Art forms that have evolved over time reflect the prevailing cultural peculiarities of their era. The Western invasion in Kerala also had various associations with cultural and religious practices, resulting in the development of new artistic expressions. Chavittu Natakam is one of such kind vibrant dance drama tradition commonly performed by the Christian community of Central Kerala. It is believed to have evolved in the 16th century in the region of Kochi, where Portuguese influence prevailed. The art form shares connections with the traditional dance drama techniques of Kerala as well as the Western performance tradition. The tradition of Chavittu Natakam embodies both religious and entertainment values. 

Origin and Development
The western coast of Kerala was a meeting place for the West and the East, as the regions of Kochi and Kodungallur were hubs for many Western travelers, traders, and religious missionaries. Their influence is still evident in the architecture, education, religious centers, and cultural practices of the region. In the 16th and 17th centuries, there was an influx of Christian missionaries under Portuguese patronage. During this time, Europe saw a revival of ancient Greek arts, literature, philosophy, and sciences, often infused with religious zeal. Performance forms and operatic traditions became powerful mediums for education and upliftment in Europe. Greek drama was being revived and merged with operatic performances in Italy, with the story of Charlemagne- the 8th-century Emperor of France being one such celebrated theme. This theme was also the basis for the first-ever play in Chavittu Natakam (Raphy 1969, 58). 

In Kerala, the missionaries encountered a strong tradition of dance drama and adapted these indigenous performance forms to create a new tradition of operatic drama. Biblical themes were the foundation for these plays and Latin Christian communities were the performers and later the art form became a sign of pride for the community. The performance texts, known as Chuvati, were originally in Tamil found on old palm leaves. These verses and texts were predominantly transferred orally from generation to generation. Later, the palm scripts were transcribed onto paper in Malayalam script. The early authors were unknown but were referred to as Chech Thachan and Maria Thachan, meaning Servant of Jesus and Servant of Mary, respectively. The master of the play was called Annavi (a Tamil word for master), and later became known as Asaan (the Malayalam word for master). 

The Performance
Chavittu Natakam performances are a harmonious blend of music, drama, and dance. A Greco-Roman influence is evident in the costumes, while movement patterns show a close connection with the traditional martial arts of Kerala. Costumes in Chavittu Natakam are unique, typically glittery and symbolizing Western royal attire. Chavittu Natakam steps are structured in a way that footwork differs for noble characters such as kings, commandants, angels, priests, and physicians, while characters with negative traits such as thieves or executioners have a distinct set of steps.

The literal meaning of the name Chavittu Natakam is "Stamping Drama," where performers employ rigorous steps and body movements. Performers receive a training in martial arts, music, rhythm practice at an early age. Actors themselves sing the songs, accompanied by supporting instruments such as Chenda, Maddalam, and Ilathalam. The arrangement of acts in the play is similar to other performance forms of South India such as Kathakali, Kutiyattam, and Yakshaganam. Actors use props like swords, spears, and other weapons. The language predominantly used in Chavittu Natakam is a mixture of Tamil and Malayalam. The songs are composed in the rich Tamil musical literature called Isai. The plays are usually performed on specially built platforms with wooden planks in open spaces. Biblical themes serve as the foundation for the play, however various stories and themes from history are also experimented in recent performances. 

Chavittu Natakam was originally performed only by male artists. By the mid-twentieth century, female artists began participating in the plays. To popularize the art form, special efforts were made to shorten the plays, reducing them from days-long performances to shorter pieces. The language was simplified, incorporating more regional Malayalam words to make the plays more easily understandable for the local audience.