An Introduction to Kathakali Costume

by Wendy Meaden
Published in TD&T, Vol. 49 No. 1 (winter 2013)

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an Introduction to

Kathakali
costume

by wendy meaden

The classical Indian dance drama Kathakali is steeped in tradition, including codified forms of music, movement, gesture, character, costume,
and makeup. English language scholarship on Kathakali has so far focused primarily on its history, literature, music, and movement aspects.
While costume and makeup are equally appreciated components of the
spectacle, they are often documented minimally. Most researchers list five
or six categories of characters, divided and identified by color coding of
makeup, but they provide even less information on costume. The information available gives costumers little insight into the construction of or
materials used in Kathakali costume. This paper presents the results of
research and a precise documentation of an authentic male and female
Kathakali costume. Supplemental information on Kathakali costume traditions comes from interviews with Kathakali teacher/scholar Kunju Vasudevan Namboodiripad of Kerala, India, and veteran Kathakali performer
Bhasi Puligari, conducted during a collaboration and residency at Butler
University in the fall of 2011.

Introduction

Bhasi Puligari as Yamaduta in paccha costume. Photo by R. Brent Smith.

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Kathakali is a traditional dance-drama from the Indian state of Kerala. It

developed as a distinct art form in the mid-seventeenth century, drawing
influences from a variety of other performance traditions. Men traditionally played all roles, but women train and perform in some contemporary
troupes. The epic stories come from the Ramayana, Mahabharata, and
Bhagavata Purana. Characters are mostly superhuman archetypes: gods,
demons, and humans, plus a few animals. Kathakali can be performed in
temple grounds as well as in private and public areas, and there is implicit
understanding that Kathakali, like its forerunners, reinforces moral codes
and glorifies the gods through dramatic representation.
The performance integrates drumming, singing, cymbals, and dance
marked by specific body stances, hand gestures, facial expressions,

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Kathakali performance in Kerala, India. Photo by Kunju Vasudevan.

passionate, heroic but aggressive, and tamasik =demonic, rude, evil). These broad character groups are then
divided into seven types which share colors and styles of
makeup (paccha/green, payuppu/ripe, katti/knife, thadi/
bearded, kari/black, minukku/shining, and theppu/
special). Within each group there are variations for different characters and situations, but the primary pattern,
color scheme, and headdress usually remain consistent.
In practice there are also subtle adjustments of line weight
and shape as the patterns are mapped onto the individuals
facial features. Colors hold symbolic meaning, as do many
of the features. [See tdt.usitt.org/Makeup.pdf] This visual
language informs the audience of each characters nature.
The importance of makeup and costume is indicated in
the level of transformation from performer to character;
several sources report that once a performer is in makeup
and costume, he is no longer addressed by his own name
(Iyer 53, Singha 101, Pandeya 133).

Costumes

and eye movements. These performance aspects are developed through

years of intensive training. Scholars refer to four separate dramatic elements of Kathakali. Aharyabhinaya refers to the decorative elements of
the play, particularly costume, makeup, and accessories. The others are
Vacikabhinaya (speeches and songs), Angikabhinaya (dance, body position, mudras/hand gestures, eye movements, etc.) and Satvikabhinaya
(the expression of psychic states associated with emotions) (Iyer 1955,
42). Costumes and makeup are an important element of Kathakali, as they
identify characters, bring focus to expressive areas of the body, create an
other-worldliness appropriate to the characters and stories, and provide
extravagant spectacle against a minimal set.
Midcentury and recent scholarship provides a wealth of information
on various aspects of Kathakali. Authors Bharatha Iyer and Avinash Pandeya provide the best details of makeup and costume, including Pandeyas
history and symbology. Recent commentary on the complexity and subtlety
of characters beyond codified makeup types is provided by Phillip Zarilli.
Most sources identify makeup types and give at least a basic description
of the facial appearance. Several sources also describe costume types in
general for each character type. However, current literature is limited in
clearly documenting costume details for design and reproduction. This
paper begins to fill that gap by presenting documentation of specific authentic costume pieces worn by a female strivesham and a male paccha
character. [Editors note: a presentation by the author at the 2012 USITT
Conference & Stage Expo provided additional pictures, details, and dimensions. Some of this information, not included here due to space restrictions, is available on the TD&T website at tdt.usitt.org/Bibliography.pdf,
tdt.usitt.org/Glossary.pdf, and tdt.usitt.org/Makeup.pdf.]

Characters
Characters in Kathakali are divided by emotional capacity and defined
by corresponding makeup types. They are grouped first by a few broadly differentiated types (satvik = heroic, pious, and virtuous, rajasik=

Copyright 2013 United States Institute for Theatre Technology, Inc.

