Theyyam is an ancient and mysterious folk ritual, and one of India's most mesmerising experiences Theyyam, also known as Kaliyattam or Theyyattam, is a vibrant ritual art form performed primarily in the North Malabar region of Kerala. It's not just a dance or performance; it's a transformative experience where deities descend upon the performers, channelling their divine energies.
Today, there are more than 400 different types of Theyyam across northern Kerala and Karnataka. each with their own music, style and choreography. The most prominent are Raktha Chamundi, Kari Chamundi, Muchilottu Bhagavathi, Wayanadu Kulaven, Gulikan and Pottan. These performances are held most nights between dusk and dawn from October to April, with their timing determined in consultation with astrologers who identify auspicious dates using the local Malayalam calendar. While each event is free and open to the public, Theyyam aren't tourist spectacles but sacred and deeply felt shows of history and faith.
The great stories of Kerala are often retold using art forms. It is here that our legends truly come to life. . It exalts the beliefs of the ancient tribals who gave a lot of importance to the worship of heroes and the spirits of their ancestors. Each artist represents a hero with great power. Performers wear heavy make-up and adorn flamboyant costumes. The headgear and ornaments are truly majestic and fill one with a sense of awe and wonder. From December to April, there are Theyyam performances in many temples of Kannur and Kasaragod. Karivalloor, Nileswaram, Kurumathoor, Cherukunnu, Ezhom and Kunnathoorpadi in North Malabar are places where Theyyam are performed annually (Kaliyattam) and draw huge crowds.
The performers of Theyyam are typically from Scheduled Caste and Scheduled Tribe communities. In past these communities were historically marginalized and discriminated by the upper castes.
"If you're a man or a woman belonging to the lower caste to signify respect when you interact in any manner with those of the higher castes you must keep aloof at a prescribed distance in order to avoid polluting the superior man you must remove clothing covering the shoulders and the head have to bend all in the presence of a higher caste man in conversation you must use self demeaning forms of speech such as usage of the word master while addressing a superior man you must assume bodily poses which have been culturally standardized for example covering a mouth bending forward or lie prostrate and remain like that until the upper caste man has passed by you cannot walk in front of a superior caste if you did so you would be thrashed or if they were in the mood even beheaded"
Their belief is this lower caste victims the heroic ancestors who fought bravely against social evils were later converted into gods or Theyyam.Traditionally, Theyyam was performed exclusively by members of lower castes and marginalized communities like the Panan, Velan, Malayan, and Vannan. These communities have safeguarded the traditions for generations, passing them down through oral teachings and apprenticeships.
Maybe Theyyam and other ritual arts were alive from the early period but a person named Manakkadan Gurukkal modernized this classical art with the help of Kolothiri Raja. In ancient times there was no decoration in Theyyam i.e., Face painting dressing, and ornaments were very simple. But with the help of gurukkal Theyyam changed into the present position of ritualistic arts performance. The Maṇakkadan is the only man who converted it to a ritual art.
Mukhathezhuthu-A Canvas of Colours and Symbolism:
This is a crucial element of this mesmerizing ritual art form. It's not just about applying colours; it's about transforming the human face into a divine visage, blurring the lines between mortal and sacred. The painting begins with a white or yellow base, symbolizing purity and spiritual essence. A riot of colours like red, green, blue, and black then takes centre stage. Each colour carries a specific meaning, representing power, prosperity, protection, or specific deities.
Theyyams are ordained with unworldly costumes. But the new generation doesn’t follow the special measurements pre-ordained by the older generation in the making of theyyam and the colour used in it. The make-ups of all Theyyam are not similar. The makeup varies according to the character and the expression of the theyyam.
Faces are adorned with intricate geometric patterns, stylized eyes and eyebrows, and facial markings reflecting the character's identity and nature. Animals, flowers, weapons, and other motifs are painted, each carrying profound meaning and connection to the specific Theyyam deity. Elaborate crowns made of natural materials like leaves and feathers, along with jewellery and face paint, complete the transformation.
