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Kathakali (Kerala)

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Kathakali (Kerala) ?

Kathakali is a classical dance-drama originating from the state of Kerala, India. It is one of the most vibrant and visually striking performing arts in the world, known for its elaborate costumes, intricate makeup, detailed gestures, and powerful storytelling.

Key Features of Kathakali:

  1. Origins:
    • Dates back to the 17th century.
    • Influenced by ancient temple art forms and dramatic traditions like Koodiyattam and Krishnanattam.
  2. Themes:
    • Primarily based on Indian epics such as the Ramayana, Mahabharata, and Puranas.
    • Stories often depict moral conflicts, divine interventions, and heroic acts.
  3. Costumes and Makeup:
    • Costumes: Lavish attire, including large, colorful skirts and ornate jewelry.
    • Makeup (Vesham): Extremely intricate, distinguishing characters (heroes, villains, gods, and demons) using specific colors:
      • Green: Noble characters like gods and heroes.
      • Red: Fierce characters like demons.
      • Black: Evil or destructive forces.
      • Yellow/Orange: Spiritual or saintly beings.
  4. Facial Expressions and Gestures:
    • Kathakali heavily relies on Mudras (hand gestures) and Navarasas (nine facial expressions) to convey emotions and narratives.
    • Dancers undergo rigorous training to master control over their facial muscles and body.
  5. Music and Instruments:
    • Accompanied by Carnatic music and traditional instruments like:
      • Chenda: A cylindrical drum played with sticks.
      • Maddalam: A drum played with fingers.
      • Idakka: A small hourglass-shaped drum.
      • Shankh (conch) and cymbals for dramatic effects.
  6. Performance:
    • Typically performed during the night and can last for several hours.
    • Requires exceptional stamina, as the art demands precise footwork and dramatic, energetic movements.
  7. Cultural Significance:
    • Kathakali is not just an art form but a spiritual and cultural expression.
    • It is deeply rooted in Kerala’s religious and social fabric.

Kathakali performances are a mesmerizing blend of dance, drama, and music that continue to captivate audiences worldwide, symbolizing the rich cultural heritage of Kerala.

What is Kathakali (Kerala) ?

Kathakali is a traditional classical dance-drama from the state of Kerala, India. It combines elaborate storytelling, intricate costumes, expressive facial movements, and rhythmic music to depict themes primarily drawn from Indian epics such as the Mahabharata, Ramayana, and Puranas.


Key Characteristics of Kathakali:

1. Art Form:

  • Kathakali is a blend of dance, drama, and music.
  • Known for its unique combination of classical acting and elaborate visual aesthetics.

2. Costumes and Makeup:

  • Dancers wear vibrant costumes, large skirts, and intricate headgear.
  • The makeup (called Vesham) uses specific colors to denote character traits:
    • Green: Noble or divine characters (heroes, gods).
    • Red: Evil or demonic characters.
    • Yellow/Orange: Saints and spiritual figures.
    • Black: Negative or destructive traits.

3. Themes:

  • Based on Indian mythological stories and moral tales.
  • Episodes often showcase the conflict between good and evil, with moral and philosophical undertones.

4. Performance Style:

  • Emphasis on Mudras (hand gestures) and Navarasas (nine emotional expressions) to narrate the story.
  • The performance is energetic, with synchronized movements and dramatic expressions.

5. Music and Instruments:

  • Kathakali is accompanied by traditional instruments like:
    • Chenda: A drum played with sticks for dramatic beats.
    • Maddalam: A barrel-shaped drum.
    • Idakka: A small, hourglass-shaped drum.
  • Singers narrate the story in the background using Carnatic music traditions.

6. Cultural Significance:

  • Originated in the 17th century as a temple art form.
  • It reflects Kerala’s cultural and spiritual heritage.
  • Today, it is a prominent symbol of Kerala’s artistic tradition.

Why Kathakali is Unique:

  • It merges art with storytelling, using visual appeal and intricate expressions to communicate without words.
  • Its dramatic style and traditional roots have earned it recognition as one of the greatest classical art forms of India.

