METHODS OF TEACHING MATHEMATICS

METHODS OF TEACHING MATHEMATICS

•  INDUCTIVE- DEDUCTIVE METHOD

    it is a combination of two methods.These two methods are complementary to each other  .

Inductive method

     It leads from concrete to abstract, particular to general and from examples to formula. It is the method  of constructing a formula with the help of a sufficient number of concrete examples. It is based on induction which means proving a universal truth by showing that if it is true for a particular case and is further true for a reasonably adequate number of cases, it is true for all such cases.A formula or generalization is thus arrived at through a convincing process  of reasoning and solving problems. After a number of concrete cases have been understood , the student successfully attempts generalizations

Example

        Ask students to draw a few sets of parallel lines with two lines in each set. Let them construct and measure the alternate and corresponding angles in each case . They will find them equal in all the cases . This conclusion in a good number of cases, will enable them to formulate the relevant generalizations.

        Ask them to construct a few triangles. Let them measure  and sum up the angles in each case . The sum will be the same in all the cases. Thus they can safely conclude that the sum of angles of a triangle is equal to two right angles.

Merits

• It helps easy understanding of mathematical principles established through a number of simple examples& How and why the formula created in every attempt.
• it is logical method.
• it gives the opportunity of active participation to students in the discovery of formula.
• It is based on actual observation ,thinking, & experimentation
• It curbs the tendency to learn things by root, and also reduce homework.
• As it gives freedom of doubts, and helps in understanding, it suits the child.

Demerits

• It is limited in range.
• Inductive reasoning is not absolutely conclusive.
• It is likely to be more laborious and consuming .
• At the advantage stage it is not so useful as some of the necessary details and explanation may make teaching dull and boring.
• Its application has to be restricted an confined to understanding of rules in the early stage.

Deductive method

   It is the opposite of Inductive Method. Here the learner proceeds from general to particular , abstract to concrete, and formula to examples . A preconstructed formula is told to the students and they are asked to solve the relevant problems with the help of that formula. The formula is accepted by the learners as a pre-established and well-established truth.

Example

Immediately after announcing the topic for the day, the teacher gives the relevant formula. To explain further the application of the formula to problems, he solves a number of problems on the blackboard. The students come to understand how the formula can be used or applied. Like the formula

Area of a rectangle= Length x Breadth

Merits

• It is a short and time-saving method
•  It glorifies memory , as students have to memorize a considerable number of formulae.
  
•  At the “ Practice and Revision “ stage , this method is adequate and advantageous.
  
•  It combines with the inductive method to remove the incompleteness and inadequacy of the later.
  
•  It enhances speed and efficiency in solving problems.

Demerits

·       It is very difficult for a beginner to understand an abstract formula if it is not proceeded by a number of concrete instances.

·       Pure deductive work requires a formula for every type of problems and an extensive use of this method will demand blind memorization of a large number of formulae.

·       It will thus cause an unnecessary and heavy burden on the brain. It may even result in brain fag.

·       Memory becomes more important than understanding and intelligence , and that is educationally unsound

·       It the pupil forgets the memorized formula, which is very likely to happen in case of blind cramming , he is at a loss and cannot recollect and reconstruct the formula easily.

·       The students cannot become active learners.

·       It is not suitable for the development of thinking, reasoning and discovery.

        

• ANALYTIC - SYNTHETIC METHOD

  The two strategies analysis and synthesis are considered to be complementary stages involved in the same process. ie. meaningful internalization of a problematicc situation and its systematic solution.

This method is most applicable in arriving at the solution to a problematic situation and in recording this process of solution in systematic and orderly manner. 

Analytic method 

     It proceeds from unknown to known . " Analysis" means " breaking up" of the problem in hand to so that it ultimately gets connected with something obvious or already known. It is the process of unfolding of the problem or of conducting its operation to know its hidden aspects. Start with what is to be found out. Then think of further steps and possibilities which may connect the unknown with the known and find out the desired result. In its original sense the verb " to analyse" means to loosen or separate things that are together. About analysis, Thorndike says that all the highest intellectual performance of the mind is analysis.

Merits

• It is a logical method.
• it facilitates understanding
• the steps in its procedure are developed in a general manner.
• the method is suits the learner  and the subject

Demerits

• It is a lengthy method
• With this method , it is difficult to acquire efficiency and speed.
• It may not be applicable to all topics equally well.

