Theyyam

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Theyyam / Theyyattam or Thira is a popular Hindu ritual form of worship of North Malabar in Kerala state, India, predominant in the Kolathunadu area (consisting of present-day Kasargod, Kannur Districts, Mananthavady Taluk of Wayanad and Vadakara & Koyilandy Taluks of Kozhikode of Kerala state. As a living cult with several thousand-year-old traditions, rituals and customs, it embraces almost all the castes and classes of the Hindu religion in this region. The performers of Theyyam belong to the indigenous tribal community, and have an important position in Theyyam. This is unique, since only in Kerala, do both the upper-caste Brahmins and lower-caste tribals share an important position in a major form of worship. The term Theyyam is a corrupt form of Devam or God. People of these districts consider Theyyam itself as a God and they seek blessings from this Theyyam. A similar custom is followed in the Tulu Nadu region of neighbouring Karnataka known as Bhuta Kola

HISTORY
According to the legendary Keralolpathi, Parasurama sanctioned festivals like Kaliyattam, Puravela and Daivattam or Theyyattam to the people of the North Malabar region. He also assigned the responsibility of performing the Theyyam dance to the indigenous tribal communities like Malayar, Panan, Vannan and Velan. "There can be no doubt", say Bridget and Raymond Alchin, "that a very large part of this modern folk religion is extremely ancient and contains traits which originated ruing the earliest periods of Neolithic, Chalcolithic settlement and expression" (The Birth of Indian Civilization 1968 p. 3039, and indeed, Theyyam is representative of a form of Hinduism (albeit non-Brahminical) having been practised by tribal communities since time immemorial. This form of worship, often involving liquor and meat as offerings to Bhagawathi, Shiva, Vishnu, co-existed with the Sattvic rituals practised by Nambudiri Brahmins in temples. In fact, Theyyam was nearly always sponsored by members of the ruling class, such as Nair feudal chiefs, and achieved much prominence, therefore Theyyam festivals and Temple festivals were celebrated with equal vigour. Theyyam is an art form of the Dravidians. And it has a revolutionary concept behind it since the Theyyam artists are from low-caste communities such as Malayan or Vanaan. Even the high-caste people will have to worship the Gods come in the form of Theyyam, so we can say it was against the then caste-system in Kerala.

PERFORMANCE
The dance or invocation is generally performed in front of the village Shrine. It is also performed in the houses as ancestor-worship with elaborate rites and rituals.

There is no stage or curtain or other such arrangements for the performance. The devotees would be standing or some of them would be sitting on a sacred tree in front of the shrine. In short, it is 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 rituals. This may be due to the influence of Jainism and Buddhism. Further, after the sun sets, this particular dancer would not eat anything for the remainder of that day (again possibly on account of a legacy of Jainism). His make-up is done by specialists and other dancers. The first part of the performance is usually known as Vellattam or Thottam. It is performed without proper make-up or any decorative costume. Only a small, red headdress is worn on this occasion.

The dancer along with the drummers recites the particular ritual song, which describes the myths and legends, of the deity of the shrine or the folk deity to be propitiated. This is accompanied by the playing of folk musical instruments. After finishing this primary ritualistic part of the invocation, the dancer returns to the green room. Again after a short interval he appears with proper make-up and costumes. There are different patterns of face-painting. Some of these patterns are called vairadelam, kattaram, kozhipuspam, kotumpurikam, and prakkezhuthu. Mostly primary and secondary colours are applied with contrast for face painting. It helps in effecting certain stylization in the dances. Then the dancer comes in front of the shrine and gradually “metamorphoses” into the particular deity of the shrine. He, after observation of certain rituals places the head-dress on his head and starts dancing. In the background, folk musical instruments like chenda, tuti, kuzhal and veekni are played in a certain rhythm. All the dancers take a shield and kadthala (sword) in their hands as continuation of the cult of weapons. Then the dancer circumambulates the shrine, runs in the courtyard and continues dancing there. The Theyyam dance has different steps known as Kalaasams. Each Kalaasam is repeated systematically from the first to the eighth step of footwork. A performance is a combination of playing of musical instruments, vocal recitations, dance, and peculiar makeup and costumes. The stage-practices of Theyyam and its ritualistic observations make it one of the most fascinating theatrical arts of India.