Kathakali performances continue to captivate audiences worldwide and remain a cornerstone of Kerala’s cultural identity.

Who is required Kathakali (Kerala) ?

Kathakali, as an art form, is not something people “require” in the conventional sense but is instead deeply connected to the cultural, spiritual, and artistic traditions of Kerala, India. It involves a range of participants, audiences, and stakeholders who keep this classical dance-drama alive.


Who is Involved in Kathakali?

  1. Performers (Kathakali Artists):
    • Trained dancers and actors who undergo rigorous training in physical flexibility, hand gestures (Mudras), facial expressions (Navarasas), and the art of storytelling.
    • Performers are typically male, though women also perform in modern adaptations.
  2. Musicians and Singers:
    • Provide the background music and vocals for the performance.
    • Instruments include the Chenda, Maddalam, Idakka, and cymbals, while singers narrate the story.
  3. Makeup Artists and Costume Designers:
    • Specialized artists prepare the intricate facial makeup (Chutti) and elaborate costumes, which are integral to Kathakali’s visual storytelling.
  4. Teachers and Gurus:
    • Masters of Kathakali who teach and mentor students, passing down the art through generations.
  5. Organizers and Promoters:
    • Cultural organizations, temple committees, and event planners arrange performances for festivals, cultural events, and global audiences.
  6. Audiences:
    • Traditionally, the audience consisted of devotees attending temple performances as part of religious rituals.
    • Today, audiences include tourists, art enthusiasts, and cultural researchers worldwide.
  7. Cultural and Educational Institutions:
    • Organizations like Kerala Kalamandalam preserve and promote Kathakali through formal education and training.
    • Universities and cultural centers include Kathakali in their studies and performances.

Who Benefits from Kathakali?

  1. Cultural Preservationists:
    • Artists, teachers, and historians work to preserve this unique tradition.
  2. Tourism Sector:
    • Kerala’s tourism industry often highlights Kathakali as a key cultural attraction.
  3. Spiritual Communities:
    • Temples and festivals incorporate Kathakali to narrate divine stories and moral lessons.
  4. Art Enthusiasts and Learners:
    • Students of performing arts and individuals seeking to learn Kathakali find inspiration in its techniques and philosophy.
  5. Global Cultural Exchange:
    • Kathakali performances promote Indian culture on international stages.

Kathakali is “required” in the sense that it serves as a bridge to Kerala’s rich cultural heritage, offering spiritual, artistic, and educational value to its participants and viewers alike.

When is required Kathakali (Kerala) ?

Kathakali performances are typically required or performed during specific cultural, religious, and celebratory occasions. Here are the key contexts when Kathakali is presented:


1. Religious and Temple Festivals:

  • Kathakali originated as a temple art form and is often performed during religious festivals in Kerala’s temples.
  • It is used to narrate stories from Hindu mythology, offering a spiritual experience to devotees.
  • Major festivals include:
    • Onam (Kerala’s harvest festival)
    • Vishu (New Year festival)
    • Temple-specific annual festivals.

2. Cultural Events and Celebrations:

  • Kathakali is a centerpiece of Kerala’s cultural events and state-sponsored festivals.
  • It is often included in programs like:
    • Kerala State Festivals (e.g., Kerala Piravi Day).
    • Cultural fairs such as the Nishagandhi Festival.

3. Tourism and Entertainment:

  • Performances are organized year-round at cultural centers and theaters in Kerala to attract tourists.
  • Special shows are designed for travelers to experience Kerala’s artistic heritage.

4. Educational and Artistic Showcases:

  • Kathakali is performed at schools, colleges, and cultural institutions for students learning about Indian art and classical traditions.
  • It is showcased in festivals like:
    • National and International Dance Festivals.
    • University cultural events.

5. Special Performances and Competitions:

  • Dedicated events for Kathakali competitions, often as part of youth festivals or classical art competitions in Kerala.

6. Ceremonial and Social Gatherings:

  • Occasionally performed at weddings or special social functions to honor Kerala’s cultural roots.

