Kannangad Bhagavathy theyyam

Kannangad Bhagavathy theyyam is believed to have originated from mahadevan. Father of Kannangad bhagavathy is considered to be Vayathoor Kaliyar.

Kannangad Bhagavathy is the God to people haling from the caste Maniyan. Maniya's traditional tasks were agriculture and cattle growing.

Once upon a time, folks all around the Malabar, including famous personalities and scholars arrived for the famous Maholsava of Kalee pareeswaran, dad vayathoor kaliyar was afraid, kannangad bhagavathy would harm these people in some way.

So he chained kannangad Bhagavathy against a big rock till the procession is complete. Father ordered to close one eye and one ear and stay in peace in the shade where she was chained.
The big procession which followed removed the hot temperment from bhagavathy and she became "Shantha Swaroopini".

This made her father vayathoor kaliyar so happy. He gave Bhagavathy holy weapons and blessed her. Bhagavathy travelled to Udhinnoor kovilakam and idolised there.

Once payyannoor and surrounding areas were affected by severe small pox. Even the thanthri from subrahmania temple was effected. Komaram of muchilott bhagavathy set out from koroth. Komaram of Muchilott Bhagavathy along with that of Kannangad Bhagavathy tried together to eradicate the epidemic. By then it was too late for the komaram to return and it was impossible to return for the day.

The holy weapon of muchilott bhagavathy was placed in Poonthuruthy kannangad. Thus poonthuruthy kannangad got renamed to poonthuruthy muchilott. Soon every muchilott kaav had given a holy place for kannangad bhagavathy.


Kannangad and Muchilott Kaav

Right from the days, extracting oil from coconut were the traditional job followed by the vaniyas. One such person was pattoli chettiyan.

He used to do his trade in an area called 'Kotti' and would donate the rest of the oilsto an old lay in kuthoor for lighting the lamp for kannanga bhagavathy.

One evening, a bit intoxicated, pattoli chettiyan asked this old lady, if the bhagavathy was soo poor, why should she stay here, rather her let her come with me. When pattoli chettiyar reached home, after the bath he found that the oil vessel he used to donate the oil to bhagavathy was overflowing wtih coconut oil and he wans amazed at this scene. Jyothishi's identified precense of kannangad bhagavathy. Thus bhagavathy was given a place in pattoli chettiyar's residence. This was the begining of association between kannangad bhagavathy and vaniya caste.

Muchilott Bhagavathy Theyyam

In the place called Rayara Mangalam there lived a bhramin couple who were constantly praying rayaramangalam bhagavathy to bless them with a kid. One fine day, devi appeared in front of them and blessed them and subsequently a girl child was born to them. The beautiful kid who was the present of devi was named Deva Kanyav.

The girl was a devotee of rayara mangalam bhagavathy and amused everyone with her ability in dance and other art forms.

Muchilott Bhagavathy Theyyam

Agni was too reluctant to burn Deva kanyav. The theeyan who came that way was requested to put the dry coconuts into the fire. He ran away thinking not to help a suicide.

As she grew up, her parents took her to maniyott gurukulam. The kid showed uncharacteristic ability and scholar in all forms of education.

As per bhramin culture, at the age of 12, deva kanyav's marriage was set to happen. Devakanyav out up a single request in front of the brahmin society and her parents. The person who was going to marry her should be a scholar and he should be defeating deva kanyav in the scholar arguments.

A big arena was set and scholar and eminent personalities from far flung areas made themselves present hoping to tie the knot around devakanyav's neck.

The discussions and arguments over various subjects were carried out and all the scholars were defeated one by one.

Some of the brahmin scholars feared that if this girl was let alone, it would pose threat to the whole community and she ought to be expelled from the society.

On the third day when the marriage day was supposed to be, some of the scholars asked devakanyav, which is the most important sensation, the answer was quick, Love(Kaama). The set forwarded the next question, which is the most unbelievable pain, she had answer for this. It was the pain bearing by mother during the birth.

The band of scholars accused that devakanyav should be experienced in either of this, or she wont be able to comment authoritatively on such a subject.

She was expelled from the gurukula home and the whole society. The marriage was broken.

Devakanyav, dejected, setout from her home to prove her purity. She reached, Echikulangara temple and started praying Shiva. After 40 days, devan appeared and asked her, "Inorder to prove your purity, create a Home-Kunda and take offerings from the bytravelers and burn your physical body".

