THEYYAM: A ritual art form of Kerala
Theyyam or Theyyatom is one of the most outstanding and popular ritual art of northern Kerala particularly now found in the traditional Kolathunadu of the present Kannur and Kasargod District. As a living cult with centuries old traditions, rituals and customs, it embraces almost all castes and classes of Hindu religion. The term theyyam is a corrupt form of Dhaivam or God. It is a rare combination of dance and music and reflects important features of a tribal culture.The indigenous Theyyam cult under the influence of the great classical Indian tradition incorporated new ideals and legends. The Theyyam dance is generally performed in front of the village shrines.and Tharavadu House, (Joint family House) as ancestor worship with elaborate rites and rituals. There is no stage or curtain and it is performed in an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The Chief dancer who propitiates the central deity of the shrine has to reside in the the aniyara( green room) and observe vegetarianism, fasting etc. as a part of rituals. Further, after the sunset, this particular dancer would not eat anything as a legacy of Jainism. His make up is done by specialist and others. First part of the performance is usually known as `Thottam’ or `Vellattam’. It is performed in the night without proper make up or decorative costume. Only a small red head dress is worn on this occasion. The dancer along with the drummers recites the particular ritual song which describes the myths and legends of the particular deity. After finishing this primary ritualistic part of the invocation., the dancer returns to the Aniyara( green room). After the interval, he appears with proper make up and costumes and with face painting. There are different types of face painting for which primarily and secondary colours are used. It had effected certain stylization also. Then the dancer comes in front of the shrine or sthanam, and gradually metamorphises’ as the particular deity of shine. After observation of certain rituals, the helpers places the head dress on his head and then dances. In the background folk musical instruments like chenda, Tuti, Kuzhal and Veekni are played with rhythm. All dancers take a shield and sword in their hands as continuation of the cult of weapon. Then the dancer circumambulates the shrine, runs in the courtyard and dances. The Theyyam dance has different steps known as “Kalasams”. Each Kalasam is repeated systematically from first to eight system of footwork. A performance is a combination of plying of musical instruments, vocal recitation, dance and strange make up and costumes. The stage practice of Theyyam and its ritualistic observations make it one of the fascination theatrical arts of India especially in northern Kerala.
The entire village folk attend the Theyyam festival in the village shrines and the members of Tharavadu and relatives attend the Theyyam festivals in their Tharavadus. Some of the grand theyyam festivals (Kaliyattoms) of the Vaniya caste, Thiyya caste and Maniyani caste are followed by the common feast for the entire devotees from the cult centre itself such feasts in favour of the mother goddesses and Kaliyattam take place one in 5 years or 25 years. Different castes and communities participate in such festivals.They share the expenditure by way of donation. Compulsory levy is also imposed up on the members of the particular caste who own the shrine and offerings made by the devotees. The elders settle major disputes and caste conflicts during Theyyam festival. It was an effective way of administration of justice in the medieval period and even continued in the days of British administration.The Theyyam ritual dance is exclusively performed by the male members of the traditional caste groups like Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan. These sections belong to scheduled caste and tribes. They are the sole custodians of Theyyam dance. These artists belong to the socially degraded group and only at the time of their performance get a social status and they are been respected by the devotees. It is a seasonal occupation to these groups. It is a social obligation on his part to perform the Theyyam dance in their areas as a hereditary right. Now these people get reasonable payment. Cloth, coconut, rice, paddy and coconut oil are also being given.Like many other performing arts, there are different areas in Theyyam art which are to be specialised by an artist. An eminent artist generally achieves mastery over all these branches. They are recitation of Theyyam song or Thottam, make up, preparation of costumes, playing of instruments and dancing. There are about one hundred thottam songs pertaining to different gods and goddesses. Some of them are lengthy texts including the legends, myths and traditions of their respective folk deities. These songs are to be memorized by the artist. The methods of recitation and oral revelation like `Varavili` are to be mastered. The ragas or melody vary from one context to the other. Thus he must posses some knowledge of musicology.Theyyam is a developed art form and hence systematic stylization had taken place in the course of its development. Most of the Theyyam dances maintain a unique style pertaining to the performance of each deity, within an particular area. In respect of rituals and songs there may be regional variations, but the visual appearance has no much variations. It is believed that one Manakkadan Gurukkal of Karivellur, a great Theyyam artist, had effected the present style in the 16th or 17th century, under the instruction of Kolathiri Raja. Following this tradition the Kolathiri or chieftains used to distribute the title like Manakkadan, Perumalayan, Peruvannan etc. to the distinguished Theyyam artists.Theyyam is mainly intended to propagate religions, Hindu mythology, and belief even among the uneducated masses. There the art form is considered only as medium of communication and the cult centre where it is performed is a sacred centre of social organisation . The continued patronage of the masses makes it popular ritual art.