When Kathakali is Most Commonly Performed:

  • Night Performances: Traditionally, Kathakali is performed at night, often continuing till dawn. This practice aligns with its origins as a ritualistic temple art.
  • Seasonal Festivals: The peak seasons are during Kerala’s festival periods (September–March), coinciding with tourism highs and temple events.

Kathakali is “required” whenever there is a need to preserve, celebrate, or showcase Kerala’s cultural and spiritual heritage. It continues to adapt to modern contexts while retaining its traditional essence.

Where is required Kathakali (Kerala) ?

Kathakali, as a cultural and artistic expression, is “required” or performed in various locations and contexts in Kerala and beyond. These settings range from traditional to modern platforms where the art form thrives.


1. Temples:

  • Traditional Venue: Kathakali originated as a temple art form and is often performed in temple premises during religious festivals and rituals.
  • Purpose: To narrate mythological stories as part of devotional practices.
  • Example: Temples in Kerala, such as the Guruvayur Temple, host Kathakali performances during festivals.

2. Cultural and Performing Arts Centers:

  • Dedicated centers for promoting and preserving Kathakali offer performances and training.
  • Famous Centers:
    • Kerala Kalamandalam: A leading institution for Kathakali education.
    • Cochin Cultural Centre and Kerala Kathakali Centre in Kochi.
  • Tourism-Oriented Performances: Organized daily for visitors to experience Kerala’s culture.

3. Festival Venues:

  • Kathakali is performed at various festivals, both in Kerala and internationally.
  • Notable Festivals:
    • Onam, Vishu, and temple festivals.
    • International dance festivals like the Delhi International Arts Festival.

4. Theaters and Auditoriums:

  • Modern adaptations are staged in theaters for broader audiences.
  • Regular performances are held in cities like Thiruvananthapuram, Kochi, and Thrissur.

5. Educational Institutions:

  • Schools, colleges, and universities in Kerala and other parts of India include Kathakali performances as part of cultural education.
  • Institutions may host shows or workshops to teach students about Indian classical arts.

6. Tourist Destinations:

  • Kathakali is a key cultural attraction at tourist spots in Kerala.
  • Common locations:
    • Kochi (Fort Kochi cultural shows).
    • Alappuzha (backwater destinations with evening performances).
    • Thekkady (Kathakali shows for eco-tourists).

7. National and International Platforms:

  • Kathakali is showcased globally at art festivals, cultural exchange programs, and classical dance events.
  • Major venues include:
    • International Dance Festivals (e.g., Edinburgh Festival, Surya Festival in Kerala).
    • Cultural expos and embassy events promoting Indian art.

8. Social and Private Gatherings:

  • Occasionally performed at weddings, cultural celebrations, and special private events as a mark of Kerala’s heritage.

Significance of Location:

While Kathakali originated and remains rooted in Kerala, it transcends geographical boundaries and is performed anywhere people seek to appreciate its intricate beauty and storytelling.

How is required Kathakali (Kerala) ?

Kathakali is “required” or performed based on specific cultural, educational, or entertainment purposes. The need for Kathakali arises in contexts where its artistic, spiritual, or cultural significance plays a role. Here’s how it fits into different aspects of society:


**1. Religious Significance:

  • Why: As a temple art form, Kathakali is integral to religious festivals and rituals, narrating mythological stories to convey moral and spiritual lessons.
  • How:
    • Performed as an offering to deities during temple festivals.
    • Stories from epics like the Mahabharata and Ramayana are dramatized to inspire devotion.

**2. Cultural Preservation:

  • Why: To keep the centuries-old tradition alive, Kathakali is performed at cultural festivals and events.
  • How:
    • State-sponsored events and cultural organizations regularly organize performances.
    • Training institutions like Kerala Kalamandalam ensure the art form is taught to new generations.

**3. Tourism:

  • Why: Kathakali serves as a cultural attraction, offering tourists a glimpse into Kerala’s heritage.
  • How:
    • Daily shows are organized in cultural centers and tourist hubs.
    • Simplified and shortened performances make it accessible to tourists unfamiliar with traditional storytelling.

