View allAll Photos Tagged request
@ LUX :
As per your request i went to test my extension tubes exclusively for statue capture.
tested with Kenko 12mm mounted on my EF-S 55-250 IS II. tried on Manual mode F 5.6,1/250,ISO 100,Focal lenth of 200mm. I love using 55-250 and 50mm with my extension tubes. it is a outdoor photo on a sunnyday so iam not used 50mm to avoid shallow depth of field.
About this shot i used Manual focus by selecting a centre focus point,Handheld,clicked around morning 8.30 am. I shoot RAW. i just increased a detail in camera raw. we need to fix the over & under exposure corrections either inside camera raw by using adjustment brush or burn&dodge tool inside photoshop .
Wait for sometime...we friends have a plan to go some temples shortly..will take more shots with extension tubes.
We received a reader request for an anniversary party from Victoria Lynn that I just couldn't wait to get started on:
"My siblings and I are trying to plan a 25th anniversary for my parents.We were thinking for the theme, an outdoors party seeing my parents both love the outdoors and the beach. We live around Lake Superior so we would love to have it on the beach or just the ceremony on the beach. We would like elegance and not luau-cheesiness. Silver is a must seeing its their 25th. Their wedding colors were lilac and a gray tone. My older sister and I are quite lost on which way to attack this! Do you think you could aid us a little? We would love your input!"
Personally, I think the colors lilac and silver make for a really enchanting event, especially when coupled with a waterfront venue. Introducing a few deeper shades of purple and gray into the party palette will help to add a sophisticated elegance to the evening.
Start the party just before sunset to take advantage of the beautiful scenery. -- Flickr user Xopher
Send this elegant invitation by Checkerboard, it goes perfectly with the silver and purple theme -- FineStationery
This cake is simple but so beautiful -- The Knot
Candlelight in the evenings adds extra shimmer in all the right places. I love the romantic ambiance these lanterns give off when hanging from the branches of a tree (would also work in a tent environment) -- Martha Stewart
Set hors d'oeuvres out on these beautiful silver platters -- Michael C. Fina
Pick a stunning silver frock for the lady of honor. I'm a huge fan of this Calvin Klein sheath and sequined dress from Adrianna Papell -- Nordstrom
Lavender hued hydrangeas would be perfect as centerpieces as the petals contain natural variations of silver and lilac -- The Knot
Fill candle holders with purple petals to line the length of each table -- The Knot
Place a few of these Adirondack chairs near the water in sets of two. Tie a small nosegay of purple flowers to one of the arms with purple or silver ribbon. Finish with a simple bow around the stems.-- Pocket Full of Roses
Set one of these dark gray river rocks at each place setting and attach a small card that reads "'You still make my heart skip a beat' -- Skip this rock and make a wish for the happy couple." I think I would replace the raffia with a thin silvery ribbon.
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren
in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog.
Earlier today, following a request from the Italian Maritime Rescue Co-ordination Centre, the LÉ James Joyce located and rescued a total of 453* migrants from a metal barge located 25 Nautical Miles North West of Tripoli. Unfortunately through the course of the operation 16 bodies were also recovered from the vessel.
A montage of some of my new lingerie.
Hope you all enjoy.
Photos of me enjoying it are reserved for "family", don't wish to offend anyone
I have a selection of pre adapted bus nets just request a livery or a bus and I'll try and give it a go!
*Update 7/1/2014 (See Picture!)
'Would you be wanting the train?'' is the message called out by the conductress on Abellio Scotrail's 1Y41 0821 Glasgow Queen Street - Mallaig service to the two bedraggled photographers on Beasdale station platform. The station is a 'request-stop' which opened in April 1901 with annual passenger figures now averaging around the 500 mark. This low figure reflects its isolation and restricted car parking. Arisaig is not too far away, and the natural choice for passengers other than probably walkers. On 30th June 2016 a pair Class 156 DMUs, with No. 156485 leading, approach with caution in case the bedraggled photographers do choose to join the train! Copyright Photograph John Whitehouse - all rights reserved
Senior Airman Ryan Handley, center, requests close air support from an AH-64 Apache helicopter from Charlie Company, 1-104th Attack Reconnaissance Battalion, Fort Indiantown Gap, Pa., as Master Sgt. Franko Galindo, right, and Sgt. 1st Class Steven Sparks from 2nd platton, Charlie troop, Team 2-2, 1-126 Cavalry Regiment, Michigan National Guard, Dowagiac, Mich. watch during Operation Northern Strike 2014 near Grayling, Mich. on Aug. 11, 2014. Both Airmen are Joint Terminal Air Controllers from the 148th Air Support Operations Squadron, Fort Indiantown Gap, Pa. Operation Northern Strike 2014 is a joint multi-national combined arms training exercise conducted in Michigan. (U.S. Air National Guard photo by Master Sgt. Scott Thompson/released)
This dolls was requested as a wedding gift. I was trilled to work on something really new that involved knowing more of a different culture of way of dressing. I did my research of the traditional "sari" and has was the proper way to wear it. Then I looked for the right jewelery, and of course, the right make up. The bride was very thankful and enchanted with the doll. I heard that she was going home (India) for her wedding. That was an awesome experience and I learned a lot about their costumes, but most importantly about their people.
