CLASSICAL ART FORMS : Pava Kooth

A PUPPET SHOW WITH A DIFFERENCE
THOL PAVA KOOTHU is an ancient form of art in Kerala Temples (THOL = Leather; PAVA = PUPPET or DOLL; KOOTHU = SHOW)
This show is conducted as a ritual in the Bhagavathy temples of Malabar for centuries. This play with shadows remind of the old black and white films.

Animal leather is cleaned, dried, flat and cut in the shape of story characters, Human, Bovine or Aquatic. Being a shadow play, suitable holes are made for light effect from behind.

Stories from Hindu Epic like Ramayana are played in this. According to Hindu mythology this show was designed by Lord Shiva to please godess Badrakali. The latter was engaged in a battle with demon Darika during the time of RAMA RAVANA battle and felt sorry for not being able to witness the great battle. Lord Shiva redressed her grievance by showing the Rama-Ravana battle through THOL PAVA KOOTHU.

A white cloth about 20 feet long is fixed tightly without wrinkles as the screen. Below this a black cloth about 40 feet is also fitted tightly. This is done in special stage made for the show called KOOTHU MADAM. Specific dimensions are there for all these.

The white cloth depicts Earth and Heaven and the black PATHALAM the abode of Demons.

An arecanut tree log is fixed horizontaly in the required height behind the white screen. Depression are made in this log where coconut broken pieces with oil and cloth wicks are kept ready to be lightened.

Several religious rites are there to start the show. The KOMARAM of the temple who is supposed to represent the godess of the temple blesses the site of the show and gives an order to start the show. The artist offers prayers to God and lights the lamps behind the screen.

The artist who is an experienced master sings the story in the show with drum beats. He moves the leather made PAVAS in the required action and the shadow in the screen moves like performing artists. The viewers enjoy the drama in the shadows of the puppets.

Though this was confined to temples and epics, efforts are on to show modern episodes and stories of great men. Story of our father of the nation Mahathmaji is getting ready says a report.

Puppet shows similar to THOL PAVA KOOTHU of Kerala are there in checkoslovakia, Sicily and Japan. Probably there may be differences but they are contemporaries.

credit : kerala.com

CLASSICAL ART FORMS : Mohinyattam

It is the typical dance form of Kerala. Mohini means enchantress and attam is dance. As the name denotes, it is an amorous (Lasya) dance performed in slow, elegant and sensuous pace with formulated hand gestures translating the song to which it is performed.

It is closely related to Bharathanatyam of Tamil Nadu, which was originally called 'Dasiyattam'. Originated as the temple dance performed by Devadasis, it portrays feminine love in its myriad forms - carnal, devotional and maternal- with accent more on Lasya and Bhava.

Mohiniyattam is said to have originated in Kerala. It is an art form of Travancore of nineteenth century enlivened during the regime of King Swati Thirunal. The king, a scholar, Sanskrit poet and an exponent of Carnatic and Hindustani music, patronized and popularised this art form with whole-hearted co-operation and lyrical support from Irayimman Thampi, a noted poet, often referred to as gem of his court.
Most of the component items of Mohiniyattam are similar to Bharatnatyam and Kuchipudi, though subtle differences of style is obvious. The language used in the lyrics is a pleasant mixture of Malayalam and Sanskrit, known as Manipravalam. Formerly, the Padams were specially composed to include only Sringararasa. Now a days artists are using any classical or semi-classical compositions, even from other language.

The real beauty of Mohiniyattam comes through only when mature ladies enact the romantic padams specially written to present the Ashta Nayikas: Swadheena Bharthruka, Khanditha, Abhisarika, Vipralabdha, Kalahandtharitha, Vasakasajja, Proshithabharthruka, Viraholkhanditha.

Among the main items Cholkettu, Padavarnam and Padam, Mudras and facial expressions are more important than the rhythmic steps.The tuft knotted at the side of the head adorned by a garland of jasmine circling it, the dancer with normal facial make up and clad in gilded sari with series of pleats and jacket sways her body to the rhythm of orchestrated background music.

Compared most other dance forms, Mohiniyattam gives more importance to gestural and facial acting. The Mudras (hand gestures) are almost always same as those employed in Kathakali. The artists try to enact the lyrics almost in its entirety, like in Kathakali.

Credit : kerala.com

CLASSICAL ART FORMS : Ramanattam

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.

Credit : kerala.com

CLASSICAL ART FORMS : Koodiyattam

The literal meaning of the title being concomitant dancing, it is another temple opera performed jointly by Chakyars and Nambiars.

A dance traditionally enacted in temples. it is Kathakali's 2000 year old predecessor and is offered as a votive offering to the deity.Both men and women partake in this performance. Abhinaya is the most important element in Koodiyattom.

The texts are always in Sanskrit and the performance is a prolonged affair. All the four types of abhinaya, viz. Angikam, Vachikam, Sathvikam and Aharyam are fully utilized in Koodiyattom.

The plays are performed only in temple precincts as votive offerings. Abhinaya or acting is a three -fold or even four-fold process. Appropriate hand gestures are symbols are first shown when the words of the verse are spoken in a typically modulated tone. As the music is begun, the meaning of the words are translated into a language of bodily postures, attitudes and facial expressions. The third is a repetition of the first.

Koodiyattom is staged on the specially built temple theatre called Koothambalam. The stage is decorated with fruit-bearing plantains and bunches of tender coconuts and festooned with fronds of the coconut palm. A vessel overflowing with paddy is placed on the stage. Lighting is done with a tall oil lamp made of brass. Within a railed enclosure on the stage is a large copper drum called mizhavu with a high seat for the Nambiyar drummer.

A Nambiyar woman plays cymbal and occasionally recites the verses. At times special orchestral effects are introduced. The orchestra consists of an edakka, maddalam, a conch, pipe and horn. There is facial make-up using colour schemes and pattern having symbolic value, though strict standardization of types is absent.The make-up patterns as seen in the better-known Kathakali are borrowed from Koodiyattom.

