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Kummatti   Ip½m«n
  þ ""]¸tSmw ]tgmw Xónsñ¦nð
]Sn¡ð Xqdpw Ip½m«n . . . ''þ Ip½«n¡fnbpsS {][m\ cwKthZnbmb XrÈqcnð Ip«nIÄ X§fpsS IfnIÄ¡nSbnð ]mSn\S¡pó hcnIfm WnXv. A{Xtað a\Êv IogS¡nb Hcp Iemcq]amWv Ip½m«n. 

Hcp kmaqlyhnt\mZ Iemcq]amWv Ip½m«n¡fn. AtXmsSm¸w `ànbptSbpw
]pcmhr¯§fptSbpw kmón[yw Iq«vtNÀóv InS¡póp. HmW¡me¯mWv Ip½m«n \mSnd§póXv. XrÈqcn\p ]pdta
]me¡mSn sâ Nne`mK§fnepw hb\m«nepw Ip½m«n¡fnbpsS thtcm«w ImWmw. 


Kummatti is the famous colourful mask - dance of Kerala, South Malabar in particular.

During the festival of Onam, Kummattikkali performers move from house to house collecting small gifts and entertaining people.
They don a heavily painted wooden mask depicting faces of Krishna, Narada, Kiratha, Darika or hunters.

Dancers wear skirts woven out of plaited grass. Some performers cover their whole body with bunches of grass for a bushy appearance.


Dancers also hold and manipulate long sticks of residuary agricultural produce called 'Kummattikali', it is from this that the dance derives its name.
Rhythm for the dance movements is provided by vibrating the string of a bow like instrument called onavillu.


Arecanut wood is used to make the bow and strings are beaten with a narrow bamboo stick.
Themes of Kummattikkali are mostly taken from the stories of Ramayana, Darika Vadham, the story of Shiva and folk tales.
Kummatti dances are more rampant in Thrissur District during Onam.

  NnebnS§fnð ImÀjntImÕh¯nsâ Bcw`w Ipdn¡póXv Ip½m«n¡fntbmSpIqSnbmWv. 
Ip½m«n¸pñv (icoc¯nð sNmdn¨nepïm¡m¯ Hcp Xcw ]¨¸pñv ) \nc\ncbmbn icoc¯nðsh¨v sI«n
s]mbvapJhpw AWnªmð Ip½m«n thjambn. IrjvW³, inh³, Im«mf³, KW]Xn, XÅ Fón§s\ hnhn[ IYm]m{X§Ä Ip½m«nbnepïv. Hmtcm IYm]m{X§ Ä¡pw hyXykvX s]mbvapJ§fmWv sh¡póXv. CXnð XÅ¡p½m«n bmWv {][m\n. Ip½m«n¡fnbnse A`n\b{]m[m\yapÅ thjw XÅbp tSXmWv. ]ñnñm¯ tamWIm«n Nncn¡pó; ImXpIÄ \oï Hcp A½q½ bpsS s]mbvapJamWv XÅ¡p½m«n AWnbpóXv. aäpthj¡mÀ¡v AXmXp IYm]m{X§sf {]Xn\n[oIcn¡pó s]mbvapJ§fpïv. þ""XtÅ XtÅ F§vSv t]mWp . . . ''þ Fóp XpS§pó Ip½m«n¸m«v Xff Ip½m«nbpsS {]m[m\ys¯bmWv kqNn¸n¡póXv. I¿nsemcp hSnbpam bn«mWv XÅ¡p½m«nbpsS bm{X. 

a®m³ kapZmb¯nðs¸«hcmbncpóp BZysams¡ Ip½m«n thjw sI«nbncpóXv. Fómenóp Ip½m«n Hcp
{]mtZinI hnImcamb tXmsS XmXv]cyapÅhÀ Ip½m«nbmhpóp. XrÈqÀ Pnñbnð Ip½m«n {][m\ambpw tI{µoIcn¨ncn¡póXv Ing¡pw]m«pIc {Kma¯nemWv. D{XmSw þ XocpthmWw \mfpIfnemWv Ip½m«nIÄ {KmahoYnIfnð Cd§póXv. Ip½m«n kwLw cmhnse¯só ASp¯ t£{X¯nse¯n AhnSs¯ tZhs\ hW§n KW]Xn kvXpXn]mSn \mfntIcapS¨mWv bm{X Bcw`n¡póXv. {Kma¯nse Hmtcm `h\§fnepw kwLw ]mSnsb ¯pw. IqsS tZis¯ Ip«nIfpw bphm¡fpw kwLw tNcpótXmsS Ip½m«n¡fn IqSpXð kPohamIpóp.

kwL¯nð thj¡mÀ¡p ]pdta
]m«pImcpw Dïmbncn¡pw. Ip½m«n thjw
]mSmdnñ. AhÀ BSpI am{Xw sN¿póp. ‘hnñntòð’ Xmfw X«nbmWv
]m«hXcn¸n¡póXv. IqsSIqSpó kwLmwK§Ä Xmf¯nðssIsIm«n Ip½m«n thj¡msc t{]mÕmln¸n¡pIbpw sN¿póp. 
þ D{XmSw \mÄ AkvXa\¯nð
F{Xbp tamZn\n tamZt¯msS
sX¡³ sX¡³ sX¡n\nb¸³
X¡¯nð Nne t]cpIÄ \evIn
KW\mbI\pw Kpcphc\pwta
XpWbmbv hcWw Ip½m«n¡v
GWm£n aWnbmInb hmWn
\mWaIóp XpW¨otSWw
tX³Ipfaacpw ]¦P\bt\
i¦Ifªv XpW¨otSWw
HmW¯nsómcp Ifnbmbv hcpan\
tNÀópsÅmcp Ip½m«n¡v
thcmbv hcpsasómcp aqew sNmðhm³
\mcmbW\nl XpWbmbv hcWw.
HmW¯¸mIpShbdm
\mWwIqSmXSp¯phm . . . þ C¯c¯nepÅ

kvXpXn KoX§fpw PmXnhyhkvY, PohnX k{¼Zmbw, ImÀjnIhr¯n, {]IrXn kuµcyw, aXkw_Ôamb ]pcmhr¯§Ä Chsbñmw Ip½m«n¸m«n\v hnjbamWv. Hmtcm ]m«pw XpS§póXv BÀ¸v hnfnItfmsSbmWv. Ip½m«n kwLhpw ImWnIfpsañmw þ ""BÀt¸m .... CÀtdm .... CÀtdm ..... '' hnfnIÄsImïv A´co£w iÐapJcnXamIpóp. D¨¯nepff BÀ¸n\v tijw XmfmßIamb hnñn³ iÏhpw XpSÀópÅ ]m«pw Cu hnt\mZ Iemcq]s¯ {KmaP\Xbnð BthiapWÀ¯póp. 



     
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