**4. Education and Learning:

  • Why: To educate students about Indian classical arts, Kathakali is included in school and university programs.
  • How:
    • Workshops and demonstrations teach students about Mudras (hand gestures), facial expressions, and storytelling.
    • Schools host performances during cultural festivals.

**5. Entertainment and Art Appreciation:

  • Why: For art lovers, Kathakali is a rich source of entertainment and artistic inspiration.
  • How:
    • Performed in theaters and at international festivals as a classical art form.
    • Modern adaptations make it relatable to contemporary audiences.

**6. Special Events and Celebrations:

  • Why: Kathakali adds a cultural touch to celebrations like weddings, community events, or cultural exchanges.
  • How:
    • Private performances are arranged for special occasions.
    • Performers are invited to showcase their art as part of larger festivities.

**7. Global Cultural Representation:

  • Why: Kathakali is often showcased internationally to represent India’s cultural heritage.
  • How:
    • Featured at international art festivals, embassy events, and cultural expos.
    • Adaptations highlight universal themes to appeal to global audiences.

How Kathakali is Made Accessible:

  • Performances are adapted to suit different contexts (e.g., shorter shows for tourists, full-length temple performances for devotees).
  • Innovations in stagecraft and translation help modern audiences understand and appreciate the stories.

Kathakali is “required” wherever there is a need to preserve, celebrate, or showcase the rich traditions of Kerala’s cultural and spiritual heritage.

Case study is Kathakali (Kerala) ?

Case Study: Kathakali (Kerala) – A Cultural Treasure

Introduction

Kathakali is one of the oldest and most intricate classical dance-drama forms in India, originating in Kerala over 400 years ago. It combines elaborate makeup, costumes, facial expressions, gestures, and rhythmic music to narrate stories from Hindu epics like the Ramayana and Mahabharata. This case study explores the historical, cultural, and socio-economic significance of Kathakali.


Historical Context

  • Origins: Developed in the 17th century, influenced by older art forms like Koodiyattam and Krishnanattam.
  • Patronage: Initially supported by royal courts and temples; evolved into a significant religious and cultural art form.
  • Ritualistic Roots: Performed in temples as an offering to deities, blending spirituality and storytelling.

Artistic Features

  1. Makeup (Chutti):
    • Intricate and symbolic, representing character types:
      • Pacha (Green): Noble heroes.
      • Kathi (Knife): Villains.
      • Kari (Black): Demonic characters.
      • Minukku (Shiny): Spiritual and gentle characters.
  2. Costumes:
    • Elaborate and vibrant, with layered skirts, headgear, and ornaments.
  3. Expressions (Navarasas):
    • Mastery over nine facial expressions to convey emotions like love, anger, and fear.
  4. Mudras:
    • Complex hand gestures to narrate the story.
  5. Music and Instruments:
    • Instruments like Chenda, Maddalam, and Idakka create a rhythmic backdrop.

Cultural Significance

  • Preservation of Mythology: Kathakali keeps ancient stories alive through dramatization.
  • Community Bonding: Temple performances bring communities together during festivals.
  • Tourism Attraction: Plays a key role in Kerala’s branding as “God’s Own Country.”

Economic Impact

  1. Tourism:
    • Kathakali is a major attraction, contributing to Kerala’s tourism economy.
    • Cultural shows are organized in popular destinations like Kochi, Alappuzha, and Thekkady.
  2. Livelihood for Artists:
    • Performers, makeup artists, costume designers, and musicians depend on Kathakali for their income.
  3. Global Opportunities:
    • International tours and collaborations bring revenue and recognition.

Challenges

  1. Modernization:
    • The art form faces competition from contemporary entertainment media.
    • Efforts are needed to adapt without losing authenticity.
  2. Decline in Patronage:
    • Traditional patronage by temples and royal families has diminished.
  3. Training and Sustainability:
    • Long years of rigorous training discourage younger generations.
    • Financial instability for artists threatens the continuity of the tradition.

