reflects a distinct gestural identity that evolved from Kerala\u0027s own dramatic heritage.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003ESingle-finger signs called \u003Cem\u003Esanketas\u003C\/em\u003E are also used. More often, though, the hands form the 24 codified single-hand gestures. These combine in double-hand gestures to produce over 500 expressible words. Together, this mudra system works as a complete language: it can convey verbs, tense, full sentences, moods, and states of being. The meaning of a single hasta can also change depending on how it\u0027s performed, at different spatial levels, with or without arm movement, or with more or less force.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe 24 basic \u003Cem\u003Ehastas\u003C\/em\u003E are: \u003Cem\u003EPathaka, Mudrakhyam, Katakam, Mushti, Kartharimukham, Shukathundam, Kapithakam, Hamsapaksham, Shikaram, Hamsasyam, Anjali, Ardhachandram, Mukuram, Bhramaram, Soochikamukham, Pallavam, Thripathakam, Mrugasirsam, Sarpa sirassu, Vardamanakam, Araalam, Oornanabham, Mukulam,\u0026nbsp;\u003C\/em\u003Eand\u003Cem\u003E Katakamukham\u003C\/em\u003E.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe two types of mudras basis their use, are \u003Cem\u003ESamaana mudra\u003C\/em\u003E, where the same mudra is used in both hands to show the symbol, and \u003Cem\u003EMisra mudra\u003C\/em\u003E, where symbols are shown using different mudras in both hands. The \u003Cem\u003Ehastas\u003C\/em\u003E assume their greatest importance in the \u003Cem\u003Eabhinaya\u003C\/em\u003E (expressive storytelling) sections of the performance.\u003Cstrong\u003E\u0026nbsp;\u003C\/strong\u003EUnlike many other dance forms, Kathakali mudras are highly elaborate and capable of conveying entire sentences.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EMandala Sthana\u003C\/strong\u003E\u003C\/em\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe foundational stance of \u003Cem\u003EMandala Sthana\u003C\/em\u003E is geometric in character. The dancer stands with feet spread wide apart, knees rotated outward, and the outer edges of the feet pressed firmly into the ground. This grounded, open-legged posture forms the base from which all movement radiates. Kathakali, unlike other dance forms, maintains a consistent two-to-three-foot gap between the feet, with the knees always turned outward.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe spatial logic of Kathakali is organised around imaginary squares and rectangles. The dancer traces the perimeters of these shapes, moving from corner to corner, touching each point of the geometric form before returning to the origin. The arms, hands, and gaze follow the same geometric discipline, tracing squares, rectangles, and sharp diagonals. Additionally, the \u003Cem\u003ENatyashastra\u003C\/em\u003E lists body positions and postures used by almost all classical dances. Kathakali performers draw on a few of these, which are:\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003ESamabhanga\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E (Balanced Position): \u003C\/strong\u003EThis places the body in perfect symmetry about its central vertical axis, with weight evenly distributed. This stance suggests calmness, divinity, and composure. It is commonly used by \u003Cem\u003EPacha\u003C\/em\u003E or noble characters such as Rama or Krishna.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EAbhanga\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E (Slightly Bent Position):\u0026nbsp;\u003C\/strong\u003EThis introduces a subtle tilt or weight-shift to one side, breaking the symmetry without abandoning control. This is the posture of grace and mild emotional complexity. It is used mostly by \u003Cem\u003EPacha\u003C\/em\u003E characters and \u003Cem\u003EMinukku\u003C\/em\u003E (female and gentler) characters.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EAtibhanga\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E (Exaggerated Bend):\u0026nbsp;\u003C\/strong\u003EThe torso bends dramatically or diagonally, torso inclined sharply, and knees remain bent. This is often seen in demonic or aggressive characters, such as \u003Cem\u003EKathi\u003C\/em\u003E and \u003Cem\u003EThadi\u003C\/em\u003E characters. It enhances theatrical exaggeration and conveys psychological intensity.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EInterestingly, in Kathakali, each character category employs a distinct posture, through which audiences can identify moral alignment and temperament. These positions shape the character\u2019s physical identity long before narrative action unfolds.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EStillness in Kathakali is as powerful as movement. A frozen pose with eyes blazing and arms extended can convey climactic emotion. The interplay between motion and stillness heightens dramatic rhythm and intensifies audience anticipation.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EPosture in Kathakali is inseparable from the costume. The voluminous skirt and heavy crown alter balance and the centre of gravity. Actors adjust their posture to accommodate the costume weight, which can exceed 20 kilograms. The costume also accentuates spins and amplifies the lower-body stance, while the towering crown necessitates neck alignment.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EIn contemporary theatre settings, performances are often shorter, and stages are smaller than traditional temple courtyards. While core postures remain intact, some adaptations have emerged, such as reduced duration of sustained squats, modified spacing on the stages and adjusted choreography for international tours. Postures and poses in Kathakali constitute a sophisticated physical language rooted in classical drama and enriched by martial training, transforming the human body into an instrument of mythic and emotional expression.\u003C\/p\u003E","field_popup_image":"","field_type":" \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kalamandalam_sivadath_as_krishna.jpg\u0022 width=\u0022555\u0022 height=\u0022556\u0022 alt=\u0022Postures and Poses\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n","field_video_path":"","field_video_audio":""}],"facets":[],"facets_metadata":[]}, {"search_results":[{"field_paragraph":"\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EKathakali is globally recognised not only for its stylised performance but also for its magnificent costumes and jewellery. The visual grandeur of Kathakali is central to its identity. The elaborate headgear, layered skirts, chest ornaments, and intricate facial makeup transform performers into larger-than-life embodiments of gods, demons, and heroes. In Kathakali, costume is not mere decoration; it is a visual language that communicates character, morality, and emotional tone even before the actor begins to move.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EKathakali developed between the 16th and 17th centuries in Kerala, drawing influences from earlier temple and court performance traditions such as Krishnanattam and Ramanattam and Kerala\u2019s temple mural traditions and ritual arts like Theyyam. These forms already employed stylised attire to represent mythological characters. However, Kathakali expanded and systematised costume aesthetics into an extraordinarily elaborate visual code.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EBy the 18th century, Kathakali\u2019s costume grammar had largely stabilised, and distinct conventions developed regarding colour, ornamentation, and silhouette. Kathakali costumes serve as a non-verbal narrative tool. Even before the actor performs, audiences can identify the character\u0027s moral nature and psychological disposition from costume type, jewellery density, and headdress structure.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003ECharacters are traditionally grouped into categories such as:\u003C\/span\u003E\u003C\/p\u003E\u003Cul style=\u0022list-style-type:disc;\u0022\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003E\u003Cstrong\u003EPacha\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E\u003Cstrong\u003E (Green):\u0026nbsp;\u003C\/strong\u003EThese characters represent noble, virtuous, and heroic figures. Their faces are painted bright green, symbolising righteousness and moral superiority. The eyes are painted in an elongated shape, resembling the graceful form of lotus petals, while the lips are painted red, enhancing the character\u2019s expressive and divine appearance. They wear elaborate crowns, rich costumes, and the distinctive white cutouts that give the face enlarged dimensions, in addition to the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echutti\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (white rice paste) that frames the face. Characters such as Lord Rama, Lord Krishna, and Arjuna (from the Mahabharata) typically belong to this category. These characters can be differentiated based on varied forehead designs. Additionally, when these characters assume a ferocious mood (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Eraudra\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E), a large black moustache is drawn over the green make-up, extending from the upper lip toward the cheekbones. This signals a shift in temperament. An example of this is the character of Bhima from the Mahabharata, who transforms from a purely noble figure to a wrathful warrior.