Kerala World Famous Snake Boat Race ! Locally Called Vallam kali

It is during the months of August and September that the moist, rain-drenched earth and the glorious ever flowing backwaters burst into a song together, as over a hundred thousand men and women gather on the banks to witness a spectacular water regatta – the SNAKE BOAT RACES. It is believed that these boats were designed for ancient Naval battles fought in these backwaters. Local chieftains of the then kingdoms of Vadakkumkoor (Northern Kingdom), Thekkumkoor (Southern Kingdom) and Chempakassery all maintained their chundan boats.Boat race crew begin to practice for the race months before the great day. They live together, eat together, toil together to work themselves into a smooth, coordinated team. A splendid procession unfolds with all types of ‘Kali-Vallangal’ or RACING BOATS, led by the largest and the most majestic of them, the ‘Chundan’ (Snake Boat). Its rowers sing songs known as ‘ vanchi pattu ‘ to the rhythm of the oars – a feast for the eyes and the ears. The largest of the ‘Chundan’ boats, the length of which varies between a hundred and a hundred and thirty feet can seat a hundred and twenty rowers, sixty on each side. Like the neck of an angry snake it curves to a height of fifteen to twenty feet. The prow is pointed and stands four feet above the water with its glistening brass embellishments. The main steer man of the boat stands on the amaram (The Backside of the boat where the boat is steered) with specially made long oars. The efficiency with which they handle the oar is what establishes the speed of the boat and its balance. They claim that a single strong plunge of the oar into the water can take the boat three leaps forward to a distance of thirty feet.

Major Boat Races There are many interesting boat rades in Kerala, each races is more enchanting than the other.

Tourism Boat Race: Connected with Great Elephant March- 11th January.Connected with Great Elephant March- 11th January.

Nehru Trophy Boat Race The Nehru Trophy Boat Race is the most famous of the boat races of Kerala. This annual festival is held on the Punnamada Backwaters of Alappuzha district on the 2nd Saturday of August month. The Nehru Trophy boat race is held to commemorate the visit of the first Prime Minister of India, Pandit Jawaharlal Nehru, in 1952. This spectacular race features magnificent snake boats or ‘Chundans’. The lively and rhythmic boat songs or Vanchipattu draw the spectators to a state of frenzy. The Nehru Trophy Boat Race is one of those events, which the people of Kerala look forward to with excitement. The most prestigious and interesting event among the races is the competition of the “Chundan Vallam” or the snake boats. These majestic boats measuring a length of 30 to 60 metres (over 100 ft) with a raised prow, are quite impressive and can accommodate around 100 rowers, 4 helmsmen and 25 cheer leaders. Rajiv Gandhi Trophy Boat Race Rajiv Gandhi Trophy Boat Race is a striking water sport celebrated on the rolling backwaters of Alappuzha District, Kerala. It is held at Pulinkunnu, 10 km from Alappuzha. Every year, the boat race is conducted on two weeks after the Nehru Trophy Boat Race. The colourful water procession, water floats and boat races are the main attractions. The winners are awarded Rajiv Gandhi Memorial Trophy, which was instituted in memory of Rajiv Gandhi, the late Prime Minister of India. The main highlights of this race are colourful water procession, water floats, and boat races. Champakulam Moolam Boat Race The oldest and most popular snake boat race in Kerala, and is closely connected to the Sree Krishna Temple at Ambalappuzha. The race is held on the Champakulam Lake on the moolam day of the Malayalam month Midhunam, the day of the installation of the deity at the Temple. The race popularly known as the ‘Moolam Vallamkali ‘ is held in the waters of the Champakkulam River at Champakulam, about 26 km from Alappuzha. Moolam signifies a Malayalam asterism (star) of the Malayalam month of Mithunam (June- July). The boat race is held in remembrance of the installation of the famous idol of Lord Krishna in the Amabalapuzha Sree Krishnaswamy Temple brought from the Karinkulam temple in Kurichi near Kottayam. Neerattupuram Boat Race Neerattupuram Boat Race is held on month of September every year during Onam festival. More than 1000 oarsmen in boats of different sizes and shapes will participate in this event. Even though Snake Boats participate in this race, the importance is given here is for iruttukuthi, in which about 50 oarsmen row. The successful iruttukuthi will win The Ever Rolling Trophy. Pamba Boat Race A group of lovers and admirers of water sports were credited with the idea of brining various boat clubs of Kutanadu for the little of “Pamba Boat Race” and the race was held at the Pampa water stadium at Neerattupuram and it was rapidly advanced to a unique sporting event in the filed of Boat Race in Kerala. The race has now earned international reputation and recognition by virtue of its high standard, excellence and expertise and is a renowned name in the world of water sports. Since 1957 the race is held on every Thiruvonam day, the most auspicious celebrant day of Kerala. The glistering golden Mammen Mappila Trophy presented to the winner of Snake Boat every year. Karuvatta Boat Race Karuvatta Boat Race is one of the water events that take place during Onam days at Karuvatta River. The boat race is preceded by colorful water parades and is the most enchanting facet of the festival of Onam. The event is promoted as a major tourist attraction of the state of Kerala and draws a large number of domestic and international tourists. The race has been going on for good number of years and its popularity is soaring with each passing year. The boats are no ordinary boats and there are fixed measurements to it. It is about 100 feet long and has a seating capacity of 150 men. The boats are usually made of anjili (artocarpus hirsuta), though sometimes teak and kadamb (Naucleacadamba) wood is also used. The curled ends of the boats are shaped like cobra hoods and it is from this shape that boat has derived its name. Each boat is meticulously crafted by skilled craftsmen and a lot of patience and hard work goes into making and decorating it. The boat is treated as a deity and a holds a lot of emotional value for the village folk. Only men are allowed to touch the boat that too with bare feet. Each boat belongs to individual villages located near the river Pamba. Mannar Boat Race Mannar Boat Race ‘Kettukazhcha’ is very famous and it is a procession of tall decorated structures in chariots in which effigies of horses, bullocks are displayed. It is an annual event in the Sri Parabrahma temple, which aims at highlighting the martial skills of participants. Many people come to the sacred temple of Parabrahma. In Kerala, Mannar boat race is held on the place where former rulers of Kerala, namely, Kayamkulam and Ambalappuzha are said to have fought a historic battle. The festival is held to honor that historical event.