In the actual performance, first the drum is sounded and then the Nambiyar woman recites the invocatory verse, (vandana slokam). After that a purificatory ritual of sprinkling holy water on the stage is done by the Nambiyar. Then there is an interlude of orchestra, after which the dance ritual ceremony called Kriyachavittuka is performed by the Sutradhara.

The next item is the stapana of the particular act. The main character is introduced in the next stage called Koothupurappadu in the background of the tense dramatic sense created by the full orchestra fury.

Nirvahana, the next part of the drama, follows. This itself consists of three phases, the Anukrama, the Samkshepa and the Vistara respectively. Purushartha follows in which clown (Vidushaka), caricaturing the moods, is the hero. This is a significant departure from tradition and a remarkable feature of Koodiyattom. The drama proper now begins sluggishly and leisurely through the long drawn out, detailed and elaborate abhinaya process.

Credit : kerala.com

CLASSICAL ART FORMS : Ottanthullal

Kunchan Nambiar, the drummer, was playing Mizhavu for Chakyar koothu. It is a solo dance with the artiste himself singing the verses to the accompaniment of Mridangam and timing with a refrain repeater singing in the background. Usually the performance lasts a couple of hours.
One day, against all precedence, he happened to doze off by sheer inactivity caused by a prolonged talk by the Chakyar after a recital of poem that needed the rhythmic support.

When the Chakyar abruptly started reciting another lyric, having had no rhythmic response from the drummer looked back and found Kunchan Nambiar dozing. He not only woke him up but also ripped him down by humiliatingly sarcastic comments and jokes on his person. Nambiar hanged his head in shame and silently walked off.

Instead of crying over the incident in self-contempt, he sat through the whole night, with a vengeance, and wrote a poem depicting an episode from Mahabharatha in a never-to-fore metric and rhythmic pattern. He also devised a special kind of dance for its exposition.

The legend is that he presented it the very next evening at the same temple where he was humiliated on a different platform at the same time the Chakyar had begun. By the novelty, wittiness, and acridity of the programme he attracted all the audiences that had surrounded Chakyar to his show. It was the birth of a new art form that he named as "Ottanthullal".

Impressive costume down the waistline and colourful crown are copied from Kathakali, with slight variations. Ornaments are made up mainly of tender leaves of coconut and glass beads.

Credit : kerala.com

CLASSICAL ART FORMS : Chakyar Koothu

Chakyar is one among the many upper cast Hindus, dependant on the temple, living by the sacrament food and meagre salary from the temple, adept in telling stories from the legends in a humorous and enchanting manner.

The term Koothu literally means dance which may be taken as an index of the importance attached to dance in the original form of the art.

In Chakkiarkoothu, the story is recited in a quasi-dramatic style with emphasis on eloquent declarations with appropriately suggestive facial expressions and hand gestures.

It is one of the oldest of theatrical arts peculiar to Kerala. As a matter of fact, the movements and facial expressions and the signs and gestures employed by the actor in Koothu are said to approximate most closely to the principles laid down in the authoritative Sanskrit treatise on the subject, Bharatha's Natya Sastra.
Attired in a gilt bordered cloth, wearing a red cap and ornaments on the neck, ear and hands, he recites the scriptural poem and annotations with witty and humorous examples and anecdotes with the accompaniment of the cymbals and another cast Hindu Nambiar drumming the Mizhavu, made of copper with a narrow mouth on which is stretched a piece of parchment (a percussion instrument made of covering an narrow mouthed big earthen jar with deer skin).

He is licensed to tease and cut jokes on anyone among the audience, even the mighty ruler, during the discourse exploiting the legendary situations as all those are permitted as the prerogatives of the Chakyar. One should know Malayalam to enjoy the congenital jokes.

Credit : kerala.com

CLASSICAL ART FORMS : Krishnattam

This is another form of dance drama, enacted in Guruvayoor Temple, depicting the frolics and divinity of Lord Krishna.

The Sree Krishna Temple of Guruvayoor was absolutely owned and maintained by the Zamourin of Kozhikode till the end of their empire conquered by the British.

One of the Zamourins, King Manavedan, contemporary of Saint Vilwamangalam, a scholar and poet, was an ardent devotee of Guruvayoor deity. He used to find time, even amidst the tight schedules of governance, to spend few days in devotion within the precincts of the temple. Saint Vilwamangalam was very much in the temple and, it was known to all that he was frequented by the sight of Sree Krishna alive.

Zamourin pestered the Saint with a queer request to show him also the lord live during one of His secretive appearance to him. Once, while walking out of the temple towards the 'Manjulal', the Banyan tree named after a virgin devotee unified with the Lord, both of them came across few children playing in the shade of it.

Vilwamangalam looked delighted and told "Lord, quick, look at these children touching my body". Lo! It was a blissful sight of lifetime for the King. He saw Krishna as a lad squatting on the floor frolicking and playing with other children.

The King could not believe his eyes for a second. He lost control of himself, in a sudden leap, jumped to the midst of the children and in a whiff, embraced Krishna. The Lord Himself taken aback, chastised him saying, "tut, tut, Vilwamangalam did not seek permission from me for this" and wriggled Himself out of his caged arms. In the melee, the King managed to pick a peacock quill that the Lord had adorned his tuft with. The King regarded this as a rare divine gift and made a crown in gold to tuck quill on.

By the frenzy caused of divine touch, the King wrote a drama on Krishna and premiered it in Guruvayoor Temple. The actor who played the role of Krishna was adored with peacock quill crown. The legend is that the actor, the moment he wore the crown, slipped into a godly mood and acted in a superhuman manner making the play unexpectedly successful. Lord Krishna Himself invested in him.