\u003C\/span\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003E\u003Cstrong\u003EKathi\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E\u003Cstrong\u003E (Knife):\u0026nbsp;\u003C\/strong\u003EThese characters represent powerful but morally flawed figures such as kings, anti-heroes, and arrogant villains who possess courage and capability but are driven by pride, ambition, or cruelty. Examples of such characters include Ravana (from the Ramayana), Duryodhana (from the Mahabharata) and Kamsa (the tyrant uncle of Lord Krishna). Their make-up combines a green base (indicating nobility) with striking red and white patterns on the nose and cheeks that suggest aggression and evil intent. The upturned black moustache is also seen in these characters. The elaborate \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echutti\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E framing the face further heightens their dramatic presence. Through this bold and contrasting design, \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EKathi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E characters visually embody a blend of grandeur, authority, and inner corruption.\u003C\/span\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003E\u003Cstrong\u003EThadi\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E\u003Cstrong\u003E (Bearded type):\u0026nbsp;\u003C\/strong\u003EThese characters are distinguished by their prominent coloured beards and represent intensely dramatic roles that include demonic beings as well as forest dwellers. There are three main types:\u003C\/span\u003E\u003C\/li\u003E\u003C\/ul\u003E\u003Cp style=\u0022margin-left:36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EChuvanna Thadi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (red beard), which depicts violent and ferocious beings such as demons. The face is painted red with black on the upper portion, and the eyes are accentuated with bold black shapes. The \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echutti\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E projects outward in sharp, square patterns, and the chin is extended with a thick false beard. Protruding fangs and fierce cries intensify their terrifying stage presence.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022margin-left:36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EVeluppu or vella Thadi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (white beard) is used for divine or heroic characters like Lord Hanuman. The base is predominantly white, suggesting a pure yet powerful nature, capable of ferocity. This category includes many modifications to depict characters like Lord Shiva or Balabhadra. This type is considered one of the most visually powerful make-up styles in Kathakali.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022margin-left:36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EKarutha Thadi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (black beard) represents forest dwellers, hunters, or primitive beings. These are not always anti-heroes but are off-beat characters. The base make-up is black, overlaid with striking red and white designs, giving the character a wild and untamed appearance.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cul style=\u0022list-style-type:disc;\u0022\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003E\u003Cstrong\u003EMinukku\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E\u003Cstrong\u003E:\u0026nbsp;\u003C\/strong\u003EThese characters represent gentle, virtuous, and refined figures. Unlike the highly elaborate make-up of heroic or demonic roles, they use a simple and natural style. The face is given a soft yellow-orange or flesh-toned base without heavy masking or dramatic facial extensions. This understated make-up highlights subtle facial expression. Women, messengers, and sages appear in this category, dressed in comparatively simple and graceful costumes that reflect their calm and dignified nature.\u003C\/span\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003E\u003Cstrong\u003EKari\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E\u003Cstrong\u003E:\u0026nbsp;\u003C\/strong\u003EThis type of make-up is used for dark, sinister, and often monstrous characters. The face is painted predominantly black, sometimes with striking red and white patches or crescent shapes, to convey evil, treachery, or underworld associations. \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EAankari\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (male) depictions include characters such as demons and uncivilised hunters, while \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Epenkari\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (female) depictions include characters like Surpanakha (from the Ramayana) and other demonesses. These characters are typically portrayed with minimal ornamental embellishment compared to \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Epacha\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (noble) roles. Historically, witches and ogresses in this category are depicted with grotesque features and exaggerated body forms to heighten their fearsome presence on stage.\u003C\/span\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003E\u003Cstrong\u003EPazhuppu\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E\u003Cstrong\u003E (Ripe):\u003C\/strong\u003E This makeup type uses a strong orange-red base and is reserved exclusively for a small number of senior or elder divine figures. Characters depicted in this type include Brahma, Shiva, Surya, and Balarama. Like Pacha characters, they wear a \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echutti\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E framing the face, and the overall design closely resembles the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EPacha\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E type, with the key distinction being the replacement of green with the characteristic orange-red base. The use of this colour sets these figures apart from the green-faced heroic characters while still marking them as divine beings of the highest order.\u003C\/span\u003E\u003C\/li\u003E\u003C\/ul\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EBeyond these types, another category, \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003ETeppu\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, serves as a category for special mythological characters such as Garuda, Jatayu, Hamsa, and Narasimha, whose makeup does not conform to any of the standard types. Interestingly, their makeup is applied by the performers themselves rather than by a makeup specialist (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echuttikaram\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E).\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022line-height:normal;text-align:justify;\u0022\u003E\u003Cspan\u003ETogether, \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EPacha, Kathi, Thadi, Minukku, Kari,\u0026nbsp;\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003Eand\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003E Pazhuppu\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E form the core codified \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Evesham (\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003Ecostume\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003E)\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E system of Kathakali. Their makeup and costume follow the strict \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003ENatyadharmi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E presentation, the highly stylised, convention-bound form of theatrical representation described in the Natyashastra and cannot be altered by the actor or make-up artist. Certain characters, however, fall outside this codified system, employing comparatively naturalistic costumes that reflect their everyday, worldly roles. These include the Hamsa in \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003ENalacharitham\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E and the mahout in \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EKamsa Vadham\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E. Their presentation draws on the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003ELokadharmi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E type, the realistic, life-imitating counterpart to \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003ENatyadharmi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022line-height:normal;text-align:justify;\u0022\u003E\u003Cspan\u003EThe paint used for the makeup is traditionally made from natural ingredients mixed with coconut oil. Red is made using vermillion (or cinnabar) and, in some cases, obtained from the palash flower, while black is made from soot. Rice paste serves as the base for white, while a mix of indigo and yellow cinnabar powder produces green. Yellowish-orange pigments are obtained by mixing manayola, turmeric, or cinnabar powders with rice powder. Sap of the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emaruthu\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (Arjuna tree) is used as glue, along with lime and rice flour, to accentuate the jaw and stick the paper cutouts.