Unit-2

Drama Arts-Introduction
2.1. Drama Arts:
The art of drama that evolves and thrives within the Tamil culture is known as Tamil drama
arts. Tamil people consider drama as the storytelling performed in the Tamil tradition. They
refer to the majority of the content in dialogue as drama. Drama and storytelling are both
forms of art within Tamil culture. Literature, music, and drama are often considered as one
unified entity in classical Tamil culture. By blending these elements, Tamil drama arts have
flourished. References to drama can be found in various texts such as Tolkaappiyam and
Silappathikaram. In particular, there are mentions of drama stages constructed for the purpose
of presenting drama in Silappathikaram. Therefore, it is evident that Tamil people have a rich
tradition of appreciating and performing drama, which can be traced back to ancient times.

Therukootthu (Street Theatre):

Therukootthu, also known as street theatre, is a form of Tamil drama that is prevalent in the
Indian state of Tamil Nadu as well as in Tamil-speaking regions of Sri Lanka. It is a
traditional Tamil theatrical form that includes elements of storytelling, drama, and social
commentary. Therukootthu encompasses various aspects and often conveys a message or
reflects societal issues.Therukootthu incorporates different elements and is influenced by
various sources. One of the key influences is the "Thiruvathipa," a narrative found in Tamil
versions of the Indian epic Mahabharata, which is derived from the Dravidian tradition. The
term "Therukootthu" itself is a combination of two words: "theru," which means street, and
"kootthu," which means play or performance. Over time, these terms have evolved and
adapted to contemporary usage.
Despite these linguistic shifts, it is important to recognize that Therukootthu and
Kattaikkoothu (another traditional Tamil theatre form) still maintain distinct characteristics
and serve different purposes. Therukootthu typically refers to outdoor performances held in
public spaces, often highlighting cultural events, while Kattaikkoothu refers to a specific kind
of night-time storytelling performance with a fixed stage and setting.In summary,
Therukootthu is a dynamic form of traditional Tamil street theatre that has evolved over time,
drawing inspiration from various sources and adapting to modern contexts. It continues to
play a significant role in Tamil culture, conveying stories, messages, and social commentary
to audiences.

History:
The word "தெருக்கூத்து" (Therukootthu) is derived from the Tamil words "தெரு" (theru),
which means street, and "கூத்து" (kootthu), meaning a kind of performing art or drama. The
term "கட்டைக்கூத்து" (Kattaikkoothu) evolved from the word "கட்ைாய்" (kattai), which
refers to the elaborate costumes worn by actors during performances. Kattaikkoothu is
specifically associated with staged performances held in the evenings at fixed locations,
whereas Therukootthu is typically performed in outdoor public spaces during cultural events.
The writer M. Shanmugam Pillai connected Therukootthu with the Tamil epic
"Silappathikaram" and referred to it as a precursor to the form found in Silappathikaram. In
this context, Silappathikaram, a narrative epic, is presented in a similar style to Therukootthu.
The performance includes actors reciting verses, followed by a dramatic enactment that
brings the verses to life. Silappathikaram and Therukootthu share a common thread in terms
of storytelling and performance style.Both Silappathikaram and Therukootthu have two key
elements: female empowerment and divine strength, with women playing central roles.
Nevertheless, in contemporary times, the usage and interpretation of these terms have
evolved, and they are sometimes used interchangeably. Some scholars, like Richard A.Frasca,
suggest that Therukootthu initially emerged from a specific region in South India and later
spread to Sri Lanka, particularly in Jaffna and Batticaloa.Therukootthu and Kattaikkoothu
have undergone transformations over the centuries and have adapted to changing cultural
contexts. In recent times, some Therukootthu groups have transitioned into professional
theater troupes, and their performances are no longer limited to the streets but are also
presented in theaters and other venues.In conclusion, the history of Therukootthu is complex
and multifaceted, with roots in traditional Tamil theater and influences from various sources.
It has played a significant role in the cultural and artistic heritage of Tamil Nadu and Tamil-
speaking regions, encompassing both traditional street performances and contemporary
adaptations.

Karupporul (Black Comedies):

Many street theatre events hold significant importance by adapting and presenting the key
narratives from the Indian epic "Mahabharata." These performances often focus on the epic's
intricate storytelling and characters. Some street theatre adaptations have also taken stories
from the "Ramayana" and incorporated them into performances, especially during
celebrations like Mariamman Thiruvizha (festivals dedicated to the goddess Mariamman).
Additionally, some street theatre productions feature local deities.The tradition of street
theatre in Tamil Nadu typically begins in the first month of the Tamil calendar, Chithirai. It
spans twenty-one days, with temple festivities and celebrations, forming a part of these
events. Street theatre performances play a role in these celebrations, starting during the
Thiruvizha and continuing until the final day's morning.
During the Thiruvizha, street theatre events known as "Karupporul" or "Black Comedies" are
performed. These performances adapt and highlight important episodes and characters from
the Mahabharata, delivering them in a humorous and entertaining manner. Karupporul street
theatre is a unique and lively tradition that enriches the cultural and religious festivities in
Tamil Nadu.