The Krishnattam troupe was once invited to perform in the Tripunithura temple. While the show was on, certain mischievous characters brought a tusker in front of the stage. On seeing it, actor characterizing Krishna became angry and jumped down the stage, reached the animal and caught hold of it by its two tusks. The scene became tense. Elders and King himself intervened and pacified him, else it would have been a fierce incident. The legend still continues.

The artistes wear the costumes and ornaments in a similar fashion as that of Kathakali with the conspicuous difference only in the language and rhythmic pattern of the song written in chaste Sanskrit.

Story of Sree Krishna, from incarnation to ascension, as narrated from the tenth chapter of Mahabharatham, is the theme of this drama staged in the Koothambalam (Temple dance stage) of Guruvayoor temple for eight nights till dawn.

Credit : kerala.com

CLASSICAL ART FORMS : Kathakali

Kerala is known the world over by its own performing art form, the Kathakali. "Katha" means story and "Kali" stands for dance.

It is a beautiful mix of dance, drama and music that the connoisseurs of art world qualified as 'a total art form of immense sophistication and power'.This is a form of dance formerly confined only to the festival stages in temples.

It is a mime show, dancing with mudras (formulated hand gestures conveying the text of lyrics) and specialised dancing steps following the song rendered in the background by a singer to the accompaniment of Chenda, Maddalam (country drums), Chenkila and Elathalam (Cymbals).

The face painted green and made up with a spot of sacred sandal paste on the brow, eye-lined with mascara, lip toned by cherry and white chin mask, the dancer dons a colourful costume and rich and impressive crown and jewellery.

A traditional pedestal Nilavilakku (oil lamp) with sixty wicks on both sides lit together lights the dancing floor. There are four types of make up. Pachcha (green) face painted green and adorning sober and beautiful attires denoting the godly or virtuous character.
Thadi (beard); divided into Chuvanna Thadi (red beard) depicting aggressive and demoniac characters, Karutha Thadi (black beard) depicting aborigines, cavemen and foresters and Vella Thadi (white beard) representing Rishis, Saints, Preceptors and other intellectuals. Kari (carbon black) representing mean characters and Minukku (refined) presenting women and Brahmins.

There is a school of thought which believes that Ramanattam could be the ancestor of Kathakali, for very many similarities in the presentations, costumes, acting and background music could be cited in both. The stage decor, costumes, make up, and mudras as seen today are purported to be improvements bestowed gradually to this art form by two veteran Namboothiris, Kalladikkodan and Kaplingadan Manas.

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.

Aattakkadhakal (stories for dance), the poetic compositions of legendary stories to special metric scale, set to music in classical Carnatic style are danced out.

KERALA ARTS

Kerala - 'The God's own country' is blessed with various art forms. The art forms of Kerala are classified into groups as:

* kerala - Classical Art Form
* kerala - Folk Art Form
* kerala -Fine Art Form
* kerala - Temple Music Form

The Artists in these art forms depict the yore days stories, present situation, etc. Various costumes are worn by the performers and the face masks too varies. The expressions in these art form are the attracting features along with the costumes. These arts where performed in according to the religious believes of the people of Kerala and where performed with pious and purity in temples, churches, mosque


Credit : kerala.com

Wildlife in Kerala

Wildlife Sanctuaries & National Parks of Kerala

Trekking trails & Bird Sanctuaries of Kerala

Nestled in the lush forests of the Western Ghats in Kerala are fourteen wildlife sanctuaries. And skirting these exotic destinations are some of the most delightful trails in the country. Some of them adventurously exciting, others enchanting in equal measure. All washed in the spice-scented air of endless acres of plantations.. tea, coffee, cardamom, vanilla, pepper, oranges, mangoes....

Thiruvananthapuram, Idukki , Kannur , Palaghat , Trichur ,Kollam and Wayanad offers some of the best wildlife sanctuaries and trekking trails of Kerala.

*	In Idukki - Kerala -The wildlife centres are
	Idukki Wildlife Sanctuary- Idukki Eravikkulam National Park- Idukki Chinnar Wildlife Sanctuary - Idukki Rajamala Wildlife Sanctuary - Idukki Periyar National Park - Idukki
*	In Kollam(Quilon) - Kerala - The wildlife centres are
	Shendurni Wildlife Sanctuary - Kollam
*	In Kottayam - Kerala - The wildlife centres are
	Kumarakom Bird Sanctuary - Kottayam
*	In Kozhikode - Kerala - The wildlife centres are
	Kadalundi Bird Sanctuary - Kozhikode
*	In Thrissur - Kerala - The wildlife centres are
	Peechi Vazhani Wildlife - Thrissur Thrissur Wildlife Sanctuary - Thrissur Chimmony Wildlife Sanctuary -Thrissur
*	In Palghat - Kerala - The wildlife centres are
	Parambikulam Wildlife Sanctuary - Palghat Silent Valley National Park - Palghat
*	In Thiruvananthapuram- Kerala - The wildlife centres are
	Agasthya Vanam Biological park - Thiruvananthapuram Neyyar Wildlife Sanctuary - Thiruvananthapuram Peppara Wildlife Sanctuary - Thiruvananthapuram
*	In Kannur- Kerala - The wildlife centres are
	Aralam Wildlife Sanctuary - Kannur
*	In Waynad- Kerala - The wildlife centres are
	Begur Wildlife Sanctuary - Waynad Waynad Wildlife Sanctuary - Waynad Take a look at these wild life santuaries in Kerala by clicking on the links given below. | Thiruvananthapuram | Idukki | Kannur | Palaghat | Trichur | Kollam | Wayanad | Bird Sanctuaries Credit : kerala.com

Festivals of Kerala

ONAM

ONAM, the harvest festival, is celebrated annually throughout Kerala during August-September. In short, Onam means flowers, 'onakkodi' (New clothes), sumptuous feats on plantain leaves with 'avial'', 'pappadum' 'pazham' (Plantation fruit), 'payasams' onappoo-ada and swinging under the mango tree, days spent collecting those elusive flowers for pookalam (floral arrangement) and evenings dancing with neighbourhood children wearing tiger masks, called pulikkali. Onam as the most colourful and the principal festival of the most colourful and the principal festival of the region which cuts across all religious and communal barriers.