Kathakali characters costumes have the same basic silhouette and components. Most characters, both male and
female, wear huge hemispherical layered skirts (usually white with border
stripes), one or more layered jackets (most commonly red), and a series of
ornate accessories. These include four items on each arm, bells and pads
on the lower legs, a carved breastplate and cascade of gold necklaces, and
two or more waist ornaments of fabric, beads, and carved, decorated wood.
Further layers include between two and six lengths of pleated fabric at the
neck and ornate contrasting side panels from waist to hem. All performers have some form of headdressrelatively simple for minukku, but extravagantly ornamented for gods and demons. There are variations in color,
headdress, and some accessories for different characters and some types.
In scale, the most demonic characters have the most volume, while human
characters are closer to realistic size of dress. All costumes feature bright
colors, and strong contrasts, which helps them be more visible in the traditionally limited lighting of nighttime performances. Also, the exaggeration in
the costumes designs supports the dramatic storytelling, The forms, colors,
and accessories for each character are standard, so that each presentation
of the character is visually recognizable. The similarity is clear to new audiences; it takes time and experience to learn the various subtle differences
between characters. Pandeya provides a detailed opinion of the development and symbolism of costume pieces (Pandeya 1943, 109-112).
From a novices Western theatrical perspective, there is much to
learn about the details of costume and makeup. Kathakali aficionados
delight in reviewing the subtleties of movement, expression, and personality of accomplished performers. Whether traditionally crafted or contemporary in construction, Kathakali costumes are incredibly effective in
bringing attention to those attributes. From the basic similarities in shape,
color, and ornament of all costumes to the intricacies of makeup, headdress, and details of specific characters, all visual choices are effective in
supporting the performance. They bring attention to the actors eyes and
facial expressions, they emphasize movements of body, hands, and feet,
and they reinforce percussive sounds of the dance. Its a beautiful marriage of form and function.

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kesabharan kiritam
chuttittuni

tolputtu

chevippuvu

paruttikkaimani

thoda

kastakatakam

cutti

kalases

kashuthu nada
vellinakam
kazhuttaram
kuppayam
kuralaram
chamaram
kalanchi
uttariya
katibandha
kotta uttariyam

patiarannanam

choppu val

ottanakku

ututtukettu

kecchamani
pyjama

ulluval

Kathakali Paccha

tantappatippu

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(illustration by Wendy Meaden)

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Copyright 2013 United States Institute for Theatre Technology, Inc.

Costume Details

Sets of brass bells tied to the shins sound in concert with the
performers foot movements. The male version, kecchamani, is
oval, with deeper sounding bells, set below the knee and tied above
and below the fullest part of the calf muscle. This set has a dozen
brass bells on each; the bells are set in curved rows of three, four,
and five bells and are anchored to the upper egg-shaped leather
piece by metal split brads. The sharp tines of the brads are covered
with a layer of padding. Two sturdy cotton ties are threaded through
the leather top and out the sides of the backing. The female version,
chilanka, has lighter, higher sounding, and more numerous bells
(thirty-four in all) worn at the ankle. These are set onto straight leather bands, also with split metal brads which are covered on the inside
with a padded cloth that also encases the continuous cotton tie.

On the next few pages are descriptions of the costume pieces worn in performances by veteran Kathakali actor Bhasi Puligari. He wore the paccha costume portraying the character Yamaduta in Butler Universitys production of
the Sanskrit play The Priest and the Prostitute. The strivesham (female)
costume was worn for the demoness character Poothana in a showcase
performance of Poothanamoksham, also at Butler University. The costume
pieces are grouped by type and body placement and listed in approximate
dressing order. The drawing on the opposite page is also labeled with the
names of the costume pieces.
Costume pieces and ornaments are generally designed to be adjustable in fit. The costumes are cut amply to allow freedom of movement for any performer, and the ornaments, in addition to fulfilling
a visual function, are used to tie the costumes in place on the body.
These items are typical in form, function, and consistency of use,
although there is some variation in details.
n

Undergarments
Pants
Pyjama, white, light-weight cotton pants, are loose fitting with a
long drawstring at the waist and a high rise. They are cut like most
early trouser forms with the side on a lengthwise fold, angled center
seams, and rectangular inset/gusset. In addition to providing absorbency and modesty, the high waist protects the skin from chafing by
the stiff petticoats, and their wide gusset allows freedom of movement in the wide, low stances that are common to Kathakali. The
legs are tapered to about twelve inches at the ankle, with a short
inseam split, and are folded and wrapped snug to the ankle, then
held in place by small padded supports and the bells, which are tied
to the leg over the trouser. [Editors note: patterns for these pants
are available on the TD&T website at tdt.usitt.org/Patterns.pdf.]

Tantappatippu,
to secure
pyjama to
ankle.

Chilanka, the
striveshams (female)
ankle bells.

