Music is central to a Kathakali performance. It sets the mood and triggers emotions resonant with the nature of the scene. [54] It also sets the rhythm to which the actor-dancers perform the choreography and scenes. Some major musical patterns, according to Clifford and Betty, that go with the moods and content of the scene are: Chempada (most common and default that applies to a range of moods, in battles and fights between good and evil, also to conclude a scene); Chempa music (depict tension, dispute, disagreement between lovers or competing ideas); Panchari (for odious, preparatory such as sharpening a sword); Triputa (thought-provoking, scenes involving sages and teachers); Adantha (scenes involving kings or divine beings); Muri Adantha musical style (for comic, light-hearted, or fast-moving scenes involving heroic or anger-driven activity). [54] Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 90-04-03978-3. Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. p. 3. ISBN 978-0-415-13109-4. , Quote: "Like most traditional modes of storytelling and performance in India, Kathakali plays enact one or more episodes from regional versions of the pan-Indian religious epics (Ramayana and Mahabharata) and Puranas." Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p.327. ISBN 978-81-208-0981-9.

The Kidangoor style is one of the two, that developed in Travancore, and it is strongly influenced by Kutiyattam, while also drawing elements of Ramanattam and Kalladikkotan. [65] It is traditionally attributed to Nalanunni, under the patronage of Utram Tirunal Maharaja (1815-1861). [65]Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249–254. doi: 10.2307/3204783. JSTOR 3204783.

Wootten, Claire F. (2009). "Navigating Liminal Space in the Feminist Ballet Class". CORD: Congress on Research in Dance Conference Proceedings. Cambridge University Press. 41 (S1): 122–129. doi: 10.1017/s204912550000100x.

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The roots of Kathakali are unclear. Jones and Ryan state it is more than 500 years old. Kathakali emerged as a distinct genre of performance art during the 16th and 17th centuries in Kerala. [19] The roots of Kathakali, states Mahinder Singh, are more ancient and some 1500 years old. [20] Links to older performance arts: Kutiyattam and Krishnanattam [ edit ] FACT Jayadeva Varma a b c d e Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.318–319. ISBN 978-81-208-0981-9. Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press. p.245. ISBN 978-0-19-564446-3. Kevin J. Wetmore, Jr.; Siyuan Liu; Erin B. Mee (8 May 2014). Modern Asian Theatre and Performance 1900-2000. Bloomsbury Academic. pp.196–197. ISBN 978-1-4081-7720-4.

Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p.87. ISBN 978-81-208-0981-9. Over five hundred Kathakali plays ( Aattakatha) exist, most of which were written before the 20th century. [56] Of these, about four dozen are most actively performed. [57] These plays are sophisticated literary works, states Zarrilli, and only five authors have written more than two plays. [57] The late 17th century Unnayi Variyar, in his short life, produced four plays which are traditionally considered the most expressive of the Kathakali playwrights. Typically, his four plays are performed on four nights, and they relate to the mythical Hindu love story of Nala and Damayanti. [57] The Nala-Damayanti story has roots in the texts of 1st millennium BCE and is found in the Mahabharata, but the Kathakali play version develops the characters, their inner states, the emotions and their circumstances far more than the older texts. [57] a b c Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.320–321. ISBN 978-81-208-0981-9. Richard Schechner (2004). Performance Theory. Routledge. pp.376 footnote 11. ISBN 978-1-134-37943-9. a b c d Cheris Kramarae; Dale Spender (2004). Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge. Routledge. pp.295–296. ISBN 978-1-135-96315-6.

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Kerala has five other significant theatre traditions - Kutiyattam, and its allied forms Nangiarkoothu, Chakyarkoothu, Krishnanattam and Mohiniyattam The Kalluvazhi style is second of the two, which developed in Palakkad ( Olappamanna Mana) in central Kerala, [66] and it is a synthesis of the older Kaplingadan and Kalladikkotan performance arts. [63] [64] It is traditionally attributed to Unniri Panikkar, in a Brahmin household (~1850), and became the dominant style established in Kerala Kalamandalam – a school of performance arts. [63] Training centres and awards [ edit ] Kerala Kalamandalam is a major centre for Kathakali studies. Wichmann, Elizabeth (1990). "Tradition and Innovation in Contemporary Beijing Opera Performance". TDR. MIT Press. 34 (1): 146–178. doi: 10.2307/1146013. JSTOR 1146013. Despite the links, Kathakali is different from temple-driven arts such as "Krishnanattam", Kutiyattam and others because unlike the older arts where the dancer-actor also had to be the vocal artist, Kathakali separated these roles allowing the dancer-actor to excel in and focus on choreography while the vocal artists focused on delivering their lines. [24] Kathakali also expanded the performance repertoire, style and standardized the costume making it easier for the audience to understand the various performances and new plays. [24] Repertoire [ edit ]