Thulam
1
Thekkadavan Tharavadu, Kandangali Kaliyattam
Kundor Chamundi, Thorakkarathi, Monthikolam
5
Payyanur Uthamanthil Kizhakke Veedu Kaliyattam
6
Idavalathu Tharavadu,Payyanur
12
Kavile Veedu, Payyanur
10
Annur Vellarangara Thira Vellattam
10
Annur Padiyil Kottam Kalichan Theyyattam
10
Annur Thayeni Podikkalam Theyyattam
10,11
Kuppadakkan Vadakke Nambiath Tharavadu Kaliyattam
Kundor Chamundi, Kurathiyamma, Monthikolam
10-11
Edadan tharavadu
Kundor Chamundi, Monthikolam
10
Vilakkottu Cherikkan Kaliyattam
12
Annur Mundakkundu Podikkalam Theyyattam
Muthappan
15
Mavicheri Kavumthazhe Kaliyattam
20-22
Karamel Vellora Veedu Kaliyattam
Puthiya Bhagavathy, Vellarangara Bhagavathy, Pootham, Manalamma, Uchabali, Madayil Chamundi, Bhairavan, Vishnumoorthi, Gulikan,, Raktha Chamundi
28
Payyanur Vannadil Tharavadu Kaliyattam
Vrischikam
5
Annur Puthalathu Tharavadu Kaliyattam
7
Annur Mundayangattu Tharavadu Kaliyattam
17-10
Kokkaniseri Kandambath Ara Kaliyattam
Vellattam, Daivam, Panayakattu Bhagavathy, Vallarkulangara Bhagavathy, Angakulangara Bhagavathy, Bhairavan, Kuttichathan, Madayil Chamundi, Raktha Chamundi, Vishnumoorthi
17-18
Kuppadakkan Kizhakke Nambiath Tharavadu Kaliyattam
Thondachan, Vellarangara Bhagavathy, Angakulangara Bhagavathy, Paduvalathil Paradevatha, Raktha Chamundi, Vishnumoorthi
21
Kokkaniseri Kannangatu Kaliyattam(alternate years only)
Kannangatu Bhagavathy, Puthiya Pothi, Madayil Chamundi, Vishnumoorthi, Kundor Chamundi,
27-28
Payyanur Thandrayi Tharavadu Kaliyattam
Ashtamachal Bhagavathy, Veerabhadran, Vettakorumakan, Kshetra Palakan, Thiruvarkattu Bhagavathy
Dhanu
5-8
Paravanthatta Udayapuram Kavu Kaliyattam
Puliyoor Kali, Pullikarimkali, Pulikandan, Pulimaran, Puthiya Bhagavathy, Vishnumoorthi, Raktha Chamundi, Kurathi, Kundor Chamundi
8
Annur Edavalathu Tharavadu Kaliyattam
Vellarangara Bhagavathy, Bhootham, Madayil Chamundi, Raktha Chamundi, Bhairavan, Kuttichathan, Vishnumoorthi, Paniyan, Gulikan
10-11
Kuthoor Tharavadu
Puthiya Bhagavathy, Raktha Chamundi, Vishnumoorthi
15-18
Thayineri Vellarangara Kavu Kaliyattam
Baali, Vellarangara Bhagavathy, Kannikkorumakan, Puthiya Bhagavathy, Vishnumoorthi, Gulikan
18
Kandangali Karalikkara Kannangatu Kaliyattam
20
Nariyancheri Moovarikavu Kaliyattam
25-28
Kandoth Kurumbakavu Kaliyattam
Pulinkeezhil Daivam, Puliyoor Kali, Pullikarimkali, Karimthiri Nair, Pulikandan, Pulimaran, Kandapuli, Marapuli, Puthiya Bhagavathy, Kundor Chamundi, Madayil Chamundi, Raktha Chamundi, Vishnumoorthi
Makaram
10
Mavicheri Bhagavathy Kavu Kaliyatamm
Puthiya Bhagavathy, Padarkulangara Bhagavathy, Narambil Bhagavathy, Ittaveeran daivam, Kannikoru makan, Vellattam, Veeranmar
13-17
Vellur Chamakavu Kaliyattam
Chamakkavu Bhagavathy, Vettakkorumakan, Kelankulangara Bhagavathy, Panchuruli, Paravakkali, Vishnumoorthi, Ayyappan kavil theyyam
16
