Padayani

Padayani, also called Padeni, (from the Malayalam word for military formations) is a traditional folk dance and a ritual art from the central portion of the Indian state of Kerala. A ceremonial dance involving masks, it is an ancient ritual performed in Bhagavati temples. The dance is performed in honor of Bhadrakaali. Meaning, a 'row of warriors', Padayani is an art form that blends music, dance, theatre, satire, facial masks, and paintings. It is part of worship of Bhadrakali and is staged in temples dedicated to the goddess from mid-December to mid-May. Padayani is unique to central Travancore, comprising the Pathanamthitta district of Kerala. Padayani is regarded as a remnant of the Dravidian forms of worship that existed before the advent of Brahmanism.
Padayani is like Theyyam in north kerala. The percussion instruments used in Patayani are patayani thappu, chenda, para and kumbham.

Traditions of origin

Padyani is a modern form of Kolam Thullal, a ritual dance, which had been performed by the magico-medicine men of Kerala ( The Tinta endogamous section of Ganaka community ) . In olden days, this elaborate and expensive event was carried out to heal illnesses of deep psychological dysfunctions without any identifiable serious physical cause, and cases that seemed to be not amenable to medical modalities of intervention . This form of psychic or spiritual healing other wise known as Kolam Thullal, was solely designed, controlled and performed by the Tinta sub sect of the Ganaka community, as a method of exorcism The folk art, Padayani made its development from this dance performance, as a divine ritual tradition in association with festival occasions of Bhagavathy (Bhadrakaali) temples of Kerala.
Another version of its origin is related to the practice of ancient martial arts training in Kerala. Ever since the period of the Samgham age, the Ganaka people were regarded by the society, as traditional preceptors (Sanskrit: Acharya) of martial arts and letters . Since the origin of term padayani relates to military parade or rows of army, it is generally believed that it is evolved from a symbolic past reminiscent of the fencing march of the martial art (Kalari)  by the Nair trainees (fighters) and their Preceptors -Kalari Asans (Kaniyar Panicker) to frighten the enemy troop and to show their might. Eventually the responsibilities of various functions related to this dance were divided and assigned among people of different communities. So the Nair folk became the performers of the modern form of Padayani art, but the right of writing lyrics, the design and making of elaborate costumes was vested with the local Kaniyar people. Nowadays the modern form of Padayani is performed at many Devi temples in the southern region of Kerala, particularly in Pathanamthitta, Kottayam, Alappuzha and Kollam Districts.

Design and performance

Padayani is very popular in Kerala, India, as a means, used to worship goddess Kali. The story line comes as after killing Daruka, an Asura, the goddess was very angry. The bhoothagana, servants of lord Siva, danced in front of her to reduce her anger, else her anger would result in the destruction of the whole world. In memory of this incident, the participants wear masks (kolam) made of lathes of the areca tree using one to hundreds. The colours used to make the kolam are purely natural. They are made of the green of the lath itself (kamukin pacha), kari (carbon), manjalpodi, sindooram, etc.
A major attraction of padayani is the song associated with it. Traditionally only a single type of instrument is used to associate the song, thappu. The songs are in simple Malayalam and have been handed down from the ancestors over the years.
The art form starts with heating the musical instrument, thappu (Thappu Choodakkal). The instrument is faced towards the fire and the instrument tuned. After that, the art form starts. Various types of dances have different names such as madan, marutha, yakshi, pakshi, kalan kolam and bhairavi kolam.
Marutha is the little ones and they are like a drama. They are dancing to make fun along with the songs. The kolam is performed by men as well as children.
Kalan Kolam is the major attraction in padayani. This is about a child who is begging for his life with lord Siva, while death comes on his 16th birthday. At that time Kalan, the god of death, comes and he is trying to take the life of Markandaya, the boy.
Bhairavi kolam is the dance to worship the goddess. It is the biggest kolam and uses many laths of the areca tree. The kolam is headed by more than one person due to its heavy weight.
After the kolam thullal is over, there will be ritual called Pooppada which is the end of the padayani festival. After that, the days of colours will be over and the colourful memories will be in the minds.
The waiting for the next padayani starts then...with a prayer for the wellness of all world....
In 2007, plans were put forward to implement a proposal by poet Kadammanitta Ramakrishnan to create a Padayani Village to promote the dance form. As of 2009, the first such village is expected to be built in the poet's hometown of Kadammanitta at a cost of Rs. 1.9 crore. A chief exponent of Padayani is Prof. Kadammanitta Vasudevan Pillai. His association and acquaintance with Kadammanitta Ramakrishnan has led to many literary contributions. His Literary work "Padayaniyude Paalakolangal" and "Padayani" is an authoritative work on Kerala Folklore with special reference to Padayani.