Onam heralds the harvest festival and is also according to folklore the time of the year when the king Mahabali, the legendary ruler of an ancient golden era in Kerala, returns from the depths of the nether world to visit his beloved subjects. It is an unusual festival, in the sense that it reverses the memory of the local 'asura' (demon) king, Mahabali (who is also affectionately called Maveli or Onathappan), whom Lord Vishnu coming down to earth as Vamanan, a Brahmin boy, cleverly exploited the very benevolence of this great king to oust him from his kingdom.

So attached was the king to his country and subjects, that he asked for and was granted permission to visit his subjects once every year. Onam is considered to be that day on which King Mahabali comes top visit the beloved subjects of his kingdom. Houses are cleaned, everyone wears the new Onam clothes (Onakkodi) they have received and floral decorations are put to give a fitting welcome to the beloved ruler during whose rule the kingdom was said to have been at its glorious.

Legend has it that the gods became jealous of the king because he was so well adored and loved by his subjects that Indran, the king of the devas felt that his position was under threat due to the immense popularity enjoyed by Mahabali among his subjects. So he requested Lord Vishnu's help whereby the lord devised a scheme to get rid of Mahabali and sent him into exile in the nether world. Lord vishnu came down to earth in the guise of Vamanan, a poor Brahmin boy and requested the ever benevolent king for three foot measures of land to meditate upon. The king asked Vamana to measure and take the same from anywhere he wanted. On getting the king's permission. Lord Vishnu transforms into his cosmic form and covers the earth and all the other worlds in his first two root measures and asks the king where he should get his third foot measure of space from.

The king being a man of great honour could not even think of going back on his word and offered his own very head whereby lord Vishnu' put his foot over the king's head and pushed him down to 'patalam'. Before being sent down, the king requested Lord Vishnu permission to visit his country and people and was given permission to return to his people one each year. It is this occasion of Mahabali's annual visit that is celebrated as Onam.

A grandiose welcome is prepared everywhere for this annual visit. Dances and songs proclaim the glorious reign of the Mahabali, when perfect harmony and joy prevailed all over the kingdom. Elaborate carpets of flowers called 'pookkalam' is laid out on floors and streets all over state. The whole region takes an a carnival atmosphere with games, compitetions, processions and what not being organised everywhere. The traders and shops vie with each other to attract the Onam shop-pers.

The festival brings miraculously to life quite a few rare and some near extinct forms of folklore in different regions of the State. Some of these are 'kaikottikkaali' 'thiruvathirakkali' 'vallomkali' 'pulikkali' 'onathullu' Kummattikkali. and many other localised folklore forms. there are also several traditional rituals and functions of a religious nature associated with the festival. In fact the traditional celebration and gaiety for which this festival is known may be attributed to these myriad and rustic forms of art that continue to enjoy an intimate relationship with life functions and nurtures social amity.

Onam is a great time to be in Kerala, as this beautifully lush green region combines a celebration of its warring and seafaring traditions with festivities honouring the ancient asura king Mahabali, Kaikottikkali is a folk dance form performed by the women all over the State during Onam with clapping of hands by the performers. Pulikkali (meaning tiger dance) is performed by men on the streets and visiting houses wearing masks resembling tigers, lions and other animals in return for which they are showered with gifts. Vallomkali is another cultural activity during the Onam time which is very popular in the plains with access to the backwaters. In this, snake boats(called chundan volloms) manned by terms of around a hundred oarsssmen from neighbouring local villages, rowing to the rhythms of cymbals and drums, race in thrilling contests at Aranmula, Champakulam and Kottayam in Kerala.

As these beautifully decorated snake boats race through Kerala's stately backwaters, its shorelines come alive with several days of feasting and harvest celebrations.

In some areas of the state, vibrant processions with resplendently caparisoned elephants are taken out. In Trichur, even as Onam is still almost a month away, preparations begin for staging the non-ritualistic masked dance of Kummattikkali Pulikali or leopard dance is another of Onam'es special shows. Bodies painted with dots and fitted with appendages to resemble leopards, male dancers jump, roar and somersault to mimic the agility of the big feline. It is essentially a road show.

Accompanied by drummers they drift through towns performing at busy junctions to please bemused crowds. Kalayottom - bullock racing - was another crowd pulling Onam celebration. Pairs of bullocks were raced in the farmland at a hair-raising pace. Once again the recurring highlight of these outdoor amusements was the unmistakable presence of the agricultural farm and animals as the principal characters involved alongside man.

Going back to the golden era of Onam, little girls and young women would enjoy the brisk sway on the swings hung out from every tree that was sturdy and had a suitable branch. Swaying up in the healthy spring air the maiden's hearts would grow light, and romantic. Naturally, Onappattu - Onam-songs from the background score for this dream-like pastime. Older women would engage themselves in the flock dance themselves in the flock dance form Kaikottikkali. Interestingly, during those times women's entertainment was before an all-female audience.

Vishu

Among the various Hindu festivals in Kerala, Vishu occupies a unique position in more than one respect.This day is celebrated in almost all places in India by the Hindus albeit by different names. In Bihar this day is called Bihu, in Punjab Baisakhi and in Tamil Nadu Puthandu.

Though this is not the New Year's Day in the Malayalam Calendar, people of Kerala consider Vishu the beginning of a new year. This occasion signifies the Sun's transit to the zodiac Mesha Mesha Raasi as per Indian astrological calculations.

The Malayalis believe that the fortunes for the year depend upon the nature of the object one sees first in the morning of Vishu Day. In order to fulfil the desire to look at the auspicious articles, they prepare a 'Kani' (anomen) on the previous day for seeing in the next morning. In circular bell-metal vessel known as 'Urule' some raw rice is put and over it a folded newly washed cloth is spread.