Sorry if the pics are sort of dim, we have an overcast sky here since the morning.
For ~meganism~ Here's the back of her hair. As you see, its very much like Flawless, but with slightly more volume. It is very hard with gel, I could not get that comb into it much.
Requested by Ammo Go.
He requested a decal design from a drawing he made,
www.flickr.com/photos/42059809@N08/4371442705/
Right now it is photo shopped onto the torso and I modified a brickforge gladiator mask to fit the helm. I did the mask to see how the overall design looked.
Just need some input on the decal.
EOS 5D Mark III+Sigma 50mm F1.4 EX DG HSM
* If you have requests or comments, please describe these in photo comment space.
These images have been released in response to a FOIA request, case number 2014-0012-F, received by the National Archives. For more information on these images, please visit Researching Vice Presidential Materials. These photos will be available in the National Archives Catalog in July 2015.
Local Identifier: V1553-15
Created By: President (2001-2009 : Bush). Office of Management and Administration. Office of White House Management. Photography Office. 1/20/2001-1/20/2009
From: Collection: Vice Presidential Records of the Photography Office (George W. Bush Administration), 1/20/2001 - 1/20/2009
Contact: Presidential Materials Division (LM)
National Archives Building
7th and Pennsylvania Avenue NW
Washington, DC 20408
Phone: 202-357-5200
Fax: 202-357-5939
Production Dates: 9/12/2001
Persistent URL: catalog.archives.gov/id/20015664
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
March 29th 2015
There was a request from O that we did some baking today. I let the girls choose and they decided on "Lemon Buns". We adapted the Hummingbird Recipe by putting a small dollop of lemon curd into the batter before covering with more batter and baking.
Here they are waiting to cool before we iced them. For the icing, I substituted fresh lemon juice for the lemon zest to make it more tangy. Hopefully they'll be yummy.
Hummingbird Bakery Lemon Cupcakes
120g plain flour
150g caster sugar
1 1/2 tsp. baking powder
2 tablespoons grated lemon zest , plus extra to decorate
40g unsalted butter, room temp
120ml milk
1 egg
Lemon Icing
250g icing sugar
80g butter, room temp
2 T lemon zest
a couple drops of yellow food coloring (optional)
25ml milk
Preheat the oven to to 170C (325F).
Put the flour, sugar, baking powder, lemon zest and butter in a large bowl and beat on slow speed until you get a sandy consistency and everything is combined.
Gradually pour in the milk and beat until just incorporated.
Add the egg to the flour mixture and continue beating util just incorporated (scrape the side of the bowl) and continue mixing for a couple minutes until the mixture is smooth. Do not overmix.
Spoon the mix into paper cases in a 12 hole muffin tin until 2/3 full and bake in the preheated oven for 20-25 minutes. If you’ve got a fan assisted oven, check the cupcakes at 12-15 minutes. Check to make sure the cupcakes are fully baked by inserting a wooden skewer into the center – it should come out clean. Leave the cupcakes to cool slightly in the tray before turning out onto a wire rack to cool completely.
Lemon frosting: Beat together the icing sugar, butter, lemon zest and food coloring. Slowly pour in the milk and beat on slow until the milk is incorporated fully. Turn the mixer on high and beat until light and fluffy, at least 5 minutes. Frost the cool cupcakes and top with lemon zest.
(Previous KOM League Flash Reports are available on request)
Ausust 19, 2013
No Flash Report updates have transpired in the last four days. I'm not planning any Flash Reports for the foreseeable future. No one is corresponding with me about what is on their mind and fortunately I don't have any deaths to report. I do know a couple of guys have had a rough time lately do to surgery and other age related problems but they don't come under the heading of "Urgent Messages." When those arrive I'll report on them. The two people I'm tracking right now, due to health problems, are; Don Keeter and Leonard Van de Hey. Keeter is in a Kansas City rehabilitation facility and Van de Hey is in a Wisconsin hospital following surgery. Word received today was that there will be more of the same for the former Carthage Cub from 1950-51.
This note was posted August 12, 2013. There won't be another Flash Report for a few days. If you have anything to submit for the next report feel free to do so by contacting me at j03.john@gmail.com Thanks for checking out this site. The traffic on this site has picked up significantly since the Flash Reports have become a feature.
For the latest interview with former KOM Leaguer, Bill Virdon, go to this site: Celebrate West Plains: Bill Virdon reflects on his career - KY3 News
m.ky3.com
m.ky3.com/display/6497/story/458e4da0908d50238e442ec6fee3...
The next report will have an update on what happened with regard to the guy offering to give me a Mickey Mantle baseball card and also more information on the late Roger Vander Weide's baseball career. His older brother Robert was "top dog" in the operation of the Orlando Magic when they entered the National Basketball Association.
August 15, 2013. The photos are viewed by a number of former KOM league ballplayers and their families. I learned, by posting these photos that Leonard Van de Hey, a member of the 1950-51 Carthage Cubs had surgery yesterday in Wisconsin. Also, a nice note was received from the daughter of the late Johnny LaPorta, Carthage Cubs 1949-50 that she enjoys the photos. Her mother, Angie, the greatest scorekeeper in the history of Carthage baseball, is residing in a nursing home in the Chicago area and still retains the memories of many of the KOM era.
