Professional Documents
Culture Documents
Kathakali
Kathakali
Kathakali
By
CHAITHRA.K.V
degree of
Master of Design
Mumbai 2015
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KATHAKALI COSTUME STUDY AND
ANALYSIS
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DECLARATION
Place: Mumbai
Date:
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KATHAKALI COSTUME STUDY AND ANALYSIS
By CHAITHRA.K.V, M.DES
2013-2015
___________________________________________________________________________
___________________________________________________________
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ABSTRACT
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ACKNOWLEDGEMENT
I would also like to thank my project mentor Ms. Susmita Das (Assi. Professor
in Fashion Communication Dep.) for her aspiring guidance friendly advice
throughout my project and all the people who provided me with the facilities
being required and conductive conditions for my M.DES project.
I express my warm thanks to Padmasree Mr.GOPI and Mr. Arun for their
support and guidance at Kerala Kalamandalam. Also I would like to thank
Kalamandalam Ravi, Kalamandalam Arun, Kalamandalam Balan, Mr.Manoj
kumar, Dr.devidas-Ayurveda, Kalanilayam Gopinadan- Kathakali professor,
and Members of thrissur kathakali club to provide me great facilities and for
their support.
Thank you,
Chaithra.k.v
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TABLE OF CONTENT
I.2 Objectives 11
I.3 Significance 11
I.5 Limitation 11
II RESEARCH PLAN 12
III -1 History 21
III- 8 Characters 27
Pacha
III-8.1
16
III-8.2 Kathi
Thadi
III-8.3
Kari
III-8.4
Minukku
III-8.5
III-9 Costumes 29
IV – 1.4 63
Problem identified in skirt draping
IV – 1.5 Interview feedback about 63
uduthukettu
17
IV – 2 Conclusions 65
IV 3 Questionnaire for interview 66
V–1 Bibliography 67
V–2 Webliography 67
V–3 Primary data collection references 68
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I - INTRODUCTION
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I - INTRODUCTION
Kathakali is a traditional dance-drama from the Indian state of Kerala. It
developed as a distinct art form in the mid-seventeenth century, drawing
influences from a variety of other performance traditions. Men traditionally
played all roles, but women train and perform in some contemporary troupes.
The epic stories come from the Ramayana, Mahabharata, and Bhagavata
Purana. Characters are mostly superhuman archetypes: gods, demons, and
humans, plus a few animals. Kathakali can be performed in temple grounds
as well as in private and public areas, and there is implicit understanding that
Kathakali, like its forerunners, reinforces moral codes and glorifies the gods
through dramatic representation. The performance integrates drumming,
singing, cymbals, and dance marked by specific body stances, hand gestures,
facial expressions, and eye movements. These performance aspects are
developed through years of intensive training. Scholars refer to four separate
dramatic elements of Kathakali. Aharyabhinaya refers to the decorative
elements of the play, particularly costume, makeup, and accessories. The
others are Vachikabhinaya (speeches and songs), Angikabhinaya (dance,
body position, mudras/hand gestures, eye movements, etc.) and
Satvikabhinaya (the expression of psychic states associated with emotions).
Costumes and makeup are an important element of Kathakali, as they identify
characters, bring focus to expressive areas of the body, create worldliness
appropriate to the characters and stories, and provide extravagant spectacle
against a minimal set.
Midcentury and recent scholarship provides a wealth of information on various
aspects of Kathakali. Authors Bharatha Iyer and Avinash Pandeya provide the
best details of makeup and costume, including Pandeya‘s history and
symbology. Recent commentary on the complexity and subtlety of characters
beyond codified makeup types is provided by Phillip Zarilli. Most sources
identify makeup types and give at least a basic description of the facial
appearance. Several sources also describe costume types in general for each
character type. However, current literature is limited in clearly documenting
costume details for design and reproduction. This paper begins to fill that gap
by presenting documentation of specific authentic costume pieces worn by a
female strivesham and a male paccha character. And also other main and
supportive charecters costume in the kathakali drama.
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I.1 PROBLEM STATEMENT
I.2 OBJECTIVES
To study and analyze KATHAKALI costume
I.3 SIGNIFICANCE
I.5 LIMITATION
• Face painting material could not be developed for experiment due to
time constrained.
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II - RESEARCH PLAN
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II - RESEARCH DESIGN, RESEARCH METHOD AND
RESEARCH METHODOLOGY
For this study Exploratory Research Design will be used involving: Literature
Survey, Experience Survey, and Study of insights stimulating examples
All those methods which are used by the researcher during the course
of studying the research problem are termed as research methods.
