In Kerala’s Ayirur, how an entire village carries the rich art form of Kathakali forward

For over 250 years, Ayirur—a picturesque village on the banks of the holy river Pamba in Kerala’s Pathanamthitta district—has been the centre of a long-standing tradition of promoting Kathakali—a dance-drama art form unique to Kerala.

After 12 long years, in 2023, the village’s association with Kathakali bore fruit when the Ministry of Home Affairs and the Surveyor General of India christened it as Ayirur Kathakali Gramam, Kerala, India’s first Kathakali village, by an order.

It is a shining example of how an art form has brought a sense of togetherness and communal harmony, guided by an equally passionate and efficient local government. 

It has to be seen to be understood how children, as young as five years old, identify the kathakali mudras with excitement. 

The classical dance form is an important subject taught in schools in the village and district. Several young people have gone on to become performers, singers, and make-up artists after spending many years honing their skills at the Kerala Kalamandalam at Cheruthuruthy.

Of beats, rhythm, and music

Ayirur has the highest Kathakali literacy in India, says Vimal Raj, Secretary of the District Kathakali Club.

Although not a performer, Raj’s understanding of the art form—its music, story-telling, and more importantly, its adaptations—is exemplary.

And his authority on the subject and Ayirur’s role in it is almost unparalleled.

Ayirur is just 60 km away from the famous temple shrine of Sabarimala. According to mythology, the village gets its name from Ayya (how the presiding deity Ayyappan is known) and Oor (or ur, which means place). 

“The village has a rich history of Kathakali—with several disciples of Guru Chengannur Raman Pillai of the Thekkan Chitta (Southern school) who practised what is known as the Kaplingadan style performing here,” says Raj.

In a population of 3,000, around 70% are associated with Kathakali in some form or another. Many of them are enthusiasts.

This enthusiasm, almost obsession-like, encouraged Raj to start a Kathakali Appreciation Forum in 1987, which converted into a full-fledged District Kathakali Club in Ayirur in 1995. 

He explains, “Kathakali is a difficult art form to learn, as well as to appreciate. Our efforts are to make it accessible to the masses by providing them the means to learn, understand, and enjoy the stories through continuous demo sessions, performances, and even festivals.”

The club has been instrumental in popularising Kathakali through the district and state by facilitating study sessions in schools to teach basic mudras and make-up to students. It also brings students to the club for sessions at its own cost. 

The club has over 400 members—people of all faiths who enjoy the dance form. Raj says some of the office-bearers and members are Christians who contribute to the running of the club. 

Panchayat member and Raj’s wife Sreeja Vimal, who has been working in the local government for the past 28 years, has seen the strains of taalam, melam and sangeetham (beats, rhythm, and music) echoing through the village ever since a young girl.

She remembers discovering Kathakali costumes and jewellery in a box as a child and was awestruck to learn that her uncles were performers. Her father, a great enthusiast, sponsored various troupes in the village.

After marrying Raj, it became a combined effort. “In the initial days, we helped the club organise music classes. Slowly, it became a cultural club that bound the people in the village together through art,” she says.

The village hosts a week-long Kathakali festival on the banks of the Pamba every year, attracting 15,000 people. Students from the district’s schools converge to witness the Pakal Kathakali (day Kathakali as opposed to the one usually performed at night).

Ambili Prabhakaran, Panchayat President, outlines how its new recognition as Ayirur Kathakali Gramam can put it on the global map.

“The village will be part of the Great Destination Challenge launched by the Ministry of Tourism. Under this, we will first establish a Kathakali Museum on land donated by the Kathakali Club. There are also plans to open a Thekkan Kalamandalam (an institute) for Kathakali by renovating a lower primary school, which was shut down,” she says.

Shreeja and Prabhakaran believe it will not be long before Ayirur receives its rightful place on the tourism map of India. “We hope that tour packages that cover Aranmula (a village known for its metal mirrors and boat races) extend to Ayirur, which is close by,” says Shreeja.

The artists and the art form

Vishnu, Adithya Soman, Harikrishnan, and Amal are some of the young people from Ayirur and nearby places who have gone on to become Kathakali artists. They also perform at the Vallabha temple in the nearby Tiruvalla town, where Kathakali is one of the major offerings to the Gods.

Aged between 22 and 28 years, these young men follow the art form in various ways—as dancers, singers, and make-up artists.

Adithya Soman, who hails from a family of performers and enthusiasts, has been learning Kathakali sangeetham (music) for 13 years. A BPharm graduate, he performs as part of troupes during the festival season.

“In Kathakali, the music is abhinaya sangeetham—which is set to dance and the emotions. There are specifics in voice and modulation, and the compositions have to be learned by rote. This needs constant practice,” he says.

Twenty-eight-year-old Vishnu started young by attending classes at the club. Seeing his interest, Raj encouraged him to apply at the Kerala Kalamandalam. After completing his BA in performing arts, he now performs in temples and conducts classes.

“I earn enough to live. I won’t say it’s a luxurious life, but my love for the art makes me want to become a good dancer and teacher,” he says.

Harikrishnan recalls sitting on his grandfather’s lap, munching on peanuts and watching Kathakali as an eight-year-old boy. “He took me to different temples and explained each performance as I watched in awe. From here, my interest only grew,” he says.

Harikrishnan’s grandfather enrolled him for classes at the club, and he later joined the Kerala Kalamandalam. He performs at temples during the festival season and takes demo classes for school children.

Anandhu has completed his MA from Kerala Kalamandalam, joining the institute from Class 8. He’s a performer and also teaches students as part of a government fellowship. 

Amal is a chutti artist—a breathtakingly beautiful intricate makeup used in Kathakali. Mimicking the beard, chutti was originally made from rice flour and glued onto the artist’s face.

“It’s the second stage of make-up. The first is usually painted by the artist himself. Today, chutti is made from paper, and the process still takes around one-and-a-half hours for a person. It took me three years at Kalamandalam for my art to be shown on stage,” he says.

Amal, who has an MA in fine arts from the institute is part of many troupes, and conducts demo classes for chutti.

Fine example of communal harmony

Kathakali—which translates to katha (story) through kali (play)—displays riveting performances, usually stories from Hindu mythology. Most narrations showcase the triumph of good over evil, love and friendship, and devotion in a dance-drama format. 

In a fine example of communal inclusion, the Kathakali Club has adapted Bible stories, poems, and classics into the format. 

Raj says, “We were the first to convert Bible stories like Abrahaminte Bali (Abraham’s Sacrifice) and Mudiyanaya Puthran (The Prodigal Son) into the Kathakali format.”

“We recently portrayed the Spanish classic Don Quixote in Kathakali. The lead characters’ costumes adhere to the Kathakali tradition, but lesser-known characters in these dramas have different costumes,” he explains.

The club also organises a literary appreciation class every month to discuss classics, plays, and how they can be connected to story-telling through Kathakali. Mythili Radhakrishnan, who organises this, says it attracts professors from nearby colleges who explain the intricate nuances of literature and story-telling.