Mukhathezhuthu requires immense skill and experience. Artists, often hereditary practitioners from specific communities, have honed their craft through generations. They understand the intricate symbolism, colour combinations, and brushstrokes needed to portray each deity accurately and powerfully. who uses a variety of natural materials, including rice powder, turmeric, sandalwood, red sandalwood, clay, leaves of mango trees, jackfruit, neem, charcoal and more. The paint acts as a mask, enabling the performer to embody the divine entity. Colours and patterns narrate the deity's history, powers, and relationship with the human world. The vibrant visage creates a bridge between the earthly realm and the celestial, allowing humans to interact with the divine.
If you get the chance to observe a Theyyam artist at work, prepare to be captivated. The precision, speed, and artistry are mesmerizing. Watching the face transform, imbued with divine power and meaning, is an experience that stays with you long after the last stroke is applied.
Kolakkaran and his dressing
Once the makeup is complete, the performer does the costume, The costume worn by a Theyyam performer is just as elaborate and vibrant as the makeup, It is a work of art in itself. The specific elements of the costume vary depending on the character being portrayed, but some common elements can be found in most Theyyam costumes. The most striking element of a Theyyam costume is the crown. These crowns are often made of wood, metal, or coconut leaves and are decorated with intricate carvings, paintings, and feathers. They symbolize the power and authority of the deity being portrayed. The body of the costume is typically made of a long, flowing sarong or skirt. This garment is often decorated with colourful patterns and symbols. The Theyyam performer may also wear jewellery, such as necklaces, bracelets, and earrings. This jewellery is often made of gold, silver, or other precious metals. Some Theyyam characters also wear masks. These masks are often made of wood or leather and are painted or carved to represent the features of the deity being portrayed. Masks can help to transform the performer into the divine being they represent. The costume is an essential part of the Theyyam performance. It helps to create the illusion that the performer has become the deity they are portraying. The intricate details and symbolism of the costume add to the overall beauty and power of the art form.
The crown, known as thara, is a prominent feature of the Theyyam costume. It is typically made of wood, leaves, or feathers, and it is often decorated with mirrors, beads, or other ornaments. The crown is not just a decorative element; it also has symbolic meaning. It represents the power and authority of the deity, as well as the divine connection between the performer and the spiritual realm. The Theyyam costume is often adorned with jewellery, which is also symbolic. The jewellery represents the wealth and prosperity of the deity, as well as the divine protection bestowed upon the performer. The type of jewellery worn by a Theyyam artist varies depending on the deity being portrayed. For example, male deities often wear necklaces, bracelets, and anklets, while female deities often wear earrings, necklaces, and nose rings. In addition to the costume, crown, and jewellery, Theyyam artists may also wear other accessories, such as swords, shields, or animal skins. These accessories represent the powers and attributes of the deity being portrayed.
The costume consists of pattu,vitānathara (kānṇimundu, cirakuduppu, veḷumban, etc. the costume is designed upon the floor like caṭṭa is called vithanam. The other one is kuruthōla dress. The tender coconut leaves are removed from their stalks and are worn around the waist. The theyyam that wears tender coconut leaves (kuruthola) are Chamundi, Guḷikan, Poṭṭantheyyam (Worn mask on face) vishnumurthi, etc These kinds of costumes made out of tender coconut leaves are also known as oliyuduppu that is, Olayuduppu (dress made out of coconut leaves).
