Thullal – A Solo Dance Form Of Kerela

The Thullal is a solo dance performance that comes in three types. Kunchan Nambiar, a poet of the highest caliber from Kerala and a real genius, is credited with its creation. Although this art's technique is flexible, it is based on the traditional Natya Shastra principles. Thullal became highly well-known because to its straightforward Malayalam songwriting, blunt to outspoken humor, straightforward presentation, and direct appeal to daily life.

 

The maddalam and the cymbals are the instruments used in Thullal. The actor dancer (Thullakaran) receives singing assistance from the cymbal player who tunes the rhythm.

 

The invocation song is really sung by the cymbal player before the dancer faces the orchestra and bows. After that, the dancer performs a smooth flourish of steps and body movements while remaining facing the audience. The dance proper then starts after he turns to face the audience. He begins by singing a stanza, and as his musical accompaniment repeats the words, he expresses the meaning with his facial expressions, his hand gestures, and his body language. 

 

With great aesthetic effort, the roles of raconteur and actor are continuously switched. He switches from being the narrator and fully identifying with the narration in a split second. In Thullal, the dance is given the utmost emphasis. Despite the lack of variation, there is dance from beginning to end. The dancer occasionally uses brisk footwork and rhythmic body movements to break up the monotony.

 

Based on variations in attire, dancing, and the metre and rhyme of the Thullal songs, Thullal is divided into Ottan, Seethankan, and Parayan groups. 

 

•    The Ottan Thullal is the most well-known of the Thullal dances. The attire is unusual and stunning. To create a knee-length skirt, a long piece of white and red fabric is wound around a waist string. Also utilized is a chest plate covered in different kinds of colored beads, glass, tinsel, and ornaments. Wooden ornaments that have been gaudily painted are worn on the shoulders and wrists. The legs are adorned with jingling bells fastened slightly above the calf. The lips are reddened, the face is painted green, and the black paint is used to emphasize the eyes. The headdress is brightly embellished. The Ottam Thullal melodies have a very quick metre and rhyme, and the dance itself moves at a quick pace.

 

•    Because the metre and rhyme of the Thullal songs in Seethankan Thullal are a little slower than in Ottam Thullal, the tempo of the dance is likewise a little slower. The dancer's skirt is comparable to Ottam Thullal's. However, there are jewelry created from fresh, sensitive coconut fronds on the arms, wrists, and head. Only the eyes have been made darker, there is no other facial makeup.

 

•    The tempo of the Parayan Thullal is the slowest. Even the dancer's stance differs from that of the other two. Here, the dancer virtually stands straight up while using gestures to convey the songs' meanings. Action and the dancing component are seldom present. Additionally, the costume is unique. Around the waist is a crimson, floral garment. The headdress is a black fabric crown. The chest is adorned with necklaces. A pale yellow paint is applied to the face.