The vast majority of Kerala’s festivals, whether in large temples or small rural shines frequently reflect this very human desire to give thanks for divine gifts.

Region by region, district by districts, village by village and community names change, rituals change. In central Kerala gods and goddesses travel forth in splendid processions mounted on caparisoned elephants accompanied by pounding drums and piercing horns while in many Malabar temples the Head Priest performs an intricate dance carrying the deity’s idol on his head. In small shrines made-up and costumed performers conduct preliminary rituals before proceeding to the temple as the deity’s bodyguards. In They yam deities possess the bodies of the performers. The variety of religious expression is enormous; the one common and unifying factor is the honoring of a deity whose presence in people’s lives is like that of a highly respected – and – loved – member of their family.

Rituals in temples go on all year round and the temple festival season run from Mid November to late May most festivals take place in January ,February or March. At this time the paddy harvest is over, the fields are bare and the skies are bright and dry.

Although in business and every life Kerala now follows  the Western Calendar all rituals and auspicious events in people’s lives (like weddings & even birthdays ) still use the Malayalam calendar (the Malayalam  months begin and end during the middle of the western months, running parallel with the sign of the Zodiac.)This can create a difference of as a week or ten days from one year to the next.

Arjuna Nrittam , which is also known as Mayilpeeli Nrittam, literally means the dance of Arjuna. Arjuna , one of the five heroes of the epics , The Mahabharata , was a renewed singer and dancer to is said to have propitiated the goddess Bhadrakali with a devotional dance wearing costume made of peacock feathers.
The art form is popular in temples dedicated to the goddess Bhadrakali , is mostly seen in mostly seen in the Alleppey and kottayam Districts Where it is presented either singly or in pairs, performed all night on specially made wooden platform.

Ayyappan Thiyyattu also known as Ayyappan Koothu ,is performed in certain temples dedicated to the god Ayyappa in Northern Kerala, Mostly Palakad  Districts  and Ponnani  Taluk. The two Performers belong to the Thiyadi Nambiar Community – one them to enact the story wearing a special  costume, the other present as the velichapadu  ,the possessed medium of the deity. Everything take place around a Kalam, a sanctified powder drawing of Ayyappan done on the floor and invested with the god’s spirit , with offerings placed on and around it.

Ayyappan Vilakku, is the ritualistic dancing and singing of song about the life of Ayyappa , the deity shine in the Sabarimala  hills is the focus of one of the world’s biggest pilgrimages. These rituals are either performed in a pilgrim’s house prior to his departure or , more often , in a temple .Beautiful shrines are constructes from plantain stalks.

Cattle Races are held during Kerala’s harvest festival of Onam in late August / early September . The main races are held in southern Travancore ,Malapuram and Palakkad districts where pairs of bullocks or buffaloes are raced across specially leveled and partially flooded fields with the “driver” precariously balanced on a ski-like piece of wood .Race often last all days and end with women singing and dancing . Nowadays there are also road races between carts drawn by bullocks, many of the entrants coming from the adjoining state of Tamil Nadu.

Chavittunatakom is a Christian art form that evolved at the end of the 16th century when the Portuguese were a presence in Kerala. Although it performed in a colloquial mix of Tamil and Malayalam it bears many trace of the popular medieval European form of Christian miracle players. The actors wear Greco –Roman costumes and even the stage props suggest a foreign influence. The musical drama is generally performed either on open stages or , very occasionally ,inside a church.

Chenda Melam – a melam is a form of percussion playing which evolved in kerala .Although it can be presented by as few as 8 men – and as many as more than a 100- there are generally around 40 or so. The featured instrument , a drum known as a chenda , is supported by thalams ( cymbals) and kombus     ( elegantly curved horns ).

A melam lasts for around 2 hours and is an essential part of almost all temple festivals. Those played during the Trichur Pooram and the temple festivals at Peuvanam (where many of the best players come from ) are particularly famous and draw huge crowds. It is worth nothing that the chenda  ,undoubtedly Kerala’s most important , powerful  & popular drum , is an indispensable instrument not only almost all temple festivals but as an accomplishment at rituals within temples as well as for performance – rituals such as Theyyam and the more classical art form such as Kathakali.

This dance is named as Dappu Kali because “Dappu” a kind of musical instrument is used in the dance . It is a group – dance of the Moplahs of Malabar . The performance for this dance must be in even numbers ,since they have form to rows. They beat on the dappu , which each dancer holds in his left hand and dance with graceful movements of the body and astonishing co-ordination of rhythmic steps ,flexing the body and timing of dappu.