Efforts for Preservation

  1. Institutions:
    • Kerala Kalamandalam: Premier institution for Kathakali training.
    • Cultural centers across Kerala promote and preserve the art.
  2. Government Initiatives:
    • Funding for performances, training programs, and festivals.
    • Recognition as a UNESCO Intangible Cultural Heritage.
  3. Tourism Promotion:
    • Inclusion of Kathakali in Kerala’s tourism campaigns.
    • Daily performances for tourists with explanatory narrations.
  4. Globalization:
    • International festivals and workshops spread awareness about Kathakali.

Conclusion

Kathakali remains a vital symbol of Kerala’s cultural identity. Despite challenges, efforts by institutions, government, and artists have helped sustain and adapt this ancient art form for modern audiences. It continues to captivate global attention while preserving its roots in mythology and spirituality.

This case study highlights Kathakali as a living testament to India’s rich artistic heritage and the need for sustained efforts to preserve such traditions for future generations.

White paper on Kathakali (Kerala) ?

Kathakali White Paper

White Paper: Kathakali – The Classical Dance-Drama of Kerala


Abstract

Kathakali, the iconic classical dance-drama of Kerala, represents a unique blend of intricate storytelling, elaborate costumes, and rhythmic music. With origins dating back over 400 years, it continues to serve as a cultural emblem of India. This white paper explores Kathakali’s historical evolution, artistic components, cultural significance, economic impact, and the challenges it faces in the modern era. Strategies for preservation and adaptation are also discussed, emphasizing its relevance in contemporary society.


Introduction

Kathakali is a classical Indian dance-drama that combines dramatic performance, expressive gestures, intricate makeup, and rhythmic music to narrate tales from Hindu epics like the Ramayana and Mahabharata. Originating in Kerala, this art form is deeply rooted in tradition, yet it has adapted to the changing cultural and social landscape over centuries. Kathakali is celebrated globally for its aesthetic beauty and storytelling prowess, making it a cornerstone of India’s cultural heritage.


Historical Context

  1. Origins:
    • Developed in the 17th century under the patronage of Kerala’s princely states.
    • Influenced by earlier art forms like Koodiyattam and Krishnanattam.
  2. Evolution:
    • Transitioned from temple performances to theatrical stages.
    • Initially performed exclusively by men, even in female roles.
  3. Religious and Cultural Role:
    • Performed during temple festivals as a form of storytelling and devotion.
    • Stories often convey moral and spiritual lessons.

Artistic Components

  1. Makeup and Costumes:
    • Chutti (Makeup): Intricate facial makeup that symbolizes the nature of characters.
      • Pacha (Green): Heroic and noble characters.
      • Kathi (Knife): Villainous roles.
      • Kari (Black): Demonic figures.
      • Minukku (Shiny): Gentle and spiritual characters.
    • Elaborate costumes with layered skirts, headdresses, and ornaments.
  2. Expressions and Gestures:
    • Navarasas: Mastery of nine facial expressions to convey emotions.
    • Mudras: Complex hand gestures representing words and ideas.
  3. Music and Instruments:
    • Accompanied by traditional instruments like ChendaMaddalam, and Idakka.
    • Vocalists narrate the story in Malayalam, blending melody with rhythm.
  4. Performance Structure:
    • Begins with Kalashams (pure dance movements) and transitions into dramatized storytelling.
    • Performances often last all night.

Cultural Significance

  1. Preservation of Mythology:
    • Keeps ancient epics alive through visual storytelling.
  2. Spiritual Connection:
    • Performed as an offering in temples, fostering devotion and community bonding.
  3. Global Recognition:
    • Recognized as a UNESCO Intangible Cultural Heritage, showcasing India’s cultural diversity.

Economic Impact

  1. Tourism:
    • A significant attraction in Kerala’s tourism campaigns.
    • Cultural performances organized for domestic and international visitors.
  2. Livelihood for Artists:
    • Provides income for dancers, musicians, makeup artists, and costume designers.
  3. Global Opportunities:
    • International festivals and cultural exchange programs create revenue streams.

