musical instruments of kerala essay

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Folk musical instruments of Kerala

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Kerala is rich in the number and variety of musical instruments and the richness of its legacy in this field is not below that of any other region in India. Many instruments in use today were known to have been in use thousands of years ago as they are found mentioned in the earliest books.

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Musical Instruments of Kerala

List of kerala musical instruments  .

• Veekan Chenda
• Shudha Madhalam
• Toppi Madhalam
• Idudiviranam
• Pambavadyam
• Panchamukhavadyam
• Kudukudupandi
• Pullonveena
• Pulluvakudam
• Kuzhithalam
• Chaplankatta
• Kurumkuzhal

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The arts and crafts of Kerala portray the cultural heritage of the place, having a fine combination of Aryan and Dravidian influences and coming in the forms of ritual arts, performing arts and martial arts. These vibrant art forms are done perfectly fascinating visitors and audiences with an unearthly experience.

Aadivedan Kali

Arabana muttu

Arjuna Nritham

Ayyappan Vilakku

Ayyappan Vilakku is a ritual offering to propitiate the Lord Ayyappan, the deity of Sabarimala temple, who is considered to be an incarnation of Lord Sastha. The 24 hrs long ritual offering includes craftsmanship, oracle's performance, percussion music, folk songs, community procession etc. Generally, this art form is performed in a common place, temple premises or at large courtyards of homes during the Sabarimala pilgrimage season (mid of November to mid of January). This ritual is mainly performed in the districts of Thrissur, Palakkad, Malappuram and Kozhikode.

Bhadrakali Thullal

Bhadrakali Thullal is a devotional submission of Pulaya community for Goddess Bhadrakali. Special pandals are constructed in the paddy fields after the harvesting and the dances are performed. This dance form has numerous phases with each phase having different costumes.

Chaathan Kali

This art form is common mainly in Ponnani and Tirur Taluks in Malappuram District. Dressed as Chatan, the village god, the dancers perform accompanied by percussion instruments such as Chenda etc. holding Kolams and short sticks. A peculiar type of chenda is used as rhythm. This is usually performed during the day. The costume consisted of a linen cloth and a bell around the waist, anklets on the head, and a hood made of delicate coconut leaves.

Chakyar Koothu

Chakkyar Koothu is also called Koothu, which is one of the oldest classical temple arts of Kerala. It is believed that immigrant Aryans introduced the art form to Kerala. The members of Chakkyar community perform it. The performance begins with a hymn to the deity of the temple. The story is generally from the epics and it is recited in a dramatic style with stress on fluent narrations with typical facial expressions in accordance with the Natya Sastra. It is unique for its comic and satirist style. The Chakkyar has the privilege to tease or criticize anybody, even the King, while performing the Koothu and it should not be questioned. The costume of Chakkyar is colorful and peculiar with an odd head covering. The instrument used in the background is Mizhavu played by a Nambiar.

Charadupinnikkali

Charadupinnikali or Urikkali is a dance form practiced in South Kerala by women. The play is performed holding the cords hung at the place of performance. At the end of play, the cords become a rough form of uri and later the uri is undone. This makes a part of Thiruvathira.

Chavittu Kali

It is a dance form performed by a group of people consisting of 10 to 20 numbers in a circular form. This art form is common in the Valluvanaadu region of Kerala (part of Palakkad and Malappuram Districts). This art form played by Kanakkar, cherumar, pulayar & koodaar communities. It is also known as called Cherumakali named after the Cherumar community. Though it is not a ritualistic art form, it is performed during temple festivals, usually in Bhadra kaali temples. There are two types of Chavittukali, ‘Aankali’ played by men and ‘Penkali’ played by women. Both have different rhythm and steps. Anybody can participate in the art form is the peculiarity of this folk art. During festivals more than100persons used to participate.

Chavittunatakom

Chaviitu Nadakam is a Latin Christian folk art form of Kerala. It is believed to be originated in Cochin where the Latin Christian Portuguese missionaries have instituted their first mission. The reason behind this assumption is that Chavittu Nadakam has a significant European character in its costumes and outfits. But there are historical evidences that Kerala had connections with the western world well before the arrival of Portuguese. Even though some argue that the Chavittu Nadakam is created by Portuguese, there are no evidences supporting this view. The colloquial language for its playback songs and dialogue also suggest that the art form is indigenous in origin.

Chozhi Kali

Prevalent in Thrissur District, Chozhi Kali involves children donning the garb of Chozhi while the elders donning the costumes of Kalan, Chitragupta and Muthiyamma. The leader stands in the midst of children, garbed as Chozhi. He then makes the Chozhis sit in a circle round him and begins to sing while the Chozhis clap their hands. Later, the elders in the garb of Kalan (God of Death) and His accountant, Chitragupta enter to the accompaniment of yells and the Muthiamma sings humorous songs. The costume of Chozhi consists of dried plantain leaves, tied all over the body with two horns on the forehead. Kalan and Chitragupta wear black clothes and masks of terrifying aspect with fangs bared.

Duffmuttu is a group performance by the Muslims. It is also known as Aravanamuttu. Duffmuttu is staged during festivals and ceremonies. It can be performed at any time of the day. The leader of the group sings the lead and others join in a chorus and they dance with a circular movement accompanied by the beating of a Duffu (a round percussion instrument).

Edaya Nritham

Edaya nritham is a tribal dance form of shepherds in which men and women participate accompanied by songs.

A dance form depicts hunting of wild bear performed by Irula tribes. Whole community participates in the dance. One of the performers disguised as a wild bear and others sing and dance in a circle. In the song, they invite wild bear and perform actions of its chasing through the dance. When the bear runs away, the dance ends.

Gadhikamadal

Garudan thookkam.

Garudan Thookkam is a ritual performed in some temples in central Travancore. Garuda Parava is a dance form performed to please Goddess Bhadrakali. The artists dressed in the form of a bird, with a beak, wings, and body like a garuda instruments such as chenda, maddalam and elathalam to add rhythm. This ritual is performed during the month of Dhanu. According to legend, Lord Vishnu sent His vehicle, Garuda, to the Goddess to appease the bloodthirsty Bhadrakali consequent on the murder of Darika, a demon. Legend has it that Garuda danced in front of Kali to make her happy, after which Garuda offered his blood to Kali and Kali's anger subsided when She drank Garuda's blood.

Ivarkali is an ancient dance form performed by the members of Asari and Kollan communities. It is also known as Ivar drama, or Pandavarkali. The theme of the dance form is the story of Pandavas of the epic Mahabharata. Five men stand around a Nilavilakku (holy lamp) having five wicks and perform dance. It is a combination of Parichamuttukali and Kolkali.

It is a procession of decorated models of bulls. There are many rituals throughout Kerala associated with farming and all these rituals reflect man’s admiration and submission to nature and Earth. Kaalavela, associated with temple festivals, is one among such rituals celebrated in Kerala. Many visit the temple during the festival season to witness this exceptional ritual. Known as Kalavela, Kalakali and other similar names, Kalakettu is performed coinciding with the Bhagavathy Kavu festivals. Huge idols of bulls made of cloth and hay, decorated exquisitely and adorned with garlands the huge bulls are supported by many on their backs and taken to the sacred grove (Kavu); to the accompaniment of screams of joys and rhythm the bulls are taken out in a procession. Depending upon the location of a performance, the shape and decorations differ. The decorated bull is taken out in a procession by the people. This is known as kettukazhcha. The ‘kazhcha’ is taken to functions associated with the temple and neighbouring areas. The instruments commonly used as background are Chenda, Ilathalam and Thudi. There are many art forms similar to Kaalavela. Some of these are ‘Maruthachinada’ of central Travancore, ‘Kaalakettu’ of Palakkad and ‘Eruthukali’, ‘Moorikettu’ of north Kerala.