Video Recordings and its analysis, Reference and abstract guides, content
analysis, observing the activities with participating, Interviewing Kathakali
artist, Kathakali related people, and craftsmen.
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What do I need An exploratory research on KATHAKALI costume
to know? Relationship between KATHAKALI art form and
costume
Sustainable issues in it
Problems in costume because of the replacement of
materials.
Whom do I Institutions
contact to From the crafts man
access? Dancers
Interested people
Research people
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II.4 RESEARCH DESIGN: EXPLORATORY
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II.5 RESEARCH METHODOLOGY
PHASE I
DATA ANALYSIS
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PHASE II
CONCEPTUALIZATION
Discussing and
finalizing
solutions with the
concerned faculty
CONCLUSION
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III - PHASE I
29
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III -1 HISTORY
Kathakali has its origins almost 1500 years ago in the early ritual folk dances
and dance dramas of Kerala, in southern India, such as the dances
associated with the cult of Bhagavathy (Thiyyattom, Mudiyettu, and
Theyyam), that were performed at religious festivals by actors wearing
elaborate masks, colorful costumes and headdresses, and intricately painted
faces; and socio-religious and material dances such as the Sastrakali and
Ezhamattukali. Ashtapadiyattom, a dance drama based on the Gita Govinda
of the twelfth-century poet Jayadeva, told the story of Krishna embodied as a
humble cowherd, his consort Radha, and three cow girls. In 1655,
Manavedan, the Zamorin Raja of Calicut, wrote Krishnagiti, a dance drama to
be performed as Krishnattom (Krishnan; attom (enactment)) on eight
consecutive nights, incorporating elements of Ashtapadiyattom and
Koodiyattam, another form of Sanskrit ritual dance drama. The performance
of Krishnattam was strictly restricted to the Guruvayur Temple, palaces of the
members of the Zamorin's family, and temples and houses of Namboodiri
Brahmins within the jurisdiction of the Zamorin's empire. Krishnattam told the
story of Krishna, using dance and mime, while the narrative was sung by
musicians. According to legend, Kottarakara Thampuran, the Raja of
Kottarakara (once a province of Kerala), a great admirer and promoter of
traditional art forms, invited the Zamorin to present Krishnattom in
Kottarakkara. The Zamorin refused, saying that Krishnattom was not for the
unsophisticated audience of southern Kerala. In response, Kottarakara
Thampuran composed several plays and created Ramanattom (Raman;
attom(enactment)), also performed on eight consecutive nights. At first,
Ramanattom enacted stories from Ramayana and other epics, but as it
evolved into Kathakali, it began to encompass many stories. Kathakali shared
similarities with both Ramanattom and Krishnanattom, but incorporated
several outside elements from the folk and martial arts of Kerala which
contributed to its popularity. The increasing use of the local language,
Malayalam (as a mixture of Sanskrit and Malayalam, called Manipravaalam)
made it more popular among the masses, who could not understand the
ancient Sanskrit language. In time, masks were discarded in favor of more
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elaborate facial make up. Around the seventeenth century, acting became
separated from singing, leaving the actors free to concentrate on dramatic
expression. Towards the end of the seventeenth century, Prince Kottayam
wrote four plays based on the Mahabharata, liberating Kathakali from
adherence to any particular Hindu epic and distinguishing it from
Ramanattom. Emotion expressed in the face became central to
performances, and he introduced a white frame around the face, and red
features on a green background, to emphasize movements of the facial
features. In the eighteenth century, Kapplingattu Nampoothiri introduced a
number of innovations that shaped Kathakali as it is performed today. He
improved the percussion accompaniment, and standardized the use of
alarrca, the inarticulate cries made by demons and animals. He further
borrowed mudras from Koodiyattam, and harmonized their use with body
movements. He clarified and defined the five types of character and
strengthened the use of three-dimensional makeup. He also developed the
―kathi,‖ (knife) character type, which combined noble features with evil
qualities, as the central role in Kathakali plays. Kathakali was traditionally
performed during religious festivals. Several Hindu ethnic groups participated
in the performance of Kathakali. In its early days, the Nair community
dominated because they were often well-versed in the martial art,
Kalarippayattu, which is used in Kathakali training and, in a mild form, on the
stage. Kathakali, as it is performed today, is just more than four centuries old.
It is no longer restricted to temples, palaces and religious festivals, but is often
presented in theaters and at special events as entertainment, and is
performed far more frequently than the older forms of dance drama to which it
is related.