Group Performance:
Street theatre productions are a vibrant fusion of music, song, dance, and drama. Actors adorn
colorful costumes and makeup. Musicians in these street theatre performances use various
instruments such as harmoniums, drums, a single-stringed instrument called "Ektara," and
symbols.In a temple or an open field, an improvised stage is set up at one end. The stage has
three sides, and the audience gathers in front of it. Singers and musicians occupy the rear end
of the stage, while actors use the front side. In this setup, an actor with the role of Lord
Vinayaka (Ganesha) is placed inside the stage area. He starts the performance by singing a
song, followed by prayers to various deities. Lord Vinayaka blesses the proceedings, and then
the main storyteller, often referred to as the "Kattiangaran" (storyteller or narrator),
introduces the story of the day.
The Kattiangaran narrates the story using dialogues and gestures. At times, the characters
themselves introduce and showcase their roles. The Kattiangaran interacts with the audience,
engaging them in the performances and connecting scenes. Throughout the play, musicians
and singers provide support by singing songs that are interspersed with the narrative. Each
song is set to a particular raga (melodic scale) and follows a structured format, with four
verses delivered in the same raga.A street theatre production's dialogue is linked to the lyrics
of a song, creating a continuous flow. Before a transition, an actor delivers a verse in the
same raga as the song to follow. The Kattiangaran provides the audience with context and
explanations, occasionally interacting with them and providing comic relief.In addition to
their roles on stage, the actors also manage the stage environment. The Kattiangaran actively
controls the audience's engagement and directs their attention, while the Kathakalaiyinars
(musicians) and Isai Kalaignars (music performers) play a crucial role in rendering the music
and songs.

Thoolpaavai Kootthu (Dance of the Thoolpaavai)

Historical Background:
In the town of Urathur, young men and women, driven by love, came together and danced in
the night. This was one of the festivities of the Chola dynasty. It was similar to the Pavai
Koothu, a traditional Tamil dance form. For this performance, Pavai dolls were beautifully
crafted by skilled artisans. One of these dolls was named "Alli Pavai," also known as "Alli
Arasani Malai Koothu," which tells the story of Alli Arasani, the queen of the Pandya
dynasty.

Story:
Pavai, the beautiful young maiden, is considered to be the enchantress of Lord Vishnu. Devas
(celestial beings) and Asuras (demons) vie for the elixir of immortality. When the elixir is
churned out from the ocean, Lord Vishnu, taking the form of a beautiful maiden named
Mohini, mesmerizes everyone. At the very end, Lord Vishnu appears as Pavai to distribute
the elixir, ensuring that all receive it. The demons, captivated by Pavai's beauty, forget about
the elixir. In this way, the elixir goes to the Devas, and the demons perish.
The demons, however, remain entranced by Pavai's beauty. As they stand captivated, she
disappears. The demons, realizing their loss, come to understand the fleeting nature of beauty
and life. They learn the lesson that true beauty lies not in appearances but in virtuous
qualities. The story ends with a moral lesson on the transient nature of physical beauty.

Performance:
The Thoolpaavai Kootthu is performed using dolls and thool (cotton) in a puppetry-like style.
The dolls are dressed elaborately, and their movements are controlled by strings. The
puppeteer narrates the story, moving the dolls in sync with the storyline. Thoolpaavai
Kootthu is a visual and narrative art form that engages the audience with its storytelling and
moral teachings.

Koothu Murai
Koothu Murai refers to a traditional form of theatrical performance in Tamil Nadu, India.
This is a form of village theater that combines music, dance, and drama to create a vibrant
and engaging cultural experience. Here's a translation of the description you provided:

Description:
A small room, usually made of palm leaves or cloth, is transformed into the stage for Koothu
Murai. In the front part of this stage, a beautifully decorated white curtain is set up. Behind
this curtain are the performers who enact the play. In the inner part of the stage, a vennai
thirai (a screen made of palm leaves) is placed. The performers manipulate the dolls from
behind this screen. In front of the screen, there is a source of light, which makes the dolls
visible to the audience. The audience sits on the ground.In the front part of the Koothu stage,
there are musicians playing various instruments. In the background, there are singers and
musical instrument players who provide accompaniment to the performance. The Koothu
family is responsible for organizing the performance. They prepare the dolls and conduct the
play. The head of the family directs the performance.Koothu Murai is a collaborative effort,
with various family members taking on different roles. The head of the family oversees the
entire performance. During the play, the head of the family speaks through the characters
using different voices. The puppeteers move the dolls in sync with the narration and the
music, creating an immersive storytelling experience.
This art form often conveys moral lessons and cultural narratives to the audience. The
Koothu family, dedicated to this art, travels from village to village, conducting performances.
They engage the local community by organizing festivals and events, creating a strong bond
with the people they perform for.Koothu Murai is a vibrant and rich cultural tradition that
brings stories to life through puppetry, music, and drama, fostering a sense of togetherness
and tradition within Tamil Nadu's communities.

Oyilattam
Oyilattam is a traditional dance form from Tamil Nadu, India. It involves dancers holding a
single-colored cloth in one hand and a small stick of the same color in the other hand while
dancing to music. The word "Oyil" refers to the single color that dominates the costume and
props in this dance form. Oyilattam is primarily performed by male dancers and is known for
its vigorous and rhythmic movements.This dance form is characterized by its use of vibrant
colors, adornments, facial expressions, and footwork. Oyilattam dancers often depict stories
or themes from mythology and folklore through their performances. The dance emphasizes
the masculinity of the dancers and is not typically performed by women.In Oyilattam, a group
of ten to twelve dancers stands in a formation, facing each other, in a straight line or in a
circular arrangement. The dancers use sticks to create rhythmic sounds and patterns,
enhancing the overall visual and auditory experience. The dance can be energetic, and
performers may include acrobatic movements and stunts to captivate the audience.
Various musical instruments like the Pannai Thalai (a type of drum), Thavil (a traditional
South Indian percussion instrument), Singi (a type of horn), and Soolakarai (a musical
instrument) are used to accompany the Oyilattam performance. The Pannai Thalai, in
particular, is a unique instrument in this dance form, as it produces a distinct rhythmic sound
when struck on the ground.Oyilattam often incorporates songs and storytelling into the
performance, and the lead dancer or singer narrates the story while others perform the dance.
The use of storytelling through songs adds depth and meaning to the dance, making it both an
entertaining and culturally significant art form.In addition to traditional themes, Oyilattam
has adapted to modern contexts and is sometimes performed in Christian churches as a way
to tell biblical stories. The dance is also a popular form of entertainment during festivals and
celebrations in Tamil Nadu, where it continues to captivate audiences with its lively and
colorful performances.