Elanthoor Padayani

"Elanthoor Padayani" is being perfomed along with 8 days long Padeni maholtsavam at Elanthoor Bhagavathikunnu Devi Temple during February–March month of every year (Malayalam month of 'kumbam')(starts on makayiram naal). 8th day from makayiram naal is the grand padeni or Valya Padeni. Large crowd on valya padeni's Procession is a main attraction follows kaappoli program. Main kolams are Ganapathi, Pishaachu, Sivakolam, Marutha, Koottamarutha, Rudra Marutha, Naayattu, Kuthira, Pakshi, Sundara Yekshi, Anthara Yekshi, Maya Yekshi, Arakki Yekshi, Erinaaga Yekshi, Maadan, Karinkkaali, Kaalankolam, Nina Bhairavi, Bhairavi, Kaanjiramaala and Mangala Bhairavi. Other performances include Velakali, Thaavadi, Pulavrittham, Pooppada and various types of Vinodhams such as Kaakkarashi Drama, Paradeshi, Sharkarakudam, Ammumma, Pattarum Pennum, Ooraali, Pulayan, Naadukaani, etc. 

Kottangal Padayani

"Kottangal Padayani" is being performed along with the 8 (Ettu padayani) days from a total of 28 days during January - February(Makara Bharani). This is performed every year at Kottangal Devi Temple located in the boundary of Kottayam and Pathanamthitta Districts. The last 8 days are important with the performance of different Kolams and other traditional programs. The padayani is done by two Karas(Areas which contains different sub areas) Kottangal and Kulathoor. The Last 8 days are equally divided to two karas that is 4 for each. The last two days(valiya Padayani) are most important for both Karas and they conduct programs in a competitive manner. Beautiful Processions will be there on the evening of last two days. The main programs include vela Kali,Adavi, Pallippana, Vellam Kudi, vinodam and kolam Thullal. The kolams performed in the padayani are Ganapathi Kolam, Kuthira, Bhairavi, Sundara Yakshi, Araki Yakshi, Marutha, Pakshi, Kalamadan and Kalan Kolam.

Kadammanitta padayani

"Kadammanitta Padayani" is being performed along with the 10 days long Pathamudaya Maholsavam at Kadammanitta Devi Temple during March - April ( from 1-10 of medam month in Malayalam Calendar) of every year. Medam 8th is popular for Grand padayani (Vellya Padeni)when all "kolams" under padayani will be performed by experts, and large number of people interested, from all over the country as well as a few foreigners who are regular visitors every year will come to see the magnificent performances, apart from many prominent cultural and social leaders.
Padayani is being performed as an offering to Goddess Kali (Devi) and often portrays the story of Goddess winning victory over Daarikan, an evil character. This ritual festival is famous in Kadammanitta village in Pathanamthitta district.

Kurampala padayani

"Kurampala Padayani" is being performed once in five years. Adavi (human Sacrifice Festival) is a main ritual of Kurampala.

Kallooppara Padayani

"Kallooppara Padayani" is being performed at Kallooppara Devi Temple in Kallooppara village, 8 kilometers from Thiruvalla, located between Thiruvala and Mallappally. It is held in the month of February–March(Kumbha maasam) as part of the Kumbhabharani Festival. Here, Padayani is celebrated in Revathy and Aswathy of Kumbha Masam. Several artists perform this art as a worship to the Goddess,Bhadrakali. The main Kolams performed are Yakshi, Pakshi, Marutha,Bhairavi and Kalan Kolam. Along with these, Vinodam also being performed.