The costumes, ornaments and the artefacts are collectively called as the “Theyyakkoppukal” – meaning the Theyyam Artefacts. Chilambu is worn on the legs. Usually, every theyyam uses chilambu except some like Thekkumbad Kolam deaivakutty. Ornaments worn on hands are Chudakam, Kaivala, Kaṭakam, tandavaḷa, etc. One of the important components of makeup is talapaḷi. Talapaḷi is worn on the head. In this, a small metal strip in the shape of a petal hangs on the forehead. Apart from that, the other ornaments are Chenni, Pathi, Thani etc which are worn on the sides of the head. It is an unwritten rule that nothing but natural things is to be used in Theyyams. The makeup of the performer or Kolakkaran is done by laying him on the hand-made carpet of coconut leaves, on backstage. The spiritual karma of unifying body-soul with nature is carried out here. The ancestors have inscribed that the face decoration should consist of pictorial depictions of animals, reptiles, and wildflowers. Apart from that, one can see varieties of spectacles on the description of the face, for example, some theyyams have beards. The male Theyyam wear a beard while the female Theyyam wears breasts Theyyam like Bhagavathi, and Chamundi wear these articles. The last ritual is to wear the hair. Theyyam becomes complete only after fixing the hair. It is called ‘Thirumudi’. The hair plays a great role in changing the shape and nature of Theyyam. There are different hairstyles like Vattamudi, Attamudi, Olamudi, Kattamudi, Purathattumudi, Peelimudi, Pookattimudi, Omakaramudi etc. all these are made out of tender coconut leaves, bamboo, Kavungu (arecanut tree), silk, white cloth, and a flower called chethippu. The theyyam of Kshethrapalan and a few Bhagavathies use nearly fifty to sixty feet high long crowns made out of areca nut trees and bamboo splices. These crowns are supported by long bamboos which are held by several helpers to keep the balance when placed upon the head of the player. After makeup and hair, the next component is the weapon. The sword is the most important among the weapons. But guḷikan uses dhanḍu. The weapons are known as Thiruvaayudham. Mother- goddesses use nandhakavāl. And, there are some Theyyam that use spear and sickle, arrow and bow, which shows the agrarian and hunting culture respectively. in the case of Bhagavathies, torches are appended to the waist and the crown produces a terrible appearance. Besides Theyyam often perform tricks with many weapons. The base of Theyyam is the drum beat. Along with drum beats, there would be other instrumental accompaniments (Vadhyamelam). They include Chenda, Thakil, kombu, Ilathalam, cheṅila, thudi, p̄ani, etc.
Theyyam dressing is a complex and elaborate process that takes hours to complete. The performer begins by fasting and praying for days or even weeks in advance. This helps to cleanse the body and mind, preparing them for the spiritual transformation that will take place during the performance. The entire dressing process can take up to eight hours to complete. By the time the performer is ready to take the stage, they have undergone a complete transformation, both physically and spiritually. The Theyyam dressing process is a significant part of the ritual. It is a way for the performer to connect with the divine energy of the deity they are portraying. The costume, makeup, and accessories all serve to enhance this connection, helping the performer to embody the deity and bring their story to life.
REGIONS OF THEYYAM:
Kavu
On the bases of legend, Kerala was divided into 18 parts and was given to the son-in-law by the last Perumal, among them, Nediyirippu and Kolothunadu were the prominent places in northern Kerala. Apart from that, the Kurumbanāṭ Swaroopam, Kaṭathanāṭ swaroopam, Kottayam swaroopam (prayattara), Arakkal Royal family, Allada Swaroopam, Kumbala Swaroopam (māyipād)etc were the Nāduvazhi swaroopam related to theyyam. Nediyirippu means connected to the Zamorins and Kolaswaroopam signifies Kolathiri, i.e. Kolathuland. The ruler of Kolothiri gave full support for the conduct of theyyam. There is a belief that the Theyyams were blessed with royal recognition. It was the Kolothiri ruler who gave a royal status to Theyyam.
Theyyam is usually performed in the place which is known as Kavu. Kavu were the centre of dependence for the ancient people. Because it is a kind of forest. Along with that, it was the centre of worship too. Although we can see Kavu (small temples under a mangrove) that belongs to nagakavu (temple of snake), Amma daiva Kavu (temple of mother goddesses) all through Kerala, the theyyamkāvu (temple of Theyyam) is unique to north Kerala. There are Theyyam places known in the names such as Palliyara, Munḍya, Kaḷari, Matilakam, Maṭam, Vatil Maṭam, gopuram, etc. One can see a lot of such theyya kavus in northern Kerala. Apart from this, Theyyam is performed in kannikoṭṭil, padinjatakal, and thirumuttam of ancestral homes (Tharavadu). Apart from that, Theyyam is conducted on the fields and land properties where the harvest was carried out. Like this, each ancestral group that conducted each kind of Theyyam were given the propriety of that land. This right is called cerujanmam. The temples are known by the name of the god that resides in it. But along with specific gods, there might be many other Theyyam residing in that kāvu. The most important kāvus in northern Kerala are Muchilōttu Bagavathikāvu, Puliyoor Kali kavu, Porkīli bhagavathi kāvu, Kurmba Bhagavathi kavu, etc. Apart from them, there are many theyyakāvus in villages from Kozhikode to Kasaragod. But, the pride of these kāvu has diminished. It should be thought that these kavu still exist only because of the beliefs of people. These Theyyam which are conducted in kāvu and tharavādu(ancestral homes) have their genesis that fastens the authenticity of their being.