Oyilattam Techniques
Oyilattam involves specific techniques and rules that dancers adhere to. Here are some of the
key techniques and aspects of Oyilattam:
Head Movements: Dancers maintain an upright and steady head position throughout the
performance.
Sticks and Hand Gestures: Dancers hold sticks of the same color in their right hands and a
cloth of the same color in their left hands. These props are essential for creating rhythmic
patterns and visual appeal.
 Costume and Adornments: Dancers wear costumes with predominantly one color. The leader
of the group often wears a green costume. The use of a white waistband signifies a mastery of
the art.
Beginnings and Greetings: The dance begins with the dancers clasping their hands, bending
at the waist, and offering a salute to the divine. Afterward, they touch the ground, signifying
their respect for the earth.
Formation and Footwork: Dancers start by standing in a formation, with the leader usually
being the "Annavi" (lead dancer) or the priest. They perform intricate footwork, often
involving synchronized movements.
Narration through Songs: Songs are an integral part of Oyilattam, and they narrate stories or
themes relevant to the performance. The lead dancer or singer typically narrates the story
while the others dance.
Acknowledgment: At the end of the final performance, the priest or Annavi expresses
gratitude to the audience. This closing ritual marks the conclusion of the dance.
Oyilattam Rules: The dance has specific rules to maintain its pace and intensity. There are
"Vekam" or speed variations during the performance. Fast-paced steps are called "Kaalam,"
while slower steps are called "Saari" or "Thattu."
Gender Roles: Traditionally, Oyilattam is performed mainly by men. Women have not
traditionally participated in this dance form.
Oyilattam and Tamil Culture: Oyilattam has been an integral part of Tamil culture and is
often performed during festivals and celebrations. It is considered a cultural treasure of Tamil
Nadu.
In the early days, the best male dancers were chosen by a particular community to perform
Oyilattam to help women choose their life partners during a special event. Oyilattam is an art
form that has rich historical and cultural significance, and its preservation and continued
practice are vital to Tamil heritage.
Āḷōṭu āḷu
uracāmal
uṅkaḷ āḷilē oru muḻam
taḷḷi niṉṟu
kālōṭu kālu uracāmal
uṅkaḷ kaipiṭittuṇi
tavaṟāmal
mēlōṭu mēlu
uracāmal
uṅkaḷ vērūvai taṇṇi
citaṟāmal.."
The above song is elaborating the intricacies of Oyilattam dance.
In Madurai, Sivagangai, Ramanathapuram, Thirunelveli, Tuticorin, Thindukkal, and
Kovilpatti districts, Oyilattam continues to be performed during temple festivals. Even today,
Madurai Gurunathapillai, Vasagam Pillai, and others are renowned artists in this art form.

2.4. Mayilattam (Peacock Dance):

Mayilattam is a traditional Tamil folk dance that portrays the art of a Tamilian. In this dance
form, a costume designed to resemble a peacock is worn, which includes a headgear, tail
feathers, and body attire representing a peacock. The dance imitates the movements and
actions of a peacock. Generally, folk dance forms have their roots in observing and
mimicking the movements of animals, just as a person watching the grace of peacocks
inspired this dance. Some of the other dance forms influenced by animal movements include
Pulivesham (tiger dance), Poikkal Kuthirai Aattam (dummy horse dance), Mayil Aattam
(peacock dance), and Kaalai Aattam (bull dance).
During the performance, the dancer extends the long tail of the peacock, portraying the
beauty of a peacock in its full glory. This dance is popularly known as "Mayur Natyam" in
various parts of India. It is a favorite among children and is considered one of the best folk
dance forms in Tamil Nadu.According to the artists from the villages around Thanjavur,
Sundararav is credited with discovering the Mayilattam dance, being the first to find and
appreciate it. The dance is often performed with a wooden structure representing the
peacock's tail, and the dancer can control it to make it fan out beautifully or close up. The
mastery of controlling this tail is one of the special skills of this art form.
Mayilattam has evolved over time, and it is now performed by both men and women.
Originally, only men performed the dance. However, in recent times, both men and women
participate, adding more variety and color to the art form. In the traditional folk dance form
of Mayilattam, only men initially danced while dressed in peacock attire. Later on, the dance
form evolved, and both men and women started performing it in peacock attire. Mayilattam is
one of the prominent folk dance forms in Tamil Nadu, showcasing the rich cultural heritage
of the state.In the Mayilattam tradition of Tamil Nadu, initially, only men would perform the
dance while dressed as peacocks. However, with time, the tradition evolved, and both men
and women began to participate, enriching the dance form. Mayilattam is a celebrated folk art
in Tamil Nadu, displaying the state's vibrant cultural tapestry.
In the folk dance of Mayilattam, two mythical serpents, two dolls, two snakes, and a small
idol, along with Naiyandi Melam music, are used as accompaniments. The dance involves
head movement, controlling the tail, and dancing gracefully. Additionally, various folk rituals
are performed during this dance. For instance, the dancer might offer garlands, pick up
money from the ground, or make the peacock drink water with its beak. Many such symbolic
acts and rituals are part of this dance.
Furthermore, various feats and acrobatics are also performed in this dance, including lifting
weights, balancing objects, and making the peacock drink water using its beak. These acts are
an integral part of the Mayilattam tradition and add excitement and skill to the performance.
Mayilattam is considered a significant folk dance in Tamil Nadu. It has evolved over time
and has become an essential part of Karakattam, Kavadi Aattam, Poikkal Kuthirai Aattam,
and other folk dances in the region.

