More than a folklore art, Theyyam is a ritual form of worship which has been originated thousands of years ago, probably during the Neolithic era. There are instances to believe that the primitive tribal religious worship has metamorphosed to the Theyyam cult which is prevailing in North Malabar. This is evident by the fact that several characteristics of tribal worship including ancestor worship, spirit worship, animal worship, serpentine worship etc are included under the Theyyam. Besides, the mother goddess or the Bhagavathy too has a prominent place in the Theyyam cult.

At present the Theyyam cult is predominantly exists in the erstwhile “Kolathunadu” which includes the present day district of Kannur and Kasarkode apart from several areas in other districts including Wayanadu, and Kozhikkodu. Theyyam exists even in some parts of Karnataka and Tamil Nadu.

Although the Theyyam has evolved from the ancient tribal worship, the developments in Hinduism influenced it considerably. The three main streams of present day Hinduism, Shaivism, Vaishnavism and Shakthisam is clearly visible in Theyyam cult too. However, in all theyyams the rituals to propitiate the deity are almost same and it has many similarities with those ancient tribal practices. Offering of animal blood is also included in it. However, the influence of Vaishnavism which strictly promotes vegetarianism, some of the rituals including offering of blood has been shifted to an area outside the shrine. However, the influence of Vaishnavism on Theyyam is not much as there are only two theyyams belonging to this category and they are “Vishnu Murthy” and “Devathar”. Most of other theyyams belong to the other two streams Shakthism and Shaivism. All theyyams including that of heroes, ancestors, spirits etc too belong to either of these two categories.

Consecration of temple by Brahmins is a recent practice in Kerala and in ancient days, many rulers used to consecrate their favorite devotees in their houses and used to worship them. Out of devotion, they have constructed many temples, popularly known as Kavus and consecrated the Theyyam deities. Theyyam dancers perform there on the annual festival days. The dancers belong to the lower casts in Hinduism but command greater respect especially when they perform Theyyam. According to the belief, the dancer who performs Theyyam Dance will turn to the deity which is represented by that theyyam. Villagers, including the rulers and those elites belonging to the upper casts will seek their blessings.

Theyyam performers will have to perform several rituals and as a preparation, they will have to lead a typical style of life for about a month’s time. Consumption of alcohol, non-vegetarian food and sexual intercourse is barred for them during this period. A theyyam may last for about 12 to 24 hours including several intervals. There is no specific stage for performing theyyam and it is usually preformed in houses or temple in open air.

In the beginning the main performer will come with drummers and recite several folk songs that depict the legend of the deity which is consecrated there. This is meant for propitiating the deity and to invoke the power. After the primary ritual the performer will go to the green room and will return in complete costume. Face painting is important and there are several patterns of face paintings. Some of the major patterns are vairadalam, kataram, Kozhipushpam, Kodumpurikam and Prakkezhuthu. Both primary and secondary colors will be used in contrast.

After coming in full costume, the performer stand in front of the deity for quite some time and gradually metamorphose into the deity. After that it performs many rituals all are different types of dance and at the end of it he will sat on a wooden stool called Peetam and start blessing the devotees one by one who comes near him.

According to a rough estimate there are about four hundred types of Theyyams belonging to different deities including ancestors, war heroes and animals. The costume, style of dance and the rituals performed after metamorphosing into the deity differ from Theyyam to theyyam but the core of the rhythm upon which the folk songs are played will be one and the same. This is just another evidence that establishes that Theyyam has been evoloved from the primitive tribal form of worship where drum beats and rhythm had great importance in invoking the divine power.

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Ravikumar Ambadi

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Koothu is an art form in which the stories of Hindu mythology and epics are orally rendered primarily with the support of acting and hand gestures. In the olden days, it was confined to temple premises.  Only the members of the Chakyar community performed this art form and hence the name Chakyar Koothu. This was performed in temple theatres called Koothambalam.