Synthetic method

     It is the opposite of the analytic method here one proceeds from known to unknown . Synthesis is the complement of analysis . To synthesize is to place together things that are apart. It starts with something already known and connects that with the unknown part of the statement. It starts with the data available or known and connects the same with the conclusion. It is the process of putting together known bits of information to reach the point where unknown information becomes  obvious and true.

Merits

• It is short and elegant method
• It glorifies memory
• It sits the teacher
• It follows the same process as given in the textbooks.

Demerits

• It leaves many doubts in the mind of the learner
• without  a satisfactory answer to so many questions that arise in synthesis, the ppupil is perplexed when a new problem is put to him.
• It does not provide full understanding.
• There is no scope of discovery and thinking in this method
• Memory work and home work are likely  to become heavy
• It does not suit the learner and the subject.

Example of analytic -synthetic method

    A cylinder has abase with circumference 31.4 cm and a height of 20 cm .of the cylinder

Calculate the volume of the cylinder.

The analysis of this problem, as is made by asking oneself heuristic question helpful for meaningful  analysis and them identifying the exact nature of the problem situation well as the data and principles that could be used for arriving at the solution.

1. What is to be calculated ?( Volume of a given cylinder)
2. How can we calculate the volume of a cylinder? ( Using the formulae  V=.....)
3. What data are required for that? (r and h of the cylinder)
4. Are these given in the problem? ( h is given but r is not given)
5. Is any hint helpful to find r is available? ( yes the circumference is of the base is given )
6. How can we determine r from this? (...... then r= 5 cm)
7. Is there any other data misssing ? ( No )
8. Now how can we calculate the volume? (using the formula v=.... then v= 1570 cubic cm)

comparison

Analytic method	Synthetic method
It proceeds from Unknown to known facts	It proceeds from known to unknown facts
It starts from the conclusion and goes to the hypothesis	It starts with the hypothesis and ends with the conclusion
It is process of thinking	IT is a product of thought
It is a process of explanation and demands thought	It is a process of presentation of previously known facts
It pulls apart or analyses the statement under solution	It puts together or synthesizes  known facts
It is a general method	It is a special device
It is lengthy , awkward, slow, roundabout and involves trial and error	It is concise, elegant ,quick straightforward, and does without trail and error.
It answers satisfactorily any question that may rise in the mind of an intelligent pupil	It does not satisfy the doubts and questions arising in the mind of the learner
It is a method for the thinker and discoverer	It is a method for crammer
There are close contacts between the teacher and taught	There are no such intimate facts between them
The students can recall and reconstruct easily any steps if forgotten.	It is not easy to recall or reconstruct any forgotten steps
It develops originality	It develops memory
It is informal	It is formal
It is psychological	It is logical
It is formational	It is informational
It is based on heuristic lines	There is no heuristic approach in it
It is the fore-runner of synthesis	It is the follower of analysis

• PROJECT METHOD

   Project method is of American origin and is an outcome of Dewey's philosophy pragmatism. However, this method is developed and advocated by Dr. Kilpatrik.

"Project is a plan of action "-- Oxford advanced learner's dictionary.

" Project is bit of real life that has been imported into school"--Balllard

" A project is a unit of whole hearted purposeful activity carried on preferably in its natural setting "--Dr. Kilpatrik

" A project is a problematic act carried to completion in its most natural setting"--Stevenson

Basic principles of project method

  Psychological principles of learning

• Learning by Doing
• Learning by living
• Children learn better through association, co-operation and activity

 Psychological laws of learning     

• Law of readiness
• Law of exercise
• Law of effect

Steps involved in the project method

1. Providing /creating the situation
2. Proposing and choosing the project
3. Planning the project
4. Execution of the project
5. Evaluation of the project
6. Recording of the project

• Creating the situation

           The Teacher creates problematic situation in front of students while creating the appropriate situation. Student's interest and abilities should be given due importance

• Proposing and choosing the project

             While choosing a problem teacher should stimulate discussions by making suggestions. The proposed project should be according to the real need of students. The purpose of the project should be well defined and understood by the children.

• Planning the project

             For the success of the project , planning of project is very important . The children should plan out the project under the guidance of their teacher.

• Execution of the Project

             Every child should contribute actively in the execution of the project . It is the longest step bin the project.