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EA full Kathakali costume consists of several key components:\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EThe Skirt\u0026nbsp;\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EThe voluminous hemispherical skirt, known as the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Eututtukettu\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, worn by male characters, is perhaps the most striking feature. Constructed from multiple layers of stiffened cloth, it creates a circular silhouette that amplifies the performer\u2019s presence. The layers are tightly pleated and secured around the waist, often supported by a structured frame. Padded crescent-shaped hip pads known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EChanthi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E are worn to support the width of the skirts. A lightweight cotton pyjama is also worn under the skirt, which is folded and wrapped snugly around the ankles and held together at the shins with padded supports with bells known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekanchamani\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E. Below these are smaller supports made of red and black\/blue cloth and coconut husk fibres, known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Etandappatuppu\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E. Additionally, embroidered cloth in the form of decorative flaps (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Epattuval\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E) is added to either side of the skirt, while in the front, a decorative element known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emunti\u0026nbsp;\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003Eis hung.\u0026nbsp; Historically made from handwoven cotton, modern versions of the skirt and its accompaniments may incorporate synthetic materials for durability and lighter weight. The vibrant colours, predominantly red, white, and black, enhance visibility under oil lamps and stage lighting.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003ESthree vesham\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, or the costume of female characters, consists of simpler skirts with a veil. The female costume also includes the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Esthree\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Euttariam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, an apron-like pleated cloth tucked into the front of the waist.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EThe Upper Garments\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EA cotton underjacket known as the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Eadikuppayam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E is worn to cover the upper body. The torso is then adorned with a richly embroidered jacket (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EKuppayam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E) in bold hues, depending on character type. The chest is often padded to create a broad, heroic physique, emphasising strength and divinity. \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EPacha\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E characters typically wear jackets in purple, blue, or yellow. Red-bearded characters wear red jackets, while white-bearded characters wear white. The \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Euthareeyam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (scarves) hanging on either side of the costume follow the colour scheme established by the make-up, usually one red and multiple white. The contrasting scarves are known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekotta uthareeyam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E. The ends of these scarves resemble inverted lotuses.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EOn the waist is worn a \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EKatibandha\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, a two-part waist ornament worn by both male and female characters, consisting of the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Eottanakku\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E and \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Epatiarannanam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E. The \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Eottanakku\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E is a stiff red wool apron panel decorated with silver crescents, beads, fringes, and pompoms (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekalanchi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E), tied at the centre front over the skirt. \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EPatiarannanam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (or \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Epatiarayan\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E) is a carved, beaded waist belt made of seven graded sections. Each section is carved, covered in wool, and decorated with metallic foil and plastic gems. The end sections have holes from which strings of carved, gilded beads hang. The women\u2019s belt typically has two bead strings, though a third may be added. Red cotton cords join the sections and tie the belt around the waist over the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Eottanakku\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EJewellery\u003C\/strong\u003E in Kathakali is usually made of wood, gilded and beautifully coloured.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EFacial Frames\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EThe iconic white rice-paste frame (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echutti\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E) around the face creates a halo-like effect that both isolates and emphasises facial expressions. Additionally, small, circular, concave crest jewels known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EChevipoovu\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E are worn by the male characters above their ears. Above these, cotton cords are secured with a black cloth (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Enetti nada\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E) to pad the head for the crown. A shaped red wool headband (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echuttittuni\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E), decorated with rice paste, bridges the makeup and headdress.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EEarrings\u0026nbsp;\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003ELarge ear ornaments, such as the round disc-like convex earrings known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EThoda\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, extending outward dramatically, are worn by male characters. The female characters, on the other hand, wear \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekatila\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (eggplant-shaped earrings). Their look is completed with the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emookkuthi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, a small nose ring.