According to tradition there are 101 classical Kathakali stories, though less
than a third of these are commonly staged at present. Almost all of them were
initially composed to last a whole night. Nowadays, there is increasing
popularity for concise, or oftener select, versions of stories so as the
performance lasts not more than three to four hours from evening. Thus,
many stories find stage presentation in parts rather than totality. And the
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selection is based on criteria like choreographical beauty, thematic
relevance/popularity or their melodramatic elements. Kathakali is a classical
art form, but it can be appreciated also by novices—all contributed by the
elegant looks of its character, their abstract movement and its synchronisation
with the musical notes and rhythmic beats. And, in any case, the folk
elements too continue to exist. For better appreciation, perhaps, it is still good
to have an idea of the story being enacted.
Recently, as part of attempts to further popularise the art, stories from other
cultures and mythologies, such as those of Mary Magdalenefrom
the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius
Caesar besides Goethe's Faust too have been adapted into Kathakali scripts
and on to its stage.
III-3 MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most
of the songs are set in ragas based on the microtone-heavyCarnatic music,
there is a distinct style of plain-note rendition, which is known as
the Sopanam style. This typically Kerala style of rendition takes its roots from
the temple songs which used to be sung (continues even now at several
temples) at the time when Kathakali was born.
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As with the acting style, Kathakali music also has singers from the northern
and southern schools. The northern style has largely been groomed by Kerala
Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan,
an overarching Kathakali musician of those times, was a product of the
institute.
III-4PERFORMANCE
III-5 ACTING
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expressions (rasas) and bodily movements. The expressions are derived
from Natyashastra (the tome that deals with the science of expressions) and
are classified into nine as in most Indian classical art forms. Dancers also
undergo special practice sessions to learn control of their eye movements.
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modifications of the five basic sets described above such as Vella Thadi
(white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu,
which is majorly used for Lord Shiva and Balabhadra.
Kathakali is still hugely a male domain but, since the 1970s, females too have
made entry into the art form on a recognisable scale. The central Kerala
temple town ofTripunithura has, in fact, a ladies troupe (with members
belonging to several part of the state) that performs Kathakali, by and large
in Travancore.
1. Vettathu Sampradayam
2. Kalladikkodan Sampradyam
3. Kaplingadu Sampradayam
These are leading Kathakali styles that differ from each other in subtleties like
choreographic profile, position of hand gestures and stress on dance than
drama and vice versa. Of late, these have narrowed down to the northern
(Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the
legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented
in Kerala Kalamandalam (though it has also a department that teaches the
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southern style), Sadanam, RLV and Kottakkal. Margi has its training largely
based on the Thekkan style, known for its stress on drama and part-realistic
techniques. Kalanilayam, effectively, churns out students with a mix of both
styles.
III- 8 CHARACTERS
III-8.1 PACHA
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III-8.2 KATHI
III-8.3 THADI
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III-8.4 KARI
KARI
III-8.5 MINUKKU
MINUKKU
Apart from these five main classes there are eighteen special characters
like Jatayu, Hamsamand Karkotaka whose make-up cannot be fitted into
any particular category.
III-9 COSTUMES
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These include four items on each arm, bells and pads on the lower legs, a
carved breastplate and cascade of gold necklaces, and two or more waist
ornaments of fabric, beads, and carved, decorated wood. Further layers
include between two and six lengths of pleated fabric at the neck and ornate
contrasting side panels from waist to hem. All performers have some form of
headdress—relatively simple for minukku, but extravagantly ornamented for
gods and demons. There are variations in color, headdress, and some
accessories for different characters and some types. In scale, the most
demonic characters have the most volume, while human characters are closer
to realistic size of dress. All costumes feature bright colors, and strong
contrasts, which helps them be more visible in the traditionally limited lighting
of nighttime performances. Also, the exaggeration in the costumes‘ designs
supports the dramatic storytelling, the forms, colors, and accessories for each
character are standard, so that each presentation of the character is visually
recognizable. The similarity is clear to new audiences; it takes time and
experience to learn the various subtle differences between characters.
Kathakali aficionados delight in reviewing the subtleties of movement,
expression, and personality of accomplished performers. Whether traditionally
crafted or contemporary in construction, Kathakali costumes are incredibly
effective in bringing attention to those attributes. From the basic similarities in
shape, color, and ornament of all costumes to the intricacies of makeup,
headdress, and details of specific characters, all visual choices are effective in
supporting the performance. They bring attention to the actor‘s eyes and facial
expressions; they emphasize movements of body, hands, and feet, and they
reinforce percussive sounds of the dance. It‘s a beautiful marriage of form and
function.
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items are typical in form, function, and consistency of use, although there is
some variation in details.