Kaaliyoottu

Celebrated to commemorate the fight between Bhadrakaali and Darika, Kaaliyoottu is performed at the Sarkara Bhagvathi temple in Chirayankeezhu, 18kms from Thiruvananthapuram. The auspicious time for its performance is Kumbham (Januvary-February). The eight day long combat is performed on different stages until the climax - a ritual called Paranettu - is enacted on a special 100 feet high stage on the final day. The most thrilling part is the concluding Paranettu, performed by the heads of 64 villages and is fully action packed.

Kadhaprasangam

It is a combination of speaking, acting, and singing to present a story before the audience. Costumes, make-up, or settings are not used. The main artist, the Kaadhikan, tells the story, acts and sings with two or three accompanying instrumentalists. A typical performance lasts one-and-a-half to two hours. Kadhaprasangam is originated from an earlier art form Harikathakalakshepam which used similar techniques, but differed in theme and style. While Harikadhakalakshepam was based on themes from epics, Kadhaprasangam received themes largely from classical and popular literature. Kadhaprasangam's heyday was in the second half of 20th century, attracting crowds on temple grounds in the festival season. It spread beyond temple grounds as a popular presentation viz. 'Kadhaprasangam' by Swami Sathyadevan. The Govt of India honoured Swami Sathyadevan with a pension awarded to founders of art forms while the Swami was in Banaras in 1961. Chief exponents of this art form were Swami Brahmavruthan, M. P. Manmadhan, K. K. Vadhyar, P. C. Abraham, Kedamangalam Sadanandan, Joseph Kaimaparamban, Kadhikaratnam Mavelikara S.S.Unnithan, V. Sambasivan, Kollam Babu, V. Harsha Kumar, Kallada V. V. Kutty, Paravur Sukumaran, V. D. Rajappan, Vatakara V Asokan, Nadakkal Ashokkumar,V V Jose Kallada, Gopika Vazhuthacaud and many others who contributed to Kerala's social and educational renaissance

Kaikottikkali

Kaikottikkali is a dance to the accompaniment of clapping of hands and songs, performed by women during Onam and Thiruvathira. It is also termed as ‘Onakkali’ or ‘Thiruvathirakkali’ depending up on the time they are performed. A stream of songs related to the stories related to various is available for ‘Kaikottikkali’. The performers wearing mundu and neriyathu (traditional dress of Kerala women) form a circle around the Nilavilakku (bell metal pedestal oil lamp) and start dancing by clapping hands to the tune of songs. Initially the dance movements would be clockwise and when it picks up momentum, it becomes anti-clockwise.

Kakkarissi Natakam

Kakkarissinatakam is a dance-drama. It is an art form that blends music, dialogue, dance and drama. Kakkan and Kakkathies are the main characters and hence the drama-dance form is known as Kakkarasinatakam. The origin of this art form is based on the legend of Lord Siva and Goddess Parvathi. They disguised as human beings and went round the earth as Kakkan and Kakkathi and performed the art form with a view to end corruption among human beings. Satire, social criticism and humor are the distinctive features of this art form. Thampuran, Sundaran Kakkan, two Kakkathies are the characters. Additional characters can be added according to the situation. The dialogue of the dance-drama is in the form of question-answer type. Thampuran asks questions and the Kakkan gives humorous answers amidst songs. Changes in the story and dialogue are also permissible according to situations.

Kalamezhuthu

Kalamezhuthu is an ancient art woven into the ritualistic mores of Bhagavati, Naga and Ayyappa temples in Kerala. It refers to the pictorial representation of deities on the floor (kalam) using coloured powders (kolappodi) during ceremonies. When combined with the singing of specific songs (kalampaattu) and dance movements related to the puja (kalapradakshinam), it becomes a ritualistic performance known as ‘kalamezhuthum paattum’ or ‘kalamezhuthupaattu’.

Kaanikkar Nritham

This is a group dance of the Kanikkar tribe as evidenced by its name. It is a ritual dance accompanied by the beating of drums.

Kaadar Nritham

Kadar Nritham is a dance form of women belonging to Kadar tribe. Holding their hands together and holding their clothe tips they perform the dance in semi-circle according to the rhythms.

Kaavadiyattam

Kavadiyattam is a ritualistic dance form usually offered in Subramanya temples. The devotees wearing yellow dresses smeared with bhasmam (sacred ash) all over the body and perform dances with Kavadis (colorful bow shaped wooden structures having different heights decorated with peacock feathers) on their shoulders. Different Kavadis such as Ambalakavadi (temple like structure), Pookavadi (made of colorful paper flowers arranged in a pyramid shape) are used. The Udukku, Chenda,Thakil and Nadaswaram are the musical instruments that played while the dance is performed.

Kolamthullal

Kolamthullal is a ritual dance performed by Ganaka or Kaniyan community to eradicate evil spirits from the body and mind of people. It is also performed as a part of Padayani, Kalamezhuthu etc...

Kalaripayattu

Kalaripayattu is a martial art form, originated in Kerala and practiced in northern and central parts of the state. Kalaripayattu martial art is one of the oldest surviving fighting systems in the world and famous for its attacking and defensive patterns. It is believed to be the oldest surviving martial art in India, with a history spanning over 3,000 years. Like most Indian martial arts, Kalaripayattu contains rituals and philosophies inspired by Hinduism.

Kanniyar Kali

Kaniyarkali is an art form performed in Pallassana, Kizhakenjeri, Vadakkumchery, Koduvayoor, Chiittoor and Nenmara areas of Palakkad District. This is performed by Nairs. The dance form is a combination of martial arts and folk dance. It is believed that the dance form was originated to face the threat from the attack of Konganpada, the military of the neighbouring Kongunadu (Coiambatore). The Kaniyarkali is performed in the temples in a specially built ‘pandal’. The performance lasts for four days. Each day’s performance is known as Iravakali, Anadikoothu, Vallon and Malama. The dance is accompanied by devotional songs and playing of Chenda, Maddalam, Edakka, Udukku and Ilathalom.

Karadiyattam

Karadiyattam means the “dance of the bear”. This is a tribal ritual art prevalent among the tribes of Attapadi in Palghat district. It is believed that this art form originated some 500 years ago. This dying art form is performed at Malleeswaran temple at Chemmannur in Attapadi on Sivarathri day, the festive and auspicious night of Siva that is celebrated every year.Karadiyattam is presented for propitiating gods and also for appeasing departed souls. About ten to fifteen men and women in ordinary dresses participate in this ring dance. This takes place at night around a bonfire. The performers sing and dance in well defined steps round and round the leaping flames. Para, thakil and kuzhal are the musical instruments used.