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EChest Ornaments\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003ELarge circular breastplates known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekuralaram\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E and layered necklaces cover the chest. Female characters wear a medium-sized breastplate known as the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emulakkuralaram\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E. Kari characters wear exaggerated breasts known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emulamukku\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E. Each of these pieces is carved and covered in wool and beads.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003ELayered gold beaded necklaces, such as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EKazhutharam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, are worn. Smaller necklaces called \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EIlakkathali\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E are also worn. These pieces often include Gold-coloured metal plating, beaded patterns, glass stones and intricate filigree. Noble and divine figures wear heavier ornamentation than demonic or subordinate characters. A \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekashuthu nada\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E or collar is worn to hold the breastplate down and \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekazhutharam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E up.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EArmlets and Bracelets\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EHasthakhadakams\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E decorate the wrists, while thick bracelets called \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Evalas\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E accentuate the upper wrists. Armlets known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EParithikkamini\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, with protruding elements, are worn in addition to \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003ETholpoottu\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, upper arm ornaments tied below the bicep to secure the sleeve.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003ESince Kathakali relies heavily on expressive hand movements, \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EVellinakam \u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E(or \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Enakham\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E) are long, polished silver-toned fingernail extensions worn on the left hand to lengthen the fingers and highlight \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emudras\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (hand gestures). Performers may also wear personal rings, and bright pink or gold powder or henna is sometimes applied to emphasise the hands and the edges of the feet.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EWaist Ornaments\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EThe waist is secured with decorative belts, often elaborately patterned, which also help stabilise the multiple layers of the costume.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EFeet ornaments\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EKachamani\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, ornaments with a dozen brass bells, similar to \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Eghungaroo\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, are worn by all male characters. These are worn below the knee and tied above the fullest part of the calf. \u0026nbsp;The female version, known as the \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echilanka\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E, has higher and lighter-sounding bells (34 in number).\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EMale performers playing female characters also don belts, girdles, necklaces and breasts (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echanthi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E) as part of their costume. Saintly characters, on the other hand, adorn themselves with floral garlands.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EHair\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EHair is carefully styled to support both the aesthetic and structural demands of the costume. For most characters, the natural hair is tightly tied into a knot at the crown to secure the headgear. Most characters use attached \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echamaram\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (hairpieces) or stylised arrangements to enhance their appearance. The \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echamaram\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E is a false-hair wig made of jute strands attached to cotton tape, about 40 inches long. \u0026nbsp;In female roles, it is tied around the head and veil support, while in \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Epaccha\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E characters, it is fixed to the crown. It moves dynamically with the performer and covers the back of the costume.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EThalekkettuval\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E is a narrow, beaded headband worn at the edge of the headdress, helping fill gaps and stabilise the crown.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u003Cstrong\u003EThe Headgear\u0026nbsp;\u003C\/strong\u003E\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EThe towering headgear known as \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekesabharam kititam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E or \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emudi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E distinguishes high-status characters. These headgears are usually carved from lightweight wood and use cloth, metal foil, mirrors, and beadwork. Historically handcrafted by specialist artisans, they require careful balancing to allow performers to move freely despite their size. Each category has its own style of headgear:\u003C\/span\u003E\u003C\/p\u003E\u003Cul style=\u0022list-style-type:disc;\u0022\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EPacha\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E characters wear grand, low conical, and symmetrical crowns symbolising nobility. The crowns usually have a small circular disk at the back (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekesabharam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekiritam\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E). Distinctive cone-shaped crowns without the disks are also created for young or playful characters such as Lord Krishna, Lav and Kush, as well as other young princes.\u003C\/span\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EKathi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E characters feature ornate crowns which are taller and have a larger, more ornamented disk, symbolising ego. These crowns are much heavier than those of Pacha characters and have a more intimidating effect.\u003C\/span\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EThadi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (bearded) characters often have dramatic, exaggerated headpieces. With large decorative and structural elements (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emudi\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E), these crowns depart from the standard crowns and reinforce the nature of the characters that don them.\u003C\/span\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EKari\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E headgear includes massive exaggerated \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Emudis\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E that extend outward and upward. These are designed to overwhelm the viewer, and their scale emphasises chaos, brutality and supernatural strength.\u003C\/span\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cspan\u003EMinukku\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E characters wear modest, rounded head coverings integrated with the hair arrangement. This headgear is simple and restrained, unlike that of the other characters. This includes a \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Echuttithuni\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E (a narrow-beaded headband) and \u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003Ekontakettu,\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E a fitted cap with a side projection to support the veil. The veil is usually a long, gilded fabric that drapes past the waist and is used expressively in performance.