Challenges

  1. Modernization and Competition:
    • Competes with contemporary entertainment mediums.
    • Risk of losing authenticity in pursuit of accessibility.
  2. Decline in Patronage:
    • Traditional temple patronage has decreased.
    • Financial instability discourages younger generations from pursuing Kathakali.
  3. Training Demands:
    • Requires years of rigorous practice, often without assured financial stability.
  4. Limited Global Understanding:
    • Language and cultural nuances may not resonate with international audiences.

Research and Development

  1. Historical Studies:
    • Research into the origins and evolution of Kathakali, including comparative studies with other classical art forms.
    • Documentation of oral histories and traditional training methods.
  2. Technological Integration:
    • Development of virtual reality and augmented reality tools to simulate Kathakali performances for educational and entertainment purposes.
    • Use of AI to analyze and catalog mudras, expressions, and musical components.
  3. Pedagogical Innovations:
    • Modernizing training curricula to include contemporary performance techniques and global audience engagement.
    • Collaboration with universities and research institutions to offer specialized Kathakali courses.
  4. Cultural Exchange Programs:
    • Encouraging international artists to train in Kathakali to foster cross-cultural appreciation.
    • Organizing global workshops and residencies for traditional and fusion performances.
  5. Performance Analytics:
    • Study of audience responses and engagement using modern data analytics.
    • Experimenting with performance lengths and formats to suit diverse audience preferences.
  6. Preservation Initiatives:
    • Digitization of ancient scripts, performance videos, and costume designs.
    • Establishing archives and museums dedicated to Kathakali.

Preservation and Adaptation Strategies

  1. Institutional Support:
    • Strengthen institutions like Kerala Kalamandalam for training and research.
    • Introduce scholarships and grants for aspiring artists.
  2. Government Initiatives:
    • Increase funding for performances and international tours.
    • Promote Kathakali as part of India’s soft power diplomacy.
  3. Tourism Integration:
    • Develop tourism packages that include Kathakali performances and workshops.
    • Provide subtitles and narrations for international audiences.
  4. Digital Transformation:
    • Leverage online platforms to reach global audiences.
    • Create documentaries, online classes, and virtual performances.
  5. Cultural Festivals:
    • Organize annual Kathakali festivals to attract audiences and foster appreciation.

Conclusion

Kathakali embodies the cultural and spiritual ethos of Kerala, transcending its regional roots to achieve global recognition. While challenges like modernization and financial instability threaten its sustainability, targeted efforts in preservation and adaptation can ensure its continuity. By blending tradition with innovation, Kathakali can remain a vibrant and relevant art form, inspiring generations to come.

Research and development of Kathakali (Kerala) ?

The research and development of Kathakali, Kerala’s iconic dance-drama, focus on preserving its rich heritage while adapting it to contemporary contexts. Here are some key aspects:

Research and Documentation

  1. Historical Studies:
    • Investigations into the origins, evolution, and influences of Kathakali.
    • Comparative studies with other Indian and global classical dance forms.
  2. Archival Work:
    • Digitization of scripts, music, and video recordings.
    • Preservation of traditional costume designs and makeup techniques.
  3. Ethnographic Research:
    • Oral histories from veteran performers and gurus.
    • Documentation of regional variations and unique storytelling styles.

Technological Integration

  1. Virtual Reality (VR) and Augmented Reality (AR):
    • Interactive VR experiences of Kathakali performances for global audiences.
    • AR apps to teach mudras (hand gestures) and expressions.
  2. AI-Driven Analytics:
    • Cataloging mudras, facial expressions, and rhythmic patterns for academic and artistic use.
    • Machine learning tools to analyze audience responses and performance styles.

Educational and Pedagogical Development

  1. Modern Training Methods:
    • Integrating contemporary theater techniques into Kathakali training.
    • Collaboration with universities to offer Kathakali-specific courses.
  2. Workshops and Residencies:
    • Programs for both traditional Kathakali training and fusion performances.
    • Platforms for international students and artists to learn and perform.

