Friday, March 11, 2011


The asura’s have the Mrithasanjeevani mantra which can bring a dead person to life. The devas do not have it, and they decide to send Kacha the son of guru of the devas as disciple of Sukra the guru of the asura’s to learn it. It is in this background that the story begins.
Scene:1 – Sukra and Kacha
Kacha comes to the Ashram of Sukra, the guru of the rakshasas. He expresses his desire to be Sukra’s disciple. Sukra is pleased with the appearance of Kacha, his politeness, his evident aristocracy and fearlessness. Sukra takes him as his disciple, and at an auspicious time starts him on his studies. The atmosphere in the ashram captivates Kacha.
Scene: 2 – Kacha and Devayani
Kacha attends to all the duties assigned to him by his guru like, grazing the cattle and attending to all the needs of the Ashram. He attends to the studies assigned to himby his guru. One day while out grazing the cattle, he allows the cattle to themselves, sits down and attends to his studies. Devayani the beautiful daughter of Sukra comes there and is at once attracted to the handsome Kacha. She invites him to join her in her games and play. Kacha does not know what to do. He does not want to abandon his studies and join his guru’s daughter in games and play. He finally yields and joins her in unobjectionable games. The games gradually grow more enjoyable, and finally Devayani puts a garland of flowers around Kacha’s neck. Kacha is embarrassed and leaves saying it is getting very late.
Scene: 3 – Kacha, Sukethu and Kuttikattala
Sukethu and the other kattalas realize that Devayani, the daughter of the guru is attracted to the new disciple Kacha who is the son of the guru of the Devas, and feels that this will not be good for the asuras. They decide to kill Kacha. They capture him and kills him. They pulverize his body, and mixes it with madya and take it to Sukra.
Scene: 4 – Sukra, Sukethu, kattalas, Devayani and Kacha
Sukra is happy with the Madya offered to him by the kattalas and drinks it. Devayani who cannot find Kacha rushed to her father saying that Kacha is missing. Sukra by his divine powers immediately understands that kacha has been killed, and that he has taken drinks that contain Kacha’s body. Seeing the great grief of his daughter; Kukra teaches Kacha the Mrithasanjeevani Mantra. He calls Kacha who emerges from Sukra’s stomach, and Sukra dies. Kacha using the Mrithasanjeevani Mantra brings back Sukra to life. Sukra says that madya has been the reason for so much mischief, and that he will never taste it again.
Scene: 5 – Kacha and Devayani
Kacha who has managed to obtain the mantra, for which he had come to Sukra as a disciple, wants to leave without being seen by anyone. However Devayani comes to the scene with a radiant smile, and wants to resume the interrupted relationship with Kacha. She tries all methods to keep Kacha in the ashram, but Kacha says in unmistakable terms that he has to leave. Devayani curses him that the mantra that he has learned will be forgotten when he needs it. Kacha reluctantly leaves.

Tuesday, March 1, 2011

........KADHAKALI........: kathakali Instruments

........KADHAKALI........: kathakali Instruments: "The Kathakali Percussion Instruments include metallophones (chengalam and ellatalam), and membranophones (chenda, maddalam, and edakka). W..."

kathakali Instruments

The Kathakali Percussion Instruments include metallophones (chengalam and ellatalam), and membranophones (chenda, maddalam, and edakka). Whereas the instruments are well known in the Kathakali dance accompaniment, they do offer great potentiel for creation.