Kathakali is a spectacular and exclusive classical dance-drama of Kerala in which stories are narrated through gestures, facial expressions and body movements to the accompaniment of chenda and cymbals. Kathakali derives much from folk culture and the religious plays traditionally performed in temples. Kathakali is a beautiful blending of nrutha (pure dance) and nrithya (expressional dance) with marvelous body movements, facial expressions and well-designed costumes and ornaments. It is believed that this elaborate art form was developed in 17th century A.D. Kathakali has many similarities to Yakshagana of Karnataka. The basic principles of Kathakali are taken from the Natysasthra of Bharathamuni, the ancient thesis on dance and drama. This art is an integral part of all temple and cultural festivals in Kerala. Kathakali has its orgin from Ramanattom, an earlier dance form. Kottarakkara Thampuran, ruler of a princely state in Kerala was the founder of Ramanattom. At that time, Krishnattom, another dance form was staged in Guruvayoor temple. It was not allowed to stage anywhere outside the Guruvayoor temple. Once, Kottarakkara Thampuran went to Guruvayoor under disguise and enjoyed the dance form. After seeing Krishnattom, he decided to create another art form that could be enjoyed by all. Thus he found out Ramanattom. Vettathu Thampuran, who ruled the neighbouring state between 1630 and 1640, developed the Ramanattom into Kathakali in its present form. It was Kottayam Thampuran who prescribed the rules and regulations for the stage performance of Kath Kali. The rules so prescribed are Keli, Kelikai, Thodayam, Vandanaslokam, Purappad, Melappadam and Kottikkalasam. Kathakali is usually performed during night hours. It starts after dusk and continues up to dawn of next day. The actors neither speak nor sing. They perform their acts through mudra (sign), movements and expressions in accordance with the background music. More than 800 symbolic meanings and descriptions are conveyed through 24 mudras of this art form. The costumes and makeup are ornamental, elaborate and designed to give a superhuman effect to the actors. The faces of Gods, heroes, and Kings are always painted green with ridges of white rice paste around the edges, while demons have red beards, white mustaches, and knobs on their noses. Pacha, Kathi, Thadi and Kari are the prescribed make up forms of characters. Costumes are colorful and include decorated headdresses associated with the parts and white skirts. The stories of Kathakali are derived from the epics and myths. Stories involve heroes, villains, gods, and demons. Chenda, Maddalam, Chengila and Ilathalam are the musical instruments played while Kathakali is staged. Kathakali became widely popular through royal patronage, soon developed as a classical dance-drama. In the 18th century Kathakali became a theater art of all people and performed outside temples also. During the British rule Kathakali suffered a serious setback. However, the constant and almost single-handedly efforts of Vallathol Nayayana Menon, the great poet of Kerala, regained the glory of Kathakali and attracted national international audiences. Kerala is highly indebted to Vallathol for his outstanding contributions for the revival of this great art form and for the establishment of Kerala Kalamandalam at Cheruthuruthi where Kathakali training is imparted.

Kerala Natanam

Kerala Natanam is a new style of dance that is now recognised as a distinct art form evolved from Kathakali, classical dance-drama of Kerala. The dancer Guru Gopinath, an accomplished Kathakali artist and his wife Thankamani Gopinath, who was the first student of Mohiniyattam in Kerala Kalamandalam, developed a unique structure for teaching and performing classical dance forms of India that originated from Kathakali. Solo, duets, dance dramas and traditional folk dances were the material they chose. Kerala Nadanam can be performed in three ways: Ekamga Nadanam (solo), Samgha Nadanam (group), Nataka Nadanam (dance drama enacting a story). Male–female pair dancing is a distinct style in Kerala Nadanam. He has also extended the dance drama to five or six hours long performance called Indian ballets.

Koodiyattam

Koodiyattom means dancing together. Koodiyattom is a classical dance form that claims two thousand year old tradition. It is the primitive form of Sanskrit drama. Koodiyattom is performed in Koothambalam (special theatre) attached to temples to make the people aware of epics, classics and to teach moral values. Koodiyattom is a forerunner of Kathakali. Thiraseela (curtain), make up, ornaments and costumes used for Koodiyattom performance are almost same as that of Kathakali. Chakkiyar narrates stories and interprets its meanings in simple and humorous way. Nambiar and Nangiar handle Mizhavu and Kuzhithalam respectively. The style of acting, playing of different roles by same actor, stories and sub-stories, nethrabhinaya (eye expressions), mukhabhinaya (facial expressions), angikabhinaya (body movements), dialogues in Sanskrit and Malayalam etc. make this art form unique. Nangiar (Female dancer) also participate in the dance enacting the female roles. Koodiyattom has been recognised by the UNESCO.

Kolam Thullal

Kolkkali is a rhythmic dance with the dancers wielding short sticks It is a popular dance form among Muslims. Hindus also perform this dance. The dance is the thandava version of Kaikottikkali with a difference that instead of hands, small sticks known as Kol are used for striking. Men only participate in this dance form, as the performance of the dance requires basic martial training. The steps resemble movements of Kalarippayattu. The rhythm of this dance is set by synchronization of tapping feet to the striking of sticks. The movement of dancers is circular and they sing and dance striking the sticks.

Kooran Kali

Koothu or Therukoothu is an ancient art, where artists play songs with dance and music in storytelling the epics, performed in Tamil. It is a folk art originated from the early Tamil country. More precisely Koothu refers to either Terukuttu or Kattaikkuttu. The terms Terukkuttu and Kattaikkuttu are often used interchangeably in modern times; however, historically, the two terms appear to have distinguished, at least in certain villages, between two different kinds of performance. While Terukkuttu referred to mobile performances in a procession, Kattaikkuttu denotes overnight, narrative performances at a fixed performance space. Koothu as a form of entertainment reached its peak hundreds of years ago in Tamil Nadu, as mentioned in the Sangam texts about the development of iyal (literature), isai (music) and natagam (drama). Going beyond just a means of entertainment, koothu educates the rural people about religion and their history.

Kothammuriyattam

Kothammuriyattom is a village folk art form of northern Kerala. It is in fact Godavariyattom. Basically it is a form of theyyam (a popular ritual form of worship of North Malabar), with the image of a cow-face attached to mid part of the body. Usually a boy is selected to act this part. Special hair work, face pack, and costumes accompany this. Paniyas also assist the main character. It is believed that, after this play, the country becomes prosperous with more yields and increased number of livestock. With drum patterns serving as the music, the speech is both socially conscious and humorous.

Krishnanattom

Krishnanattom is a complete dance form exclusively performed at the Sree Krishana Temple at Guruvayoor as an offering. This pantomime was originated by one of the Zamorins of Kozhikode. It is a forerunner of Kathakali. Performance of Krishnanattom lasts for eight days and describes the story of Lord Krishna. Colorful facial make-up with colors of dark green, flesh tint and deep rose and clothe padding, red vests and flowing 'Uthariyams' increase the visual effect of the dance form. Krishna, Arjuna and Garuda are the main characters. Maddalam, Ilathalam and Chengala are the musical instruments played.

Kummattikkali

Kummattikkali is a mask dance of Kerala. The dancers, wearing painted wooden masks perform dance. The Kummatti is a witch and the other characters are Gods and Goddesses. The songs are of devotional themes. Ona-villu (bow like musical 0instrument) is also played.Kummattikkali is a form of social entertainment. No special training is needed and many locals participate in the performances.

