Kerala Folk Arts

Swadeque EK

Introduction
Folk arts are the pulses of our nation. We have various folk arts across the country related with the religion, cast and culture. Folk arts depict values, history and morals of a particular community. Folk dance is a form of dance developed by a group of people that reflects the traditional life of the people of a certain country or region. Folk dancing usually involves a group of happy people following dance instructions from an experienced caller. The dancers perform steps in certain formations, such as a circle or a straight line. There are many folk arts and dances across our country. In Kerala, we have various folk arts. This essay will focus on five major folk arts style of Kerala.
Theyyam
Theyyam is a popular Hindu ritual form of worship of North Malabar in Kerala, India, predominant in the Kolathunadu area (consisting of present-day Kasargod, Kannur Districts, Mananthavady Taluk of Wayanad and Vadakara and Koyilandy Taluks of Kozhikode of Kerala. As a living cult with several thousand-year-old traditions, rituals and customs, it embraces almost all the castes and classes of the Hindu religion in this region. The performers of Theyyam belong to the lower class community, and have an important position in Theyyam. This is unique, since only in Kerala, do both the upper-caste Brahmins and lower-caste tribals share an important position in a major form of worship.
The dance or invocation is generally performed in front of the village Shrine. It is also performed in the houses as ancestor-worship with elaborate rites and rituals. There is no stage or curtain or other such arrangements for the performance. The devotees would be standing or some of them would be sitting on a sacred tree in front of the shrine. In short, it is an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The chief dancer who propitiates the central deity of the shrine has to reside in the rituals. This may be due to the influence of Jainism and Buddhism. Further, after the sun sets, this particular dancer would not eat anything for the remainder of that day (again possibly on account of a legacy of Jainism). His make-up is done by specialists and other dancers. The first part of the performance is usually known as Vellattam or Thottam. It is performed without proper make-up or any decorative costume. Only a small, red headdress is worn on this occasion. The dancer along with the drummers recites the particular ritual song, which describes the myths and legends, of the deity of the shrine or the folk deity to be propitiated. This is accompanied by the playing of folk musical instruments. After finishing this primary ritualistic part of the invocation, the dancer returns to the green room. Again after a short interval he appears with proper make-up and costumes. There are different patterns of face painting. Some of these patterns are called vairadelam, kattaram, kozhipuspam, kotumpurikam, and prakkezhuthu. Mostly primary and secondary colours are applied with contrast for face painting. It helps in effecting certain stylization in the dances. Then the dancer comes in front of the shrine and gradually “metamorphoses” into the particular deity of the shrine. He, after observation of certain rituals places the head-dress on his head and starts dancing. In the background, folk musical instruments like chenda, tuti, kuzhal and veekni are played in a certain rhythm. All the dancers take a shield and kadthala (sword) in their hands as continuation of the cult of weapons. Then the dancer circumambulates the shrine, runs in the courtyard and continues dancing there. The Theyyam dance has different steps known as Kalaasams. Each Kalaasam is repeated systematically from the first to the eighth step of footwork. A performance is a combination of playing of musical instruments, vocal recitations, dance, and peculiar makeup and costumes. The stage-practices of Theyyam and its ritualistic observations make it one of the most fascinating theatrical arts of India.
Oppana
Oppana is a popular form of social entertainment among the Mappila community of Kerala, south India, The Malayalam word Oppana Pattu is the derivation of Tamil word 'Oppanai Pattu'. In Tmail 'Oppanai' means make up. Now Oppana has been extinct in Tamil Nadu. But in Kerala this art form has been revived with much popularity in performing stages of Youth Festivals of student community. Oppana is generally presented by females, numbering about fifteen including musicians, on a wedding day. Sometime Oppana is also presented by males to entertain the bridegroom. It usually takes place just before the bridegroom leaves for the bride's residence where the Nikah (marriage) takes place or at the time he enters the Maniyar. Harmonium, Tabla, Ganjira and Elathaalam are the musical instruments employed for this performance. Only the Mappilapaattu will be sung on the occasion.