In the next Flash Report an article will address the subject of radio stations that broadcast KOM League games. If you heard a game or games over KGLC in Miami, OK, KSEK Pittsburg, KS, KDMO Carthage, MO, KIND Independence, KS, KWON Bartlesville, OK or WBBZ in Ponca City and wish to share a memory I'd love to include it in the article. There were no games aired of Iola, Blackwell or Chanute home games since those towns didn't have a radio station until nearly a decade after the KOM League folded.
The voice of Miami baseball was Russ Martin. He pastored the First Christian in Miami and was well known for the dramatic phrases and embellishment of games when they became a bit drab. For a while, Joe Pollock, former KOM spedster with three different clubs was his play by play color man.
Pittsburg Browns games were carried on KSEK radio. That station was on the Liberty network and carried a game of the day with Gordon McLendon and Lindsey Nelson doing most of the games. If you got bored you go up to the top of the radio dial and get the Mutual Broadcasting Company game with Al Helfer doing the announcing on radio station WMBH in Joplin. In the evening that station carried the Joplin Miner games with Bill Grigsby doing the play by play. As a point of trivia the last KOM game broadcast was in 1998 with Grigsby doing most of the play by play and not so ably assisted by Yours truly. That was about as much fun as I ever had. By the way one of the announcers for Pittsburg was Thad Sandstrom who later headed up the WIBW radio and TV empire. If you want to know the fate of Mr. Sandstrom check that out on the Internet. The story is too long and gory to place here.
Bill Platt, James DeStefano (aka Jim King), Fred Pralle and Keith Upson broadcast for Ponca City, Carthage, Bartlesville and Independence, respectively. The story of Upson is contained under the last photo on this site. He is shown with the 1948 Independence Yankees. There are some great tales about the last four guys mentioned but I'll hold off writing anything about them to see if anyone has read the material to this point.
I'm under pressure to keep this site moving along since g-mail loves me at about the same level socialism admires free enterprise.
By the way readers are encouraged to use the "Add a comment" in the space provided by Flickr.
The KOM League
Flash Report
for
August 5, 2013
______________________________________________________________________ _________________
The back-up site for Flash Reports and photos is:
Flickr: komleague's Photostream
www.flickr.com/photos/60428361@N07/
______________________________________________________________________ ________
Likes this stuff:
Just to let you know that I thoroughly Love the letters and the photos. To me it’s like getting a package from home. So I definitely do NOT want to become a member of the "Infrequent Flyer Club." You can send those letters and pictures my way any time you want to. Sue - KCMO
Ed comment:
It is most likely that Sue is referring to the photos that one of my readers has sent her way. But, I can always hope someone likes the Flash Report. Last week a nice summary was sent to me by Bill O’Donnell. I was going to use it to justify why I still prepare these reports but it got lost somewhere in the innards of the e-mail file. So, Bill, after reading this and you still feel the same way you might want to re-send me a copy of that.
But, on the other hand, if you receive these reports and think they have outlived their usefulness you can let me know. The beneficial aspect of these reports for me, according to what I read in the literature, is that keeping the mind occupied might help stave off old age memory and mental problems. And, it may help folks as old as you to read this material and see if you can make sense of it. That way we are either both crazy or dually sane.
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Message from Dave Vander Weide
John, you posted in my dad's guest book. Thank You. His funeral is tomorrow August 6. Would you happen to be able to e-mail me any stats on my dad? I know his family would love it. I remember as a kid going through a trunk with all his baseball gear and seeing him in a uniform with the Carthage name on it.
This is the obituary for Roger Vander Weide
obits.mlive.com/obituaries/grandrapids/obituary.aspx?n=ro...
If you click on the foregoing URL you’ll see his photo along with the obituary. For those of you who can’t or won’t do so here is the obituary.
VANDER WEIDE, ROGER Aged 85, was peacefully called home to his Lord and Savior on August 1, 2013. He was preceded in death by two sisters and five brothers. He is survived by his loving wife of 64 years, Thelma. He loved his children, David (Jean), Steven (Yvonne), and Robert; his grandchildren, Susan (Mike) Meeuwsen, Jenny (Mike) O'Neill, Ryan (Jenna) Vander Weide, Lisa (Joel) Terpstra, Chad, Josh, Hannah, Katie, Ben, Jessa, and Addie Vander Weide; and his great- grandchildren, Devin, Alexia, Breckton, Bellary Meeuwsen, Katelyn, Kylie, Kelsey O'Neill, Emma Vander Weide, Lillian, Natalie Terpstra were his pride and joy. Roger is also survived by his brother, Russell and Barbara Vander Weide. Roger owned Vander Weide Plumbing. He was a pitcher in the St. Louis Cardinals organization, and was an elder and Sunday school teacher at Hope Reformed Church. Funeral services will be held Tuesday, 11:00 AM at the Zaagman Memorial Chapel, 2800 Burton St. SE, with Rev. Peter TeWinkle and Rev. Dr. Robert Eckard officiating. Interment Chapel Hill Memorial Gardens. The family will greet relatives and friends at the funeral chapel Monday from 2-4 and 6-8 PM. Memorial contributions may be made to Breton Manor Rehab. - See more at: obits.mlive.com/obituaries/grandrapids/obituary.aspx?n=ro...