Kunnamthanam padayani

"Kunnamthanam padayani" being performed at Kunnamthanam, a village near Thiruvalla in Pathanamthitta along with Pathamudaya Maholsavam at Madathilkavu Bhagavathi Temple . It is being said that the padayani season in a year starts with vrishchikam (November–December) at thelliyoorkavu and ends in month of medam(March–April) at Kunnamthanam Madathilkavu temple.







For Reference

http://www.padayani.com/frame/padayani.htm 

Read More

Thirayattam

Thirayattam is a ritual performing Ethnic art form of South Malabar region in Kerala state, India. It blend of dance, theatre, music, satire, facial and body painting, masking, martial art and ritualistic function. This vibrant art form has a great resemblance to the traditions and customs of the ancient civilization. Thirayattam usually enacted in courtyards of "kaavukal" (sacred groves) and village shrines of south Malabar region (kozhikode & malappuram dt:) in Kerala. Traditionally, the "Perumannan" community has the right to perform this magnificent art form in "kaavukal" (sacred Groves). Today, the members of "Panan" and "Cherumar" communities also perform Thirayattam. The performer comes into a trance with "Moorthy" or deity whose "Koolam" is enacted and moves vigorously, exhibiting belligerent mannerism and gestures, believed to be divine.

Read More

Mohiniyattam

Mohiniyattam, also spelled Mohiniattam (Malayalam: മോഹിനിയാട്ടം), is one of two classical dances of India that developed and remain popular in the state of Kerala. The other classical dance form from Kerala is Kathakali. Mohiniyattam dance gets its name from the word Mohini – a mythical enchantress avatar of the Hindu god Vishnu, who helps the good prevail over evil by deploying her feminine powers.
Mohiniyattam's roots, like all classical Indian dances, are in the Natya Shastra – the ancient Hindu Sanskrit text on performance arts. However, it follows the Lasya style described in Natya Shastra, that is a dance which is delicate, eros-filled and feminine. It is traditionally a solo dance performed by women after extensive training. The repertoire of Mohiniyattam includes music in the Carnatic style, singing and acting a play through the dance, where the recitation may be either by a separate vocalist or the dancer herself. The song is typically in Malayalam-Sanskrit hybrid called Manipravala.
The earliest mention of the word is found in the 16th-century legal text Vyavaharamala, but the likely roots of the dance are older. The dance was systematized in the 18th century, was ridiculed as a Devadasi prostitution system during the colonial British Raj, banned by a series of laws from 1931 through 1938, a ban that was protested and partially repealed in 1940. The socio-political conflict ultimately led to renewed interest, revival and reconstruction of Mohiniyattam by the people of Kerala, particularly the poet Vallathol Narayana Menon.

Etymology

Mythical Mohini.

Mohiniyattam, also referred to as Mohini-attam, is derived from "Mohini" – a famous female avatar of the Hindu god Vishnu in Indian mythology.
Mohini refers to a "divine enchantress, supreme seductress". She appears in Hindu mythologies during a battle between Devas (good) and Asuras (evil), after the evil had won control of Amrita (nectar of immortality) Appearing in her youthful bloom, dressed rapturously she uses her charms to seduce the Asuras, who seeking her favors, give her the Amrita to distribute among the evil forces. Mohini after gaining the Amrita gives it to the good instead, depriving the evil from gaining immortality.
The details of the Mohini story varies by the Purana and region, but she is consistently an enchantress avatar of the supreme in Vaishnavism. Aattam is a Malayalam language word, and means rhythmic motion or dance. Mohiniyattam thus connotes "a dance of an enchantress, a beautiful woman".