In the folk dance of Mayilattam, the peacock's head, body, feathers, etc., are individually
crafted using materials like wood, cloth, and paper mache, and they are painted with vibrant
colors to resemble a real peacock. The peacock's head is equipped with a spring mechanism,
and the mouth, which can be opened and closed, is operated by bellows. Furthermore, the
body part of the peacock, often referred to as the "Mayil Koodu" (peacock cage), is
elaborately designed with intricate patterns and colors. Dancers attach this piece to their
heads and torsos to appear like a peacock.
Mayilattam artists, while portraying themselves as peacocks, also incorporate the peacock's
neck, which extends from the head to the body, into their performance. They control this neck
using their head and torso movements. Both hands of the dancer are used to manipulate the
peacock's two wings. The peacock's tail is also meticulously crafted, with a blue tailpiece
attached to the dancer's head and a green tailpiece extending from the body to the legs. These
tailpieces are connected by hinges, allowing them to move like the tail of a
peacock.Mayilattam involves various movements and actions such as prancing, running,
tilting the head, spinning the tail, and bowing, all of which are performed in a graceful and
rhythmic manner. Some variations of Mayilattam even include the portrayal of Lord
Murugan riding a peacock as part of the dance.
In summary, Mayilattam is a traditional folk dance in which artists dress as peacocks and
perform intricate movements and actions to depict the vibrant and graceful nature of this
majestic bird. It is characterized by its vibrant costumes, intricate props, and the skilled
manipulation of various parts to create a visually stunning and culturally significant
performance.
However, in the context of the fiery dance form known as "Sevaiyal Natyanam" or "Cheviyal
Natyanam," Mayilattam has evolved from the traditional style described above. In this form,
female dancers perform Mayilattam with significant modifications. They wear costumes and
accessories resembling a peacock, including a headpiece with the peacock's beak, feathers,
and a long neck, which is manipulated gracefully. The dance includes movements such as
searching for food, dancing joyfully, and imitating a peacock's movements, including
preening, displaying the tail, and even hissing like a snake.
In Sevaiyal Natyanam or Cheviyal Natyanam, the performers use both hands to create
gestures resembling a peacock's beak, and they dance with the same grace as the peacock,
portraying joy and pride. The movements in this dance form include searching for food,
running, tilting the head, spinning the tail, and making various gestures, all resembling the
actions of a peacock.These two variations of Mayilattam, traditional and modified, have been
celebrated in Tamil Nadu for many years. However, in the present day, the traditional
Mayilattam, characterized by its intricate details and cultural significance, receives less
attention. Therefore, it is essential to appreciate and preserve this art form and its
practitioners.

2.5. கரகாட்ைம்-வில்லுப்பாட்டு (Karagattam-Villupattu)

Karagattam-Villupattu is a traditional art form mentioned in Sangam literature. Karagattam is
a folk dance that involves balancing a pot (karagam) on the head. In various forms of
Karagattam, the pot is adorned differently, and participants balance it on their heads with
precision. It is often performed in temples during festivals dedicated to Goddess
Mariamman.This art form is prevalent in several districts of Tamil Nadu, including Madurai,
Thanjavur, Tiruchirapalli, Coimbatore, and Tirunelveli. It is typically performed as part of
temple festivals, and different variations of the dance, such as Kavadi Aattam (carrying a
burden on the shoulders) and Poykam (horse dance), are also featured in these
celebrations.Karagattam is known for its vibrant and energetic movements, and it holds
cultural significance in Tamil Nadu's folk traditions. The combination of dance and
Villupattu (narrative singing) adds to the richness of this art form, making it a unique and
cherished part of the state's cultural heritage.

The Making of Karagam

Karagam is a traditional art form where a decorated pot, usually made of brass or copper, is
placed on the head, and men and women perform a dance known as Karagattam. The word
"Karagam" can have various meanings, including pot, pot-shaped headdress, vessel, water
container, and more.To make a Karagam, a vessel made of copper or brass weighing around 3
to 4 kilograms is chosen. The vessel is filled with rice, and a coin is placed on top. The
vessel's neck is sealed with a tender coconut and decorated with flowers, leaves, and other
ornaments. This entire setup is known as the "Karagam."The Karagam is adorned with
various items such as peacock feathers, a coconut, a pot (pot-shaped headdress), and a mango
on top. The Karagam is further decorated with colorful cloth and flowers.

The Dance
Karagattam is performed as a form of devotion to deities in Tamil Nadu. The Karagattam
dance involves balancing the Karagam on the head and performing intricate steps and
movements while keeping the pot steady. The performers, both men and women, dance with
grace and precision to the beats of traditional music.In some variations of Karagattam, the
performers may dance on a raised platform or may move in a circular formation. The dance
movements include bending forward, backward, and sideways while keeping the pot
balanced on the head.

Spiritual Significance
Karagattam is often performed during temple festivals and as a part of religious processions.
It is considered a sacred art form and a way to express devotion and gratitude to the deities.
The lively and energetic dance, accompanied by traditional music and singing, creates a
vibrant and festive atmosphere during these celebrations.In summary, Karagattam is a
traditional Tamil art form where a pot, called the Karagam, is balanced on the head while
performing intricate dance movements. It holds cultural and spiritual significance in Tamil
Nadu and is an integral part of temple festivals and religious processions.

Types of Karagam
Sakthi Karagam - Performed as a form of devotion in temples.
Aatta Karagam - Performed by the general public during various events and festivals.
Villu Paatu - A unique and highly esteemed traditional Tamil art form, especially in
Southern Tamil Nadu.

