Madhubani painting or Mithila painting

Madhubani painting or Mithila painting is a style of Indian painting,

practiced in the Mithila region of Bihar state, India, and the adjoining parts
of Terai in Nepal. Painting is done with fingers, twigs, brushes, nib-pens, and
matchsticks, using natural dyes and pigments, and is characterized by eyecatching geometrical patterns.

There are paintings for each occasion and festival such as birth,
marriage, Holi, Surya Shasti, kali puja, Upanayanam, Durga Puja etc.
The Mithila region, from which the name Mithila art is derived, is believed to
have been the kingdom of King Janak. The exact location of it lies in present
day Janakpur of Nepal.
Madhubani, which by one account means Forest of Honey, (Madhu-honey,
Ban-forest or woods) is a region in Mithila region of Nepal and the
northern part of Bihar. A region that has a distinct regional identity and
language that reportedly spans 2500 years.

Madhubani painting/Mithila painting was traditionally created by the women

of the Brahman, Dusadh and Kayastha communities in Mithila region
in Nepal and India. It was originated in Madhubhani village of Capital city
of Ancient Mithila known as Janakpur (presently in Nepal).
It is a well-demarcated cultural region lying between the Ganges and
the Terai of Nepal, and between the Koshi and Narayani tributaries. This
painting as a form of wall art was practiced widely throughout the region; the
more recent development of painting on paper and canvas originated among
the villages around Madhubani, and it is these latter developments that may
correctly be referred to as Madhubani art.

Dhrupad
Dhrupad is a vocal genre in Hindustani classical music, said to be the oldest
still in use in that musical tradition. Its name is derived from the

words dhruva and pada (verse), where a part of the poem (dhruva) is used as
a refrain.The term may denote both the verse form of the poetry and the style
in which it is sung.
Abul Fazl, courtier and chronicler at the court of the Emperor Akbar, defines
the dhrupad verse form in his Ain-e-Akbari as "four rhyming lines, each of
indefinite prosodic length." Thematic matter ranges from the religious and
spiritual (mostly in praise of Hindu deities) to royal panegyrics, musicology
and romance.
Though Dhrupad is basically a vocal tradition, its musical aesthetics have
been adopted by many instrumentalists. Not only by various schools of Rudra
Veena players (Beenkars)but also by other instrumentalists, who look to
Dhrupad for examples for their instrumental developments of raga, and go as
far as to adapt the format: a slow, unmetered alaapa, Jhor, Jhala, to be
concluded with one or more compositions in contrasting talas. Ram
Narayan and Hariprasad Chaurasia, to name but two acclaimed
instrumentalists, pay homage to Dhrupad in the way they present a raga.

Dhrupad as we know it today is performed by a solo singer or a small

number of singers in unison to the beat of thepakhavaj or mridang rather than
the tabla. The vocalist is usually accompanied by two tanpuras, the players
sitting close behind, with the percussionist at the right of the vocalist.
Traditionally the primary instrument used for dhrupad has been the Rudra
Veena, but the surbahar and the sursringar have also long been used for this
music. Preferably, any instrument used for dhrupad should have a deep bass
register and long sustain.

Like all Indian classical music, dhrupad is modal and monophonic, with a
single melodic line and no chord progression. Each raga has a modal frame a wealth of micro-tonal ornamentations (gamaka) are typical.

