Yesterday I attended a solo lesson with an Indian Dance teacher in London. During the lesson I was taught about Mudras and how this would be used in Kathakali. I also learnt a Dance which Incorporated these Mudras. We started the lesson by looking at 12 different mudras and learning how to create them with the hands. Ruby (the teacher) also taught me some ways the different mudras could be used during a performance.

Mudras I learnt: 

Pataka Mudra "flag"

Palm flat - fingers extended upwards - fingers together

Shows: Moon rising/setting, cutting, opening/closing, mirror, clouds, river, palm leaf, silence, stop, forest, wind, sleeping, signifying the beginning of the performance.

The first and simplest hand gesture.

Need to work on:









Tripataka Mudra "Three parts of the flag" 

Same as Pataka Mudra - Ring finger bent at 90 degrees

Shows: Wearing a crown/turban, writing a letter, Lighting, tree, Stroking the hair

Need to work on: Ring finger Bent at 90 degrees, done quickly.











Ardhacandra Mudra "half moon" 

Fingers outstretched towards sky - fingers together - thumb stretched away from the palm at a 90 degree angle

Shows: The Moon Offerings to god, Carrying a child, meditation, wrist, mirror, wiping sweat from the brow

Need to work on: Thumb outstretched not to be confused with Pataka Mudra.










Dola Mudra "Swing"

right hand over the left hand - wrists and fingers relaxed

Shows: used at the beginning of a dance piece to show visual eloquence, excitement, illness, drunkenness.

This is used to show a beautiful hand and add elegance and beauty to the piece.

Need to work on: Hands completely relaxed no tension, the look of elegance.




Anjali Mudra "Salutation" 

Palms pressed together - fingers outstretched to sky - fingers together

Shows: "Namaste", used to salute to dieties and other important figures, held above head for dieties, held in front of chest for teachers, used to show respect

Need to work on:






Ardhapataka Mudra "half-flag"  

Same as Pataka Mudra - Ring finger and smallest finger at 90 degrees

Shows: Tender leaf, new growth, drawing or writing, riverbank, knife, temple flag.

Need to work on: the two fingers at a 90 degree angle bent at the second knuckle, able to do this quickly.









Hamsasya Mudra "Swans Face" 

Tips of thumb and index finger joined - separate and extend the middle ring and little fingers

Shows: Tying the marriage, pearl necklace, carrying a garland, speaking, reading, singing.

Need to work on: Keeping the three fingers close together instead of spread out.








Mrigashirsha Mudra "deer head" 

Three middle fingers at 90 degrees from the knuckles, little finger and thumb outstretched to the sky.

Shows: foot massage, costuming and make-up, holding an umbrella, Krishnas flute.

Need to work on: Keeping the two fingers outstretched to the sky.








Always remember right hand starts and ends the movement. 



















The Final Product: 
This is only a small section of the video as blogger wouldn't let me upload the whole video



http://www.indiadances.com/ - Ruby Nayyar (Dance Class Information)



What is mudras? 

Mudras is the use of specific hand gesture to convey themes, words and messages to the audience. As there is no use of voice these gestures are key in showing the story/play. Mudras can be split into 4 catagories:

Samyuta mudras - double-handed Mudras

Asymyuta mudras - one-handed Mudras

Samana mudras - a single mudra depicts several things

Misra mudras - where the two hands show different mudras

Kathakali - The art of the non-worldly - Marg publications 


Mudras takes a lot of practice, a students hands will take months to adjust to the curls and twists of the root mudras. There are 24 of these root mudras. students begin by learning the gods.
https://www.pinterest.com/grammyc59/mudras-2/
What is Kathakali and where did it originate? 

Kathakali is a type of dance-drama that originates in south Asia. It was first discovered between the sixteenth and seventeenth century in the Malayan speaking areas of south-west India, now known as the Kerala state. Kathakali can be compared to Japanese noh and Chinese Jingju as it has only become known internationally in the last thirty to thirty-five years. The majority of Kathakali dance-drama is used to perform Indian epics such as the Ramayana and the Mahabharata or stories for the purunas encyclopedic collections of stories and knowledge.  

Kathakali Dance-Drama: Where Gods and Demons Come to Play 


Kathakali has become more and more popular in the past 15 years. Tourist who visit Kerala all want to go see a Kathakali dance-drama piece, this has increased the spread of this particular theatrical practice. It has not only increased in popularity within Kerala with casual tourists, but also with western performers, this has meant that Kathakali performances have been increasingly shown in western countries. 