• Evaluation of the Project

            When the project is completed the teacher and the children should evaluate it jointly discussed whether the objectives of the project have been achieved or not 

• Recording of the project

             The children maintain a complete record of the project work. while recording the project some points ;ike how the project ws planned, what discussion were made, how duties were assigned, how it was evaluated etc., should be kept in mind.

Example

Running of a Hostel Mess

     STEPS

1. The number of hostelers will be recorded
2. The expected expenditure will be calculated.
3. Expenditure on various heads will be allocated to the students
4. Budget will be prepared with the help of the class 
5. The account of collections from amongst the students will be noted.
6. Actual expenditure will be incurred by the students
7. A chart of " balanced diet"for the hostelers will be prepared .
8. The time of breakfast , lunch,tea and dinner will be fixed and notified
9. Execution of different programes stated above will be made.
10. Weight of each hostelers will be checked after regular interval, and the same will be put on record.
11. Punctuality in all the activities of the hostelers will be recorded.
12. Evaluation of the entire programme and then it will be typed out for the information of all concerned.

Some projects for mathematics

1. Execution of school bank
2. Running stationary stores in the school
3. Laying out a school garden
4. Laying a road
5. Planning and estimating the construction of a house
6. Planning for annual camp.
7. Executing the activities of a mathematics club
8. Collection of data regarding population , death rate, birth rate...

            Though project method provides a practical approach to learning. It is difficult to follow this method for teaching mathematics.However this method may be tried along with formal classroom teaching without disturbing the school timetable. This method leads to understanding and develops the ability to apply knowledge. The teacher has to work as a careful guide during the execution of the project.

Merits of Project method

• It is based on Psychological laws of learning
• it upholds the dignity of labour
• it introduces democracy in education
• it brings about concentration of studies and correlation of activities and subjects.
•  it emphasis es problem solving rather than cramming or memorizing
• it inculcates social discipline through joint activities
• it develops self- confidence& self- discipline
• A project tends to illustrate the real nature of the subject and produce a spirit of enquiry.
• Projects can be used to arouse interest , justify the study of topics , encourage initiative and give the students joy at the successful completion of the given work.
• Teaching becomes incidental 
• it challenges the capacities and abilities of the child and puts him on the track to think and act
• There is an opportunity for mutual exchange of ideas.

Demerits of Project method

• sometimes it does not suit for the topic
• there is no saving of time , energy and effort
• systematic and continuous teaching is not possible.
• costly
• Planning and execution of project method can be adopted as a co-curricular activity

• LABORATORY METHOD

    To make mathematics more interesting and meaningful, laboratory method is used in teaching of mathematics. In this method students get the opportunity to acquire facts through direct experience individually. It is the experimental portion of the inductive method or practical form of the heuristic method. Therefore in this method one proceeds from concrete to abstract. It is based on the psychological principles of learning such as "learning by doing" "learning by observation" and so on. Laboratory method is quite component to relate the theoretical knowledge with the practical base.

• The teacher clearly explains the aim of practical work to be carried out by the students.
• The students are provided with necessary materials and instruments
• The teacher explains the procedure of the experiment to be carried out by the students.
• The students carry out the experiment
• The teacher themselves observes the students working from time to time and guides them whenever needed
• The students are required to draw the conclusions as per the aims of the experiment.

Merits of Laboratory Method

• An activity involves both the mind and hands of the student working together which facilitates cognition
• It helps to build interest among the students in learning the subject.
• This is based on the sound psychological principle such as learning by doing and learning by observation
• The knowledge gained by this method is long lasting and solid
• It helps in developing the habit of discovery and self-study
• It provides opportunities for social interaction and co-operation among the students
• It helps to develop self-confidence and self-reliance among the students.
• It provides opportunity for students to correlate mathematics with daily life and other subject
• It develops observation and logical power among students
• It helps to develop positive attitude towards mathematics
• It helps to develop problem solving ability
• This method presents mathematics as a practical subject
• It helps to develop scientific attitude among students
• The child get opportunity to use different equipments in the laboratory

Limitations of Laboratory Method

• It is a very expensive method
• A lot of time is wasted in conducting experiments
• This method requires laboratory equipped with different apparatus
• This method is not suitable for all topic
• Individual attention is not possible when number of students is large
• Lack of textbook and materials written the lines of laboratory
• Only an efficient and talented teachers can handle this method effectively
• The dull students are often tempted to copy down the results of the brilliant
• It is difficult to the teachers  to check up the apparatus after every period.
• PROBLEM -SOLVING METHOD

   The child is curious in nature. He wants to find out solutions of puzzling ,even to the adults. The problem solving method is one , which involve the use of the process solving or reflective thinking or reasoning.

