MYTHS AND MYTHOLOGY OF
GOD’S OWN LAND

(PART I)

THEYYAM

Theyyam is an artistic dance form where metaphysical thoughts and expressions of immortal souls are impersonated to a believer through a mortal body. Theyyam originated from "Kaliyattam" once practiced by the tribal community of north Kerala (the green land at the southern tip of India). Theyyam had grown to the present form through many transformations since it’s origin. Land lords and chieftains of those days are the main forces behind many of such transformations. The community and its body began to use this art to propagate the major theme of social enforcement. The artists are also encouraged by the authorities to introduce new themes into its traditional layers and classified different acts and expressions to match specific needs for their desire.

The character representations were very broad. They range from mild to wild in representations. Some of such examples include Shaivite, Vaishnavite, serpent and human expressions. Some of the wild and horrifying characters are thirsting for animal blood. "Karichamundi" is one of such expressions. Alcohol is the preferred offering to some of them in many places. Goddesses representing "Sakthi" will be one of the presiding spirits. Such goddesses are Kali, Chamundi and Bhagavathi. In order to represent the concepts of Shaivite and Vaishnuvite supreme powers likes "Bhairavan", "Gulikan", and "Vishnumurthy" and "Pottan" are usually followed. "Bali", "Hanuman" and "Puli" represent animal spirits. Some of the memorable startling impressions of society are also an important integral of such expressions. One of such memorable character is "Kativanur Veeran" for their suffering at the hands of cruel people. A socially known theme of love in this form of Theyyam gradually unveils through its colorful outfits and rhythmic outbursts.

Theyyam is a human created art to expose strong feelings against injustice and wickedness and to elevate spirit of well being with in the society. The attitude and belief developed by this form of art is noble and holly. It is a tradition and a respectable way of life, motivated by strong assumptions cultivated through prolonged years of empirical experiences and supported by changing generations. The essence of Theyyam is like the enhancement of the efficacy of a "manthra" by its incremental repetition. It brings us a supratemporal and superabundance feeling in spite of its inherent relationship with real life at its inception. The word "Samskara" has an additional meaning other than culture. That is funeral right. In performing the funeral rituals one believes to physically purify the soul that is freed from mortal body. In the case of Theyyam, when the spirit is propitiated, the living generations enlightened in them the purest and the loftiest intentions that the past represents.

The articulate creation of masks and gears from natural sources are intended to make unknowns to known and unattainable to real. Theyyam used to be conducted as part of kindling hopes in social affairs. Theyyam is done as an offering for begetting children, winning law suites, warding off evils, getting rid of life threatening diseases and to attain high in social ladder. Rituals assume importance from the social point of view when they are performed with the purpose of solving problems. Every human act from birth to death including attainment of puberty of girls, marriages, pregnancy, child birth, marriage anniversaries, etc. had been accepted as an act of socially significant events or occurrence in communal life.

The dancer recreates its mythical and ritualistic imagination and systematically delivers the right moods through his body posters. The performer of Theyyam gets himself completely into the artistic rhythm. Even when the dancer breaks coconut against his forehead, cuts his forehead with the sword, or wears red-hot iron chain on his body as a mark of self-torture, he never goes out of rhythm.

The person who performs Theyyam while delivering such metaphysical experiences and involves himself completely into the act traverses through three different stages. The first stage is one kind of impersonation by decorating himself with creative paintings and coverings made up of natural materials. The second stage helps him to involve a mental state of flight to mystic heights. The last stage is the accomplishments of the dancer submerged fully into the artistic rhythm of acting the story. Though the spectators feel that the actor is unconscious to the surroundings, the man who controls the technique of dance and rhythm in him is fully alive to the situation. In theatre acting, if the actor looses his control, the act is rated as substandard.

Myths in their visual manifestations react to their physical environment and absorb the colors and forms from nature and transport them into a philosophy and emotion of exhaustion and sublimation.

HARI KOCHAT

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