Theyyam or Theyyatom is one of the most outstanding and popular ritual art of northern Kerala particularly now found in the traditional Kolathunadu of the present Kannur and Kasargod District. As a living cult with centuries old traditions, rituals and customs, it embraces almost all castes and classes of Hindu religion. The term theyyam is a corrupt form of Dhaivam or God. It is a rare combination of dance and music and reflects important features of a tribal culture.The indigenous Theyyam cult under the influence of the great classical Indian tradition incorporated new ideals and legends. The Theyyam dance is generally performed in front of the village shrines.and Tharavadu House, (Joint family House) as ancestor worship with elaborate rites and rituals. There is no stage or curtain and it is performed in an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The Chief dancer who propitiates the central deity of the shrine has to reside in the the aniyara( green room) and observe vegetarianism, fasting etc. as a part of rituals. Further, after the sunset, this particular dancer would not eat anything as a legacy of Jainism. His make up is done by specialist and others. First part of the performance is usually known as `Thottam’ or `Vellattam’. It is performed in the night without proper make up or decorative costume. Only a small red head dress is worn on this occasion. The dancer along with the drummers recites the particular ritual song which describes the myths and legends of the particular deity. After finishing this primary ritualistic part of the invocation., the dancer returns to the Aniyara( green room). After the interval, he appears with proper make up and costumes and with face painting. There are different types of face painting for which primarily and secondary colours are used. It had effected certain stylization also. Then the dancer comes in front of the shrine or sthanam, and gradually metamorphises’ as the particular deity of shine. After observation of certain rituals, the helpers places the head dress on his head and then dances. In the background folk musical instruments like chenda, Tuti, Kuzhal and Veekni are played with rhythm. All dancers take a shield and sword in their hands as continuation of the cult of weapon. Then the dancer circumambulates the shrine, runs in the courtyard and dances. The Theyyam dance has different steps known as “Kalasams”. Each Kalasam is repeated systematically from first to eight system of footwork. A performance is a combination of plying of musical instruments, vocal recitation, dance and strange make up and costumes. The stage practice of Theyyam and its ritualistic observations make it one of the fascination theatrical arts of India especially in northern Kerala.
The entire village folk attend the Theyyam festival in the village shrines and the members of Tharavadu and relatives attend the Theyyam festivals in their Tharavadus. Some of the grand theyyam festivals (Kaliyattoms) of the Vaniya caste, Thiyya caste and Maniyani caste are followed by the common feast for the entire devotees from the cult centre itself such feasts in favour of the mother goddesses and Kaliyattam take place one in 5 years or 25 years. Different castes and communities participate in such festivals.They share the expenditure by way of donation. Compulsory levy is also imposed up on the members of the particular caste who own the shrine and offerings made by the devotees. The elders settle major disputes and caste conflicts during Theyyam festival. It was an effective way of administration of justice in the medieval period and even continued in the days of British administration.The Theyyam ritual dance is exclusively performed by the male members of the traditional caste groups like Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan. These sections belong to scheduled caste and tribes. They are the sole custodians of Theyyam dance. These artists belong to the socially degraded group and only at the time of their performance get a social status and they are been respected by the devotees. It is a seasonal occupation to these groups. It is a social obligation on his part to perform the Theyyam dance in their areas as a hereditary right. Now these people get reasonable payment. Cloth, coconut, rice, paddy and coconut oil are also being given.Like many other performing arts, there are different areas in Theyyam art which are to be specialised by an artist. An eminent artist generally achieves mastery over all these branches. They are recitation of Theyyam song or Thottam, make up, preparation of costumes, playing of instruments and dancing. There are about one hundred thottam songs pertaining to different gods and goddesses. Some of them are lengthy texts including the legends, myths and traditions of their respective folk deities. These songs are to be memorized by the artist. The methods of recitation and oral revelation like `Varavili` are to be mastered. The ragas or melody vary from one context to the other. Thus he must posses some knowledge of musicology.Theyyam is a developed art form and hence systematic stylization had taken place in the course of its development. Most of the Theyyam dances maintain a unique style pertaining to the performance of each deity, within an particular area. In respect of rituals and songs there may be regional variations, but the visual appearance has no much variations. It is believed that one Manakkadan Gurukkal of Karivellur, a great Theyyam artist, had effected the present style in the 16th or 17th century, under the instruction of Kolathiri Raja. Following this tradition the Kolathiri or chieftains used to distribute the title like Manakkadan, Perumalayan, Peruvannan etc. to the distinguished Theyyam artists.Theyyam is mainly intended to propagate religions, Hindu mythology, and belief even among the uneducated masses. There the art form is considered only as medium of communication and the cult centre where it is performed is a sacred centre of social organisation . The continued patronage of the masses makes it popular ritual art.
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