History

Mohiniyattam is a classical Indian dance, which by definition traces its repertoire to the foundational text Natya Shastra. The Natya Shastra text is attributed to the ancient scholar Bharata Muni. Its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text describes the basic elements and the structure of two types of dance: the vigorous, high energy Tāṇḍava dance (Shiva) and the gentle, calmingly graceful Lāsyā dance (Parvati, Shiva's lover).Mohiniyāttam follows the structure and aims of the Lāsyā dance in Natya Shastra.
According to Reginald Massey, Mohiniyattam's history is unclear. Kerala, the region where this dance genre developed and is popular, has a long tradition of lasya style dances whose basics and structure may be at the root. The earliest evidence of Mohiniyattam, or a Mohiniyattam-like dance tradition is found in temple sculpture of Kerala. The 11th century Vishnu temple at Trikodithanam, and the Kidangur Subramanya temple, have several sculptures of female dancers in Mohiniyattam pose. The textual evidence from 12th century onwards suggest that Malayalam poets and playwrights included Lāsyā themes. The 16th century Vyavaharamala by Nambootiri contains the first known mention of the term Mohiniyattam, in the context of a payment to be made to a Mohiniyattam dancer. Another text, Gosha Yatra, from the 17th century too mentions the term. The 18th century Balarama Bharatam, a major secondary work on Natya Shastra composed in Kerala, mentions many dance styles including Mohini Natana.
In the 18th and 19th century, Mohiniyattam grew as dance arts received patronage of competing princely states. In particular, the early 19th century sponsorship and building of a joint Mohiniyattam and Bharatanatyam team of artists by the Hindu king, poet and music composer Swathi Thirunal Rama Varma contributed to the growth and systematization of modern Mohiniyattam.

British rule era

With the spread of colonial British rule in the 19th century India, all classical dance forms of India were ridiculed and discouraged, leading to their severely decline. This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism.
The seductive gestures and facial expressions during temple dances were caricatured in The Wrongs of Indian Womanhood, published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892. This movement affected all classical dances in India and contributed to their decline, including the stigmatization of Mohiniyattam in the princely states of Travancore and Cochin in the British Empire.
According to Justine Lemos, the conventional stereotype has been to label the temple dancers as prostitutes and that Mohiniyattam was banned by the Maharaja under pressure from the British rule and his citizens, but an examination of historical evidence suggests that neither did any law or proclamation ban Mohiniyattam nor is there any evidence that dancing girls of Mohiniyattam were devadasis, temple prostitutes or even menial servants of the temple. However, adds Lemos, there is evidence of rewards being given, scholarship being sponsored, and payments being made to the dancers of Mohiniyattam, as well as laws enacted between 1931 and 1938 that – without naming Mohiniyattam – banned devadasis, banned all forms of "lewd dance or theatre", and banned dancing in temples while the princely states of Kerala were part of the British Empire, in a manner similar to bans on Hindu performance arts in Madras, Bombay and Calcutta Presidencies enacted earlier. In 1940, the ban was partially repealed, by allowing "voluntary dances in temples". In 1941, a new law clarified that voluntary dance was permitted, but the dancers should never be paid. This led to protests, public riots and demands by dancers that performance art is a form of economic activity and religious freedom, that Mohiniyattam artists should be paid by the state or the audience, but the state did not pay them.
Some women continued to dance Mohiniyattam in Hindu temples, regardless of the historic politics during the 1940s.

Modern era

The ridicule and bans enacted during the British colonial era contributed to nationalist sentiments, and impacted all Hindu performance arts including Mohiniyattam. It too was revived and reconstructed, particularly in the 1930s by the nationalist Malayalam poet Vallathol Narayana Menon, who helped repeal the ban on temple dancing in Kerala, as well as established the Kerala Kalamandalam dance school and encouraged Mohiniattam studies, training and practice.

Repertoire

Expression of an artist

Mohiniyattam is a lasya subgenre of dance, performed in the Kaisiki vritti (graceful style), as discussed in ancient Indian performance arts texts such as the Natya Shastra. More specifically, it is a dance that excels in Ekaharya Abhinaya form, that is a solo expressive dance performance aided by singing and music. The dance includes nritta (pure dance, solo), nritya (expressive dance, solo) and modern productions sometimes include natya (play, group dance):

• The Nritta performance is abstract, rhythmic aspect of the dance that appears early and at the end of the dance repertoire. The viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story.