THEYYAM AND RITUALS:
The main pujari (one who carries out the rituals) of the temple were called the andhitiriyan. The name found its basis on the fact that he lighted the lamp (thiri) of the temple in the dusk (anti). This person is given utmost respect in the society.. The priests who do the Festival Rituals are called the ‘Karmikar’. Then the Chendakkaru – the people who perform the musical backing for the Theyyam in Kerala.
Some Theyyam has to undergo 3-7-days of fasting. During this period, they are not supposed to eat non-vegetarian food at all and have to stay in their home (Pura). But there are some Theyyam who drink alcohol. But they drink it only as a part of Theyyattam. The first ceremony of rice gruel is Atayalam Kodukkal. That means to fix a date and hand over the right of kolam to be worn. By this, the person who is to wear kolam (kolakkāran) is presented with betel leaf, areca nut, and money and they entrust him with the ritual name of the Kolam. If the kolam is supposed to take fast, it starts on that day. During the time of fast, rice gruel is to be eaten. Apart from that, Kotiyilathotam, Theyyamkudal, etc are important ceremonies of theyyattam. The theyyam performer and the musician reach the place a day before itself. Before the fall of evening, the drum is beaten and proclaims commence of the rituals. This ceremony that Initializes Theyyattam is called theyyamkudal (Analyzing the rituals for the Theyyam on the day before performance) Kotiyilathotam is the ceremony where the kolakkaran (Performer) receives the plantain leaf containing rice and wick from the place where the goddess is instituted (devathasthanam).
There is a usual practice in which after the decoration and all, Theyyam looks at the mirror. This has different levels of meaning. When the kolakkaran sees the god's image in the mirror, he internalizes that he and the god are inseparable. This helps him to get possessed. From paḷḷyara, where the god is supposed to reside, the karmi throws rice. At this juncture, Theyyam gets possessed and starts to dance. Kuruthi tharpanam (The ritualistic function where a big vessel with water is mixed with blood where Theyyam offers sacrifices). Is to be done at that time. In many Theyyam, the ritual killing of a cock is important. In some kavu, theyyam itself does the kuruti tharpanam. Those theyyam without kuruti tharpanam, instead, should have parana. The ingredients of parana are coconut and puffed rice. But those theyyam that don’t take Prananan are to be offered a vessel containing a block of sacred ash, a block of sandal, a small bundle of money, betel leaf, areca nut, etc. There are Theyyam with kalaṣam (pot). In this, a pot-procession is conducted after the culmination of Theyyam or along with the conclusion of Theyyam. Kalaṣam is alcohol-filled pots. Many such pots are arranged one upon the other, decorated with tender coconut leaves. There would be a kalaṣathara(pot-base) on which this has to be arranged. In some temples, minamrithu (elixir of fish) is offered. Here, the fish itself is caught after a period of purification by the process of fasting. Fish is caught from the river and offered in front of the Theyyam. It is cooked and distributed among the devotees as Prasadam (remnants of the offerings to god) after the rituals. The last ceremony is called kalāṣam (Pots filled with Alcohol). There is another ceremony of Sakunam nokkal (Villagers believe in good omens they look for good omen by rolling coconut).
After that there are ceremonies like Sthanam parayal, kurikotukkal, nērcha vāngal, anugraham koṭukkal, etc. Some Theyyam narrates the history of Genesis and the adventures of the respective gods in a musical manner. This rhythmic narration is called Sthanam parayal. But some theyyams talk about the dynasty. This throws a light upon the dynasties of past Kerala. Apart from that, Theyyam receives offerings (nercha) from the devotees. They distribute kuri as prasadam. Manjalkkuri made by powdering turmeric and rice is given as Prasadam.