Villu Paatu:
Villu Paatu (or Villisai) is a distinctive and highly regarded Tamil art form in southern Tamil
Nadu. It encompasses various aspects of traditional Tamil culture and is characterized by its
unique musical instruments, primarily the "villu," which is a bow-shaped instrument. Villu
Paatu is named after the villu, the primary musical instrument used in this art form. Various
other musical instruments, such as the udukai (a drum), thalam (cymbals), veesukol (a
stringed instrument), and kattai (wooden sticks), are also used in Villu Paatu.
The origin and history of Villu Paatu are not well-documented, and it is challenging to
pinpoint the exact time when it emerged. However, it has been an integral part of Tamil
cultural heritage for a long time.

Performance of Villu Paatu:

The practice of Villu Paatu has traditionally been a source of livelihood for a certain section
of the population in Tamil Nadu. It was initially associated with hunting, where the villu
sound helped in hunting activities. Later, the art was adopted by the community, and Villu
Paatu became an essential part of their cultural and social lives.
Villu Paatu is typically performed with a bowstring instrument called "villu," which is used
to produce the melodious music that accompanies the performance. The villu is strung with
an arrow, and when plucked or drawn across the string, it produces unique musical tones.
These sounds are used to convey messages, tell stories, and entertain the audience.

Significance of Villu Paatu:

Villu Paatu has historical and cultural significance in Tamil Nadu. It was often used in the
past to communicate and spread messages among the community. The melodies and rhythms
of Villu Paatu have evolved over time, and the art form continues to thrive, preserving the
rich heritage and traditions of the Tamil people.
One popular story associated with Villu Paatu involves a confrontation between the Pandya
King and a villu player. The Pandya King was impressed by the villu player's skills and
challenged him to play the villu with sand on the ground. The villu player accepted the
challenge and, by using the sound of the villu, created a miracle where the sand did not stick
to the bowstring. This story emphasizes the power of music and faith.In summary, Villu
Paatu is a unique and culturally significant Tamil art form that uses the bow-shaped villu as
its primary musical instrument. It has a rich history and continues to be an integral part of
Tamil culture, conveying stories, messages, and entertainment through its melodious tunes.

Puliyattam (Tiger Dance):

Puliyattam, also known as the Tiger Dance, is a traditional folk art form of Tamil Nadu,
India. It is a form of cultural expression that is performed in various settings, including
villages, temples, festivals, and social gatherings. Puliyattam is a vibrant and energetic dance
that incorporates elements of music, drama, and storytelling.
In this art form, performers, either individually or in groups, sing, dance, act, or recite to
entertain and convey messages to the audience. The term "Nigazhkalam" refers to performing
arts where individuals or groups present their talents and skills to others, and it encompasses
various art forms, including Puliyattam.
Puliyattam gets its name from the tiger, as the dancers often portray themselves as tigers or
wear tiger costumes during the performance. This dance form is celebrated across all regions
of Tamil Nadu and is a reflection of the state's diverse cultural heritage.
Puliyattam performances are associated with different occasions, including festivals, religious
rituals, and social gatherings. It transcends barriers of caste, time, language, and age, making
it a unifying and inclusive art form.
To perform Puliyattam effectively, the performers must understand the behavior and
characteristics of a tiger. They strive to imitate the tiger's movements, mannerisms, and
physical attributes through their dance. Learning and embodying these traits are essential for
a convincing Puliyattam performance.
Performers of Puliyattam take pride in their ability to portray the tiger's characteristics, not
only through their physical movements but also by using facial expressions, body language,
and vocalizations. Their dedication to mastering the art allows them to captivate audiences,
especially children, who are often fascinated by the tiger-themed performances.
By mimicking the tiger's agility, grace, and ferocity while dancing, Puliyattam artists create a
captivating spectacle that not only entertains but also instills a sense of awe and respect for
this majestic animal. The dance's rhythmic movements and vibrant costumes add to its
appeal, making it a cherished and culturally significant art form in Tamil Nadu.

Puliyattam and Silambattam: A Unique Connection

Puliyattam, a traditional Tamil folk dance, shares some similarities with the martial art form
known as Silambattam. Interestingly, certain elements found in Silambattam are seamlessly
integrated into Puliyattam. As a result, there is a harmonious relationship between these two
art forms.
One notable aspect is the use of sticks in both Silambattam and Puliyattam. In Puliyattam,
dancers often incorporate stick movements as part of their performance. This practice aligns
with Silambattam, where the use of sticks is a prominent feature. Silambattam practitioners
often wield double-ended sticks, and mastering these weapons is considered a skill.
Competitions and challenges are common among those who wield double-ended sticks in
Tamil Nadu, and success in these competitions is a testament to one's expertise.
While the use of double-ended sticks is not a universal feature of Puliyattam, it is worth
noting that this connection exists primarily in southern Tamil Nadu. In certain areas,
particularly in Chennai, artists involved in Puliyattam adopt elements of stick fighting in their
performances. They begin their acts with reverence for the stick, acknowledging it as a
powerful tool. Some individuals use karuvael (a type of stick) during the performance, and
those who successfully handle it are highly regarded. This practice demands considerable
skill and dedication.In addition to stick usage, there are other commonalities between the two
art forms. For instance, artists in both Puliyattam and Silambattam focus on rhythmic
movements and footwork. Some artists may even blend elements of Silambattam into
Puliyattam performances, emphasizing agility, precision, and coordination.While cinema has
become a dominant form of entertainment in recent years, Puliyattam, along with traditional
art forms like Silambattam, continues to thrive. It stands as a testament to the rich cultural
heritage of Tamil Nadu. Although Puliyattam may not be prominently featured in films, the
essence of this art form remains cherished and respected among those who appreciate the art
and its performers.
Appreciating these art forms requires understanding the dedication and passion that artists
pour into their craft. In a time when modern entertainment competes for attention, Puliyattam,
with its vivid depictions of tigers and spirited performances, remains a cultural treasure that
captures the imagination and fascination of both young and old alike.