Ed note:
Vander Weide pitched for the Carthage Cubs in late 1947 and early 1948 but not enough to make it into the official records that were reported in the Baseball Guides. However, due to his late arrival, in 1947, he got into the team photo that included manager Al Kluttz. By that time Woody Fair was back in the Carolina league and Al, brother of big league catcher, Clyde Kluttz was in charge of the Carthage club. Also on that team was Ray Diering the younger brother of Chuck who was with the St. Louis Cardinals, Eddie Vargo who became a long time National league umpire, Wayne Boyer one of the famous baseball family from Alba, Mo. and Bob Mahoney who made it to the major leagues with the other St. Louis team, the Browns and also the Chicago “Pale Hose.” A lot of scribes used to call the White Sox by that name.
It was mentioned that Vander Weide is in the 1947 Carthage team photo. For those of you with the book “The KOM League Remembered” published by Arcadia, that photo is on page 27. Even if you don’t have that book the photo is still there. In that photo are 20 faces which include the batboy, Frederick “Pee Wee” Smith. Of that group only four are still alive. Even Harry Smith’s older brother, Pee Wee, has passed away. Harry is mentioned since he was the Carthage batboy in 1949 and on page 65 of the book mentioned previously struck the most casual photo of any batboy ever did for a team photo. For you who don’t have the book now nor ever will he is laying down in front of the Carthage team that had a few guys who turned in long baseball careers including the best known member, Bob Speake. Since Hal Brown is in that photo and receives these Flash Reports I’m mentioning him to let him know he isn’t forgotten. Of the 18 fellows in the 1949 Carthage Cub team photo only five are still living. Harry Smith suffered the same fate of his older brother Pee Wee and passed away a number of years ago at Carthage, MO. Pee Wee died in Kansas City.
Since it wasn’t mentioned in the obituary I’ll mention it here since I’ll get questions about the date of his birth. It was June 16, 1928 in Grand Rapids, Michigan.
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Still remembering the short term players:
Over the years I've discussed whether Carroll Lloyd "Biff" Jones ever played a game in the KOM. I found a column this morning where the Omaha, Nebr. native played shortstop one night for Ponca City at Bartlesville and had two singles in four at bats. He was born 6/17/1929 in Omaha and died 12/28/2008 while living with his son in Tonopah, NV.
Biff was with Ponca City for a very short time and upon his release he went to Chanute, KS on the way home to Omaha, and tried to get a shot with them. Dick McCoy verified that Biff did go to Nevada and died there for he and his wife Mollie attended the funeral. I happened to get interested in Biff in recent days as I had found his name on the roster of an Omaha team that played in the National Baseball Congress Tournament at Wichita in 1960.
Also on that 1947 team was George E. Seely (sometimes spelled Seeley). He was born either 1/1/1924 or 1/3/1924 according to the records I've uncovered. George pitched in two games for Ponca City before being sent to Zanesville, Ohio. If I have the right George Seely and I think that I do, he graduated from high school in 1943, went to the Univ. of Colorado until being inducted into the US Army, also in 1943. After his final year in baseball, which I think was 1948 he got a degree in education and wound up teaching school for many years in Pueblo.
Note from a baseball researcher
Hi: I have Carroll Jones playing ten games for Ponca City in 1947. Was he a first baseman?
He played in 2 games at first for Sheboygan in 1947. Ray Nemec
Ed reply:
The Ponca City News showed him playing shortstop upon his arrival. He wasn't going to play that position too long for Boyd Bartley and Jim Baxes were going to play the position for the lions share of the time.
Nemec’s reply:
Hi John: Is there any way to check a few more games to see if Jones did play another position? Since Boudreau played in 122 games at 1B, I doubt that Jones played 1B. If he did it may have been only one game
He doesn’t show in the SS fielding of players in ten games or more
Ed reply:
Jones didn't play any first base for Ponca City that I found. And, he didn't have that many at shortstop either. I found what I reported earlier in a scrapbook kept by a female fan of those teams for 2-3 years. I imagine Jones did a little pinch hitting after he got two hits in his first game. I'll look at that scrapbook again and see if anything else appears. I think he played for Ponca City prior to the arrival of Baxes from Santa Barbara. After Baxes got there nobody but Bartley was going even get a shot at playing short.
When Jones went back to Omaha and took up amateur ball he was basically an outfielder. In 1960 when the Omaha Thomases went to the NBC tourney in Wichita he was their left fielder.
The Omaha team was sponsored by the Thomas Plumbing Company. They had their share of ex-Joplin Miners, Independence Yankees, Iola Indians and Ponca City Dodgers on the1960 team. Don Hunter and Biff Jones had played at Ponca City, Robert "Bugs" Redden at Iola, Bill Holderness played for Independence in '49 with Mantle and later committed suicide, and Dave Benedict another of Mantle's teammates at Joplin was also on the team. You probably know that Dave Benedict's son was Bruce.
If any reader would like to chime in on additional information regarding Biff Jones, join the crowd that might not be large enough to fill a pay telephone booth. That is, if there are still any remaining in the era of cell phones.