Kurathiyattom

A ritual dance performed in temple festivals. Kuravan, Kurathy and Muthiamma are the main characters of this dance form. Love, quarrel and reconciliation between Kuravan and Kurathy are the theme of the dance.

Kuravarkali

An early dance form performed by the members of Kuravan community. Participants stand around a lit nilavilakku (bell metal oil lamp) and perform dance encircling the lamp.

Kurumbar Nritham

It is a dance form performed by Kurumba tribe on the occasion of marriages.

Kuthiyottam

Kuthiyottam is an offering made in the Devi Temples of South Kerala. At Chettikulangara and Attukal Devi temples this was performed in connection with temple festivals. Boys perform the ritual. Practice to perform Kuthiyottam starts from the Bharani day of Kumbham (February-March) month. Boys ornamented with caps, garlands are taken in a procession to the temple and they perform the dance in front of the deity.

Malayikuthu

Malayikkuthu is a dance ritual performed by the people of Malayi sect in Kerala. Devakanni and Narada are two characters that comprise Malayikkuthu. Davakanni's costume consists of gold and silver ornaments, pleated cloths and dotted dresses. Narada wears silver ornaments and other colorful clothes. The face is decorated with turmeric and body paint. It is performed in front of a lighted lamp (Nilavilakku) Devakanni enters first. Other designates too accompany. Narada enters later and they dance together. The theme of Malayikkuthhu is as follows: Seven virgins descended on earth to collect flowers. One lost her way and could not join others. Others headed back to heaven. A wandering Narada happened to see her and he wanted her to continue in this world itself. Malayikkuth is performed in the district of Kannur This is also known as Devakkuth.

Mangalamkali

Mangalamkali is a dance ritual related to marriage functions as a form of entertainment. Usually members of Pulaya communisty perform this dance form. Certain music instruments like Para and Kannupara too are used. The dance has fast rhythm As it was related to Mangalam or marriage, it is known as Mangalam kali. This art form is prevalent among the Mavila-Vettuva tribes also. The dance is performed before the elder members of the community. A group of about thirty people form a circle and dance and sing to the music. Thudi is used for music. Jack wood is used for making Thudi. The rhythm variation in Thudi while switching from one song to another is very catchy. Even though Mangalamkali is associated with marriage, the theme of the song is not directly related to marriage. Old rituals and habits, Cooli, Hunting are all themes of the music. The Mangalam kali which starts at night goes on till the wee hours of the morning.

Mappila Paattu

Mappila Paattu is a folklore Muslim song rendered to lyrics, within a melodic framework (Ishal), in Arabi Malayalam by the Mappilas of the Malabar. Mappila songs have a distinct cultural identity; while at the same time remain closely linked to the cultural practices of Kerala. The songs often use words from Persian, Hindustani, and Tamil, apart from Arabic and Malayalam, but the grammatical syntax is always based on Malayalam. They deal with themes such as religion, love, satire, and heroism, and are often sung at occasions of birth, marriage, and death. Mappila Paattu form an integral part of the heritage of Malayalam literature today and is regarded by some as the most popular branch of Malayalam literature, enjoyed by all Malayali communities in Kerala and Beary speaking communities of Karnataka .

Margamkali is a folk dance performed by Christians. It is a group dance developed by the Syrian Christians of Kerala. The word 'Margam', means pathway or religion and the word 'Kali' means play or dance. It is believed that the Margamkali was originated to convey the message of Christianity, i.e., the way (margam) of Christian life. This dance form is performed mainly during festive and marriage occasions. Dressed in traditional Syrian Christian style, the dancers move in a circle around a Nilavilakku (lighted bell metal lamp). The dancers sing themselves. No background instruments are used when this art form is performed.

Marathukali

Marathukali is a variant of Poorakkali. Poorakkali is a traditional dance ritual performed by men during the nine-day Pooram festival in Bhagavathy temples across Northern Kerala (formerly known as Kolathunadu. Marathukali performed by two parties competently. The ordinary play lacks the competent mood displayed in Marathukali. Big disputes ensue between two parties while performance is on and learned people dissuade both parties from further confrontation.

Mohiniyattam

Mohini in Malayalam means seductress and attam means dance. So Mohiniattaom can be considered as a seductive dance. Sringara (passion) and Lassya are the major elements of the dance. Woman performs Mohiniyattom. It is a solo performance. The origin of Mohiniattom is from Dasiattom, the dance of the temple courtesans. Later it was refined according to the Natyasasthra by Swathi Thirunal, the Maharajah of Travancore. There is an opinion that Mohiniyattom is the Kerala version of Abhinayakoothu of Tamil Nadu. Legend says that God Vishnu once incarnated as a Mohini (beautiful lady) to rescue God Siva from Bhasmasura, a demon. Mohini performed gorgeous dance before the demon and seduced him. The dance so performed by Mohini is the Mohiniyattom. The costume as well as the hairstyle of the dancer is of typical Kerala tradition. The background song is of the classical style. Madhalam, Kuzhithalam, Kuzhal are the musical instruments played along with the song.

Mudiyattom is a dance form of tribal women. They do comb and tie their hair and allow it to run down and dangle in waves while performing this dance form.

Mukkanchathan

Muttum Viliyum

Muttum Viliyum, an orchestra popular among Muslim community of Kerala, is a confluence of three musical instruments. The musical instruments used for Muttum Vilyum are Kuzhal, a traditional wind instrument, chenda and cheriya chenda, two types of traditional percussion instruments.

Nadodi Nritham

Nadodi means tribal people or nomads who dress entirely different from normal people. Nritham means dance. So nadodi nritham is an art form performed in the costume of tribes and villagers. Nadodi nritham is something similar to a theatre play. According to a folk song played, dancer places steps. In most cases, actions are over expressive showing emotions like hunger, thirst, sad, happiness, anger and love. Colourful dress, catchy songs and vigour movements make this art form popular in stage shows

Naaga Chuttu

Naaga Chuttu is a popular art fpr, in Thiruvananthapuram and Chirayinkizhu taluks and in Kilimanoor, Pazhayakunnummal and Thattathumala regions, this is in vogue among Vedars, Parayars and Kuravar tribes. From among the eight performers, two spin around each other like serpents and rise up. The costumes include sandalwood paste on the forehead, a red towel round the head, red silk around the waist and bells round the ankles.

Naikar Kali

A ritual dance performed by naikar tribe of Waynad and Malappuram. They perform the dance with tinkle anklets round their legs moving round in clock-wise and anti-clockwise accompanied by drum and pipes in the background.

Nangiar Koothu

Nangiar Koothu is a ritual dance form presented by Nangiar, female member of Nambiar community. Usually Nangiar Koothu is performed in temples during daytime. The biography of Lord Krishna is the theme of this dance form

Nokkuvidya Pavakali

Nokkuvidya Pavakali is a unique and centuries-old form of puppetry from Kerala. In Nokkuvidya, puppets chiseled out of wood are poised on a tall pole and balanced on the puppeteer’s upper lip, specifically in the indentation between the nose and the top lip. The wooden hinges and limbs of the puppet are manipulated using a string held in the puppeteer’s mouth. The balance and dexterity required from this almost trapeze-like act forces the performing artist to be focused and direct in gaze, and patient and precise in technique, which is why the puppetry is named Nokkuvidya, as nokku in Malayalam means look and vidya means technique. The puppet show is accompanied by songs and the retelling of stories from Indian epics.

