Ritualants of Kerala

(Immortal Symbols at the Verge of Irreparable Deterioration)

-Part 2-

Theyyattam (Thirayatam)

Among the significant Ritualistic Arts, Theyyaattam is a memorable one. This came into existence at a time when caste and community demarcations were in vogue. The Theyyaattam performers belonged to the following categories in society viz. Malayan, Vannaan, Velan, Maavilan, Chingathaan, Koppaalan, Mannaan, Cheraavan, Pulayan, Paanan, Kalanati. Making use of many makeup and special garments it was common for them to present various forms of Mother Goddess viz. Bhagavathi, Kali, & Chamundi. Apart from these the Amsabhoothas like Devatha, Gandharva, Naga, Animal, late warriors, historical heroes, also appeared as Gods and fairies.

Since this ritualistic art which was started by people who were considered to be from backward community, the performances were always held at the outside premises of the temples instead of the permanent stage (koothamabalm) inside the temple. Once this art got the status for staging at social events, Theyyattam dance was performed at the courtyards of the ancestral homes (tharavatu) of people from high caste and noble families.

As the Theyyam dance performance has significance in the dressing pattern according to presentation of various roles, even the hairstyle differed, to identify different characters. These styles were known as vattamuti, neelamuti, pookkattimuti, peelimuti, chatta muti, kotumuti, paala muti, olamuti, ilamuti, kontal muti are the important ones in hairstyle. (All these depicted the tying up of hair in different styles viz.: round shape, long and loose, in flowery patterns, peacock-feather, etc.). The dress worn also had variety. Chirakutuppu, velumban, kaani, vithaanathara, kuruthola utuppu are the important dress patterns. The dressing style differed from character to character as well. As part of other adornments the commonly used items included artificial beard, moustache, face, eyes, ears, breast (to portray female forms), etc.

Expressions of dissimilar characters were brought out by the paintings over the face and body of the performers. Facial colors signified different characters: turmeric, black, red, blue and vermilion were used for make-up. Not only in using colors but the faces were also painted according characters through various drawings on their faces, known as praakkezhuththu, narikkurichchezhuththu, vattakannittezhuththu, maangannittezhuththu, pullittezhuththu, kotupiriyam vechezhuththu, samkhittezhuththu.

Over and above the dressings and adornments Theyyattam performers used many types of weapons. Vaal (Sword), paricha (a round shield), katuththala (a sword with a winding edge), churika (dagger), soolam (a sharp edged weapon used by lord Siva), opanappothi, ambum villum (bow & arrow) are the weapons usually used in Theyyattam.

Not only in using different colors for identifying characters, but in dancing style too there were many varieties. Theyyattam is performed on fire too; the performers even danced and sat on burning charcoal.

As already mentioned in the preface, one point acquires significance under the context. Though Anushtana kalakal made a beginning with a devotional note, as time passed, it was useful for maintaining stability in society and for achieving peace and prosperity in community life. In no way Theyyattam was different in this aspect. This art form was pressed into use for accomplishing success in events and curing diseases. Apart from mentioning the goddesses of war like Kaali and Chaamundi, Patakkeththi Bhagavathi, Oravankara Bhagavathi, Patamatakaththi Thamburaatti were also included in the Theyyattam performance. There are mythological evidences for curing of diseases Kantakarnan, Vasoorimaala and Puthiya Bhagavathi were included in Theyyattam.

Instruments were also used for rhythmic effects while performing Theyyattam. Tend, and Ilathaalam were the main for background effect. Arjuna dance needs a special mention in using footwork along with the drumbeats. The songs that are sung for Theyyam dance are known as "kavaiththam".

Patayani

In central Travancore (Thiruvithamkoor) Patyani is an important art form, which is performed in the temples, especially in places where Devi is the deity. There is a mythological story behind this. When Bhadrakaali was returning in an angry mood after killing Darika, the Gods along with Lord Siva are supposed to have decked up and performed this dance, to cool down her anger. The spate of the areca palm is colored in green and painted with facial pictures and tied to use as a mask for Patyani performance. Charcoal and dust of brick are used for colours. Apart from Ganapathi, Yacht, Mayan and Bharavi are the fearsome masks included.

Though tend and hand bell is used, musical instruments known as "chenda" and "ilaththalam" were the main accompaniments. A burning torch made of dried coconut leaves and another hand made torch with a long handle and burning many oil soaked prongs on the other end were used for light effects for this dance (kolam thullal) which was performed at night. To make it more enjoyable the dramatic and symbolic effects were brought out by inclusion of Velichchappatu, Panaththavati, the prelude of a baffoon and Pulavruththam kali in Patayani performances.

Kothaammooriyaattam.

Kothaammooriyaattam was a performing art form which was in vogue in northern Kerala with the belief that this would help in abundance of wealth and grains and also for the welfare of cows, which were treated as a part of wealth. Facial features of cows were painted either in tree barks or leather, tied to the waists of the performers. For bringing more effect to the enjoyment of the performance "maarippanaiyanmaar" with long false ears and "kuruththola" (young ones of the cows (calf) tied to the waists accompanied the dance performers."Maaripaniayanmmar" were supposed to be the guards of the sacred cow Godavari. Hence Kothaammooriyaattam was also known as "Godavariyaattam". With the accompaniment of instruments the performers usually went around in the village and danced in front of each house. The dancers were from the "Malaya" community. In northern Kerala this art form was prevalent among the "Paana" community as well.

The songs of "Godavariyaattam" were very well known: harinaama sthuthi, Krishna sthuthi, thiruvar kaattu, Bhagavathi sthuthi, kalasa paattu, poli paattu, poo paatttu are the various types of songs which are sung while performing these dances with full dramatic style,

In the next part we will know more about other "anushtana kalakal" like sarppa paattu, paanathullal and sanghakkali.

Translated by

Lakshmy N

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