An expressive gesture in Mohiniyattam.

• The Nritya is the expressive aspect of the dance that attempts to communicate a storyline, with emotions and feelings, with spiritual themes. In a nritya, the dance-acting (Abhinaya, Vaittari) expands to include silent expression of words through hand and facial gestures and body motion set to musical notes. The dancer articulates a legend or a spiritual message, aiming to engage the emotions and mind of the viewer.

The basic posture of Mohiniyattam is parted feet, knees bent outwards, an erect upper torso, gentle 8-shape side to side swaying of body along with hips (Ati Bhanga). The footwork is soft, sliding and synchronous with the musical beat and acting. The body movement is sometimes described in terms of calming images of nature as the swinging of the palm leaves, and the gentle undulating of ocean waves.
The basic dance units in Mohiniattam are known as atavus or atavukal, and these are grouped into four: Taganam, Jaganam, Dhaganam and Sammisram. The hand and facial gestures of the dance follow the classical text of Hastha Lakshanadeepika, which has elaborate description of mudras.

Sequence

The repertoire sequence of Mohiniyattam is similar to that of Bharatanatyam, and contains seven items that are performed to a structure described in classical dance texts: Cholkettu (invocation, but starts with offering reverence to a goddess Bhagavati and ends with a prayer to Shiva), Jatisvaram or more precisely Swarajeti, Varnam (a play wherein she embeds a mimicry for distraction while communicating the underlying story or message), Padam (song), Tillana (dancer's interpretation of melody the musician create), Shlokam and Saptam.

Costumes

Mohiniyattam costumes.

The costume includes plain white or off-white such as ivory or cream colored sari embroidered with bright golden or gold laced colored brocade (similar to a ceremonial Kasavu saree). She wears a fitted choli (blouse) matching the sari, below which at the waist is a golden belt which tucks in the end of the sari, and highlights the waist. In front of the saree, below the belt is pleated sheet with concentric bands in gold or saffron colors, which allow freedom of movement and assist in visually communicating the mudra to distant audience.
The dancer wears relatively simple jewelry and no masks, in contrast to the other major classical dance of Kerala called Kathakali. Her jewelry typically includes items on fingers, wrists, neck and ears (which may have bells). The face makeup is natural, but lips are brilliant red, she has the Hindu tikka on her forehead and her eyes are lined to help prominently highlight the eye movements during the dance. Her ankles are adorned with leather straps with bells (ghungroo), feet and fingers colored red with natural dyes. Her hairdo is gathered and tied into a smooth tight round chignon on one side of her head (typically left) and the bun then ringed with fragrant flowers (typically jasmine mallika).

Music and instruments

The vocal music of Mohiniyattam involves various rhythms. There are numerous compositions for a Mohiniyattam repertoire, most of whose lyrics are in Manipravalam, a mixture of Sanskrit and Malayalam.
The musical instruments usually used in Mohiniyattam are Mridangam or Madhalam (barrel drum), Idakka (hour glass drum), flute, Veena, and Kuzhitalam (cymbals). The ragas (melody) are rendered in the sopana (steps) style, which is a slow melodic style with roots in the Natya Shastra.

Read More

Thirunettikkallu

Thirunettikkallu is one of the tourist place in kerala. It is a hill station located in Josegiri, Kannur. This is the one of the coolest area and fill with full of fog during winter season. from the top you can see the forest in Karnataka and Kaveri.

Route map- Kannur ---> Payyannur ---> Cherupuzha---> Josegiri

Distance- Kannur to payyannur         - 38 Km
                Payyannur to Cherupuzha  - 33 Km
                Cherupuzha to Josegiri      - 18 Km

Near by Airport  - Mangaluru, Kozhikode, Kannur

Near By Railway Station - Payyanur

For Staying - Hotels are available in Cherupuzha and Payyanur.

For reaching this place you can book taxi and also you can get route buses to Josegiri started from Payyanur.

 

Cross of Jesus.  During the Good Friday the people from the church in Josegiri visited this place for the remembrance of Jesus who died on the cross in Gagultha.

