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 THULLALKALA

There are three different types of Thullal, classified according to the metre and rhythm of the 

songs sung in each one and the differences in constume and dance.

Among the classical performing arts of Kerala, Thullal is distinct with its simplicity of presentation and its frank, outspoken wit and humour. The songs are in simple Malayalam and the techniques employed in this art are not rigid, though they are base

d on the classical principles of Naatya Saastra, a treatise on art originating in the 2nd century B.C. it is said to have been a modification of Koothu.

There are three different types of Thullal, classified according to the metre and rhythm of the songs sung in each one and the differences in constume and dance. They are Ottan Thullal, Seethankan Thullal and Parayan Thullal.

Seethankan Thullal: The songs and dance in this form of thullal are slower than Ottan thullal in metre and rhythm and in tempo. The dancer uses a piece of black cloth tied tightly round the head and this is circled with a band of tender, palm leaves giving the impression of a crown. Ornaments representing the full-blown lotus, made once more of palm leaf, adorn the upper arms and wrists, ankle belts, and the feet. The chest is covered with a profusion of bead necklaces and over this is tied a cross-belt. A red cloth is draped round the waist and a long length of white cloth, rather like a bandage, is looped again and again around a waist-string and fixed above this.

Ottan Thullal: This is the most popular among the Thullals. In this performance, the actor wears a long tape of cloth of white and red colour looped around a waist – string to form a knee – length skirt. A chest plate adorned by various types of coloured beads, glass and tinsel, and other ornaments are used. Wooden bangles painted with bright colours are worn on the wrist and wooden ornaments are worn on the shoulders. Tinkling bells are tied to the legs just above the calf. A black cloth is tied round the head and over this is worn a very decorative crown representing a many- headed serpent. The real distinguishing feature of Ottan Thullal is the painting of the face. This is done as in the paccha type Kathakali make-up, and accentuated with a bold white line running around it. The lips are reddened, the eyes and eyebrows thickly blackened, and a caste mark is added to the centre of the brow. The metre and rhythm of Ottan thullal songs are fastpaced and the dance too has a high tempo.

Parayan Thullal: This is the slowest in tempo among the three thullals. Even the stance and posture of the performer is different from that of the two thullals. In this, the dancer stays erect and explains the meaning of the songs by gestures. There is very little dance element as well as action.

Thullal Thrayam- combined three classical thullal art forms - Ottanthullal, Seethankan Thullal and Parayan Thullal.

A talk on Ottanthullal by Kalamandalam Nandhakumar...

Everything to know about Ottanthullal....

A graduate of Kerala Kalamandalam, Sri Nandakumar is a disciple of Kalamandalam Geethanandan and Kalamandalam Mohanakrishnan. Kalamandalam Nandakumar has been performing and taking classes in various places inside and outside Kerala. He is currently working as a teacher in Kerala Kalamandalam.

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