Scene: 1- Arjuna and Panchali
Arjuna is preparing to do thapas for obtaining Pasupathasthra from Siva on the advise of his elder brother Dharmaputhra. He tells Panchali of his resolve, Panchali understands the necessity for this, and sends him gladly to do thapas.
Scene: 2 – Arjuna
Arjuna sets out to the Himalayas to do thapas. He sees Mount Kailas and is enraptured by its beauty and grandeur. He selects a suitable spot and begins his thapas.
Scene: 3 – Kattala and Kattalasthree
Arjuna is in deep thapas. A boar which is really Mukasura sent by Duryodhana to kill Arjuna appears and Arjuna sends an arrow at the beast. The Kattala who appears on the scene also sends an arrow at the boar. A dispute arises between Arjuna and the kattala as to who killed the boar.
The dispute soon leads to a fight. The Kattalasthree tries to dissuade the Kattala from the fight, but he says that Arjuna’s strength and skill have to be tested, and his pride has to be curbed before any boon can be granted. The fight continues and kattalasthree again tries to stop it. Neither antagonist can be turned back. She curses Arjuna that his arrows will turn to flowers before they fall on Kattala. Arjuna tries to beat Kattala with his bow. The Kattala snatches it and throws it away. Kattala throws Arjuna to the ground.
The Kattala and Kattalasthree move away. Arjuna recovers, and is saddened that he has neither the strength nor the skill to fight even a Kattala. He makes a idol of Siva with sand and worships him offering flowers to the idol. He finds that the flowers fall at the feet of Kattala., and realizes that all the while he has been fighting with Siva and falls to his feet and asks for forgiveness.
The Kattala and Kattalasthree now appear as Siva and Parvathi. They bless Arjuna and gives him many boons including Pasupathasthra.

Friday, February 25, 2011

Mohiniattam is one of the major classical dance styles of India

Mohiniattam is one of the major classical dance styles of India. Mohiniattam from Kerala is perhaps one of the most graceful dances and totally identifies with the green environment; gentle singing of the palm trees and the calm ocean waters of Kerala. Kerala has always preserved all traditional arts and the people of the state consider it an integral part of everyday life.
In the word Mohiniattam, Mohini means a maiden who charms the onlooker and attam means dance. Usually the legends in India links the name of Mohini to that of God Vishnu who had assumed the beautiful form of Mohini to entice Demon Bhasmasura and finally destroyed him. It is said that the demon had a boon, which granted him immortality. He could die only if a hand was placed on his head. Mohini danced and made Bhasmasura also dance with her and suddenly for a moment placed her hand on her head. Bhasmasura too followed without thinking and then came his end. There is a common belief that perhaps the dance form got its names from this episode.
The beauty of Indian classical dance is also its appropriate and relevant costume and jewelry. The traditional costume of Mohiniattam is white with gold. The distinctive style of Mohiniattam is the complete absence of heavy stamping and rhythmical tension. Footwork in Mohiniattam is gentle and soft and sliding. The movements are never abrupt, they are dignified, easy and natural, but the vertical line of the body is never broken. Hence, among the styles detailed by Bharata Muni in the ancient Indian treatise on dance, the Natya Sastra, Mohiniattam resembles the Kaisiki type meaning graceful.
Mohiniattam is a classical dance form of Kerala. Mohiniattam is derived from the words “Mohini” (meaning beautiful women) and “attam”(meaning dance). Thus, Mohiniattam dance form is a beautiful feminine style with surging flow of body movements. Mohiniattam dance in Kerala developed in the tradition of Devadasi system, which later grew and developed a classical status.
Mohiniattam is a solo female dance (in a single costume), where musical melody and the rhythmical swaying of the dancer from side to side and the smooth and unbroken flow of the body movement is the striking feature. The Mohiniattam dance focuses mainly on feminine moods and emotions. Usually, the theme of Mohiniattam dance is “sringara” or love. Subtle subjects of love are executed with suggestive abhinaya, subtle gestures, rhythmic footwork and lilting music. The legend of Vishnu as “Mohini”, (the enchantress) forms the core of Mohiniattam dance.

Wednesday, February 23, 2011


........KADHAKALI........: KARNASAPATHAM STORY: "Duryodhana’s Thiranottam, Thiranottam is the traditional way an important Kathi character appears on the stage for the first time. A kingl..."