Kalampattu is the art of creating a powder drawing either on a temporarily sanctified floor or in special areas reserved for the purpose in temple. These drawing, done in five earth colours : white ,black ,green yellow and dark red ,depict various deities most frequently the Goddess Bhadrakali , the god Ayyappan or the Nagas , the serpent gods. The rituals around them are conducted by various communities, depending on the deity being propitiated. The art of Kalampattu is belived to be at least 600 years old and can demand the skills of between five to fifteen people .

Kalaripayattu is Kerala’s centuries old martial art form – and probably one of the oldest in existence .A kalari is the gymnasium where, traditionally, the Guru imparts training to disciples who say with him. A student can start as early six or seven years old and must undergo at least ten years of daily training to be proficient. Through the concept is that an unarmed men – or women –should be able to defend themselves when attacked, students must necessarily become experts at handling several different type of weapons. Uzhil, a form of message using medicated oil , is a prescribed part of the course ,aimed at the maintaining a healthy constitution , flexible body and good blood circulation.

Many traditional art forms such as  Kathakali ,koodiyyattam, Thayyam ,Thira and even Kerala’s  contemporary theatre have incoperated kalaripayattu in their movements.There are two styles of this martial art forms ,the southern and northern styles.

Kathakali is a classical art form that is more than 400 hundred years old. The world literally means “story play” Kathakali is considered to be unique and complete art since it blends the element of the miracle play, dance, drama, opera and performance and constitutes the three fine arts: Abhinayam (acting) , Nrityam (dancing) and Geetham (singing). Although the actors do not speak or sing – the story being told by singers at the rear of the performance area – the action , the ideas and emotions are conveyed through a subtle language of gestures and vivid facial expressions that are universally understandable , Kathakali uses five major style of costumes and makeup, each type denoting certain characteristics or qualities of the character. The overall effect is to suggest a superhuman presence since many of the characters are god, demons or mythical heroes.

KAVADIYATTAM, which is of Tamil origin, is a votive offering done in temple dedicated to Lord Subramanian. Those making the offering wear bright yellow and smear their bodies with bhasma, sacred ashes. They support the Kavadi, a heavy decorated structure resembling the gateway of a temple, on their shoulders, steadying it with their hands. As they dance and twist the Kavadis tower above the crowed. The tempo gradually increases to the rhythmic beat of various percussion instruments; occasionally the nadaswaram is also used.

Kolkkali dance of Kerala is performed mainly by the farmers. It is a highly rhythamatic dance, known for its exhibition of physical skills, in which a group of dance wield small sticks in hand. A group often has 12-24 performers each with two sticks in hand. A harmonious synchronization of the tapping of feet to the clapping of sticks sets the rhythm of this amazing dance.

The dancers sing and move in a circle around a nilavilakku as they dance and strike small sticks in harmony. Though the dancers break away to from various patterns, they keep rhythm with special steps.

Koodiyattam is said to be the forerunner of the dramatic arts in Kerala. Literally meaning “dancing together”   Koodiyattam – as with the more popular art form of Koothu (see below) –is the exclusive preserve of the Chakyar community. It is traditionally presented as an offering in a Koothambalam, a traditional theatre built within the precincts of a temple. Said to be India’s oldest dance-drama it is based on Sanskrit and a performance can last from a few days to several weeks.

At the time of performance the Koothambalam is decorated with plantain bunches, clusters of coconuts and decorative arrangements of coconut leaves. As on all auspicious occasion a nilavilakku, a standing oil lamps is lit and a container of paddy suggesting plenty is placed beside it with a spray of cocunt flowers to complete the arrangement. The performing Chakyars are accompanied by men of the Nambiar Community drumming on a large copper pot called a mizhavu and Nambiar women – known as Nangiyars- playing small cymbals (elathalams) and occasionally chanting veres

.KOOTHU
KOOTHU is a classical art fom that is, even now, generally only done by members of the Chakyar community in a Koothambalam. The movements and facial expressions, signs and gestures used are believed to almost exactly duplicate principles evolved and codified centuries ago.

Although Koothu is a solo dance Chakyar is , as in Koodiyattam , accompanied by a Nabia beating a Mizhavu and a Nangiyar women playing small cymbals. Wearing a headdress and make up, the Chakyar begins by offering prayers to the presiding deity of the temple where he is performing . Speaking first in the Sanskrit and then giving explanation in Malayalam he enlivens his epic-based themes with dance and gestures. The stories all come from the great Hindu epics and Puranas.