   Problem solving method, as ass the name indicated , begins with the statement of a problem that challenges the students to find a solution.

  Definition

"Problem solving is a set of events in which human beings was rules to achieve some goals" -Gagne

"Problem solving involves concept formation and discovery learning" - Ausbel

"Problem solving is a planned attack upon a difficulty or perplexity for the purpose of finding a satisfactory solution"-Risk. T.M

STEPS IN PROBLEM SOLVING

1. Identifying and defining the problem
2. Analyzing the problem
3. Formulating tentative hypothesis
4. Testing the hypothesis       
5. Verifying the result or checking the result

• Identifying and defining the problem

                The student should be able to identify and clearly defining the problem. The problem has been identified should be interesting , challenging and motivating for the students to participate in exploring.

• Analyzing the problem

                 The problem should be carefully, analysed as to what given and what is to be find out. Given facts must be identified and expressed , if necessary in symbolic form.

• Formulating tentative hypothesis

                 Formulating hypothesis means preparation of a list of possible reasons of the occurrence of the problem.Formulating of hypothesis develops thinking and reasoning powers of the child. The focus at this stage is on hypothesizing- searching for the tentative solutions to the problem

• Testing the hypothesis       

                 Appropriate methods should be selects to test the validity of the tentative hypothesis as a solution to the problem. If it is not proved to be the solution, the students are asked to formulate alternate hypothesis and proceed.

• Verifying the result or checking the result

               No conclusion should be accepted without being properly verifies. At this step the students are asked to determine their results and substantiate the expected solution. The students should be able to make generalizations ans apply it to their daily life.

Example

Define Union of two sets

If A={2,3,5}, B={3,5,6} , C={4,6,8,9,}
Prove that AU (BUC) =(AUB) UC

• Identifying and defining the problem

     After selecting  and understanding the problem the the child will be able to define the problem in his own words that, 

1. The union of two sets A and B is the set which contains all the members of a set A and all the members of a set B.
2. The union of two sets A and B is expressed as AUB and symbolically represented as AUB = {x: x E A or x E B}.
3. The common elements are taken only once in the union of two sets 

• Analyzing the problem

    After defining the problem in his own words , the will analyse the given problem that how the problem that how the can be used

• Formulating tentative hypothesis

   After analysing the various aspects of the problem, he will be able to make hypothesis that first of all he should calculate the union of sets B and C. ie; BUC. Then the Union of set A and BUC. Thus he can get the value of AU (BUC). Similarly he can solve (AUB) UC.

• Testing the hypothesis 

   Thus on the basis of given data the child will be able to solve the problem in the following manner .

In the example it is given that

BUC={3,5,6}  U  {4,6,8,9}= { 3,4,6,8,9,5}

AU (BUC)= {2,3,5} U {3,4,5,6,8,9}= {2,3,4,5,6,8,9}

similarly (AUB) UC

    After solving the problem the child will analyse the result on the basis of the given data and verify this hypothesis whether AU(BUC)= (AUB) UC or not.

• Verifying the result or checking the result

   After tesing the and verifying his hypothesis the child will be able to conclude that 

AU(BUC)= (AUB)UC

Thus the child generalizes the results and apply his knowledge in new situations.

Merits

• Prepares pupil to solve the problems of life
• i involves reflective thinking. it stimulates critical thinking, reasoning, and critical judgement in the students
• it develops qualities of initiative and self- dependence in the students
• specially suit for mathematics which is a subject of problems
• in it there is a strong motivation , tension and mental activity which are the conditions of effective learning
• It serves individual differences.
• it develops desirable study habits in the students
• it is a method of experience based learning.
• the students gets valuable social experience like patience, co-operation, self-confidence,etc.

Demerits

•  its limitations are due to its ineffective use
• it is difficult to organize the contents according to requirements of this method
• it is time consuming
• all topics and all subject areas are cannot be covered  by this method
• not suit for lower classes
• Teacher's burden becomes heavier
• mental activity dominates in this method 
• some times it becomes spoon feeding or artificial method in normal classroom situations.