In it a cucumber, betel leaves and nuts, metal mirror, yellow flowers of Konna tree (cassia fistula), a Grandha (book of palm leaves) and a few gold coins are then placed in a decorative fashion. Two coconut halves containing oil and lighted wicks are also placed in the vessel which illuminate the articles inside it. A bell-metal lamp filled with coconut oil is kept burning by the side of the vessel.

Early morning the eldest female member gets up and lights the lamp and looks at' Kani' . She wakes up the other members, and the Kani is shown to everyone of them, taking particular care not to allow anyone to look at other things even by chance.

The vessel is taken to the bedside to the members or if it is too big to be carried, it is placed at one spot and the members are led there blind-folded. Even the cattle are not deprived of this privilege, as the Kani is taken to the cattle-shed and placed before them to have a look.

The families then celebrate the day with joyous abandon by bursting fire crackers after the vishukani. While the men and the children engage in bursting crackers, the women start cooking a variety of delicacies for the day's lunch. The feast or the 'sadya' is prepared by the women of the household and the whole family sits down to enjoy the vishu lunch together.

Vishu is also a day of feasting, wherein the edibles consist of roughly equal proportions of salty, sweet, sour and bitter items. Feast items include 'Veppampoorasam' (a bitter preparation of neem) and 'Mampazhapachadi' (a sour mango soup).The dishes prepared from the vegetables and fruits that are abundant in the season like jackfruits, mangoes, pumpkins, a variety of gourds, and coconuts.

The famous temples like Guruvayur, Sabarimala and Padmanaba Kshetram are filled with devotees. Special pujas are held in these temples where the people go to worship and pray for a prosperous New Year. They also view the Vishukanis that are prepared in each of these temples.

Credit : kerala.com

LITERACY

Kerala is one first Indian state with a literacy level of 100%. Both Malayalam and English are widely taught Language in the state. Malayalam is, however, the regional and official Language of the state. Malayalam is also one of the official Language of India. It is essentially a Dravidian Language but historical events have influenced the growth and vocabulary of Malayalam.


The original Dravidian settlers commonly used Tamil as their Language. Tamil was the court Language in the Chera regime too. Around the 10th century, Malayalam started to develop its own distinctive character. Due to the common grammar and vocabulary, many scholars feel Malayalam is like an offspring of Tamil; however Malayalam has a rich modern literature and an independent written script (Kolezhethu). With the settling of the Aryans, Sanskrit put the growth of Malayalam on a bane. The Brahmin Namboodiris exclusively used Sanskrit but this incidence, instead of threatening the existence of Malayalam enriched it instead. The local Language absorbed the words from Sanskrit and used them with a Malayali addition or alteration. Thus evolved the Mani Pravlam or Malayalam heavily spiked with usage of Sanskrit words.

Current day Malayalam has about 53 letters of which 20 are long/short vowels and the rest are consonants. Since 1981, the script was modified to adapt Malayalam to the use of keyboard and hence there are currently only 90 letters for a typeset.

Variations in the Language can be seen across the length and breadth of the state depending on social structure, geography and community. The Syriac Christians’ vocabulary is influenced by English, Syriac, Latin and Portuguese while the Muslim population talks Malayali with additions from Urdu, Arabic. Sanskrit influences the Brahmin lingo the most. Pali is another Language that has influenced the native tongue.

The other major Language spoken in the state and hence another big influence on Malayalam is English. The European association and the British rule have lent this characteristic to the state. The inhabitants of Pallakad and border regions speak Tamil and those of Northern Kerala are influenced by the Konkan and Marathi Language. The Language has 5 main dialects

Since the 19th century, Malayalam literature has undergone tremendous growth. Original novels, poetry, play, prose and lyrics have truly flourished. T. M. Appu Netunnati’s Kundalata (1887) and Chantu Menon’s Indulekha (1889) were among the first novels in the Language. Other famous novelists are Vennayil Kunniraman Nayanar, Appan Tampuran, V. K. Kunnan Menon, Ambati Narayana Potuval and C. P. Achyuta Menon. Vaikkom Mohammad Bashir is a famous dignitary in the Malayalam Literary scenario. Some famous Malayali poets are Kumaran Ashan, G. Sankara Kurup, K. K. Raja, Channampuzha Krishna Pilla and N. Balamaniyamma. So we see, the Malayalam Language has truly come of age.

AREA

The total area of Kerala accounts for 1.18% of the total landmass of India. The entire area measures up to around 38863sq. km. Fourteen districts make up the state ofKerala. This area includes 9400sq.km of land under forests and 1941sq.kms of wetlands. The cultivated area amounts to 2.292 million hectares (mh).

The western coastal belt of Kerala is home to a vast chain of interconnected canals, estuaries, lakes and rivers. This network of interconnected waterways is popularly referred to as the Backwaters of Kerala. Lake Vembanad, Kerala’s largest waterbody lies between Alappuzha and Kochi and is more than 200 sq.km in area. All the waterways in Kerala put together add up to 8% of the total number of waterways found in India. (Measurement in terms of length).

Kerala is home to forty four rivers and the largest river is the Periyar River which is nearly 244kms long. The total area under forests is 11,125.59sq.kms which includes wildlife sanctuaries. The forest cover is mainly to be found on the Western Ghats, also called the Sahayadri. Bordering Kerala on the eastern side it has now been classified as one of the 25 biodiversity hotspots of the world. Biodiversity areas are those areas that are biologically rich but no longer possess their previous abundance in terms of habitat. They play an important role in conservation and protection of endangered species of plants and animals.

Forests cover nearly 28.88% of Kerala’s landmass. The forests may be divided into:

Tropical Wet Evergreen Forests Tropical Moist Deciduous Forests Mountain Sub Tropical and Plantations.

