Kathak-kali and Odissi - The great classical dance of India.

dances-kerala-tour

One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Characters of high birth who have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base. Women and ascetics have lustrous, yellowish faces.

The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes a strenuous course of training, and special periods of body massage.

face-kathakali

The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the start of the show.

ODISSI  - traces its origins to the ritual dances performed in the temples of ancient northern India. Today the name Odissi refers to the dance style of the state of Orissa in eastern India. Like other classical arts of India, this ancient dance style had suffered a decline as temples and artists lost the patronage of feudal rulers and princely states, and by the 1930s and 40s, there were very few surviving practitioners of the art.

The current form of Odissi is the product of a 20th century revival. Dedicated scholars and dance enthusiasts carefully researched manuscripts and studied the sculpture, painting and poetry of the region. They also met and observed the performances of the few existing performers, in order to revive and restructure Odissi as a unique classical dance style adapted to the requirements of formal stage presentation. Over the years Odissi has become one of the most popular classical dance styles.

Like other Indian classical dance forms, Odissi has two major facets: Nritta or non-representational dance, in which ornamental patterns are created using body movements in space and time; and Abhinaya, or stylized mime in which symbolic hand gestures and facial expressions are used to interpret a story or theme.

The divine love tales of Radha and the cowherd God Krishna are favourite themes for interpretation, and a typical recital of Odissi will contain at least one or two ashtapadis (poem of eight couplets) from Jayadeva's Gita Govindam, which describes in exquisite Sanskrit poetry the complex relationship between Radha and her Lord.

The technique of Odissi includes repeated use of the tribhangi, or thrice deflected posture, in which the body is bent in three places, approximating the shape of a helix. This posture and the characteristic shifting of the torso from side to side, make Odissi a difficult style to execute. When mastered, it is the epitome of fluid grace and has a distinctively lyrical quality that is very appealing.