UNDERGARMENTS
PYJAMA - white, light-weight cotton pants, are loose fitting with a long
drawstring at the waist and a high rise. They are cut like most early trouser
forms with the side on a lengthwise fold, angled center seams, and
rectangular inset/gusset. In addition to providing absorbency and modesty,
the high waist protects the skin from chafing by the stiff petticoats, and their
wide gusset allows freedom of movement in the wide, low stances that are
common to Kathakali. The legs are tapered to about twelve inches at the
ankle, with a short inseam split, and are folded and wrapped snug to the
ankle, then held in place by small padded supports and the bells, which are
tied to the leg over the trouser.
UNDER-JACKET
Ulluval - or ullunhari if sewn together, are a series of two to four dozen panels
of stiff cloth (val) that are tied on as petticoats Originally made of coconut
fibers, they could be made of any strongly stiffened fabrics. Dressing requires
two assistants. The performer holds one end of a width of sturdy cotton
around his waist, while one assistant holds the other end taut. A second
assistant folds each val in half over it, overlapping the pieces, then
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pushes/compresses/gathers the cloths together against the performer‘s body,
working the fabrics into a hemisphere and securing them to the waist by
winding them onto the body with the taut cotton strip.
This step is repeated until the desired fullness is reached. A knee length
group of panels may be used, as well as an additional longer layer of
petticoats, in order to achieve the same hem length on the body. The strip of
cotton cloth is used to tie the petticoats to the body and to wrap and smooth
the layers in place. It is used also to tie on the underskirt, skirt, and side
panels. This piece is at least eight yards long and about six inches wide, but
creased narrower from use.
UNDERSKIRT
This straight length of white cotton, worn on the cross grain, is about forty
inches wide and five and a half yards long. The underskirt features a colored
band at the selvedge/hem edge (this stripe is golden yellow, one and a half
inches wide). This piece was washed and primitive pleated perpendicular to
the selvedge by twisting and tying with a string till dry. When dressing, the
center of the top edge is held and tucked in at the front waist at a length to
cover the petticoat. Then the back lower corners are drawn up around the
skirt across the back, overlapping and tucking in at the side waists. The effect
is like the edge of a palm leaf, with the hem band curving from the front
around the hem and up the back, overlapping to cover the petticoat. Extra
fabric length is tucked into the cotton band or tied by a string. The cotton band
used to tie on the stiff petticoats also anchors the underskirt and is tied off at
center front before continuing the dressing ritual. It will secure the skirt to the
body as well.
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OUTER GARMENTS
• Jacket
The traditional color for most Kathakali jackets, kuppayam, is red, though
there are exceptions for Krishna (usually blue with a yellow skirt) and some
bearded characters (such as Hanuman‘s furry coat) or special characters. The
jacket for female characters is red and gold cotton metallic. The cut of this
jacket follows that of the under jacket previously described. It has a close-
fitted round neck line, straight sides, slightly tapered sleeves, and back tie
closure. Color holds symbolic meaning, but in this case, according to
Vasudevan, its use is for its bright appearance in the traditional performance,
which until the 1960s was lit by a single devotional lamp. Wearing multiple
jackets helps balance the volume of the skirt and headdress.
Modification:- Previously for hanuman and bali costume they were using
cotton stuffed jackets. After an international trip for kathakali they have notices
in western countries they were using fur jackets. After that they modify the
costume by using fur for the hanuman costume.
• Skirt
Although the names differ, the male skirt, ututtukettu, and female skirt,
lehengra or sari, are similar. They are traditionally made of a single long
length of white cotton, about a yard wide, and about seven and a half yards
long. It features a decorative red-striped hem about eight inches wide. The
red bands are often outlined in black to emphasize their contrast. The skirt is
set in one-inch accordion pleats while wet and tied to dry. It is tied onto the
body with the same cotton strip as the underskirt with a simple overlap in
back; the skirt gap may be held closed by a safety pin near the hem. The
assistants who help dress the performer must hold the cotton wrap snug to
the body while adjusting the lengths of each layer, and wrap the remaining
yards of cloth several times around the body to ensure a smooth and secure
arrangement.
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• Apron
The female costume also includes the sthree uttariam, a short, red-bordered,
accordion-pleated cloth, which is pinched at the top and tucked into the front
waist. Its bottom edge is spread and tucked to each side, creating a
semicircular line of red at the center front and rising to the waistline at the
side.
Chanthi: are pair of hip pads that support the width of the skirts like a pannier.