Duryodhana’s Thiranottam, Thiranottam is the traditional way an important Kathi character appears on the stage for the first time. A kingly character who is evil minded is a Kathi Character in Kathakali. Duryodhana is a Kathi character.
War between the Pandavas and the Kauravas is imminent. Duryodhana is the chief of the Kauravas. Bhanumathi, wife of Duryodhana is sitting despondent, anxious about the outcome of the war and the fate of her husband. Duryodhana coming in finds Bhanumathi in a despondent mood and asks her why she was so depressed. Bhanumathi says that she was scared about the imminent battle, and if Duryodhana is killed, she will not live for another moment. Duryodhana assures her that he will kill all his enemies, and there is no cause for anxiety. He says that he has powerful relatives, loyal dependent kings, mighty friends, illustrious gurus, and above all his friend the great Karna all ready to assist him. He will therefore succeed in battle and will rule the country.
Karna arrives, and Duryodhana tells him of Bhanumathi’s anxiety, requests him to talk to her and departs. Karna assures bhanumathi that he is prepared to shed his blood for his very dear friend Duryodhana and will certainly see that Duryodhana wins in battle and will become ruler of the country. By his confidence he is able to console Bhanumathi. When Duryodhana returns his wife is in a happy mood. Dussasanan, Duryodhana’s younger brother comes in to inform him that the ministers are waiting to see him. Duryodhana, Dussassana and Bhanumathi depart.
Karna is in a very pensive mood and decides to have a bath in the Ganges. He goes to the river and has his bath. He wonders who his parents are; whether he is really the son of Radha and her husband the charioteer who brought him up. He is ready to go back when he observes a lady coming to meet him and recognizes her as Kunthi, the mother of the Pandavas. After greeting her respectfully, he asks her to disclose the object of her visit. Kunthi tells him that she has come as a supplicant to beg Karna to leave the company of the Kauravas, and join the Pandavas in the coming battle. Karna is infuriated, and tells Kunthi that her life is being spared only because she is a woman.
Kunthi has no option but to tell Karna the real facts of his birth, and try to enlist his support for her children, the Pandavas. She tells him that he is really her own son and that his father is the Suryadeva himself. This unexpected revelation stuns Karna who feels faint and sits down. He falls at the feet of Kunthi and Implores her to reveal the secret of his birth. Kunthi tells him that Durvasa the great sage, pleased with her for looking after him during his visit to her father, gave her five boons. The test the efficacy of the first boon she prayed to Suryadeva, and he arrived, and he bestowed her a son who at the time of his birth had kundals and shield (kavacha). Fearing public scandal she was compelled to put the baby in a basket and cast him on the river.
Karna had always been very close to Duryodhana and the Kauravas. Once at the contest, the Pandavas had insulted Karna saying that he could not take part as he was not a nobleman. Duryodhana however sprang to his support and said that he was making Karna the King of the Kingdom of Anga. Karna’s honour was saved, and he considered Duryodhana his savior and closest friend.
Karna while showing great respect and love for Kunthi tells that he could not abandon his friend Duryodhana under any circumstance, and that all he could promise was that he will not kill any of the Pandavas other than Arjuna. Kunthi leaves disheartened. Karna returns to the palace and from there to his own residence.
Dussasana comes seeing all these, and decided to disclose the fact that Karna is the son of Kunthi and the brother of the Pandavas to Duryadhana. Duryodhana and Bhanumathi enter, and Dussasana tells them that Karna cannot be depended upon as he is the son of Kunthi. Duryodhana asks Dussasana to fetch Karna. Dussasana comes back with Karna. Duryodhana tells him that he knows that Karna is the son of Kunthi, and that he is free to leave him and join his brothers. Karna is greatly upset, and says that he will never leave his friend and that he may not be considered ungrateful, or that his great love for his friend will ever lessen. Karna in a state of great emotion tries to cut his own throat. Duryodhana stops him and says that his words were meant to console him, and give some relief to his distressed mind and permit him to choose his own path, and that he had never any doubt about Karna’s love or loyalty. Bhanumathi consoles him and Dussasana realizing the greatness of karma asks for his forgiveness.
Karna then takes a most awful and solemn oath that he will abandon his mother and brother for his bosom friend Duryodhana. Either Arjuna or he will die in battle, and that they will not survive the battle together. He will court a warrior’s death to save Duryodhana. With this great oath the Kathakali ends.