Kokkanisseri Karimchamundi Ara Kaliyattam
Karimchamundi
17-21
Vellur Kottanachery Kaliyattam
Vettakorumakan,Pallikkaru Vedan,Thoovakkaran Daivam, Pattaru Theyyam,Kalikkathara,Vishnumoorthi,Madayil Chamundi, Raktha Chamundi, Kavil Daivam
23
Thayineri Muchilottu Perumkaliyattam
Muchilottu Bhagavathy, Kannangatu Bhagavathy, Puliyoor Kali, Narmabil Bhagavaty, Pramancheri Bhagavathy, Madayil Chamundi, Vishnumoorthi, Kundor Chamundi, Kurathi
24
Karamel Muchilottu Perumkaliyattam
Muchilottu Bhagavathy, Narambil Bhagavathy, Puliyoor Kali, Puliyoor Kannan, Kannangatu Bhagavathy, Panayakattu Bhagavathy, Vishnumoorthi, Raktha Chamundi, Kundor Chamundi, Kurathi
25-27
Korom Vallikottu Veeran Kottam Kaliyattam
Veeran daivam, Veerali daivam, Puthiya Bhagavathy, Thai Paradevatha, Rakteswari, Vishnumoorthi
26
Kandangali Kanakathu Kazhakam Kaliyattam
27-30
Thayineri Kurinji Ara Kaliyattam
Poomaruthan, Puthiya Bhagavathy, Vishnumoorthi, Ottakkolam, Raktha Chamundi, Madayl Chamundi
Kumbham
4
Kurumkadavu Brahmancheri Kavu Kaliyattam
7
Kandangali Muttil Tharavadu Kaliyattam
8
Annur Kozhummal Mundayadu Tharavadu Kaliyattam
Vishnumoorthi
11-14
Mavicheri Kushavar Sthanam Kaliyattam
Kolaswaroopathil Thai, Angakulangara Bhagavathy, Kannikkorumakan, Vishnumoorthi, Madayil Chamundi, Raktha Chamundi, Kundor Chamundi, Tuluveeran
10,11
Annur Arayil Choovatta(Panayakkatu Bhgavathy Ara) Kaliyattam
Panayakattu Bhagavathy, Pushpachal Bhagavathy, Kannikoru Makan, Vellarangara Bhavathy, Vellrangara Bhagavathy, Pattaru Theyyam
11
Mavicheri Bhagavathy Kavu Kaliyattam
12,13
Vellur Puthiyatheru Chamundeshwari Sthanam Kaliyattam
Padaveeran, Chuliyar Bhagavathy, Vishnumoorthi, Moovalamkuzhi Chamundi, Gulikan
13,14,15
Annur Choovatta Valiya Veedu Kaliyattam
Panayakkatu Bhagavathy, Pushpachal Bhagavathy, Vellrangara Bhagavathy, Kannikoru Makan, Mdayil Chamundi, Bhairavan, Kuttichathan, Raktha Chamundi, Gulikan, Vishnumoorthi,
The rare ritual art Uchabali performed during the festival a special attraction
15
KandangaliPoomthuruthi Vettakkorumakan Kottam Kaliyattam
16,17
Annur Kallidil Kalari Kaliyattam
Vellrangara Bhagavathy, Kannamman Daivam, Angakulangara Bhagavathy, Puthiya Bhagavathy, Pootham, Vishnumoorthi, Madayil Chamundi, Rakta Chamundi, Bhairavan, Gulikan, Paniyan, Kundor Chamundi, Kurathi, Thorakkarathi
16,17
Kovval Ara Vellur Kaliyattam
Kathivannur Veeran, Kudiveeran
16
Echilamvayal Muthappan Sthanam Kaliyattam
16,17
Vellur Koothur Veedu Kaliyattam
Kakkara Pothi, Vellarangara Bhagavathy, Narambil Bhagavathy, Muthappan, Vishnumoorthi, Rakteswari, Pottan Theyyam, Gulikan
17
Kanayi Kakkarakavu Kaliyattam
18
Karimkeel Vayanattukulavan Kaliyattam
20,21
Vellur Kozhumthumpadi Kaliyattam
Karimkutti Chathan, Vishnumoorthi,Madayil Chamundi, Raktha Chamundi ,Bhairavan, Kuttichathan, Gulikan, Panayakkattu Bhagavathy,Vallarkulangara Bhagavathy, Vettakorumakan, Oorpazhassi, Karuval Bhagavathy, Bhootham