The pads are made of two crescent shaped pieces of heavy cotton bagged
out on the outer curve, with the inner curve sewn to a two-inch-wide twill tape,
which sits flat to the body. The points of the two crescents meet center back
and leave a little space center front. They sit low on the hips in order to leave
room for the volume of petticoats, underskirt, and skirts, all of which are
wrapped to the body.
• Leg ornaments
Tantappatippu - small crescent-shaped shin pads, are worn by men and
women to hold the pants snug against the leg at the ankle, to prevent the bell
ornaments in female costumes from sliding down onto the foot, and for
decoration. The men‘s pads are of thick red wool with a blue cotton center
stripe and tips, two strands of small silver beads flanking the blue, and black
cotton twill tape sewn on as both backing and ties. The pads are stuffed with
coconut husk fibers. The female pads are red wool with black cotton tips and
center instead of blue, similar silver beads, and natural colored twill ties.
Sets of brass bells tied to the shins sound in concert with the performer‘s foot
movements. The male version, kecchamani, is oval, with deeper sounding
bells, set below the knee and tied above and below the fullest part of the calf
muscle. This set has a dozen brass bells on each; the bells are set in curved
rows of three, four, and five bells and are anchored to the upper egg-shaped
leather piece by metal split brads. The sharp tines of the brads are covered
with a layer of padding. Two sturdy cotton ties are threaded through the
leather top and out the sides of the backing. The female version, chilanka, has
lighter, higher sounding, and more numerous bells (thirty-four in all) worn at
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the ankle. These are set onto straight leather bands, also with split metal
brads which are covered on the inside with a padded cloth that also encases
the continuous cotton tie.
ORNAMENTS
• Neck/Chest
The male character‘s chest plate, kuralaram or kotalaram, is carved, jeweled,
and pompommed. This impressive decoration is carved in ten major sections,
plus the two connecting beads and seventeen tassel tops. Each piece is
covered in red wool, gilded, and set with green and red gems and a series of
different colored tassels/ pompoms (green, maroon, blue, orange, and pink).
Worn by most male characters, it is tied around the neck over the jacket. The
female breast plate can have demure or exaggerated breast shape and size,
depending on the character. Most female characters use a normal sized
breast plate, mulakkuralaram, but Kari ogress characters wear extremely
pointed and exaggerated black breasts, mulamukku. This piece is carved of
wood, one piece for the breasts, plus five more sections for the lower shield.
Each piece is covered in red wool, and decorated at the neck, between the
breasts, and below with gilt, gems, beads, and thick wool tassels. Holes
drilled at the neck edge provide purchase for a cotton tape which ties around
the neck. The lower half is similar to the kuralaram breastplate of the male
costume.
Kazhutharam - gold strand beaded necklaces, are set by the dozens onto a
lightly padded neck band in cascading U shapes. The outside strand is of
larger diameter beads, and another strand of larger faceted beads is set a
third of the way in from each end. Each of these larger bead strands has a red
wool pompom at its base. The full length is eighteen inches including the neck
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band of horizontal beads. They can be used by the actors to gesture, as when
the demoness Poothana tries to cajole baby Krishna.
Kashuthu nada - is a collar for male and female costumes which holds the
breastplate down and the kazhuttharam up. It is threaded under strands of
bigger beads and a pompon strand at the outside edge of the kazhuttharam.
The kashuthu nada is made of black cotton with decorative rows of silver
beading one-half to five-eight inches wide along the center line.
Marumala - a waist length floral garland, is worn over the uttariyam by some
characters; Vana mala is an enormous garland of flowers worn by Krishna.
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WAIST/HIPS
Pattu val (silk fabric), or choppu val (red fabric) - are side panels hung from
waist to hem on the sides of the skirt. They often match the colors of the skirt
stripes, enhancing the color theme of the costume, but are more ornate than
the other fabrics. These red ones are woven with gold vertical stripes, banded
with brocaded ribbons, edged with yellow, and hemmed with multicolored yarn
fringe. Nine inches by thirty-nine inches, they are tied in with the skirt
wrappings to meet the hem of the skirt, and any remaining fabric is folded into
the waist and secured with the cotton wrappings.
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ARMS AND HANDS
Men‘s and women‘s arm treatments are similar in construction, function, and
aesthetic. Of the two examples we had, the female character‘s accessories
were slightly smaller in scale than the men‘s, and/or had fewer beads.
Tolputtu - epaulette-like upper arm ornaments, are carved of wood and tied
onto the actor‘s arm below the bicep and around the chest as well. It is tied on
while the arm is raised to secure the sleeve to the body. Carved in six pieces,
the upper part has a shield or rosette-shaped decoration on a base shaped
like a section of a dome. The rectangular area below is made of five shaped
rectangles, similarly adorned with red wool or flocking, gold foil, stamped
brass rosettes, silver toned beads, and gemstones. The one pictured below
measures three and a half inches wide, five inches tall, and one and a quarter
inch deep.