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I wasn’t kidding
In a recent Flash Report I mentioned that my first book “Majoring in The Minors” was like a pretty girl, hard to get. Here is a note from “back east.” “Hi John, I thought I would see if I could hunt up your book. There is one on Ebay listed at $160, supposedly a discount from the original price of $200. Well, I decided to see how flexible the dealer is and sent in a $35 offer. She countered at $125. I then sent in another offer with a note stating that I really didn't want to pay more than $50, but since the book also has several autographs, the highest I could pay would be $60 She declined the offer with a note saying the lowest she would go was $100. I have a hunch that she might consider splitting the difference, but I was really stretching my budget to offer the $60. Maybe you have someone else that might continue the haggling and reach agreement. I will still keep my eyes open during my tag sale and flea market hunting. Enjoy the summer!!!!!!! John, I believe there are 28 players that signed the book plus yourself. Book was 111 of 300. Bob
Ed note:
I looked at that signature page once again. Only 26 guys signed it. Stokes Dodson and Nick Najjar signed twice. We had a book signing and those were being passed back and forth and guys didn't know if they had signed before or not. I could write pretty good size book just telling the stories I know about those 26 guys. Of course, it wouldn't be read. Bob Saban who signed that was the cousin of Lou Saban who coached the Boston Patriots and he was also kin to the current coach of the Alabama football team.
I looked closely at the top of one of those pages. I believe that is the hard cover edition. That book is worth more than the soft cover that came out four years prior to that. If that's the hardcover then it was signed by all those guys at Chanute, Kansas in 2000. That book was purchased by a public library. That is why it's in mint condition. I could buy that for $100 and still make a buck on it due to the autographs. But I'm not going to do it.
A tip from the old batboy
I believe that book is still listed on E-bay and if you don’t have the hard copy edition it would be worth the money if for no other reason than 26 autographs that you could never assemble.
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Recent honors bestowed on former KOM leaguers.
By Anvil Welch Globe Sports Writer
INDEPENDENCE, Kan. — Bill Virdon broke into professional baseball in 1950 with the Independence Yankees of the Class D KOM League.
Virdon, who’s lived in Springfield (Mo.) for more than 50 years, returned to southeast Kansas last Saturday for only the second time since 1950. The previous visit came in 1996 during a KOM League reunion engineered by league historian John G. Hall of Columbia.
Virdon, who was accompanied by wife Shirley, was inducted into the Independence Baseball Hall of Fame to highlight a Baseball Game Luncheon at the Independence Historical Museum & Art Center, 8th and Myrtle.
Virdon never played for the Yankees. He was traded to the Cardinals and was the National League Rookie of the Year in 1955. He was dealt to the Pirates early in the 1956 season. The left-handed batting, right-handed throwing Virdon patrolled center field for the Pirates most of the time through the 1965 campaign.
Guests last week, in addition to the Virdons, included longtime University of Kansas sports voice Bob Davis and Ban Johnson players Charles Stepp and Merle Blair. Also, seated up front for the meal of hot dogs, peanuts and cracker jacks were researchers Jan Johnson and Mike Webber.
Virdon, who answered several questions from the audience, had at least one very pleasant surprise in the crowd.
Bill Robinson, who lives in Wichita, and his late wife Virginia housed Virdon and another player in Independence.
“I don’t know anything negative about Bill Virdon,” Robinson said. “I never played baseball. We had a pleasant time.
“I’m 94. I do my own driving. I’m going to break Social Security,” Robinson quipped.
“We lived on North 11th St.,” Robinson said. “Our family ran Robinson Supply. I’ve been living in Wichita six years. We make it to Independence every three or four months.”
Virdon, naturally happy to see Robinson, said he couldn’t recall the name of the roommate.
“I don’t have a clue,” Virdon, 82, said with a laugh.
Virdon, who played Ban Johnson baseball for two summers at Clay Center (Kan.) before signing with Tom Greenwade and New York for $1,800, had no problem with Independence’s role in his development as a player.
“I found a position,” Virdon said. “I wanted to be a shortstop. Bunny (player/manager Bunny Mick) put me in center field.”
Just three players on the 1950 Independence Yankees reached the major leagues — Virdon, Don Taussig, another outfielder, and pitcher John Gabler.
The Independence roster was sprinkled liberally with southwest Missouri youths (a testament to Greenwade).
Bill Drake, a 1948 Joplin High School graduate, was a right-handed pitcher on the club. Drake, who played American Legion baseball in the summer, starred in football for the Eagles for Russ Kaminsky and in track for K.E. “Doc” Baker.
“Bill’s strength, first, was as a defensive player,” Drake said of Virdon. “He was a good overall player, of course. The thing I remember as much as anything about him was simply he was a good man. He was a gentleman. I respected him.”
Drake, also a Baxter Springs Whiz Kid, continued playing baseball after his professional stint as a third baseman/pitcher with such semi-pro teams as the Miami-based Tri-State Miners and Home Street Garage of Kansas City to supplement his income.
Drake, 83, said he once hit four consecutive home runs in a game for Home Street Garage. He lives in Raytown.
Virdon was Virdon last week, indicated museum coordinator Sylvia Augustine, with his accommodating manner.
“He always has been that way, I understand,” she said. “He signed everything that was brought to him.”