Onapottan is a traditional Kerala art form celebrated during Onam season especially in North Malabar. A folk character with painted face and crown showcases every day during the festival.

Oppana is a Muslim folk dance performed by the women on the eve of Nikah (marriage). Usually friends of the bride are the performers. The performers wear typical Muslim dress. They form a circle round the bride and sing oppanappattu to the rhythm of clapping hands and dance towards the bride and outwards. Harmonium and Thabala are the musical instruments played while dance is performed. Mappilapaattu is also sung on the occasion.

Ottamthullal

Ottan Thullal is a dance performance form of Kerala Ottan Thullal, Kolam Thullal and Sarpam Thullal are three most exotic and spectacular ritual performance from the state of Kerala. Ottamthullal is a unique art form of Kerala with green makeup and a colorful costume. It is a satirical form of art performed by one man that gives many opportunities for laughter. It also leads to think as well. The humour poet Kunjan Nambiar is the inventor of Ottamthullal. This art form is very ancient one and it has a history which starts from the year 1700. The classical principles of Natya shastra wisely used with Ottamthullal. It’s very entertaining and would be present with body movements, hand gestures and with leg jumping. The theme of Ottamthullal is moking paradies. In olden days, the kings and feudal land lords were criticized through Ottamthulal

Paakkanar kali

Paanakali or Pallippaana, is a function organised in Bhadrakali (Durga - Bhagavathy) temples. It is ike Mudiyettu. The killing of Darika is the theme of the subject. Pana festival lasts for four days. The art form is popular in the districts of Thrissur, Palakkad and Malappuram. It is performed in a specially constructed pandal of 64 sq. feet with 64 poles cut from the Pala tree (Alstonia scholaris) and adorned with tender palm fronds. This is erected near the shrine of the Goddess. Song praising Lord Ganapathy, Lord Sastha, Kali (Durga) and about Darika, known as Thottam Pattu, is sung. On completion of Thottam Pattu, the oracle used to proclaim the commands of the Goddess.

Performed in Chittoor Taluk of Palakad District, Pallukali is a dramatic visual art. This ritualistic art is handled by those belonging to the Paraya community. An artist in the costume of Lord Ganapathy appears first on the stage. He is followed by such characters as Panakaran (rich man) his servant, his two wives and a Kolkaran (he is also the comedian). When other characters enter Ganapathy withdraws and the theme is expounded. The leader sings and according to the song the artists start acting. The misfortunes fall on the rich man when one of his wives turns informer against him are the theme. On account of the prayers of the other wife it all ends happily. The male characters have costumes similar to those of Kathakali. The female characters don dhoties and upper cloth. Facial makeup is used. The female characters tie up their hair.

Panchavadyam

Panchavadyam, literally meaning an orchestra of five instruments, is basically a temple art form that has evolved in Kerala. Of the five instruments, four — timila, maddalam, ilathalam and idakka — belong to the percussion category, while the fifth, kombu, is a wind instrument. Panchavadyam is characterised by a pyramid-like rhythmic structure with a constantly increasing tempo coupled with a proportional decrease in the number of beats in cycles.

Paanakali, a ritual dance tradition, confined to a few areas in North Kerala, is performed annually to propitiate the Goddess Kali. Paanakali symbolically narrates the slaying of the demon Darika by Goddess Kali. It requires a lot of training as the rituals connected to Paanakali have to be performed for nearly two hours without a break. One must also have a sense of rhythm to do the steps gracefully. Although the ‘Poojakkaran’ is the central character of Paanakali, a total of 16 other performers are required for performing the ritual art form. The performers’ steps are in harmony with the continuous and varying rhythmic patterns provided by the percussionists.

Paniyar Kali

Paniyars are the single largest tribe of Kerala and are located in the Wayanad district. Paniyar kali is highly masculine, 8 or 10 dancers stand in a circle with hands linked together. They move around with rhythmic flexous of the body. They move in the ground in perfect rhythm while using the primitive rhythm and instruments like Karu, Para, Udukku etc. As the dance gathers momentum the circle is swiftly expanded and contracted. At that time the dancers produce a peculiar cry which gradually runs up to a high pitch.

Parichamuttukali

Parichamuttukali is a martial art-dance form of Christians of Kerala. The participants are dressed like warriors with fake swords and shields and dance in a circle. The dance is a mock fight and steps are almost similar to that of Kalaripayattu. The song that sung while performing the dance is about the St.Thomas.

Pavakoothu or Tholppavakkoothu, means puppet play. Pavakoothu is presented as a shadow play. It is a ritual art form performed during festivals in temples. The themes of the play are based on Ramayana. The puppets are arranged behind a long white curtain stretched across the Koothumadom (stage). Behind this a row of burning lamps are placed. The light from these lamps cast the shadow of the puppets on the curtain when the puppeteer moves the puppets.

Pettathullal

Pettathulal, also known as Petta Kettu, is a historic ritualistic dance held annually on the 27th of Dhanu at Erumely in the district of Kottayam. It is performed during the Mandalam - Makaravilakku period (November, December and January) by the devotees. It depicts the joyfulness of people over the slaying of Mahishi by Lord Ayyappa. Two groups actively participate in the thullal, one from Ambalappuzha and other from Aalangadu. The Ambalappuzha group starts their journey to Erumely on the 22nd of Dhanu and a couple of days before the thullal. They visit the Manimala Bhagavathy temple on 25th Dhanu and perform an Aazhi pooja. When the Ambalappuzha thullal is being performed, a Krishna parunth (sacred eagle) flies around in the sky. It is believed that lord Vishnu himself arrives from Ambalappuzha Sree Krishna temple on His mount Garuda to witness the thullal. Pettathullal is a symbolic representation of a community against the uprisings of Adharma or injustice. By slaying the demoness Mahishi, Ayyappa empowered the people by saying that "Unity is the key to social transformation".

Poorakkali (meaning Festival Performance) is a traditional dance ritual performed by men during the nine-day Pooram festival in Bhagavathy temples across North. The Pooram festival begins with the Karthika asterism and concludes with the Pooram asterism of the month of Meenam (march-April). The performers mainly come from Maniyani (Yadav) & Ezhava Panicker Sub-Caste. Different sects of society like Chaliyan, Aasari, Moosari, Thattan, Kollan, also perform Poorakkali. The basis of Poorakkali essentially is the memories of Vasanthapooja performed by inmates of different worlds like heaven, earth etc.

Pootham Kali

Poothamkali (pootham) is a folk art more commonly performed in the Bhagavathy temples of Malappuram. Pootham is the character who accompanied Durga in her combat with the demon Darika. The performers, usually three in number, undergo a week of austerity before the presentation. Colourful and intricately designed masks carved out of the pala and murukku trees are the highlights of the attire. The performance starts slowly and works up to frenzy towards the end. The thudi provides rhythm to the dance which is usually rendered at night. Poothamkali is performed, especially by the dancers belonging to the Mannan community. The dancers wear a right fitting sash and tie jingle bells (ghungroo) on their ankles.