Theyyam reveals the human capabilities of abstraction, synthesis, and idealization; it describes social and economic activities and reveals practices, beliefs and ideas. It provides a unique insight into spirituality, intellectual life and cultural adventures. It is a divine dance with ancient testimony of customs, traditions and artistic creativity. Since the theyyam performer, transforms to the status of a particular deity, Theyyam is very much a divine dance. Invoking god or goddess in his body, he dances through the compound of the sacred space where deities are worshipped. The dance is considered not for propitiating gods or goddesses, rather it is a dance of the gods or goddesses themselves. The fundamental facts of the existence of theyyam performance, even in the present day, make the ritual a powerful instrument that influences the thoughts and practices of Malabar society. In support of this, experts point out that the deities are worshipped and propitiated for the blessing of fertility, for protection and security. There are powerful deities who ward off smallpox and other contagious diseases. Theyyam ritual performances also provide judicial services. Some of the major disputes and communal conflicts are often settled by a specific representative of a particular deity during the Theyyam performance. The devotees present their personal problems and troubles to the deities and the deities give them counsel and blessings.
MOTHER GODDESSES IN THEYYAM:
In the Tradition of Theyyam performances both male and female versions of ritualistic art, performances are performed even in contemporary society. In these more figures are female. Because the concept of village deities like mother goddess worship is remarkably included in the Theyyam tradition. This worship intends to take care of the so-called village. Usually, what is the duty of a mother? She always takes care child and surroundings and saves everyone. The same thing is happening here also. The devotees are her kids and through worshipping her and giving some offerings she will take care of everyone and give blessings what they need and wish. Usually, these activities happen in the mother worshipping pattern of Theyyam performance. But the other remarkable thing is that devoted believed and gave offerings to many mother goddesses. Sometimes they may become demigods after their death, the souls of ancestors. Like one of the important mother goddesses named Thiruvarkkattu Bhagavathi. other mother goddesses are also worshipped as the main deity of a village. Like this, in Northern Kerala, Theyyam which included Kali and her varieties of mother goddesses and male idols became collective gods for the people.
Devakkoothu- Performer Malayanvalappil Ambujakshi Photo by dhanesh ashokan
But without any consideration or divisions like male and female, all these Theyyam figures without devakkoothu (A female Theyyam performed at the Thekkumbad Koolom Temple Near Cherukunnu. This special Theyyam is performed once in 2 years.) are performed by men. They worshipped the mother/ amma concept but were not given complete freedom to women members to perform or be a part of the ritual activities. Some of the female figures and male figures in the Theyyam worshipping pattern are given as follows,
Female Theyyam Figures: Mucilottu bhagavathi, Manayil bhagavathi, Raktha chamundi, Vaṇṇathi bhagavathi, Veerakali, Vīrachamundi, Mahakaḷi, Makkini bhagavathi, Malamkurathi, Malamel chamundi, Mikkott bhagavathi, Vēḷḷātt bhagavathi, Bhadrakaḷi, Pacheni bhagavathi, Pūmkunnam bhagavathi, Nellikkal bhagavathi, Putiya bhagavathi, Kōtōli bhagavathi, Chutala bhagavathi, Atiraḷamma, Arya bhagavathi, Arakkal bhagavathi, Othayoḷath bhagavathi, Eramath bhagavathi, Karumakan, Kammiyamma, Kurathiyamma, Kotumkaliyamma,etc..
Male Theyyam Figures: Pattar Theyyam, Parathi veeran, Nadu vaḷisan, Nambolan, Paḷḷi vettakkorumakan, Danwam thari, Tondachan, Vaṇṇathan Theyyam, Vattipptam, Akam kālan, Angatheyyam, Alada viran, Ali Theyyam, Iḷam karumakan, Ucagulikan , Ucarapottan, Karingutti chathan, Karintiri nair. Guḷikan, Maran Theyyam , etc..
