THEYYAM - THE DANCE OF GOD

Kerala – ‘the land of greenery and natural beauty’ has been one of the most peace loving states in India.  The great stories of Kerala are often retold through art forms like Theyyam, Thira, Kakarishi Nadakam and the like.  Theyyam is undoubtedly an exciting, verbal, ritualistic dance performed by well built strong bodied, amply trained artist hailing from lower state of society.  The introduction part of the project deals with the preparations being made by the Koladhari before the attam.

Origin of Theyyam is said to be from the ancient art form of ‘Kaliyattam’.  It is said that Parasurama, the sixth incarnation of Lord Vishnu and the founder of the state, sanctioned festivals like Kaliyattam and Daivattam or Theyyattam to the northern citizens of the state.  The origin of Theyyam can be traced back to the indigenous tribal communities, and from the oral stories worship of heroes and celestial bodies began.  These first chosen communities included the Malayar, Panar, Vannan and Velan.  Velan gets special mention in Sangam literature, where they are employed by the mother of love struck girls to exorcise the malignant spirits from their words.  Velan and other dancing communities took charge of the rituals and tradition surrounding Sangam customs, .and from here on the evolution of modern day Theyyam began.

1500 years old heritage of Theyyam finds some of its oldest roots in the earliest period of Neolithic settlement and expression.  It was developed from bygone cultural straits of which Dravidian civilisation is in the forefront.  This deep rooted tribal art form is now among the most cultural masterpiece across Kerala.

The vernacular culture and history have had great influence on the development of Theyyam.  The medieval heroes like Kathivannur Veeran and Thacholi Othenan were defined and worshipped for their heroism.  The goddess Puthiya Bhagavathy and Makkam were heroines of tragic stories.  Makkam was considered to be an immoral woman by her beloved brothers.  The jealousy of their wives made her a victim of their suspicion.  The brothers dropped her and children in a deep well.  Later she was elevated as a goddess and was worshipped as a chaste woman.  This episode has become the theme for a Theyyam goddess.  Similarly Puthiya Bhagavathy is also a local girl devoted by the local people to the status of a goddess.  Mostly Theyyam duties are people who are victims of upper caste oppression and because of the collective guilt consciousness of the society they are defined into Theyyam God.

Mostly Theyyam advocates for a rationalistic interpretation of the Varna system. Tales of Caste oppression can be found in the Thottam songs of the Theyyam.  Theyyam is the only art form where the boundaries of the caste system disappear.  The people higher caste, stand in devotion and respect for a Theyyam deity once the performer reaches his zenith.  The caste oppression that the lower caste faced can be traced through an analysis of the various myths associated with Theyyam.

In the colonial period, the missionaries treated Theyyam as Devil Dance and prohibited the worshipping of deities and the practice of Black Magic.  The left wing parties them used Theyyam as a way of achieving an egalitarian society in Kerala.

The Theyyam ritual dance is exclusively performed by the male members of the traditional caste groups.  During the time of the performance they are revered by all regardless of caste.

Like many other performing arts, there are different areas in Theyyam art which are to be specialised by an artist.  They are recitation of 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 memorised by the artistes.  The methods, recitation and oral revelation like ‘Varavili’ are to be mastered.  The ragas and melody vary from one context to the other.  Thus he must possess some knowledge of music.  It takes 8 to 10 years to master every aspects of the performance.  Normally the training starts when a boy is 7 or 8 years of age.  The teaching of Theyyam dance is given in a ‘gurukula model’.  Morning hours are used for instruction.  The artist has to undergo a good training in Kalarippayattu especially if he is playing deities like Kathivannur Veeran, Poomaruthan and Palaveeran.

The type of Theyyam for the particular occasion and for the specific need is decided by the kanissakkaran.  The make-up of each Theyyam is different in face painting, dress and head-dress.  The elaborate make-up of Theyyam is done only above the waist and, therefore, below the waist the Theyyam is left without much decoration except covering the part with starched clothes for an elegant round shape.  The belief is that the body duplicates itself above the waist.

The head-dress is locally known as ‘mudi’.  The local belief is that the head-dress is the soul of Theyyam.  The mudiyettu ceremony is done on nada in front of the main deity installed in kavu.   It is done in solemn atmosphere of singing, drumming and dancing.  With these rites, the Theyyam become the deity.  People believe that the particular deity takes possession of the kolam at the moment of mudiyettu and they hold that the effigy was no more what it was, but the deity itself.  The removal of the head-dress marks the end of the presence of the super natural in that particular Theyyam.  The mudiyirakkal is also accompanied by drumming and singing as in the case of mudiyettu. The mudi beautifies Theyyam in such a manner as to attract the common people of the village as well as foreign visitors.

The pictorial representation of the face with different intricate designs signifying the myth and symbols of the particular Theyyam is called Ezhuthu.  Writing on the face is a symbolic painting to evoke feelings of awe, wonder, devotion and respect.   Each mukathezhuthu has a particular meaning and message to communicate to the devotees.  The writing on the face reveals great richness of the form and colours used are of different kinds. They are mostly imitative of the features of animals, and shapes of flowers and leaves. The decorations have many local variations in name as well as in make-up.  Sometimes the same make-up is used for different Theyyams.  In most cases the facial writing has direct symbolic relation to the myth of the Theyyams.  Colours used for facial writing are normally yellow, red, black, green and white.  The style of writing on the face should have been a late development.

Masks are sometimes used for social entertainment and buffoonery such as scaring people for fun or clowning in totemic religious rites.  Masks are also used as a means of transformation.  So once the mask is worn, the person can joke.  Mask is a distinguished feature of the primitive celebrations.  It is clear, therefore, that mask must have been the archetype of modern facial writing.

The body writing is also a part of the body decorations of the Theyyam.  The body writing is according to various Theyyams and they differ.  The myth of Theyyam is symbolically decorated on the chest and navel region.  For some Theyyams, the entire chest and stomach will be covered with special wearings.

The weapon is an integral part of Theyyam.  The instrument assume such an importance that in a groove  the weapon of the  respective deity is installed to represent the deity  itself, especially in the Theyyams of  the category of veerans.  The weapons are understood to be a symbol of protection and security that the devotees gets from Theyyam and therefore it is natural that the instruments have come to assume importance in the cult of Theyyam.  Based on the belief of the devotees, the Theyyam may use his weapon against the evil and destroy it entirely. The tradition of Theyyam is inherited by a son from his father or a nephew from his uncle.  This practice has continued uninterruptedly for centuries.