Puthanum Thirayum

Poothan and Thira are popular rituals in the Valluvanad region. Thira represents Kali and Pootham represents demons. Legends associated with Kannaki worship are popular as part of this ritual. This ritual is performed in Kavus and Bhagavathi temples. It is performed by the Peruvannan community as part of festivals like Thalappoli, Pooram and Vela.

Porattu Nadakam

Porattu Nadakam is a popular rural drama in Palakkad district. This folk drama is an interfusion of dance, music and satire. The play is staged in temple premises or in paddy fileds. Like Kathakali, Kelikottu, a special orchestra with chenda and ilathalam, is presented prior to the performance. Dasi, Mannan, Mannathi, Cheruman, Cherumi, Chakkiliyan, Chakkilachi, Kavara, Kavarachi, Thottiyan, Thottichi, Kuravan, Kurathi, Kushavan, Pookkari, Mappila, Mappilachi and Mathoochi are the major characters of Porattunatakam. Characters of female are played by male itself. There will be a questioner, common to all performances and the drama is under the control of this questioner who acts the role of an intermediary between the players and audience.

Puli Kali is a folk art performed during the harvest festival of Onam. Puli means Tiger and Puli Kali is the play of the tigers on the theme of tiger hunting, practiced in Thrissur district of Kerala.

Pulluvan Paattu

A function organised in Devi (Bhagavathy) Temples of North Malabar in connection with the Meenapooram festival during the month of Meenamn (March-April).

Sarpam Thullal

Sarpamthullal or Pamputhullal is performed in the Sarppa Kavus (snake shrines). This is a temple offering. Pulluvan perform the dance before the Sarppakkalam. A Nilavilakku (bell metal lamp) and Nirapara (a measuring jar with full of paddy grains)are also arranged in front of the Kalam. The idol of the snake is brought from the Kavu and placed in the Kalam and the Pulluvan performs ritual offerings. He then dances round the Kalam while Pulluvan and Pulluvathi sing devotional songs to the tune and rhythm of Nanduni and Pulluvakudam. The girls, who are present on the occasion, also start to dance swinging their body in ascending pace. The dance concludes in an emotion of rhythmic zeal.

Shastham Paatu

Shastham Paatu is a ritual performed by devotees of Lord Ayyappa. Also known as Sastha Pattu and Udukupaattu, the pilgrims embarking on a journey to Sabarimala perform Ayappan Pattu in their houses and temples. The song begins after striking a rhythmic beat called Ganapati talam on the ‘udukku’ a small bifacial vessel drum.. It is held in the left hand and struck by the right hand. Ilathalam (cymbal) is also played. The songs rendered are based on the legends of the Pandalam king and Lord Ayyappa, besides songs of Devasuram war and Palazhi Madhanam are also sung. The devotees also dance to the tune of the song. In some parts of Kerala, they used to jump into burning coal at the peak of frenzy. Ayappan Pattu is performed in some places and is known as Ayappan vilakku. Devotees enact on stage the role of Ayappan and Vavar. War-scenes are also staged.

Sopana Sangeetham

Sopana Sangeetham is a form of Indian classical music that developed in the temples of Kerala. Sopana sangeetham (music), as the very name suggests, is sung by the side of the holy steps (sopanam) leading to the sanctum sanctorum of a shrine. It is sung, typically employing plain notes, to the accompaniment of the small, hourglass-shaped ethnic drum called 'edakka' or idakka, besides the chengila or the handy metallic gong to sound the beats. Sopanam is traditionally sung by men of the Maarar and Pothuval castes of Ambalavasi (semi-Brahmin) community, as their hereditary profession. Keerthanas (poems) of Poet Jayadeva’s ‘Ashtapadi’ is sung while performing Sopana Santheetham.

Thaalam Kali

Also known as Thailakkali, this is an art form where physical culture amounts much and is prevalent in Malappuram district. Performed by the Thiyas, it is said to be popular as a performance during the celebrations of Thalikettu (a ritual in which the young girls who attain puberty go through a mock marriage). The performers stand in a circle and sing to a rhythm.

Thacholikali

Two types of Theeyattu are there. They are Kali Theeyattu and Ayyappan Theeyattu. Kali Theeyattu is a dance-drama performed in Bhagavathy temples. The right to perform the Theeyattu is vested with Theeyattunnis, an Ambalavasi community. It is presented in front of the Kalam. The ritual starts with the invocation of Lord Ganapathy, Lord Siva and Goddess Saraswathy. The performer recites the story of duel between Goddess Kali and Daarika. Ayyappan Theeyattu is staged to propitiate Lord Sastha.

Theyyam, the ritualistic and sacred dance form, is performed in Kasargode, Kannur and Wayanad districts of Kerala. In every village of these districts, there are Kavus (sacred grove shrines), where the theyyam dance is performed. The theyyam is presented during Makaram, Kumbham and Meenam (January, February and March) months. The main deity is the God or Goddess of the local Kavu or temples. Theyyam is the corrupt form of Daivam or God. It also involve hero worship, ancestor worship etc. In the performance of Theyyam, the performer personifies the deities propitiated. It is believed that the Gods and souls of dead ancestors and heroes are arriving through the performers and discuss with the people. Muthappan, Kuttichathan, Gandharvan, Pisachu are the mionor Gods appear in Theyyam. Thira represents the great heroes of the past. The performers in colourful costumes decorated long and large headdresses and facial make-ups impersonate all Gods or Goddess. Decorated headdresses made out of wood distinguish Tira from Theyyam. The theyyam performance commences with the song praising the god to be presented in the form of Theyyam. At the end, the performer appears as the Theyyam and dances to the tune of background instruments like Chenda and Elathalam. Men belonging to Mavilar, Peruvannan, Paravan, Velan communities are generally performing the Theyyam and Thira dance forms. Theyyam is evolved from the art form Kaliyattam practiced by tribes of northern Malabar. Kaliyattam is an annual festival attached to the temples or shrines known as Muchilod, Kavu, Palliyara, Mundya, Tanam, Madhapura of Malabar region. Kaliyatoom has similar to Kathakaliin several aspects. Like Kathakali, Kaliyattom begins with Keli and ends with Kottikkalasam.

Theyyannam is a a ritualistic dance performed by the Pulaya and Kurava communities and is found in Mavelikara, Pandalam and some places in Alappuzha District. Though man cultivates different crops, he has a partiality for paddy cultivation. This is the theme of Theyyannam. All stages of paddy cultivation are represented in this art form. With men on one side and women on the other side, they perform all agricultural operations such as ploughing, planting, harvesting and threshing etcDrum, Cymbal, Kuzhal, Perumbara, Conch, Cherututi, Utukku and Chermangalam are well known musical instruments used in Theyyaattam. The rhythm of the playing of these instruments varies from Theyyam to Theyyam. The continuous playing with measured interludes helps to make the performance very interesting. The instrumental players recite Thottams also according to the rhythm of the instruments. The thottam of pottan theyyannam (of pulayans) depicts the dialogue between Sree Shankaracharya and an elder of pulayan community, the verses "even if I am stabbed what comes out is blood and even if you are stabbed what comes out is blood" is very popular.