Friday, February 18, 2011



Daksha is the son of Brahma and he and his wife Vedavalli go to river Yamuna to have a bath. Vedavalli notices a conch shell in a lotus leaf. At her request Daksha takes it, and it at once turns into a beautiful baby girl. They bring up the baby as their own daughter. Sathi grows up to be a very beautiful princess. She is a great devotee of Siva, and decides to have him as her husband. She does penance to attain her object. Siva comes into her presence as an old Brahmin and tries to dissuade her from her intention of marrying Siva, but when he finds that Sathi is very serious and will marry no one else, he discloses his identity. Daksha when he comes to know of this is really unwilling to give his daughter in marriage to Siva, but finally consents to the marriage, and the wedding takes place in the presence of Indra. After the marriage, Siva leaves for Kailas, and Sathi is deeply distressed at his quick departure. She again does penance, and Siva appears and takes her to Kailas without seeking the permission of Daksha. It is in this background that the story opens.                                                                     
Scene: 1 – Daksha and Indra
Daksha is deeply hurt at his daughter being so unceremoniously taken away without his consent and complains to Indra. He speaks about Siva in abusive terms with deep resentment. However Indra warns Daksha that he should not speak in disrespectful terms about Siva and should not displease him in ay way.
Scene: 2 – Nandikeswara and Daksha
As suggested by Indra, Daksha goes to Kailas to meet Siva. On reaching kailas, Nandikeswara who is at the gate does not permit Daksha to go in. and meet Siva. Greatly offended Daksha returns.
Scene: 3 – Daksha and Datheechi
Daksha has planned to conduct a great yaga, and asks Datheechi to take part in the yaga. Learning that Siva is not being invited he says that he will not attend. He advises Daksha to invite Siva, as he is a Divine God, and no yaga can be conducted without his presence. He departs without taking part in the yaga.
Scene: 4 – Sathi and Siva
Coming to know of the yaga, Sathi wants to attend it. Siva warns Sathi that she should not attend it, and that she is likely to be insulted. Despite this warning Sathi goes to the yaga.
Scene: 5 – Sathi and Daksha
Sathi goes to the yaga. Daksha on seeing her abuses her in no uncertain terms and asks her to leave. He does not heed her plaintive requests and asks her to leave. Sathi warns Daksha that for this insult he will be punished by Siva. She departs.
Scene: 6 – Sathi and Siva
Sathi returns and tells Siva of the great insult she had to undergo and all that had happened. She tells Siva that Daksha is not her father any more, and that Daksha has to be punished.
Scene: 7 – Siva, Veerabhadran and Bhadrakali
Siva creates two powerful destructive spirits, Veerabhadran and Bhadrakali and orders them to go and obstruct the yaga and destroy Daksha.
Scene: 8 – Veerabhadran, Bhadrakali, Daksha and Pooja Brahmana
Veerabhadran and Bhadrakali enter the yagasala and destroy every thing there. Daksha tries to protect everything and is unable to do anything. Finally Veerabhadran beheads Daksha.
Scene: 9 – Daksha and Siva
Indra and the Rishis implore Siva to forgive Daksha, so that the yaga could be completed and destruction of the world avoided. Siva relents and as Daksha’s head had been destroyed, a goats head is placed on Daksha and he is restored to life. Daksha repents and prays to Siva for pardon.