Virdon, a manager of the year in both the American League (Yankees) and National League (Astros), joined individuals Mickey Mantle, Ralph Terry, Glenn Wright, Bill Walker, Cy Blanton and Eugene Packard in the Independence shrine: The Independence Producers of 1921 and 1930 also have been honored.
The Western Association Producers of 1930 claim the first night game in organized baseball on April 28 at Shulthis Stadium in Riverside Park.
Lloyd Lee Dodson enshrined
cjonline.com/sports/2013-07-17/kevin-haskin-rich-baseball...
Kevin Haskin: Rich baseball history shared at induction ceremony
Inaugural class enshrined into Shawnee County hall
There was mention of Connie Mack on Wednesday at the Bettis Family Sports Complex.
That was a reflection of just how much history was shared at the induction ceremony for the inaugural class of the Shawnee County Baseball Hall of Fame.
Lee Dodson, known simply as Mr. Baseball in Topeka, referenced Mack as one of his heroes.
“I like guys who lived to be 100, or close to it, since I’m closing in on it,’’ said Dodson, who at 89 shared some witty insight into a sport he loved ever since he attended his first game.
That happened to be at Chandler Field in Topeka. Dodson, who would go on to play professionally before coaching and organizing scores of teams and leagues, watched that day as his father managed a club.
“I couldn’t figure out,’’ said Dodson, “how the person who invented this game I was watching could make it so a ball hit to the shortstop could result in a play that was so close involving the batter who was running to first base. It was such a close race. That, and a lot of other things, absolutely hooked me.’’
Over time, Dodson figured quite a bit regarding baseball. So too did the other inductees in the inaugural class — Ken Berry, Beany Conwell, Bingo DeMoss, Marion McDonald, Mike Torrez, Fred White and Gene Wilson. The wide-ranging group represented players, builders, coaches, media and umpires.
The hall does not yet have a permanent display, though information on the inductees and history of baseball in Shawnee County can be found at www.sncobaseballhof.org.
When addressing the audience Wednesday, Berry told how he agreed to have his name affixed to a complex that would eventually be home to numerous youth teams.
“They called me up in 1969 and asked if they could put my name up,’’ recalled Berry, “and I said, ‘Sure, but you guys should know I’m only hitting .230.’ ’’
That recollection came from his 14-year career in the major leagues, in which Berry was an All-Star outfielder and two-time Gold Glove winner. Berry credited Conwell for leading the innovators who started the Ken Berry League. Conwell became the league’s first chairman of the board and was a fixture at the facility. He engaged in every task imaginable while also helping organize several teams.
In accepting the glass obelisk presented to each of the inductees, Conwell’s son, Kent, said: “As I know my dad would like to say, ‘Thank you. Now let’s go build something.’ ’’
For McDonald, his most enduring project was at Washburn.
It was in 1957 that he reinstituted a baseball program for the Ichabods as their coach.
His son, Bill, recently moved back to Topeka after spending 42 years in Michigan. He remains impressed by all the people who recall his father, who also served as a professional scout.
“I hear so many wonderful stories about my dad connecting people with baseball,’’ McDonald said.
One favorite that McDonald shared was the origin of the uniforms Washburn once wore that read “Topeka’’ across the chest.
Turns out, Marion McDonald got the Topeka Reds to donate them to WU after the minor-league team left town following the 1961 season. Bill McDonald said he heard that Pete Rose’s name tag was stitched into one of the uniforms, a story he still needs to research.
One inductee into the Shawnee County baseball hall who pitched to Rose was Torrez, who won 185 games and posted a 3.96 earned run average over 18 big-league seasons.
Another inductee, Fred White, called many of the games Torrez worked. The longtime anchor for both WIBW television and radio went on to become a broadcaster for the Kansas City Royals.
Although a family commitment prevented Torrez from attending, Berry was a contemporary who shared his respect for White, who passed away earlier this summer after battling cancer.
“I was very lucky to have someone like Fred and also Bob Hentzen of The Capital-Journal cover my games,’’ Berry said. “You couldn’t have asked for two greater guys to interview you after you played your heart out. I was very appreciative of Fred and all he did for me.’’
The inductee who was as responsible as anyone keeping games rolling smoothly was Wilson, a longtime umpire who first came to the state as a hot-shot recruit who played basketball for Kansas State. Wilson went on to umpire through four different decades. The manual he wrote for local American Legion umpires was incorporated at the national level.
“I had fun with the game,’’ said Wilson, “but I was serious too. Sometimes, though, you had to lighten up.’’
Like the time Wilson was working a Gopher League game at the very spot where he spoke Wednesday, the former SCABA diamonds.
“I crouched down and my pants ripped,’’ he recalled. “Before long, I had three mothers come down from the stands offering me safety pins.’’
Stories. Many were shared Wednesday reflecting the impressive history of baseball in Shawnee County.
DeMoss, an inductee who began playing for Negro League teams while in high school and went on to become the standout second baseman of his time, gave the class a feel that dates to almost the beginning of the 20th century.
Yet here we are in 2013 and baseball remains vibrant.
“I thank the inventors and the people that improved on it,’’ Dodson said. “Baseball has been total enjoyment for me.’’