Support structure
Chanthi are a pair of hip pads that support the width of the skirts
like a pannier. The pads are made of two crescent shaped pieces of
heavy cotton bagged out on the outer curve, with the inner curve
sewn to a two-inch-wide twill tape, which sits flat to the body. The
points of the two crescents meet center back and leave a little space
center front. They sit low on the hips in order to leave room for
the volume of petticoats, underskirt, and skirts, all of which are
wrapped to the body.
Ulluval, or ullunhari if sewn together, are
a series of two to four
dozen panels of stiff cloth
(val) that are tied on as
petticoats Originally made
of coconut fibers, they
Chanthi, hip pads.

Leg ornaments
Tantappatippu, small crescent-shaped shin pads, are worn by
men and women to hold the pants snug against the leg at the ankle,
to prevent the bell ornaments in female costumes from sliding down onto the foot, and
for decoration. The mens pads are of thick
red wool with a blue cotton center stripe and
tips, two strands of small silver beads flanking
the blue, and black cotton twill tape sewn on
as both backing and ties. The pads are stuffed
with coconut husk fibers. The female pads are
red wool with black cotton tips and center instead of blue, similar silver beads, and natural
colored twill ties.
Detail of kecchamani bells.
Copyright 2013 United States Institute for Theatre Technology, Inc.

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Petticoat panels, underskirts, and skirts are tied to the

performer with the aid of two assistants.

could be made of any strongly stiffened fabrics. Dressing requires two

assistants. The performer holds one end of a width of sturdy cotton
around his waist, while one assistant holds the other end taut. A second assistant folds each val in half over it, overlapping the pieces, then
pushes/compresses/gathers the cloths together against the performers body, working the fabrics into a hemisphere and securing them
to the waist by winding them onto the body with the taut cotton strip.
This step is repeated until the desired fullness is reached. A kneelength group of panels may be used, as well as an additional longer
layer of petticoats, in order to achieve the same hem length on the
body. The strip of cotton cloth is used to tie the petticoats to the body
and to wrap and smooth the layers in place. It is used also to tie on
the underskirt, skirt, and side panels. This piece is at least eight yards
long and about six inches wide, but creased narrower from use. Our
guest artist, Bhasi Puligari, brought a costume which included dozens of plasticized tarps, in two lengths. At the performers request, we
made casings in the tarps to simplify the gathering process, although
the stiffness of the fabric was not conducive to gathering at a casing so
more layers were required to compensate for lack of overlap.
Under-jacket
Atikuppayam, a T-shaped cotton under-jacket is worn with the female Kathakali costume. The body and sleeves are cut straight, with
an overlapping back closure cut in a straight line angling from shoulder/neck line to cross waist. Small underarm gussets provide mobility;
simply bound/turned neckline and back edge and simple hems finish
the raw edges. The cut is the same as for the outer jackets, male and
female. [Editors note: a pattern for this jacket is available on the TD&T
website at tdt.usitt.org/Patterns.pdf.] Traditionally all characters are
played by men, so no darting is needed to accommodate the female
form. The majority of the jacket is covered by tied-on ornaments. The
back is covered by the wig and/or veil, and the performers nearly always
face the audience, so the gap at the back neck is not significant.

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Underskirt
This straight length of white cotton, worn on the cross grain, is about
forty inches wide and five and a half yards long. The underskirt features a colored band at the selvedge/hem edge (this stripe is golden
yellow, one and a half inches wide). This piece was washed and primitive pleated perpendicular to the selvedge by twisting and tying with
a string till dry. When dressing, the center of the top edge is held and
tucked in at the front waist at a length to cover the petticoat. Then the
back lower corners are drawn up around the skirt across the back,
overlapping and tucking in at the side waists. The effect is like the
edge of a palm leaf, with the hem band curving from the front around
the hem and up the back, overlapping to cover the petticoat.
Extra fabric length is tucked into the cotton band or tied by
a string. The cotton band used to tie on the stiff petticoats also anchors the underskirt and is tied off at center front before continuing
the dressing ritual. It will secure the skirt to the body as well.

Copyright 2013 United States Institute for Theatre Technology, Inc.

Outer Garments
Jacket
The traditional color for most Kathakali jackets, kuppayam, is
red, though there are exceptions for Krishna (usually blue with a
yellow skirt) and some bearded characters (such as Hanumans
furry coat) or special characters. The jacket for female characters
is red and gold cotton metallic. The cut of this jacket follows that
of the under jacket previously described [see pattern on the TD&T
website.] It has a close-fitted round neckline, straight sides, slightly
tapered sleeves, and back tie closure. Color holds symbolic meaning, but in this case, according to Vasudevan, its use is for its bright
appearance in the traditional performance, which until the 1960s
was lit by a single devotional lamp. Wearing multiple jackets helps
balance the volume of the skirt and headdress.

onto the body with the same cotton strip as the underskirt with
a simple overlap in back; the skirt gap may be held closed by a
safety pin near the hem. The assistants who help dress the performer must hold the cotton wrap snug to the body while adjusting the lengths of each layer, and wrap the remaining yards
of cloth several times around the body to ensure a smooth and
secure arrangement.
Apron
The female costume also includes the sthree uttariam, a short,
red-bordered, accordion-pleated cloth, which is pinched at the
top and tucked into the front waist. Its bottom edge is spread and
tucked to each side, creating a semicircular line of red at the center front and rising to the waistline at the side.
Left, the kuralaram, breast plate, and below, the
mulakkuralaram, womens breast plate.