21
Keloth Karipathu Kalari Kaliyattam
21-22
Porkali Bhagavathy Kalari, Keloth
Porkali Bhagavathy, Madayil Chamundi, Vishnumoorthi, Raktha Chamundi, Kuttichathan
22
Muthathi Thazhe Kanaveedu Kaliyattam
22
Padoli Bhagavathy Kaliyattam
24-25
Chekkippara Bhagavathy Kavu Kaliyattam
Chekkippara Bhagavathy, Gulikan, Vellarangara Bhagavathy, Angakulangara Bhagavathy, Aroth Chamundi, Karuvalan, Bhootham, Vishnumoorthi, Paniyan, Bhairavan,Madayl Chamundi, Kuttichathan, Raktha Chamundi, Kundor Chamundi
26
Maniyara Paleri Tharavadu Kaliyattam
26-27
Anidil Tharavadu, Keloth
Pootham, Pakal Bhagavathy, Kundor Chamundi, Thorakkarathi, Valiyamudi theyyam
27
Muthathi Meledathu Tharavadu Kaliyattam
28
Karayil Kandambathu Tharavadu Kaliyattam
29
Muthathi Meethal Kanaveedu Kaliyattam
Meenam
4
Iroor Marangattillam
Pottan theyyam, Gulikan, Vishnumoorthi, Rakteswari, Kalakattu Rakteswari, Kakkara Bhgavathy, Chenakkavu Bhagavathy, Chamundi, Sree Pootham,
22
Kandoth Thaivalappu Tharavadu Kaliyattam
23
Vellur Keeneri Tharavadu Kaliyattam
Medam
2
Annur Vellarangara Kaliyattam
Vellarangara Bhagavathy, Vettakorumakan, Oorpazhassi, Raktha Chamundi, Vishnumoorthi
5
Maniyara Poomalakkavu Kaliyattam
Narambil Bhagavathy, Puthiya Bhagavathy, Baali, Vishnumoorthi, Madayil Chamundi
7-10
Karamel Puthiyankavu Kaliyattam
Puthiya Bhagavathy, Veeranum Manikandanum, Vishnumoorthi, Gulikan, Raktha Chamundi
9
Theru Ashtamachal Kalasham-Theyyam
14
Annur Velanparambu Kaliyattam
18
Vellur Kadinjippalli Tharavadu Kaliyattam
20
Annur Yogi Matham Kaliyattam
21
Annur Anthi Mahakali Kottam Kaliyattam
21
Paravanthatta Kalasakkaran Tharavadu Kaliyattam
21,22
Vellur Porkkali Ara Kaliyattam
Padaveeran, Chuliyar Bhagavathy, Vishnumoorthi, Moovalamkuzhi Chamundi, Gulikan
22
Kandangali Kunniyoor Tharavadu Kaliyattam
25
Mavicheri Kurumba Kavu Kaliyattam
Saturday, May 2, 2009
KALIYATTAM THE THEYYAM FESTIVAL
Kaliyattam is an ancient socio-religious ceremony performed in North Kerala since very ancient times. In early times every village of North Kerala has its own common shrine called Kavu and it was imperative to have Kaliyattom performed in front of it. As the word Kali has also the meaning of "safety" in Malayalam, Kaliyattom may have the significance of a sacred dance for social or family safety. As Kerala was primarily a land of people with Sakthi (Bhagavathi) worshippers, the Kaliyattom became very much an essential part of the social structure. Kali worship made its stronghold especially in the northern parts of Kerala, known as the Kolathirinad, the ancient kingdom of Kolathiri (Chirakkal Raja). Therefore it was in Kolathunad (North Malabar ) at kaliyattom flourished more than in any other part of Kerala. In this way, a wide range of Kaliyattom nurtured and developed.