KOOTHU is famous for the often biting wit the Chakyar intersperses into the narrative drama of the story. No opportunity is missed to make comments on political and social situation and its critical summary of contemporary events and personalities ensure it popularity.

Krishnanattam is a dance drama in eight episodes that uses the life of Lord  Krishana as its theme. It was written in the late 16th century by one of the  Zamorins of Calicut , the former rulers of Malabar. Until the 1950s when social changes dismantled both the fudel system and the ability of rulers to support cultural troupes Krishnanattam is based on Zamorin’s palace .After wards the the troupes was absorved into the life of the  Sri Krishna temple at Guruvayur – a temple formly owned by the Zamonries. The temple now runs a school to ensure Krishnanattam’s continued existence. Although now regularly performed as an offering within the walls of the temple  outside performances can be arranged for a fee.

Kummati
Kummatti is an ancient folk art performed in Wyanad and some part of the Plakkad Districts to propitiate the Goddess. In Thrissur it is done during Onam as a form of entertainment while in Ottapalam it marks the start of the harvest seasons.

Kummatti is performed by Hindu children who go from door in groups of eight to ten. They wear costumes which are traditionally made of grass and dry banana leaves and uses masks that identify them as various characters in the Ramayana and Mahabharata. On arrival at a house they start dancing, accompanying themselves with songs , a small drum and particular string instruments known as  the villu.


Margamkali
Margamkali is a popular form of social entertainment among Kerala’s Christian community, especially the Syrian Christians of  Kottayam districts . It is believed to have originated somewhere between 1600 and 1700

Margamkali is performed by twelve men who represent Christ’s disciples. They group themselves around a standing a Nilavilakku, an oil lamp that represents Christ and burns eleven wicks. Each man wears a simple dhoti and has a cloth wrapped around his head with a peacock feather pinned onto it. The first part of the performance consists of dancing  and singing songs about the life of  St. Thomas ,the apostle who is said to have  Kerala after the Crucifixion and converted people on Christianity.

The second part , called parichamuttukali ,is a vigorous display of martial arts using swords and shields based on Kalaripayyattu ,Kerala’s martial art form. No musical instruments are used and performance, which are done after dusk ,are usually three to four hours long.


Mohiniyattam
This is a classical dance that adopts a mean between the two parallel  streams of the classical dance (Bharatanatyam of Tamil Nadu and kathakali of Kerala) in technique and style , both fixed according to ‘Natya Sastra’ the scriptures of the Indian classical tradition .Solo performance are done only be women.

The fusion is remarkable because the effect created by the blending of the graceful elegance of (Bharataanatyam) with early vigour and dynamism of “Kathakali” is subtle seductive appeal that is at once charming and alluring.

The performance will be on a specially pur-up stage and is presented in association with temple festivals. Literally ‘Mohiniyattam’ means dance (attam) of the temptress  (Mohini) . There are several institutions spread all over Kerala who are imparting this unique dance form of Kerala which is very popular along with Bharathanatyam  and Mohiniyattam.

Mudiyettu
Mudiyettu is a ritual dance presented in temples honoring the Goddess Bhadrakali in central and southern Kerala, performed by the kurup community of Travancore side and Marars of Cochin state. Its origins lie – as with so many of Kerala’s other traditional art forms – in the ancient Sakthi cult, dedicated to worship of the Goddess. The theme is the legendary epic of Bhadrakali’s fight against the demon Darikan, ending with her victory      

Performances begin with the drawing of a kalam, a drawing done in five earth colours and depicting the goodness in her fiercest mood. Once the kalam has been ritually sanctified offerings are made and the dance begins. A Mudiyettu troupe consists of at least sixteen people – actors as well as assistants and musicians. Each character is elaborately costumed and wears intricate makeup to stress and heighten their superhuman qualities. The performance, which is accompanied by cymbals and Kerala’s powerful drum, the chenda, begins soon after dusk with the world of men and deities separated by two men holding a curtain that is raised and lowered as the action requires.

Onathallu
Onathallu is a game which lay emphasis on the flexibility of the body and physical prowess. This is being held during Onam as a part of celebrations mainly in Kunnamukulam, Thrissur, and Kavassery in Palakad District with great fervor and captivative spirit.