Left, the sthree uttariyam tucked in the center

waist, ready to be tucked up at sides also to
create semi-circle.
n

Skirt
Although the names differ, the male skirt, ututtukettu, and female skirt, lehengra or sari, are similar. They are traditionally
made of a single long length of white cotton, about a yard wide,
and about seven and a half yards long. It features a decorative
red-striped hem about eight inches wide. The red bands are often outlined in black to emphasize their contrast. The skirt is set
in one-inch accordion pleats while wet and tied to dry. It is tied

Copyright 2013 United States Institute for Theatre Technology, Inc.

Ornaments
Neck/Chest
The male characters chest plate, kuralaram or kotalaram, is
carved, jeweled, and pompommed. This impressive decoration is
carved in ten major sections, plus the two connecting beads and
seventeen tassel tops. Each piece is covered in red wool, gilded, and
set with green and red gems and a series of different colored tassels/pompoms (green, maroon, blue, orange, and pink). Worn by
most male characters, it is tied around the neck over the jacket.
The female breast plate can have demure or exaggerated breast
shape and size, depending on the character. Most female characters
use a normal sized breast plate, mulakkuralaram, but Kari ogress
characters wear extremely pointed and exaggerated black breasts,
mulamukku. This piece is carved of wood, one piece for the breasts,
plus five more sections for the lower shield. Each piece is covered

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Poothana wearing
mulakkuralaram,
kazhuttharam, and
kazhuthu nada.
Jishnu Vasudevan
Namboodiripad,
far right, as black
bearded character,
is wearing kotta
uttariiyam around
his neck. Photo by
Kunju Vasudevan.

in red wool, and decorated at the neck, between the breasts, and
below with gilt, gems, beads, and thick wool tassels. Holes drilled at
the neck edge provide purchase for a cotton tape which ties around
the neck. The lower half is similar to the kuralaram breastplate of
the male costume.
Mulakkaccha (breast cloth), or gatrika (scarf), a red bordered white cotton, about four by two feet, is hand pleated lengthwise and set around the neck and over the breastplate, covering the
breasts (which may be revealed in the story). The mulakkaccha can
also be a red cloth with black border.
Kazhuttharam, gold strand beaded necklaces, are set by the
dozens onto a lightly padded neck band in cascading U shapes. The
outside strand is of larger diameter beads, and another strand of
larger faceted beads is set a third of the way in from each end. Each
of these larger bead strands has a red wool pompom at its base. The
full length is eighteen inches including the neck band of horizontal
beads. They can be used by the actors to gesture, as when the demoness Poothana tries to cajole baby Krishna.
Kashuthu nada is a collar for male and female costumes
which holds the breastplate down and the kazhuttharam up. It is
threaded under strands of bigger beads and a pompon strand at
the outside edge of the kazhuttharam. The kashuthu nada is made
of black cotton with decorative rows of silver beading one-half to
five-eights inches wide along the center line.
Uttariya, also uthareeyam or uttarya, are scarves of primitive pleated white cotton organdy, tied over a form to pleat into
ball. The banded ends are released from pleats that fan out into a
flower. The colored ends usually are similar to those on the skirt;
these include red and gold bands edged in black. The first is tied
to the sleeves with the upper arm ornaments while the arms are
outstretched. The remaining ones are sometimes looped through
the upper back ties of the jacket to control their length as well as

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to anchor them behind the neck. In order to reach to the waist/hip,

they are about a yard wide (pleated down to approximately three
inches) and about two yards long. The fullness is controlled by
small ties (string or thread) set at intervals along the cloth. They are
sometimes used to gesture and to accentuate the subtle body movements as they hang in contrast to the shifting lines of the body.
Kotta uttariyam, a contrasting colored scarf, has mirrors in
the decorative ends. The color of the cotton generally matches the
jacket and pattu val, swaths of fabric which hang at the sides of the
skirt. The ends of the cloth are attached to solid cup shaped supports, set in with three-inch round mirrors, and trimmed with braid,
horizontal pleats, and an edging of wool yarn fringe in several colors (pink, blue, gold, green). They are used practically by the actors
offstage to check their makeup, but also are interesting in that they
throw reflected light around the theatre, enhancing the magical atmosphere. Both male and female characters wear uttariyam.
Marumala, a waist length floral garland, is worn over the uttariyam by some characters; Vana mala is an enormous garland of
flowers worn by Krishna (Iyer 1995, 46).

