The organic beauty of Kathakali makeup

Despite the influx of synthetic cosmetics, Kathakali artistes continue to use locally available natural ingredients to paint their faces. Sahana Kulur finds out why

Makeup is an important part of self-expression for many. It plays an even bigger role in classical dance-drama forms like Kathakali where artistes wear elaborate makeup to aid storytelling. The mask-like face painting, characteristic of Kathakali, is called vesham. 

Explaining the significance of vesham, Kalamandalam V S Sucheendran, a Kathakali singer and narrator, says, “Kathakali performers are like living canvases. They narrate mythological stories without speaking.” The stories are conveyed through songs sung in manipravalam, a mix of Malayalam and Sanskrit, and emotions are depicted through the facial expressions and eye movements of the performers. 

According to Sucheendran, Kathakali makeup is a craft by itself — not only is it a work of intricacy and precision but it also utilises natural resources and sustainable practices to prepare pigments and brushes. “This distinction is notable in an era dominated by synthetic cosmetics,” he reasons. 

I learnt more about the Kathakali makeup on a visit to the Kerala Kathakali Centre in Kochi in August.

Colour palette 

There are five principal characters in Kathakali. Each character wears unique makeup, marked by different face colours and headgear, and the presence or absence of thaadi (beard), explains Sucheendran.

While characters Kathi and Pacha wear green paint on their face overall, distinctions are made to highlight their nature. To convey a sense of malevolence in Kathi, red or saffron paint is applied around the nose, eyes, and forehead of the artiste.

In contrast, Pacha has a streak of yellow on the forehead to depict his pious nature. 

Minukku (the makeup for gentle characters) features lighter colours like white and pink to symbolise purity and calmness. “The eyebrows are often painted to have a delicate curve. This portrays softness and grace,” Sucheendran says.

Greenroom scenes

On the day of his performance as Keechaka, an evil character from the ‘Mahabharata’, Kalamandalam Aryajith began his makeup ritual two hours before the show.

Seated on a woven korai grass mat, Aryajith first applied black paint on his face with a coconut leaf splinter. He had prepared the black paint by grinding kohl stone with coconut oil. Then he smiled broadly and painted the ‘smile lines’ on his cheeks with the saffron colour. To achieve intricate lines on the forehead, he widened his eyes as if emoting the bhayanakam (terrifying) expression. He filled in these lines with the saffron colour again. He proceeded to apply more saffron colour, this time, around the nose and the forehead. He outlined them with kohl.

Now, makeup artist Kalamandalam Nixon Varghese stepped in to transform Aryajith into his character Keechaka. He mixed neelam (indigo powder) with yellow cinnabar powder and coconut oil to create a bright green paint and applied it on Aryajith’s face. To put the finishing touch, Nixon applied a paste of rice flour and lime around Aryajith’s jawline using sap from the maruthu (Arjuna tree). He shaped a broader jawline to enhance the ferocious looks of Aryajith’s character.

Co-performers Kalamandalam Manu Sivaraj and Paravoor Suresh Kumar got down to do their makeup. Sivaraj was embodying Draupadi but in the disguise of Sairandhri, a servant to the queen of the Virat kingdom, Sudheshna. Kumar was portraying Bhima, who would confront Sudheshna’s brother Keechaka. They applied a yellowish-orange pigment on their faces. It was made from manayola and cinnabar powders and rice flour. They used kohl to highlight their eyes and brows. To lend a feminine look, Sivaraj applied a red pigment to his lips. It was made from the ‘flame of the forest’ flower, known as Palash in Hindi.

Keechaka wore a wide-pleated skirt and two canine-like teeth to complete his demonic vesham. But what is common to all Kathakali characters is the practice of inserting chunda poovu (Solanum Indica) seeds into their lower eyelids. These tiny seeds are said to be harmless and are used to redden the eyes. 

Elsewhere 

According to Yakshagana artiste Suhas Kumar from Dakshina Kannada, even Yakshagana makeup utilises naturally derived products. “We rely on safeda powder (a white, odourless powder from Barite mineral). Red and yellow powders (derived from kumkum and turmeric respectively) are mixed with coconut oil and applied along with face powder to ensure the makeup remains intact,” he shares. 

Bharatanatyam artistes, on the other hand, tend to rely on foundation and other commercial makeup essentials. Here, the emphasis is more on fluid movements, graceful body language and expressions than on the makeup, explains Bharatanatyam dancer Shruthi Shetty from Surathkal. “Face painting is only used when presenting Nritya roopakam (to tell mythological stories).”

Matter of tradition

Kathakali artistes favour natural makeup ingredients over cosmetic products because it has become a part of the art’s identity. It is a tradition they want to pass down to future generations, these artistes told me. Secondly, they say creating their own makeup allows them to understand the nuances of each Kathakali character intimately. 

And since a Kathakali performance can go up to six hours, artistes worry that wearing cosmetic products for long could damage their skin, says Sucheendran.

DIY tips

Here’s how you can create a basic beauty look for classical dance at home. Using coconut oil as a primer, saffron, beetroot, and pomegranate extracts to colour the lips, and lamp soot as kohl are some common practices.

Artist Pooja Bhose, who organises face painting workshops for kids during summer breaks, illustrates how to create natural pigments: “Grate beetroot. Dry and powder it and then mix with coconut oil. This will give you a vivid pink hue. Adding turmeric to this paste will turn the colour orange.” Grinding dried spinach and carrots will result in green and orange pigments respectively. You can use coconut oil to remove the makeup afterward, she adds.

Gayathri Rao from Sringeri, Chikkamagaluru, who advocates for traditional makeup practices, says that you can extract kohl using pure cotton fabric and castor oil as traditionally done in the Malnad region of Karnataka.

“Soak cotton fabric in hot water, dry it in the sun, and cut it into long strips. Burn the strips on a metal lamp filled with castor oil. Accumulate the soot over many days and then blend with some butter to create high-quality kohl,” she explains.