THULLAL
A solo dance exposition, the Thullal is of three types. Its origin is attributed to Kunchan Nambiar, a veritable genius and one of the foremost poets of Kerala. Though based on classic principles of Natya Shastra the technique of this art is not rigid. The songs, written in simple Malayalam, frank to outspoken wit and humour, the simplicity of presentation and the direct appeal to every day life made Thullal very popular.

The instruments used in Thullal are the maddalam and the cymbals. The cymbal player who tunes the rhythm, also assists the actor dancer (Thullakaran) in singing.

In actual performance the cymbal player first sings the invocation song when the dancer faces the orchestra and does obeisance. After that, with his back still to the audience the dancer does a slick flourish of step and body movements. Then he turns to the audience and the dance proper is begun. He first sings a verse and while the lines are being repeated by his musical assistance, he brings out the meaning through facial expressions, hand gestures and bodily postures. The roles of the raconteur and actor are perpetually interchanged with tremendous aesthetic efforts. In one moment he is the narrator but in the next he completely identifies himself with the narration.

It is to the dance that prime importance is given in Thullal. From the beginning to the end there is dance even though it lacks much of variety. To compensate for the monotony, sometimes the dancer executes some vigorous footsteps and rhythmic movements of the body.

Thullal is classified into three different types. Ottan, Seethankan and Parayan based on the difference in costume, dance and also the metre and rhyme of the Thullal songs.

Of all Thullal dances the Ottan Thullal is the most popular. The costume is peculiar and impressive. A long tape of cloth of white and red colour is hooked around a waist string to form a knee length skirt. A chest plate adorned with various types of coloured beades, glass and tinsel and ornaments is also used.Gaudily painted wooden ornaments are worn at the wrist, and on the shoulders. Tinkling bells are tied to the legs just above the calf. The face is painted green, the lips are reddened and the eyes are emphasised with black paint. The head -dress is colourfully decorated. The metre and rhyme of the Ottam Thullal songs are very fast, and the dance as such has a high tempo.

In Seethankan Thullal the metre and rhyme of the Thullal songs are a bit more- slow than in Ottam Thullal and consequently dance is also slower in tempo. The dancer uses similar skirt as in Ottam Thullal. But the arms, wrists and head are adorned with ornaments made of fresh tender coconut fronds. There is no facial make up except darkening of the eyes

The Parayan Thullal is the slowest in tempo. Even the stance of the dancer is different from the other two. Here the dancer almost stands erect and explains the meaning of the songs by gestures. There is very little of the dance element or of action. The costume is also different. A red, flowery clothe is worn around the waist. A crown of black clothe adorns the head. Necklaces are used on the chest. The face is painted with light yellow.

MOHINIYATTOM
Mohini the temptress, is a recurring character in Hindhu mythology. Attom means dance. It is seductive dance performed by women, sensuous in its appeal. In technique Mohiniyattom lies somewhere between Kathakali and Bharathanatyam, Lyrical in the extreme keynote is coquetry. The symmetrical patterns of emotion flow in balanced nuances with smooth footwork, somewhat quickened body movements and special music.

Parallel to the Barathanatyam of Tamil Nadu., solo Mohiniyattom dance is performed only by women. The music is classical carnatic.

As the name implies it is the dance of the charmer. Its origin is a matter of conjecture, but it retains a lovely fusion of the parallel streams of dance in the estern and western regions of South India. Combining the formal grace and elegance of Bharathanatyam, with the earthy vigour and dynamism of Kathakali the petalled nrita hands of the one with the wide stance of the other, the delicate expressions of the one with the stylised eye movements of the other, it co- ordinates the instinct with charm, subtle allure and seductive appeal. In the rendering of this style there is enchantment, grace delicacy and passion.

The technical structure of Mohiniyattom is fairly similar to that of Bharathanatyam. There are no abrupt jerks or leaps in Mohiniyattom nor is their any inordinately hard stamping of the foot. The gesture language of Mohiniyattom is largely similar to that of Bharathanatyam but it also incorporates elements from Kathakali tradition. And again, like Bharathanatyam, Mohiniyattom too has items of nritta, pure dance, as well as nritya, expressional dance.

Mohiniyattom is mainly the Lasya dance performed strictly according to scriptures of Natya Shastra. The repertory of Mohiniyattom as it is presented now consists of Cholkettu, Varnam, Padam, Thillana, Kaikottikkali, Kummi and Swaram. It is well evident that the Kaikottikkali and Kummi are later additions. Because of the special type of instructions associated with it, the dance presence striking bodily poses and attitudes and exquisitely graceful foot - work. In its gestures and also with regard to the expression of the eye, Mohiniyattom is indebted to Kathakali.

If in Bharathanatyam the predominant moods are samtham and veeram, in Mohiniyattom it is sringaram.