Kathakali, an answer for metaphysical question
Kathakali, the unique art form of Kerala has crossed the borders, breaking the barriers of language,
culture and geography and has received an international recognition. It has become favourite to numerous people in different countries who have a passion for traditional art. It is really worth thinking how this achievement was made. Of course, with technological developments the world is becoming so small (a global village?). Broad-minded people in different countries have always been willing to accept and exchange worthy and valuable things, irrespective of the region of their origin. The perfection and completeness as an art form with a combination of literature, theatre, dance, mime, gestures, music rhythm, make up costumes etc create an attraction for Kathakali. No other art form in the world is as rich as Kathakali in these respects. In fact, it is difficult to compare Kathakali with any other art form, because in Kathakali, from the first movement or from the first step itself even very minute things are clearly expressed in a fantastic way. For example, the relationship between man and the universe, and the relationship between the physiccal body and the soul. The combination of divine classical steps/movements, sounds, and sensations takes one closer and closer to divinity or the eternal truth. Both the artists and audience concentrating on the dance experience this.
The divine steps/movements developed by the great and eminent ancestors (who well understood the relationship between the humans and the universal power or the relation between microcosms some and macrocosm) have been integral parts in the different art forms since thousands of years. Kathakali was developed in the end of the 16th century by adopting the spiritual and technical essence from these rich art forms. Thereafter, it has been enriched and modified by a large number of scholars from different fields. The complete and perfect art form ‘Kathakali’ is a result of all these efforts.
Several outstanding examples are available to confirm the spiritual links in Kathakali: one or two may be explained here.
Steps/Movements
Movements of feet in Kathakali are always typical, that is, during movements, large toe is always in an either pressed down or in a raised position (such typical feet movements can be observed in many other art from including the temple art ‘Koodiyattam’ in Kerala). This is closely related to the use of the ancient and traditional wooden footwear called ‘methiyadi’. We show respect to parents, elders, honourable people and sacred people by touching their feet on the rear side of the big toe where it joins the foot. It is believed that this part has a direct link with the soul (importance of this part of the human body is highlighted in other ancient civilizations and art forms also). Standing or dancing by pressing the fingers down the earth, the Kathakali artist is empowering his mental power either knowingly or unknowingly. Following the way of wearing ‘methiyadi’ that was developed by the holy saints who got revelation is capable of stimulating the spirituality of the spectator concentrating on the dance also.
‘Bhavarasas’ or the Aesthetic delights
Unlike other excellent theatre concepts, ‘bhavarasas’ in Kathakali and Koodiyattam have some special features. For each ‘rasas’ or sentiments, the movements are totally different. For example, smiling widely and shivering eyebrows for ‘sringara’ (amour or love), wrinkling eyebrows for ‘hasyam’ (comedy/ridicule), moving lips down for ‘karunam’ (pathos/pity), moving lower eyelids down for ‘roudram’ (wrath/furious) etc. Why these unusual movements? Where did it originate? Answers may be like this: as per the ‘chutti’ (make up, i.e.series of white ridges built up from the chin to the either side of the cheek), as per the ‘minukku’ (polished variety of facial make-up consisting in smoothening the actor's face with a coating of a mixture of yellow and red pigments), for the spectator to easily understand etc. But, this not the fact. These movements have been truly copied from the expressions of infants. Watch the baby’s movements till it reaches 6-8 months age. It moves eyebrow when it feels happy, moves or shrinks lower eyelid when it is angry, moves lips when it cries and so on. Movements in Kathakali are closely related to this. What is the specialty of a new borne baby? Unhesitatingly, it is the innocence and lack of artificiality. That is a condition that accepts or rejects anything without noticing the charm or quality. It doesn’t feel the difference between gold and iron or milk and poison. Facial expressions and body movements of the child are automatically derived from the internal desires and feelings. In Kathakali also, internal expressions are exhibited by the movement of organs. Concentration and sincere efforts enable the artist to create a sense of innocence inside and to reveal the deep sensations through expressions and movements, all come by themselves automatically. How? As mentioned before, expressions of an infant are naïve and pure and the infant never tries to make any artificial movement as per the feelings. Movements are outcome of innocent feelings or as per the universal power linked to all. A Kathakali artist tries to enlighten or awaken the ‘bhavarasa’ deep inside his mind by the deliberate movements. Movements of a child are through signals from inside to outside whereas for the artist, it is the reverse. In an open path or a door, one can pass from inside to outside and also in the opposite way. Kathakali is the sum of dozens of such concepts. The divine movements, sounds, emotions and wise thinking developed by the great ancient intellectuals who were well-aware of the principles, right from the atom to the Universe, still exist and live through Kathakali.
Several similar hidden facts could be unearthed from this art, but it takes time and great effort. This is possible if agencies such as UNESCO or any other outstanding institutions of artistic interest are willing to cooperate and extend assistance.
Kalamandalam Jayaprakash Narayanan is 
an eminent Kathakali artist, performing and carrying out innovative research in Kathakali. Settled in France, he organizes workshops related to Kathakali and other Indian art forms in Europe. Through the ‘Dhyana Hamsa’ Academy of Arts and Culture formed under his initiative in his native place Vaikom, he makes sincere efforts in familiarising the rich Indian tradition in art and culture to foreign nationals and in building a strong international relationship among artists. He is also the founder, Foundation for Cultural Integration and Director, Kerala Kalabhavanam ‘Cultural foundation of India’. He has served as the Professor (UNESCO) for Fine Arts in the University of Toulouse. He has received ‘Best Artist Certificate’ from Kerala Kalamandalam, Cheruthuruthy, and certificate for outstanding performance in the Buckingham Palace.
