Classical dances are based fully or partly on the principles and techniques embodied in the ancient Hindu scriptures and technical texts on dance and allied arts. The earliest of these known scripts is Bharatha's Natya Shastra believed to have been written around the second century B.C. Most of the prevailing systems of classical dancing governed by elaborate techniques with a high degree of refinement have had their origin in the dances of the common people. The difference between classical dancing and folk dancing is mainly that there is a deliberate attempt at artistry in the former. Sophistication along the norms of the scriptures of advance theories on dance and dramaturgy are strictly adhered to. The concept of portraying emotion, the grace of the individual dances and the virtuosity of the isolated poses are all important in classical dances. Emphasis has been given to different aspects of the dance, namely pure bodily movement, aids to dance like theme, song, instrumental music, the expression of emotions, moods and sentiments, the dress, ornaments, makeup and the stage.

Koothu, Koodiyatom, Patakom, Ashtapdiyatoom, Krishnanattom, Thullal, Mohiniyattom and Kathakali are the most important classical dances.

KOOTHU
This classical dance is performed by the member of the professional Chakyar cast that too only in Koothambalam of temples. It is one of the oldest of theartrical arts peculiar to Kerala. The term Koothu literally means dance which may be taken as an index of the importance attached to dance in the original form of the art. As a matter of fact, the movements and facial expressions and the signs and gestures employed by the actor in Koothu are said to approximate most closely to the principles laid down in the authoritative Sanskrit treatise on the subject, Bharatha's Natya Sastra.

The actor recites stories from the epics (based on Sanskrit text) interpreting them in Malayalam, enlivening his narration with Thandava dance rhythms and also gestures and bodily postures which are clearly derived from Natya Sastra.

The Koothu is very much dominated by the comic element. Impersonated through mime and gesture and interspersed with occasional dances, the narrative art of the Chakyar is essentially dramatic. Humorous, witty analogies and allusions to topical, political and social events are brought in during the narration and the dancer gets ample facilities for criticizing men and things of local interest. Seldom does the miss an opportunity to make comic comments on contemporary life and society. He ridicules the follies and foibles of the age with impunity.

In actual performance the dancer stands on the platform of the Koothambalam adorned with his special type of headgear and peculiar facial make-up. He then offers prayers to the presiding deity of the particular temple where he is performing. After that he recites a verse from the Sanskrit text from which he intends to expound and then explains it in Malayalam.

The instruments used are a pain of Cymbals and the mizhavu which is a big copper drum. A member of the Nambiar caste beats rhythm on the Mizhavu at the required intervals. The cymbals are played invariably by women known as Nangiyars.

Koothu presented as a solo item by a Chakiyar is also known as Prabhandha Koothu. Occasionally, it is presented by a Nangiyar woman, when it is called Nangiyar Koothu. ( Next Page..)