\u0026nbsp;\u003C\/span\u003E\u003C\/li\u003E\u003C\/ul\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EA full Kathakali costume can weigh between 10 and 25 kilograms. Performers are trained to balance the heavy skirt and crown while executing jumps, spins, and dramatic poses. The costume directly shapes movement vocabulary: the wide skirt limits certain leg positions but enhances rotational spins; jewellery highlights hand gestures; and the rigid headgear demands controlled neck movements. The costume is not a mere decoration but defines the grammar of the performance.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EHistorically, Kathakali performers were exclusively male, including those portraying female roles (\u003C\/span\u003E\u003Cem\u003E\u003Cspan\u003EMinukku\u003C\/span\u003E\u003C\/em\u003E\u003Cspan\u003E). The costume for female characters is comparatively understated: softer colours, minimal facial framing, and delicate jewellery. In recent decades, women have increasingly trained and performed Kathakali. Their participation has prompted subtle adaptations in costume tailoring to ensure comfort without compromising traditional aesthetics.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EWorkshops conducted by cultural institutions allow visitors to observe the elaborate dressing process, which can take several hours. This preparation ritual underscores the sacred and transformative nature of the costume.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003EKathakali costumes and jewellery are among the most elaborate in any theatrical tradition in the world. Through colour, structure, and ornamentation, they transform performers into gods, demons, sages, and heroes. Beneath the layers of fabric, metal, and paint, the individual disappears and, in that transformation, lies the heart of Kathakali itself.\u003C\/span\u003E\u003C\/p\u003E","field_popup_image":" \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_at_Kerala_School_Kalolsavam_2019_05.jpg\u0022 width=\u00222951\u0022 height=\u00222630\u0022 alt=\u0022A Pacha character Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kalyanasougandhikam_day_2_during_Kathakali_festival_at_Mridangasyleshwari_Temple_2025_%28286%29.jpg\u0022 width=\u00225568\u0022 height=\u00223712\u0022 alt=\u0022Hanuman, a Thadi character Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_kerala_kuchelavritham1.jpg\u0022 width=\u00224000\u0022 height=\u00225000\u0022 alt=\u0022A Minukku character Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_dancers_%28India%2C_2022%29_06.jpg\u0022 width=\u00221080\u0022 height=\u0022608\u0022 alt=\u0022A Kari character Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_makeup_for_Kirmmeeravadham_during_Kathakali_festival_at_Mridangasyleshwari_Temple_2025_%2869%29.jpg\u0022 width=\u00225568\u0022 height=\u00223712\u0022 alt=\u0022Applying the chutti\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/The_final_round_of_tightening%2C_Kathakali%2C_Kerala%20%281%29.jpg\u0022 width=\u00224608\u0022 height=\u00223072\u0022 alt=\u0022A performer tightening his skirts Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_of_Kerala_by_Shagil_Kannur_5.jpg\u0022 width=\u00223712\u0022 height=\u00225568\u0022 alt=\u0022A performer applying makeup Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_makeup_for_Kirmmeeravadham_during_Kathakali_festival_at_Mridangasyleshwari_Temple_2025_%2887%29.jpg\u0022 width=\u00225568\u0022 height=\u00223712\u0022 alt=\u0022Kotta Uthareeyam, contrasting scarves Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Chanthi%20Female%20costume.png\u0022 width=\u0022484\u0022 height=\u0022515\u0022 alt=\u0022Chanthi (Female costume) \u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Chuttithadi.png\u0022 width=\u0022611\u0022 height=\u0022408\u0022 alt=\u0022Facial Decoration: Chuttithadi\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Earring.png\u0022 width=\u0022498\u0022 height=\u0022501\u0022 alt=\u0022Ear Ornaments\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/hasthakhadakam%20Hand%20ornament.png\u0022 width=\u0022604\u0022 height=\u0022413\u0022 alt=\u0022Hand ornament: Hasthakhadakam \u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kanchamani.png\u0022 width=\u0022612\u0022 height=\u0022408\u0022 alt=\u0022Kanchamani\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kazhutharam.png\u0022 width=\u0022436\u0022 height=\u0022572\u0022 alt=\u0022Neck ornaments: Kazhutharam\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kiritam.png\u0022 width=\u0022448\u0022 height=\u0022557\u0022 alt=\u0022Headdress: Kiritam\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/kollaram%20Haaram.png\u0022 width=\u0022609\u0022 height=\u0022410\u0022 alt=\u0022Neck Ornaments: Kollaram Haaram\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/padiyaranjan-%20belt.png\u0022 width=\u0022646\u0022 height=\u0022386\u0022 alt=\u0022Belt: Padiyaranjan\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/parithikkamini%20bangles.png\u0022 width=\u0022612\u0022 height=\u0022408\u0022 alt=\u0022Bangles: Parithikkamini\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Tandappatuppu.png\u0022 width=\u0022612\u0022 height=\u0022408\u0022 alt=\u0022Worn on the Foot: Tandappatuppu\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Thoda%20Earrings.png\u0022 width=\u0022608\u0022 height=\u0022410\u0022 alt=\u0022Ear Ornaments: Thoda\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Tholpoottu%20Upper%20arm.png\u0022 width=\u0022613\u0022 height=\u0022407\u0022 alt=\u0022Worn on the upper arm: Tholpoottu\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Vala.png\u0022 width=\u0022606\u0022 height=\u0022411\u0022 alt=\u0022Worn on the wrist: Vala\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_of_Kerala_by_Shagil_Kannur_3.jpg\u0022 width=\u0022640\u0022 height=\u0022960\u0022 alt=\u0022A Kathi character Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_BNC.jpg\u0022 width=\u00222600\u0022 height=\u00223925\u0022 alt=\u0022A Kathakali Performer in complete costume\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n","field_type":" \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_makeup_for_Kirmmeeravadham_during_Kathakali_festival_at_Mridangasyleshwari_Temple_2025_%2869%29.jpg\u0022 width=\u00225568\u0022 height=\u00223712\u0022 alt=\u0022Costumes and Jewellery\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n","field_video_path":"","field_video_audio":""}],"facets":[],"facets_metadata":[]}, {"search_results":[{"field_paragraph":"\u003Cp style=\u0022text-align:justify;\u0022\u003EKathakali is widely admired for its elaborate costumes, powerful music, and codified gestures. Its narrative wealth, drawn primarily from India\u2019s epic and Puranic traditions, forms the core of its artistic identity.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EOver centuries, poets, scholars, and performers have shaped a vast body of performance texts known as \u003Cem\u003EAttakatha\u003C\/em\u003E, which provide the scripts for enactment. These texts are written in Malayalam (often with strong Sanskrit influence) and are specifically structured for musical rendering and gestural interpretation.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EUnlike spoken theatre, Kathakali actors do not deliver dialogues. The singers render verses from the \u003Cem\u003EAttakatha\u003C\/em\u003E, and performers interpret them through \u003Cem\u003Emudras\u003C\/em\u003E (hand gestures), facial expressions, and body movements. Thus, the repertoire is inseparable from performance grammar. Several \u003Cem\u003EAttakatha\u003C\/em\u003E compositions have achieved canonical status within the Kathakali tradition.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003ENalacharitham\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E (Four-Day Cycle):\u0026nbsp;\u003C\/strong\u003EOne of the most celebrated works in the Kathakali repertoire is \u003Cem\u003ENalacharitham\u003C\/em\u003E, written by Unnayi Warrier in the 18th century. It dramatises the story of King Nala and Queen Damayanti from the Mahabharata. The play is structured into four parts and is traditionally performed over four nights. \u003Cem\u003ENalacharitham\u003C\/em\u003E showcases all major \u003Cem\u003Erasas\u003C\/em\u003E (aesthetic emotions), making it a cornerstone of Kathakali training and performance.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EKalyanasougandhikam\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E:\u0026nbsp;\u003C\/strong\u003EBased on an episode from the Mahabharata, this play narrates Bhima\u2019s quest to obtain the fragrant Saugandhika flower for Draupadi. It is popular for its blend of heroism, humour, and dramatic confrontation. The encounter between Bhima and Hanuman provides opportunities for dynamic physical sequences and expressive acting.