Next day, devi got up, took her bath and set out towards the south. When she reached the land of Panakkacheri Nambi(Karivalloor), she had the intution that it is the right place for burning her physical body.

Deva kanyav gathered logs from forest, created a fire area and fire from her inner self. She started praying Shiva, completed 3 round around homa kunda, removed one Chilanga(Anklets) and descented herself into the fire.

The next bytraveller was a vaniyan. He was carrying his pot of coconut oil on his head. Deva kanyav requested to pour the oil in to the fire. Praying to extinguish the fire, vaniyan poured the whole coconut oil into it.

In the next instance, Devi gave blessings to vaniya and disappeared.

MELERI HISTORY

The vaniyan, with his legs moved the burning charcoal and tried to see whats inside the burnt wooden logs area, but found nothing. Devi who gave her physical body into the burning homakunda was totally disappeared.This is the history of Meleri. Now during the kaliyattam, youngsters run through the burning peices of wood.

MYTH BEHIND GUY JUMPING WITH POT OF WATER

Vaniyan came back to his home, kept his pot in the room and laid down in deep sorrow. The pot got filled with oil and started jumping in itself. As a rememberance of this incident, a person jumps with pot of water on his head along with the procession during koodiyattam of muchilott bhagavathy.

After burning the physical body in the fire, devi came to Kailasa in front of Shiva and requested him to enlighten her with the purpose of her birth. She being the protector of all the fourteen world, purpose of her birth is to protect the people in the small world(Earth) from epidemics like small pox measels and leprocy. Devi was quizzikal as to how the people who once expelled her from earth would welcome her once again to their society.

Shiva informed that every one would welcome her with all their will. He would also provide her with all the requirements that would come handy to her on the way.

Devi first descented at Perinchelloor. Travelled towards north to reach karivalloor. She reached the house of muchilott padanayar. Devi decided to rest in the shades of trees. In the afternoon, devi felt thirsty due to the summer heat and decided to descent into the well(Manikkinar) of muchilodan Padanayar. Meanwhile, the wife of padanayar reached near the well to fetch water. To her astonishment, she found the gazing and wonderful sense of devi in the well. She ran to call pada nayar. But devi disappeared and made herself into the palm tree infront of muchilott padanayar's house.

In the morning, padanayar found the palm tree in a burnt state. Padanayar cut the palm tree and created twelve bows for muchilott kotta(Fort). All the eleven bows were transferred to the fort, but no one could move the twelveth one. Astrologers found there the precense of Shiva's daughter Muchilott Bhagavathy.

One day, padanayar had a dream in which Muchilott Bhagavathy wanted a place in one of the rooms of padanayar. Padanayar was more than happy to give the place for Bhagavathy.Thus devi was also known as Muchilott Bhagavathy after Muchilodan Padanayar.

Para Devatha Theyyam (vishnu-moorthy-theyyam)

Malabar region especially kannur and kasargod are blessed with a lot of theyyams and kaav. There are a lot of Vishnumoorthy kaav throughout malabar. But kottappuram is considered as the origin of vishnumoorthy. History of Vishnumoorthy dates back to olden days in an old tharavad called "Kottappuram".

The emperor of Kottappuram was kuruvatt kurupp. There lived a boy servent at his palace called Kannan. He was later known as palanthayi kannan. Palanthayi kannan is believed to be in a cast called Ettillam Karuvan which is a subcaste of Theeya. One day paalanthayi kannan and the daughter of Kurupp were playing together and when Kannan was plucking mangoes from tree, one of them accidently fell on the head of the daughter. Though the incident was accidental, other evil minds twisted the stories and made that intentional.
Kurup who was too short tempered started creating plans to take life of Kannan.

Some kind-hearted people informed Kannan about the upcoming danger and thus kannan fled to a remote village of mangalore. In mangalore, he was given shelter by an old lady who was a devi devotee. Kannan lived there serving the old lady just like her own son.

Time flew past and kannan became a well matured youngster. By then kannan was too eager to meet his parents and relatives and to spend time where he grew up.

The old lady insisted that going back would mean disastrous and harmfull for his life. But fate was never meant to be turned away.

Kannan came back to his native place and kuruvatt kurupp came to know about this.

Unaware of the upcoming crime and evil, Kannan descented into a pond to wash his face and legs. Kurupp, hidden, secretly attacked Kannan and killed him with a sword.