Paruttikkaimani - are tied immediately below the tolputtu at the bicep. They
consist of three strands of wooden beads covered with metallic foil. A center
row of seven carved baubles (each one inch in diameter by one and a half
inches long) is flanked by two relatively plain globe strands. The center row of
baubles is ogee shaped on the protruding side and slightly flattened on the
bottom/ arm edge. Red cotton cord ties secure it to the arm and are tucked
into the tolputtu.
Kalases - are worn on both wrists. Each wooden bangle is carved as a single
three-inch section of a cone but reads as a row of four circlets. The piece is
covered in metallic foil, with a row of small silver beads defining the edges of
the carved circlets. The jacket sleeve is folded to pleat on the outside of the
forearm, and the bangle slides over the jacket sleeve to secure it.
HEADDRESS
•Female
Strivesham (female) characters are veiled rather than in ornate headdress.
Their head coverings include several items. The headband, chutti thuni, is
eight and a half inches by one-half inch of black cotton and red wool over
cotton tape with rows of silver toned beads. The cap, kontakettu, has a black
cotton base with an oval top and straight cut/hemmed band gathered into the
crown. The left side has a stuffed cylinder projecting up and to the side. This
is decorated with a thick fringe of multicolored yarns, and is used to support
the veil. The cap splits center back and ties to fit the individual actor‘s head.
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Kurunira, a decorative black cotton head band, covered by narrow silver
cylinders and dangling diamond shaped spangles, is put on over the base cap
to meld the cap and makeup lines, as well as to bring sparkle to the facial
area. The eyebrows of Kathakali performers are a particularly expressive tool,
so bringing focus to this area of the face is important. A second narrow band
of silver bead strands holds both the veil and the ties from the earrings (katila)
in place over the hat base (kontakettu).
Mookkuthi, a small nose ring, provides the final touch for female Kathakali
characters.
•Male
After a male character‘s makeup is complete and the costume in place, the
performer begins the process of dressing the head. First a length of black
cotton is folded on the bias and used to wrap the head from hairline to nape,
providing a means to absorb sweat and begin padding to make the headdress
more comfortable and stable. The head cloth is called netti (forehead) nada
(any piece of long cloth a few inches wide). The paper or plastic chutti are tied
to the face over the head wrap and secured to the face with spirit gum or rice
paste.
Chevippuvu - are ear ornaments worn by all male characters. These ornately
carved concave wooden discs are set above the ears and tied to the head
with cotton cord. Another black cotton cloth, also netti nada, is wrapped over
the ties to secure them and to pad the head for the crown. A shaped
headband, chuttittuni, of red wool backed with cotton and decorated with rice
paste is tied on to bridge the space between makeup and headdress. Some
characters add cutti poove (white knobs) or a devotional naman bindi
decoration to this headband. There is a variety of large ornamental
headdresses for characters in Kathakali. The types and shapes are part of a
codified system of identification, and all of them bring focus to the performer‘s
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face as well as balancing the volume of the costume and providing a visual
contrast to the angular positioning of the performer‘s limbs. They are carved
of one or more pieces of wood and ornately decorated with metallic foil,
gemstones, and metallic beads. Originally pith (from peacock quills) or rice
paste was used to build up white detail, and wings of a particular beetle
provided a shimmering green texture in some areas. Both now are replaced
with plastic materials. Because of the complexity of the headdress, each one
is stored in a protective heavy cotton bag. Putting on the headdress is an
almost sacred part of the transformation to character. Before unwrapping the
headdress, the dresser makes a brief devotion to the gods. Also, before
putting on his headdress, each performer says a prayer of thanks and
reverence to his teachers. The kesabharan kiritam recognizable by the
circular back portion, is worn by most paccha characters and some others.
Chamaram - is false hair. The wig is roughly forty inches long, by eight to
eleven inches wide at the top, where multiple strands of jute are half hitched
to a cotton tape, then braided and stitched to a tie. In the female costume, the
wig is tied around the head and the padded cylinder that supports the veil on
the left. On the paccha costume, the wig strings are tied through pierced
areas of the side decorations on the kiritam crown but could have been tied
directly to the head instead. The wig rustles as the character moves (not
usually heard over the drumming), and can be thrown wildly about as in the
transformation of a demoness from her beautiful disguise to her natural
fanged state, or in the death of a character. The wig covers the overlapping
back closures of the jacket, though a performer would not likely turn his back
to the audience.
