Ottan Thullal

Ottan Thullal is a typical solo dance in which the humorous elements from Koothu and the musical elements from Kathkali are combined. Its origin is attributed to Kunchan Nambiar, a veritable genius and one of the foremost poets of Kerala. Nambiar developed Ottan Thullal into the most popular folk art presented in kerala temples. Though based on classical principles of Natya Sastra the technique of this art is not rigid. In Ottan Thullal a single actor wears colourful costumes and recites Thullal songs to the accompaniment of acting and dancing. The songs, written in simple Malayalam, frank out spoken wit and humour, the simplicity of presentation and the direct appeal of every day life made Thullal very popular. In OttanThullal also the symbols and gestures used in Kathkali find a place. The instruments used in Thullal are the “maddalam” and the “cymbals”. The cymbal player tunes the rhythm, also assists the actor dancer in singing. It is to the dance that prime importance is given in Thullal. From beginning to end there is dance even though it lacks much of variety.

Thullal is of three types – Ottan, Seethankan, and Parayan based on differences in costume, dance and also the rhyme of the Thullal songs. Ottan Thullal is the most popular amongst the Thullals. The costumes are peculiar and impressive. A long tape of cloth of white and red colour is hooked around the waist string to form a knee - length skirt. A chest plate adorned with various types of coloured beads, glass and tinsel and other ornaments also is used. Gaudily painted wooden ornaments are worn at the wrist, and on the shoulders. Tinkling bells are tied to the legs just above the calf. The face is painted green, the lips are reddened and the eyes are emphasised with black paint. The headdress is colourfully decorated. The metre and rhyme of Ottan Thullal songs are very fast, and the dance as such has a high tempo. The popularity of Ottan Thullal as a dance form has continued undiminished to this day.

In Seethankan Thullal the mere and rhythm of the Thullal songs are a bit more slow than in Ottan Thullal and consequently dance is also slower in tempo. The dancer uses similar skirts as in Ottan Thullal. But the arms, wrists and head are adorned with ornaments made of fresh tender coconut fronds. There is no facial make-up except darkening of the eyes.

The Parayan Thullal is the slowest in tempo. Even the stance of the dance is different from the other two. Here the dancer almost stands erect and explains the meaning of the songs through gestures. There is very little of dance or of action. The costume is also different. A red, flowery cloth is worn around the waist. A crown of black cloth adorns the head. Necklaces are worn on the chest. The face is painted light yellow.