FOLK DANCES OF TAMIL NADU

Introduction
From a very long time, Tamil Nadu has been raising a wide range of classical
and folk dances. According to Cilapattikaram and other ancient texts, they were
generally called Koothu. Tamil koothu can be divided into two types namely
Koothukalai (story said through the meadium of dance) and Adalkalai (pure
dance). Adiyarkku Nallar divides Koothu into two types Aga Koothu (inner
dance) and Pura Koothu (outer dance) which are further divided into Santi and
Vinodha Koothu. Santi koothu is mostly considered to be scholarly and
classical while Vinodha koothu is mainly for entertainment.
Cilapattikaram mentions eleven types of Koothu which were said to be popular
at that period and were performed by Madhavi during her Arangetram. They
are:
1. Alliyam
2. Kudam
3. Pavai
4. Kodukotti
5. Pandurangam
6. Kudai
7. Thudi
8. Pedi
9. Marakkal
10.Mal
11. Kadayam
Besides these, Tamil Nadu had group dances like, Aayar Koothu, Kuravai
Koothu and Veduvar Koothu.
Folk dance is the oldest and the most popular forms of dance among the hill
tribes of Tamil Nadu. It displays the customs and skills that has come down
from generations. The term Folk dance generally apply to dance movements
that display the tradition and day to day life of a man. They are progressive and
reflect the moods and temperaments of the locals in music and costume. Nature
has silently moulded these dances just like the people who dance them.
Religious sentiments can be seen in almost all the folk dances like harvest,
sowing of seeds, festivals etc. Many of these dances are performed together.
Most of these are danced accompanied by music sung by the dancers or by
musicians. The costumes and music are peculiar to the places where they
originate from. It has their unique flavour in it. Here, there is no difference
between dancers and audience. The dance is relatively simple but beneath this
simplicity is its origin and expression which are of high artistic intelligence.
There are more than twenty-five well-known folk dances in Tamil Nadu. Of
them the Karagattam, Oyilattam, Kavadi, Kaliyattam, Kummiyattam,
Puliattam, etc., are the most popular ones.

Poi Kal Kudurai Attam

Puravi Attam or Poi Kal Kudurai Attam is one of the most captivating folk
dances of Tamil Nadu. Its origin can be dated back to almost 4000 years ago. In
the period of Cilapattikaram, it was one of the eleven types of dances named
Marakkal Attam (ie. Stick dance). When demons sent poisonous snakes and
scorpions against Goddess Durga, she performed this dance with sticks on her
leg. This is performed by both male and female dancers who make this dance
lively by telling Puranic or Historic stories.
The horse is made using bamboo frame work covered with thick paper or
cardboard. It is then painted and decorated grandly to make it resemble a well-
bred palace or war horse. Through the hole on the back of the horse, the upper
body of the dancer from their waist is seen outside giving an illusion as if they
are sitting on the horse. They are standing on top of short wooden stilts to which
their feet are tied. In this way the dancers appear as if they are riding the horse.

Figure 1 POIKAL KUDURAI AND MARAKKAL

According to the tradition Kuntala Vadhyam, a double drum istrument and
Neiyandi Melam had been the usual orchestra they danced to. Besides lively
rides and pranks, the dancer performes thematic episodes of short stories like
Snake Churning, Love making between royal persons, Shivaji claiming his
victory sward from Bhavani etc. Bits of Abhinaya can be seen while
interpretting the episodes. They also perform many circus stunts and magic to
build up the surprise factor and captivate the audience. Some of the stunts they
perform are:
 Unripe bananas are placed in order on the stomach of a boy on the bench.
The dancer comes and cuts them all while dancing. It is also done
blindfolded.
 The dancer breaks the coconut placed on the boy’s head in one stroke.
Some dancers do it blindfolded.
 The dancers dance with three or four bottles stacked on top of the other
without dropping it.
 They scare the audience by screaming like a horse when they are near
them.
They dress in colourful attires. They wear crowns and turbans, grand and eye-
catching costumes which make them look like royals. Unlike the other folk
dances that have been nurtured in villages, the Poi Kal Kudurai Attam had been
a part of royal processions and Kaman Padigai (Cupid’s festival) in the past.
This is the reason why it may seem unsophisticated and simple due to its
spontaneity but is fully filled with humour.
Now a days, this dance is performed in marriages, village festivals and
government functions. It involves both entertainment and education through
puranic and historical stories they present.
 Karagattam
Karagam is a very ancient ritualistic folk dance that dates back to the time of
Cilapattikaram. Karagam is a pot filled with rice or water which is decorated
with flowers and a toy on the top. It is believed to symbolize Goddess
Mariamman.
It is divided into two categories Shakthi or Amman Karagam (performed as a
ritualistic offering) and Aata Karagam (performed for entertainment, joy and
happiness).
Figure 2 SHAKTHI KARAGAM AND ATTA KARAGAM

