Travel Tips

Y Onam So important.?There is a mythological story behind it which is mentioned in "MAHABARATHA ".The word ONAM can be linguistically traced back to the Sanskrit word Shraavanam. Shraavanam became Thiruvonam which in turn became Onam. Story goes like this....Maha Bali a was a good and noble King though he belonged to a Raakshasa (demon's) lineage. Hiranyakashipu (demonaic) had a son Prahlaada (great devotee of Vishnu). In turn Prahlaada's son was Virochana who was again demonaic and cruel. Virochana's son was Bali; later called "the Great" as he turned out as noble as his illustrious grandfather Prahlaada.
His subjects loved and adored him. He had a vast kingdom of his own and also every neighbour paid him their taxes... giving him the title "Chakravarti"... or "Ruler of the Continent". Some people aver that it means "Ruler of the World".
He had risen to a spiritual level which was far above that attainable by ordinary humans. He had yet to overcome his ego completely.... God decided that the time was ripe to show the World the true greatness of Bali and decided to take a "body-form" or "avataar". Lord Vishnu took "Vamana Avataar" (as small brahmin boy of 10 yrs old). Vamana went to the Royal Court of Bali to demand "bhikshaa" or alms as was the custom in those days.
As Vamana walked into the Royal court, his dazzling radiance charmed one and all. "Bhavati bhikshaam dehi" (noble one, give me alms) said the charming child Vamana while addressing King Bali. Shukraachaarya , (Bali's teacher\ Guru) had recognized that this charming child Vaamana is none other than God Himself! He took Bali aside and whispered in his ear. "O king be warned! Beware of this innocent looking fellow. He is Vishnu Himself who has taken a form! He will ask you for your entire kingdom and will leave you penniless and powerless..so do not agree to his demands... or you will no longer be king!"
Bali thought to himself; "If what Gurujee says is true, then God Himself has come to beg at my door. The One from whom all the fourteen 'lokaas' (14 worlds) beg has Himself come as a beggar at my door..... only a fool would deny Him what he has come to ask" Thinking thus, he replied: "Yes, O charming braamhana, what bhikshaa do you want?" The braamhana child replied: "I only want as much land as I can cover with three footsteps of mine..." The king said: "I give you my word with this holy water of my mantra meditation.." the King uttered thrice: "So may it be given, so may it be given, so may it be given....!!!" With folded hands, the King requested the braamhana: "Vipra-vara, please take your three footsteps to measure out the land that you wish for"
The charming child Vaamana now grew so tall his head reached above the sky. The soles of his feet were all that could be seen. 1st first step He covered the entire Earth, 2nd step the entire sky. Then he asked the kind where will I put my third step?" The King said, "My Lord, place your third footstep on my head." Vaamana placed his third footstep on Bali's head . Bali was assigned an immortal subtle spiritual form and reached the denser Universe Because he loved his people so dearly, he requested that he be allowed to visit his kingdom in subtle form once every year. Request was granted. He chose that very day god chose to visit his kingdom as a human "form"
To this day, it is said that every year the kind Rajah Mahaabali visits every house in his kingdom on this holy day to cast a loving glance on his subjects. His subjects prepare for his visit with all celebration and pomp. Everyone wears new clothes, prepares the choicest of delicacies, put "Athapoo, (floral carpet)" on the floor at the doorstep... and sings and dances the traditional dances. It is a day to remember the most happiest of eras that ever graced the land. It is a day of fun, frolic and joyous thankful, prayer. .......
HAPPY ONAM TO ALL

Kathakali is one of the oldest dance forms in the world.Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and the Mahabharata. One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up.
For more abt kathakli look up in my kerala tip...

This wonderful dance originated from Kerala, India.This is the dance of the Enchantress, it is deep-rooted in femininity, Grace (Lasya) and Beauty (Sringara) forming the quintessence of this dance-form.The dancer will be in white costumes,gold oranaments and her hair bedecked with white flowers. This dance have extensive eye movements and fluid grace of the waist. It is a very enjoyable classical dance form, performed mainly by female artistes. The dance is accompanied by cymbals, song and drum and simple footwork. The hands flow like a snake or like the ripples of water.

Thullal is a solo dance.Kunjan Nambiar (a poet, social critic and humorist) established Thullal.The dance is supported by two musicians, who stand a little behind the dancer. One of them plays the Maddalam, (a drum) and the other, small cymbals. Both musicians are also expected to sing along with the dancer. No stage or any other formal arrangement is required for the performance.
Thullal is of three kinds : Ottan, Parayan and Seethangan. The distinction between them lies mostly in the make-up and costumes and to some extent in ragas of the text. Of these Ottan Thullal is the most popular.(pic shows the ottan thullal)....Here too Mythological stories are used...and narrate in a humorous way.

Koodiyattam literally means "acting together". This is the earliest classical dramatic art form of Kerala. Koodiyattam evolved in the 9th century AD.
The make-up and dressing is more stylised and less lively. Mizhavu and Edakka (musical instruments) provide the background music to Koodiyattam

Krishnattom was created as a votive offering and it survives in that capacity in the temple of Guruvayoor where it is still performed. The dance drama is based on the text Krishna-Geetaha which is in Sanskrit. Many of the characteristics of the earlier ritual folk dances such as Thiyyattom, Mudiyettu and Theyyam are seen in Krishnattom especially in the painting of the face in intricate patterns, and the use of masks and colourful, gorgeous costumes and head-dresses. The make-up costumes and ornaments used in Krishnattom are almost similar to that seen in Kathakali, though in Krishnanattom, some of the characters are seen using painted masks made of wood. The gestural language and abhinaya are not very well developed. More importance is given to pure dance (nritta) and the stress is always on group movements and group compositions. All the eight night plays are full of beautiful dances. In no other dance could be seen so many characters performing the same dance with the same facial expressions, eye movements, gestures, foot-work (and set to the same rhythm), with so much of co-ordination, and grace, e.g., Mullappoothutal in Rasalila (Sree Krishna with Gopies) Kaliyamardana Nritham etc.
Maddalam, elethalam and chengala are the musical instruments use.