LOCAL EDUCATIONAL HISTORY

VELLINEZHI  NAANU NAIR

SMARAKA KALAKENDRAM

VELLINEZHI

Vellinezhi  is located in Kerala, India

Coordinates: 10.902878°N 76.34394°E

Country: India

State:Kerala

District:Palakkad

Time zone   IST (UTC+5:30)

Vellinezhi is a small but culturally crucial village located in Palakkad district of Kerala in southern India. The sylvan, rugged land is located on the banks of the Kunti, a slender rivulet that forms tributary to the broad, west-flowing Bharatapuzha that criss-crosses central Kerala in southern India. It is famous for the huge number of Kathakali and traditional Kerala percussion artists it has churned out over a period of decades and centuries—in a hoary way in its feudal past, and at a relatively slower place in today's liberal-economy world. The nearest small town is Cherpulassery, some seven kilometres away.

Vellinezhi is one of the 14 desams (small duchy-like territories), and is home to Olappamanna Mana, one of the centuries-old feudal Namboothiri (Kerala Brahmin) mansions Illam. Olappamanna, now a vacated abode that exists as a trust that lets its premises out for weddings and film/docu/teleserial shoots, was, in its heyday till the mid-20th century, the residence of luminaries such as the late Kunjunni Nambudiripad on whom the title of Rao Bahadur was awarded by the ruling British. And more recently, it also gave birth to the renowned scholar, the late O.M.C. Narayanan Nambudiripad (who gave a Malayalam interpretration to the Rigveda), the late poet Mahakavi Subrahmanian Nambudiripad (simply Olappamanna, his pen name) and author-scholar Dr O.M. Anujan. In the early 20th century, it was in Olappamanna Mana that the legendary Pattikkamthodi Ravunni Menon redefined the aesthetics of the Kalluvazhi tradition of Kathakali.

Vellinezhi has grown in stature as the homestead of a few classical Kerala art forms. Primary among them is the dance-drama, Kathakali, the technical precision and aethetic quality of which rose to great heights during the life and times of Pattikkamthodi Ravunni Menon who polished and made the Kalluvazhi style of the art artfully elaborate. It is his set of disciples, along with the playback musicians, percussionists, make-up (chutti), costumes (petti) artistes that he groomed who later made Vellinezhi proud. The village, critically, has a house named Kothavil that has specialised in the craft of designing and making Kathakali costumes.

Kerala-style percussion ensembles like chenda melam, thayambaka and panchavadyam too have enriched from a flurry of artistes that Vellinezhi has produced over the years. The village has a high school that included Kathakali teachers and allied tutors among its faculty. Vellinezhi has also been the chief locale for Vanaprastham, an acclaimed Malayalam feature film that has won several awards. In fact, the house of Kunjukkutan, the protagonist in the movie (played by Mohanlal), had been the residence of the late Kathakali guru Padma Shri Keezhpadam Kumaran Nair.The village lies about 40 km west of Palakkad town, and approximately 100 km north of Nedumbassery international airport.

_{NAANU NAIR SMARAKA KALA KENDRA-An Institution For Peformance, Study & Research}

                Vellinezhi is a serene village embedded within the green terrains of the Palakkad District, in the State of Kerala, INDIA.This fertile womb of nature has given birth to a large number of stalwarts in the fields of arts and crafts viz. Kathakali, Dances, Musical instruments, Literature etc. However, Vellinezhi is best known for the maestros in Kathakali, a scintillating amalgam of nearly all forms of audiovisual arts. 

Vellinezhi k. Nanu Nair is a kathakali actor. He was Born in Vellinezhi village,palakkad district in 1910. He was the son and disciple of the eminent Kariyattil Koppan Nair, belonging to the Kalluvazhi (midland) school. Although he is started his kathakali career as a female impersonator, he became famous in the chuvanna thadi or red beard category of powerful ang frightening charecters that require good height ,figure ,strength, forceful eyes  and voice in an actor like Bali, Trigarta , Kali, Kalakeya, Bakasura,Jarasandha,Dussasana and Virabhadra. He also excelled as the forest –dweller kattala in the karutta tadi or black beard category, as well as Nakratundi and Simhika in the kari (black) group. His blood-soaked make-up and costumes for the wounded demonesses among the latter looked fearsome. He traveled in India and abroad with Kerala Kalamandalam and other troupes. Vellinezhi. K. Nanu Nair died in 1986.

