Sunday, February 22, 2009
POPULAR RITUAL ART FORM OF KERALA
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.
PANCHAVADYAM, TEMPLE INSTUMENTS OF KERALA
Panchavadyam
Panchavadyam is the most popular and traditional orchestra of Kerala. The word Panchavadyam means five instruments, comprising Maddalam, Edakka, Thimila, Ilathalam and the horn Kombu. Panchavadyam is performed by a group of artists standing in rows facing each other. Panchavadyam is of significance during most of the festival occasions, religious processions and also during cultural events.Percussion instruments can be termed as almost all pervasive in the world of music. It is essentially a means for rhythm, which is vital to most forms of music. The sounds, vibrations and the tone of percussion instruments vary according to the size and nature of materials used to make themMost of the percussion instruments used in Kerala are chiefly made of wood and with playing surfaces made of animal skin. The instruments are played either with sticks or with fingers and palms of the hand or a combination of all the three. Among them one could find unique ones like the Mizhavu, the popular Chenda, the divine Thimila, the classical Mridangam and the smallest of percussion instruments used in Kerala – Thappu
Thappu
Thappu is among the small sized drums used in Kerala. Thappu is played with palms of both hands and is usually accompanied by traditional cymbals called the Ilathaalam. Unlike other percussion instruments of Kerala, Thappu does not have strings attached for adjusting the tone.
Mizhavu is one of the largest of percussion instruments used in Kerala and is pot shaped in its appearance. The present day Mizhavu is made of bronze and copper whereas the earlier ones were made of clay. It is traditionally played by the members of the Nambiar community, and is played by using the palms of both hands. It plays a pivotal role during performances of Kutiyattam and Koothu.
Maddalam
Maddalam another popular percussion instrument of Kerala is made out of a single block of hollowed jack wood. This percussion instrument is usually played as part of temple rituals and also during theatrical performances like Kathakali and Krishnanattam. While playing, the Maddalam is tied around the waist and is played by both the palms with finger tips covered with artificial caps.
Mridangam
Mridangam is a key instrument for south Indian classical performances. Though not of Kerala origin, it is widely used in Kerala. Mridangam, which resembles Maddalam, is also made out of jack wood. While playing, the artist sits cross-legged with the right foot slightly extended and placed above the left foot with the Mridangam placed on the right foot and ankle.
Thakil
Thakil is another percussion instrument, which has its origin in Tamil Nadu, but widely used in Kerala. The left side of the drum is played with fingers fitted with metal caps, while the right side is played with slightly curved wooden sticks. Thakil is often played as an accompaniment to Nagaswaram, a wind instrument and forms part of temple ceremonies as well as auspicious occasions like marriages in the Hindu tradition.
Thimila
A double-headed drum in the shape of a long hourglass, Thimila is an essential percussion instrument of temple orchestra to assist in rituals. It is also an important instrument while performing the Panchavadyam, the traditional musical ensemble of Kerala. It is believed that the rhythmic sounds of the Thimila add to the divinity of god’s abodes and also to the Panchavadyam.
Edakka
Edakka is another hourglass shaped smaller percussion instrument considered very divine like the Thimila and noted for its varied tones. It is a friction drum and its uniqueness lies in the fact that the instrument is a rare combination of pitch and rhythm.
Chenda
Chenda is an essential accompaniment for temple festivals and for some of the classical and folk forms of dance and music. The sound produced while playing the Chenda is usually high, which gives it a classification among percussion instruments with demonic traits. But, the beats of the Chenda can also produce astonishingly low tones and are used to accompany songs that are soft and soothing. During performance, the Chenda is hung from the shoulder of the player and is played with stick in both hands or with stick in one hand. This percussion instrument is at its best when played in the traditional musical ensemble called Thayambaka. Massed Chenda also takes centre stage during the grand festive occasions of Kerala like the famous Thrissur Pooram.
Panchavadyam is the most popular and traditional orchestra of Kerala. The word Panchavadyam means five instruments, comprising Maddalam, Edakka, Thimila, Ilathalam and the horn Kombu. Panchavadyam is performed by a group of artists standing in rows facing each other. Panchavadyam is of significance during most of the festival occasions, religious processions and also during cultural events.Percussion instruments can be termed as almost all pervasive in the world of music. It is essentially a means for rhythm, which is vital to most forms of music. The sounds, vibrations and the tone of percussion instruments vary according to the size and nature of materials used to make themMost of the percussion instruments used in Kerala are chiefly made of wood and with playing surfaces made of animal skin. The instruments are played either with sticks or with fingers and palms of the hand or a combination of all the three. Among them one could find unique ones like the Mizhavu, the popular Chenda, the divine Thimila, the classical Mridangam and the smallest of percussion instruments used in Kerala – Thappu
Thappu
Thappu is among the small sized drums used in Kerala. Thappu is played with palms of both hands and is usually accompanied by traditional cymbals called the Ilathaalam. Unlike other percussion instruments of Kerala, Thappu does not have strings attached for adjusting the tone.
Mizhavu is one of the largest of percussion instruments used in Kerala and is pot shaped in its appearance. The present day Mizhavu is made of bronze and copper whereas the earlier ones were made of clay. It is traditionally played by the members of the Nambiar community, and is played by using the palms of both hands. It plays a pivotal role during performances of Kutiyattam and Koothu.
Maddalam
Maddalam another popular percussion instrument of Kerala is made out of a single block of hollowed jack wood. This percussion instrument is usually played as part of temple rituals and also during theatrical performances like Kathakali and Krishnanattam. While playing, the Maddalam is tied around the waist and is played by both the palms with finger tips covered with artificial caps.
Mridangam
Mridangam is a key instrument for south Indian classical performances. Though not of Kerala origin, it is widely used in Kerala. Mridangam, which resembles Maddalam, is also made out of jack wood. While playing, the artist sits cross-legged with the right foot slightly extended and placed above the left foot with the Mridangam placed on the right foot and ankle.
Thakil
Thakil is another percussion instrument, which has its origin in Tamil Nadu, but widely used in Kerala. The left side of the drum is played with fingers fitted with metal caps, while the right side is played with slightly curved wooden sticks. Thakil is often played as an accompaniment to Nagaswaram, a wind instrument and forms part of temple ceremonies as well as auspicious occasions like marriages in the Hindu tradition.
Thimila
A double-headed drum in the shape of a long hourglass, Thimila is an essential percussion instrument of temple orchestra to assist in rituals. It is also an important instrument while performing the Panchavadyam, the traditional musical ensemble of Kerala. It is believed that the rhythmic sounds of the Thimila add to the divinity of god’s abodes and also to the Panchavadyam.
Edakka
Edakka is another hourglass shaped smaller percussion instrument considered very divine like the Thimila and noted for its varied tones. It is a friction drum and its uniqueness lies in the fact that the instrument is a rare combination of pitch and rhythm.
Chenda
Chenda is an essential accompaniment for temple festivals and for some of the classical and folk forms of dance and music. The sound produced while playing the Chenda is usually high, which gives it a classification among percussion instruments with demonic traits. But, the beats of the Chenda can also produce astonishingly low tones and are used to accompany songs that are soft and soothing. During performance, the Chenda is hung from the shoulder of the player and is played with stick in both hands or with stick in one hand. This percussion instrument is at its best when played in the traditional musical ensemble called Thayambaka. Massed Chenda also takes centre stage during the grand festive occasions of Kerala like the famous Thrissur Pooram.
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