Kerala Folk Dances

There are wide many folk dances of Kerala each peculiar to the locality, community and situation. The costumes also vary accordingly. There are more than fifty Kerala folk dances acknowledged by the public relation department of the state, of which Kaikottikali, Kolkali, Oppana, Margamkali,Thumbithullal, Velakali, Parichamuttukali and Therayattam are among the more common.

Theyyam

Therayattam or Theyyam-thera is a scared dance performed especially in the villages of Northern Kerala. In every villages there is usually a Kavu (sacred grove), where this dance has to be performed during the January –March season. The main deity may be a local goddess or one from the main Hindu pantheon. The dancers, in elaborate costumes and make up impersonate all some of the minor gods. The performance commences with a song narrating the history of the Theyyam to be presented, highlighting its holy aspects and the ferocious nature. At the end of the song, the performer appears with a theyyam (literally the embodied god) and dances to the accompaniment of percussion instruments, like the chenda and elathalam. It is a surrealistic transcendence from frail human to powerful deity.

Kaikottikali

Kaikottikali also known as Tiruvathirakali, because of its association with Tiruvathira, a Kerala festival meant mainly for Nayar women, features performers wearing the mandu (loincloth) and neriyatu (a elongated upper garment with the golden zari fringes), with their hair worn in a jasmine adorned bun and pushed slightly to the right. The women first form a circle around an oil lamp. This Kerala folk dance starts with a song called Tiruvathira pattu, as they move clockwise clapping their hands in unison. When the dance gains momentum, the movement at times becomes anti-clockwise and the clapping more vigorous.

Kolkali

Kolkali is performed by Hindu as well as Muslim communities; Kolkali dance is the tandava version of Kaikottikali. Here the performers are the men. Instead of clapping hands, they clash.

Oppana

Oppana is a Muslim folk dance of Kerala performed by the women folk, prior to the nikah(marriage) ceremony. The dancers wear the typical Muslim dress with mundu, the kuppayam (full sleeved blouse) and the thattom (the veil pulled over the hair). The performers form the circle around the bride who is dressed in her best. The dance starts with the oppana pattu (song). While dancing, they gracefully move inwards and outwards with every step.

Thumbithullal

Thumbithullal is performed during the Onam season as part of the celebrations. Girls in their early teens, each dressed in onakodi (new dress meant for celebrating the onam) sit around in a circle round the key performer. They then sing in chorus to the accomplishment of clapping and occasional korava (anululating sound). As the song gains momentum, the central girl goes into the trance and begins dancing faster and faster unless she eventually loses consciousness.

Velakali

Velakali is a marital dance form to commemorate the victory of god over evil. This Kerala dance is performed nowadays during the procession of the deity at temple festivals. The performer, armed with fake swords and sham shields, dance with vigour in front of the deity. The traditional panchavadya provide the accompaniment.

Parichamuttukali

Parichamuttukali is a marital dance form of the Travancore Christians and is believed to have evolved while Kalaripayattu was at its peak in Kerala. The performer, dressed like warriors and with fake sword and shields in their hands move in a circle. This Kerala Dance is like a mock fight. A song about Thomas the Apostle is sung during the performance.

Margamkali

Margamkali is a Christian folk dance of Kerala performed mainly by the women during marriage and other festive occasions. The performer dressed in typical traditional Syrian Christian fashion, wearing the chatta and mundu, move in a circle. The Margamkali songs are well known for their messages, the margam (way) of Christian life believed to have been taught by Thomas the Apostle. This folk dance is now being revived from comparative obscurity.