Kathakali+Makeup+by+Cari+Favole

Kathakali makeup By Cari Favole

Kathakali  is a dance-drama full of traditions and rituals, and one of the most recognizable features is the art of the makeup involved. Inherited from Kerala’s folk art, which contained very large masks and exaggerated makeup, Kathakali adopted its ornate makeup and the long laborious process of both the preparation and application. The makeup is very stylized, elaborate and meaningful in order to fully express the other-worldly characters and their individual characteristics. The actor's face is emphasized so as to better understand their facial features, which adds to the exaggerated gestures, and the emotions they exude, which describes the character’s mental and emotional conditions. These color designs are separated into character types so that the audience can recognize each persona at a moment’s glance. There are five different categories of kathakali characterized-makeup: Paccha, Minnuku, Katti, Thadi (3 varieties) and Kari. Within these types, specific colors are used with symbolic meanings or gunas (virtues): Green = godliness/hero; Red = ambition and violence; Black = evil; and Yellow = passivity. In the 5 different role types, each has their own specific makeup and costume but differing details according to the taste of the individual actors and school of tradition. Each of the different facial lines is simply accepted, and the answer for the reasoning behind the lines is unknown because the tradition has been passed down though the generations. However, it is certain that the elaborate makeup heightens dramatic effects and the color symbolism is from the Bharata Natya Sastra. For example, a King Demon with a red face may have a patch of green to symbolize that he is still royalty. The faces entirely in black do not mean the characters are evil, but rather savage and wild. The white coloration for contrast and to heighten the color schemes.

In Act 4 of Nalacharita Attakatha, there are only three characters portrayed: Nala in Paccha, and Damayanti and her maid Kesini in Minnuku. The Paccha style is known for the green face and white paper beard. The two circles at the lips represent restraint and, when in Paccha, the mouth is never opened. Paccha is reserved for gods, celebrated heroes and virtuous men. The green stands for inner refinement and poise, heroism and moral excellence.

The Minnuku type can be recognized for the apparent lack of exaggeration. It is very simple and gentle, which stands for spirituality and restraint and is worn by virtuous women. The hair is in a tilted coiffure. While traditionally women never acted in Kathakali, the times have changed a bit. In this case, she will apply very simple makeup to herself or have a woman artist help her. Then, the actor with whom she shares the stage will add any details he desires.

//A behind the scenes look at how the makeup is applied, as well as the different styles:// media type="youtube" key="7ajLkAx7CrI" height="344" width="425" (If it does not play, please visit this link instead: [] )

The makeup itself is made from organic materials such as rice, flour, stones and soot. A grinding stone is used to crush colored stones into powder and this powder is mixed with coconut oil using a leaf. Measurements must be precise so the mixture will not be too thick or liquidy. The Chutti, or the green base, is made from 1/4 lime paste (seashell crushed into powder) and 3/4 rice. The lime shell is soaked, filtered and then set out for the night. The paste is then placed in a cloth and hung for 1 hour before it is ready to be used, or stored in an air-tight container. The Nooli (rice paste) is made from unboiled rice which is dried in the sun, then grinded and soaked for an hour, at which point it is ready to mix with the lime. Yellow stones are mixed with coconut oil and used for the forehead markings only or mixed with blue paste to make the green for the Paccha characters. Red is chiliyam mixed with rice or zinc oxide, and black is soot from the Kathakali lamps and coconut oil.

The tool used to apply the makeup is a sliver of bamboo or coconut. This stick must also be moist, but not too wet. The blending of both the pastes and the moisture of the tool must be just so, so that once the sliver is pulled away from the face, a clump of the paste will slowly fall to a point (similar to porridge or paint), for precise angles. []



The white symbolic beard is made from paper that is carefully measured to fit each actor's face and bone structure. It is attached with the same rice paste of the nooli. If the paper is not cut correctly, it will not stick and peel away from the face.



Mica powder is sprinkled on afterwards to give the face a shine. The makeup has durability because of the oily base, so persperation does not wash off the colors, but instead adds to their brightness. It takes up to 2 hours just to put on the makeup and during this time the actor will lay in silence and meditate to get into character.

//The process of making and applying make-up:// [|**http://www.youtube.com/watch?v=CSJ4l8phvnc**]

Both Paccha and Minnuku place a few seeds from cunda poov (solanum pubescense) under their eyelids and then roll their eyes around to redden the whites of the eye and create more of a contrast with the makeup. Once the performance is over, they will remove the seeds but the reddness will remain for a few hours afterwards. These seeds are usually round and flat, being 2–4 millimetres (0.079–0.16 in) in diameter. [1] Solanum pubescense is from the Solanaceae family, which contains the tomato, eggplant and potato. Amazingly, solanaceae species have toxins that produce effects ranging from being a mild irrititant to fatal. However, the cunda poov plant has recently become endangered, which may cause this tradition to stop.

To remove the makeup, the actors will pull a thread that has been laid into the first coat. If their skin is sensitive, they will remove the color with oil.

Many years and much dedication are needed to perfect the art of applying Kathakali makeup. While in training, the actors will practice applying the makeup on pots as well as themselves. It is incredible to see and even more remarkable when knowing what goes into each performance! =Works Cited:= [1] [] =BIBLIOGRAPHY & Pictures taken from:=

The Art of Kathakali. A. Pandeya [] [] [] [] [] []** []

Special thanks to Barbara, who studied the art of Kathakali in India and whose detailed notes made my explanations possible.