Cultural Exchange and Global Outreach

  1. Collaborations:
    • Joint performances with global art forms to create hybrid presentations.
    • Partnerships with international cultural organizations for workshops and festivals.
  2. Tourism Integration:
    • Kathakali-focused tourism packages in Kerala.
    • Subtitled performances and interpretive materials for non-Malayalam-speaking audiences.

Performance Analytics and Innovations

  1. Audience Studies:
    • Surveys and data analysis to gauge preferences and improve engagement.
  2. Experimental Formats:
    • Shortened performances tailored for younger audiences.
    • Innovative storylines that incorporate contemporary themes.

Preservation and Sustainability

  1. Funding and Grants:
    • Financial support for artists, schools, and performances through government and private initiatives.
  2. Museum and Archives:
    • Dedicated institutions for Kathakali history and memorabilia.
  3. Annual Festivals:
    • Events like the Kathakali Mahotsavam to celebrate and promote the art form.

Conclusion

Research and development efforts aim to strike a balance between preserving Kathakali’s authenticity and adapting it to the modern world. These initiatives ensure that Kathakali remains a dynamic and cherished art form, continuing to inspire and captivate audiences globally.

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Courtesy : Utopia Artworks

References

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  22. ^ Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p. 87. ISBN 978-81-208-0981-9.
  23. Jump up to:a b Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp. 95–96. ISBN 978-81-208-0981-9.
  24. Jump up to:a b c d e f Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp. 317–318. ISBN 978-81-208-0981-9.
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  28. Jump up to:a b c d e f g Peter J. Claus; Sarah Diamond; Margaret Ann Mills (2003). South Asian Folklore: An Encyclopedia : Afghanistan, Bangladesh, India, Nepal, Pakistan, Sri Lanka. Routledge. pp. 57, 332–333. ISBN 978-0-415-93919-5.
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  30. Jump up to:a b c d Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp. 326–328. ISBN 978-81-208-0981-9.
  31. ^ Kevin J. Wetmore, Jr.; Siyuan Liu; Erin B. Mee (8 May 2014). Modern Asian Theatre and Performance 1900-2000. Bloomsbury Academic. pp. 196–197. ISBN 978-1-4081-7720-4.
  32. ^ Philip Zarrilli 1984, p. 59.
  33. Jump up to:a b c d Phillip Zarrilli 2000, pp. 49–50.
  34. ^ Phillip Zarrilli 2000, pp. 53–56.
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  36. ^ Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp. 17–18. ISBN 978-0-8122-0092-8.
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  41. Jump up to:a b Phillip Zarrilli 2000, p. 54.
  42. Jump up to:a b c d e Phillip Zarrilli 2000, p. 55.
  43. ^ Phillip Zarrilli 2000, pp. 54–55.
  44. Jump up to:a b Phillip Zarrilli 2000, pp. 55–57.
  45. Jump up to:a b c James G. Lochtefeld, Guna, in The Illustrated Encyclopedia of Hinduism: A-M, Vol. 1, Rosen Publishing, ISBN 978-0-8239-3179-8, page 265
  46. ^ M Innes-Brown and S Chatterjee (1999), The Relevance of the Guna Theory in the Congruence of Eastern Values and Western Management Practice, Journal of Human Values, 5(2), pages 93-102
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  49. Jump up to:a b Phillip Zarrilli 2000, pp. 73–79, 93.
  50. ^ Philip Zarrilli 1984, p. 134.
  51. Jump up to:a b c Phillip Zarrilli 2000, p. 62.
  52. Jump up to:a b Philip Zarrilli 1984, p. 166.