Copyright 2013 United States Institute for Theatre Technology, Inc.

Waist/hips
Pattu val (silk fabric), or choppu val (red fabric) are side panels
hung from waist to hem on the sides of the skirt. They often match the
colors of the skirt stripes, enhancing the color theme of the costume,
but are more ornate than the other fabrics. These red ones are woven
with gold vertical stripes, banded with brocaded ribbons, edged with
yellow, and hemmed with multicolored yarn fringe. Nine inches by
thirty-nine inches, they are tied in with the skirt wrappings to meet the
hem of the skirt, and any remaining fabric is folded into the waist and
secured with the cotton wrappings.
Katibandha is a two-part waist
ornament for male and female characters which includes the ottanakku and
the patiarannanam. The ottanakku
is a stiffened red wool apron panel with
silver crescents, beads, woolen fringe,
and pompom (kalanchi) decorations.
It is tied to the waist directly over the
skirt at the center front. Visually it carries the complex color and texture
down through the figure. It measures
eighteen inches long, about six inches
wide, and is backed with cotton and
bordered with black bias, neither of
which is visible from the front but
which provide structural support.
Patiarannanam, or patiarayan,
refers to the carved beaded belt. There
are seven graded sections in the main
belt. Each is carved, covered in wool,
and decorated on the raised surfaces
with metallic foil and plastic gems. The end sections have three holes
in the lower rim through which strings of hand-carved and gilded
beads are suspended. The womans belt which Puligari brought has

only two strings of beads. While the third string is missing, there are
holes to support one, so it presumably existed at one point and is
likely to be replaced when this set is next refurbished. Red cotton
cords hold the pieces together and fasten the belt to the performers
waist over the ottanakku and side panels.
Arms and hands
Mens and womens arm treatments are similar in construction,
function, and aesthetic. Of the two examples we had, the female
characters accessories were slightly smaller in scale than the mens,
and/or had fewer beads.
Tolputtu, epaulette-like upper arm ornaments, are carved
of wood and tied onto the actors arm below the bicep and around
the chest as well. It is tied on while the arm is raised to secure the
sleeve to the body. Carved in six pieces, the upper part has a shield
or rosette-shaped decoration on a base shaped like a section of a
dome. The rectangular area below is made of five shaped rectangles,
similarly adorned with red wool or flocking, gold foil, stamped brass
rosettes, silver toned beads, and gemstones. The one pictured below
measures three and a half inches wide, five inches tall, and one and
a quarter inch deep.
Paruttikkaimani are tied immediately below the tolputtu at
the bicep. They consist of three strands of wooden beads covered
with metallic foil. A center row of seven carved baubles (each one
inch in diameter by one and a half inches long) is flanked by two
relatively plain globe strands. The center row of baubles is ogee
shaped on the protruding side and slightly flattened on the bottom/
arm edge. Red cotton cord ties secure it to the arm and are tucked
into the tolputtu.
Kalases are worn on both wrists. Each wooden bangle is
carved as a single three-inch section of a cone but reads as a row
of four circlets. The piece is covered in metallic foil, with a row
of small silver beads defining the edges of the carved circlets. The
jacket sleeve is folded to pleat on the outside of the forearm, and
the bangle slides over the jacket sleeve to secure it.

Above, the ottanakku, a stiffened

red wool apron panel with silver
crescents.
Right, ear and arm ornaments,
including (from neck to fingers)
chevippuvu, thoda, tolputtu,
paruttikkaimani, kalases,
kastakatakam, and vellinakam.

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Kastakatakam, meaning hand ornaments, are tied immediately below the bangles to secure the sleeve at the wrist and to keep
the bangles in place. The ornament is carved in a curved shape to
follow the wrist, about three inches wide and two inches tall at the
center circle. It is decorated with metallic foil, red wool felt, red and
green plastic jewels, and green tassels. Four wool pompoms or tassels anchor the corners. Red cotton cord is used to tie them on.
Vellinakam or nakham are fingernails. Long polished silvertoned tips are added to the left hand after completing the other
preparations. They serve to lengthen the fingers and draw attention
to the mudras (hand gestures) which are a critical part of the storytelling. Performers personal rings may also be worn.
A small amount of bright pink or gold powder can be rubbed
between the palms before entering the stage to bring attention to the
hands. Henna is also used for this and to highlight the edges of the feet.
n

Headdress
Female
Strivesham (female) characters are veiled rather than in ornate
headdress. Their head coverings include several items.
The headband, chutti thunittuni, is eight and a half inches
by one-half inch of black cotton and red wool over cotton tape with
rows of silver toned beads.
The cap, kontakettu, has a black cotton base with an oval
top and straight cut/hemmed band gathered into the crown. The
left side has a stuffed cylinder projecting up and to the side. This is
decorated with a thick fringe of multicolored yarns, and is used to

Examples of headdress items: above

and right, kurunira, and below,
chuttittuni.

