Deeply regional in nature, tholpavakkali is almost exclusively performed once a year, that too in the shrines around Palakkad that are dedicated to the deity Kaali. The performance is done using puppets that are made using cow hide leather. Usually, the performances are based on stories that are derived from the Kamba Ramayana- a Hindu text which describes the life and times of Lord Rama who is believed by the Hindus as a manifestation of the supreme godhead on earth. The puppets are expertly manipulated by artists against the backdrop of a glowing light which casts shadows on a screen. This gives the illusion that the central characters in the story are all moving shadows. The performance is traditionally carried out in the koothumadam- a space constructed within the temple premises to host these performances.

A folk art form performed entirely by a female ensemble, margamkali is common among the Syrian Christians of mid-Kerala, especially in the states of Trissur and Kottayam. The white dhothi that the performers wear is iconic while the performance is usually done in two different sections. The first of these sections relates to the Saint Thomas, who is believed to have brought the good news of Jesus to the Kerala shore for the first time. The second and the more extended section then takes the narrative to a more expansive realm, often talking about Jesus and other themes related to Christianity.

An art form that’s commonly performed by and among Muslims living in the Malabar region, duffmutttu employs the use of the percussion instrument of duff. The musical instrument is popularly employed in Persian music. Beating on it gives rise to a sturdy yet not too loud tone which gives it a distinct timber(the apparatus is made of bull skin leather wound over a wooden circle). The instrument is small enough to be held in one hand and is beaten on with the other hand by the performers. The lead performer would sing out a verse which would be followed by the other performers in the group. The songs in duffmuttu are often about legends and martyrs from Muslim religious history.

There is something extremely striking about men painted in the yellow and black stripes to mimic those of a tiger, dancing freely, almost haphazardly through the streets. But that’s precisely what you get to see in many parts of Kerala on the fourth day of Onam- the state’s national festival which happens around August-September every year. This traditional folk art form is performed by a set of men playing the part of tigers while another set plays the hunters. Percussion instruments like the chenda and udukku feature as accompaniment. It’s every bit as energetic as you imagine it to be.

A more performative precursor to today’s stand up comedy, Ottam thullal combines both narration and dance. The artform is particularly known for its social satire element. In fact, Kunchan Nambiar, who introduced the artform in the eighteenth century did so specifically for the purpose of providing social criticism. It used to be a popular folk art form in its heyday though it has waned in popularity in the modern times.

A predominantly percussion orchestra, the panchavadyam is typically performed in temples during temple festivals. As much an auditory experience as it is visual, it’s quite a treat to behold the rows of men who make up the orchestra swaying rhythmically to the beats of their own drums. Requiring high dexterity in playing and synchronization among the orchestra members, this is among the most exciting artforms of Kerala.

Ritualistic in form, theyyam is among the most colorful dance forms of Kerala. Performed as a means to honor the ancestral and divine spirits that are believed to permeate each land, theyyam comes in over four hundred different styles. An energetic dance form, it is performed to the accompaniment of multiple musical instruments including the traditional drums, chenda and elathalam.

Recognized by UNESCO as an intangible heritage of humanity, Koodiyattam is a dance form which dates back to at least two thousand years. It’s a combination of ancient Sanskrit theater and the more modern koothu dance forms, and is quite unique in its presentation for that matter. Traditionally, the art form has been performed by members belonging to the Chakyar sect, which is a subdivision of the Hindu religion in Kerala, and also by women who belong to Nangyaramma sect. Koodiyattam performances are typically vibrant, with a large number of cast members performing to the accompaniment of percussion instruments including the mizhavu and edakka among other types of instruments.

Mohiniyattam is yet another classical dance form native to Kerala. To understand the allure of this dance- typically performed by a solo female artist- you should look to the story from which it originated. The gods, it is said, created the nectar of immortality by churning the great ocean. However, evil spirits snatched away the gods’ nectar. The great god Vishnu sends the divine lady Mohini to tempt the evil spirits and distract them so that the gods could snatch the nectar away. His plan succeeds. Mohiniyattam was born, inspired by the dance that the divine Mohini performed to enchant the spirits. Technically intricate and delectably fluid in nature, the dance form is as alluring as you may imagine.

A solo performance to the accompaniment of a percussionist’s rhythms, Chakyar koothu, or koothu as it is popularly known is a satirical artform. The key performer wears colorful makeup and narrates stories, often with comedic jabs at contemporary social events and personalities. Like a European court jester of yore, the Chakyar sometimes even made fun of the king. The performer has to be sharp- if he couldn’t derive a response from his audience to one of his comments, the show would abruptly end.

Another performance art commonly performed among the Malabar Muslims, Oppana is typically performed prior to weddings at the bride-to-be’s home. The friends of the one who is going to get married are the ones who traditionally perform it. An ensemble of about fifteen members usually perform the song and dance routine- a high spirited, joyous occasion to mark an eventful moment in one’s life. The performers are usually attired in glittery costumes but it’s the star of the occasion- the bride to be herself who dons the most delectable clothes and jewelries.

Chavittu nadakam or ‘stomping theater’ as it is roughly translated, originated sometime during the seventeenth century in the historic city of Kochi. It’s of Latin Christian origin and almost all performances tell the stories related to Jesus and other personalities from the Bible. The cast is usually big for these stage productions, with cast members usually garbed in vibrantly colorful clothes, usually inspired by European regal clothing of yore. Both musical passages and verbal communication between the actors make up the narration. There are frequently occurring ascents and descents in the musical progression depending on the various points they appear in the story. The more dramatic the point in the tale, the more dramatic the music would be, and vice versa.

Nangyar koothu - While Chakyar koothu is performed by a male performer, Nangyar koothu sees the stage being graced by a female performer. However, satire isn’t necessarily her modus operandi. Rather, it is to narrate legends about the god Krishna. At least, that’s the thematic content of most Nangyar koothu performances. The mudras or hand gestures used are complex, and are a subset of its parent artform- the kutiyattam. It’s believed that the sage named Bharata composed the book of artistic gestures and expressions called the Natyasastra. The mudras of nangyar koothu are derived from this book composed sometime during the second century BC. It’s certainly fascinating to watch expressions composed before Christ come to life in contemporary times. But such is the magic of Nangyar koothu, and Kerala!

There are many legends about the mythical folk character, Kummatti. In one story, Kummatti is a witch. In another, he is a child-snatcher who comes to take away children who are particularly unruly. Whatever the legend, the dance form Kummattikkali is performed to keep the legends of Kummatti alive. Usually, the performance is held during the Onam season, mostly in the northern districts of the state- like Palakkad and Wayanad. Since the character of Kummati is steeped in a time when the landscape was largely untamed, the performers who play the role don wooden painted masks and clothes that incorporate leaves and other natural materials.