With the passage of time along with different aspects of Kali, various other Kolams of heroes and heroines were defined and special Kolams were attributed to them. Thus we find Sankaracharya as Pottan Daivam, Thacholi Othenan as Ponniatu Pataveeran, Katangot Makka as Makkapottu and the great commander of the Kolathiri militia as Vayanattukulavan. In short, in Kaliyattom, permanent forms and special attributed are given to Kolams and divine as well as hero worship is substantially and methodically carried out. Each manifestation in a Kaliyattom is known as Kolam. Kolam actually means "shape" or form. God, goddess, hero or heroine have their own peculiar and specific forms, and each form has its own particular representative aspects. To bring out that aspects each Kolam has special features in face painting which is a work of difficult craftsmanship and is a unique piece of art.
Some Kolams take eight to ten hours time to paint the face according to the strict rules of tradition. In the same way the crowns, head dress, breast plates, arm ornaments, bangles, garland and above all the woollen or cotton garments are all so elaborately furnished and variously shaped that the figure of a Kolam is something to see and wonder. It is said that the vivid and masterly ornamental dressing of Kathakali has originated from this. Kaliyattoms are generally conducted in places of worship called Kottams and Palliyara. Besides, there are compartments set apart in family houses where the family deities are worshipped. In such houses Kaliyattoms are performed in the courtyards just in front of the separate compartments. (Normally the season for Kaliyattom is from December to May.) There are various ceremonies conducted in a Kaliyattom, the most serious and important being the actual manifestation of the Kolam. Just before the Kolam a song describing the history of that particular Kolam and its great strength and holy aspect is sung by a set of people to the accompaniment of chenda and elthalam. After the songs are sung the Kolam appears before the assembly of the people, in front of the place of worship. It is believed that the spirit of the god or goddess or hero or heroine of the Kolam migrates into the person who has assumed that Kolam. Then the Kolam performs various types of dancing with chenda and elathalam as the chief accompaniments. In the actual dancing there are the slow - paced dances and fast moving ones. The former is called Pathiniyattom and the later Elakiyattom. Swords and shields, bows and arrows and other weapons are used. Sometimes sword play of a very high order is displayed. Kaliyattom is performed generally in the night and sometimes some of the Kolams will go on even after day - break. Clothe torches (Panthoms) and the coconut leaf torches (chootu) are used in plenty. The red light of the torches with sharp contrast of light and shade gives the entire scene a glamorous setting. The crowns and the articles of dress receive further additions of pictorial cuttings of white tender coconut leaves and bunches of red flowers. Kaliyattom is conducted for propitiating god and goddess to bless the family or community. There are particular communities for performing Kaliyattom. It is rather curious that Kaliyattom which is performed for all sections of people in Kerala from Brahmins downwards, the persons authorised to assume Kolams are from the untouchable classes, like Malayans, Peruvannans and Velas.
With the passage of time along with different aspects of Kali, various other Kolams of heroes and heroines were defined and special Kolams were attributed to them. Thus we find Sankaracharya as Pottan Daivam, Thacholi Othenan as Ponniatu Pataveeran, Katangot Makka as Makkapottu and the great commander of the Kolathiri militia as Vayanattukulavan. In short, in Kaliyattom, permanent forms and special attributed are given to Kolams and divine as well as hero worship is substantially and methodically carried out. Each manifestation in a Kaliyattom is known as Kolam. Kolam actually means "shape" or form. God, goddess, hero or heroine have their own peculiar and specific forms, and each form has its own particular representative aspects. To bring out that aspects each Kolam has special features in face painting which is a work of difficult craftsmanship and is a unique piece of art.