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support the veil. The cap splits center back and ties to fit the individual actors head.
Katila are eggplant-shaped earrings worn by female characters. One and three-quarter inches by three and three-quarter
inches, they tie onto the head above and below the jawline. They are
decorated with foil, plastic gems, and silver beads.
Veils are finished lengths of rectangular yardage or scarves,
about one yard by two yards long, enough to fall past the waist on
both sides. They are used as an expressive tool by the performer
of female roles. A gilded fabric such as tissue lam is preferred.
Sometimes a length of cotton twill or bias is sewn to the center edge
of the veil to help anchor it on the forehead.
Kurunira, a decorative black cotton head band, covered by
narrow silver cylinders and dangling diamond shaped spangles, is
put on over the base cap to meld the cap and makeup lines, as well
as to bring sparkle to the facial area. The eyebrows of Kathakali performers are a particularly expressive tool, so bringing focus to this
area of the face is important. A second narrow band of silver bead
strands holds both the veil and the ties from the earrings (katila) in
place over the hat base (kontakettu).
Mookkuthi, a small nose ring, provides the final touch for
female Kathakali characters.
Male
After a male characters makeup is complete and the costume in
place, the performer begins the process of dressing the head. First
a length of black cotton is folded on the bias and used to wrap the
head from hairline to nape, providing a means to absorb sweat
and begin padding to make the headdress more comfortable and
stable. The head cloth is called netti (forehead) nada (any piece of
long cloth a few inches wide).
The paper or plastic cutti are tied to the face over the head
wrap and secured to the face with spirit gum or rice paste.
Chevippuvu are ear ornaments worn by all male characters.
These ornately carved concave wooden discs are set above the ears
and tied to the head with cotton cord. Another black cotton cloth,
also netti nada, is wrapped over the ties to secure them and to pad
the head for the crown.
A shaped headband, chuttittuni, of red wool backed with
cotton and decorated with rice paste is tied on to bridge the space
between makeup and headdress. Some characters add cutti poove
(white knobs) or a devotional naman bindi decoration to this
headband.
There is a variety of large ornamental headdresses for characters in Kathakali. The types and shapes are part of a codified system of identification, and all of them bring focus to the performers
face as well as balancing the volume of the costume and providing a visual contrast to the angular positioning of the performers
limbs. They are carved of one or more pieces of wood and ornately
decorated with metallic foil, gemstones, and metallic beads. Originally pith (from peacock quills) or rice paste was used to build up
white detail, and wings of a particular beetle provided a shimmering green texture in some areas. Both now are replaced with plastic materials. Because of the complexity of the headdress, each one
is stored in a protective heavy cotton bag. Putting on the headdress

Copyright 2013 United States Institute for Theatre Technology, Inc.

Bhasi Puligari puts in his fangs after his costume and makeup are
almost complete.

Bhasi Puligari in netti nada, applying plastic cutti to face with spirit gum.

is an almost sacred part of the transformation to character. Before

unwrapping the headdress, the dresser makes a brief devotion to
the gods. Also, before putting on his headdress, each performer
says a prayer of thanks and reverence to his teachers.
The kesabharan kiritam, pictured on page 68 and recognizable by the circular back portion, is worn by most paccha
characters and some others.
Chamaram is false hair. The wig is roughly forty inches
long, by eight to eleven inches wide at the top, where multiple
strands of jute are half hitched to a cotton tape, then braided and
stitched to a tie. In the female costume, the wig is tied around the
head and the padded cylinder that supports the veil on the left.
On the paccha costume, the wig strings are tied through pierced
areas of the side decorations on the kiritam crown but could have
been tied directly to the head instead. The wig rustles as the character moves (not usually heard over the drumming), and can be
thrown wildly about as in the transformation of a demoness from
her beautiful disguise to her natural fanged state, or in the death
of a character. The wig covers the overlapping back closures of
the jacket, though a performer would not likely turn his back to
the audience.
Thalekkettuval, the decorative headband seen at the edge
of the headdress, has three rows of silver beads on a black cotton
band one-half to five-eighth inches wide. It fills the gap and keeps
the crown from rocking.
Thoda are large round convex ear ornaments, tied to side
projections on the headdress at about temple height above the
chevippuvu. As with the other accessories, ornaments, and headdress, they are carved of wood, covered in red wool and metallic
foil, and decorated with silver beads and red and green gemstones.
Cotton cords and a stabilizing rod are used to secure them in
place.

Copyright 2013 United States Institute for Theatre Technology, Inc.

In all, the performer and his assistants will have more than
sixty ties to fasten during the dressing process.