The blade was abondoned in the pond. It came out from the water and started to juggle above the pond water.
Consequently there were disasters happening in Kurupp's family. His cattles and other earnings were lost. Family members suffered from ill health and mental disorders.

Jyothishi's were brought to his home and found that it was because he killed Kannan. When kurupp begged for a solution, jyothishi's said that there was presence of Narasimhamoorthy and it was to be made happy.

Narasimhamoorthy insisted that its required to devote Kannan with Silver and devote Narasimha's Roopam with Gold. It was asked to get in touch with devotee Palayi Krishnan Parappan who was the perumalayan during that time. Parappan was totally astonished by this request and was praying to Narasimha for showing him how Vishnu moorthy need to be performed and the poems and figures. Parappan started preparing for getting himself ready for the event. He took religious observance and waited eagerly for the enlightment. One night Narasimha showed his precense in dream and suggested a costume and decorations for vishnu moorthy. But parappan mentioned that those caricature was beyond his ability. Narasimha showed him subsequent other alternative form and parappan selected the one he could perform. The current vishnumoorthy costume and decoration is considered to be selected by Palayi parappan.
Thus Vishnumoorthy Theyyam was first performed for the well being of Kurupp and Since then, vishnu moorthy was considered to be the God of Karuvan caste and performed in almost all the vishnumoorthy kaav and muchilott kaav. In muchilott kaav, vishnu moorthy is assigned a real high place at the right side of kaav. Vishnumoorthy theyyam performs Narasimha moorthy's avatharam lakshyam and the assasination of hiranyakasyapu. The performance of theyyam, clearly visualise these dance steps. After hiranyakasyapu assassination, its also shown in real beauty, gracing of prahladan and his devotee mother. The flower shower by devas are also pictured in the performance of Vishnumoorthy theyyam.

Theyyam (theyyattam) is a ritual dance form popular in northern Kerala. Theyyam is normally performed in temples/Kavu/kOOttam mostly in Kannore and Kasrgode districts in few places in Kozhikode district. The name theyyam is derived from the malayalam name for God (daivam). During the ritual the artist is considered as God and they complain ask for blessings as if they are talking to God.

In the whole lot of theyyams and thiras mother godess theyyams are the most prominent and of utmost importance. Bhagavathy, Kaali and Chamundi all come under Mother(Godess) theyyam. The most important theyyam among the whole lot of mother theyyam is "Thayi para Devatha". This theyyam is also known by the name "Kola Swaroopa Thingal Thaai". Kolathiri dynasty offered a place in thiruvarkaad, also known as maadayi kaav and thus thayi para devatha was known by the name Maadai Kaavil Achi. This theyyam is considered as eradicator of all diseases and difficulties.

this theyyam also know as vishnu moorthy theyyam

Pottan theyaam

Pottan theyyam Face Mask (Mukam Moodi)

Pottan Theyyam makes every one stand at their toe. Its prologue, Thottam paattu shoots questions towards the bosom of a State divided into irrational fragments of a void caste system. Rubina Shagin talks with a veteran Theyyam artist narrating the interesting incidents of ‘becoming’ and the ‘one-step-above-human activity’ involved in the performance . The One of the most verity art from theyaam from kerala god's own country. 

Shrieks and roars quivered the dusky ambit of the pompous Bhagavathy temple. The crowd gathered around stood breathless, their hands folded in reverence and fear…the red flames radiated from the pyre nearby flushed their cheeks more, the numb mass tighten their legs in the dark. Suddenly with a piercing shrill of alarm the God came out of the temple in a frenzied spell, dressed in ribbons of tender coconut leaves tied around the whole body, his anklets jingled in an alarming rhythm, He threw himself into the scarlet fiery heap of burning logs.. Lying on the red cinders he laughed and laughed, then put his folded leg on the other lay there as the mightiest, again laughing at the whole world ..then rolled on the flames..again laughed. People around were spell bound, speechless..

It was Theyyattam.. the time-honored religious ritual still alive in Kerala Malabar. It was not a showcase piece exhibited in order to lure the foreigners. It is all about Theyyam, the crude tongue of Daivam,meaning God. It was their God whom the people around revered in fear and piety.

In Kannur and Kazargodu Districts of the Kerala State Theyyam performance is a religious ritual and is being performed in many temples annually and homes in separate events. As for the Landlords and the rulers, the Theyyam was expected to bring prosperity to their domain. People believe that Theyyam can do away with all their troubles and bring them riches. So everyone regardless of caste and cult, make oneself prepared for this practice of ritual in their homes or near by temples.