A small pot is filled with water and closed by a coconut. The coconut is
decorated by flowers and a lemon kept on top of it. It is believed that karagam
holds the holy waters within itself. When it is kept on the head it is as if they got
the fruit of bathing in it. After a strong fasting and deep prayers to the goddess,
the person who performs the karagam is taken to the temple accompanied by
musical band. From there he is taken to the river bank where the pot is filled
with water, closed by a coconut and a parrot toy is placed on top of it. This
growing of karagam is called Karagam Valarthal.
The performers of the karagam wear a dhothi dipped in turmeric water. They
apply sandalwood and vibhudhi all over their body, wear flower garland and
flower strings on their hand. Sometimes they carry a sword and dance with it.
The dancer is lead to the priest along with the beating of drums where the
karagam is placed on top of him. Then he starts his procession. The dancer
usually doesn’t hold the karagattam but there are exceptions. During the
procession the females wash the dancer’s feet and seek his blessings as people
believe that karagattam dancers predict the future incidents through the blessing
of the goddess and the prediction will be realized sooner or later. Then dancer at
the end is taken back to the temple where he removes the karagam. Before that
he isn’t supposed to take it off.
Karagam is called as Kumbakali/Kudathattam in Kerala, Karagulu in Andra
Pradesh and Karakunitha in Karnataka. This is the Kudakoothu mentioned in
Cilapattikaram.
Karagam is generally performed in Temple festivals, Houses of the rich,
Political campaign, advertisements, government functions, educational
institutions, Police department functions etc.
Based on decoration, Karagam is divided into four categories –
 Thondi Karagattam – The pot is made of clay and is generally filled with
rice. Paper flowers are used for decoration on top of the cardboard. Neem
leaves and stems are filled in the pot. Now a days bronze is used for the
pot.
 Agni Karagattam – In this, a lot of holes are put while the mud pot is
wet. Inside the pot a lamp is lit and the dancer performs with it. This form
has adapted a lot of changes according to today’s scenario.

 Adukku Karagattam – The pot is made of brass, copper etc. One pot is
stacked on top of the other. Only the bottom pot has rice and a stick is
kept in between the pot for balance. It is famous in Madurai and is only
seen there.
  Poo Karagattam – In this the pot is decorated with flowers all around it
and used by the dancers. Usually, it is supposed to be for the goddess but
as time changed it has become more commercialized and currently it is
done mainly for entertainment.

Costumes and makeup of Karagam dancers -

1. Eye – Kajal
2. Lipstick – Betel leaves
3. Big Bindi
4. Two plaits for the pot to balance easily
5. Fire cracker/December flower is worn joining the two plaits
6. The cloths of men and women are washed in turmeric water
7. Flower garland
8. Salangai
9. Crane feather or buffalo white hair are kept on top of the head
They dance without music or dance to Neiyandi Melam (i.e, two Nadaswaram,
two Thavil, two Pambai (thol karuvi), and one Thamuku (which gives an
echo)). They are performed in three speeds and acrobatic stunts can be seen
performed. Some of the acrobatic stunts are –
 Kerosene is taken in the mouth of the dancer and spitted out while it is lit
on fire. It gives the illusion of fire coming out of their mouth.
 Some people pick the currency note on the ground with their eye lids
while balancing the pot.
  While dancing some dancers move karagam from their head to their back
and bring it back to their head without touching.
 They pierce lemons with needle in their mouth while having the karagam
on their back.
 They also open soda bottles without touching them with their hand
while balancing the karagam.
 they climb two ladders while dancing and descend down.
There are different forms in karagattam –
 Kumba Attam – coconut or coconut tree flower is placed on top of the
mud pot with which the dancer dances. It is performed to get the
blessings of Guru, God and audience. The plot of this item revolves
around praising the lord, telling the history of the place, praising patriotic
leaders, and finally spreading social awareness.
 Mookayi Vesham – male and female dancers appear on stage dressed as
elderly and convey the concept of dance through various proverbs. The
interesting point about this is that the dialogues and slang they speak is
based on the region they are in.
 Kuravan – Kurathi Attam – a couple in Kuravan Kurathi make up come
on stage to take about the current affairs in a humorous manner. They
show their talent and cleverly exhibit their knowledge.
 Nalla Thangaal Kathai – it is considered as the main part of karagattam
where the dancers depict the daily life of general public, their habits,
social degradation, disbeliefs etc. Due to its simplicity and easy to
understand nature, it is easily accepted by the viewers.
 Pei Attam – this is a very thrilling part of karagattam where the dance
steps will be very fast and in jumbled form. The person who performs
usually predict the events of the near future and people believe it as the
words of God. This event is called Kuri Solluthal or Arul Vakku.
 Mangalam – it is the final item and the dancer’s thanks everyone and
ends their performance with a satisfactory note.

Bibliography
1. Dance Form of Karagattam – The Regional Folk Dance in Tamil Nadu by
B Dharmalingam (Shanlax, International Journal of Arts, Since and
Humanities)
2. Bharatha Natya and other Dances of Tmail Nadu by E Krishaniyar
3. A Study of Folk Dances and Tribal Sports in Tamil Nadu by Jawahar
Benjamin N (Alagappa University, 2005 batch)

Done By –
Radha Vedasri.S
MA Bharathanatyam
II Year