Some Kolams take eight to ten hours time to paint the face according to the strict rules of tradition. In the same way the crowns, head dress, breast plates, arm ornaments, bangles, garland and above all the woollen or cotton garments are all so elaborately furnished and variously shaped that the figure of a Kolam is something to see and wonder. It is said that the vivid and masterly ornamental dressing of Kathakali has originated from this. Kaliyattoms are generally conducted in places of worship called Kottams and Palliyara. Besides, there are compartments set apart in family houses where the family deities are worshipped. In such houses Kaliyattoms are performed in the courtyards just in front of the separate compartments. (Normally the season for Kaliyattom is from December to May.) There are various ceremonies conducted in a Kaliyattom, the most serious and important being the actual manifestation of the Kolam. Just before the Kolam a song describing the history of that particular Kolam and its great strength and holy aspect is sung by a set of people to the accompaniment of chenda and elthalam. After the songs are sung the Kolam appears before the assembly of the people, in front of the place of worship. It is believed that the spirit of the god or goddess or hero or heroine of the Kolam migrates into the person who has assumed that Kolam. Then the Kolam performs various types of dancing with chenda and elathalam as the chief accompaniments. In the actual dancing there are the slow - paced dances and fast moving ones. The former is called Pathiniyattom and the later Elakiyattom. Swords and shields, bows and arrows and other weapons are used. Sometimes sword play of a very high order is displayed. Kaliyattom is performed generally in the night and sometimes some of the Kolams will go on even after day - break. Clothe torches (Panthoms) and the coconut leaf torches (chootu) are used in plenty. The red light of the torches with sharp contrast of light and shade gives the entire scene a glamorous setting. The crowns and the articles of dress receive further additions of pictorial cuttings of white tender coconut leaves and bunches of red flowers. Kaliyattom is conducted for propitiating god and goddess to bless the family or community. There are particular communities for performing Kaliyattom. It is rather curious that Kaliyattom which is performed for all sections of people in Kerala from Brahmins downwards, the persons authorised to assume Kolams are from the untouchable classes, like Malayans, Peruvannans and Velas.
TYPES OF THEYYAM
In December 2005, I had a chance to go to North Kerala with my friend and fellow photoblogger Thulasi Das to his native place, a beautiful village called Kakkaatt, in Nileshwaram, Kasaragod district. My aim was to see as much Theyyams as possible and know more about this ritual and also to do an interview with the famous Theyyam performer Sri. Rajan Panicker.
Theyyam, otherwise known as Kaliyattom, is an ancient socio religious ceremony performed in Kerala since very remote times. As the word Kaliyattom denotes, this is a sacred dance performance for Kali. Kaliyattom is sometimes called Theyyattom because every thera or village was duly bound to perform it. These names show that Kaliyattoms were special festivals of religious and social importance.
Sri. Rajan Panicker began to perform Theyyam from the age of 12 and he is son of Sri. Kannan Panicker who was honored by Kerala Folklore Academy in 1999. Rajan Panicker talks about Theyyam and its socio-religious backgrounds.
The name Theyyam originates from the word Theivam, which means God.
Q) Let's start talking about the origin of Theyyam.
A) In the early days our forefathers used to worship snakes, trees etc. Theyyam comes apart from that. There are different types of Theyyam peformed by different castes - Vannaan, Malayan, Velan, Anjoottaan, Koppaalan etc. Some of these Theyyams originated from the late forefathers or from the myth of someone who sacrificed his life to prove his innocence in the society. Each Theyyam has a background story. Let us take Vishnumoorthy Theyyam for example. This Theyyam was shown to one of our forefathers, who were called Paalayi Parappan, in his dream. The prayers and mantras to recite while performing this Theyyam was written in the sand by the time he woke up in the morning. In the modern days we have added more colors to the whole thing.
Q) Is there any myth behind Theyyam?
A) Yes, there is. Every Theyyam has a myth. I will talk about one. Let’s take Pottan Theyyam for example. The myth is that Lord Shiva came as a Pulayan (Pottan Theyyam) to test Sankaraachaarya (Pulayan is a low caste) and asked questions like, “What is the difference between you and me? Isn’t it the same blood running through our body? Then why should we differentiate ourselves?” etc. Every Theyyam has such a myth in the background and it is strongly connected to the modern society.
Q) How old is this ritual?
A) I cannot say about an accurate timeframe on this. In the early days when there was dynasty ruling, they needed Theyyam to be performed in their celebrations and made the low caste to do it. Then there were many additions to it and it transformed to this level.
Q) Where do you perform Theyyam?
A) Its performed in Palliyara, Kaavu, Sthaanam etc.
Q) What is the difference between this Palliyara and a normal temple with idols?
A) Temples have idol worship, poojas etc, but Palliayara has only Theyyams which is performed once in every year or so.
This is what makes the Kaavu and Palliyara of low-caste different from the temples of high-castes. These Kaavus don’t have everyday Poojas or rituals. There is no idol to worship, but just a lamp lit that depicts the eternal light of God. Their Gods come in the form of Theyyam in every year or so to see and talk to the devotees. Remember, such a beautiful concept of God existed here ages ago.