Talliparamba, Mallapuram, Kozhikode, Alappuzha have been classified as Industrial Growth Centers of Kerala. There are many kinds of industries in Kerala, the Tourism Industry being one of the most important. Other industries include seafood and marine products, textiles, and spices. The industrial policy of Kerala is designed to capitalize on the strengths of the state. Kerala is rich in natural resources and filled with the goodness of nature. A variety of wildlife and plants make this area one of the most holistic and beautiful area of the world. The innumerable meandering rivers and lush greenery is ideal for rejuvenating both body and soul.

POPULATION OF KERALA

Kerala has been an ever developing state of India. The Malayalis have not only achieved the highest levels of literacy but have carried the flame further by setting unprecedented standards of higher education. Health conditions are excellent with the lowest infant and maternal mortality rates and the highest life expectancy among all the other states of India.

Ethnicity:

Kerala has often been referred to as an ethnic jungle. The original mountain tribes here were Negritos. Then came the Proto-Australoids and the Dravidians. They were the main settlers here. Thus most Malayalis still are Dravidian descendents. Not much later the Aryans also settled in the land. Initially reluctant to intermingle, and bound by strict caste laws, the Aryans considered themselves the elite Brahmins. With the settling of a small number of Jews, European Christians etc. the ethnic diversity increased further. On date however, no person from Kerala can claim to be of a pure ethnic group. Intermingling and intermarriage has caused the sharp distinguishing features of their forefathers' ethnicity to get blurred.

Occupational Groups:

Traditionally the occupation of the natives of Kerala was farming and agriculture. Kerala is a rich and fertile land and the Dravidian settlers and natives made excellent use of this. Rice, tapioca, plantain, coconut, spices and a variety of vegetables were grown. The coastline provided excellent opportunity for fishing and opened up trade and commerce links with the rest of the world. With the advent of the Aryans, education, learning and culture took on a new dimension. Philosophy, literature, fine arts were developed and honed.

Even today agriculture remains Kerala’s primary economic activity. The traditional crops aforementioned are still grown aplenty and almost 40 percent of the total land is under cultivation of cardamom, cashew nut, coconuts, coffee, ginger, pepper, rubber, and tea. Highly developed commercial poultry faming is practiced and chicken and egg supply throughout the state is met. Kerala is a highly developed seat of cottage industry. Besides the coconut fiber processing and handloom industries, a number of handicraft manufacturing units are developed in the state. Choir and cane products and wooden work especially the sandalwood carvings of the state are world famous. Ivory carvings are done by highly skilled workers. The brass and bell metal lamps and other items of the state are very famous. These cottage industries employ almost 3/5th of Kerala's industrial workers

Census Data:

According to the census report of 2001, Kerala’s total population was about 32 million. Almost 91% of the populace is literate. And about 10.3 million i.e.32.3 percent are employed in some occupation or other. Almost 7.2 percent of the population is employed in cultivation, 16 percent as agricultural laborers, 3.5 percent in household industries and the majority of 73.2 percent in other industries. A steep rise in the literacy has led to a rise in those employed in highly technical fields such as engineering, medicine, IT etc.

According to the Federation of Indian Chambers of Commerce and Industry there were about 1.5 million Malayalis settled in Gulf countries alone. The major problem Kerala is grappling with currently, despite its high rate of literacy and level of education is the brain drain. Most highly educated professionals prefer to work abroad due to the higher living standards and income opportunities. However the government and other organizations are working towards combating this issue and to ensure a comfortable living for the NRI Malayalis in other countries

KERALA AT A GLANCE

A coastline that stretches for 600kms, virgin beaches, lush greenery, a highly literate people, and a treasure trove of rich and varied art forms all make up the fascinating land of Kerala. Enclosed by the Arabian Sea, the Lakshadweep Sea, and the towering Western Ghats, this paradise on earth has something to offer to everybody. Located at the southernmost tip of India, Kerala has become one of the most sought after travel destinations in recent times. Kerala at a glance itself is inviting and alluring, tickling our knowledge buds to know more.

The state of Kerala has the highest percentage of literacy in India. The capital of Kerala is Thiruvananthapuram. A very progressive state Kerala is very well connected by all modern transport facilities and is therefore easily accessible. A communist government is at the helm of affairs in the state. Kerala may be divided into fourteen Districts which fall under Kerala’s three prominent historical regions namely, Travancore (Southern Kerala), Kochi (Central Kerala), and Malabar (Northern Kerala).Malayalam is the official language of Kerala.

DISTRICTS OF KERALA

The state of Kerala has been divided into 14 districts for the sake of effective administration.

These are as follows.

NORTH KERALA:

Kannur: Kannur or Cannanore as it was called by the British is a northern district of Kerala. It shares its boundaries with the Kasargod District of Kerala on the North and the Kozhikode District Of Kerala in The South. To the east is the Statre of Karnataka and to the West is the Arabian Sea. The district derives its name from the city of Kannur, which is its headquarters. Kannur is famous for its extraordinary natural beauty, its dainty beaches, ancient temples and the associated festival rituals like the Theyam. The major industries, besides tourism, are the handloom and choir work industries.

Kasargod: Kasargod is the north most district of Kerala. It is bound in the north and east by the state of Karnataka, in the West by the Arabian Sea and in the South by the Kannur District of Kerala. Its headquarters is the port town of Kasargod. The district of Kasargod is of extreme historic importance and boasts of historical architectures which are its tourist attractions. The beautiful beaches and picturesque landscape of the district are breathtaking.

Kozhikode: Bound by Kannur, Wayanad and Mallapuram in the North, East and West respectively, Kozhikode or former Calicut has been the seat of dramatic history, political conspiracy and flourishing trade. The headquarters of the district is the town of Kozhikode which is a major tourist attraction and an active port. He highlight of this district is its wildlife and lush vegetation.