In Chakyar Koothu the entire story is presented by a single performer. The costumes are that of a court jester. Facial make-up is done with rice powder, turmeric powder and black powder. He wears an ornament in one ear and a betel leaf in the other. An accompanying artist plays the percussion instrument Mizhavu in the background.

The highlights of Chakyar Koothu, is satire, social criticism, humor and related stories or episodes presented during the performance.  In the olden days of royalty, the Chakyar had the right to criticise even the King and his acts while performing.  The practice was that the audience should listen to the Chakyar and accept his criticisms.  Any opposition to comments made by the Chakyar while performing would have led to an end in the performance of the art form in that premises for ever.

This is a traditional as well as ritual based art form performed by Malayalee girls, especially Keralite women. Thiruvathirakali is a unique dance performed in Kerala on the auspicious day of Thiruvathira, the birthday of Lord Shiva. And this art form is not related to Sivarathri. It is performed by women who seek blessings for eternal marital bliss. It falls in the Malayalam month of Dhanu (December-January). As per Hindu mythology, this dance is what brought Kamadeva (God of Love) back to life when he had been burnt to ashes by Lord Shiva’s fury.

Groups of up to eight or ten women are seen dressed in traditional Kerala attire, dancing in a circle. Another dance form related to Thiruvathira is Kai Kottikali or Kummiyadi. This is clapping form of Thiruvathira.

The graceful movements of the dance are both enchanting and elegant. The white saris called ‘setsari’ with colourful borders along with fresh jasmines adorning their hair make for a wonderful sight.

The songs for the dances are also related to Siva Puranam. In ancient days women performing in the houses to take fasting and they did not sleep. Especially the women gathered in the neighboring houses of newly married couples and perform the Thiruvathira. These rituals are no longer observed in Kerala. Now a day Thiruvathira is practicing by school students for compete in Youth Festivels, as a competitive item in the festival.

Thottam Pattu is a vocal ballad sung ritual relating to Temples in Kerala. Thottam Pattu is invocative. This is a mythological belief that by performing this ritual, the performer will be possessed by divine spirits. Thottam Pattu, the ritualistic songs which accompany the performance elaborate the legends related to the deities.

Thottampattu is a ritual conducted in Bhadrakali temples in south Kerala (Travancore region). After the second harvest, the spirit of Bhadrakali placed in the outside of the temple called pattambalam.

This is the song from the evening of Meenam month. The song is played on a specially made room with green palm. The floor of the pandal cleaned with cow dung. There is a ritual called ‘Kappukettukal’. It will only release after the end of Tottam Pattu.

In all the Bhadrakali temples, the song is performed in temples that are worshiped by devotees, the hair (mudi) of Goddess Bhadrakali. Hair is a tawdrily and plaque that looks like big crowns on their head. It is said that it has been engraved with many snakes as the hair of the Bhadrakali. In temples it is located away from the shrine and left in another room (Mudipura).

The song is composed by two half. In the first half of this period, Kali is celebrated as the daughter of Lord Shiva and the assassin of Asuran. But the second half is based on the spectrum of kannaki (Chilappathikaram).

This the ritualistic art form maily performs in Kali temple in Kerala. The people who dressed like the bird Garuda (vehicle of Lord Mahavishnu) perform the art form.

The dancer hooked in the skin in a huge vehicle after the dance performed. These arts form can be seen in Devi temple during the festival of Meena bharani and Pathamudayam. The Garudan Thookam is mainly the art form of Kottayam. But now a day it was widened to several districts of Kerala. The Garuda dressed up similar to the Kathakali. But the beak and wings will be attached to the dancer who performs Garuda.

Legend has it that even after slaying Darika, Kali remained insatiable and thirsty. At this time Vishnu sent Garuda to Kali to quench the thirst. A dancing and bleeding Garuda was taken to Kali and only after getting some drops of blood from Garuda, Kali was pacified. The ritual is performed based on this belief.

The believers dedicates the Thookam as a reward  for the problems solved in the abode of Goddess Kali.