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The Art of Pantomime in Kerala

By C. S. Srinivasachari

Vol. 9 · No. 4December - 1933pp. 967-968English

Summary

This article explores a traditional form of pantomime in Kerala known as Kūttu or Kūṭiyāṭṭam, where narratives from Sanskrit dramas are enacted through elaborate gestures, facial expressions and body movements rather than spoken dialogue. The author describes the training of performers, who learn complex mudrās (hand gestures) and facial techniques to convey emotions and actions. The performances take place in Koothambalams (temple theatres) and involve characters from plays such as the Nāṭyaśāstra and Bhasa’s dramas. The article notes that the art emphasises abhinaya (expression) and dhvani (suggestion), with musicians providing rhythmic accompaniment. It discusses how the pantomime preserves ancient acting techniques and has a ritual component, being performed as part of temple festivals. The author argues that studying this art form provides insights into the performance aspects of classical Sanskrit theatre and demonstrates the endurance of traditional performing arts in Kerala.

Conclusion

Kerala’s pantomime traditions like Kūttu and Kūṭiyāṭṭam showcase a sophisticated system of non-verbal storytelling rooted in classical Sanskrit theatre. By focusing on gesture and expression, these performances maintain continuity with ancient dramaturgy and offer valuable perspectives on the interpretation of Sanskrit plays.

Article order

In this issue

Vol. 9 · No. 4
829-834Kalidasa in ChinaLouis Finot835-853Vamana's Theory of Riti and GunaPrakash Chandra Lahiri854-865Krsna and JarasandhaSadashiva L. Katre866-871The Rise of Najib-ud-daulaJadunath Sarkar872-879The Architecture of the Taj and its ArchitectShyam Chand Mukherjee880-885The Puranic Traditions - (about earlier homes and migrations of the Indian Aryas)Narayana Tripathi886-897The Origin of the MalpahariasSasanka Sarkar898-911Some Sanskrit Texts on PaintingV. Raghavan912-922Two Types of Subjectivism in Monistic VedantaMakhanlal Mukherji923-929The Date of KarkacaryaG. B. Makoday930-933Literary Reference to SamudraguptaRamesh Chandra Majumdar934-942An almost Contemporary Account of Mahmud's Invasions of IndiaSri Ram Sharma943-947Daspalla Copper-Plate AgreementBinayak Misra948-950King Narasimha of Gaunda and the study of the Mahabhasya in BengalJogendra Chandra Ghosh951-956Early History of the Gahadavala DynastyDhirendra Chandra Ganguly957-966Epigraphic NotesDineshchandra Sircar967-968The Art of Pantomime in KeralaC. S. SrinivasachariCurrent article969-972The Dasas of the Karnatak CountryS. Hanumantha Rao973-977Hindu Theatre (Part 1)D. R. Mankad978-979AryadevaVidhushekhara Bhattacharya979-980Sankaracarya and DharmakirtiVidhushekhara Bhattacharya981Sankara's Reference to a Buddhist PassageVidhushekhara Bhattacharya981-983A so-called Convention of the Hindu DramaMano Mohan Ghosh984-986Varahamihira and BuzurjmehrAdinath Neminath Upadhye987-988Syntactic Position of the Preposition in ArdhamagadhiAdinath Neminath Upadhye989-991Vainyagupta DvadasadityaRamesh Chandra Majumdar991-994Hindu Theatre (Part 2)V. Raghavan995-1003The Seventh All-India Oriental ConferenceP. C. Bagchi1004-1030ReviewsBatakrishna Ghosh, Edward J. Thomas1031-1039Select Contents of Oriental JournalsUnexhibited1041-1042Addendum: Some Sanskrit Texts on PaintingV. Raghavan

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