Ritualants of Kerala

(Immortal Symbols at the Verge of Irreparable Deterioration)

-Part 4-

 

 Poora Kali

Poora Kali was a ritualistic practice followed in the Bhagavathi temples of the Malabar districts in    Kerala during the Malayalam month of Meenam (mid March to mid April). It was celebrated for nine days, ending on the Pooram star (11th of the constellation in Malayalam calendar). History states that it was a festival of dance and music practiced by people from particular category, in the social strata of society. Those included in such categories were Theeyyan, Mukkuvan, Moyon, Chaaliyan, and Moosaari.   The myth   about the origin of Poora kali reminds to imagine it as a festival of spring or as a celebration of love.

It was during that time, when Parvathi, daughter of Himavaan was doing a penance for winning Siva as her husband. It was a necessity for   Devas that Siva should get a son to kill Tharakasura. They recognized the unavoidable circumstance to change Lord Siva’s mind from hardcore divine state to a passionate one in order for them to achieve their wish.   Indra, Deva’s leader advised them to seek help from Kamadeva (god of love) who is believed to be an expert in resolving such junctures. Indeed, their attempt through Kamadeva turned out fruitful.  Siva’s heart   softened with Kamadeva’s induction of love. But   when Siva   realized that his penance was disrupted, he became furious and opened his third eye, the eye he opens only when he is intensified with anger. The moment he opened his eye of destruction, Kamadeva diminished into ashes. On losing her husband, Rathidevi, the distressed wife of Kamadeva did penance to propitiate Mahadevi; when Devi appeared in front of her, she pleaded for getting   Kamadeva back to life. Thus   as a boon from Mahadevi, Kamadeva was   reborn as the son of Sri Krishna to Rugmini and was named Pradhyumna. Pradhyumna   was born in the month of Meena on the pooram day. To celebrate the birth of the newborn in the Devakula the Devakanyaas namely, Urvasi, Menaka, Rambha, Thiloththama, Arundhathi, Chitralekha and Raththavi   danced in heaven. One of the heavenly damsels (ahalyas) in earth, named   Puru, too danced on earth.  Krishna happened to see the dance of Puru from Brahmaloka and called her to Vrindavan, Sri Krishna’s palace garden. Imagining her as Durga, Krishna adored her and celebrated in her honor. At that time the Gopas too joined in the festivity and danced to their hearts’ content.  It is believed that Poora kali came into existence in memory of that celebration in Kerala. According to old belief, as only Gopas took part in the performance, it is noticeable that this ritual performance is played only by males. Maruththu kali is another variation of Poora kali. The significance of Maruththu kali is in the performers forming two groups under two leaders and beautifully arguing and performing various topics. It is said the Theeyya community elevated that Poora kali to present day’s prominence.

Elephants decorated with ornaments on forehead, musical instruments, hoardings and fireworks are specialties of Poora kali.  Before the start of Poora kali certain disciplines need to be followed. Poora kali begins only after performing Ishtadevata vandana, Deepa vandana, Navavandana, Navaksharavandana etc. During Poora kali, praises in honor of Poora Devata, Ganapathi, Saraswati and Sree Krishna are sung; similarly stories from Ramayana and Mahabharata are also sung. Important scenes in Poora kali are Angam, pata, Chayal, Paambaattam, Saiva kooththu, Yogi, Aandu and   Pallu. Poora kali ends with songs known as Polichcha paattu and Thozhunna paattu.

Kanyaar Kali

Kanyaar kali is a ritualistic dance form popular in the Devi temples of Palakkad district. The method to perform this was by singing and dancing in a circular pattern around a lighted lamp. Chenda, Utukku, Itakka, Madhalam, Ilaththaalam, Chengala are the musical instruments used for background.  Kanyar kali is classified into two varieties viz. Vatta kali and Pooraattu kali.  The staging of Kanyar kali took four days.  Vatta kali style in   Kanyar kali had ritualistic importance.  The dancing pattern of each day in the Kanyar kali was included in the Pooraattu kali. Irava kali, Aandi kooththu, Vallon kali, Malama kali are the four varieties of Pooraattu kali. It is noticeable   that the songs of Kanyaar kali   had the influence of Tamil, the language of the neighboring state. 

Kuththiyottam

Kuththiyottam is a ritualistic art form of dance performed in the Bhagavathi temples and other places of worship (kaavu) during the festival season in Kerala. Usually children participated in this. They are decked up with artificial crown on their head, faces colored with dotted designs and other parts of body adorned with jewelry. These participating children are accompanied with a procession of Thalappoli (ladies and children formed two rows holding in a plate coconut half filled with oil and a lighted wick ,  with flowers and raw rice spread in the plate) musical drums and special welcoming sound known as kuravavili. Then they are taken to the temple. Public accompanying the procession repeat the lines of the songs accompanied with musical beats. Once the crowd enters the temple worshipping of the deity and prayers follow. After that, holding the Paricha  (shield) and other weapons the Kuththiyottam performance begins. The songs at the time of Kuththiyottam mostly refer to Bhadrakaali and that is the specialty of this art form.

In the next concluding segment of this series, reminding us   the Anushtaanakalakal of Kerala, we will see more about the Iyvar kali and Kooththu.

Translated by

Lakshmy N

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