Also remember that the low-caste took the form of God through Theyyam at a time when they were not allowed to enter the temples. Think about a situation when even the high-caste people (some sub-castes of Nair, a high-caste) praying to the God that comes in the form of Theyyam, performed by a low-caste and read this along with the then social situation of Kerala divided on the caste basis. Then only we can understand the social importance of Theyyam. Eventhough this is the case, Theyyam could not escape the caste-system totally. In the time of blessings (which is the final part of Theyyam performance) Theyyam first calls the family name of high-caste people present at the ceremony and would give them special blessings. Seeing this would make us feel that Theyyam is representing the God who is helpless with the caste system.
Rajan Panicker says: Although we have the myths against caste system in Theyyam, it is not possible to make it practical while performing Theyyam. We can give an insight to the community through Theyyam, but the caste-system is very strict here. There is no compromise in it.
(To be continued…)
Translated from the M-Pod episode. Click here to listen to Theyyam episode in M-Pod, The Malayalam Podcaster.
Image 1: Facial artwork of Theyyam (See the art on his face. In the early days, only the natural colors were used but now they use artificial colors for this. )
Image 2: A Bhagavathi (Goddess) Theyyam (This Goddess is named Attakkaattu Bhagavati. The interesting thing you will notice is the Goddess theyyams are performed by men, not women. Some say it is because the women wouldn't be able to manage the painful/stressful ritual and the heavy costumes.)
Theyyam, otherwise known as Kaliyattom, is an ancient socio religious ceremony performed in Kerala since very remote times. As the word Kaliyattom denotes, this is a sacred dance performance for Kali. Kaliyattom is sometimes called Theyyattom because every thera or village was duly bound to perform it. These names show that Kaliyattoms were special festivals of religious and social importance.
Sri. Rajan Panicker began to perform Theyyam from the age of 12 and he is son of Sri. Kannan Panicker who was honored by Kerala Folklore Academy in 1999. Rajan Panicker talks about Theyyam and its socio-religious backgrounds.
The name Theyyam originates from the word Theivam, which means God.
Q) Let's start talking about the origin of Theyyam.
A) In the early days our forefathers used to worship snakes, trees etc. Theyyam comes apart from that. There are different types of Theyyam peformed by different castes - Vannaan, Malayan, Velan, Anjoottaan, Koppaalan etc. Some of these Theyyams originated from the late forefathers or from the myth of someone who sacrificed his life to prove his innocence in the society. Each Theyyam has a background story. Let us take Vishnumoorthy Theyyam for example. This Theyyam was shown to one of our forefathers, who were called Paalayi Parappan, in his dream. The prayers and mantras to recite while performing this Theyyam was written in the sand by the time he woke up in the morning. In the modern days we have added more colors to the whole thing.
Q) Is there any myth behind Theyyam?
A) Yes, there is. Every Theyyam has a myth. I will talk about one. Let’s take Pottan Theyyam for example. The myth is that Lord Shiva came as a Pulayan (Pottan Theyyam) to test Sankaraachaarya (Pulayan is a low caste) and asked questions like, “What is the difference between you and me? Isn’t it the same blood running through our body? Then why should we differentiate ourselves?” etc. Every Theyyam has such a myth in the background and it is strongly connected to the modern society.
Q) How old is this ritual?
A) I cannot say about an accurate timeframe on this. In the early days when there was dynasty ruling, they needed Theyyam to be performed in their celebrations and made the low caste to do it. Then there were many additions to it and it transformed to this level.
Q) Where do you perform Theyyam?
A) Its performed in Palliyara, Kaavu, Sthaanam etc.
Q) What is the difference between this Palliyara and a normal temple with idols?
A) Temples have idol worship, poojas etc, but Palliayara has only Theyyams which is performed once in every year or so.
This is what makes the Kaavu and Palliyara of low-caste different from the temples of high-castes. These Kaavus don’t have everyday Poojas or rituals. There is no idol to worship, but just a lamp lit that depicts the eternal light of God. Their Gods come in the form of Theyyam in every year or so to see and talk to the devotees. Remember, such a beautiful concept of God existed here ages ago.