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VARIOUS TYPES OF THEYYEM

.:. Guligan
.:. Vishnumoorthi
.:. Sree Muthappan Theyyam
.:. Padikutti Amma
.:. Muthappan Anthithir
.:. Padarkulangara Bhagavathy
.:. Puliyur Kali
.:. Pullikarim Kali
.:. Pulikandan
.:. Marapuli
.:. Kandapuli
.:. Pulimaruthan
.:. Karinthiri Nair
.:. Puthiya Bhagavathy
.:. Kuttikol Thamburatti Theyyam
.:. Elayor Theyyam
.:. Muthur Theyyam
.:. Vannathan
.:. Chuzhali Bhagavathy
.:. Kannangat Bhagavathy
.:. Kodoth Chamundi
.:. Agni Kandakarnan
.:. Moovalamkuzhi Chamundi
.:. Palot Daivam
.:. Dandinganath Bhagavathy
.:. Padarkulangara Bhagavathy
.:. Padamadakki Bhagavathy
.:. Manakkott Amma
.:. Karim Chamundi
.:. Muthala Theyyam
.:. Elleduth Bhagavathy
.:. Adukunnath Bhagavathy
.:. Narambil Bhagavathy
.:. Chembilot Bhagavathy
.:. Pulichon
.:. Vellarangara Bhagavathy
.:. Mayyakkal Bhagavathy
.:. Koroth Naga Bhagavathy
.:. Kuttichathan
.:. Padinhare Chamundi
.:. Vettakorumakan
.:. Mavila Chamundi
.:. Urpazhassi
.:. Kudiveeran
.:. Veerabadran
.:. Vishakandan
.:. Kandanar Kelan
.:. Vayanat Kulavan
.:. Kunhiraman Gurukkal
.:. Kathivanur Veeran
.:. Munnayareeshwaran
.:. Manavalan
.:. Manavatti
.:. Manjalamma
.:. Thoovakkari Muthappan
.:. Gandharvan & Yakshi
.:. Perum Kaliyattam

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Names of few more Theyyam are given below:

* Karimanal Chamundi
* Peruvamba Chamundi
* Eroth Chamundi
* Kizhakkeveettil Chamundi
* Kaitha Chamundi
* Madayil Chamundi
* Pethalan
* Pullon
* Chooliyar Bhagavathy
* Kodoth Chamundi
* Olassa Poomala Bagavathi
* Astamachal Bagavathy
* Nagacherry Bhagavathy
* Meethale Theyyam
* Oyola Bagavathi
* Padaveeran

veryyy cool

Hi...
Theyyam is an artistic dance form where metaphysical thoughts and expressions of immortal souls are impersonated to a believer through a mortal body. Theyyam originated from "Kaliyattam" once practiced by the tribal community of north Kerala. Theyyam had grown to the present form through many transformations since it’s origin. Landlords and chieftains of those days are the main forces behind many of such transformations. The community and its body began to use this art to propagate the major theme of social enforcement. The artists are also encouraged by the authorities to introduce new themes into its traditional layers and classified different acts and expressions to match specific needs for their desire. The character representations were very broad. They range from mild to wild in representations. Theyyam is a sect in which old heroes are sanctified and worshipped as the guardians of villages and homes. Yet, it includes a complex universe centered on the belief that a man can—after suitable mental, physical and spiritual preliminaries—don the costume of a particular deity and then become that deity. In this elevated state he assumes superhuman and divine powers—speaking, moving, blessing and even healing as a god or goddess. What is crucial is that the person is not possessed by the spirit of the deity.