Kathakali -Kerala's Own Art Form !

Kathakali literally meaning ‘story-dance’ is the dance-drama of Malabar which is now culturally and politically known as Kerala’s soul. Kathakali traced its origin to the ritualistic (tantric) period of the Vedic Age and connected its growth from the popular, folk dance dramas. The early Malabari danced in the forests: His dance was a power- a mixture of his passions, erotic pleasures and inner talks with the beauteous Nature, and his natural and graceful movements, elaborate gestures, picturesque costumes, grand harmonic make-up suggested by herbal plants of the forests and the vigorous and triumphant music emerging out of the crude instruments manufactured by him.

It was believed that Kathakali was conceived from Krishnanaattam, the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of Kottarakkara who was attracted by the tone of the Krishnanaattam requested the Zamorin for the loan of a troupe of performers on the eve of some festive occasion. Due to internal feuds and political rivalry between them, the Zamorin refused to send the performers and insulted with the remarks: ”It is useless to depute the troupe, because Kottarakkara Thespian’s court would be neither able to appreciate nor understand anything of the highly artistic Krishnanaattam and the high standard of the performance”.

Here the political rivalry between the two chieftains leads to the art rivalry. So Kottarakkara Thampuran initiated a parallel mode of entertainment, which he called Raamanaattam which was later transformed into Aattakatha, and yet later into Kathakali while Krishnanaattam based on the story of Lord Krishna’s activities, Raamanaattam described the complete story of Lord Raman. Krishnanaattam was written in Sanskrit, “the language of the Gods”. Raamanaattam was in Malayalam, the language of the people. By the end of the seventeenth century, the finished product of Raamanaattam was placed before the world under the tittle Kathakali.

The costume of Kathakali has been much influenced by Chaakkyaar koothu and Koodiyattam the two older forms of dramatic representations in vogue in Kerala. The history of their origins dates back to the period of Perumals i.e. much earlier to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting) and the use of Mudras (hand poses) and gestures were bodily adopted in Kathakali from them in addition to its borrowing and refinement of facial make-up and costume. The use of colour, costume, and make-up present a unique show and create an unearthly atmosphere. Kathakali became more attractive and popular than the Chaakkyaar koothu and Koodiyattam. Moreover ,its performance was not restricted to the precincts of the temples. Kathakali had a golden period between 1665 AD and 1743 AD.

Remarkable contributions were also made by Kaartika Thirunal, the king of Travancore, to Kerala’s literature, art and dance. His efforts were also directed to popularising Kathakali among the people. He instituted a tradition of arranging Kathakali performances at various festivals and on the Navaratri night.

