Streevesham in Kathakali

Kathakali is distinctively divided into two genres- the purusha vesham and the streevesham. The streevesham genre which is the portrayal of female characters in Kathakali dance dramas is enacted by men and distinctively categorized under the feminine or the lasya tradition among the arts forms of Kerala. The movements are categorically graceful with lasya predominating the genus. To execute the technique beautifully, proper technique coupled with graceful physicality is mandatory enhance its visuality.

I have seen Prabal growing up as a Kathakali Exponent from his childhood. Though born in a Bengali family of Kolkata, he possessed an innate love for all art forms from Kerala especially Kathakali and Mohiniyattam. However, when he came to attend one of my workshop in Mohiniyattam in 1995, I had advised him to seriously delve in Kathakali. I could sense an innate potential in him even at a young age. His passion for Kathakali streevesham has seen him gradually maturing as a bright practitioner of this dance drama form and for that his immense perseverance is noteworthy. He learnt under Guru Sri F.A.C.T Padmanabhan by visiting Tripunithura (Ernakulam). Presently, he has been continuing under Guru Sri Sadanam Balakrishnan. From then on, I could notice a striking maturity in Prabal through the assiduous training that he has been undergoing. Prabal is focussed in his work and what sets him apart is his thorough understanding of this classical dance drama tradition through the in-depth study of the context and his ability to cognitive metamorphosis.

The book Streevesham in Kathakali speaks of the arduous journey that he embarked upon through his performances and research work; the knowledge that he has imbibed from his Gurus and what he has accomplished to take the art form forward through his research productions.

Through his book, Prabal has tried his best to kindle interest and love for this beautiful dance drama form for pan Indian audiences and the world. The artist while tracing streevesham in Kathakali, has drawn parallel inferences from other allied performing arts like Bhagavat Mela Natakam, Ankia Nat, Kuchipudi, Yakshagana including the other performing arts of Kerala like Krishnanattam or folk art forms like Theyyam to establish the existence of female impersonation through ages. His research work specifically talks about the historicity behind the technique of the streevesham genus of Kathakali with an elaborate discussion on Angika, Satvika, Vachika and Aharya which makes this book unique and awe-inspiring for practitioners of dance forms across all genres.

**Contents and Sample Pages**