It is Kerala's very own, much celebrated dance drama. Kathakali was, evolved in the 8th century, from 'Ramanattam' a dance drama created by Kottarakkara Thampuran, a great admirer and promoter of traditional art forms. Kathakali draws its theme from the wealth of Indian mythology and folklore. Kathakali strictly addresses the fundamentals and axioms laid down by Bharata Muni, the legendary figure considered to be the father of Indian Classical Dances. The performance calls for a high degree of command over body and muscle movements and facial expressions. The performer is assisted by vocal and percussion accompaniments while the theme is expounded by the dancer through 'hasta mudras' or hand gestures. The 'mudras' are 25 in number, while the 'upa mudras' are 700 in number. Expressions of face and eyes hold the key to perfection. The best way to appreciate a Kathakali performance is to have that particular dance-drama explained to you in advance.

Today Kathakali is a highly stylised but extraordinarily evocative art which combines chant, drama, dance, make-up, dress and gesture into a package that weaves a compelling spell.

It depicts emotions in ways which are universally understood. Mohiniyattom falls within the soft, graceful traditions of lasya - the expression of the cosmic feminine creativity. It is known for its graceful and sensuous movements.

Historically, Mohiniyattom had been restricted to the temple premises. In the beginning of the 20th century, the dance was neglected and degenerated to the point of extinction.

Later Mohiniyattom was given a new lease of life by Swathi Thirunal Maharaja and it enjoyed royal patronage during his time. Mohiniyattom is performed by women wearing gold-bordered off-white saris and gold jewellery, their hair in a chignon high on one side of the head and encircled with white jasmine flowers.

'Koothu' is a mono-act in which the actor, the 'Chakyar', acts the role of all the characters, with the accompaniment of 'Mizhavu' played by the Nambiar and the cymbals by the Nangiar. The Chakyar expounds puranic stories drawing parallels from contemporary life in order to emphasize a point or relate a moral from the story he narrates, all in a humorous way. 
The unique humor sense of the Chakyar, the rapturous costumes and echoing sound of Mizhavu are the vantage points of this ancient art form. In the earlier days Koothu was very popular among the rural folks. Now it has reduced into an art form which performs only in temples and the number of experienced performers are shrinking. 

A dance form glorifying the goddess. Theyyam, the local deity, is believed to bless and arbitrate between the farmers and their landlords. Each one has a distinguishing headgear and costume made out of natural materials like leaves and bark. Facial decorations are intricately designed and rich in symbolism, transforming the lowly farmer into a deity. Theyyam is always performed by men, they also enact female roles wearing makeup and colourful costumes

Ottan thullal is a solo dance-drama created 400 years ago by Kalakath Kunjan Nambiar. The basic element of Ottan Thullal is satire, through which Nambiar set about correcting the evils that prevailed in the society. Ottan Thullal is combined with the humorous elements of Koothu and an element of Kathakali. Ottan Thullal is performed by a single actor who wears colourful costumes. In Ottan Thullal, the symbols and gestures are same as those of Kathakali. The actor plays many parts, and the acting is accompanied by his own singing. The popularity of Ottan Thullal as a dance form has continued undiminished to this day.

It is Kathakali's 2000 years old predecessor. Koodiyattam is performed as a votive offering to the deity. A dance traditionally enacted in the temples. The purpose of the performance is not so much to entertain as to edify and educate the audience. Koodiyattam is a theatrical presentation in which both the Chakiar and Nangiar act together.

There is a legend that Lord Shiva, one of the Hindu trinity was the originator of the setup of the dance. ‘Bharatha Muni’ is said to have learned the basics of dance from Lord Shiva, and codified the principles in his book ‘Natyashastra’, written in Sanskrit. The original text is still preserved in the temple libraries of Tanjore, the home of Bharathanatyam.

The name 'Bharatha' is made up of the first three syllables of ‘bhava’ – the inner spiritual feelings; ‘raga' -the melody; and 'thala' - the rhythm. Bharathanatyam is normally practiced by women. The dancer artistically tells stories and events from the epics through mudras (movements of the hand and feet) and facial expressions. Training in Bharathanatyam starts at a very early age. The dancer should have a strong and pliable body, good expressive face and eyes and an in-born, natural sense of rhythm. Kalashetra has emerged as the foremost training centre for Bharathanatyam.

The most sensual blend of cultural influences can be seen in this Christian dance-drama. Chavittu Nadakam is a recently evolved dance drama. It came into existence after the advent of the Portuguese to the Malabar shores. 
Chavittu Nadakam has an interesting history behind it. When the Portuguese came to Kerala, they felt a vacuum in the cultural arena. What they needed is a vehicle to spread the myths and legends they held in reverence. They were impressed with the sway of Kathakali but obviously felt that it would be unwise to graft their legends on to the Kathakali dance drama. The solution was to create a distinctive dance drama of their own. Collaborating with Malayalee scholars they produced librettos which extorted the heroic exploits of legendary Christian warriors. In Chavittu Nadakam there are large number of characters donning glittering medieval dress. They sing their lines loudly and with exaggerated gestures and stamp with great force on the wooden stage. The play is considered a success if at the end, the platform collapses from all the kicking and stamping. Chavittu Nadakam literally means 'Stamping Drama'.