Ottam Thullal
Ottam Thullal is a popular temple art form. It is said that when Kujan Nambair of Killikurisimangalam, was ridiculed by Chakyars, he staged a solo performance which drew audience for its literally quality. Over the years it becomes a perfect solo dance drama called Thullal, which is charactised with wit and humor. The instruments used are maddaalam and symbols. The symbol player also awra rhythm. Ottanthullal employs gaudy epaulets, gilled crowns, beaded breastplates, colourful skirts and painted faces.

Oppana
Oppana is a form of social entertainment done by Kerala’s Muslim community. Although known all over Kerala it is especially popular in the northern districts of Cannanore, Calicut and Malapuram.

It is generally done by groups of about fifteen women at the time of a marriage. The bride to be, dressed in all her wedding finery and decked with gold ornaments; is seated on a special stool to watch and enjoy the singing and dancing. As the women dance they clap their hands rhythmically and move around the bride. Once one girl or young women begins to sing the rest join in and provide a chorus. Sometimes a form of Oppana is done by men to entertain the bridegroom. In this instance it tack place just before he leaves for the bride’s residence where the Nikkah or actual marriage take place.

Oppana which can be presented at any time of day or night is often done the evening before the wedding when the bride’s hands and feet are decorated with intricate henna designs. Instruments as the harmonium accompany the singing and dancing.

Paana
Paana is a ritual done to propitiate the Goodness Bhadrakali in central Kerala, especially in Thrissur, Malappuram and Palakkad Districts. It is an offering done by individual families and communities.

Panna is traditionally performed under a beautifully decorated pandal (awning) whose sacred space is occupied by an Ashtakon Kalam, a powder drawing of Tantric symbols in five different earth colours featuring the eye – like design seen in a peacock’s tail feathers. In place where a kalam is not customary a branch of a pala tree is brought to the area, accompanied by around a dozen dancers, musicians playing various percussion instruments and the crowed shouting as they move.

The rituals begin with offerings to the eight directions and a dramatic dance known as Thiriuzhichal in which the dancer passes a bunch of burning tapers over his body. More offerings are made and songs are then sung in praise of Bhadrakali before groups of dancers wielding canes go round the deity.  Finally the Velichapadu, the shamanic medium of the Goddess, becomes possessed by Her spirit and performs a dance accompanied by cymbals and a drum called Para, a type of chenda. Paana starts at dusk and last until the early hours of the morning.


Padayani
Padayani is a colourful and spectacular folk art presented during the festival of certain temples in the Southern Kerala- Particularly in Karakkedu Pandalam, Kadammanittha and Chengannur in Pathanamthitta District.

Although like all ritualistic arts Padayani’origins are in religion it is now seen more as a folk art with a genuinely secular appeal. It tell the story of the Goddess Kali’s  victory celebrations after Vanquishing Darika, a powerful demon each  character or Kolam is part of Kali’s army, a group of  divine and semi- divine personalities who form a dance procession that usually ends at the altar of the deity . They are accompanied by singers relating the story of each Kolam, The singing and dancing accompanied by an elathalam (cymbals) and simple drum called a thappu.


Panchavadyam
Panchavadyam- is an extremely popular form of percussion played at temple festivals throughout Kerala. Although it starts with the evocative sounding of the sankhu (conch) the main instruments are three kinds of drum: the concave thimala – the only drum said to be capable of reproducing the sacred sound Aum, the heavy Maddalam and the small Edakka. They are accompanied by the Kombu and Thalams.


Paricha
This is a martial folk dance which had its origin during the days when Kalaripayattu, the famous physical exercise of swordplay and defence, was in vogue in Kerala. The performers dance with sword and shield on their hands, following the movements of sword fight leaping forward, stepping back and moving round, all the time striming with the swords and degending with shields. Mateisl songs are sung throughout and the cymbals chime in perfect unions with the steps and the striking swords against the shields. In the Malabar area these dance is performed by Thiyyas and in the Travancore area by Christians.


Pavakathakali
Pavakathakali comes from pava, meaning “puppet” and Kathakali meaning “story play”. Though it is now confined to Palakkad Districts and a few surrounding areas its main centre is the remote village of Paruthippully where a few families have been its traditional custodians and practitioners for several generations. This form of glove-puppet play evolved in the 18th century and was soon heavily influenced by the popularity of Kathakali. The Pavakathakali artists began to not only dress their puppets in Kathakali costumes but to use the same Attakathas or themes as Kathakali.