The Kathakali Complex: Performance & Structure


Kathakali originates from the state of Kerala. Kerala has a population with Hindus, Christians and Muslims all living together in harmony. In Kerala they speak Malayalam which has a high percentage of words derived from Sanscrit. Kathakali means 'Story-Play' and is a unique art form. Kathakali has been likened to ballet, a miracle play, a dance-drama, an opera and a pantomime. 

Elements of Kathakali are noticeable in the ancient ritual plays of hindu temples and dance forms that have been developed in Kerala since the 2nd Century until the 16th Century. Kathakali is a continuation of older traditions that did not fully form until the Rajah of Kottorakkara wrote plays based off the Hindu Epic the Ramayana. Kathakali started to emerge as the 'peoples theatre' from traditional plays of the past. 

Ramayana and Mahabharata best Kathakali plays. Kathakali as we see it now dates back to the time when shakespeare was writing plays. The performances were given in Malabar at the time by troupes who were formed by the patronage of the local rajahs and other noblemen. 

A guide to Kathakali - David Bolland 

What are the conventions of Kathakali? 

Makeup - actors makeup is thick enough to provide a mask like feature. This is unusual as most other Indian originated theatre practices usually use masks to hide movements of face and eyes. Colorful face paints made from various stones and powders mixed with coconut oil.

Costume - enormous skirt containing 55 yards of material. A woolen jacket draped with lengths of cloth. Almost identical.

Headdresses - differ between characters

No scenery required - everything is describes by mudras and facial expression.

At front of the stage there is a large bellmetal lamp - however now a days use of floor lights.

Music - two drummers standing at the back of the stage on the left.

Mudras - hand gestures are used to explain the story. No words are spoken throughout the performance. However this convention is dying out in modern performances as the younger generations down't understand mudras as well. Is a sort of sign-language.

Starts at 8pm and continues to dawn of the following afternoon.

35 well known plays - usually performed for the Mahabharata and the Ramayana  

A guide to Kathakali - David Bolland 

Meisadhakam movements - Body movements used to convey the story.

Chuzhippu - dance steps used to convey story

Kathakali - the art of the non-worldly - Marg Publications



Lovesong is a play revolving around a couple who live together in their house and they reflect back upon the past life they had together. 
My directorial vision for lovesong evolves around the idea of reflection and the passing of time and the nostalgia of looking back on life. The set will contain one table positioned stage right along with a fridge which will also be used for the entrance and exit of some characters. Stage left will contain a bed and a cupboard which will also be used for the entrance and exit of actors. The target audience for my version of lovesong will be from the ages of 15 upwards, as this play would be relate able for any age. 
My production, called 'Lovesong' has the aim of revealing to the audience the passing of time and more importantly how valuable this time is. I want the audience to leave the performance with a refreshed outlook on life and the idea 'I must live everyday to the maximum' stuck in their minds. My performance would be targeted at those from the age of 15 and older. I feel that those under the age of 15 may not fully understand the concept of the piece and/or may be upset by the ending, Which involves the older lady killing herself with the help of the older man. 

Lovesong opens with an old couple and progresses to entwine both the lives of the old couple and the younger versions of themselves, through movement, lighting, costume change and set. As the play develops, the audience learn of issues that the couple have encountered in their lives, these include, not being able to get pregnant, cheating and money problems. By entwining these issues in both the older and younger couples lives, the audience will see how these issues have shaped the couples lives, how they have dealt with them, and how they continue to affect their current lives. I want to provoke sadness and play with the emotion nostalgia.  

I will achieve my directorial concept by using set, lighting, movement and props. 

For the set I want to have two main areas of the stage, one area a kitchen, containing a rectangular wooden table and a fridge, and the other area a bedroom, containing a double bed and small wooden cupboard. I decided on these two rooms as they have connotations of comfort, family and home. I decided to use wood for the furniture as it is something that ages, much like the actors in the play. After a while marks will appear in the wood, this is important to show time passing and also the idea of nostalgia, the marks were created by events that are now memories. I also want to have autumn leaves on the ground, this allows for the set to be both inside and outside at the same time. The use of leaves also have connotations of time passing and new beginnings, for example the ending of one year and the start of another. 