Vellinezhi Naanu Nair was a Kathakali vesham (character-performer) artist, known for his dexterous mastery in performance of characters noted for their physical dynamism. This is apart from his skill in ploughing and associated agricultural activities. This institutions established in the name of the grand-master, Naanu Nair, strives to conserve the wisdom, spirit and practice of Kathakali and those arts which compliment it. 

The Kalakendram (Art-center) runs regular academic sessions to train students in Kathakali, other dances and allied music and organizes shows  in temples and other venues. A major vision of the institution is to disseminate the various nuances of Kathakali and its socio-psychic components among aspirants from any part of the world. 

Vellinezhi Nanu Nair Smaraka Kalakendram, an institution functioning in the name of ever great Chuvanna Thadi Artiste of Kathakali, Vellinezhi Nanu Nair, is dedicated to the cause of Kerala Art.

Established on September 9, 2001, Kalakendram has maintained its humble services to the Classical Art forms of Kerala. This Educational Institution is run by Elected Members of the Public according to the bye-laws. The function of the Working Committee is supervised by the renowned Artistes in the field of Performing Arts.

Ever since its conception, it is functioning in rented premises. Today Kalakendram has acquire 10 cents of land, and did build a small Kalari-cum-office at the Kuruvatoor Junction (Vellinezhi). Kalakendram has a Kathakali and Panchavadyam troupe that undertakes programmes.

In 2008, on the occasion of its annual day celebration, Kalakendram organised a THAADI ARANGU-2008. This programme which included all renowned Chuvanna Thaadi Artistes, won the acclaim of the world. This year, we are planning to organise a programme on the 22nd of December 2012. This is a special Event in the sense that we are depicting rare Characters of Kathakali.

Some of the salient features of Kalakendram:

* Kalakendram is a registered establishment with the Government of Kerala in 2004

(Reg. No. CA 297/2004)

* Kalakendram is an Educational Institution of Art Recognised by the Kerala Sngeetha Nataka

Akademi (Reg. No. 170/PKD/2007)

* The present Advisory Board Members are Padmabhushan Kalamandalam Ramankutty Nair

and Mattanur Sankarankutty Marar (Padmashree Keezhpadam Kumaran Nair and

Kalamandalam Padmanabhan Nair were also Members of the Board).

*During the last 11years of functioning, 55 students have successfully completed their course in

various disciplines (16 -Vesham,1-Kathakali Music, 7-Chenda, 19-Panchavadyam Thimala &

12-Classical Dance ).

* Presently there are 12 students learning Kathakali Vesham and Chenda.

* This is the only Institution teaching Kathakali and Panchavadyam in Vellinezhi Gram

Panchayat.

* Has a permanent Kalari teaching the Classical Art. There is Saadhakam (special rigorous

training) during Rainy Season.

* Kalakendram has honored about 17 Artistes in the field.

* Has undertaken numerous Kathakali and Panchavadyam programmes.

* The Institution is functioning only on Public support.

* PRESENT ADVISORY BOARD:

 Dr. Kalamandalam RamanKutty Nair (Padmabhushan awardee)---[Late] -  former - We keep the maestro within our minds

Sri. Mattanur Sankarankutty Marar ( · Padmashree awardee)

* PRESENT FACULTY:

· Kathakali Vesham(Acting) : Sri Kalanilayam Mohanan

Sri Kalamandalam Narayanan Kutty

· Music : Sri Vellinezhi Achuthan Kutty

· Chenda : Sri Sadanam Ramadasan

· Panchavadyam : Sri Kongad Radhakrishnan

* KALARAI SUPERVISION:

· Kathakali Vesham(Acting) : Sri Kalamandalam Kuttan Asan

Sri Vazhengada Vijayan Nair

Sri Kalanilayam Balakrishnan

· Music : Sri Kalamandalam Mohanakrishnan

· Chenda : Sri Kalanilayam Kunjunni

In view of Vellinezhi growing into a "KALAA-GRAAMAM" the institution has recently constituted a special committee of experts comprising of artsist, educationists, historians, sociologists and researchers to enhance the facilities in training, performance and research. In addition, plans have already been drawn to  run pilot projects to examine the applied values of Kathakali in Education and Health.  A library, museum and laboratory to study body kinetics have been planned - with a stress on providing online information.

The institution is ready to render all possible assistance to those who wish to study the culture and visions of the Village and Art forms. Students at all levels, researchers and media personnel are welcome to Vellinezhi Naanu Nair Smaaraka Kalakendram.

