The Zamorin, (1595-1658AD), after his darshan of the Lord Sri Guruvayurappan (Sreekrishna), composed his classic "KRISHANAGEETHI" in eight chapters, in the style of Jayadeva's (12th century Bengali poet ) GEETHAGOVINDAM. The Krishnanattam (a mosaic of folk and classic arts), a dance drama, has evolved from this Krishnageethi over 300 years ago. This work deals with the Krishna avatar - from Krishna's birth to his final emancipation from worldly life and ascension to heaven. It is presented in 8 episodes namely 'Avatharam', 'Kaliyamardhanam', 'Rasakreeda', 'Kamsavaddham'. 'Swayamvaram', 'Banayuddham', 'Vividha vadham', and "Swargarohana". These episodes are presented on eight consecutive nights. Since the last story is considered inauspicious, the "Avathara" always follows "Swargarohana" and it will be enacted on the ninth day.
To improve the art further and make it more spectator oriented, Koodiyattam, the oldest Sanskrit drama in Kerala was adopted to render the poem with 'Abhinayam' (drama gestures), and thus Krishnanattam evolved. It also used makeup and costumes of "Koodiyattam".
The Krishnanattam is the only classical dance form in Kerala which makes use of colourful masks for evil characters. The mask usage is derived from folk rituals such as 'Thirayattam' and 'Theyyam' which is found in North Kerala. In Krishnanattam the actor does not narrate but gives attention to abhinayam (bodily gestures and expressions) and angya (hand gestures). Singing is done by another participant and thus there is a blend of sounds and sight.
This is a popular form of social entertainment among the Muslim community of Kerala prevalent all over, especially in the northern districts of Canaonore, Calicut and Malappuram. Oppana is generally presented by females, numbering about fifteen including musicians, on a wedding day. The bride dressed in all finery, covered with gold ornaments is the chief spectator who sits on a peetam, around which the singing and dancing take place. While they sing, they clap their hands rhythmically and move around the bride using simple steps. Two or three girls begin the songs and the rest join in chorus. Sometime Oppana is also presented by males to entertain the bridegroom. It usually takes place just before the bridegroom leaves for the bride's residence where the Nikkaah (marriage) takes place or at the time he enters the Maniyara. Harmonium, Thabala, Ganjira and Elathaalam are the musical instruments employed for this performance. Only the Mappilapaattu will be sung on the occasion.The word Oppana may have been derived from an Arabic form Afna. There are two types of Oppana, one is Oppana chayal another is Oppana murukkam. When Oppana chayal is performed, they do not clap their hands. If it begins with Chayal it would also end with Chayal only.
Duffmuttu is also known as Aravanamuttu. It is a group performance popular among the Muslims of Malabar. Duffmuttu is staged as a social event during festivals and nuptial ceremonies. The artistes beat on a quaint round percussion instrument called the Duffu, the leader of the group sings the lead, while the others form the chorus and move in circles. The songs are often tributes to martyrs, heroes and saints. Duffmuttu can be performed at any time of the day and has no fixed time limit.
Mudiyattom, also known as Neelilayattom, is a tribal dance in which only women partake. The women stand on small wooden blocks and the dance begins with slow and simple movements of the body which culminate in graceful movements of the head. The uncombed hair of the participants flow down and swing in rhythmic waves.
A large number of folk plays and dances are prevalent among the scheduled casts and tribes. They believe that dancing and singing make their gods happy. Each tribe has it s own glorious collection of folk plays and dances which are performed during festivals. Among the adiyans there is a folk play in which senior man plays on a "Thudi" (Drum) and the men sing and dance to the beating of the drum. Though their woman does not participate in the dance, they join in the community singing.
The Malayalers had among them an interesting from of mock fighting called "Vishanti" in which they used wooden shields supplied by members of other casts and the actual Vishanti or Blowing was done with the stems of plantain leaves. This kind of mock fighting has now practically disappeared.
The Malayans have the "Thiyyattom" ceremony which consists of dancing with mass and singing and the "Uchavali" ceremony which is symbolic of human sacrifice. The "Paniyar" have their characteristic devil dance
Yatrakali is differently known as Samghakkali, Chattira Ankam, Sastramkam, Kshatramkam, Panemkali. It is an art of the Nambootiris which had socio-political aspects at the time when it was conceived and later evolved as a performance form. It is believed that the formation of the art was related to a period when the Nambootiris were persecuted under the rule of one of the Cheraman Perumals who accepted the Buddhist faith.
Once the King Kerala Varma of Kottarakkara requested Manavedan, Zamourin of Kozhikode to send the Krishnanattam troupe to his palace for a performance. Manavedan curtly rejected the request expressing that it is meant to be staged only in the Guruvayoor temple and also that the people of Southern Kerala have not yet grown intellectually to understand and enjoy such an art form, citing the incident at Tripunithura. Belittled and humiliated King vowed to retort and immediately wrote Ramayanam in the Attakkadha fashion with verses set to music and prose dialogues. He named it "Ramanattam", opposing Krishnanattam, and wished to bring in all the pomp and grandeur of Krishnanattam to it.
He composed the entire Ramayanam in eight volumes in Manipravalam style (form of poetic composition in which words of Malayalam and Snaskrit are blended indistinguishably like pearls and gems studded in a golden necklace). It was a dance drama and the actors were given special and tough training and rehearsals with rich costumes and jewellery and premiered in the Kottarakkara palace.It could be the ancestor of Kathakali for very many similarities in the presentations, costumes, acting and background music could be cited. The stage decor, costumes, make up, and mudras (formulated hand gestures conveying the text of lyrics) as seen today are improvements bestowed gradually to this art form by two veteran Namboothiris, Kalladikkodan and Kaplingadan.
Centuries down, there developed a branch of literature known as "Kathakali literature" and compositions of poet laureates like Kottayath thampuran, Unnayi Warrier, Koyithampuran, Vayaskara Mooss are milestones in the history of Kathakali.