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EKeechakavadham\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E:\u0026nbsp;\u003C\/strong\u003EThis work dramatises the slaying of Keechaka by Bhima during the Pandavas\u2019 exile. It is known for intense emotional build-up and powerful combat scenes. The psychological tension between humiliation and revenge forms its dramatic core.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EDuryodhanavadham\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E:\u0026nbsp;\u003C\/strong\u003EThis piece centres on the final battle between Bhima and Duryodhana. It offers rich scope for portraying pride, rage, heroism, and tragic downfall.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EKiratham\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E:\u0026nbsp;\u003C\/strong\u003EBased on an episode where Lord Shiva appears as a hunter (\u003Cem\u003EKirata\u003C\/em\u003E) to test Arjuna, this work highlights divine disguise and spiritual revelation.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe Kathakali repertoire can be broadly classified into thematic clusters: Heroic Dramas (\u003Cem\u003EVeera Rasa\u003C\/em\u003E) that focus on bravery, warfare, and moral conflict, such as battle episodes from the Mahabharata; Devotional Narratives (\u003Cem\u003EBhakti\u003C\/em\u003E), which include Stories of divine grace, such as Krishna\u2019s childhood episodes, and emphasise devotion and divine play; Romantic and Emotional Dramas (\u003Cem\u003EShringara\u003C\/em\u003E and \u003Cem\u003EKaruna\u003C\/em\u003E), such as \u003Cem\u003ENalacharitham\u003C\/em\u003E that explore love, separation, sorrow, and reunion; Mythological Confrontations that include dramatic encounters between gods and demons, offering scope for intense physical choreography.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003ECharacters of the repertoire are traditionally grouped into categories that reflect their roles, with make-up signalling their narrative function and emotional range:\u003C\/p\u003E\u003Cul style=\u0022list-style-type:disc;\u0022\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EPacha\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E (Green):\u003C\/strong\u003E Represents the heroic protagonists of the repertoire, such as Rama, Krishna, and Arjuna. Their green make-up establishes moral authority and composure, allowing them to anchor the narrative. Subtle variations and occasional additions like the black moustache in \u003Cem\u003Eraudra\u003C\/em\u003E states (e.g., Bhima) enable shifts within the same character arc.\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EKathi\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E (Knife):\u003C\/strong\u003E Occupies the role of powerful antagonists or conflicted anti-heroes, including Ravana, Duryodhana, and Kamsa. Their make-up visually encodes inner contradiction\u2014nobility combined with arrogance or evil\u2014making them essential for dramatic tension and confrontation within the storyline.\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EThadi\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E (Bearded):\u003C\/strong\u003E Represents highly dramatic and episodic roles within the repertoire:\u003Cul style=\u0022list-style-type:circle;\u0022\u003E\u003Cli style=\u0022tab-stops:list 72.0pt;text-align:justify;\u0022\u003E\u003Cem\u003EChuvanna Thadi\u0026nbsp;\u003C\/em\u003E(red beard\u003Cem\u003E):\u003C\/em\u003E Embodies violent demonic forces that drive conflict and climactic action.\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 72.0pt;text-align:justify;\u0022\u003E\u003Cem\u003EVeluppu Thadi\u0026nbsp;\u003C\/em\u003E(white beard): Includes dynamic, semi-divine figures like Hanuman, often central to action-heavy sequences and displays of heroic (\u003Cem\u003Eveer\u003C\/em\u003E) and wonder (\u003Cem\u003EAdbhuta\u003C\/em\u003E) \u003Cem\u003Erasas\u003C\/em\u003E.\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 72.0pt;text-align:justify;\u0022\u003E\u003Cem\u003EKarutha Thadi\u0026nbsp;\u003C\/em\u003E(black beard): Portrays peripheral yet vivid characters such as hunters or forest dwellers, adding texture and variation to the narrative world.\u003C\/li\u003E\u003C\/ul\u003E\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EMinukku\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E:\u003C\/strong\u003E Represents supporting and refined characters such as women, sages, Brahmins, and messengers, who facilitate the progression of the plot through dialogue, devotion, or counsel. Their understated make-up aligns with roles that require subtle \u003Cem\u003Eabhinaya\u003C\/em\u003E and emotional nuance.\u003C\/li\u003E\u003Cli style=\u0022tab-stops:list 36.0pt;text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EKari\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E:\u003C\/strong\u003E Occupies the space of grotesque, fear-inducing figures such as demonesses and uncivilised beings (e.g., Surpanakha). These characters heighten the dramatic stakes and contribute to the portrayal of \u003Cem\u003Ebhaya\u003C\/em\u003E (fear) and \u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Nirmala UI\u0026quot;,sans-serif;\u0022\u003Evibhatsa\u003C\/span\u003E\u003C\/em\u003E (disgust) \u003Cem\u003Erasas\u003C\/em\u003E within the repertoire.\u003C\/li\u003E\u003C\/ul\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EHistorically, Kathakali performances lasted all night. Most of these began with a \u003Cem\u003Echendakaran\u003C\/em\u003E or chenda player broadcasting the start of the performance by beating the drum. This was known as \u003Cem\u003Ekelikottu\u003C\/em\u003E. Another instrumental item is then performed, which includes the chenda, cymbals and maddalam. This piece, known as the \u003Cem\u003ESevakali, \u003C\/em\u003Ecreates a calm atmosphere, setting the stage for the performance that is to follow.\u003Cem\u003E\u0026nbsp;\u003C\/em\u003EThese were usually performed at a temple dedicated to the village deity. A traditional oil lamp or \u003Cem\u003Evilakku\u003C\/em\u003E is then lit on the stage, behind which the performance begins.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003ETodayam\u003C\/strong\u003E\u003C\/em\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe stage is initially concealed by a multi-coloured curtain known as the \u003Cem\u003Eteresheela\u003C\/em\u003E, held at both ends by two attendants. The \u003Cem\u003ETodayam\u003C\/em\u003E is performed behind this curtain, away from the audience\u2019s view, and often without elaborate costumes or makeup. It is regarded as a ritual offering intended to please the gods. As a \u003Cem\u003Enritta\u003C\/em\u003E (pure dance) item, the \u003Cem\u003ETodayam\u003C\/em\u003E serves to sanctify the performance space and invoke divine blessings.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003ETodayam\u003C\/em\u003E is the first item learned by a young Kathakali actor and functions as a rigorous test of the performer\u2019s ability to maintain balance, execute mudras, control facial expressions, uphold classical body positions, and sustain rhythmic precision. In contemporary performance practice, however, the \u003Cem\u003ETodayam\u003C\/em\u003E is frequently abbreviated or omitted.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EVandana Slokam\u003C\/strong\u003E\u003C\/em\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThis item, also performed behind the curtain, is a singing of prayers from the \u003Cem\u003EAttakatha,\u003C\/em\u003E in praise of the gods.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EPurappadu\u003C\/strong\u003E\u003C\/em\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThis segment is a pure dance sequence which marks the beginning of the performance and introduces the lead characters. Unlike the \u003Cem\u003Etodayam\u003C\/em\u003E, this is performed in complete costume without the curtain. Two or more dancers (protagonists) execute hand gestures (\u003Cem\u003Ehasta mudras\u003C\/em\u003E) and foot movements in coordination with the music. While this segment contains no storytelling, it displays the grace and aesthetics of the costumed characters. At this point, only noble characters are introduced.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EMelapaddam\u003C\/strong\u003E\u003C\/em\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003EMelappadam\u003C\/em\u003E is a musical interlude that highlights the drummers and singers. During this segment, a verse from the \u003Cem\u003EGita Govinda\u003C\/em\u003E composed by the 12th-century Odia poet Jayadeva is rendered with primary emphasis on \u003Cem\u003Eraga\u003C\/em\u003E and \u003Cem\u003Elaya\u003C\/em\u003E (rhythm). This section functions as a concert within the larger performance, presenting the musicians as accomplished artists in their own right before the dramatic narrative begins. \u003Cem\u003EMelappadam\u003C\/em\u003E is intended to demonstrate the technical skill, musical range, and aesthetic sensitivity of the accompanying artists and singers to the audience.