Phad painting or Phad

Phad painting or Phad is a style religious scroll painting and folk painting,
practiced in Rajasthan state of India. This style of painting is traditionally
done on a long piece of cloth or canvas, known as phad. The narratives of the
folk deities of Rajasthan, mostly of Pabuji and Devnarayan are depicted on
the phads. The Bhopas, the priest-singers traditionally carry the
painted phads along with them and use these as the mobile temples of the
folk deities. The phads of Pabuji are normally about 15 feet in length, while
the phads of Devnarayan are normally about 30 feet long. Traditionally
the phads are painted with vegetable colors.
The ancient tradition of scroll painting survives in Rajasthan as Phad. A Phad
is a long rectangular cloth painting that tells of the adventures and travails of
Pabuji, a local hero or other epic heroes. Usually about five meters by one
and a half meters in size, 5feet x 20 feet and 5feet x 36feet long. The Phad is
painted in bold colors and is rolled on two shafts of bamboo, thus making it
easy to carry. Painted by the Joshis of SHAHPURA 311404, they have been
used for centuries as a backdrop by Bhopas or the bards of Rajasthan who go
from village to village singing about the exploits of legendary heroes. Scrolls
of classical subjects like.
However a single Phad painting is also prepared in different sizes.
As per the practice stands the Bhopa sings devotional hymns of Devnarayan
and Pabuji mainly to eulogise them. Besides this Sarswati and Ganesh are
also eulilized respectively the supposed Goddess of learning and remover of
obstacles. Morever both Sarswati and Ganesh are presented in Multifarious
forms with their weapons, dresses and other symbols
By far the most advantageous and beneficial scope for the researchers in
Phad Painting residing overseas or in the country is that they may safely rely
upon us for the guidance and help in the form of stories and ancient paintings
which are availabel with us.

Thullal
A solo dance exposition, the Thullal is of three types. Its origin is attributed
to Kunchan Nambiar, a veritable genius and one of the foremost poets of
Kerala. Though based on classic principles of Natya Shastra the technique of
this art is not rigid. The songs, written in simple Malayalam, frank to
outspoken wit and humour, the simplicity of presentation and the direct
appeal

to

every

day

life

made

Thullal

very

popular.

The instruments used in Thullal are the maddalam and the cymbals. The
cymbal player who tunes the rhythm, also assists the actor dancer
(Thullakaran)

in

singing.

In actual performance the cymbal player first sings the invocation song when
the dancer faces the orchestra and does obeisance. After that, with his back
still to the audience the dancer does a slick flourish of step and body
movements. Then he turns to the audience and the dance proper is begun. He
first sings a verse and while the lines are being repeated by his musical
assistance, he brings out the meaning through facial expressions, hand
gestures and bodily postures. The roles of the raconteur and actor are
perpetually interchanged with tremendous aesthetic efforts. In one moment
he is the narrator but in the next he completely identifies himself with the
narration. It is to the dance that prime importance is given in Thullal. From
the beginning to the end there is dance even though it lacks much of variety.
To compensate for the monotony, sometimes the dancer executes some
vigorous

footsteps

and

rhythmic

movements

of

the

body.

Thullal is classified as Ottan, Seethankan and Parayan based on the

difference in costume, dance and also the metre and rhyme of the
Thullal songs.

CHHAU DANCE.
The fame of Mayurbhanj Chhau has crossed geographical limitations and has
claimed world wide fans for its beauty, vigour and marvel of the art. Though
Chhau is famous not only in India but World over the origin of word Chhau is
yet in mystery. Chhau is believed to have found its origin from "Chhaya" the
shadow. But the Chhau performers of Purulia use Mask while dancing and that
mask is told as "Chhau". Perhaps Chhau Dance might have derived its name
from that mask,the Chhau. Some chhau pundits opine the Chhau has got its
name from "Chhaushree". Inarguably, the word chhau has been derived from
the word 'CHHAUNI' the camp camped at the time of military operation. The
folks say that chhau was performed to entertain the Oriya warriors inside the
camp and has spread now knowing no boundaries.
Chhau is glorious heritage of Mayurbhanj.