Read More

Nangyarkoothu

Nangyarkoothu is the traditional name of the koothu performance of a female member (Nangiar) of the Chakkiar community, the koothu performers. Like the better-known Chakyarkoothu, one of the oldest classical arts of Kerala, the Nangyarkoothu is also presented in the traditional temple theatre, the Koothambalam or Koothupura.

This is a solo dance drama mainly centered on the legends of Lord Krishna. Verses are sung and interpreted through mime and dance. The mudras though the same as in Kutiyattam, are even more elaborate. Movements, gestures and facial expressions which have their origin in Natyasastra, the treatise on theatre, written by Sage Bharatha in the 2nd century BC.

The performance is accompanied with Mizhavu (a percussion instrument) and Ilathalam (cymbals). It is still performed in temples like Vadakkunnatha temple at Thrissur, Sri Krishna temple at Amabalappuzha, Koodal Manickyam temple at Irinjalakkuda and Kumaranalloor temple at Kottyam.

Read More

Chakyar koothu

Chakyar Koothu  is a performance art from Kerala, South India. It is primarily a type of highly refined monologue where the performer narrates episodes from Hindu epics (such as the Ramayana and the Mahabharata) and stories from the Puranas. Sometimes, however, it is also a traditional equivalent of the modern stand-up comedy act, incorporating commentary on current socio-political events (and personal comments directed at the members of the audience).

"Koothu" means dance ... which is a misnomer, as facial expressions are emphasized and there is minimal choreography. It is performed in the Koothambalam; a place inside Hindu temples specifically designed for performing Kutiyattam and Chakyar Koothu. Ideally, the performance takes place in conjunction with festivals, presented by members of the Chakyar community along with the Ambalavasi Nambiars.
It is a solo performance, by a narrator in a distinctive headgear and black moustache with his torso smeared with sandalwood paste and red dots all over the body. The headgear resembles snake’s hood, to symbolise the narration by Anantha, the thousand headed serpent.
The Chakyar narrates the story based on the Sanskrit style of "Champu Prabandha" - a mixture of prose (gadya) and poetry (shloka). He begins with a prayer to the deity of the temple. He then goes on to narrate a verse in Sanskrit before explaining it in Malayalam. The narration uses wit and humor to draw parallels with current events and local situations.
Koothu has traditionally been performed only by the Chakyar community. Two instruments accompany the performance - a mizhavu and a pair of ilathalam. This is different from the Nangiar Koothu, which is performed by women called Nangyarammas who belong to the Nambiar caste, and is a more highly refined theatre art.

Chakyar Koothu was originally performed only in Koothambalams of Hindu temples. It was Natyacharya- meaning a great teacher and practitioner of natyam (dramaturgy), a title accorded in his honour- Padma Shri Māni Mādhava Chākyār, a virtuoso of this art, who took Koothu and Kudiyattam outside the temples to the common people. He was the first to perform Chakyar Koothu for All India Radio and Doordarshan. Many consider him to be the greatest Chakyar Koothu and Kutiyattam artist of modern times. The story goes that his guru, Rama Varma Parikshith Thampuran wrote a Sanskrit champu prabandha called Prahlādacharita and requested some senior artists to study and perform it, but they found it impossible to do. It was then young Māni Mādhava Chākyār's turn to try. He agreed and studied a part of the prabandha overnight and performed it the next day at Tripunithura, then the capital of the Kingdom of Cochin. The incident proved his mastery of both Sanskrit and the classical art forms. After some months, he performed the entire Prahlādacharita on the same stage.
The late Ammannur Madhava Chakyar and Painkulam Raman Chakyar were another important 20th century figure in this art form.

Read More

Theyyam

Theyyam (Teyyam,Theyam, Theyyattam ) (Malayalam:തെയ്യം) is a popular ritual form of worship of North Malabar in Kerala, India, predominant in the Kolathunadu area (consisting of present-day Kasargod, Kannur Districts, Mananthavady Taluk of Wayanad and Vatakara and Koyilandy Taluks of Kozhikode of Kerala) and also in South Canara and Kodagu of Karnataka as a living cult with several thousand-year-old traditions, rituals and customs. The performers of Theyyam belong to the lower caste community, and have an important position in Theyyam.People of these districts consider Theyyam itself as a God and they seek blessings from this Theyyam. A similar custom is followed in the Mangalore region of neighbouring Karnataka known as Bhuta Kola.