Movement is very important in piece, if not the most important production element throughout the play. I want to have both the old and young versions of themselves to come together at parts in an almost dream-like state. This also highlights the idea of nostalgia, for example each of the old characters not wanting to let go of their younger selves. To achieve this I will use a mixture of dance and synchronized moving. For example at the moments when I want there to be a clear connection between two characters they will either physically touch each other or look directly into each others eyes. I want there to be difference between the movement compared to hard times in the couples lives and the happy ones. For this I will use flowing slow dance compared to jerky off-beat movements. 

Lighting will be used to highlight moments of intensity and calm. Mostly the set will stay dark with a blue tinged light. I will use a blue gel, as blue has connotations of calmness, serenity and security. This will also be used at times of nostalgia which will also mean that when the blue light appears the audience will link this to the emotion nostalgia. The lighting will also be used to show night and day which can be used to show the passing of time. 

The props I will be using throughout the performance will be specific to achieve the directorial concept. For example I want to have square based cups to emphasize the idea of equal and togetherness. Squares and the number 4 can be associated with family which is what the couple so desperately want, but can not have. Squares will also be reflected in the space and the leaves scattered in a square formation. Props will also be used by the same character during youth and when aged, this will be to show how although time has passed, some things never change. This shows nostalgia. 

In conclusion all these elements will be used together to achieve m directorial vision.  


3 things: 

3 emotions seen - 
  1. Nostalgia 
  2. Sadness 
  3. Hope 
3 actions seen onstage - 
  1. Y women holds out peach while the O man takes a bite
  2. Y man moving papers and being angry 
  3. O women and Y women uses the hand cream 
3 moments of tension -
  1. "Do you even want them?" Y women asks the Y man about children
  2. Talking about going to the neighbors house and the man telling Y man that they should get a dog to fill their void
  3. The moment before the Y man reveals he knows about the Y woman's affair. 
3 shapes in the performance -
  1. Rectangles and squares 
  2. round eg. peach
  3. Rounded corners (fridge) 
3 sounds - 
  1. Sound of the record player 
  2. "Do you even want them?"
  3. Sound of the birds 
3 Colors - 
  1. Orange/rusty color 
  2. brown 
  3. Blue 
3 textures - 
  1. smooth wood 
  2. leaves 
  3. hard shiny fridge 
3 transitions - 
  1. O women goes in the closet comes out Y 
  2. O women goes out the door comes in Y 
  3. O women goes in the fridge comes out Y 


Lovesong is about a married couple who live simultaneously as their younger selves. In this production, I want the audience to be left with the thought that time is limited and life is worth living. We should not dwell in the past but also not worry about the future and be content in the present. My target audience would be 18+, 18 year olds are just starting out their life as adults and the older generation can be nostalgic towards the show. My message shall be conveyed using different production elements: my set shall include a simple kitchen set including a wooden table, the wooden texture creates the effect of strong house hold and time passing. Another texture I would use is the soft texture of the clothing the older woman uses. This texture shows elegance and warmheartedness that the older woman shows throughout her life. The other piece of the set is the bedroom, the bed is a square showing security and strength. Colour in the play will include blueish tint to show the sad ending. Another colour is autumnal colours signifying time coming to an end and the seasonality.
I will use movement to convey moments of emotion. These emotions will be nostalgia, sadness and a sense of wanting to do something with their life and wanting to live in the present.
List of sources: 

Zarilli, P. B., 2000. Kathakali Dance-Drama; where gods and demons come to play. London: Routledge. 
URL - https://books.google.co.uk/books?hl=en&lr=&id=8aKEAgAAQBAJ&oi=fnd&pg=PP1&dq=kathakali+drama+&ots=VswqK90Xnf&sig=FhofeSQHBHWavYoLPwgVkw4RL7Q#v=onepage&q=kathakali%20drama&f=false

Bolland, D., 1996. A guide to Kathakali. Third ed. New Delhi: Sterling Publihers Pvt. Ltd. 

Centre, K. K., 2013. Visit Our Gallery. [Online] Available at: http://kathakalicentre.com/index.php?id=gallery [Accessed 1 October 2015].


