Kerala has a rich repertoire of folk dances. They reflect the temperaments and moods of the localities in music and costumes and are highly developed.  sowing of seeds festivals etc.  Most of the folk dances are performed to the accompaniment of songs, which are sung by the dancers themselves or occasionally by a group of musicians. Some are performed to the accompaniment of musical instruments only

The Thullal: Ottam Thullal was first introduced by one of the leading poets of Malayalam named Kunjan Nambiar. The dancer is dressed in colourful costumes, painted face and headgear. This art form is performed during Temple festivals. Thullal is modified form of Chakiar Koothu, which is also a temple art performed during festivals. The Chakiars used to tense people present in the audiencewhile performing the Koothu. The Nambiars used to play ‘Mizhavu’ or Drum during Koothu. Kunjan Nambiar was an expert Mizhavu player. Once during Koothu Nambiar happened to fall asleep and the Cahkiar mde fun of him in the presence of the audience.
The nest night when the Chakiar resumed his serial Koothu, on th opposite side of the Temple ground a new stage was set up and a new art form which was unknown to the audience, so people rushed there to witness this new and funny art. Thus Kunchan Nambiar introduced his new invention. This was the Birth of a new form of art consisting of fast and rhythmic movements.
Ottam Thullal was first introduced by one of the leading poets of Malayalam named Kunjan Nambiar. The dancer is dressed in colourful costumes, painted face and headgear. This art form is performed during Temple festivals.

The Mudiyettu,: This Ritual art is performed in Devi Temples ofCentral Kerala. It represents the encounter between goddess Bhadrakali and the demon Daruka. Lord Brahma had given Daruka boon that he would not be killed easily. Each drop of blood that fell from his body would give rise to another Daruaka. Thus his opponent would be finally defeated. But the mighty Bhadrakali did not allow his blood to spill. He was destroyed by the fierce goddess wearing garlands of human skulls and bones. The goddess lifted him up and severed his head, licked every drop of blood that fell from his body. Mudiyettu represents the fight between good and evil and the final victory of good.

TheTheyyam: Theyyam or Kaliyattom is performed in the Temples of Malabar. A section of this art is known as Thira which represents lives of great heroes. It is usually performed by people of the backward community and is supposed to be nine centuries old. The performer after wearing a silk cloth round the waist and a crown on his head stands with devotion in front of the Devi Temple and recites ‘thottam’ describing the origin of the Theyyam he is about to perform. The Theyyam gets possessed and performs a rhythmic dance called urayal when the deity enters the body of the Theyyam.

The next ritual is called the ‘Uriyattu Kalapana’, when the devotees explain their problems to the Theyyam and in return the Theyyam explains how these difficulties may be overcome. Devotees offer money to the Theyyam. Different types of instruments like Drum, symbols etc are used a background music for the dance. It is performed at night and torches made of dried coconut leaves are used to light up the place.The Theyyam wears heavy makeup, masks, head gear bangles etc. The Potten and Gulikan Theyyams wear heavy facial make up and masks. They also use weapons such as swords, bows and arrows in addition to the colourful costumes.

The Mohiniyattam: This dance form is popular in Kerala. In thebeginning Mohiniyattam performed usually in Temples, exclusively by ladies. It is very graceful and elegant dance from which consists of mudras, expressions and rhythmic steps. The lyrics and slokas were compared by Maharaja Swathy Thirunal, Irayimman Thampi and such other great poets, representing various types of emotions. Beatifully dressed Devadasi girls devoted to the Lord used to perform this dance form in Temples. Now of course it has became popular and is performed on the stage to the accompaniment of drums, violin and other instruments. The music in the Sopanam style and the dancers are dressed in traditional white. Bharata Munis Mudras and Abhinaya are strictly followed.

The Thiruvathirakali: It is a celebration of the Birthday of Lord Siva in the Malayalam month of ‘Dhanu’ the astral day of Thiruvathira. Goddess Parvathy is supposed to have danced with her companions on this auspicious day. So even to this day the women of Kerala, in groups of sixteen or twenty dance round a lamp or floral decoration to celebrate the Lord’s Birthday. The dance is accompanied by the Thiruvathira Pattu or song. There is another form of Thiruvathira Kali called Kummi. These who participate in the dance stand in a circle and move attractively, clapping their hands.