Ed note:
Lee Dodson of the 1946 Chanute, KS Owls and Bill Virdon of the 1950 Independence Yankees are both very special individuals. I have got to know each of these fellows over the years and it was especially difficult to miss their induction ceremonies into halls of fame in two Kansas cities. It was very tough to ignore them at a high point in their lives when both of those guys came to Carthage when they hung my mug on the entrance to the Carthage ballpark in 1999. But, although I wasn’t in attendance of either of those events I’m especially proud of both those guys and want them to know it.
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Predictions
Back in 2004 there was a KOM league reunion held at Carthage, MO and when a group of old ballplayers arrived on the scene at the baseball field there was a large number of young ballplayers who were touring the nation as the representatives of the American National team. Sam Dixon struck up a conversation with one of the leaders of that group and the gentleman told him to keep an eye on one player in particular. He was a lad from San Diego and Dixon promised to look out for his eventual rise to major league stardom. After that reunion concluded Dixon handed me the sheet of paper the coach of the team had given him and told me that I should keep it. Well, I looked at it again after nine years and started down the list. I got as far as “S” and recalled the guy with that initial for his last name and he never made it. I figured with just a few names left on the list that none of those guys made it. And, then I saw two fellows with the same last name... Upton. Quickly, it came to me that Melvin Emmanuel and Justin are the same guys who play for the Atlanta Braves. Most people recognize Melvin as “B. J.”
What struck me that morning, nine years ago in Carthage, was an exodus from the ball field when it was announced that a team of random drug testers were there to check the young American team. Those guys who exited the field came out on the sidewalk slamming down their equipment and crying like babies with the full knowledge that they hadn’t played by the rules and their time on the team was over. Now roll the clock forward just nine years and word came down today that some guys who didn’t play by the rules will get to sit it out for a while. Isn’t it great that “Time wounds all heels?” These guys are getting what they deserve but maybe they aren’t getting enough of what they deserve. When the rules set forth permanent banishment from the game for rule breaking then fairness will have a new meaning.
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Conclusion:
In the last exciting edition of this newsletter it was mentioned that although all the copies of “Majoring in The Minors” were in the hands of others I still was able to share a copy that the late Tom Tarascio handed back prior to his death. I sent it along to a new friend in Pennsylvania who was coached by Jim McHugh former KOM leaguer for parts of four years.
Within days of sending along the big green book and a Mickey Mantle-Before The Glory copy I received this note. “Thank your for the book ‘Majoring in The Minors’ and ‘Mickey Mantle-Before the Glory’ and the Mantle pin. The books will be part of my summer reading. Maria McHugh donated the Jim McHugh-Jimmy Foxx letters to the Philadelphia Athletics Historical Society in Hatboro, PA. The Athletics Historical Society closed this past spring and re-located to Spikes’ Trophies, 2702 Grant Ave. Philadelphia. Thanks again John--your book made my summer.” Sincerely, Bob. G.
Ed comment:
Many years ago Jim Mc Hugh sent along a letter he had written to Jimmy Foxx when the Philadelphia A’s great Hall of Famer was ill. Foxx sent him a letter in return promising to get better in order to make his young fan happy. McHugh gave me that material a number of years ago. One day I took both of the letters and added a photo of Foxx and McHugh and sent it back to him with the explanation that it was such a great item he should share it with the family. I was pleased to learn it was now in the Philadelphia A’s Historical Society.
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Well, that’s it for this time
If you have anything to share with regard to the Flash Reports, let me know.
P. S.
Oh, I’m not done. Last week I received a CD from Nick DeMaio of the 1952 Miami Eagles and a teammate of the late Jim McHugh. Nick is the “big guy” with Gunsmoke. That is a country-western band out of Darien, CT. In recent weeks his group appeared on the “Shot Gun Red” show on the cable channel, RFD. Sine I couldn’t that channel through my cable service Nick was kind enough to send me a CD. The music of Gunsmoke is of the genre and era when music was still be made and the lyrics weren’t “x” rated. Gosh, I love the past for a lot of reasons and one of the biggest was the music. Thanks again Nick for your kindness.
Another P. S. or P. S. S.
As I was finishing up this report a telephone call was received from a gentleman who remembered me from my last fling at theater. A few years back I was the voice of Lou Gehrig in a performance attended by few and appreciated by even fewer at a local playhouse. A group from that playhouse performed at one of our KOM league reunions and they were top flight in every aspect and may well have been the top group ever at any of the dozen or so reunions conducted. Anyway, a fellow who attended that performance was the most recent caller and told me he wanted to meet me for coffee. He said that he had recently picked up a baseball card of a former KOM leaguer and wanted to give it to me. So, a coffee date has been set for Thursday morning at a local grocery store. Oh, the baseball card he has of a former KOM leaguer is that of a guy he called “Mickey Mantle.” Has anyone ever heard of that name? I’ll let you know next time about the card and a little more about the guy who is purportedly on it.
As requested by The.Cursed.Prince on Flickr, here are the Platinum Belle Limited Edition 17 inch doll (2016, #107 of 500) next to the Alice Limited Edition 17 inch doll (2011, #241 of 500). Both were made and sold by the Disney Store. They are both very beautiful dolls, with spectacular skirts. They have been fully deboxed, and standing side by side, supported by their included display stands.
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.
HISTORY
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.
As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.