Chhau draws substantially from great epics like the Ramayan, the
Mahabharat and also from folk and tribal elements. The music accompanying
the dance has its own style which envigorates the soul.
The Orchestra is generally composed of "Mohuri", "Chad-Chadi", "Dhol",
"Dhumsa" etc. and some times accompanied by lilting vocal music.
The grammar of Mayurbhanj Chhau comprises six Chalis or Topka (basic
steps) and 36 uflis (Jumping locomotions). These Chalis & uflis are are
called from rural house hold activities, behaviour of animals, and birds and
war actions.
The Mayurbhanj repertoire treasures the highest number of dance
items about 200 in number which is rarely found in any other dance forms of
the world. Some of them are lost in oblivion with the passage of time. The
solo items are Dandi, Mahadev, Sabar Toka, Nataraj and Jambeb etc. The
famous group items are Kirat Arjun, Mayasabari, Tamudia Krishna,
Matrupuja, Kelakeluni, Dhajatal, Bainshi Chori, Kailash Leela etc. The
presiding deity of Mayurbhanj Chhau is Lord "Bhairab". Mayurbhanj chhau
is world famous now.
Handicrafts of Mayurbhanj are available in several materials and forms
namely stone carving, stone wares, Dhokra, Brass & Bell Metal wares,

Artistic Mats, Wooden painted items, lacquered toys, Terracotta, Sabai-Grass

product, Cane & Bamboo products, Musical Instruments, Costume Jewellery,
Folk paintings, Tassar Textiles, Solapith work and Sea shell items.

SABAI GRASS PRODUCT:

Sabai grass is grown in a wide part of Mayurbhanj district which is mainly
used for making Sabai Rope. Sabai Ropes are mostly sold out side the state
for use in weaving Charpai (Cots) and in paper manufacturing concerns.
Sabai rope is also used in making Sofa sets, Chairs, Tea Poy etc. The main
body frames of the Chairs and sofas are made in Bamboo and wood and
Sabai rope is woven and coiled over the frame to give a finishing shape,
which attains exceptional excellence.

Koodiyattam - UNESCO honoured Dance

form of Kerala
Koodiyattam is the earliest classical dramatic art form of Kerala. Evidence
show that this dance form was in vogue in all major temples from ninth
century, and it became a full-fledged dramatic presentation before the
fifteenth century. Koodiyattam literally means "acting together".
Koodiyattam used to be a combined dance drama conducted by
the Chakkiyars (a caste among Hindus), who provided the male cast and
the Nangiars (women of the Nambiyar caste), playing the female roles.
Koodiyattam performance lasts for several days ranging from 6 to 20 days.
Themes are based on Hindu mythology.
Koodiyattam is enacted inside the temple theatre, known as
the Koothambalam, with two or more characters onstage at the same
time. Vidushaka, a figure parallel to the Fool in Shakespearean plays,
sometimes explains in simple Malayalam the background of the story and
gives a live image of characters in the minds of the spectators. Often
humorous, he enacts his role with the liberty to criticize anyone without fear.
Koodiyattam is a dramatic presentation in Sanskrit, with the exception of the
vidushaka, who is the only character speaking in Malayalam. Roleplaying in
Koodiyattam includes stylized form of vocal recitation coupled with a
complete hand-gesture language and highly evocative facial expressions.

Koodiyattam Make-up and Costume

The make-up and costume of Koodiyattam are not so elaborate. Heroic
characters are distinguished by the green colour and the small curved paper
frame on their face. Costumes have a blend of brilliant colours,
predominantly red, black and white. The costume of the vidushaka (jester)
sets him apart from the rest. He has special make-up, small head-gears and
costume that vividly display his clownish features.
Music and Orchestration of Koodiyattam Dance Form
Mizhavu is the major musical instrument used in Koodiyattam. It is a big jar
made of either clay or copper, with a narrow mouth covered by leather and is
played by both hands. Mizhavu is played only by the nambiyars. The
Nangiars beat the cymbals and recite verses in Sanskrit.Edakka lends bhava
and laya for a vivid portrayal of the soft sentiments of both male and female
characters in Koodiyattam.
Koodiyattam is a temple art and probably the only surviving form of the
traditional presentation of Sanskrit drama. The Koodal Manickyam temple at
Irinjalakkuda and the Vadakkumnatha temple at Thrissur are the main centers
where Koodiyattam is still performed annually.
Recently UNESCO (United Nations Educational Scientific and Cultural
Organization) honoured Koodiyattam by declaring the art form as one
among the "Masterpieces of the Oral and Intangible Heritage of
Humanity", which should be protected and preserved. This was the first
time that the UN body had conferred the heritage status on an art form.