Pottan theyyam In Fire (Nerippu)

God  talks

Risen from the pyre of beliefs and penances, the man who was impersonated the deity came out, after the blessing ceremony, raw as the old Kallen Damodaran and began to narrate the other sides of this highly perilous and breath-taking performance.

“I ve been performing this ritual since my early youth stage, at about 21 years..it is a privilege to put on the attire of Thaivam, I take it in its pious sense, nothing whimsical or fancy about it. It is the game of God..”

As for any religious ritual, Theyyattam is also being performed with a lot of ritualistic activities prior to the performance. After getting the Adayalam, an honor from the chief of the temple authority the performer lives under rigorous abstinence and self-restrictions unto the day of performance. “Only because of this intense ‘vrataa’ (penance) we are able to perform such an adventurous act.. if some one happened to  deviate from that strict observance, he and his family would have to undergo severe wrath of  God, besides the burns from the pyre”, says Damodaran firmly.

call back pottan theyym from fire (Nerippu)

Theyyam   a call behind

 

Theyyam Kaliyattam, the sacred dance performance of Gods and Goddesses carry umpteen myths that strengthen its impact even in this era of Chandrayan. Significantly two myths uphold this ancient religious ceremony. Narration of this pull-back gives a grant depiction of the social order prevailed at that time, which unfasten a thoroughfare to know about the history also. In the various Theyyam forms, Pottan Theyyam that Damodaran has been performed for the last 60 years, stands apart with its unique tapestry of truth in its essence.

Thottam Pattu, the opening song of the performance in old Malayalam jargon tells you the satirical story of a domain that was and is bound to the cast and creed cult.

Pottan Theyyam Home Visit

“Vazhi thetty vazhy thetty po pulapotta..

Enthina chovvare vazhi thettunnathu?

Ningale kothiyaalum chora onnalle…

Ningal pale perum mannathu koodumbol..

Naangal pale perum kaavil kuudunnu..

Nhangale kuppayile poovanu chovvare..

Ningale deevane poojikkunnathu chovvare…

…”

Parassinikkadavu Temple

Parassinikkadavu Temple

The famous Muthappan (Siva) Temple (Parassinikadavu Madappura) is on the banks of the Valapatanam river.According to tradition, the main abode of Muthappan was Puralimala near Mattannur. The story goes that Muthappan appeared in the form of a child before one Padikutti Amma. The child had an insatiable appetite for liquor, fish and meat and became a nuisance to the family was therefore turned out from the house.
Armed with a bow and arrow Muthappan wandered from place to place and eventually reached Puralimala. At Kunnathurpadi, on his way to Puralimala, he climbed on to the top of a palmyra tree near the house of one Chandan and drank toddy.
Chandan who happened to arrive on the scene, is said to have been turned into a rock at the gaze of Muthappan. Here Muthappan completely disappeared from the scene and nothing more was heard of completely disappeared from the scene and nothing more was heard of him. It is believed that he came down to Parassinikadavu.

According to tradition, a member of the Vannan community at Parassinikadavu found a metallic arrow on the trunk of a Kangira tree and having felt something divine about the place, reported the matter to the senior member of an ancient Thiyya family in the neighbourhood. The latter, who felt the divine presence of Muthappan, immediately performed the necessary ceremonies and offered worship to him.
It is an accepted dictum here, that whatever is received by way of gifts or offerings should be spent for the benefits of the pilgrims. The daily offerings made to Muthappan are also different from what they are in other temples. It has been customary to offer toddy, fish and meat as ‘nivedyams’ to this deity. People of all castes and communities including
People of all castes and communities including members of the Muslim as well as Christian communities are known to donate sums of money as vazhipadu of Muthappam. The annual festival which falls on December 1st, provides a special occasion for pilgrims to throng the Parassinikadavu temple.
The temple is situated 20 kms, north of Kannur town.


Temple Festival Procession

Tradition has it that for the Annual Festivial (‘Ulsavam’) of the Muthappan Temple at Parassinikkadavu to start a procession led by a male member of the “Thayyil” clan of Thayyil, Kannur begins from the family home & terminates at the main altar of the temple with a ‘pooja’ (prayer) to the Gods.