KATHAKALI PLAYS
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.
Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.
MUSIC
The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.
As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.
PERFORMANCE
Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).
ACTING
A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.
There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.
The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.
NOTABLE TRAINING CENTRES & MASTERS
Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.
‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.
Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.
Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.
KATHAKALI STYLES
Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:
Vettathu Sampradayam
Kalladikkodan Sampradyam
Kaplingadu Sampradayam
Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.
OTHER FORMS OD DANCE & OFFSHOOTS
Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.
As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.
Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).
Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.
NOTED KATHAKALI VILLAGES & BELTS
There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.
AWARDS FOR KATHAKALI ARTISTS
Sangeet Natak Akademi Awardees - Kathakali (1956–2005)
Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}
KATHAKALI ATTAMS (ELAKI ATTAMS)
Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).
The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.
VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA
Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.
When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).
"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.
The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.
UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY
Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.
Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."
Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.
SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM
While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.
When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."
THANDEDATTAM: RAVANA IN BALI VADHAM
After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."
ASHRAMA VARNANA: ARJUNA IN KIRATHAM
Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."
Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."
A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.
AN ATTAM BASED ON A SLOKA
Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.
Kusumo Kusumolpatti Shrooyathena Chathushyathe
Bale thava Mukhambuje Pashya Neelolpaladwayam
Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).
A CONVERSATION BASED ON A SLOKA
Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:
Pitha: Kushalee Mama hritha Bhujaam
Naatha Sachee Vallabha:
Maatha: kim nu Pralomacha Kushalinee
Soonurjayanthasthayo
Preethim va Kushchate Thadikshnavidhow
Cheta Samutkanuthe
Sutha: tvam Radhamashu Chodaya vayam
Dharmadivam Mathala
Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.
SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM
Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.
He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.
Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:
Ekopi Thraya Iva Bhathi Kandukoyam
Kanthayaa: Karathala Raktharaktha:
Abhrastho Nayanamareechi Neelaneelo
Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.
Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to
Bhumau Talcharana Naghamshu Gaurgaura:
Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".
At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.
TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM
[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]
SCENE 1
When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.
SCENE 2
(The tapas itself is shown as a part of autobiographical narration of adult ravana)
Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.
I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.
In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.
[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]
KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM
[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]
Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).
“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”
Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.
WIKIPEDIA
By request of the Eurobricks forum: the Deathraven. It's a weird mash-up of 2 B-Wings.
I had to do a bit of re engineering on the bridge part to make it studier, but I think it came out ok.
For more info on the fighter, check this link.
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WOW, Ive had a great response to this stream of photos, and a lot of requests for different poses etc, So here by request are a selection of photos as request by many different people. I Hope you like them
📝 This image is available under Creative Commons 2.0 (Attribution required). Please link to the original photo and the license. License for use outside of the Creative Commons is available by request.
..\description_code.txt
Description:
ITEM Identifier: 87-M130, 66o.
Architectural drawings. Walker Gordon laboratories: 4 negative photostats, 1929; Noyes houses, Holderness New Hampshire: negative and positive photostats, 1929; Mary Huntington Pew, Rockport,: pencil and blueprints, 1933; Conklin house: photostats, 1941; 305 Broadway, n.d.
Repository: Schlesinger Library on the History of Women in America.
Collection: Elisabeth Coit Papers
Call Number: 87-M130
Catalog Record: hollisarchives.lib.harvard.edu/repositories/8/resources/7565
Questions? Ask a Schlesinger Librarian
..\description_code.txt
Description:
ITEM Identifier: 87-M130, 66o.
Architectural drawings. Walker Gordon laboratories: 4 negative photostats, 1929; Noyes houses, Holderness New Hampshire: negative and positive photostats, 1929; Mary Huntington Pew, Rockport,: pencil and blueprints, 1933; Conklin house: photostats, 1941; 305 Broadway, n.d.
Repository: Schlesinger Library on the History of Women in America.
Collection: Elisabeth Coit Papers
Call Number: 87-M130
Catalog Record: hollisarchives.lib.harvard.edu/repositories/8/resources/7565
Questions? Ask a Schlesinger Librarian
Met 3FM Serious Request 2015 zetten we ons dit jaar in voor kinderen en jongeren in oorlogs- en conflictgebieden: deze generatie leeft onder de meest extreme omstandigheden en heeft daardoor weinig kans op scholing en ontwikkeling. Zij zijn de stille slachtoffers van de oorlog. Voor meer info, check: www.3fm.nl/seriousrequest
Photos for editorial use ONLY. To purchase high resolution photos, please email press@worldtabletennis.com with your photo requests.
Metallica | Morumbi - São Paulo | Brasil - 2014
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Description:
ITEM Identifier: 87-M130, 66o.
Architectural drawings. Walker Gordon laboratories: 4 negative photostats, 1929; Noyes houses, Holderness New Hampshire: negative and positive photostats, 1929; Mary Huntington Pew, Rockport,: pencil and blueprints, 1933; Conklin house: photostats, 1941; 305 Broadway, n.d.
Repository: Schlesinger Library on the History of Women in America.
Collection: Elisabeth Coit Papers
Call Number: 87-M130
Catalog Record: hollisarchives.lib.harvard.edu/repositories/8/resources/7565
Questions? Ask a Schlesinger Librarian