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003ETiranokku\u003C\/strong\u003E\u003C\/em\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003ETiranokku\u003C\/em\u003E is one of the most theatrical conventions in Kathakali, serving as the ceremonial first introduction of significant characters. Rather than simply walking onstage, a character makes their entrance from behind a curtain (\u003Cem\u003Eteresheela\u003C\/em\u003E) held by two stagehands, first revealing only the eyes and upper face, and then slowly revealing themselves to the audience through deliberate movement and expression. When a particularly powerful character appears, the process becomes almost confrontational; the figure seems to wrestle with the curtain itself, performing intricate dance sequences while drums and cymbals build the tension further. This careful withholding of the full image heightens both curiosity and suspense. The curtain finally drops, and the elaborately costumed figure stands revealed in its entirety. The moment makes \u003Cem\u003ETiranokku\u003C\/em\u003E a statement of presence, not merely an entrance.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003E\u003Cstrong\u003EKathabhinayam\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003E\u0026nbsp;\u003C\/strong\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cem\u003EKathabhinayam\u003C\/em\u003E is the point at which all preparatory ritual falls away, and the story fully takes over. It is built upon the \u003Cem\u003EAttakatha\u003C\/em\u003E, the literary text of Kathakali. The \u003Cem\u003EAttakatha\u003C\/em\u003E is composed in two distinct poetic forms: \u003Cem\u003ESlokas\u003C\/em\u003E, which are stanzas crafted in Sanskrit metres through which the poet narrates the story in the third person, and \u003Cem\u003EPadas\u003C\/em\u003E, songs set either in Dravidian metres or folk-tune frameworks and arranged across different \u003Cem\u003Eragas\u003C\/em\u003E, which carry the characters\u0027 own voice and dialogue. Generally, the \u003Cem\u003ESloka\u003C\/em\u003E belongs to the narrator and the \u003Cem\u003EPada\u003C\/em\u003E to the character, though this convention is occasionally reversed.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe dramatic action within it is structured around two interwoven modes of enactment. In \u003Cem\u003E\u003Cstrong\u003ECholliyattam\u003C\/strong\u003E\u003C\/em\u003E, performers follow the verses being sung by the vocalists in strict, word-by-word correspondence, expressing each line through precisely codified mudras and facial expression. Depending on the demands of the scene, the tempo shifts: romantic passages are rendered in a slow, meditative pace that allows each gesture to be savoured in full detail, while confrontations and battle sequences unfold at a rapid, charged rhythm. \u003Cem\u003E\u003Cstrong\u003EElakiyattam\u003C\/strong\u003E\u003C\/em\u003E, also equated with \u003Cem\u003Emanodharma (\u003C\/em\u003Eimprovisation)\u003Cem\u003E,\u003C\/em\u003E by contrast, operates in complete silence; no singing accompanies it. Here, freed from the text, the actor draws entirely on improvisation and creative imagination, enacting flashbacks, inner emotional worlds, scenes of natural grandeur, through movement, eye work, gestures, and expression alone.\u0026nbsp;\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EWoven throughout \u003Cem\u003EKathabhinayam\u003C\/em\u003E are four defined dance units. The \u003Cem\u003Ekalasam\u003C\/em\u003E is the most frequently used, a pure dance sequence that punctuates the drama with leaps, turns, and rhythmic footwork. The \u003Cem\u003Eiratti\u003C\/em\u003E is deployed at moments of battle and heightened conflict, driven by the energetic \u003Cem\u003Echempata\u003C\/em\u003E \u003Cem\u003Etala\u003C\/em\u003E (8-beat rhythmic cycle). The \u003Cem\u003Etonkaram\u003C\/em\u003E resembles the \u003Cem\u003Eiratti\u003C\/em\u003E in emotional intensity but is set to a different musical framework, bringing a tonally distinct quality to the scenes it accompanies. The \u003Cem\u003Enalamiratti\u003C\/em\u003E performs a structural function, marking the close of one episode and bridging the transition into the next.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan\u003E\u0026nbsp;\u003C\/span\u003E\u003Cem\u003E\u003Cstrong\u003EDhanasi\u0026nbsp;\u003C\/strong\u003E\u003C\/em\u003E\u003Cstrong\u003Eor\u003C\/strong\u003E\u003Cem\u003E\u003Cstrong\u003E Dhanarasi\u003C\/strong\u003E\u003C\/em\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EDhanasi is the ceremonial concluding piece of a Kathakali performance, a benedictory dance typically performed by one of the play\u0027s noble \u003Cem\u003EPacha\u003C\/em\u003E characters. Through this final sequence, the heroic figure, in full costume and makeup, steps out of the drama and addresses the gods and the gathered audience directly, offering thanks and seeking blessings on all who witnessed the night\u0027s events. It is a return to the devotional, bringing the performance full circle from sacred invocation to sacred farewell. In the traditional village setting, this moment carries enormous weight. The audience, having stayed through the entire night, witnesses the vanquishing of evil just as the first light of dawn touches the sky. As the Dhanasi concludes, the artists, who have inhabited mythic characters for hours, return to themselves. At this point, the vilakku, or oil lamp, is extinguished, leaving the air with the warm scent of coconut oil and bringing the performance to a close.\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003EThe Kathakali repertoire represents centuries of literary refinement, theatrical experimentation, and devotional storytelling. Anchored in the \u003Cem\u003ERamayana\u003C\/em\u003E, the \u003Cem\u003EMahabharata\u003C\/em\u003E, and Puranic mythology, it offers a rich spectrum of emotional, philosophical, and dramatic themes. Canonical works such as \u003Cem\u003ENalacharitham\u003C\/em\u003E and \u003Cem\u003EKeechakavadham\u003C\/em\u003E remain central to the performance tradition, while modern adaptations reflect the art form\u2019s adaptability. Kathakali is a living archive of India\u2019s mythic imagination. Through gesture, music, and movement, these stories continue to resonate across time, reaffirming Kathakali\u2019s place as one of the world\u2019s most sophisticated theatrical traditions.\u003C\/p\u003E","field_popup_image":"","field_type":" \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_of_Kerala_by_Shagil_Kannur.jpg\u0022 width=\u00223712\u0022 height=\u00225113\u0022 alt=\u0022The Kathakali Repertoire\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n","field_video_path":"","field_video_audio":""}],"facets":[],"facets_metadata":[]}, {"search_results":[{"field_paragraph":"\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EKathakali, the classical dance-drama tradition of Kerala, is not only a visual spectacle but also a powerful musical experience. While audiences are often captivated by the elaborate costumes and expressive gestures, the intensity of Kathakali depends equally on its distinctive musical system. The music functions as a narrative guide, an emotional interpreter, a rhythmic framework, and a dramatic amplifier.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EKathakali music developed within the broader framework of South Indian classical traditions but gradually evolved into a distinct performance idiom suited specifically to dance-drama. Emerging from temple traditions in Kerala and earlier performance forms such as Krishnanattam, it absorbed elements of Carnatic music while maintaining a unique theatrical character.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EAlthough it is structured around \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E\u003Cstrong\u003Eragas\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E (melodic frameworks) and \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E\u003Cstrong\u003Etalas\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E (rhythmic cycles), Kathakali music differs significantly from the Carnatic concert format in both style and presentation. Its musical tradition is closely associated with the Sopanam style, a devotional mode of singing traditionally performed in Kerala temples. Unlike the highly ornamented and improvisatory approach of Carnatic music, Sopanam singing is slower, more deliberate, and emotionally resonant, with a strong emphasis on clarity of text and the evocation of dramatic mood.