Another ancient dance performance of Kerala that dates back to around 1800 years and more, Chakyar Koothu is a narrative based performance. Verbal entertainment through narration is Koothu. Generally this form has both verbal and physical action and a person who does not understand the language, cannot enjoy this performance.
Koothu prevalent in Kerala is the art form associated exclusively with the clan called Chakyar. The word Chakyar actually means those who give expression to commendable words. Koothu is the ancient form of narration of a story. Telling stories of the legends in a humorous manner is the main aspect of this dance form. The legendary stories are related to the day-to-day political situations and jokes are cracked upon by them. The performer may cut joke upon anyone and let the audience enjoy. The main feature of the performance is the language and its use in a witty way. The attire is simple and with not much of pomp and show as the base is on the language and the acting to entertain the people. The audience comes to watch the show not for the pomp and glamour like the other Kerala dance performances, but to listen to sarcasm and to have a laugh.

One of the most famous Gods in the Hindu Mythology, Lord Krishna and Radha, have always been the point of art and expression of love in all the art forms. The dance performances depicting Radha and Krishna are the favourites. Krishna Attam is also the same kind of dance performance in which the beauty of the love of Radha and Krishna is enacted and by the performers. This traditional dance performance is meant to be performed only in the Guruvayur temple of Kerala in the praise of the reigning deity of the temple, Lord Krishna.
The origin of Krishna Attam can be traced back to another form of dance worship in the temples of India. It can be called as the predecessor to Kathakali as many dance steps and expression in Krishna Attam are still present in the Kathakali performances. The artistes wear the costumes and ornaments very much similar to that of Kathakali. The only difference is the rhythm and the language which is chaste Sanskrit telling the story of Lord Krishna from his birth and all the big and small incidents of his life.

This beautiful dance performance is based on the theme of praise to Lord Shiva. Thiruvathirakalli is a group dance performed by 8 to 10 girls in rhythmic movements with a superb blend of Kathakali, Mohini Attam mixed with the folk culture. The music and movements of Thiruvathirakalli has a native simplicity and lyrical grace. This graceful systematic group dance is performed also on festivals like Onam. In the Malayali month of Dhanu, corresponding with December, on the night of Thiruvathire, Shiva was pleased with the penance of Parvati and granted her the boon of forever-marital bliss; says the legend. So to acquire the same boon the unmarried girls pray to Lord Shiva and the married too ask for the marital bliss. The women deck up in their best attire, and perform these rhythmic movements in circular motion, which gives it a naïve wonderful character.

Thullal

Thullal is conceived as a solo dance form and is very near to the Koothu style with language of a lay man and the dressing style some where near to Kathakali. Thullal is another version of Koothu and is characterized by simplicity of presentation, wit and humour. The inventor of this art form is Kunjan Nambiar. The word Thullal actually means jumping in the local language. Presented by a single man with two accompanying artists for music in the background, Thullal is attended by young and old alike for the humour and wit that accompanies the dance and song. Thullal presentation generally lasts two hours and is rendered at a pitch and pace that keep onlookers thoroughly gripped. The dancer dances and sings simultaneously and this entails a long period of rigorous training, an agile body and a communicative voice. The dancer must also be gifted with a sharp memory, for he must remember long poems some of which have over 1000 couplets. The emotions pertain mainly to valour, humour, pathos, anger and devotion. Sringara, the erotic element, is virtually absent, but is rarely missed, for the burden of the songs and the nature of the dance are hardly conducive to tender passions. Thullal is of three kinds: Ottan, Parayan and Seethangan. The distinctions between them lies mostly in the make-up and costumes and to some extend in the ragas of the text. Of these Ottan Thullal is the most popular.

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