Thidambu Nritham

Thidambu Nritham (dance with the replica of the deity) is a Hindu ritual dance performed in Temples of North Malabar. It is mainly performed by Thiyyars, Namboothiris and rarely other Brahmin communities like Shivalli, Karhade and Havyaka. Thidambu Nritham, as the name conveys, is a dance carrying the decorated image of the deity (thidambu) on the head. The dance is staged both inside and outside the temple. Ten persons are needed for staging this dance. Foot work is most important and this is executed to the rhythms of the drums. There shall be seven musicians and two lamp-bearers. All the performers are males. The musicians are from Maarar or Pothuval community and the lamp-bearers are from Pushpakan (Unni), Nambeesan, Variar, Unnithiri communities.

Thirayattam

Thiriyuzhichil

Thiriyuzhichil is a dance ritual performed by Pulluvas in Kerala to alleviate the fear of snakes, to appease the snake and to be blessed with babies. This is more popular in the districts of Trichur, Calicut and Palghat and it is performed in Hindu Temples and shrines meant for snakes. It is believed that the performance of this art form could appease the queen of snakes. The performer starts dancing holding a torch in his hand using various types of music instruments. Thiri Uzhichchil is also performed as one of the items in Ayyappan Vilakku festival. This item is performed early morning at about 3 am after the Ayappa Jananam (Birth of Ayyappa) ritual and the Paal kindi ezhunnallippu (ritual procession of Ayyappa bringing tigress's milk).

Thiruvathirakali

Thiruvathirakali associated with the Thiruvathira festival is mainly intended for Nair women. Only women partake thiruvathirakali. It is also called Kaikottikkali. Thiruvathirakkali is a popular, graceful group dance form of women. Apart from Thiruvathira festival, it is also performed during Onam festival. The performers wearing mundu and neriyathu (traditional dress of Kerala women) form a circle around the Nilavilakku (traditional oil lamp) and start dancing by clapping hands to the tune of Thiruvathirappattu, a stream of songs related to stories of Gods and Goddess. Initially the dance movements would be clockwise and when it picks up momentum, it becomes anti-clockwise. Now a day, Thiruvathirakali has become a popular dance form for all seasons.

Tholppavakkoothu

The ancient ritual art of Tholppavakkoothu is basically a form of puppet dancing, a trait that can be gathered from the literal translation of its name which means, "leather puppet play". Performed during the annual festivals in the Kaali temples of Palakkad district, the theme of Tholppavakkoothu revolves around the life of Lord Rama, the legendary hero of the Ramayana. Tholppavakkoothu describes the event which began with the birth of Lord Rama till his coronation as the king of Ayodhya. Generally performed in the "Koothumadam", or specially constructed play houses in the premises of the various temples in Kerala, Tholppavakkoothu is a shadow play in which the puppets are moved to depict the various scenes of the drama. The puppets which are generally carved out of hides of buffaloes and deer, a trait, which too holds significance as the buffalo hides are used to depict evil characters while the deer hides represent noble characters in the drama.

Thullal is a combination of the dance and recitation of stories in verse. It is a solo performance. The renowned Malayalam poet Kunchan Nambiar is the founder of Thullal. Nambiar introduced this satirical art form in the 18th century A.D. Wit and humour in simple Malayalam make thullal a most popular art form. Dance, which includes movements of the body with rhythm footsteps, is the main part of Thullal. According to a story, Kunchan Nambiar while playing Mizhavu to accompany Koothu at Ambalapuzha temple fell asleep and the Chakkyar teased and insulted him. Nambiar who could not tolerate the insult, wrote a Thullal story on the same night and performed on next day evening while the Chakkyar, who insulted him previous day, started his Koothu. The entire audience present for Chakkyar Koothu was attracted by the new art from. Inspired by the overwhelming applause, Nambiar wrote more Thullal stories and presented before the audience. Thus he started a new art form and a new literature branch in Malayalam. In fact, Kunchan Nambiar was bringing the classical themes and art forms out of temple culture and introducing social satire to the common masses breaking the monopoly of upper classes over the arts and culture. Some scholars are of opinion that Nambiar had restructured the already existing Thullal art form in other art forms like Padayani etc.Thullal is categorised into three viz., Parayan Thullal, Seethankan Thullal and Ottan Thullal. A red decorative cloth that reaches up to knee, a crown and chest ornaments are the costume for Ottan Thullal. The makeup is like that of Kathakali, but very simple. Face is used to be paint with green colour. It has fast footsteps unlike the other two types. There is a version that Ottam (running) Thullal was converted into Ottan Thullal. Among the three forms, Ottan Thullal is most popular. In Seethankan Thullal, the ornaments are made of tender coconut fronds. No facial colours are given. In Parayan Thullal, red flowers form part of the costume. The face is painted with yellow colour and head is covered with a crown. Generally Ottan Thullal is performed during temple festivals and in courts of princes. The performer explains the verses through expressive gestures. The story-themes are based on Hindu mythology. Satire, social criticism and humor are the characteristic features of Thullal. A singer repeats the verses of the dancer accompanied by an orchestra of Mridangam and Cymbals.

Thumbithullal

Thumbithullal is a group dance form of girls, performed during the Onam festival. The girls sit around the leader and sing songs accompanied by clapping of hands. As the song picks up momentum and attains high pitch, the leader goes on a dazed condition and starts dancing with frenzy body movements. Very often she falls unconscious at the end of the music and dance.

Vadithallu, similar to Kolkali, is a folk dance of Kerala. It is performed by holding short sticks in both hands. Vadithallu is generally played during religious occasions.

Vadyakala are the basics of temple performing arts of Kerala. It uses various instruments including chenda, madhalam, idakka, thimala, thalam, eena, Udukku, Villu, and Pulluvakkudam.

Vattapattu is a Muslim art form similar to Oppana. It is performed by men like women in Oppana. Vattapattu is a song sung in connection with Muslim wedding.

Vedan Thullal

Vedanthullal is a ritual art form that is popular in the Kannur and Kasaragod districts of Kerala. It is performed by artistes belong to the Malayan and Vannan communities, who are generally the practitioners of the art form of Theyyam. With a crown made of Pala, draped in silk, with a painted face and making the sound of hand bells, the performer goes to each and every courtyard of local households. In tune with the drumbeat, two or three persons engage in singing. Adivedan, Karthodathi, Onavedan etc. are the three different kinds of Vedans. The first and the second are performed during the month of Karkkidakam (June/July) and the second one during the month of Chingam (August/September), on Thiruvonam day.

Velakali is a martial dance performed by men in the temples of southern Kerala to commemorate the victory of justice over the evil. It is believed that Velakali originated in Ambalappuzha. Mathoor Panicker, chief of the Chempakasserri army, propped up the dance form with a view to enhance the spirit of soldiers. Velakali is peroformed as a regular item of the annual festival of the Ambalappuzha Sree Krishna temple. The dancers, dressed in the traditional clothes and colorful headgear of the medieval Nair soldiers, armed with phony swords and shields dance dynamically in front of the idol, when the procession of deity takes place. The panchavadyam is the accompaniment.