Chavittu Nadakam
Chavittu Nadakam is a highly colorful Latin Christian classical art form originated in Cochin , Kerala state in India. It is noted for its attractive make-up of characters, their elaborate costumes, detailed gestures and well-defined body movements presented in tune with the rhythmic playback music and complementary percussion. This art form highly resembles European Opera. Chavittu Nadakam is believed to be originated during the 16th century AD. This form of play is prevalent among the Latin Christian community in the districts of Alappuzha, Ernakulam and Thrissur of Kerala. This cultural heritage had been vanished out due to the lack of responsible patronage. Chavittu Nadakam is usually performed on open stages. Sometimes the interior of a church is also a venue. The master is known as Annavi. Dance and instrumental music are combined in this art form. The actor themselves sing and act. The language is Malayalam with some mix of Tamil.
Margam Kali

Margam Kali is one of the ancient group dance of Kerala practiced by Saint Thomas Christians. The dance form was practiced by the Saint Thomas Christians before the arrival of Portuguese missionaries in Kerala. There are several different opinions on the origin of Margamkali. Three are: 1. It is traced back to Jewish wedding songs and dance from the diaspora. Scholars have found common origin among Malabar Jewish dance and songs and the Saint Thomas Christian dance form of Margam Kali.
2. It is derived from Sangam kali, a performance dance form of Brahmins.
3. It is derived from the Yathra Kali, a performance art of Nambuthiri Brahmins in Kerala.
4. It is derived from the early forms of Thiruvathira kali
"Margam" means path or way or solution in Malayalam, but in the religious context it is known as the path to attain salvation. The process of conversion to Christianity was known as "Margam Koodal" until recently in Kerala.Much of this folk art is woven around the mission of St. Thomas, the Apostle. The original Margam Kali describes the arrival of St. Thomas in Malabar, the miracles he performed, the friendship as well as the hostility of the people among whom he worked, the persecution he suffered, the churches and crosses he put up in  various places, etc. These details are incorporated in the various stanzas of the Margam Kali songs. Kerala’s Margam Kali is an important element in the age-old and hallowed tradition of St Thomas among the Syrian Christians of Malabar Coast.
A dozen dancers sing and dance clapping around a Nilavilakku wearing the traditional white dhoti ("mundu") and blouse ("chatta"). The lamp represents Christ and the performers his disciples. The performance is usually held in two parts ("padham") and begins with songs and dances narrating the life of St.Thomas, the apostle. It then takes a striking turn with a martial play of artificial swords and shields. Margamkali does not use any instruments other than two small palm size cymbals played by the same person who sings the song. In the early days only men performed Margam Kali. Today women also perform the custom.
Thiruvathira
Thiruvathira Thiruvathira is a Hindu festival celebrated in the southern Indian state of Kerala on the full moon day of the month of Dhanu (mid-December to mid-January) or Margazhi [ Margali ]. Ardradarshan celebrated in Tamilnadu corresponds to Thiruvathira of Kerala since both are related to lord shiva. The festival commemorates the death of Kamadeva, the Hindu god of love. It is believed that on this day, the Goddess Parvathi finally met Lord Siva after her long penance.
This festival is also called the festival of women, because women will fast on this day to get good husbands. Thiruvathirakali is a dance form performed by women on the day of Thiruvathira. In Tamil Nadu, the married women will fast during the day time. They will take food before sun raise and start their fasting. They will break the fast after witnessing the moon raise. The Thiruvathirai Kali in Tamil Nadu is a type of food prepared on Tiruvathirai day The sinuous movements executed by a group of dancers around a nilavilakku, embody 'lasya' or the amorous charm and grace of the feminine. The dance follows a circular, pirouetting pattern accompanied by clapping of the hands and singing. Today, Thiruvathirakali has become a popular dance form for all seasons.



Duff Muttu

The Duff Muttu or the Dubh Muttu, or the Duff Kali is a folk entertainment item popular among the Muslims of the Malabar region in Kerala, performed to commemorate their festivals, nuptial ceremonies or Urooses (festivals and occasions connected with Mosques) and also for social entertainment. The art form is also known as Rebana.

The interesting art form of Duff Muttu is named after the instrument used in the performance called Duff. It is a musical percussion instrument of Arabian origin made of wood and ox skin. It is also known as the Thappitta. There is no time specific for a Duff Muttu performance. It can be played anytime of the day.

The players are usually six in numbers. They stand or sit facing each other and sing songs, swinging the body in different directions. The rhythmic beat of the palm on the duff controls the tempo of the song and the movements of the dancers. The songs of the dance are often a tribute to martyrs and heroes. The leader sings while the others provide chorus and drum the Duff with their fingers or palms. The dancers often toss the drums over their heads. Unique and rhythmic steps are also part of the dance.