Preserving Tigers, Puliyattam, and Young Artists

Preservation of tigers, Puliyattam, and the artists who perform it is one of our collective
responsibilities.In recent times, there has been a growing trend among young people to
engage in traditional arts. These young artists are taking on the responsibility of reviving and
sustaining art forms that were once at risk of fading away. To achieve this, it is essential for
them to collaborate with established artists and access resources such as costumes and
equipment. They must also participate in community events and spiritual gatherings,
showcasing their talents in Puliyattam. Recognizing and respecting these young Puliyattam
artists and encouraging them to perform in various social and spiritual gatherings will not
only preserve this ancient art but also introduce a new generation to its unique charm.By
engaging young artists, we can ensure that the tradition of Puliyattam continues to thrive,
captivating the hearts and minds of children and adults alike.

History of Silambam - An Ancient Art

Our ancestors, known for their mastery of martial arts like Karate and Kung Fu in the eastern
regions, had a rich tradition of combat arts that covered distant lands. However, the
knowledge of these self-defense arts, which protected our motherland in battles against
foreign invaders, has largely remained hidden in the annals of history. Today, these martial
arts have transformed into captivating performances in temples and festivals, where the
descendants of those brave warriors who once defended our land now showcase their skills.
We can glimpse this transformation as we explore the history that has evolved over time.
The Path of Silambam's History:
Silambam, a martial art form characterized by agility and skill with weapons such as sticks
and staffs, is rooted in our culture. It encompasses hand-eye coordination, foot-eye
coordination, body balance, flexibility, agility, and strength training, making it an excellent
form of exercise.

History:
The history of Silambam can be traced back to a time when our ancestors defended
themselves from wild animals like lions and tigers using simple weapons. They used weapons
such as the "kambu" (staff), small knives, and sticks to protect themselves from these
creatures. Over time, this art evolved into what we now know as Silambam.During ancient
times, when people needed weapons to fight battles, the "kambu" (staff) was one of the first
weapons used. It was later developed into the art of Silambam. In the early days, humans
used a variety of weapons, including spears, knives, swords, bows, and the "kambu" (staff),
which evolved into the unique art form known as Silambam.
Today, Silambam is taught and practiced not only in schools but also by various
organizations. It has also become a popular sport in various competitions, emphasizing the
spirit of competition and sportsmanship.(Note: Silambam is a traditional martial art that
originated in Tamil Nadu, India, and has a rich history and cultural significance.)
In Silambam forms, the distinct and characteristic styles and sequences of Silambam stick
patterns and footwork have undergone minor modifications over time. After the rule of the
Tamil kings came to an end, Tamil Nadu witnessed changes, and the art underwent
alterations in both its names and the ways it is practiced. In various regions of Tamil Nadu
and Kerala, Silambam is still practiced under different names and slightly varying styles.
Some of these variations include Vatakkan Kalari, Thekkan Kalari, Silambam Adi Murai,
Karunatakam Silambam, Siramam, Sailath, Thanjavur Kuthu Varisai, and Netun Gamboo.

2.8. Music and Dance:

In the tapestry of Tamil life, music has been an integral thread from the cradle to the funeral
pyre, resonating in every season. Tamil culture has thoroughly embraced music, having made
it an essential part of life, with deep roots tracing back to ancient times. Under the umbrella
term of "Tamil Isai" (Tamil Music), various forms have blossomed, including classical
music, folk music, devotional music, tribal music, theater music, and songwriting.
Ancient Tamil music, in particular, stands as one of the most invaluable treasures of Tamil
heritage, representing the cultural wealth of Tamil people. When we mention "Ancient Tamil
Music," it encompasses a wide range of musical practices, instruments, nuances, and
transformations that took place during the European colonial era, which influenced Tamil
language, music, traditions, and adaptations.During the Sangam age, Tamil culture was
divided into three main components: "Iyal" (literature), "Isai" (music), and "Nadagam"
(theater). Within these, "Isai" represents music. The early Tamil people nurtured a close
connection with music, using it as a means to interact and connect with people from different
regions before the advent of the Sangam age. Music and dance were integral to their lives and
were documented in early Tamil texts. These texts refer to a period known as the "Musical
Sangam Age," which is believed to have lasted for several millennia, possibly spanning over
3,000 years. Hence, it can be confirmed that Tamil music and dance have their roots dating
back more than three millennia.
In the 16th century CE, Tamil music, particularly Carnatic music, witnessed significant
transformations. Today, Carnatic music is considered a refined form of Tamil music. The
Sangam texts, including "Pathupattu," "Ettuthokai," and "Tolkappiyam," as well as the
"Silappadikaram," discuss various aspects of Tamil music, illustrating the rich heritage of
Tamil music.During the 6th to 10th centuries CE, in the later part of the Sangam age,
significant developments took place in Tamil music, particularly in Carnatic music.
Musicians such as Appar, Thirugnana Sambandar, and Manikkavasagar contributed
immensely to the growth of Tamil music during this time. Tamil music's renaissance during
this era gave rise to the classic "Tevaram" and "Tirukkural" compositions, among
others.While the ancient text "Agastya" is often attributed to laying the foundation for Tamil
music, this sacred text is no longer extant today. However, it is acknowledged as a pivotal
source for the study of early Tamil music.The period between the 6th and 10th centuries CE
marked a revival of Tamil music, led by saints and scholars like Appar, Thirugnana
Sambandar, and Manikkavasagar. They breathed new life into Tamil music, and their works,
such as "Tevaram" and "Tirukkural," remain significant contributions to Tamil
culture.Overall, Tamil music and dance have deep-rooted origins and have evolved over
millennia, embracing influences and changes while remaining an essential and vibrant part of
Tamil culture.