Villadichaan Paattu

Villadichaan Paattu also known as Villu Paatu, is an ancient form of musical story-telling in India where narration is interspersed with music, an art of southern states of Tamil Nadu and Kerala, as well as North-East Sri Lanka. This art form is popular among Nadar and Ezhava castes of erstwhile Travancore kingdom. Simple tunes and verses make the story easy to follow. The villu (bow), the age-old weapon of warriors - paradoxically lends itself to be used as a primary musical instrument (a musical bow) for the Villu Paatu artists.

Urali Thullal

Urali Thullal is a ritual dance performed by Urali tribe similar to that of Velichappad thullal (oracle dance).

The Keralites especially Hindus, celebrate the birth of Lord Krishna as Sree Krishna Jayanti with great fervor and joy. A number of games are played on this occasion. Uriyadi is one among them. Three Uris containing turmeric water, milk and curd are hung up high from a rope stretching between two opposite poles. The rope connecting the three Uris is kept on a pulley and the temple authorities draw this rope high and low standing at a distance. The Uryiadimannan comes in for breaking the Uris. At this time young folk surround him and sprinkle water on his face and eyes by means of hand pumps and mugs in order to divert his attention.

Yakshagana is a traditional theater, developed in Dakshina Kannada, Udupi, Uttara Kannada, Shimoga and western parts of Chikmagalur districts, in the state of Karnataka and in Kasaragod district in Kerala that combines dance, music, dialogue, costume, make-up, and stage techniques with a unique style and form. It is believed to have evolved from pre-classical music and theatre during the period of the Bhakti movement. It is sometimes simply called "Aata" or āṭa (meaning "the play"). Towards the south from Dakshina kannada to Kasaragod of Tulu Nadu region, the form of Yakshagana is called as 'Thenku thittu' and towards north from Udupi up to Uttara Kannada it's called as 'Badaga Thittu'. Both of these forms are equally played all over the region. Yakshagana is traditionally presented from dusk to dawn. Its stories are drawn from Ramayana, Mahabharata, Bhagavata and other epics from both Hindu and Jain and other ancient Indian traditions.

Essay on Musical Instruments

Students are often asked to write an essay on Musical Instruments in their schools and colleges. And if you’re also looking for the same, we have created 100-word, 250-word, and 500-word essays on the topic.

Let’s take a look…

100 Words Essay on Musical Instruments

What are musical instruments.

Musical instruments are tools that make sounds. People play them to create music. Some are old, like drums and flutes, and some are new, like electronic keyboards. Instruments can be simple, like a shaker, or complex, like a piano.

Types of Instruments

There are many kinds of instruments. They are often grouped by how they make sound. String instruments use strings, wind instruments need air, and percussion instruments make noise when hit. Keyboard and electronic instruments are also popular.

Learning to Play

Playing an instrument takes practice. Many start learning at school or with a teacher. It’s fun and can be a hobby or a job. Playing music helps with learning and brings joy.

Instruments in Culture

Instruments are important in culture. They are used in celebrations, religious events, and for entertainment. Each country has unique instruments that make their music special. Instruments help keep traditions alive.

Musical instruments are a key part of human life. They bring people together and let them express feelings through music. Learning about instruments teaches us about history, culture, and art.

250 Words Essay on Musical Instruments

Musical instruments are tools that people use to create music. Just like a painter uses a brush to paint pictures, musicians use instruments to make sounds. There are many kinds of musical instruments, and they come in all shapes and sizes. Some are small enough to fit in your pocket, like a harmonica, while others are so big they fill up a whole room, like a pipe organ.

Types of Musical Instruments

Instruments are often grouped by how they make sound. String instruments, like guitars and violins, have strings that you pluck or bow to make music. Wind instruments, such as flutes and trumpets, need air blown into them. Percussion instruments, like drums and tambourines, make sounds when you hit them. Finally, keyboard instruments, like pianos and electronic keyboards, have keys that you press to create notes.

Playing an instrument takes practice. At first, it might be tough to make a nice sound, but with time, you can learn to play songs. Some people take lessons with a teacher, while others teach themselves. Playing an instrument can be a fun hobby and a great way to express yourself.

Music Brings Us Together

Music is a language that everyone can understand, and instruments are the tools we use to speak that language. They help us to share our feelings, celebrate, and come together. Whether in a big concert or a small gathering at home, musical instruments add joy and excitement to our lives.

500 Words Essay on Musical Instruments

Musical instruments are tools that people use to make music. Just like a painter uses a brush to paint pictures, musicians use instruments to create sounds. There are many kinds of musical instruments, and each one can make different noises. Some are played by hitting them, like drums. Others are played by blowing air through them, like flutes. There are also instruments that make sound when you pull strings, like guitars.

Musical instruments can be grouped into families based on how they make sound. The main families are strings, woodwinds, brass, percussion, and keyboards. String instruments have strings that vibrate to make sound, like violins and cellos. Woodwind instruments, like clarinets and saxophones, make music when air is blown inside. Brass instruments, such as trumpets and trombones, also need air but they have a buzzing sound. Percussion instruments, like drums and cymbals, are hit to produce sound. Keyboards, like pianos and organs, have keys that you press to make music.

Learning to Play an Instrument

Playing an instrument can be fun, but it also takes practice. When you learn, you start with simple notes and rhythms. As you get better, you can play harder pieces of music. Many schools have music classes where students can learn to play. Some kids also take lessons outside of school from a music teacher. It’s important to practice regularly if you want to improve.

The History of Musical Instruments

Musical instruments have been around for a very long time. Thousands of years ago, people made instruments from natural materials like wood, bone, and stone. Over time, as people learned more about music and making things, instruments became more complex. For example, early flutes were just hollow tubes, but now they have keys and parts that make them easier to play and sound better.

Musical Instruments Around the World

Different places in the world have their own special instruments. In Africa, there are drums that are unique to their culture. In India, there is an instrument called the sitar that has a long neck and many strings. In Scotland, people play the bagpipes, which have bags full of air that push out through pipes. Every country has its own music that sounds different and uses different instruments.

The Role of Instruments in Music

Instruments add beauty and feeling to music. They can be loud or soft, high or low. When many instruments play together, like in an orchestra, they can make a big, rich sound. Each instrument has its own part, but when they all play together, it’s like they’re having a conversation in the language of music.

Musical instruments are a big part of what makes music so wonderful. They come in all shapes and sizes and can make all kinds of sounds. Learning to play an instrument is a skill that can bring a lot of joy. Whether it’s the beating of a drum or the melody from a violin, instruments help us tell stories and express feelings through music.

That’s it! I hope the essay helped you.

If you’re looking for more, here are essays on other interesting topics:

• Essay on Music Influence On Society
• Essay on Music Importance In Life
• Essay on Favourite Family Member

Apart from these, you can look at all the essays by clicking here .

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Mohiniyattam.

Domain: Performing arts

State: Kerala

Description:

Mohiniyattam is a solo dance tradition of Kerala performed by a maiden called Prakriti who offers herself to the deity of the temple through dance and music. It evolved as a part of the temple ritual within the precincts of a temple linked to the tradition of devadasis. Its keynote is called the Shringarbhakti and the basic tempo is known as lasya which is characterized by highly feminine movements. It is an art form meant primarily for spiritual expression. Apart from mythology, Mohiniyattam contains a range of themes from nature and folktales of Kerala.

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