In October 2008, the annual Theyyam performance at the remote village Kamballoore in Kasaragod district was coming to an end. The Theyyam Akko Chamundi, the mother Goddess of the family, began blessing the devotees who thronged around her after her scintillating performance and trance.
I was attending this Theyyam after over three decades and by virtue of being a member of the family earned some priority in the queue.
Rich folklore
Whether one believes in transcendental powers or not; Theyyam is a big part of the social life and cultural ethos of northern Kerala. Paradoxically many of the people here are followers of communist movements; Marx and Theyyam are inseparable identities of faith for them. For others Theyyam is a fabulously rich folklore ritual art tradition and a topic of anthropological interest.
The word Theyyam refers to both the performance and the performer, who becomes a supernatural being when he takes part in it. The pageantry of make-up and costumes (made with easily available materials like vermilion, red-arsenic, tender palm leaves, bamboos, cloth and other organic material with red being predominant as the colour of Shakti) is awe inspiring.
Theyyam upholds the Dravidian ritual artistry in the mainstream cultural aesthetics of the land placing the less fortunate in the shoes of Gods. Some use masks made of areca palms with artistic drawings and incredibly tall headgear; lending a fabulous dimension to the final figure who is in all probability a labourer from the marginalised class toiling in the properties of the upper class Hindus.
Ritual art form
By and large it is the predominant right of each community or a particular family to perform in a specified area. Thus a Theyyam performance is more than a mere ritual. It highlights the social harmony and aesthetic heritage of the people of a specific region. Art forms like Kathakali are highly indebted to this ritual art form for both its aesthetic and rhythmic inspiration. The pure dance steps of Kathakali (kalasham) are partly drawn from the foot-work of Theyyam.
What makes it more interesting anthropologically is that when the lower caste labourers are transformed into supernatural beings, their proprietors bow before them in devotion; the Theyyam interrogates and criticises any impropriety committed earlier. On the other hand the devotees enjoy the presence of their favourite God/Goddess communicating with them directly. While a temple festival reinforces the existing social order, the Theyyam places the lower caste in the centre to be worshipped as a manifestation of a divine power providing an outlet for protest in the name of God.
During the rituals that precede a Theyyam performance (thottam and vellattam), the performer chants related stories before a deity or on a specially marked spot. These songs, broadly described as thottam pattu, are known for their rudimentary style and literary perception of the early ages. Thottams are performed sans make-up or costume whereas there is some facial make-up and a costume for the vellattam. From the performance perspective, both thottam and vellattam resemble oracles. The former is a compulsory prelude for all sorts of Theyyams whereas only a few have the latter.
Fading out
Theyyams like Pottan (Pottan Theyyam) consume country liquor and often fall on fire in their trance. Until recently, some Theyyams like Karim Chamundi would drink blood from live birds and goats. Hunting animals is the forte of Theyyams like Vayanattu Kulavan. This is not uncommon even now in some interior villages of Kasaragod but taking photos and videos are strictly prohibited.
Though Theyyam is a Hindu ritual form, few know that there are Muslim Theyyams at four or five centres. In Kamballoore, a prominent Theyyam is a Mapla Muslim that escorts Krim Chamundi on the night of Thulam 11th. Wearing a costume partly similar to the local Muslim inhabitants, the Mapla Theyyam offers namaz just before taking part in the performance. Indeed, the form speaks of religious harmony as well.
The Theyyam season begins on the 10th day of the Malayalam month Thulam (usually end of October) and lasts until the middle of Edavam (the end of May), with its prime performance period being December-February.
The writer is the Director, Centre for Kutiyattam, Central Sangeet Natak Akademi, Delhi.
