Ammana is a hollow metallic ball which contains numerous metallic pieces inside. Women perform the ammanattom dance, using four to twenty-four ammanas which are thrown up and caught deft missing none. The jingling of the ammanas perfectly time with the rhythm of the Brahmani songs sung by the performer.

This is a votive offering performed in Bhagavathy temples. The costume of the dancer is as in Velichapppadu Thullal, red scarf on the head and a red flowery clothe at the waist. Anklets are tied to the legs. The performer goes round the deity, dancing to the rhymes set by chenda, maddalam, thimila and elathalam. After worshipping the deity he gets over a one wheeld polatform over which is the pillar like utholakam. There is a hook at one end of the utholakam to which is attached the backside skin of the dancer. This end is then raised up. Hooked to the uthjolakam, the dancer is thus suspend in the air almost horizontally in which posture he executes certain physical feats and dance movements and the whole platform is taken round the temple deity thrice.

Sometimes the make-up of the dancer will be in the shape of garuda, the mythological bird, hence the dance os called garudan thookam.

In another local variation a number of dancers in the costume and make - up of garuda wings pleated skirts assemble before t6he temple deity and dance to the accompaniment of thimila, chenda, maddalam, elathalam etc. The dance is thus known as garudanparava.

Aivar Kali literally means the play of the five sets. This is performed by members of Asari, Moosari, Karuvan, Thattan, and Kallasari communities. It is often staged in connection with temple festivals like Veleda, Thalapoli etc. This is a ring dance in which the dancers with small sticks in their hands perform a vigorous and powerful dance. The twinkling of the bells attached to the sticks adds to the charm of the accompanying music which is skillfully varied to avoid monotony. With the singing, the dancing rises to a crescendo of rhythmic fervor and the dancers swirl round, feet in step and the sticks striking perfect time.

This is a form of social satire performed as domestic entertainment by members of the Variar and pisharady communities. A group of people gather round an oil-lit lam before which is copper potplaced upside down. It is by beating on the vessel with the hand that the rhythm is set. One from the groups stands up and asks a question in the form of a song to another in the group. Those who fail to answer have to enact various roles. Though devoid of much dance element, this humorous play gives plenty of scope for buffoonery and clowning which is done with great agility and gusto. This dance is almost extinct now.

A graceful group-dance of women, performed only very rarely nowadays s. the girls link their arms and form two lines. Facing each other, they move forward and backwards to the rhythm of songs. The head and body sway in perfect unison with the different steps executed. The case of movement and supple grace furnish an experience of rare beauty and enjoyment. The songs are in the form of questions and answers in which one party request the other to give them a girl. The request is promptly refused, but is repeated along with offers of various ransoms and rewards and turned down time and again. In the end a mock trail-of war is executed between the two groups.

Sangha Kali is also known as Sastrakali, Chathirakali or Vatrakali. Essentially a socio-religious dance which was a very favourite and popular pastime of Namboodiris, it was performed as a votive offering. The origin of Sanghakali may be traced to the numerous gymnasia (Known as Kalaris) in ancient Kerala where physical exercises and military training with special stress on physical feats and swordsmanship were given. Periodic celebrations were held in this Kalaris with special displays of skill in weapons and the techniques of combat. With the infiltration and stabilization of Aryan culture in the land, the Namboodiri Brahmins-the Aryan immigrants-entered these gymnasia and their participation and influence gave the celebrations a religious turn.