Thoda - are large round convex ear ornaments, tied to side projections on the
headdress at about temple height above the chevippuvu. As with the other
accessories, ornaments, and headdress, they are carved of wood, covered in
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red wool and metallic foil, and decorated with silver beads and red and green
gemstones. Cotton cords and a stabilizing rod are used to secure them in
place. In all, the performer and his assistants will have more than sixty ties to
fasten during the dressing process.
Kachamani Chilanga
Tandappatuppu Chevipoovu
Karithoda Thoda
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Mula kollaram kollaram
Ottanakku
Kazhutharam padiyaranjan
Tholpoottu Parithikkamini
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Vala Hasthakhadakam
Kuppayam Chuttithuni
Chanthi Chamaram
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1 PROCESS
Making Kireedam( Crown)
Theppu (Face Make up)
Chutti (white beard)
Uduthukettu (Skirt draping)
2 MATERIALS
3 MODIFICATION
Theppu (Face Make up)
Chutti (white beard)
Uduthukettu (Skirt draping)
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III.11 PROCESS OF MAKING KIREEDAM (CROWN)
Golden foil
Finished Kireedam
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III.12 MAKE UPS
In Kathakali, the make-up creates the superhuman effect. It takes nearly three
to four hours to complete the make-up which is done in stages, and the
duration varies according to the character and complexity of the costume.
characters and their personality .All the colours used in the make-up are
obtained from natural substances and herbs. For example, the red and yellow
colours are made by powdering stones like Chaayilyam(Cinnabar) and
Manayola (Arsenic) respectively. A mixture of lime and rice flour serves for
white. The green colour is produced by mixing Manayola and Neelam (blue-
taken out fron neelamari plant/indigo). Coconut oil is used as the base for
mixing these stone powders. Another stone, Chenchilyam is powdered and
applied in order to protect the skin from burns.
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Kumkumam or saffron is also used for the make-up. However, now-a-days
many of these colour mixing processes have been replaced by easily
available material.
CHUNDAPU/SOLANUM SURATTENSE
Preparation
The Ovule Receptacle (seed) part of the Chunda flower is used for
Kathakali. After plucking the flowers which are fully or partly flourished,
remove it's petals and green part around it's Ovule Receptacle (Seed)
carefully. The seed shouldn't be scratched or broken. Then gently rub
and roll the seed in your inner hand with a touch of cow ghee. First 30
minutes it need to be gently rubbed and later on increse the pressure.
The effect of the flower during the performance depends on the time
taken to rub and prepare the flower (Normally 3-4 hours). Then the
seed becomes soft,dark brown or even black. Put that in a small air
tight container along with some ghee (recommended for long term
use). Else it can be stored in a roll of cloth and knot it tightly.
Usage
Once the facial makeup is over and just before starting the body
costume, the performer need to put the flower seed in the eyes. He
places his eyeballs up, and gently put the flower seed in lower eyelid.
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Then he gently pinches the lower eyelid and drag forward. The flower
seed goes inside and stays there. The performer closes the eyes and
roll his eyeballs. When he/she opens his eyes, the eyes turns red in
colour.
A mixture of rice paste and lime is applied to make the chutti on the face
which highlights the facial make-up. which is different for different characters.
Theppu is the first stage where the artiste himself applies the basic facial
paintings. On this the Chuttikkaran (make-up man) puts the Chutti(a series of
white ridges built up from the chin to the either side of the cheek) which forms
the second stage of make-up.
The actor lies flat on a matted floor and the expert starts drawing ―the
designs‖ on the face.The most elaborate part of the makeup is the
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chutti.Chutti materials changed from rice paste to paper and even readymade
chutti.
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III-12.3 UDUTHUKETTU/ DRAPED SKIRT
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Ulluvaal pattuvaal (outer skirt)
PROCESS OF DRAPING
Hip pad
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3. Uduthukettu- Draping sack around waist
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Kathakali Pacha character in a complete make up
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III-13 MAKE UP PRODUCTS WHICH IS USED NOW
Manayola preparation
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66
IV - PHASE II
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68
IV-1 ANALYSIS OF DATA
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Costumes are still primarily made of the same traditional cotton fabrics for
skirts, jackets, pants, and underskirts. The availability of machine- made,
synthetic, and less costly materials is consistent with their usefulness,
particularly as theatres struggle to maintain economic viability. The petticoat
pieces are no longer only of palm fiber, but may be synthetic stiffened fabric
such as plasticized tarpaulin. Veils for strivesham characters usually
incorporate gold threads. Once they were woven with metal bullion; now the
gold is frequently replaced with Mylar, Lurex, or other synthetic metallics.
