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This is an archive article published on March 5, 2006

Costume Drama

It is during this procedure that artistes are assigned characters, guruji tells me as he applies gum on the chutti to fix it around my jawli...

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THAT I can do facial acrobatics is something I8217;ve always known. It is a talent that has sent me out of a dozen classes during my school life. Making faces at teachers was almost a matter of reflex. Had I quit studying then and pursued Kathakali, my gurus might have showered praises on me for the same reasons my Maths teachers showed me the door.

Recently I decided it wasn8217;t too late to at least look like a Kathakali character. The revamp was to be done by husband-wife duo Radha and Bhaskar Menon, Kathakali exponents and founders of the Mudra School of Indian Classical Dances, Ahmedabad.

I already knew who I wanted to be. Of all the characters in the Mahabharata, I related to the mighty Arjuna maybe because of his relationship with Krishna. Besides, Kathakali usually has men in female vesham dress, the reverse is a rare occurrence. In fact, only one woman has ever taken up Kathakali as a profession.

I reach the dance school at 8.45 am. My guruji takes me to the well-ventilated aniyara, where the three-hour process is done. Menon lights an oil lamp, I offer him the guru dakshina betel leaf, supari and a one rupee coin, touch his feet and sit down on a straw mat, awaiting the makeover to beat all makeovers.

But I8217;m a little concerned about my skin. Seeing my worried face, Radha reassures me: 8216;8216;Don8217;t worry, the colours are natural and won8217;t damage your skin. Kathakali dancers have glowing faces.8217;8217;

To my left, there are greasy pastes of yellow, red, and green. 8216;8216;The colours are natural stones ground and made into a paste with coconut oil,8217;8217; says Menon.

Unmindful of my 153-cm stature and irritating contact lenses, it begins. A V-shaped yellow tilak, the trademark of an enlightened soul, is drawn on my forehead with the stem of a coconut leaf. My face is outlined in green, a generous amount of kohl borders my eyes, a spread of greasy red and powdery vermillion for luscious lips. After the rest of my face is filled in with green, I lie down, my head near Menon8217;s lap. 8216;8216;This is the most difficult part of the make-up,8217;8217; he says picking up the two-piece chutti a paper-made border to outline my face. 8216;8216;It frames the face so that expressions are enhanced,8217;8217; says Radha.

It is during this procedure that artistes are assigned characters, guruji tells me as he applies gum on the chutti to fix it around my jawline. 8216;8216;In the aniyara, artistes are supposed to address each other by the name of their characters. They speak out their lines and enact,8217;8217; says Menon. A conversation in Sanskritised Malayalam is definitely not bound to be about the weather.

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8216;8216;Is it true that girls used to fall in love with Kathakali characters?8217;8217; I enquire. 8216;8216;In the old days, it was the only form of entertainment, especially in villages where Kathakali was performed almost daily in temples. So, infatuations were bound to happen,8217;8217; says Radha. Thankfully, I8217;m not leaving the Menons8217; studio; not much chance of anyone falling in love with my gender-bender.

But love isn8217;t the only thing that gets caught in the voluminous skirts of a Kathakali character. There8217;s also politics. For example, if an artiste who wants to play Ravana is asked to be Narada by the guru, then he will not give Ravana a chance to speak his lines. If Ravana says, 8216;Narada, do you know how I got this boon from Shiva?8217;, instead of saying 8216;No8217; and allowing the mahisasura to narrate the story, the jealous Narada will cut him off and say, 8216;Of course I know it!8217; According to Radha, sometimes artistes even get carried away by their characters. 8216;8216;We8217;ve heard of a Bhima actually killing Dusshasana in a fit of uncontrollable anger. That8217;s what Kathakali does to you.8217;8217;

8216;8216;Your round face is ideal for Kathakali,8217;8217; remarks the master, as I admire myself in a hand mirror. Make-up done, my dressing session begins with the thaandipathippu, two fluffy bangle-like pieces of cloth tied to each ankle to strengthen the feet.

Now the difficult part. Menon begins tying the kachha a long strip of cloth around my waist. Eleven turns and 12 saris later, I feel 10 kg heavier. As if that wasn8217;t enough, he tucks in the pattu vaalu velvet tail; it8217;s an ornament to either side of the waist and the otta naakku one tongue, an accessorised strip of velvette into the front. One tonnage of fabric later I realise that Kathakali is about more than just the face. 8216;8216;Dancers have to be extremely fit since movements are strenuous,8217;8217; says the master.

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And the toilette isn8217;t over yet. There8217;s a bright-red choli-like top; ornaments on the wrists, shoulders, arms and ears; a chest plate resembling an elephant8217;s headdress; and a hefty crown. I see myself in the mirror and fall head over heels in love with the reflection. Though my appearance begs for a few weeks at a slimming centre, I8217;m beautiful. 8216;8216;God, had you made me taller by just 27 cms, I8217;d have been a towering Arjuna!8217;8217;

Armed with a bow and arrow, I try getting up but end up falling back with a thud. 8216;8216;Krishnaaaa,8217;8217; 8216;Arjuna8217; calls out, as he finally manages to get on his feet. A proud 8216;Arjuna8217; then twitches his eyebrows, widens his eyes and gives a winning smile. 8216;8216;Perfect!8217;8217; reacts Menon. 8216;8216;You could still learn Kathakali. I8217;ll teach you everything,8217;8217; he assures me, 8220;I8217;ll never send you out of class.8217;8217;

Hey Mrs Khazanchi, did you hear that?

 

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