Pavakathakali almost died out a decade or so ago and had not been for the efforts of                 Sri G. Venu, the Director of the Natana Kairali at Irinjalakuda it would have disappeared. Now because of this determination to save it and the help provided by the Sangeet Natak Akademi in Delhi, the troupe has become popular and is regularly invited to perform all over the world.

POORAM
Pooram is a word that originally denoted the nakshatram or star of the Malayalam month in which it was celebrated. It was on these days that – especially in central Kerala – temples held their annual festival, honouring their deity with processions of caparisoned elephants and accompanying musicians.

Pooram festival usually take place between November and May after the harvest season. Although hundreds of Pooram festivals in this season the most important one is the Thrissur pooram which comes in the Malayalam month of Madam (mid -April to mid- May and is a magnificent 36 hours-long non-stop spectacle. Another famous Pooram, a month earlier in the Malayalam month of Meenam (mid-march to mid-April) is at April) is at Arattupuzha.

Pooram festivals are also conducted on other days of the month all over Kerala, the unifying factor being that the small processional image of the deity is placed at the base of a golden shield- like Kolam on the largest available elephant and flanked by other elephants. Through the minimum number will be three there can be as many as twenty-one-or more.


Pulikali
Pulikali (also known as kaduvakali) is a street performance done primarily in Thrissur on the afternoon of the fourth Onam day. Group and tableaux are presented by youngsters dressed as a tiger, usually by covering themselves with yellow paint streaked with red and black markings. The “tigers” dance energetically accompanied by the loud beating of cymbals and chendas.


Radhotsavam
Radhotsavam is a temple festival of Tamil influence with which usually lasts for three days during which a huge, heavy and elaborately decorated Radham or “chariot” as taken around the stress accompanied by percussion. They are either pulled by people or, in some cases, Pushed by elephants. The biggest Radhotsavam are in Palakkad Districts, the grandest and most famous being at Kalpathy. Small Radhams are used in festivals in Kasargode and Trivandrum Districts


Poothan & Thira
Poothan & Thira is a ritual dance whose emphasis is on its costumes. It is performed, with slight variations, in many parts of Kerala. In Plakkad, Malapurram and northern part of Thrissur Districts it is called Poothanum Thirayam after it two chief characters. Though the dance is unsophisticated its appeal lies in the spectacular costumes consisting of large headdress, long false hair, huge pleated skirts and masks with projecting eyes, high – ridged noses and protruding tongues. The dancers also wear anklets and belts of bells.


Thiruvathirakali
Thiruvathirakali is one of the few forms of group dance done exclusively by and for women. The dance, sometimes called Kaikottikali and known to have been in existence for centuries has a semi-religious aura about it, often begin done as a ritual to ensure a happy and harmonious married life . In its ritual form it is always performed around a lit Nilavilakku placed in the  courtyard of a house. The lyrical steps and movements of the dance are so simple that even a beginner can join the performance. Each line of the song – many composed by famous Kerala poets – is  fist sung by one women and then repeated by others. Occasionally simple musical instruments are used to accompany the songs but generally the women clap their hands to the rhythm of the dance.


Thiyyattu
Thiyyattu, along with Ayyappan Thiyyattu and kali Thiyyattu, is of the three forms of Thiyyattu prevalent in Kerala. This one, like kali Thiyyattu, is performed as a devotional offering to the goddess Bhadrakali. Although it is certainly very ancient little is known about its origins. The common features of all Thiyyattu is that performed in front of an oil lamp lit placed before a kalam , a sanctified powder drawing of the deity done under a Pandal or awning, The artist generally sits on a peedham, a heavy stool used only for ritual performances. Rituals start at dusk, with the costumed performer dancing to the music of various percussion instruments.

Thiyyattu is performed in central Travancore, especially in and around Alleppey, Chengannur and Kuttamperur. It is the exclusive preserve of Namboodiri Brahmins and a community known as Thiyyattu Unnis. It is usually performed in Brahmin homes and other upper caste families.

Thookkam
Thookkam is a ritual performance performed in temples dedicated to the goodness Bhadrakali in southern Kerala, especially Travancore, by almost all Hindu communities.