History

"There can be no doubt", say Bridget and Raymond Alchin, "that a very large part of this modern folk religion is extremely ancient and contains traits which originated during the earliest periods of Neolithic, Chalcolithic settlement and expression" mainly there is no doubt, giving from fremin.

Bali Theyyam from a Kavu in Payyanur

Thai Paradevatha Theyyam from Valliyottu Tharavadu

Theyyam from Ashtamanchal Baghavathi Kshetram, Payyanur

Theyyam from a Kavu in Payyanur

theyyam from thalaserry

Image of Karkitaka theyyam: Theyyam after monsoon season

Kundar chamundi theyyam

Classification of sub-cults

It can be said that all the prominent characteristics of primitive, tribal, religious worship had widened the stream of Theyyam cult, where "even the followers of Islam are associated with the cult in its functional aspect" and made it a deep-rooted folk religion of millions. For instance, the cult of Bhagawathi, the Mother Goddesses had and still has an important place in Theyyam. Besides this, the practices like spirit-worship, ancestor-worship, hero-worship, masathi-worship, tree-worship, animal worship, serpent-worship, the worship of the Goddesses of disease and the worship of Graamadhevataa (Village-Deity) are included in the mainstream of the Theyyam cult. Along with these Gods and Goddesses there exist innumerable folk Gods and Goddesses. Most of these Goddesses are known as Bhagavathy (the Mother-Goddess that is the Divine and United form of the three principal Goddesses namely, Brahmani (Saraswati), Vaishnavi (Lakshmi), and Shivani (Durga)).

Different branches of mainstream Hindu religion such as Shaktism, Vaishnavism and Shaivism now dominate the cult of Theyyam. However, the forms of propitiation and other rituals are continuations of a very ancient tradition. In several cult-centres, blood offering is seen, despite being forbidden in sattvic Hinduism, Jainism and Buddhism. In such centres, separate places outside the precincts of the shrine are selected for blood offering and for the preparation of the traditional Kalam known as Vatakkanvathil. The Theyyam deities propitiated through cock-sacrifice will not enter such shrines. This religious cockfight over blood sacrifice, which does also include the cockfight as a blood sacrifice, is a prime example of "cultural synthesis of 'little' and 'great' cultures".

On account of the supposedly late revival of the Vaishnavism movement in Kerala, it does not have a deep impact on the Theyyam cult. Only a few deities are available under this category. Two major Theyyam deities of Vaishnavism are Vishnumoorthi and Daivathar. Vaishnavism was very popular in the Tuluva region in the 13th century when it came under the rule of Vishnuvardhana of the Hoysala dynasty. He was a great champion of Vaishnavism. Most probably he was initially deified as Vishnumoorthi and incorporated into the Bhoota cult of the Tuluvas and then further incorporated as a prominent folk deity into the Theyyam cult as well. To some, the legend of Vishnumoorthi is symbolizes the God's migration from Mangalore to Kolathunadu.

All other categories of Theyyam deities can be classified under Shaivism or Shaktism. Even spirits, ancestors, heroes, and animals are deified and included in those categories. Briefly, Theyyam provides a good example for the religious evolution of, and the subsequent different stages in modern Hinduism, with the overall understanding that within Hindu sycretisms lay propitiation as ancient practices and rituals of ancient worship intended for the blessings of the supernatural not unlike, "in Indus Valley and other ancient civilizations, mother goddess had been invoked for fertility and prosperity".

