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Theyyam :
A ritual dance form of Kerela,
glorifying the goddess. Themes revolve around the triumph of the
goddess over the demon Daruka and other evil characters. Always
performed by men, they also enact female roles wearing exotic make up
and colorful costumes.
Theyyam also
known as Kaaliyattam, it is a ritual dance popular in north Kerala or
the erstwhile Kolathunadu. Theyyam incorporates dance, mime and music
and enshrines the rudiments of ancient tribal cultures which attached
great importance to the worship of heroes and the spirits of
ancestors. Of the over 400 Theyyams performed, the most spectacular
ones are those of Raktha Chamundi, Kari Chamundi, Muchilottu
Bhagavathi, Wayanadu Kulaveni, Gulikan and Pottan. These are performed
in front of shrines, sans stage or curtains, by persons belonging to
the Vannan, Malayan and other related castes.
'Thudangal'
(the beginning) and 'Thottam' (the invocation) are the introductory
rituals of the Theyyam or the Thira, as it is known in south Malabar.
The headgear and other ornamental decorations are spectacular in sheer
size and appearance. Karivalloor, Nileswaram, Kurumathoor, Parassini,
Cherukunnu, Ezhom and Kunnathoorpadi in north Malabar are places where
Theyyams are performed annually from December to April.
Patayani :
 Patayani
is a week- long ritual dance, held in Kaali temples on the banks of
the Pamba river during the Malayalam months of Meenam and Medam (March
- April). The choice theme of the dancers is the slaying of the demon
Daarikan by the goddess Kaali. The steps and movements of the dance
vary according to each Kolam or character. Thappu is the major
percussion instrument accompanied by a few Chendas. Patayani masks are
made with the fresh spathe of arecanut palms. Bhairavi (Bhadrakaali),
Yakshi, Pakshi (bird) and Kaalari (Siva) are the main characters.
Various communities targetted for criticism are represented by
jestures. Kadammanitta, Kadalimangalam and Othara in Pathanamthitta
district are famous for annual Patayani performances.
Poothanumthirayum :
This ritual offering to Goddess
Kaali is performed in many places of South Malabar. A troupe of
dancers dress up as Kaali (the Thira) and the accompanying spirits
(the Poothams) who were created along with the goddess for the
destruction of the evil demon, Daarikan. The Thira wear masks while
the spirits don semi-circular wooden crowns. The dance is performed
from house to house and on the premises of village shrines between
November and May every year.
Mudiyettu :
Mudiyettu is a
ritual dance performed in some Kaali temples of Ernakulam and Kottayam
districts (central Kerala). The dance celebrates the goddess's triumph
over the demon Daarikan. Mudiyettu is performed by the Kuruppu or
Marar who belong to the temple bound communities of Kerala.
The
Kalamezhuthu, a ritual drawing of the goddess Kaali is made on the
floor with dyed powders, before the performance. Then the chorus sings
hymns in praise of the goddess.
Before the
actual performance, the dancer erases the Kalam with tender palm
fronds. The performer in the role of Kaali is aided by 'Koimpata Nayar',
the local guide and Kooli, the attendant.
Legends say
that Daarikan, the epitome of evil, challenged Kaali to a duel. Kaali
slayed Daarikan, with the blessings and grace of Lord Siva.
The performers
of Mudiyettu are all heavily made up and wear gorgeous attire with
conventional facial paintings, tall headgears etc, to give a touch of
the supernatural. The wooden headgear has a mask of Kaali. An
ornamental red vest and a long white cloth around the waist complete
the attire
Koothu :
 Koothu
is a socio-religious art performed in the Koothambalam or the
Koothuthara of temples, either independently or as part of Kootiyattam.
It is a solo narrative performance interspersed with mime and comic
interludes. The Chakkiar dons the role of ' Vidushaka' or the wise
jester. Through his inimitable narration of stories from the epics (
The Ramayana and The Mahabharatha), the Chakkiar satirises the manners
and customs of the time. No one is above the butt of his ridicule. His
wit ranges from innocent mockery to veiled innuendoes, barbed pun and
pungent invectives. Koothu is intermittently accompanied by the
percussion instrument Mizhavu.
The Nangyar
Koothu is a variation of the Koothu performed by the Nangiars or the
female members of the Chakkiar community. This is a solo dance drama
mainly centred on the legends of Sree Krishna. Verses are sung and
interpreted through mime and dance. The mudras, though the same as in
Kootiyattam, are even more elaborate. The art form is still performed
in temples like Vadakkumnatha temple at Thrissur , Sri Krishna temple
at Ambalappuzha , Koodal Manikyam temple at Irinjalakkuda and
Kumaranalloor temple at Kottayam.
Arjuna Nritham :
 Arjuna
nritham (the dance of Arjuna) is a ritual art performed by men and is
prevalent in the Bhagavathy temples of Kerala. Arjuna, the most
valiant of the five heroic brothers - the Pandavas - of the epic
Mahabharatha, was also a renowned singer and dancer and is said to
have propitiated goddess Bhadrakaali by a devotional presentation.
