Kerala's classical art traditions are renowned worldwide, standing as a source of pride for the region. Among these traditions, Kathakali holds a special place as an icon of Kerala's rich cultural heritage. Kathakali is celebrated for its deep aesthetic nuances, intricate performance techniques, and clearly defined training and presentation patterns. Kathakali is a dance-drama tradition originating from Kerala that showcases stylised acting techniques through detailed hand gestures and intricate facial expressions. The dance elements are equally prominent in Kathakali, that supported by a unique musical tradition that enhances its expressive communication. Each aspect of Kathakali-dance, expression, costume, and music-is distinct, and contribute to its highly stylised presentation, which demands extensive training to master. In Malayalam, "Katha" means story, and "Kali" means play, so the term interprets as a play or storytelling art. However, Kathakali is much more than mere storytelling, as a profound and elaborate art form.

Origin and Development
Kathakali is believed to have evolved in Kerala in the 17th century. Its precursor, Ramanattam, was created by the King of Kottarakkara, a region in South Kerala, to present the Ramayana (Hindu epic stories) as stylised drama pattern. There are differing historical opinions regarding the origins of Ramanattam: some suggest it was inspired by Krishnanattam, a dance drama depicting the stories of Krishna that patronised by the Samoothiri/Zamorins royal family in North Kerala. Conversely, some researchers argue that Ramanattam predates Krishnanattam. Regardless, Kathakali finds its roots in the Ramayana-based Ramanattam, which was initially performed in royal courts and later refined into the highly codified art form known as Kathakali.

The further development of Kathakali is linked to the royal family of Kottayam/Vettathunadu, a region in old Malabar near present-day Kannur. The King of Kottayam, Kottayathu Thampuran, composed four major works for Kathakali: Kirmeeravadham, Bakavadham, Nivathakavacha Kalakeyavadham, and Kalyanasougandhikam. These works, based on stories from the Mahabharata (another Hindu epic) known as 'Kottayam Kathakali' on which Kathakali finds its foundation in choreography, text and performance system. 

In the 18th century, Kathakali was further refined by Kaplingadu Narayanan Namboothiri, an aesthete who contributed significantly to its development, which style is later renowned as Kaplingadan style of Kathakali. The art form began to flourish again in South and Central Kerala, with regional rulers, royal families, and Namboothiri families (Mana) patronising Kathakali by organising performances and establishing training centres. A pivotal figure in the 20th century- Pattikamthodi Ravunni Menon, played a crucial role in codifying Kathakali's scattered systems. Olappamanna Mana (a Namboothiri - Kerala Brahmin family) in the Village Vellinezhi played a major role in promoting Kathakali training. The style that follows a codified system in presenting both dance and dramatic aspects of kathakali that was designed by Pattikkamthodi Ravunni Menon and later flourished through his disciples is known as 'Kalluvazhi chitta (style)' of Kathakali. The continuous evolution of Kathakali found a complete shelter and refinement with the Kerala Kalamandalam - a prestigious institution for art and culture. 

Performance and Techniques
The text of a Kathakali play is known as 'Attakatha', where 'attam' means dance/play and 'katha' means story. The intrinsic use of the eyes, strong and rhythmic footwork, and unique body movements are distinctive features of Kathakali. Female characters perform a softer version of the dance, yet follow similar expressive techniques.

The music system of Kathakali incorporates indigenous Kerala rhythm patterns, with songs sung in the traditional 'sopanam style, also known as 'Abhinaya Sangeetham'- meaning music for acting. The main percussion instruments used are the Chenda, Maddalam, Chengila (a circular brass instrument played with a wooden stick), and Ilathalam (cymbals). For special dramatic effects, instruments like the Edaykka, additional Chendas, and the Shankh (conch) are used. Two singers stand behind the dancers- the main singer, called 'Ponnani', and the subordinate singer, who repeats the verses, called 'Shinkidi/Shankidi' Traditionally, Kathakali was performed as an overnight play, with some stories presented over several nights in a series. The performance would be announced with a special percussion segment known as Kelikottu in the evening. Today, Kathakali is often performed for a few hours in special venues, including proscenium stages and large halls.

Training in Kathakali follows a codified, strict, and disciplined system, requiring several years before an artist can make their debut appearance on stage. Kathakali incorporates influences from other art forms, such as Kalaripayattu and Koodiyattam, borrowing bodily movements from the former and gesture and expression techniques from the latter. Initially, Kathakali was performed exclusively by male actors, but in recent times, female artists have also taken on roles at all levels of Kathakali performance. 

Costumes
Costumes and makeup are prominent and unique aspects of Kathakali. There are mainly five categories of vesham (character attires): Pacha, Kathi, Kari, Thadi, and Minukku. Each character's attire and face makeup reflect their basic nature. 

Pacha: Heroic, noble, and generous characters wear Pacha, with their faces painted mainly green to signify purity.

Kathi: Anti-heroes, known for their power and often involved in battle scenes, wear Kathi.

Kari: Characters painted in black, typically hunters or forest dwellers, wear Kari.

Thadi: Bearded characters come in three types:
Chuvanna Thadi (red beard) for extremely wicked characters,
Vellathadi (white beard) for refined characters, commonly Hanuman (the monkey god in Hinduism),
Karutha Thadi (black beard) for relatively evil characters.

Minukku: Female characters and lighter characters like sages, messengers, and charioteers wear Minukku, with faces painted in yellow or yellowish-orange.

Female characters, known as 'Sthree Vesham,' typically have a side hair bun covered with a veil. A significant part of Kathakali face makeup is Chutti, a white raised structure placed above the jawline for certain characters. Originally made with rice powder paste, it is now constructed with paper. Chutti enhances facial contours, making expressions clear during performances in front of an oil lamp. Applying Chutti takes hours, and Kathakali artists usually lie down for the Chutti artist to apply it. The face painting is called 'theppu' (applying colour). Making the eyes red is another notable feature, traditionally done using natural herbs to enhance the visibility of eye movements. The lower part of the costume, known as 'Uduthukettu' varies in size and pattern depending on the character. Specific characters also have particular crowns, while some do not. The various costume attributes are collectively termed 'Koppu', and the person responsible for carrying and sorting the costumes and accessories is called the 'Pettikkaran'.

Kathakali is more than just a dance-drama, it follows a well-coordinated system to present a play. It involves a large team, including actors, singers, percussionists, makeup artists, costumers, and the play's manager. Each person plays a crucial role in presenting Kathakali. The art form has undergone various developments and innovations while strictly adhering to tradition and its well-codified training and performance system. Kerala Kalamandalam Deemed to be University, offers academic degree programs and research in Kathakali. Other major Kathakali troupes and traditional training centres include Gandhi Seva Sadanam at Palakkad, Kottakkal Kathakali Sangham at Kottakkal, Kalanilayam at Irinjalakuda, and Margi at Thiruvananthapuram. Kathakali artists and senior trainers also offer training throughout India.