Also remember that the low-caste took the form of God through Theyyam at a time when they were not allowed to enter the temples. Think about a situation when even the high-caste people (some sub-castes of Nair, a high-caste) praying to the God that comes in the form of Theyyam, performed by a low-caste and read this along with the then social situation of Kerala divided on the caste basis. Then only we can understand the social importance of Theyyam. Eventhough this is the case, Theyyam could not escape the caste-system totally. In the time of blessings (which is the final part of Theyyam performance) Theyyam first calls the family name of high-caste people present at the ceremony and would give them special blessings. Seeing this would make us feel that Theyyam is representing the God who is helpless with the caste system.
Rajan Panicker says: Although we have the myths against caste system in Theyyam, it is not possible to make it practical while performing Theyyam. We can give an insight to the community through Theyyam, but the caste-system is very strict here. There is no compromise in it.
(To be continued…)
Translated from the M-Pod episode. Click here to listen to Theyyam episode in M-Pod, The Malayalam Podcaster.
Image 1: Facial artwork of Theyyam (See the art on his face. In the early days, only the natural colors were used but now they use artificial colors for this. )
Image 2: A Bhagavathi (Goddess) Theyyam (This Goddess is named Attakkaattu Bhagavati. The interesting thing you will notice is the Goddess theyyams are performed by men, not women. Some say it is because the women wouldn't be able to manage the painful/stressful ritual and the heavy costumes.)
Friday, May 1, 2009
THEYYAM CLASSIFICATION
It can be said that all the prominent characteristics of primitive, tribal, religious worship had widened the stream of Theyyam cult and made it a deep-rooted folk religion of millions. For instance, the cult of 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 Graamadevataa (Village-Deity) etc are included in the main stream 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-centers, blood offering is forbidden under the influence of Hinduism, Jainism and Buddhism.[citation needed] In such centers, 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.
Muthappan Theyyam as Lord Shiva.
On account of the supposedly late revival of Vaishnavism in Kerala, it does not have a deep impact on the Theyyam cult. Only a few deities are available under this category. This may probably be due to the lesser influence of Lord Vishnu on the village folk who had an uninterrupted tradition of the worship of the Mother Goddess for fertility and the Lord Shiva and His celestial son Murukan for protection and security even during the Sangam age. 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, animals etc 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.
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-centers, blood offering is forbidden under the influence of Hinduism, Jainism and Buddhism.[citation needed] In such centers, 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.
Muthappan Theyyam as Lord Shiva.
On account of the supposedly late revival of Vaishnavism in Kerala, it does not have a deep impact on the Theyyam cult. Only a few deities are available under this category. This may probably be due to the lesser influence of Lord Vishnu on the village folk who had an uninterrupted tradition of the worship of the Mother Goddess for fertility and the Lord Shiva and His celestial son Murukan for protection and security even during the Sangam age. 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, animals etc 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.
THEYYAM HISTORY
According to the legendary Keralolpathi, Parasurama sanctioned festivals like Kaliyattam, Puravela and Daivattam or Theyyattam to the people of the Malabar region. He also assigned the responsibility of performing the Theyyam dance to the indigenous tribal communities like Malayar, Panan, Vannan and Velan. To some, these traditions explain how indigenous cults like Theyyam were incorporated into and metamorphosed under the religious supremacy of Brahminism. In the long historical process a social system evolved in Kerala in which the culture of Theyyam belonged to the depressed castes and classes whereas the temple-oriented culture belonged to the dominant Brahmin and Kshatriya castes and classes. There were no violent confrontations between these two cultures and so the culture of the former was saved from destruction. "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 ruing the earliest periods of Neolithic, Chalcolithic settlement and expression" (The Birth of Indian Civilization 1968 p.3039).
Theyyam is performed by people of the lower castes such as Shudras, Vaishyas etc. The lower castes were denied entry to the temples and were not allowed to even come close to people belonging to the Brahmin and Kshatriya castes. This led to the lower castes creating their own temples in afforested areas that were known as Kavus.
ABOUT THEYYAM
Theyyam or Theyyattam is a popular ritual dance of North Kerala state, India, predominant in the Kolathunadu area (consisting of present-day Kannur and Kasargod districts). As a living cult with several thousand-year-old traditions, rituals and customs, it embraces almost all the castes and classes of the Hindu religion in this region. The term Theyyam is a corrupt form of Daivam or God. People of these districts consider Theyyam itself as a God and they seek blessings from this Theyyam.
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