Wednesday, February 2, 2011

Rukmini Swayamvaram

Aswathi Tirunal actually wrote a Sanskrit Drama called Rukmini Swayamwaram. Later he wrote this kathakali in malayalam for the benefit of a larger audience.
Rukmini is a beautiful maiden, daughter of Vidharbha King, who wants to marry Krishna. But her brother Rukmi wants her to marry Shisupala. The first scene is soliloqy of the sad Rukmini. Then a family friend called Sundara Brahmana comes to meet her. She tells him about her troubles and he agrees to take the matter to Krishna. He is sure that Krishna will come and take her to Dwaraka. Sundara Brahmana arrives at Dawaraka. He is welcomed by Krishna who is known to help brahmins at all times. The Brahmin tells Krishna about Rukmini's fate and that she may die if he does not go and save her. Krishna agrees to go to Vidharbha and bring back Rukmini as his bride. Then he arranges his Chariot. But the brahmana will not climb up. He is afraid, so afraid that he may fall down and die and maybe vultures will come and eat his body. But Krishna tells him "You may stand on the chariot clutching me". To this he happily agrees. He thanks God for giving him an opportunity to hold on to Krishna who is to him God on earth.
 Shishupala feels that during the marriage Krishna may create problems. A Bhiru ( a crony of Shishupala) is arranged to take care of Rukmini wherever she goes. Rukmini goes to the Devi Temple with the garland in hand and as she was coming out from the temple she sees Krishna and immediately puts the garland on his neck. Krishna takes her into his Chariot. At this Shishupala goes to war with Krishna but Krishna defeats him and goes off with the bride. Rukmi, brother of Rukmini also chases them and goes to war with Krishna but was defeated and comes back in a sorry condition.
In this play Sundara Brahmana comes in Minuku vesha, with a fine folded white uttareeya (shawl) in his left arm. Krishna and Rukmi are Pacha vesha. Shishupala is kathi vesha. Bhiru is actually a joker of the play and comes in a jokers dress which is also Minuku.

Friday, January 28, 2011

Kuchela Vrittam stories

Krishna and Kuchela studied together under Sandipani Maharshi in his Ashram when they were boys. Many years passed and Krishna was the King of Dwaraka whereas Kuchela was hardly pulling on as a poor brahmin.
One day Kuchela's wife tells Kuchela that there is no food in the house. The children were always hungry. It was Kuchela's desire to meet his friend Krishna. Why does he not go and meet him? Kuchela also wants to go. He asks his wife for a gift to Krishana. She gives him some rice flakes made from borrowed rice and Kuchela starts off to meet Krishna. On the way he thinks "Will Krishna recognise me? Will he receive me, a poor brahmin? Krishna is so large hearted he will receive any brahmin, even the poorest of the poor." So thinking he proceeds on foot a distance of maybe a hundred miles.
 Krishna is sitting in his house with Rukmini when he sees Kuchela coming. He runs off to meet Kuchela. He is invited inside and taken to the seventh floor of the palace and treated well. Finally he asks Kuchela what he has brought and forcibly takes the rice flakes and eats two handfuls of it. But when he was about to eat the third time his wife objects saying that she will become a servant of Kuchela if he eats again. Hence he stops eating. Kuchela and Krishna talk for some time and it is time for kuchela to go. So the friends part and Kuchela proceeds home. When he reaches home he finds that many riches have come to his house and he can hardly recognize his house. His wife comes out to great him with great happiness.
The story is very enjoyable and the lyrics are very musical. Krishna's vesham is pacha and all others are minuku.

Tuesday, January 25, 2011

........KADHAKALI........: Nala Charitham 1 - Unnayi Warrier...... stories

........KADHAKALI........: Nala Charitham 1 - Unnayi Warrier...... stories: "The story is taken from Nalopakhyana of Mahabharatha. Nala is the young king of Nishadha kingdom. Narada comes and advises Nala to try to ..."

last part of Nalacharitham.