In its original form the center of the ritual was a beautifully decorated wheeled platform known as Thookkachatu from which hung a metal hook. The performer, with a read cloth tied around his waist, danced in the honor the deity before climbing onto the  Thookkachatu  and having the hook  inserted into his back . He then hung horizontally, enacting various movements whilst being wheeled three times around the temple’s compound. Sometimes a similar contraption was put on a boat and floated down the river or backwater.

This ritual ceased to exist in this form in the 1980s. However it is still done symbolically, the performer now being tied to the Thookkachatu by ropes. Sometimes a performer wears a costume and makeup designed to resemble Garuda, the mythical eagle-king and mount of Lord Vishnu – and is then known as Garudan Thookkam. The original story tells a blood – thirsty tale about the goddess Bhadrakali fighting an evil demon called Dharika- a fight seen by Garuda when flying overhead. Even though Bhadrakali eventually killed Dharika her anger was unsatisfied and, on seeing Garuda, she seized him. Although the goddess initially appeared to ignore his pleas for mercy she was finally satisfied after drinking three drops of his blood.

Tolpavakoothu
Tolpavakoothu – also known as pavakoothu (puppet play) and Nizhalattam (shadow play) is a ritualistic puppet show performed in Plakkad, Malappuram and the northern part of Thrissur Districts by families known as Pulavanmar. They are believed to have migrated from Tamil Nadu to Kerala in the 18th century. At least four men are required for a performance.

The small puppets (pavakali) are made of deer skin and depict characters from the great epic, the Ramayana. A long line of small oil lamps are lit behind a white cloth screen in such way that the shadows of the puppets will appear to move and dance on the screen. The action is accompanied by songs from the Kamba Ramayana, the Tamil version of the epic, each puppet dancing or moving to their rhythm. Amusing description of the characters are given after each songs. Performances usually take place in a special Koothambalam (theatre), the white seen cloth also being used as a curtain.

Thayampaka
Thayampaka which is performed at temple festivals is a form of chenda playing that gives an artist an opportunity to displays his skills. Although the number of players is optional the main artist is generally accompanied by five chendas and three thalams. The drumming lasts for around two hours with the speed gradually increasing in a relentless and breath- taking demonstration of virtuoso drumming. Although these performers originally featured just one player it has now become popular to have double and even triple Thayampaka.

Theyyam
Theyyam, a word derived from Daivam, meaning God, is a performance- ritual known to date back at least 1500 years. It takes place within the precincts of small shrines and compounds of ancestral houses in central and northern Malabar. Its artists all belong to communities with the inherited right to perform. Proceedings begin with complex preliminary rituals, generally with the performer wearing minimal makeup and singing the tottam or song that describes how the concerned deity came too honored. When he singing is over the essence or spirit of the deity is conceptually transferred to the artist after whom he retires to be made up and costumed as the Theyyam: a process that can take at least four hours.

After the Theyyam has made a ritual entrance into the shrine and been seated before the shrine, the headdress, the most sacred part of the costume, is put on. Then comes the “seeing of the face”, the moment when a mere mortal looks into a small hand mirror and sees, not his own made-up face, but the reflection of a divine being. Until the headdress is removed he is deemed to  e divine and not only capable of blessing devotees but, healing, exorcising and answering questions about their troubles.


Velakali
Among the martial folk arts, this is one of the most spectacular and extremely vigorous dance performed in Kerala. Originating among the Nairs, the traditional warriers of Kerala, this dance is now presented by other Hindu sects also.

Velakali is a ritual art form presented in a temple courtyard or in the precincts of the temple tank, or recently in the boats during the processions in the backwaters or during boat-races. The dancers numbering fifty or more are dressed up like traditional soldiers with colourful shields and shining swords. They go through war-like step in a line to the accompaniment of martial music with vigor and force. Thavil , sudha maddalam, elathalam, horns and trumpets are the instruments used for background effects. This art form was patronized by kings of Chembakassery rulers of Ambalappuha in Alleppey Districts, and is now being performed mainly in Alleppey District.

Yakshagana
Yakshagana is one of the most important folk theatres of Karnataka and Kasargod which has brought fame to this region. Every village in Kasargod Taluk is familiar with this art and there are a good number of artistes. The Terukkuthu of Tamilnadu, Koodiyattam and Chakyarkuttu of Kerala, Veedhinataka of Andhra Pradesh can be considered as sister art form. Yakshagana was originally known by different names like- Bayalata (in Kannada Bayalata means play played in open air). The stories of Yakshagana were drawn from the Ramayana, Mahabharata, Bhagavatha and from other mythological episodes.