Production
Kathakali makeup and costume crafts are taught in the national Kathakali training center, Kerala Kalamandalam, and other schools, but the
traditional carving skills are passed on through artisan families. Makers
marks are seen carved into the inside faces of the different pieces. Currently, Vasudevan said, there is only one family left making wooden based
ornaments in his village in Kerala.
Given the time-consuming nature of hand carving ornamental objects, it is not surprising that costume ornaments are recycled. The wooden bases are durable, so when the metallic foil tears or its gold color
wears away, when wool fades, gems fall off, strings break, or the white
pith cracks, the items can be stripped down and refurbished. Evidence of
these practices is available on existing pieces. For example, the kiritam
headdress Bhasi Puligari brought from Kerala still had its original iridescent beetle wings and metal beads as part of the circular decoration (like
a nimbus), but the crown (head portion) had plastic strips substituted
for the wings, plastic gems for glass, and silver colored plastic beads instead of metal ones. The womens ornaments showed definite wear and
the need to replace the foil on the intricately carved beads. On the belt,
one of the three strings of beads was missing (though holes remained to
attach a set), and the remaining strings were not symmetrically balanced,
indicating that some extra beads had been used to replace lost or broken
ones (or that an inexperienced carver had made themperhaps both).
Vasudevan suggested those were three to four generations old, and Puligari confirmed some pieces were ready to be refurbished.
Introduction of new materials is not surprising either. Economics
certainly plays a part in the formation of cultural artifacts. Originally glass
gemstones, beetle wings, silver or silver toned metal beads, wool fabrics,
and pith or a rice/limestone paste were used in the construction of or-

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Detail of the back of the kesabharan kiritam headdress.

Bhasi Puligari wearing the kesabharan kiritam headdress.

Jishnu Vasudevan Namboodiripad lights a lamp and prays to the gods before
beginning the preparation of his character.

naments. Since the twentieth century, however, factors of cost, ease, and
durability have led plastics to replace glass, wings, metal, rice paste, and
pith. Polyester has replaced wool for tassels and backing, and fiberglass
castings are now replacing carved wood.
Ownership of costumes and ornaments is varied. Some performers
own their own costumes and bring them when hired to perform. Schools
and theatres may own costumes for their own performance needs when
they are sufficiently established to have the financial resources or staff to
provide them. Craft artisans make ornaments to order, and some have a
small stock of items for sale or rent. As of 2011, rental costs are about
sixty to seventy dollars per day per costume. Additionally, some artisans
have begun making ornaments from non-traditional materials. While this
practice may accelerate the loss of traditional skills, it also allows Kathakali to expand its reach around the world when less expensive costume
pieces can be used.
Materials for makeup, storage, and tools have also seen modernization. Precious materials such as lapis lazuli, turquoise, gold, and silver
have been replaced by synthetic equivalents. Vegetable and/or mineral
powders ground from indigo, chrome, zinc, limestone, rice paste, and
mica are still used but are also available in synthetic forms as well. Soot
used to make black makeup is still collected on tiles placed next to an
oil lamp in the greenroom, or it is available as purchased charcoal powder. Coconut oil remains a staple for mixing powdered colors. Makeup is

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still applied with the spine of a coconut leaf. The time-consuming art of
cutti applications is considerably shortened by the use of paper or plastic
pieces that can be tied to the head with string and affixed to the face with
a base of cutti paste, with spirit gum, or with medical adhesive. Styrofoam
for cutti poove (white knobs) instead of pith/limestone paste constructions has also simplified the makeup process.
Within the codified structures of makeup and costume, one wonders how much flexibility actors have in personalizing their performances. Facial differences among actors would require some modifications
of the makeup, and the anchor points for facial designs would need to
fluctuate to fit each face in order to allow the makeup to enhance and
fortify facial expressions. Several authors refer to individual variations
in makeup. However, variations would be subtlehardly recognizable
to Westernersas the colors and divisions of faces as well as size and
shape of headdress and costume are codified into specific roles and
types. Symbolism of color, exaggeration of features and expressions,
and decorations are prescribed for particular stories, characters, and
situations. Bowers (1953) and Singha (1967) suggest variations based

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Copyright 2013 United States Institute for Theatre Technology, Inc.

on schools or training methods, membership in a particular company,

and personal preference, but they do not specify what specific differences might exist.
Costumes are still primarily made of the same traditional cotton
fabrics for skirts, jackets, pants, and underskirts. The availability of machine-made, synthetic, and less costly materials is consistent with their
usefulness, particularly as theatres struggle to maintain economic viability.
The petticoat pieces are no longer only of palm fiber, but may be synthetic stiffened fabric such as plasticized tarpaulin. Veils for strivesham
characters usually incorporate gold threads. Once they were woven with
metal bullion; now the gold is frequently replaced with Mylar, Lurex, or
other synthetic metallics. These newer textiles are much cheaper than real
bullion, do not oxidize, and are more fluid in draping than their metalinfused counterparts.
The most significant change in present day costuming is in the production of ornaments. Dhananjayan (2004) cites past use of golden bees
wings and metal epaulettes. While it is highly unlikely that headdresses
would be entirely covered in the real gold, silver, and gemstones that are
fundamental to its decoration, the use of materials has changed. Gold leaf
is replaced by gold-colored foil, silver beads by cheaper metals, then by
toned plastic, real iridescent beetle wings by plastic tubing, glass gems by
plastic jewels, and white pith by extruded plastic. The greatest change,
however, is in the transition from intricately carved wooden pieces to
molded fiberglass or other materials that are faster, easier, and cheaper to
manufacture. Vasudevan says that this practice, while making ornaments
available to tourists, foreign theatre groups, and others interested in Kathakali, has severely impacted the artisan base for traditional manufacture.
Even though wooden pieces last for generations, and can be refurbished
repeatedly, they are losing ground to inexpensive reproductions.