Patronage

Out of devotion, ruling clans established their own shrines and Kavus for Theyyam deities where non-sattvic rituals and customs are observed. The Goddesses like Rakteshwari, Chamundi, Someshwari, Kurathi, and the Gods like Vishnumoorthi are propitiated in these household shrines. There, the Theyyam dancers appear during the annual festivals of Gods and Goddesses. The rituals in such shrines are different from those of the Brahminical temples. The impact of this cultural fusion could be traced to the social organization based on the caste system and in the agrarian relations. The inviting of Brahmin Thanthri to consecrate the idols of Kavu started very recently. Except the Non-Brahminical communities and those like Nair and Nambiar who supported Brahminical supremacy, other castes especially Thiyyas took it as a "major religious practice".

 

Performance

Makeup of Nagakkali Theyyam

Muthappan Theyyam (parashini kadavu temple) as Lord Shiva

The dance or invocation is generally performed in front of the village shrine. It is also performed in the houses as ancestor-worship with elaborate rites and rituals.
There is no stage or curtain or other such arrangements for the performance. The devotees would be standing or some of them would be sitting on a sacred tree in front of the shrine. In short, it is an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The chief dancer who propitiates the central deity of the shrine has to reside in the rituals. This may be due to the influence of Jainism and Buddhism. Further, after the sun sets, this particular dancer would not eat anything for the remainder of that day (again possibly on account of a legacy of Jainism). His make-up is done by specialists and other dancers. The first part of the performance is usually known as Vellattam or Thottam. It is performed without proper make-up or any decorative costume. Only a small, red headdress is worn on this occasion.

Angakkaran Theyyam

 

The dancer along with the drummers recites the particular ritual song, which describes the myths and legends, of the deity of the shrine or the folk deity to be propitiated. This is accompanied by the playing of folk musical instruments. After finishing this primary ritualistic part of the invocation, the dancer returns to the green room. Again after a short interval he appears with proper make-up and costumes. There are different patterns of face-painting. Some of these patterns are called vairadelam, kattaram, kozhipuspam, kottumpurikam, and prakkezhuthu. Mostly primary and secondary colours are applied with contrast for face painting. It helps in effecting certain stylization in the dances. Then the dancer comes in front of the shrine and gradually “metamorphoses” into the particular deity of the shrine. He, after observation of certain rituals places the head-dress on his head and starts dancing. In the background, folk musical instruments like chenda, tudi, kuzhal and veekni are played in a certain rhythm. All the dancers take a shield and kadthala (sword) in their hands as continuation of the cult of weapons. Then the dancer circumambulates the shrine, runs in the courtyard and continues dancing there. The Theyyam dance has different steps known as Kalaasams. Each Kalaasam is repeated systematically from the first to the eighth step of footwork. A performance is a combination of playing of musical instruments, vocal recitations, dance, and peculiar makeup (usually predominantly orange) and costumes.The Kathivanoor Veeran Theyyam is one of the famous theyyam in Kerala

Styles of dance

There are approximately 400 types of Theyyam, including Pallivettakkorumakan, Vishnumoorthy and Sree Muthappan Theyyam.

A Madappura (stand alone Kovil)where Theyyam rituals are performed seasonally. All the Muthappan Madappura's are structured in similar style. These structures are found mainly in North Malabar region of Kerala

 

Perum Kaliyattam

 

In some Kavus the Theyyam festival is conducted in intervals of 12 or more years. These kinds of festivals are known as Perumkaliyattam. In 2008, Perumkaliyattams were celebrated in Ramanthali Muchilot Kavu, Kalayikode Muchilot Kavu and Mandur Padinjatta Thiruvarkat Bhagavathy Temple. From 19 to 24 February 2008 Perumkaliyattam was held in Kenamangalam Kazhakam, Pallikkera near Nileshwar and Also in Edat Thiruvarkattu Bagavathi Temple.

Muslim Theyyam

A Muslim Theyyam is performed in the temples of Malom town in Kasaragod district. Malom#Muslim_Theyyam

• 

  Puthratti Daivam at Vikranandapuram Kshetram, Taliparamba.
  
• 

  Bhagavathi at Vikranandapuram Kshetram, Taliparamba.
  
• 

  Vishnumurthy at Vikranandapuram Kshetram, Taliparamba.
  
• 

  Kshetrapalan at Vikranandapuram Kshetram, Taliparamba.
  

 

Read More