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Moreover, the revival of Margamkali (a Christian folk art) in Moothon (2019) and Kalarippayattu (martial art) in Urumi (2011) shows how cinema has become the primary vehicle for preserving dying performance traditions. The average Malayali teenager knows the beats of a Panchari Melam not from temple festivals, but from the film Pranchiyettan & the Saint (2010). One cannot discuss Kerala culture without discussing the hyper-regional diversity of its language. The Malayalam spoken in Thiruvananthapuram’s elite golf clubs is different from the raw, Pachamalayalam (raw Malayalam) of the northern districts.

The first Malayalam talkie, Balan (1938), was heavily influenced by contemporary Tamil and Hindi cinema, but it was the 1950s and 60s that saw the true integration of native art forms. Films like Neelakuyil (1954) and Chemmeen (1965) marked the watershed moment. Moreover, the revival of Margamkali (a Christian folk

Baburaj’s Kattile Kuyil from Bhargavi Nilayam (1964) mimics the Thullal rhythm. Raveendran’s Oru Madhurapoori from Vaishali (1988) is a masterclass in classical Carnatic fusion. In the modern era, the music of Maheshinte Prathikaaram (2016) and Kumbalangi Nights (2019) uses ambient sounds—the chirping of birds, the sound of rain on tin roofs, the low hum of a Chenda from a distant temple—as the actual score. Moreover, the revival of Margamkali (a Christian folk