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EThe performance is guided by detailed manuals called \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E\u003Cstrong\u003EAttaprakaram\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E, which provide instructions on acting techniques, gestures (mudras), characterisation, and stage conventions, ensuring precision and consistency in interpretation. Kathakali is unique in that the actors neither speak nor sing their lines. Instead, trained vocalists stand at the side of the stage and render the poetic text, primarily written in Malayalam, known as the \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E\u003Cstrong\u003EAttakatha\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E. At the same time, the actors interpret it through gesture, facial expression, and body language.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EThere are typically two singers: \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E\u003Cstrong\u003EPonnani\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E, the lead singer, and \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E\u003Cstrong\u003EShinkidi\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E (or Sinkiti), the supporting vocalist. The lead singer renders the main verses, while the supporting singer repeats lines, maintains rhythm, and strengthens the melodic texture. The singers guide the pace of the performance and often use a \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E\u003Cstrong\u003Eshruthipetti\u003C\/strong\u003E\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E (pitch-keeping device) to maintain the correct pitch. The singers then modulate speed, pitch, and intensity according to the emotional demands of the scene. \u0026nbsp;For example, slow, elongated phrases enhance sorrow (\u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003Ekaruna rasa\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E), while rapid rhythmic passages intensify anger (\u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003Eraudra rasa\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E).\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EPercussion forms the backbone of Kathakali music. The rhythmic instruments create dramatic tension and coordinate movement. The percussionists stand behind the singers and interact dynamically with the actors.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EThe primary instruments include the \u003Cstrong\u003EChenda\u003C\/strong\u003E. The Chenda is the most iconic percussion instrument in Kathakali. It is a cylindrical drum played vertically with sticks on one side. The instrument produces loud, sharp, and resonant beats that can energise the entire performance space. There are two types used in Kathakali: the Veekku Chenda, which provides basic rhythmic structure and the Uruttu Chenda, which produces rolling, complex rhythmic variations.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EThe \u003Cstrong\u003EMaddalam\u003C\/strong\u003E is a barrel-shaped drum played horizontally using hands. It is suspended around the player\u2019s waist and produces deep, resonant bass tones, providing depth and rhythmic complexity. It supports dramatic build-up and enhances the emotional weight of scenes.\u0026nbsp;\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EAdditionally, the \u003Cstrong\u003EIdakka\u003C\/strong\u003E, an hourglass-shaped drum, produces melodic variations. Unlike the Chenda and Maddalam, it can alter pitch by adjusting tension with the hand. Though not always used in every performance, the Idakka adds lyrical nuance, particularly in softer or devotional scenes.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003ESolid instruments include the \u003Cstrong\u003EChengila\u003C\/strong\u003E, a metallic gong struck with a wooden stick. It maintains the \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003Etala\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E (rhythmic cycle) and acts as a timing anchor for the ensemble. Though less dramatic than the drums, the Chengila is essential for structural clarity. It marks transitions and reinforces rhythmic discipline. The \u003Cstrong\u003EIlathalam\u003C\/strong\u003E consists of heavy bronze cymbals played in steady patterns. Like the Chengila, it helps maintain rhythm and synchronises the ensemble. The crisp metallic sound cuts through the percussion, ensuring that performers remain aligned with the \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003Etala\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EKathakali employs specific talas adapted for theatrical use. The tala determines the rhythmic cycle of a song and shapes the dancer\u2019s movements. Some common talas include Samantha Malahari, Paati, Puranceru, Huseini, Indalam and Panchari. Percussionists often improvise within the \u003C\/span\u003E\u003Cem\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003Etala\u003C\/span\u003E\u003C\/em\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003E framework, increasing tempo and complexity to match dramatic action.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EDuring climactic sequences, the percussion may accelerate dramatically, creating intense rhythmic crescendos. These rhythmic passages allow actors to showcase vigorous dance movements and expressive eye techniques. For instance, a sudden drum roll may signal anger, while a rising crescendo may introduce the entrance of a powerful character. This dynamic interaction makes Kathakali a deeply collaborative art form, with musicians and actors constantly observing one another to maintain synchrony.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EIn recent decades, Kathakali musicians have participated in cross-cultural collaborations and experimental theatre. Some productions have blended traditional percussion with modern instruments or adapted works of prolific writers such as William Shakespeare into the Kathakali format.\u003C\/span\u003E\u003C\/p\u003E\u003Cp style=\u0022text-align:justify;\u0022\u003E\u003Cspan style=\u0022font-family:\u0026quot;Calibri\u0026quot;,sans-serif;\u0022\u003EKathakali\u2019s musical ensemble has also been showcased at international festivals and academic conferences. Percussion performances have particularly gained popularity and are sometimes presented independently of full dance-dramas. Even without understanding Malayalam, global audiences can appreciate the rhythmic complexity and dramatic intensity of the music. The universality of rhythm and emotional expression enables Kathakali music to transcend linguistic boundaries. This ensemble, rooted in temple traditions and refined over centuries, produces a powerful sonic environment that transforms myth into experience.\u003C\/span\u003E\u003C\/p\u003E","field_popup_image":" \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Edakka.png\u0022 width=\u0022734\u0022 height=\u0022497\u0022 alt=\u0022Edakka Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali.jpg\u0022 width=\u00221080\u0022 height=\u00221350\u0022 alt=\u0022Chenda Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali%20%282%29.jpg\u0022 width=\u00221080\u0022 height=\u00221350\u0022 alt=\u0022Chengila Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali%20%281%29.jpg\u0022 width=\u00221080\u0022 height=\u00221350\u0022 alt=\u0022Ilathalam Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kalamandalam_Hyderali_and_Pathiyur.jpg\u0022 width=\u00222136\u0022 height=\u00222848\u0022 alt=\u0022Ponnani, the lead singer, and Shinkidi (or Sinkiti), the supporting vocalist Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n, \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Smt._RenjiniK.P._%28Kathakali%29.jpg\u0022 width=\u00221600\u0022 height=\u00221064\u0022 alt=\u0022The Kathakali Ensemble Image Source: Wikimedia Commons\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n","field_type":" \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali.jpg\u0022 width=\u00221080\u0022 height=\u00221350\u0022 alt=\u0022Music and Instruments\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n","field_video_path":"","field_video_audio":""}],"facets":[],"facets_metadata":[]}, {"search_results":[{"field_paragraph":"","field_popup_image":"","field_type":" \u003Cimg loading=\u0022lazy\u0022 src=\u0022\/sites\/default\/files\/2026-06\/Kathakali_at_Kerala_School_Kalolsavam_2019_05.jpg\u0022 width=\u00222951\u0022 height=\u00222630\u0022 alt=\u0022In Popular Culture\u0022 typeof=\u0022foaf:Image\u0022 \/\u003E\n\n","field_video_path":"","field_video_audio":""}],"facets":[],"facets_metadata":[]}