Damayanthi and her maid Keshini watch Rutuparna's chariot approaching Ayodhya. The speed of the chariot does indicate that Nala is the driver, however looking at the figure of the driver he is not Nala. Seeing all this Damyanthi is truly worried and asks Keshini to meet Nala and talk to him and also observe his activities. Keshini talks to Bahuka and also observes his fantastic cooking abilities and the way when he touches flowers they bloom, etc. and reports to Damayanthi .
 Now Damayanthi is almost sure it is Nala and invites him into her palace. Damayanti starts the conversation saying "Have you seen Nala anywhere, you behave just like Nala, but does not look so". Nala replies that he is indeed Nala and he has come with great happiness. He ties a cloth given by Karkodaka and transforms himself into his old shape. Damayanthi comes forward to hug him but Nala stops her demanding how she decided to marry again. Damayanthi tells it was designed to get him to come over. Otherwise how could she find Nala? Nala is still doubtful. At that time a divine voice is heard that Damayanthi is true to Nala. Nala is now convinced that Damayanthi is indeed true to him. They hug each other. They also talk about the various incidents which occurred after their separation.
Nala goes to Nishadha Kingdom and recaptures his lost kingdom by another game of dice with his brother Pushkara. But he does not exile Pushkara. He allows him to stay on.
Destination reached and the old couple in their own home. However the story does not end. Nala's old friend, the swan, and Narada also appear and bless Nala and Damayanthi.
In this story Nala, Pushkara nad Bhimaraja are Pacha vesha and others are Minuku. The swan has a special makeup.

third part story of nalacharitham

This is the third part of Nalacharitham. If there is something called repentence Nala has it in abundance(reminiscent of King Lear). The thought that he left his wife (Damayanti) alone in the forest (even though it was for her better future) never leaves him for a moment. He wanders in the forests. He also saves a divine serpent called Karkotaka from a forest fire. The serpent bites him and he becomes dark in colour, which is also for good since he can live incognito. Karkotaka also gives Nala a cloth by wearing which he can return to his old figure. Nala assumes the name of Bahuka and joins Rituparna's Palace as a horseman and cook. He spends many sleepless nights along with his colleagues, Jeevala and Varshneya, in his new home, lamenting about his wife, which is well brought out in the verses "Vijane Bata Mahati, Vipine Nee Unarn Indu Vadane, Vinenthu Cheyvu Kadane " meaning "Waking up in the wilderness, falling into bottomless sorrow, Lady, what did thou do?".
Now the scene shifts to Bhima Raja's palace. Damayanti designates Sudeva, a brahmin to find out whether the message from another brahmin that Nala is in Rituparna's palace is true or not. Sudeva knows the trick. He travels to Kosala Rajya and informs Rituparna that the day after next is Damayanti's second Swayamvara and and all kings are invited. Now there is only one way Kundinapura can be reached in a day. Only Nala can drive so fast and so his identity will be exposed. Sudeva's trick works. Nala's thoughts at this juncture are about the innocense of Damayanti in comparison to the cruelty of society, which is well brought out in the verses "Mariman Kanni Mauliyude, Marima Arkid Ariyam" meaning "Wavy eyed Lady, who knows thy wavering mind?"
Rituparna along with his minister and Nala as charioteer start off to Kundinapura. On the way Kali who had entered Nala's body is banished by the heat of a calculation mantra which Rituparna advices to Nala in return to the horse-sense mantra which Nala advises to Rituparna. Happily they proceed to Kundinapura.
In this story Nala, Rituparna are Pacha vesham. Sudeva, Jeevala, Varshneya, Damayanti are Minuku vesham. Kali is Red Beard, and Karkotaka has special Serpent makeup. Bahuka is a separate Pacha Vesham Nala slightly darker than Nala.