The Essence of Tamil Music and Dance:

Music and dance are intertwined arts in Tamil culture. The term "Koothu" was used by
ancient Tamil people to refer to what we now call "dance." Words like "Natyam" and "Aadal"
also denote dance. During the Sangam period, there were literary works dedicated to music.
Literature on dance was also written. Hence, literature connected both these arts. A book
named "Agathiyam" dealt with music grammar. Hence, before Agathiyam, there should have
been many music books. Following Agathiyam, other music treatises emerged, including
"Perunari," "Perungurugu," "Muthunari," "Muthukurugu," "Panchaparadhiyam," "Pathinara
Padalam," "Vayapiyam," and "Kulottunga Isaivoli," among others. These books have been
lost to time. Scholars of the medieval period also provided commentaries on these ancient
musical texts.

Musical Instruments:
Thol Karuvi: Drum Instruments Thulai Karuvi: Reed Instruments

Fine Arts:
Tamil fine arts encompass the aesthetics, culture, and creativity of the Tamil people,
celebrating their beauty, traditions, and knowledge. This art form has been nurtured and
developed by the Tamils since ancient times. During the Sangam period, various art forms,
including sculpture, painting, and architecture, flourished, with sculptures carved out of
materials like stone, wood, copper, bronze, and gold.
Materials used for sculpting and carving include various types of stones, wood, copper,
bronze, and gold. These materials have been crafted into exquisite sculptures and artifacts,
showcasing the artistic and creative talents of the Tamil people. Tamil fine arts have played a
significant role in preserving and promoting the cultural heritage and traditions of the Tamil
community.
"Kallum ulōkamum ceṅkalum maramum
maṇṇum cutaiyum tantamum vaṇṇamum
kaṇṭa carukkaraiyum meḻukum eṉṟivai
pattē ciṟpat toḻiṟkuṟup pāvaṉa’’ (tivākara nikaṇṭu)

Temple Sculptures, Palace Sculptures, and Fort Sculptures:

Development of Sculpture During the Chola Dynasty:
During the reign of Mahendravarman I, sculpture and art flourished significantly. This period
saw the growth of temple sculptures, open-air sculptures, and intricate jewelry. Various forms
of sculptures like idols, jewelry, figurines, and ornamental carvings were created during the
rule of the Pallava dynasty.The Pallava period saw the rise of several famous temples and
sculptures, such as the Mandagappattu temple, Thiruchirapalli, Seeyamangalam,
Mamallapuram, Kanchi Kailasanathar temple, and Vaikunta Perumal temple. These temples
and sculptures from the Pallava era are still extant today.The Chola dynasty further elevated
the art of sculpture. During their reign, sculptures were made with great attention to detail
and craftsmanship. Chola sculptures were dedicated to various deities, including Shaivism,
Vaishnavism, Jainism, Buddhism, and the worship of minor deities. The Chola era is
renowned for its contributions to sculpture, and examples of Chola sculptures can be found
worldwide.
From the 7th century to the 13th century CE, the Cholas ruled with a strong and influential
reign. It was during this period that the art of sculpture saw significant growth. Notable
places where Chola sculptures are found include Kumbakonam, Thanjavur, Gangai Konda
Cholapuram, Darasuram, and many others.Chola kings provided significant support to the
construction of temples and sculptures. They initially emphasized the construction of
temples, followed by the creation of sculptures. The attire and ornaments of these sculptures
were incredibly detailed, with a focus on exquisite jewelry.
The Pallava era's sculptures, especially the monolithic temples in Mahabalipuram, are known
for their grandeur and artistic appeal. Among these, the monolithic rathas (chariots) and the
Varaha Cave Temple are prominent examples.
In terms of sculptures, Kumbakonam, which was famous for its temples, also excelled in
sculpture art. The one-pillared hall in Mamallapuram is globally renowned for its
excellence.Kanchipuram, famous for its silk sarees, is also known for its exquisite sculptures.
The golden hall of the Perur Pattabirama Temple, the Kanakasabhai hall in Meenakshi
Amman Temple, and the sculptures in Rameswaram are some remarkable examples.In
conclusion, the Pallava and Chola dynasties played a pivotal role in the development and
enrichment of sculpture art in India, and their contributions continue to be celebrated and
admired today.
The Distinctive Features of Tamil Sculpture:
In his book "Tamilar Nagarikamum Panpadum" (The Tamil Civilization and Culture), T.
Satyanamurthy highlights the distinctive features of Tamil sculpture. He elucidates these
features by drawing inspiration from the thoughts of Mayilai Seeni Venkatasamy, who states,
"Our sculptures do not merely depict beautiful images like mere visual objects but convey
profound thoughts and sentiments."Furthermore, V. Ganapathi, in his works, adds, "One
aspect of our sculptural art that distinguishes it from the sculptural art of others is that it
absorbs the aesthetics of dance."
During the reign of Mahendravarman I, Tamil sculpture witnessed remarkable development.
This period saw the creation of temple sculptures, open-air sculptures, and intricately detailed
jewelry. Sculptures dedicated to gods, especially in temples, reached their zenith during this
era. Notable examples include Mandagappattu, Thirucchirappalli, Thalavanur,
Seeyamangalam, Mamallapuram, Kanchi Kailasanathar temple, and Vaikunta Perumal
temple.The Chola dynasty further contributed to the evolution of sculpture art. Chola
sculptures were dedicated to various deities, encompassing Shaivism, Vaishnavism, Jainism,
Buddhism, and the worship of minor deities. Chola sculptures are renowned for their
exquisite craftsmanship and can be found worldwide.From the 7th century to the 13th century
CE, the Cholas ruled with great influence and patronage over art and culture. This period
witnessed a significant growth in sculpture art. Prominent places showcasing Chola
sculptures include Kumbakonam, Thanjavur, Gangai Konda Cholapuram, Darasuram, and
many others.