Arjuna nritham
is also called Mayilppeeli nritham as the costume includes a
characteristic garment made of mayilppeeli (peacock feathers). This
garment is worn around the waist in a similar fashion as the
uduthukettu of Kathakali . The performers have their faces painted
green and wear distinctive headgears. The all night performance of the
dance form is usually presented solo or in pairs.
The songs which
are strictly rhythm based are called Kavithangal and deal with various
themes of the Puranas (ancient Hindu scriptures). Each Kavitham is
composed to suit a specific rhythm. Before each song the dancers
explain the intricacies of the particular rhythm about to be employed
and how this rhythm is translated into dance movements.
The various
dance movements are closely similar to Kalarippayattu techniques.
Percussion instruments like the chenda, maddalam, talachenda and
ilathalam (cymbal) form the musical accompaniment.
Kannyarkali :
 Kannyarkali,
also known as Desathukali, is a folk art exclusively practised by the
Nair community of the Palakkad area. It owes its origin to the pursuit
of martial arts in this region which was under constant threat of
attack from neighbouring Konganadu.
Kannyarkali was
born when dance and comedy were pitched in to add vigour and colour to
the martial training sessions. The art form combines the agile
movements of martial arts with the rhythmic grace of folk dance
performed around a nilavilakku.
Performed
during March-April in temples as well as in places called the ' Thara',
a venue for informal gatherings, this art form is accompanied by
devotional folk songs and the loud beat of percussion instruments. The
orchestra includes ilathalam or cymbal and percussion instruments like
chenda, maddalam, edakka and udukku.
A team of
Kannyarkali dancers varies from six to twenty in number and a
performances usually lasts for four days. Each day's performance is
known by a different name: Iravakali, Anadikoothu, Vallon and Malama.
The last day's performance is presented by hill tribes, in which women
also participate.
Velakali :
 This
spectacular martial dance is performed by men in some of the temples
of southern Kerala. The dancers, clad in the traditional clothes and
colourful headgear of the medieval Nair soldiers, engage in vigorous
movements and dexterous sword play, to the accompaniment of an
orchestra comprising the maddalam, ilathalam, kombu and kuzhal.
Velakali originated in Ambalappuzha where Mathoor Panicker, chief of
the Chempakasserri army, promoted it to boost the martial spirit of
the people. The dance form is a regular feature of the annual
festivities at the Ambalappuzha Sree Krishna temple in Alappuzha
district
Kalamezhuthu :
The kalam is a unique drawing also
called dhulee chithram or powder drawing. The artist uses the floor as
his canvas. Kalamezhuthu pattu is performed as part of the rituals to
worship and propitiate gods like Kaali, Ayyappan or Vettakkorumakan.
This ritualistic art is a common feature of temples as well as noble
households. The kalams or drawings are erased at the end of the ritual
to the accompaniment of musical instruments like ilathalam, veekkan
chenda, kuzhal, kombu and chenda.
The coloured powders used for the kalam are prepared from natural
products only. The pigments are extracted from plants - rice flour
(white), charcoal powder (black), turmeric powder (yellow), powdered
green leaves (green), and a mixture of turmeric powder and lime (red).
It often takes more than two hours to finish a kalam drawing with
appealing perfection. Decorations like a canopy of palm fronds,
garlands of red hibiscus flowers and thulasi or Ocimum leaves are hung
above the kalam.
The figures drawn usually have an expression of anger, and other
emotions. Kalamezhuthu artists are generally members of communities
like the Kurups, Theyyampadi Nambiars, Theeyadi Nambiars and Theeyadi
Unnis. The kalams drawn by these people differ in certain
characteristics.
The Kalamezhuthu is a forty-day ritualistic festival beginning with
the first of Vrischikam (Scorpio) in most Bhagavathy temples in Kerala
Margom Kali :
 Margomkali
is a ritual folk art of the Syrian Christians of Kottayam and Thrissur
districts. A dozen dancers sing and dance around a lighted wick lamp (
Nilavilakku), clad in the simple traditional white dhoti and sporting
a peacock feather on the turban to add a touch of colour.
This is an allegorical enactment with the lamp representing Christ and
the performers his disciples. The performance is usually held in two
parts and begins with songs and dances narrating the life of St.Thomas,
the apostle. It then takes a striking turn with a martial play of
artificial swords and shields.
The narration is stark without musical accompaniments. The songs date
back to a period much before the Portuguese invasion. Today,
Margomkali is only performed as a stage item by women.
Theeyattu :
 Theeyattu
is a solo dance-drama performed in front of the Kalam or Dhooli
Chitram (ritual drawing with coloured powders). It is enacted in some
Bhagavathy temples of Thiruvalla, Kottayam, Thripunithura and
neighbouring areas. The ritual starts with the invocation of Lord
Ganapathy, Lord Siva and goddess Saraswathy, after which the performer
dons a crown smaller but similar to the one used in Mudiyettu.
The most
popular story narrated through a Theeyattu performance is that of the
duel between goddess Kaali and the demon Daarikan. The dance form is
usually performed by a small group of temple bound communities called
the Unni. Theeyattu is still a ritual offering made every Friday at
the Pallippurathu Kaavu temple near Kottayam town. |
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