Nala Charitham 2 ........story

The second day's play starts in the palace of Nala. Nala is standing beside Damayanti, an extremely shy bride. Nala addresses her with soft words and draws her into a coversation. Slowly she comes out of her shyness and talks a few words of praise about the evergreen nature of the Nishadha gardens. Emboldened they discuss about the incidents leading to their happy union.
 Meanwhile certain other gods, Kali and Dwapara are dissatsfied with the events at the marriage and talk offensively to Indra for his foolish behaviour. They then plot to punish Nala. Kali waits years to enter Nishadha Kingdom and enter only when Nala makes a mistake of not washing his feet properly. Once he enters he meets Nala's brother Pushkara and instigates him to rise against Nala and defeat him in a game of dice. In the dice game Kali cheats for Pushkara and Nala loses all. Damayanti sends her children off to Kundinapura and accompanies Nala to the forest. In the forest Nala loses his last remaining piece of cloth trying to catch birds. The naked Nala asks Damayanthi to leave him and go back to Kundinapura for her own sake. Again she refuses and exhausted, sleeps in the forest. Nala leaves her in the forest and runs away after taking a small piece of her Sari to wear as a loin-cloth to cover his nakedness. Nala knows no harm will come to her, her noble character being her invincible shield.
Damayanti wakes up in the forest and finds no Nala! Alas, she cries aloud and walks through the forest. A python takes hold of one of her legs. A Katala(forest dweller ) hears her cries and rescues her from the python. But he will not stop at that. He proposes to her. She angrily refuses. Katala forces her to sit on his shoulder. At this, Damayanthi curses him and he is reduced to ashes. Damayanti wanders long and meets a group of traders who kindly take her along to a Chedi country where a queen is ruling. When she was in Chedi a brahmin by name Sudeva sent in search of Damayanti by Bhima Raja of Kundinapura reaches there. He enquires who is the new dasi in the palace and is happy to meet Damayanthi. Along with Sudeva finallly Danayanti reaches her father's palace. Her father blesses her and tells her he will do all he can to find Nala. Her mother also blesses her. There ends the second day's play.
In this story Kali is a special Red Beard. Dwapara is Kathi. Nala, Pushkara, Bhimaraja and Indra are Pacha. Katala is Black Beard. All the others are Minuku.

Nala Charitham 1 - Unnayi Warrier...... stories

The story is taken from Nalopakhyana of Mahabharatha. Nala is the young king of Nishadha kingdom. Narada comes and advises Nala to try to marry Damayanti, a beautiful princess of Kundinapura, who is to wed soon. But Nala is doubtful about his chances saying that even gods crave to marry her. But Narada says she is for kings of the world and not for gods.
 Nala roams about in the extensive royal gardens thinking about Damayanthi. At that time, a golden coloured swan was seen resting by the side of a pond. Nala gently goes and catches the swan. The swan is highly agitated and Nala releases it to go its own way. But the swan comes back and tells Nala that it is ready to help Nala to get married to Damayanthi. Nala is interested and sends it to Damayanti's city, Kundinapura, to know about her own feelings on the subject.
 The swan flies to Kundinapura and meets Damayanti. After drawing her away from her maids it tells her about Nala. Damayanti is also in love with Nala. So the swan returns and gives the massage to Nala. Then and there Nala decides to try the hand of Damayanti. Damayanti's swayamwara is declared. Nala is on the way, but is met with five gods who are also going for the same purpose. To his astonishnment now Nala has to play the role of the gods' messenger. He meets Damayanthi and tells the wish of the gods. But Damayanthi firmly says SHE LOVES ONLY NALA. Not even gods for her!
Now the Swayamwara takes place. Damayanti could not recognize the true Nala since the gods are also present in the shape of Nalas. Then she uses her intelligence (by divine grace) and recognizes the true Nala with certain human characteristics such as blinking of the eyes and feet firmly placed on the ground, and puts her garland on his neck and so they are united. The gods bless them and also give many boons to Nala.
Thus ends the first day's play of Nala Charitha.
Nala is Pacha, the gods various shades of Pacha, the swan has its own swan makeup, others are Minuku.

Saturday, January 22, 2011

........KADHAKALI........: ^^^^mohiniyattam

........KADHAKALI........: ^^^^mohiniyattam: "'Whither the hand goes, the glance follows, Whither the glances lead, the mind follows, Whither the mind goes, there the mood follows Whithe..."

Friday, January 21, 2011

Saturday, January 15, 2011


"Whither the hand goes, the glance follows,
Whither the glances lead, the mind follows,
Whither the mind goes, there the mood follows
Whither the mood goes, there is “rasa” born."
- Abhinaya Darpana


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