Muthappan theyyam

Sree Muthappan is a Hindu deity worshipped commonly in Kannur district of north Kerala state, South India . Muthappan and Thiruvappan, are considered to be a manifestation of Shiva and Vishnu , and hence Muthappan wholly represents the idea of Brahman , the unity of God, as expressed in the Vedas .

Worship of Muthappan is unique, in that it does not follow the Sattvic (Brahminical) form of worship, as in other Hindu temples. The main mode of worship is not via idol worship, but via a ritual enactment of Muthappan, performed daily at the Parassini Kadavu temple. Fish is used as an offering to Muthappan, and people of all castes, religions and nationalities are permitted to enter the temple and take part in the worship.

Muthappan is also the principal deity in the ritualistic Theyyam dance ( Muthappan Theyyam ) performed in the famous Parassinikkadavu temple . The ritual performers of Muthappan Theyyam belong to the tribal community of Kerala. It is unique because in Kerala both the upper-caste Brahmins, and the lower-caste tribals, both have a significant contribution to the major forms of worship

Story of Muthappan

The Naduvazhi (landlord) Ayyankara Illath Vazhunnavar was unhappy as he had no child. His wife Padikutty Antharjanam was a devotee of Lord Shiva. She offered several things as sacrifice to the God Shiva. One day in her dream she saw the Lord. The very next day while she was returning after a bath from a near by river saw a pretty child lying in a flower bed. She took the child home and brought him up as her own son.
The boy used to visit the jungle near by their house (mana)for hunting with his bow and arrows. He would take food with the poor and with the backward communities. As these acts were against the Namboothiri way of life, his parents earnestly requested him to stop this practice. But the boy turned a deaf ear to their warnings. Ayyankara Vazhunavar became very disappointed.
One day the boy went to his parents and shown his parents his divine form (visvaroopam) with bow and arrow and fiery eyes. His parents understood that the boy was not an ordinary child but a God. They prostrated in front of him and ‘He’ blessed them.
The God started journey from Ayyankara. The natural beauty of the Kunnathoor stopped him from his journey. He was attracted by the toddy of palm trees.

Chandhan (name of a toddy tapper who was illiterate and uncivilized knew of his toddy being stolen from his palm trees every day. So he thought of guarding his palm trees. While he was keeping guard at night, an old man was found stealing toddy from his palms. He got very angry and tried to shoot the old man using his bow and arrow. While he was about to aim an arrow at him, he fell unconscious.
Chandan’s wife who came there seeking for her husband saw him lying unconscious. She cried broken heartedly. When she looked up she saw an old man at the top of the palm tree, she called “MUTHAPPA ” (as if addressed to a grandfather, Muthappan means grand father in Malayalam language). She earnestly prayed to God to save her husband. Before long chandhan regained consciousness.
She offered boiled grams, slices of coconut, burnt fish and toddy to the Muthappan (Even today in Sree Muthappan temples the divotees are being offered boiled grams and slices of coconut). She sought benediction from him. Muthappa choose Kunnathoor as his residence at the request of Chandhan, this is the famous Kunnathoor padi.
After spending some years at Kunnathoor Sree Muhtappa decided to get more favorable place as his residence so that he could fulfill his aim of reincarnation. He shot an arrow up ward from Kunnathoor. The shaft reached at Parassini where the famous Parassini Temple resides now. The arrow which was emitting glow from the Theertha (sacred water ) near the temple was received with evotion and placed on the altar of the temple. Since then lord Muthappan is considered as residing at Parassinikkadavu.


Another Story

As a boy, Muthappan was rebellious. He was a great hunter and would skin the animals that he killed and wear their skins as clothes. One day, he came across a coconut tree that was being tapped for toddy, the liquor fermented from coconut sap. He climbed the tree and emptied the jar that was holding the toddy. When the toddy tapper returned and saw Muthappan, he immediately challenged him. Muthappan turned the man to stone for daring to address such a powerful god in this manner. During performances of Muthappan theyyam, the performer consumes the toddy liquor and passes it around to the spectators. Hence, Muthappan “breaks” the temple rules by allowing alcohol into temple grounds.


Sree Muthappan and Dogs

Sree Muthappan is always accompanied by a dog. Dogs are considered sacred here and one can see dogs in large numbers in and around the temple.
You can see two bronze carved dogs at the entrance of the temple to symbolise the trustworthiness of bodyguards of God. When the prasad is ready it is first served to a dog that is always ready inside the temple.

