6
edits
no edit summary
(Fixed typo) |
No edit summary |
||
| Line 1: | Line 1: | ||
[[File:Kanyarkali.jpg|thumb|A kanyarkali Performance]] | |||
[[File:Kanyarkali in Panthal.jpg|thumb|Vettuvakanakkar Porattu]] | |||
[[File:Ashan Sri Pallassana Dwarakakrishnan.jpg|thumb|right|Ashan Late Pallassana Dwarakakrishnan]] | |||
{{Use dmy dates|date=July 2019}} | {{Use dmy dates|date=July 2019}} | ||
{{Use Indian English|date=July 2019}} | {{Use Indian English|date=July 2019}} | ||
| Line 8: | Line 12: | ||
The dance is performed at night and ends at dawn and is conducted for four consecutive nights .In certain villages it is conducted only for three consecutive nights. | The dance is performed at night and ends at dawn and is conducted for four consecutive nights .In certain villages it is conducted only for three consecutive nights. | ||
The dances start every night with the men of the community gathering in the temples and performing a rhythmic circular dance called vattakali (vattakali literally means a circular dance). The vattakali is followed by several 'puraattu | The dances start every night with the men of the community gathering in the temples and performing a rhythmic circular dance called vattakali (vattakali literally means a circular dance). The vattakali is followed by several 'puraattu'{{cn|date=September 2021}}, which literally means farce. The purattu does not have a standard format and each purattu lasts for an hour approximately. The purattu depicts the life and social customs of various castes and tribes of medieval Kerala and Tamil Nadu. Since the purattu depict various heterogeneous castes and tribes, the various purattus have different costumes, style of dancing and songs with different tempos. Certain purattu which depict fierce tribes or warrior tribes have performances resembling stick fights and martial movements whereas certain other purattus have slow and rhythmic movements. Certain purattus are laced with humor and depict a scenario wherein a long lost husband and wife have a reunion.<ref>{{Cite book|chapter-url=https://hal.archives-ouvertes.fr/hal-00520537/|title = Traditions orales dans le monde indien|chapter = Les (Petites) vertus de la farce. Imaginaire et société dans un théâtre populaire du Kérala|series = Purusartha n°18|year = 1996|pages = 343–366|publisher = EHESS}}</ref> | ||
It is performed in a specially made square stage called as pandal. The pandal is located in front of the temple or its premises. It consists of a lighted lamp in the centre and consists of a roof supported by nine pillars. The singers occupy the central position of the stage and the dancers dance along the periphery of the pandal in a circular manner. | It is performed in a specially made square stage called as pandal. The pandal is located in front of the temple or its premises. It consists of a lighted lamp in the centre and consists of a roof supported by nine pillars. The singers occupy the central position of the stage and the dancers dance along the periphery of the pandal in a circular manner. | ||
| Line 17: | Line 21: | ||
The participants are solely men and women are represented by [[cross-dressing]] men who imitate the body language and way of speaking of women. | The participants are solely men and women are represented by [[cross-dressing]] men who imitate the body language and way of speaking of women. | ||
In the last decade, women have made their debut Kanyarkali performance in a Desappanthal at [[Kakkayur]]. | |||
==References== | ==References== | ||