Contact Nos:+919947598344, +919745313526, +919446875262Email id:      achuvetta@gmail.com,bharathamuni@gmail.com

Address:     The Secretary

The Vellinezhi Naanu Nair Smaaraka Kalaakendram

Kuruvattur, P.O. Tirunarayanpuram, Palakkad District

Kerala. INDIA. Pin: 679 514.

The present Panel  of experts :

Artist K K Warrier (Mural expert & Teacher)

Prof. Dr. C.P. Unnikrishnan (Physiologist, Researcher, Educationist &

Kathakali-vesham artist)

Dr. Vellinezhi Achyuthankutty (Physicist & Kathakali singer)

Prof. Dr. P.K. Sreekumar (Historian, Researcher & Teacher)

Dr. Annathakrishnsn (Ayurvedic physician & Pharmacologist)

Dr. N.G. Menon (General surgeon)

Dr. Prasantha Pillai (Maxillofacial surgeon)

Dr. Biju Pamkapilly (Orthopedic surgeon and Sports medicine specialist)

Dr. K.P. Krishnan (Biologist, Researcher and a lover of Kathakali)

KATHAKALI

KATHAKALI - The Total Art That Reflects The Cultural & Aesthetic Dimensions of Kerala

Katha = Story. Kali = play. It is a process of ‘enacting a story’. The lyrical text used for this purpose is referred to as "Aattakkatha"; ie. a story written to be produced as a Kathakali. The school of Kathakali uses certain basic practices of Kalarippayattu, diligently in the training process and in a mild form on the stage. The Nair community dominated in the early days of Kathakali, as they were mostly trained in the martial art, Kalarippayattu. Now, the ethnic groups of Hindus, which handle this art form, are several. Kathakali, as we see it today, is a product of its own evolution through four centuries. By virtue of its adaptability to conceive even non-Indian themes, Kathakali has achieved a global identity.

      The popular legend behind the origin of Kathakali may be quickly reviewed to establish that there was a great revolutionary and socialistic philosophy in its shaping.  Zamorin, a local chieftain in northern Kerala, was a patron of Krishnanattom, essentially a dance drama that deals only with the story of Krishna and only within the premises of Krishna-temples. A local chieftain from Kottarakkara, southern Kerala, invited the Zamorin to present Krishnanattom in Kottarakkara. This was turned down by the Zamorin, with a statement that Krishnanattom is not for the unscholarly audience of southern Kerala. With a vengeance, the royal chieftain of Kottarakkara created Ramanattom. Ramanattom enacted stories from Ramayana. In due course of time, as it began to encompass many stories, Ramanattom evolved into a medium with bigger dimension, to 'Play any Story'. Thus, was the evolution ofKathakali.

      Traditionally, the training to become a Kathakali-vesham artist begins around the age of ten. Each day’s schedule commences at 3.30 am and ends at 8.30 pm with short breaks in between. During the monsoon and the winterseasons there are ‘body massage sessions’ of 41 to 90 days. Each student learns the complete language of Kathakali. Hand-gestures and facial expressions are employed as the major modes of communication. The gestural language is almost like the spoken ones. Complete sentences with grammatical nuances can be ‘shown’.  The dance elements (units of Nrutta) include abstract and meaningful aspects of the body language. Costumes, ornaments and facial makeup together constitute a ‘character type’.

      A fair skin tone (minukku) depicts very sober saintly intelligent characters and all women of noble birth. Green (Pacha) face is for dignified ones or of royal birth or their immediate kith and kin. The ‘character type’ with red and white patterns on green cheeks and forehead (Kathi) represent very powerfulcharacters, yet with one or more negative tendencies. White, red and black beards (Taadi) denote relatively low psychological profiles. However, in the ‘Taadi group’ there is gradation from high to very low. It is correspondingly shown by the relative amount of white, red and black in the facial makeup and costumes. Negative features increase from white to black, through red. Dwellers of jungle and demonic females are almost black. They have small patterns of red, white and yellow on the complete black face. You may view the album, "Veshangal" in the Gallery.

     A Kathakali performance scheduled to begin around 8.00 in the night will be announced in a special manner. During the evening, Chenda, Maddalam(both percussion drums) Elathalam and Chengila (metallic cymbals) will be played loudly. This is expected to be heard even at a distance. Kathakali lovers can identify this instrumental music, referred to as kelikottu.