The Oppana: It is a particular type of group song and dance performed during a Muslim marriage. This social entertainment is prevalent particularly in the Districts of Malapuram, Calicut and Kannur. It is usually performed by ladies. This song is said to be 600 years old. On the wedding eve the bride is made to sit in the centre, dressed in all her finery and her friends and relatives stand all round her clapping their hands, singing and dancing. Harmonium and Tabla are some of the Instruments used while singing. It is usually performed during night and the duration of the performance depends upon the length of the song.

The Koothu & Koodiyattam:   It is usually performed inside a hallspecially designed for the purpose, the Koothambalam as it is known. There are different types of Koothu like Chakiar Koothu, Nambiar Koothu, Tholpavakoothu etc. It is a Temple art usually performed in Temples during Festivals. Chakiar Koothu usually represented Sanskrit Dramas and Tholpavakoothu Tamil dramas and is performed by a single character. But in Koodiyattom there are two are more characters. The Cahkiar usually plays the part of a buffoon, whereas Koodiyattom represents events from mythology.
Tholpavakoothu is enacted on a stage built near the temple. This is actually a puppet show and the dialogues of the characters or puppets are spoken by artists behind the screen. The stories are based on an ‘Kampa’ version of Ramayana written by the Tamil Poet Kampa. The languages used is a mixture of Tamil and Sanskrit. 

The Kummatti,: This form of art is mostly found in Wayand, Trichurand Palakkad districts. The performers of Kummatti wear maska and the dress is made of grass and dry leaves. It is performed by different districts. In Trichur district, it is a form of social entertainment performed by youngsters of all communities. In order to receive the Blessings of the goddess. Sometimes eight or ten artists perform Kummatti, the leader of the team is Mother Kummatti holding a Kummatti stick. There is beating drum and singing with background music. Other characters like Sri Krishna, Sri Siva etc. are also seen on the stage. However Mother Kummatti’s appearance is most attractive, this character wears tha mask of a toothless old woman. The approach of Kummatti is indicated by the beating of a small drum. In Trichur it is performed for four days during Onam.

The Kurathiyattam: The Kurava Community perform this, during Temple Festivals. Both youngsters and middle – aged people perform this art. The artists consist consist of those who hunt the serpents, palmists and herb collectors. It is performed differently in the South and North. Only three artists perform in the south. Some times eight artists perform in the North. Very few musical instruments are used. The main characters are the Kurava and Kurathi who predict the future and also the wives of Vishnu and Siva. They dance with hand gestures. Expressing different types of emotions.

The Kanyarkali & Thayambaka: This is a very old art form permanentin Palakad District. It is a combination of Temple ritual and entertainment. It is played in four parts and lasts for four days. It is performed at night and continues till dawn.

Thayambaka: Group drummers numbering 50 or 100 or more accompanied by trumpets and cymbals, performing to a crescendo.

The Kathakali: Kathakali is the classical dance form of Kerala which is believed to have originated in the 17th century A.D. It is a dramatic art where the expression is the heart of its perfection. Thisspectacular dance form of Kerala is based on the guidelines laid by Sage Bharatha’s Natya Sastra; the ancient treatise on dance and drama, is over 500 years old. This elaborate art form is an integration of dance, music, poetry and histrionics. In Kathakali, make up is an elaborate process, taking long time for its perfection which is very essential for the nature and personality of the character being represented on the stage. Netrabhinaya is (abhinaya through the eyes) a vital part in Kathakali. Generally there are some classifications for Vesham. Thecha Vesham(painted make up). Thadi Vesham (bearded makeup), Kari Vesham( black makeup)  and minukku Vesham (polished make up) are important among them. Pacha and Kathi Vesham are the sub division of Techa Vesham. Kathi Vesham representing evil characters while Pacha (green) represented good and optimisticall characters. Thaddi has three sub divisions. Vella(white) Chuvanna (Red) and Karutha (black). Each colour is representing for performing certain type of characters.
There are 24 Mudras in Kathakali which enables to express the nine emotions. They are called love , valour, fear, contempt, loathing, serenity, wonder, kindness and anger. The Geetham (music) and the Vadhyam (musical instrument) which combines together for the dramatic and excellent performance of Kathakali, usually stories from the great epics like the Ramayana and the Mahabharatha are taken up for Kathakali performance.