  53. ^ Phillip Zarrilli 2000, pp. 58–60.
  54. Jump up to:a b c Phillip Zarrilli 2000, p. 61.
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  56. ^ Philip Zarrilli 1984, pp. 59–60.
  57. Jump up to:a b c d Philip Zarrilli 1984, p. 60.
  58. Jump up to:a b Phillip Zarrilli 2000, pp. 41–44.
  59. ^ Philip Zarrilli 1984, p. 61.
  60. ^ Philip Zarrilli 1984, pp. 61–62.
  61. ^ “Don Quijote viaja a la India en ‘Kijote Kathakali'”El Norte de Castilla (in European Spanish). 25 July 2016. Retrieved 20 February 2021.
  62. ^ Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p. 327. ISBN 978-81-208-0981-9.
  63. Jump up to:a b c d Philip Zarrilli 1984, pp. 26–27.
  64. Jump up to:a b D. Appukuttan Nair, Ayyappa K. Paniker 1993, pp. 35–38.
  65. Jump up to:a b Philip Zarrilli 1984, p. 26.
  66. ^ “The Treasure Chest of Cultural Patronage”webindia123.com. Retrieved 18 April 2019.
  67. ^ Nambudiri, Haripriya (20 July 2017). “The woman’s role in Kathakali”The HinduISSN 0971-751X. Retrieved 30 January 2020.
  68. ^ Philip Zarrilli 1984, pp. 75–76.
  69. Jump up to:a b c d e Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp. 318–319. ISBN 978-81-208-0981-9.
  70. Jump up to:a b c Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp. 320–321. ISBN 978-81-208-0981-9.
  71. ^ Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp. 213–218. ISBN 978-0-8122-0092-8.
  72. ^ Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp. 100–102. ISBN 978-0-8122-0092-8.
  73. ^ “Nari Shakti Awardees – Tripunithura Kathakali Kendram Ladies Troupe, Kerela | Ministry of Women & Child Development”wcd.nic.in. Retrieved 20 February 2021.
  74. ^ Nambeesan Smaraka Awards Archived 2010-07-22 at the Wayback Machine, Kathakali Club Awards
  75. ^ Martin Banham (1995). The Cambridge Guide to Theatre. Cambridge University Press. pp. 522–525. ISBN 978-0-521-43437-9.
  76. ^ Cheris Kramarae; Dale Spender (2004). Routledge International Encyclopedia of Women: Global Women’s Issues and Knowledge. Routledge. p. 296. ISBN 978-1-135-96315-6.
  77. ^ Bruno Nettl; Ruth M. Stone, James Porter and Timothy Rice (1998). The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent. Routledge. pp. 331–343. ISBN 978-0-8240-4946-1.
  78. ^ Eric C. Rath (2004). The Ethos of Noh: Actors and Their Art. Harvard University Asia Center. pp. 1–27. ISBN 978-0-674-01397-1.
  79. ^ Emigh, John; Zarrilli, Phillip (1986). “Beyond the Kathakalī Mystique”. The Drama Review30 (2). MIT Press: 172–175. doi:10.2307/1145740JSTOR 1145740.
  80. ^ Richard Schechner; Willa Appel (25 May 1990). By Means of Performance: Intercultural Studies of Theatre and Ritual. Cambridge University Press. pp. 131–132, 142–143. ISBN 978-1-316-58330-2.
  81. ^ Wootten, Claire F. (2009). “Navigating Liminal Space in the Feminist Ballet Class”. CORD: Congress on Research in Dance Conference Proceedings41 (S1). Cambridge University Press: 122–129. doi:10.1017/s204912550000100x.
  82. ^ Ewan Fernie (2005). Reconceiving the Renaissance: A Critical Reader. Oxford University Press. p. 191. ISBN 978-0-19-926557-2.
  83. ^ Richard Schechner (2004). Performance Theory. Routledge. pp. 376 footnote 11. ISBN 978-1-134-37943-9.
  84. ^ Elizabeth Wichmann (1991). Listening to Theatre: The Aural Dimension of Beijing Opera. University of Hawaii Press. pp. 1–5. ISBN 978-0-8248-1221-8.
  85. ^ Wichmann, Elizabeth (1990). “Tradition and Innovation in Contemporary Beijing Opera Performance”. TDR34 (1). MIT Press: 146–178. doi:10.2307/1146013JSTOR 1146013.

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