colors of the interior of the face are filled in. Traditionally, he would
then lie down to rest, meditate, or contemplate his character while the
makeup artist applied the cutti, a process which could take up to several hours to complete. Nowadays, with the use of paper and plastic cutti,
the time is much less. When the interior of the face is complete, the
performer will be dressed in the body parts of the costume. Two assistants are needed to help secure the many layers and tie the ornaments in
place. Next any cutti poove knobs are applied, and the makeup touched
up above and below the cutti. Then the items of headdress are arranged
and tied in place and final touches put on the makeup. Fingernails and
a little glitter or mica on the face (for ladies) and some pink or red
powder on the palms of the hands complete the visual preparations.
Before exiting the dressing room, the performer repeats devotional rituals facing the lamp, obtains permission to go on from the makeup artist
(who, in the aniyara, has the status of Lord Brahma, god of creation),
and says a short prayer. v

Preparation

Balakrishnan, Sadanam P. V. 2004. Kathakali. New Delhi: Wisdom Tree.

Dances of India series, Alka Raghuvanshi, ed.
Bowers, Faubion. 1953. The Dance in India. New York: Columbia
University Press.
Dhananjayan, V.P. 2004. Dhananjayan on Indian Classical Dance.
Delhi: B.R. Rhythms.
Iyer, K. Bharatha. 1955. Kathakali: Sacred Dance-Drama of Malabar.
London: Luzac Co.
Menon, K.P.S. 1979. A Dictionary of Kathakali. New Delhi: Orient
Longman. [This dictionary is the spelling reference for this article.]
Pandeya, Avinash C. 1943. The Art of Kathakali. New Delhi: Munshiram
Manoharlal. Reprinted 1999.
Singha, Rina and Reginald Massey. 1967. Indian Dances: Their History
and Growth. New York: George Braziller.
Zarrilli, Phillip B. 2000. Kathakali Dance Drama: Where Gods and
Demons Come to Play. London: Routledge.

Devotional practices, Puligari explained, are integral to preparation and

performance. In the dressing room, the performer lights a lamp, first
the east-facing wick, then the westward wick. He then makes prayers to
the deities who are represented by the lamp flame, particularly Vishnu
and Ganesh. He will also make devotions at specific times during dressing and to his teachers before donning the headdress. Flame from the
dressing room lamp is carried to light the stage lamp. Originally this
lamp was the only light source; now its lighting is largely symbolic as
other lights are available.
A single room, aniyara, serves a dressing, makeup, and greenroom
for the performers, makeup artists, and assistants. Costumes are stacked
or hung, and ornaments and headdress suspended from a rope or beam
along one side of the room. Bronze oil lamps provide lighting and the
soot used in mixing makeup. Palm-leaf mats are spread on the floor for
the performers. Brass lamps are placed between them for lighting.
Applying makeup is the most time-consuming portion of the preparation. It is supervised by a chottikkaran, a revered makeup artist and
teacher who is expert at grinding, mixing, and applying makeup. Younger trainees may prepare the makeups under his instruction (Balikrishnan 2004, 51), or the actor may mix his own if needed, as Puligari has
done. The performer begins with the basic application of makeup, laying in guidelines for the colors on the planes of his face, painstakingly
ensuring that the marks coincide with the movements of his face. The

Copyright 2013 United States Institute for Theatre Technology, Inc.

Wendy Meaden is an associate professor at Butler University.

Previously, she was lead draper for ten seasons at Indiana
Repertory Theatre. She now designs costumes for IRT, as well as
for the Shadow Ape Theatre Company, the Childrens Museum of
Indianapolis, and others. Her designs were included in the digital
exhibition at World Stage Design, Toronto 2005.
All photos are by the author, except as noted.

Sources Cited

[A more complete annotated bibliography is available on the TD&T website at tdt.usitt.org/Bibliography.pdf.]

Editors Note: This article is published under the guidelines
of TD&Ts juried submission process. It has undergone blind
peer review and has been judged to meet the highest standards
of scholarly writing. Juried article submission guidelines are
available on the TD&T website, tdt.usitt.org.

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