Local legends enhance the importance of dogs to Sree Muthappan, one such story is as follows:
A few years back temple authorities decided to reduce the number of dogs inside the temple, they took some dogs and puppies away. Surprisingly from that very day, the performer of the Sree Muthappan Theyyam was unable to perform (it is said that the sprit of Sree Muthappan enters his body and the performer becomes God till the theyyam performance is finished). Since the dogs was taken away from the temple, Sree Muthappan does not enter the theyyam performer’s body. Knowing this, the Dogs were bought back to the temple. From that day onwards theyyam performance was as usual.

Theyyam

Theyyam or Theyyaattam is a pattern of hero worship performed in Kolathunaad, a territory comprising the present Cannanore District and Badagara Taluk of Kerala State. It is a ritual and a folk-dance form supported by a vast literature of folk songs. Theyyam is a corruption for Deyvam ‘God’. 'Aattam' means dance. Thus 'Theyyaattam' means the God’s Dance.

Muchilottu Bhagavathy Theyyam

In Kolathunaad and other places (Southern portion of Kolathunaad), Theyyam is known as Thira orThirayaattam. There, the performance is conducted on a masonry stage called Thara and the wordTharayaattam was probably changed into Thirayaattam in course of time. The term Thirayaattamitself may mean beautiful dance.

The person who plays and personifies the deity is generally called ‘Kolam’. The word Kolam means figure or shape or make-up in Tamil and Malayalam. In Tulunad, north of Kolathunaad, the custom ofKolam dance is widely prevalent as a form of worship of the Bhootas or spirits. There, the dance was conducted before the sthaanams, where the Bhoothas or the spirits used to reside. As the result of Aryan colonization of Thuluva and Kolathunaad, the Brahmanical religion became deep rooted in this territory. The Brahminic concepts of Gods and deities were accepted by the indigenous people of Kolathunaad. But even then the old folk-cult of Velan Veriyat and spirit worship remained as a system of worship for the native. The rituals remained unchanged and the tradition was not abandoned by the people. Vishnumoorthi, Pottan, Chaamundi, Rakteshwari and Bhagavathibecame new deities for the village folk of Kolathunaad along with their primitive deities of spirits and heroes.

The cult of Bhagavathi became so dominant in the social life of Kolathunaad that no village of this area could be found without a shrine or kaavu of a Bhagavathi. The Bhagavathi at Maappiticheri was known as Maappiticheri Bhagavathi and the Bhagavathi at Kannangot was known as Kannangot Bhagavathi. Many of these Bhagavathis have their own Theyyaattam or Thirayaattam at their shrines as annual festivals. Some of these Bhagavathis have big temples and daily offerings strictly conforming to the Brahmanical ritualism.

Performers

theyyam Perfomer  Sri. Rajan Panicker  from cheruvathur

Velan is one of the castes that performs Thirayaattam or Theyyaattam in Kolathunaad. The termVellaattam which denotes the introductory performance of the deity in the evening without ceremonial make-up and dress, represents the combination of the words Velan and Attam. Thus Velan is a noted authority of this folk dance. In Kolathunaad and other areas the Velan is known by the term Munnuttonand northern areas of Kolathunaad by the term Anjutton.

Besides the communities of Velan, Malayan and Vannan are the predominant communities that perform Theyyams in Kolathunaad. Both these castes are the indigenous tribes of Kerala. Among them there are good traditional physicians and good folk-dancers. The tradition of folk-dance in Kerala was kept alive by these people. Even though they are untouchable to the Brahmins, the Theyyamsperformed by them were worshipped by Brahmins also. This native tradition, caused the cultural integration of the migrated Brahmins with the native people.

The other communities which perform Theyyaattams are Mavilan, Vettuvan, Pulayan andKoppalan. These tribes used to perform Theyyaattams in memory of their deceased ancestors. But these Theyyaattams are not so colourful and artistic in comparison to those of other castes like Velan,Vannaan and Malayan. The Theyyaattam by Pulayar and Vettuvar remain good examples of the spirit worship done by these tribal people.

Costumes and Make-up

One of the salient features of Theyyaattam is its colourful costume. The typical waist dress of heroes is found in Kativanoor veeran. This is called Arayota or Vattoda or Atukkum Chiraku and made out of splices of bamboos and covered by red cloth. For a few Theyyams, especially the ones played with Malayan, this waist dress is woven out of coconut leaves. The Theyyams likeVishnumoorthi and Pottan require this dress especially as they leap into the fire.

