The Koothu & Koodiyattam:
 It is usually performed inside a hall specially designed for the purpose, the Koothambalam as it is known. There are different types of Koothu like Chakiar Koothu, Nambiar Koothu, Tholpavakoothu etc. It is a Temple art usually performed in Temples during Festivals. Chakiar Koothu usually represented Sanskrit Dramas and Tholpavakoothu Tamil dramas and is performed by a single character. But in Koodiyattom there  are two are more characters. The Cahkiar usually plays the part of a buffoon, whereas Koodiyattom represents events from mythology.
Tholpavakoothu is enacted on a stage built near the temple. This is actually a puppet show and the dialogues of the characters or puppets are spoken by artists behind the screen. The stories are based on an ‘Kampa’ version of Ramayana written by the Tamil Poet Kampa. The languages used is a mixture of Tamil and Sanskrit.

The Kummatti,:
This form of art is mostly found in Wayand, Trichur and Palakkad districts. The performers of Kummatti wear maska and the dress is made of grass and dry leaves. It is performed by different districts. In Trichur district, it is a form of social entertainment performed by youngsters of all communities. In order to receive the Blessings of the goddess. Sometimes eight or ten artists perform Kummatti, the leader of the team is Mother Kummatti holding a  Kummatti stick. There is beating drum and singing with background music. Other characters like Sri Krishna, Sri Siva etc. are also seen on the stage. However  Mother Kummatti’s appearance is most attractive, this character wears tha mask of a toothless old woman. The approach of Kummatti is indicated by the beating of a small drum. In Trichur it is performed for four days during Onam.

The Kurathiyattam:
The Kurava Community perform this, during Temple Festivals. Both youngsters and middle – aged people perform this art. The artists consist consist of those who hunt the serpents, palmists and herb collectors. It is performed differently in the South and North. Only three artists perform in the south. Some times eight artists perform in the North. Very few  musical instruments are used. The main characters are the Kurava and Kurathi who predict the future and also the wives of Vishnu and Siva. They dance with hand gestures. Expressing different types of emotions.

The Kathakali:
Kathakali is the classical dance form of Kerala which is believed to have originated in the 17^th century A.D. It is a dramatic art where the expression is the heart of its perfection. This spectacular dance form of Kerala is based on the guidelines laid by Sage  Bharatha’s Natya Sastra;  the ancient treatise on dance and drama, is over 500 years old. This elaborate art form is an integration of dance, music, poetry and histrionics. In Kathakali, make up is an elaborate process, taking long time for its perfection which is very essential for the nature and personality of the character being represented on the stage. Netrabhinaya is (abhinaya through the eyes) a vital part in Kathakali. Generally there are some classifications for Vesham. Thecha Vesham(painted make up). Thadi Vesham (bearded makeup), Kari Vesham( black makeup)  and minukku Vesham (polished make up) are important among them. Pacha and Kathi Vesham are the sub division of Techa Vesham. Kathi Vesham representing evil characters while Pacha (green) represented good and optimisticall characters. Thaddi has three sub divisions. Vella(white) Chuvanna (Red) and Karutha (black). Each colour is representing for performing certain type of characters.
There are 24 Mudras in Kathakali which enables to express the nine emotions. They are called love , valour, fear, contempt, loathing, serenity, wonder, kindness and anger. The Geetham (music) and the Vadhyam (musical instrument) which combines together for the dramatic and excellent performance of Kathakali, usually stories from the great epics like the Ramayana and the Mahabharatha are taken up for Kathakali performance.

The Kalarippayattu:
 Classical literacy works, like Dhanurveda, Agnipuranam, Natyasastra, Hasthangastam and Srakraneeti say that the warrior sage Parasuram was the first  Guru (Master) of Kalarippayattu. It is said that Parasuram after reclaiming the land of Kerala from the ocean by throwing his Mazhu (battle axe), taught this martial art to his 21 disciples in order to protect the land and maintain peace. The others believe that the Lord Siva is considered to be the father of  Kalarippayattu. It has been propagated by Parasuram in North and Sage agasthya in South.
            Historical background (Evolution of Kalari) Kalarippayattu was an integral part of the Socio- Political system of Medieval Kerala. Medieval principalities and chieftain families maintained a military group of their own. Kalarippayattu, in such circumstances, provided the institutional base for the body building and training in combat, for the youth of the times, which became not only necessary but essential. Here specially noted that the Kalrippayattu training was undergone by almost every youth of the Nair Caste, the Kerala warrior Caste like the Samurai of Japan. But Kalarippayattu was not the sole prerogative of Nairs for there were many Muslims, Christians, Ezhavas and even Brahmins who practiced and mastered the techniques of Kalarippayattu.

The Kanyarkali & Thayambaka:
This is a very old art form permanent in Palakad District. It is a combination of Temple ritual and entertainment. It is played in four parts and lasts for four days. It is performed at night and continues till dawn.
Thayambaka: Group drummers numbering 50 or 100 or more accompanied by trumpets and cymbals, performing to a crescendo.

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