The Padayani: Padayani is an artform depicting the story of the victory of goddess kali who after defeating the demon called Darika. It is a colourful ancient art form of Kerala. Padayani attracts lot of foreigners to Kerala as a colourful entertainment. The costumes of this art form is too elaborate and resembling just like ‘Theyyam’ another important art form of Kerala. It is performed in an open space near the temple and raised platform is not needed. For lighting purpose lighted torches are generally used.

The Kalarippayattu: Classical literacy works, like Dhanurveda,Agnipuranam, Natyasastra, Hasthangastam and Srakraneeti say that the warrior sage Parasuram was the first Guru (Master) of Kalarippayattu. It is said that Parasuram after reclaiming the land of Kerala from the ocean by throwing his Mazhu (battle axe), taught this martial art to his 21 disciples in order to protect the land and maintain peace. The others believe that the Lord Siva is considered to be the father of Kalarippayattu. It has been propagated by Parasuram in North and Sage agasthya in South.

Historical background (Evolution of Kalari) Kalarippayattu was an integral part of the Socio- Political system of Medieval Kerala. Medieval principalities and chieftain families maintained a military group of their own. Kalarippayattu, in such circumstances, provided the institutional base for the body building and training in combat, for the youth of the times, which became not only necessary but essential. Here specially noted that the Kalrippayattu training was undergone by almost every youth of the Nair Caste, the Kerala warrior Caste like the Samurai of Japan.

The Garudan Thookkam: This traditional dance form is performed in central parts of Kerala where the diety is Goddess Bhadrakali.Dancers dressed in the form of the Lord Garuda move to the tunes of the percussion instruments. The dancers otherwise known as ‘Thookkakaran’, preen the feathers with their beaks, peck, carry snakes in the beaks, dance in circle with their wings in spread, in joy imitate the Lord Garuda. With help of the background music, shout of the audiences, exploding sound of crackers all make an effect of war. At the end of the war the ‘thokkakaran’ climb in to the cart and rounds the temple, shedding the blood.

This art form is performed with the help of Chenda, Cymbol, Horn and Madalam which lasts for a full night. A structure known as ‘Koothamabalam’ (a temple like stage) is constructed using coloured paper and enchanting leaves of coconut fronts. The fully prepared structure known as ‘Thookuchadu’. These are carried in boats, trucks or handcards along with dance performers in a procession which is in the form of ‘Swan’ same as that of ‘Nalacharitha’, a famous Kathakali play. Only traditional lights like ‘Nilavilakku’ is used.

The Kalamezhuthupattu,:This is the ancient folk art of Kerala. This art form ia mainly belongs to the northern regions of Kerala. This traditional art form is believed to be 600 years old. The importance of the Kalamezhuthupattu is worshipping goddess Kali through it. It is commonly seen in Bhadrakali and Ayyappa Temples in and around Kollam, a district of Kerala. A group of Consists of five to fifteen members, performing this ritual.

Traditional songs accompanied by elathalam related to Goddess Kali are used for this ancient folk art. Usually five coloures are used to drew the picture of Bhadrakali on the floor. This ritual is performed by women neatly dressed wearing their hair on the side of the head.

The Theeyattu: This art form originated some 15,00 years back isperformed in villages of Central Kerala particularly Alappuzha and Chengannur. The performance starts at dusk and have 3 artists in a specially decorated pandal, the ‘Kalam which is a five colour design pattern along with Nilavilakku and peetam known as stool. They dance to the music of elathalam, chenda and Chengila. The main costumes involved are huge jingling anklets and face make-up with small dots. It is usually performed in Palaces and Namboothiri illams (homes) ao birthdays and very special occasions. It is a devotional offering made to goddess Bhadrakali and Sree Ayyappa.

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