Kathakali

I first came to India by coincidence. In 2004, a volunteer workcamp in ecotourism I had subscribed to for the Andaman Islands had just been cancelled. I therefore visited Tamil Nadu and one week was left when I suddenly felt like getting a glimpse of Kerala. I didn’t have much information nor much idea about it, but I took a night train to Kochi. I felt so good there as the atmosphere was so pleasant and quiet, people friendly and sights attractive.

In the evening I saw a poster about daily Kathakali programs and I thought that it was a good idea to get busy in the evening as the evenings are usually boring for an individual traveler in India.

The Kathakali program left me thunderstruck. It was an extract of Duryodhana Vadham (1), from Mahabharatha (2). The steps seemed so familiar to me though so away from all our western art forms. The make-up left me esthetically overwhelmed, the facial expressions were mesmerizing. The arrival of Dussasana (1) on stage with his red rotating eyes was so scary that I nearly thought about leaving the place, but the presence of Krishna (2) comforting Draupadi (1) gave me the experience of a glimpse of Divine Love, ever compassionate and full of Bliss and Peace. The day after I looked into Kathakali books and took the resolution to find classes back to France.

Back to Paris, I was lucky enough to find Karuna, a teacher from the famous art school of Kerala Kalamandalam (3). I learnt fast as if Kathakali was in my blood. I went back to Kerala the same year and took followed some training in Trivandrum and Kerala Kalamandalam for 3 weeks.

In 2007, I decided to get more intensive course and learn proper stories. I was warmly welcomed at Samskrithy School (4), a small school which provides private classes with great artists like Fact Mohanan, who can teach exactly what one needs and looks for. The training was physically hard, I followed daily Kalaripayat (5) classes, as the body training of Kathakali comes from Kalaripayat, and the body needs so much preparation in order to bear the heavy costumes and vigorous steps on stage. Kathakali classes were also daily of course. To learn a padam (role of a character in a piece of play) I had to learn the poem in a mix of Malayalam and Sanskrit, the mudras (6), the rythms and steps. This is for the technical part. But then comes the artistic interpretation of the actor, feeling all emotions of the character, the story, the situation with a deep understanding of the local culture and the historical and mythological context. Those emotions have to be conveyed through facial expressions and through the eyes, each muscles of the face has to be trained daily with specific exercises. The last level of the art is the spiritual part. When it is daily present in our life, it leads us to find the right movement, expression and emotion. And the art, when we search how to find the right movement, also opens a new space for spiritual development.

During my stay in the school I was going several times per week to Kathakali programs in temples. So I often had the opportunity to see beautiful temple festivals with elephant processions, cultural programs, and every time I had the feeling that I was in the heart of Kerala. I could also perform on stage for the first time in my life, and then several times, living deeply what is the long process of make-up and dress-up, the time we need to get into a character, and the challenge of bearing the heavy and hot costume for a long time. I had that strange feeling of, as a non-Hindu, playing Hindu stories and characters on stage in front of local temple devotees. But though Kathakali is complex and codified, its essence is made of a universal language that one can understand beyond one’s culture and references. More than a total art, it is a formidable tool for self-development and devotion. Let’s hope that this precious knowledge will not run away from India.

(1) Duryodhana Vadham, a famous Kathakali play which depicts the revenge of Bhima, one of the Pandava princes, who kills Dussasana and Duryodhana, the Kaurava brothers, Bhima’s enemies, because they had humiliated his wife Draupadi.

(2) Mahabharatha, the great Indian epics, which relates mostly the story of the Pandava and Kaurava, and contains the Bhagavad Gita, when Krishna, incarnation of Vishnu, reveals his divine nature to Arjuna.

(3) Kerala Kalamandalam, the most famous institution for performing arts in Kerala, located near Trichur.

(4) Samskrithy School, a private school for performing arts where foreign students can get art classes and stay with local family, located at Puthencavu village, near Chengannur.

(5) Kalaripayat, the martial art of Kerala, the body training and massages are also used in Kathakali.

(6) Mudras, stylized hand gestures used for each word. There are 24 basic mudras in Kathakali with numerous combinations to form over 400 mudras. 

Author :- Aruna.

[Click on the photos below to enlarge]

	Aruna in kathakali costume
	Aruna in partial kathakali makeup.