Zarilli, P., n.d. The Kathakali Complex: Performance & Structure. s.l.:Abhinav Publications .
URL - https://books.google.co.uk/books?id=CjwYysH2ZQIC&pg=PR11&lpg=PR11&dq=the+kathakali+theatre+book&source=bl&ots=GCGhrdNcVh&sig=0ChaQarpqKz1vRPQZTlZs3_ZBmo&hl=en&sa=X&ved=0CCsQ6AEwAWoVChMIq-az9_qgyAIVBVwaCh1dkQD9#v=onepage&q=the%20kathakali%20theatre%20book&f=false

Tickell, A., 2007 . Arundhati Roy's The God of Small Things: A Routledge Study Guide. Canada : Routledge .
URL - https://books.google.co.uk/books?id=IcwWCjtnv3IC&pg=PA41&lpg=PA41&dq=conventions+of+kathakali&source=bl&ots=FVl4hn0gCP&sig=AAXrGLhnn8Te64APzt97Jxgc11A&hl=en&sa=X&ved=0CEgQ6AEwB2oVChMIjtyF0f-gyAIVRlcaCh05hAy1#v=onepage&q=conventions%20of%20kathakali&f=false

Marg Publications , 1993 . Kathakali; The art of the non-worldly. Bombay : Marg Publications .

MUDRA CULTURAL CENTRE, n.d. Kathakali. [Online]
Available at: http://mudraculturalcentre.com/kathakali/
[Accessed 1 October 2015].

Vazhenkada Kunchu Nair Smaraka Trust, Karalmanna, n.d. Mudrapedia. [Online]
Available at: http://www.kathakali.info/en/mudrapedia
[Accessed 1 October 2015].

cyberkerala, n.d. KATHAKALI. [Online]
Available at: http://www.cyberkerala.com/kathakali/index.html
[Accessed 1 October 2015].


Shah, D. C., 2010 . Introduction to Ramayana. [Online]
Available at: http://www.boloji.com/index.cfm?md=Content&sd=Articles&ArticleID=1639
[Accessed 1 October 2015].

Penguin , 1998. The Ramayana. London: Penguin .

  • http://asianhistory.about.com/od/arthistoryinasia/ss/KoreanMasks.htm  web 

  • https://cross-currents.berkeley.edu/sites/default/files/e-journal/photo-essays/saeji.pdf essay

  • http://knutimes.com/news/article.html?no=688 article

  • https://books.google.co.uk/books?id=dxHQqLz5HBUC&pg=PT14&lpg=PT14&dq=talchum+mask+dance+korea&source=bl&ots=9nqeVRQFM8&sig=64-c-jtv5iL3lJEm6315QoC0p5I&hl=en&sa=X&ved=0CCYQ6AEwATgKahUKEwjM9Y2c-aDIAhWCDhoKHY-gAnY#v=onepage&q=talchum%20mask%20dance%20korea&f=false

  • https://books.google.co.uk/books?id=GE1vBgAAQBAJ&pg=PA69&lpg=PA69&dq=talchum+mask+dance+korea&source=bl&ots=pujeiVzqDZ&sig=ie0Gx5GCgKRagEIl11ezOySUR7s&hl=en&sa=X&ved=0CDAQ6AEwAzgKahUKEwjM9Y2c-aDIAhWCDhoKHY-gAnY#v=onepage&q=talchum%20mask%20dance%20korea&f=false

  • http://www.koreaaward.com/kor/309

  • https://weyesweb.wordpress.com/category/korean-dance/talchum-%ED%83%88%EC%B6%A4





  • https://books.google.co.uk/books?id=iVBFAAAAQBAJ&pg=PA181&dq=talchum+mask+dance+korea&hl=en&sa=X&ved=0CEkQ6AEwCGoVChMIoIu56oChyAIVxloaCh1_egMx#v=onepage&q=talchum%20mask%20dance%20korea&f=false

  • http://www.korea.net/NewsFocus/Culture/view?articleId=121717

  • https://www.youtube.com/watch?v=cmkYD5ZAfcs

  • file:///C:/Users/rao_e15/Downloads/Chapter%203.The%20Concept%20of%20Korean%20Folk%20Dance.pdf       deotbaegi chum, a free-style cheerful dance movement; and baegim sawi, 
http://www.korea.net/NewsFocus/Culture/view?articleId=121717 sawichum


https://www.youtube.com/watch?v=U5OgEtMN8ZQ song



Fourni par Blogger.