These newer textiles are much cheaper than real bullion, do not oxidize, and
are more fluid in draping than their metalinfused counterparts.
The most significant change in present day costuming is in the production of
ornaments. Past use of golden bees wings and metal epaulettes. While it is
highly unlikely that headdresses would be entirely covered in the real gold,
silver, and gemstones that are fundamental to its decoration, the use of
materials has changed. Gold leaf is replaced by gold-colored foil, silver beads
by cheaper metals, then by toned plastic, real iridescent beetle wings by
plastic tubing, glass gems by plastic jewels, and white pith by extruded plastic.
The greatest change, however, is in the transition from intricately carved
wooden pieces to molded fiberglass or other materials that are faster, easier,
and cheaper to manufacture. This practice, while making ornaments available
to tourists, foreign theatre groups, and others interested in Kathakali, has
severely impacted the artisan base for traditional manufacture. Even though
wooden pieces last for generations, and can be refurbished repeatedly, they
are losing ground to inexpensive reproductions.
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IV-1 .2 INTERVIEW FEEDBACK ABOUT FACE MAKE UP
MATERIAL
1 Do you know some of the materials are harmful to the skin and body?
No 40%
60%
Yes
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IV – 1.3 FINDINGS
Sl MATERIALS BEFORE NOW SIDE EFFECTS
no
1 Manayola Natural stone Chemical Manayola: A mineral. Toxic
-yellow in stone material. Traditional
color (Arsenic) manayola has no side effect
because that taken out from
the earth and it contains
impurities that makes it
nontoxic. Arsenic has been
used in medicines, as a
pigment, a pesticide, and as
a weapon of murder, use for
hair removal products. It
causes skin infections.
The materials which use now is very dangerous to the skin. Lack of
awareness and traditional values make them stick on the same material.
Knowingly unknowingly they blindly follow it. These materials can be replace
by herbal products like Neem and Turmeric powder.
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IV – 1.4 PROBLEM IDENTIFIED IN SKIRT DRAPING
74
Kalamandalam balan
Kalanilayam gopinadan
Kalamandalam arun
Easy to drape
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IV – 1.8 DESIGN SKETCH
Easy to drape
Time consuming
Free size
Cost effective
IV – 2 CONCLUSIONS
The study gives the overall view of the costumes and its modifications through
the years. Mostly the modification in this area is according to the changes in
the usage of materials and according to the need of the wearer or if the
garments or accessories get damaged they replace it according to the
available materials. Even the makeup materials changed from natural to
synthetics. The costume which they are using now is used by 3 to 4
generations. But still there is no adequate measures taken to reduce the
weight of the skirt. The process of draping takes a lot of time even the
garment itself is very huge. One thing which is prominently noticed that the
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unawareness in the technicality of making garment is also a root cause for
lack of modification in it. So there is a need for intensive study to find out the
solutions to make the wearers more comfortable in the costume. According to
that make possible modification to the costume without compromising the
aesthetic.
Age:
Occupation:
77
V – 1 BIBLIOGRAPHY
6. 'nepadyam‗
7. Kathakali attaprakaram'
Newspaper report-
V – 2 WEBLIOGRAPHY
1. mchalepac.lcsc.k12.in.us/winspr04.html as sited on 12/1/15
2. www.livemint.com/Leisure/Jvw9v1oxTY6cJUdUV3G5HP/Photo-Essay-
-The-texture-of-dance.html as sited on 12/1/15
7. www.bhavalaya.com/art%20and%20culture/bharat_natyam.html as
sited on 13/2/2014
9. www.dsource.in/gallery/gallery-0468/fullview.html as sited on
13/2/2014
12. www.shubhanu.com/dance-costume-
stitching/bharatanatyam/bharatanatyam-stitching.htm as sited on
13/2/2014
13. www.patient.co.uk/doctor/Arsenic-Poisoning.htm
14. nopr.niscair.res.in/bitstream/123456789/10308/1/IJTK%209(4)%20635-
639.pdf
15. hen.wikipedia.org/wiki/Cinnabar
16. en.wikipedia.org/wiki/Mercury_sulfide
17. kerenvis.nic.in/Database/Medicinalplants_1290.aspx?format=Print
2. Kalamandalam Ravi
3. Kalamandalam Arun
4. Kalamandalam Balan
79
5. Mr.Manoj kumar
Event attended
1. Dr.devidas-Ayurveda
Photography
Chaithra K V
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