Mallapuram: Mallapuram is the Southernmost of the northern districts of the state of Kerala. It shares boundaries with Kozhikode and Wayanad in the north and Tamil Nadu in the East. Palakkad forms most of its East and South boundary while the district also shares a short boundary with Thrissur. Lush green forests, the dreamy Nilgiris, a scenic landscape and fertile riverbeds are part of the attraction of this quaint region. This district is noted for its eminent literary and political figures. The land has given birth to many seers. Mallapuram town is its headquarters.

Wayanad: The district headquarters of Wayanad are at Kalpetta. The district is known as Green Paradise due to the presence of dense forests and foliage. The district has a rich harvest of condiments and spices. Pepper, cardamom, coffee and tea are the major crops of this land. Kannur, Karnataka and Mallapuram are its neighbors in the North, East and South. To the West is the district of Kozhikode

CENTRAL KERALA:


Eranakulam: With Thrissur to the North and the Arabian Ocean to the West; Iddukki to the East and Alappuzha and Kottayam to the South; the district of Eranakulam has the port of Eranakulam as its district headquarters. This district boasts of a number of islands. Kochi a magnificent natural harbor stands on one such island.

Idukki: The district headquarters of Idukki district lies in the town of Pinavu. Idukki is a central district of Kerala. It shares boundaries with Tamil Nadu in the East, Thrissur in the Noth, Eranakulam and Kottayam in the West and Pathanamthitta in the South. It is a very beautiful region and its main attractions are the wildlife sanctuaries and hill stations.

Palakkad: The Palakkad district with its headquarters at Palakkadu town is the seat of cultural growth and activities in Kerala. Bound by Tamil Nadu, Mallapuram and Thrissur, the district is very influenced by the Tamil language and culture. The district is rich in Carnatic music exponents and conducts various cultural exchanges with the rest of the country.

Thrissur: Eranakulam and Idukki to the South, Palakkad to its East and Mallapuram to its North, the district of Thrissur has Thrissur city as its headquarters. To the West is the Arabian Ocean and the district is known for its rich culture and traditions. The famous Pooram festival is celebrated in this city.


SOUTH KERALA:


Alappuzha: Alappuzha was known as Allepey to the British. It is a low lying district of Kerala and the smallest in terms of area. It has the town of Alappuzha as its headquarters and is famed for its beautiful and calm backwaters. It has an excellent network of canals crisscrossing the region. Bound on the East by Pathanamthitta and South by Kollam, the district has the Arabian Sea on the remaining sides.

Kollam: The Kollam town (erstwhile Quilon) is the headquarters of the Kollam district. It is an old sea port and the district’s highlight is its commercial trade with China and other countries since historical times. The district is bound by Alappuzha and Pathanamthitta on the North and Thiruvananthapuram on the South.

Kottayam: Kottayam is a district bound by Eranakulam, Idukki, Pathanamthitta and Alappuzha. The district headquarters are at Kottayam town. It is the first district in India to achieve 100% literacy. Kottayam is a historic region and its tourist attractions include the many lakes and forts

Pathanamthitta: In 1982 the district of Pathanamthitta was formed and the town of Pathanamthitta was named its headquarters. It is surrounded by the districts of Kottayam, Idukki, Kollam and Alappuzha on all directions. It is an inland district. It is predominantly an agricultural district growing rubber and tea the most. The shrine at Sabaimala is a star attraction and about 10 million pilgrims visit it every year.

Thiruvananthapuram: Thiruvananthapuram city, the headquarters of the Thiruananthapuram district is also the state capital. It is the southern-most district of Kerala and the seat of administration, tourism and trade. Its many beaches, historic monuments and temples are the major tourist attractions. The district is also a great center for commercial trade