Initially, Chola kings emphasized the construction of temples, followed by the creation of
sculptures. Chola sculptures are known for their intricate details, especially in the attire and
ornaments of the depicted figures.During the Pallava era, sculptures like the monolithic rathas
(chariots) and the Varaha Cave Temple in Mahabalipuram gained global recognition for their
grandeur and artistic appeal.Kumbakonam, known for its temples, also excelled in sculpture
art. The one-pillared hall in Mamallapuram is globally renowned for its
excellence.Kanchipuram, famous for its silk sarees, is also renowned for its exquisite
sculptures. The golden hall of the Perur Pattabirama Temple, the Kanakasabhai hall in
Meenakshi Amman Temple, and the sculptures in Rameswaram are some remarkable
examples.In conclusion, the Pallava and Chola dynasties played a pivotal role in the
development and enrichment of sculpture art in India. Their contributions are still celebrated
and admired today, making Tamil sculpture an integral part of India's rich cultural heritage.

Types of Sculptures:
Full-Body Sculptures (முழுஉருசிற்பங்கள்): These sculptures depict the entire form of the
subject clearly, both front and back. Example: Statue of Natrajar.
Bas-Relief Sculptures (புடைப்புசிற்பங்கள்): These sculptures are characterized by the
subject being in low relief against a flat background, with only one side of the subject fully
detailed. Example: Sculptures on temple walls with figures in shallow relief.
Sculptures can be classified into two main categories, namely full-body sculptures and bas-
relief sculptures.
Full-Body Sculptures (முழுஉருசிற்பங்கள்): In these sculptures, the entire form of the
subject is represented, including the front and back.
Bas-Relief Sculptures (புடைப்புசிற்பங்கள்): In bas-relief sculptures, the subject is depicted
in shallow relief against a flat background, with only one side of the subject being fully
detailed.
Both types of sculptures have their unique characteristics and artistic expressions,
contributing to the rich world of sculpture art.

"2.10. Oviyakalai."
Oviyakalai, also known as the art of painting, is a form of art that involves capturing and
expressing various emotions and elements through visual representation. It is an elevated art
that transcends boundaries and speaks to the hearts of people everywhere, regardless of
language. Oviyakalai is a form of artistic expression that takes the viewer on a journey
through the artist's imagination, touching their hearts and awakening their
emotions.Oviyakalai encompasses a wide range of subjects and themes. Some paintings
convey joy and happiness, while others evoke deep emotions and thoughts. Oviyakalai stands
at the forefront of Tamil artistic traditions, representing the rich cultural heritage of the Tamil
people.
In ancient times, people used cave walls, rocks, and stones to etch their thoughts and feelings.
They brought their visions to life, starting from a mere idea to a tangible form on the canvas.
These early artists, through their paintings, not only documented their lives but also
contributed to the advancement of knowledge and literature.In Tamil Nadu, more than twenty
locations have been identified where rock paintings can be found. Painted in various shades
of red, black, yellow, and blue, these paintings are a testament to the beauty and diversity of
Oviyakalai. These rock paintings often depict scenes of daily life, nature, and ancient
rituals.The process of creating Oviyakalai involves careful planning and execution. Basic
sketches are drawn first, followed by filling in the details using various colors. This process
brings out the essence and beauty of the artwork. Oviyakalai involves intricate techniques and
skillful use of colors and forms.
Oviyakalai is not limited to one specific style or medium. It encompasses a wide range of
artistic expressions, from intricate temple murals to contemporary canvases. Artists use a
variety of tools and materials to bring their visions to life, including brushes, pigments, and
even their fingers.The history of Oviyakalai in Tamil Nadu is a rich and storied one. From
ancient cave paintings to temple murals, this art form has evolved and thrived for centuries.
Tamil Nadu has been home to many renowned Oviyakalai artists who have left a lasting
legacy through their masterpieces.In the 7th century CE, during the Pallava dynasty, the art of
Oviyakalai reached its zenith. King Mahendravarman Pallava was a great patron of the arts
and played a significant role in promoting this art form. He was known for his exceptional
skills as an Oviyakalai artist, earning him the title "Sithirakarapuli," which means "Tiger in
Art." This period witnessed the creation of exquisite Oviyakalai masterpieces in locations like
Mamallapuram and Kanchipuram.
During the Chola dynasty, beautiful Oviyakalai works adorned temples and other important
sites. These paintings included depictions of deities, celestial beings, and scenes from epic
tales. Notable examples can be found in places like Thanjavur, Chidambaram, and
Tiruvannamalai.The Vijayanagara period, starting in the 14th century CE, marked another
significant phase in the history of Oviyakalai. Tanjore, the great seat of culture, witnessed the
creation of stunning Oviyakalai paintings in temples and palaces. The art was further refined
during this era, with artists specializing in different styles and themes.In the 18th century CE,
the Maratha rulers of Tanjore continued to be patrons of Oviyakalai. They commissioned
artists to create exquisite paintings in oils, on wooden panels, and on glass. These artworks
displayed a mastery of color and technique, and they continue to be admired today.
Oviyakalai artists often drew inspiration from nature, mythology, community life, and
historical legends. They skillfully portrayed a wide range of human emotions, such as valor,
peace, anger, love, and sorrow. Various artistic conventions and styles, including the use of
different colors and forms, helped convey these emotions effectively.Oviyakalai thrives even
today, with artists creating vibrant and meaningful works that capture the essence of Tamil
culture and tradition. Their art continues to be a source of inspiration and a testament to the
enduring legacy of Oviyakalai.In conclusion, Oviyakalai is a timeless form of artistic
expression that has been an integral part of Tamil culture for centuries. It has evolved and
adapted over time, reflecting the changing tastes and preferences of each era. Today,
Oviyakalai continues to captivate audiences with its beauty and depth, making it an essential
part of Tamil heritage and artistry.

Siddhannavasal Oviyam Chola Period Fresco