    The use of pigments like greens, reds, white black and their combinations, along with lines and patterns, make well-classified facial make up types. This is quite in line with the concept used in Koodiyattam, which is the oldest known Sanskrit play that evolved in Kerala. The facial makeup is very elaborate and takes hours of labour by the actors and the trained person called 'chuttikkaran'. The latter lays fine lines of rice paste on the actor’s face and fixes white paper bits (along the curvature of the cheeks, chin, forehead and nose) as prescribed for a ‘character type’. The costumes arevery elaborate and heavy. The dynamic sculptures formed by the totality of costume and facial makeup need to be experienced than described.

    The process of democratization that has gone into its performance aspects has made Kathakali highly acceptable even to the relatively less-trained audience. The use of Malayalam (the spoken language of Kerala) in the lyrical compositions, the varieties of episodes from epics and other texts also increased the possibilities of familiarization and acceptance. Even plays based on Shakespearean stories and Biblical themes have been successfully tried out. However, while these attempts assured that such experiments are not taboo in Kathakali, they did not last long. Even new stories based on themes from different parts of India did not survive long. This is essentially due to the cultural background of Kerala that has gone deep into the technology of acting (kinesics). Traditionally, men alone participated in the entire presentation. Kathakali demands no rigid theatre specifications as far as the place of performance is concerned. The strenuous training, stage business and the night-long performances did play their roles in restricting women. But during the last two decades many women have boldly stepped into this field. But there are only just a few who have taken it up very seriously.

 LATEST ACTIVITIES

Kalakendram along with the Uthrathil Kaavu vela committee would offer Panchavadyam & Kathakali (Kuchelavrutham) at the Sree Narasimhaswami Kshetram, Kuruvattoor on 24th May 2015.; after the evening Deepaaradhana.

Taadiyarangu - 2014

Research Unit

        Primary Objectives of the Research Unit

This Research Unit has begun to draw simple plans to commence studies suitable for various  groups based on age, educational background, working ability and resource accessibility. The concentration would be more on school and college students who are pursuing formal academic studies. This approach has been thought of with the specific understanding that Arts help in learning and teaching other subjects, as proven by those who pursue research in Education, especially recognising the avenues shown by the theory of Multiple Intelligence. Spreading awareness would be done through Study classess, Handouts, Internet sources and Presentations in CD or DVD formats.

The initial task would be: 

-To create an awareness of the importance of research work in Art subjects like theater, dance, music, drwaing & Painting and related areas.

-To introduce the vital significance of "Making an Art that suits one, as a part of ones day to day Living". ie. to know and feel how Arts help in Personality development, Behaviour modifications, Study, Teaching, Organizational activities etc.

-To cultivate the habit of observation and enquiry.

-To give necessary support to research students from various part of the world.

Major Subject Areas

1.   Historical percpectives in relation to Arts                        

2.  Significance of the study of Arts in relation to Epics, 

     Legends, Poetry

3.  Role of Art in Pedagogical as well as Mental and 

     Physical Health related studies

4.  Art as essential applied subject in learning and  

     teaching other subjects even in the formal acdemic 

     curricula.

5.  Body kinetics - Biomechanics and Choreography

6.  Neuro aesthetics 

7.  Recording, Documentation and Archiving

8.  Structuring Research Methodologies

9.  'Body Exercise' Studies

CONCLUSION

'Art' is the ability to 'Wonder' at Life. Science is the 'Curiosity' about Life. Without the ability to 'Wonder' one cannot be 'Curious'. Undoubtedly, there must be an Artist in every Scientist & vice versa. These together constitute ones 'Philosophy' which is the 'Vison' in one’s Life. To realize any Vision, one needs to have a 'Discipline', which is ones 'Religion'. And, identifying these innate faculties and fine tuning them must begin as one begins to 'Learn'; both at home and in school. Education is ' A process of helping one to arrive at the perfection that is already in one’; is one of the major definitions of Education. The current structure of education has given only very feeble weightage to these objectives which are vital parameters in personal and social evolution. No Art shall any longer be considered only as a medium for entertainment without any social commitment. Every Art has its application to one or other aspect in peaceful coexistence is a time tested truth. Other relevant subjects must be applied to Arts to enhance understanding practice and application of different art forms. The theories on Multiple Intelligence (Haward Gardner) justifies their vision.

"An Artist is not a special kind of Individual. But every Individual is a special kind of Artist"

(Ananda Kentish Coomara Swamy)