Kathakali employs the four abhinayas, viz Sattvika, expression of thoughts by the efforts of the mind (Bhaava and Rasa). Aangika, conveyance of ideas by the movements of the various parts of the body (gestures).,Vaacika, spoken words, singing, shrieking, etc., and Aharya, the dress and deportment.

As in earlier dramatic forms, Raamanaattam players also sang the padas. But for the vigorous Kathakali, demanding tremendous physical exertion, singing by the actors was exacting and tiring. A change in the practice was conceived by Prince Vettathu Thampuran, who introduced a few fundamental innovations. He provided seperate singers and introduced the chenda, a percussion instrument, to announce a performance and give background sound effect. This drum’s powerful and penetrating sound heightened the acting of supernatural characters appearing on the stage in hideous and fantastic make-ups. The religio-theatrical reforms brought Raamanaattam performances outside the temples for the enjoyment of all sections of the community. Masks were replaced by make-up; Mudras were accentuated, a variety of percussion instruments and characteristic costumes were introduced; singers and musicians formed an independent part of a show.

Symbols of the hand have played an important role in the art of Kathakali. With the help of Mudras, the hand poses are called in Sanskrit, a whole literary expression is reduced to elementary notions. There are sixty-four basic hand poses which connote five hundred words, while the alphabet of the eyes express emotions. Their permutations can be employed to convey any number of meanings requiring any detailed explanation in the modern concept of story-telling.

In the art of Kathakali, all emotional qualities, and psychic conditions acquire remarkable outward manifestation and mukhabhinaya (facial mime) is cunningly, sometimes lightly employed. While the Kathakali use elaborate similes and hyperboles, and fingers permute into mudras to represent words of comparison such as like, as if and same as, the eye-balls roll evanescently to tell the miracles. The face becomes the open drama in which the story is drawn in successive shades and touches of lineament.

According to the theme, a Kathakali song suggests the use of a particular Bhaava and Rasa (aesthetic delights) and the dance and mimicry are rendered most effectively in harmony with these aesthetic appeals. The powerful music heightens the moods of the actor and adds life to acting. He dances to the melodies of the song and executes the various passages with well- defined Padaghats (foot work). It provides scope for the amplification of an emotion and the abridgement of the climax of a story. The powerful footwork trembles the earth below and cuts short the final action.

As Kathakali is a story-play, interpreting a drisya kaavya, its various contrasting characters are presented. There are good and bad characters, demons and gods, wordly and unwordly role-types according to their castes, quality and nature. Each group is distinguished from the other by specific make-ups.
Make-up of Kathakali

The make-up of Kathakali character is peculiarily native to the Kerala folk-art. In folk theatrical varieties, huge marks and make-ups were as much prevalent during the historic span of time. Elaborate make- up heightens dramatic effects. Colour symbolism reflect certain categories of emotions and gunas. The green colour represents Saattvika reveals godliness, white represents spirituality. Red represents Rajasic reveals violence. Black represents Tamasic reveals evil. Yellow represents the combined character of Saatvika and Rajasic. Thus Kathakali characters are grouped into five major role-types, each having a specific make-up and costume. These role types are Minukku, Paccha, Katti,taadi (has three varieties viz. Velupputaadi, Chuvannataadi and Karupputtadi) and Kari.

Minukku
Minukku is the polished variety of facial make-up consisting in smoothening the actor’s face with a coating of a mixture of yellow and red pigments. The composition obtains ‘a self’ (or natural skin) complexion colour. It reflects the characters usually found in Brahmins, Rishis and Virtuous women. The eyes and eye-lashes are painted and contours elongated with the black unguent and greasy collyrium. Sometimes the face is decorated with white or cream colour dots, running from the cheeks to the fore-head in a bow-shape. The lips are reddened and the forehead is decorated with a caste mark. This colour scheme serves to give a symbolic glow of piety to a devotee character. Women role-types are given delicate touches of the make-up.

Paccha
Paccha or predominantly deep green face role- types, are Gods, celebrated mythological heroes, and virtuous personages, symbolising inner refinement poise, heroism and moral excellence. This include heroes of a play and noble characters, Indra, Krishna, Rama, Lakshmana, Bharata, Satrugnan, Harischandra and Nala. The front part of their faces is given smooth deep green base on which chuttis (white rice-paste curves) run from the centre of the chin,covering the lower jaw, to either side of the face. The eyes and the eye-lashes are painted black and the lips bright red. It assumes the shape of a broad-blade saber or of a sweeping curve of a bow. The forehead, above the bow-tie shaped painted portion, is covered by a red ribbon of the gilded head gear.