SARADHI TRAVELS

Donning a Mask! Wearing a Deity's Robes! Elevated to the Realm of the Gods! The Mortal is Moved by the Spirit of Divinity! 

Theyyam or Theyyatam is a ritual art performed in the Malabar region i.e. in North Kerala.  Kolathunaad (Kannur and Kasargod Districts) is famous for this dance.  Theyyam or Theyyatam derives is name from Deyvam meaning "GOD" and Attam meaning "DANCE".  It is hence an awe-inspiring dance of the Gods.  It is also known as Thira or Thirayattam in the southern Malabar region.  Theyyam is one of the profound ritual arts performed in Kerala with utmost fervor and supreme ardor.  Religious reverence  runs high and the artist himself is said to experience a oneness with the Divine in the course of performing this dance.  Theyyam is also known as Kaliyattam.

Theyyam is performed in the "Kavus" and Kottams during the festivals.  Usually these festivals are held between November and May.  Theyyam and these festivals are held in shrines and temples.  For example, the Muthappan Theyyam is performed in the courtyard of the Parassinikkadavu temple near Taliparamba city.  The Muthappan theyyam is performed round the year,  Karivellur, Nileswaram, Kurumathur,  Cherukunnu, Ezhome and Kunnathoorpadi are other shrines where Muthappan performs during the season.  The most prominent Theyyams of Kerala are those of Raktha Chamundi, Kari Chamundi, Muchilottu Bhagavathi, Puthiya Bhagavathi, Wayanadu Kulavan, Gulikan and Pottan theyam.

There are more than 400 Theyyams performed in Kerala.  Since it is performed by the lower clans of the Hindu social structure, the main deity of worship or whose dance is performed is Shakti in her various forms such as Bhadrakali, Bhagavathi etc.  Theyyams are often performed to appease the spirits and ghosts of the heros and forefathers.  Their praises and glory are sung.  Deities such as Naga (Serpent) and other spirits like the forest deities or animal deities etc. are also propitiated.  As mentioned earlier, the presence of above 400 Theyyams in the state testifies to the worship of these wispy spirits and the fierce yet benevolent guardian deities such as Mari Amman, Vishnumoorthi, Pottan, Chaamundi, Rakteshwari, Karuppan Swamy etc.  When Theyyams are in praise of the Goddess it recalls here battles against evil and her victories over the Asuras (demons).  Theyyam represents the common man's spiritual and metaphysical beliefs as it encompasses the opportunity where the performer identifies with the gods/goddesses or the spirits of the ancestors or bygone heroes and guides the society even in matters of contemporary interest.  However aggression is a common trait among all the deities or spirits worshipped in a Theyyam.  As the dancer transcends to the divine realm his words are heeded as the deities will and his touch is regarded therapeutic.  However the fiery natures of the deities, disregard to the word of prophecies is seldom shown as fear of their wrath exists in every heart.

The Theyyam is performed by some of the lowest castes of the hierarchy, the performers are essentially from the Velan, Malayan and Vannan communities.  The dance performed by these communities is essentially with regard to the established deities such as Bhagavathi Amman,Vishnu or Shiva.  Other communities from which performers perform Theyyam are Mavilan, Vettuvan and Koppalan, but their Theyyams are dedicated to their ancestors and spirit gods.  The Theyyam dancers are always men from these tribes and the female characters are also played by them in appropriate costume and demeanor.  However it is not an occupation that can be adopted at will.  The rights of performing the Theyyam are reserved to these tribes and the right may only be acquired by virtue of birth through the maternal lineage or through marriage to a women of the reserved clan.  Strict observance of tradition in every aspect is imperative.  The dancers are well versed in the history, stories and characteristic traits of the deity they play.  Great emphasis is laid on the rigorous training and tradition shared by the dancers as it grooms them not only physically but spiritually as well to approach the divine trance in which the Theyyam is performed.  The artist is taught all the nuances of the performance from applying the make up to the songs; from playing the percussion to the legends and beliefs behind the deity's worship.  The artist is prepared not to be possessed as in case of the Oracle but to gain union with the deity.  Ironically, these dancer's words are venerated as the Divine Will while in the Theyyam state but even as the performance ends, they resume their mundane roles in the lowermost strate of society with no special distinction.

The most striking feature of the Theyyam is its costume and make up.   The face and body paintings are of supreme significance.  In no dance form is the eye make up so emphatic.  To represent the fierce deities, the eyes are plackened with mashi; thick bold strokes highlight the eyes and the face painting of a Theyyam dancer is extolled.  The artist ties a headband and allows the painters to paint his face and body.  Colors commonly used are red, orange, yellow, black and white as these help in playing up the aggressive features of the deity worshipped.  The different patterns of face painting for Theyyam are Viradelam, Kattaram, Kozhipuspam, Kotumpurikam and Prakkezhuthu.  The face painter is at liberty to try some variety or experiment in his art but in case of the body painting is strictly dictates of tradition are adhered to.  A bold colored base is painted and intricate designs made on it.  The different styles of these designs depend on the Theyyam being performed.  Parunthuvaal Ezhuthu (Eagle's Tail) and Anchupulli Ezhuthu (Five Dots) are some of the styles.  The head-dress, known as "Mudy" is made out of bamboo splicings and coconut bark.  This head-dress differs according to the Theyyam performed.  Some such Mudys are Pookkatti, Ponmudy, Vattamudy, Chattamudy, Valiyamudy, Kondalmudy, Puthachamudy, Omkaramudy and Peelimudy.  The head gear is decorated with cloth, flowers, coconut bird feathers and palm leaves.  In some Theyyams very big Mudy (50-60 ft) are also used.  It is then quite a balancing act for the artist.  Other jewellery worn by are ornaments such as bracelets, bangles and anklets, flower garlands and female characters are provided a breast plate fashioned out of coconut shell.  The skirts are made of bamboo splices and coconut sheaths painted red and black or from red cloth tied around bamboo sticks.  A red waistband is usually worn.  Painted wooden masks are worn in some Theyyams.

Theyyam is generally performed in the festival occassions in the various shrines and temples in Kerala.  Both, the Thandava (aggressive) and Lasya (graceful) modes of  dance are adopted in the Theyyam.  The religious fervor ends vitality to the performance.  The footwork is striking as the accompanying percussions such as Chenda, Veekuchenda, Elathalam and Kuzhal provide beats.  Chekor Kalasam, Onnaam Kalasam, Eduthu Kalasam, Chavitti Thullal, Parakkam and Thiriyal are the various stages of the dance.  Thudangal and Thottam are the beginning and the invocation.  The dances may be slow moving (Pathiniyattam) or fast paced (Elakiyattam) as the the song chosen.  A display of martial arts such as swordplay is not uncommon.  Other props used are swords, shields, bows, arrows and other weapons.  Lighted torches are held during the night performance to highlight the dramatic effect and to maintain a fiery ambience.

Theyyam, the ritual performance is almost 2000 year old.  The attraction of the art lies in the reverence it holds in the hearts of the devotees.  This is probably also the reason that such an ancient and difficult art form survives till date.  The presence of the divine in the artist while he performs the Theyyam is indicated by the miracles associated with the ritual and also outstanding feats performed by the artist.  Dancing with a head-dress as tall as about 50 feet or walking through live embers or dancing with lighted wicks stuck to the waist are indeed dangerous feats but what evokes awe is that the artists come out unscathed,  therein may be one realizes the presence on the supernatural among mortals.