History of Kerala

During Neolithic times, humans largely avoided Kerala's malarial rainforests and wetlands; thus, the first evidence of habitation — potsherds and dolmens — dates to the 10th century BC.[2] These were produced by speakers of the Tamil language from north-western India, suggesting that ancient Kerala and Tamil Nadu (part of Tamilakam) once shared a common language, ethnicity, and culture. By the early 14th century, Kerala had become a linguistically distinct region. The first major recorded kingdom, the Chera, ruled Kerala from Vanchi. Allied with the Pallavas, they warred against the Chola and Pandya kingdoms. A Keralite identity — distinct from the Tamils and associated with the second Chera empire and the development of Malayalam — evolved during the 8th–14th centuries. In written records, Kerala was first mentioned in the Sanskrit epic Aitareya Aranyaka. Later, figures such as Katyayana, Patanjali, Pliny the Elder[3], and the unknown author of the Periplus of the Erythraean Sea displayed familiarity with Kerala.The Chera kings' dependence on trade meant that merchants from West Asia established coastal posts and settlements in Kerala.[4] Many — especially Jews and Christians — also escaped persecution, establishing the Nasrani Mappila[5] and Muslim Mappila communities. According to several scholars, the Jews first arrived in Kerala in 573 BC.[6][7] The works of scholars and Eastern Christian writings states that Thomas the Apostle visited Muziris in Kerala in 52 CE to proselytize amongst Kerala's Jewish settlements.[8] However, the first verifiable migration of Jewish-Nasrani families to Kerala is of the arrival of Knai Thoma in 345 CE. Muslim merchants settled in Kerala by the 8th century CE. After Vasco Da Gama's arrival in 1498, the Portuguese sought to control the lucrative pepper trade by subduing Keralite communities and commerce.Conflicts between the cities of Kozhikode (Calicut) and Kochi (Cochin) allowed the Dutch to oust the Portuguese. In turn, the Dutch were ousted at the 1741 Battle of Colachel by Marthanda Varma of Travancore (Thiruvathaamkoor). Meanwhile, Mysore’s Hyder Ali conquered northern Kerala, capturing Kozhikode in 1766. In the late 18th century, Tipu Sultan — Ali’s son and successor — launched campaigns against the expanding British East India Company; these resulted in two of the four Anglo-Mysore Wars. He ultimately ceded Malabar District and South Kanara to the Company in the 1790s. The Company then forged tributary alliances with Kochi (1791) and Travancore (1795). Meanwhile, Malabar and South Kanara became part of the Madras Presidency.Kerala saw comparatively little defiance of the British Raj — nevertheless, several rebellions occurred, including the October 1946 Punnapra-Vayalar revolt.[9] Many actions — spurred by such leaders as Narayana Guru and Chattampi Swamikal — instead protested such conditions as untouchability; notable was the 1924 Vaikom Satyagraham. In 1936, Chitra Thirunal Bala Rama Varma of Travancore issued the Temple Entry Proclamation that opened Hindu temples to all castes; Cochin and Malabar soon did likewise.In 1921, sectarian violence erupted in Kerala, with conflicts between militant Muslims on one hand and Hindus and the British Raj government on the other. The conflict was subsequently labelled the Moplah rebellion. After India's independence in 1947, Travancore and Cochin were merged to form Travancore-Cochin on July 1, 1949. On January 1, 1950 (Republic Day), Travancore-Cochin was recognised as a state. Meanwhile, the Madras Presidency became Madras State in 1947. Finally, the Government of India's November 1, 1956 States Reorganisation Act inaugurated a new state — Kerala — incorporating Malabar District, Travancore-Cochin (excluding 4 southern Taluks which was merged with Tamil Nadu), and the taluk of Kasargod, South Kanara.[10] A new Legislative Assembly was also created, for which elections were held in 1957. These resulted in a communist-led government[10] — one of the world's earliest[11] — headed by E.M.S. Namboodiripad. Subsequent social reforms introduced by Namboodiripad's administration — and continued by subsequent governments — favoured tenants and labourers.[12][13] This facilitated, among other things, improvements in living standards, education, and life expectancies.Memorial of Veera Pazhassi Raja (the "Lion of Kerala") in Mananthavady, Wayanad. Pazhassi Raja launched a guerilla war against the East India Company in the late 18th century. One of the crosses reputedly erected by the Apostle Thomas in Kerala.The 1868 m Agastya Malai (Agastyakoodam), part of the Western Ghats range of mountains, is located in eastern Thiruvananthapuram district. It is a pilgrimage centre named for the ancient rishi Agasthya; his devotees credit him with bringing Vedic Hinduism to South India, including Kerala.Dolmens (megalithic tombs known locally as muniyaras) in Kerala's Marayoor region, erected by Neolithic tribesmen.Posted by Prabhakar at 7:38 AM 0 comments Kerala Kerala (help·info) (IPA: ['keːɹəˌɭɐ]; Kēraḷaṁ, Written as േകരളം in the native language Malayalam) is a state on the Western Coast of south-western India. To its east and north-east, Kerala borders Tamil Nadu and Karnataka; to its west lies the Arabian Sea and to its south the Indian Ocean islands of Lakshadweep and the Maldives, respectively. Kerala envelops Mahé, a coastal exclave of Pondicherry. Kerala is one of four states that compose the linguistic-cultural region known as South India.First settled in the 10th century BCE by speakers of Proto-South Dravidian, Kerala was influenced by the Mauryan Empire. Later, the Cheran kingdom and feudal Namboothiri Brahminical city-states became major powers in the region. Early contact with overseas lands culminated in struggles between colonial and native powers. Finally, the States Reorganisation Act of November 1, 1956 elevated Kerala to statehood. Social reforms enacted in the late 19th century by Cochin and Travancore were expanded upon by post-Independence governments, making Kerala among the longest-lived, healthiest, most gender-equitable, and most literate regions outside of the developed countries.

Credit : Wikipedia

KERALA

Kerala : ['keːɹəˌɭɐ]; Kēraḷaṁ, Written as േകരളം in the native language Malayalam) is a state on the Western Coast of south-western India. To its east and north-east, Kerala borders Tamil Nadu and Karnataka; to its west lies the Arabian Sea and to its south the Indian Ocean islands of Lakshadweep and the Maldives, respectively. Kerala envelops Mahé, a coastal exclave of Pondicherry. Kerala is one of four states that compose the linguistic-cultural region known as South India.First settled in the 10th century BCE by speakers of Proto-South Dravidian, Kerala was influenced by the Mauryan Empire. Later, the Cheran kingdom and feudal Namboothiri Brahminical city-states became major powers in the region. Early contact with overseas lands culminated in struggles between colonial and native powers. Finally, the States Reorganisation Act of November 1, 1956 elevated Kerala to statehood. Social reforms enacted in the late 19th century by Cochin and Travancore were expanded upon by post-Independence governments, making Kerala among the longest-lived, healthiest, most gender-equitable, and most literate regions outside of the developed countries.

The state government headquarters of Kerala is at the city of Thiruvananthapuram. However to facilitate administrative convenience the state has been divided into 14 districts. Despite its natural plenty, Kerala is a highly urbanized state. The state is unique in the sense it has retained its traditional and cultural background at the face of such urbanization. The fast developing cities have not destroyed the natural habitat of the region but have only provided support to civilization and administration. These Districts of Kerala are as follows:

North Kerala:
Kannur
Kasargod
Kozhikode
Mallapuram
Wayanad

Central Kerala:
Eranakulam
Idukki.
Palakkad
Thrissur

South Kerala:
Alappuzha
Kollam
Kottayam
Pathanamthitta
Thiruvananthapuram

Some major Cities of Kerala are:

Alappuzha
Alleppy
Bekal
Eranakulam
Kannur
Kochi
Kottayam
Kovalam
Kozhikode
Kumarakom
Malampuzha
Munnar
Palakkad
Periyar
Thekkady
Thiruvananthapuram
Thripunithura
Thrissur

Varkala

These districts and cities of Kerala serve as centers of higher education and cultural development. They house the temples and religious institutions which form the basis of social life in Kerala.