Above the waist dress the naked body is painted with different native colours. The particular system of painting the body of a Theyyam differs from that of other Theyyams. Parunthuvaal Ezhuthu(eagle’s tail) and Anchupulli Ezhuthu (five dots) are some technical terms for body painting. For painting the faces of the players Praakkezhuthu, Sankezhuthu, Naagam Thathal Ezhuthu, Varezhuthu, Narikurichezhuthu and Kattaramezhuthu are a few well known systems widely adopted. The head-dress or Muti also differs from Theyyam to Theyyam. Some well known Mutis used forTheyyaattams are Pookkatti, Ponmuti, Vattamuti, Chattamuti, Valiyamuti, Kondalmuti,Puthachamuti, Onkaramuti and Peelimuti.

These Mutis are made out of bamboo splices and wooden planks which are covered with coloured cloth, flowers and coconut leaves. In new Mutis, peacock feathers are also used. The Theyyams ofKshetrapaalan and a few Bhagavathis use nearly 50 or 60 feet high long crowns or Mutis made out of arecanut tree and bamboo splices. These crowns are supported by long bamboos which are held by several helpers to keep the balance when placed upon the head of the player. According to the local customs, these long crowns are either covered with coloured cloth or thatched with coconut leaves. Some Theyyams of Bhagavathis wear a silver diadem of small serpents heads crowned with red flowers. A huge golden collar elaborately carved of wood and set with fancy jewels is worn in some items. The female deities wear ornaments and a wooden breast called mularu. The Theyyams ofOthenan and Baali wear round crowns called kireetam. The same kireetam is used in Kathakaliperformance. In a few Theyyams like Pottan, masks made out of the leaf sheaths of arecanut and wooden planks are used.

The breasts of goddesses are generally covered with glittering ornaments and make-up known asEzhutharam (Seven models). All male and female Theyyams wear bangles called Katakam andChutakam and small anklets on the feet. In the case of Bhagavathis in Roudra mood, (fearful appearance) torches are appended to the waist and the crown produces a terrible appearance.

Musical Instruments

Drum, Cymbal, Kuzhal, Perumbara, Conch, Cherututi, Utukku and Chermangalam are well known musical instruments used in Theyyaattam. The rhythm of the playing of these instruments varies fromTheyyam to Theyyam. The continuous playing with measured interludes helps to make the performance very interesting. According to the rhythm of the instruments, the same instrumental players recite Thottams also of the particular deity.

The Thottam or the song related to the particular Theyyam deity is recited by the player and by the singers in the background.

Performance

The Theyyam dance is classified as Thaandava or the masculine and Laasya or the feminine. Both styles are adopted in Theyyaattam according to the context and character of the deity. Inward, outward and circular movements with agile and light steps give these dances a more graceful style. The measures and steps of the dances correspond to the words of the song. Chekor Kalasam, Onnaam Kalasam, Eduthu Kalasam, Chavitti Thullal, Parakkam and Thiriyal denote the various processes of the dance.

Generally, this festival and its performances continue for three days. On the night of the first day, the performance starts at the kaavu with drumbeats. After this, there is the kolam dance and the Thottam which reveal the summary of the rituals that would be performed on the next day.

The pooja is conducted to the deities, who are not only in the temple but also outside the sanctum–sanctorum. As a prelude to the performance, the ilamkolam or vellaattukolam arrive with kotivilakku in their hands. Their make-up is very simple. No formal make-up is made on the face.

The player prays for the appearance of the particular deity. The prayer or murmuring is called orayalor prophecy. He recites a few lines and requests for the presence of the deity, which is called Varavili. Each Theyyam has its own separate varavili or praising the deity. On concluding the Varavili, the player begins the dance with its several attractive kalaasams. Finally, he distributes Adayaalam or Kuri (Powder of turmeric) to his devotees along with rice. While giving adayaalam to his devotees, the player pronounces blessings also. If the performance is in a household shrine, the player would declare that the deity would reside in the house and create prosperity and pleasure for ever. When the Theyyam speaks during the time of bestowing blessings to the persons of different communities, the player addresses them in symbolic terms referring to their castes.

At the end of the performance the devotees donate coins to the shrine. Finally the musical instruments are played once again and the devotees throw rice towards the Theyyam and he casts off the crown in front of the shrine.