Originating form kaliyattam, it represents tribal practices of Hindu worship, says Dr. Pooja Kashyap
Brightest of red-coloured costume, gigantic headdress, aesthetically painted face with fire torches in hand….was how I was introduced to a resplendent dance-form ‘Theyyam’ from Kerala. Referred to as ‘Muchilot Bhagvathy’ this deity I witnessed was just one of the 456 types of Theyyam dance forms indigenous to Northern part of Kerala, specially the Kolathunadu area (consisting of present-day districts of Kasaragod, Kannur and taluks of Mananthavady in Wayanad and Vadakara and Koyilandy in Kozhikode districts).
According to ‘Keralolpathi’ a historical document Parasurama who was the sixth incarnation of Lord Vishnu had saved Kerala from the advancing sea and had sanctioned festivals like Kaliyattam, Puravela and Daivattam or Theyyattam to the people of the North Malabar. Thus, Theyyam originated from Kaliyattam as a dance of Velan community, finally developing into the present-day cult of Theyyam over a period of 1,500 years.
Theyyam is representative of a form of Hinduism practiced by the tribal communities since time immemorial, involving liquor and meat as offerings to God.
Beauty of this dance form ‘Theyyam’, coming from the word ‘Daivam’ or God is that the performers are all from the tribal community who are revered as Gods during the Theyyam season by the higher caste people. These tribes include Malayar, Pana, Pulayan, Koppalan, Vannan and Velan (Velan being referred to in the Tamil Sangam literature). It is noteworthy that sponsors of Theyyam are all from the members of the upper class and ruling class families-a true symbol of social inclusion going back to the ancient times when the concept itself was unknown.
The ruling landlord communities like the Nambiars and the Thiyyas sponsor them and every traditional household or ‘tharavadu’ would have its own Theyyam. Hence, out of devotion, these ruling clans built their own shrines and ‘Kavus’ or sacred groves across the Malabar coast dedicated to these Theyyam deities. Dieties like Rakteshwari, Chamundi, Someshwari, and Vishnumoorthi are propitiated in these household shrines specially appearing during the annual festivals that begin in October and end in June. The Theyyam ritual dance is exclusively performed by the male members except for the ‘Devakkoothu’. A single performance continues for 12 to 24 hours with intervals. It takes place in an open area in the temple courtyard, full of devotees who revel and cheer as the dancer invoking a particular deity runs around the place wielding a sword or a shield in their hand. At times the dancer wears burning wicks around his waist and observes fire walk. In some joint-families Theyyam is observed as ancestor-worship with elaborate rites and rituals. The first part of the performance ‘Thottam’ is done without full make- up and decorative costume. The interval is followed by another round of performance with full make-up and elaborate costume done by specialists. The dancers transform into the particular deity of the shrine. The euphoria is maintained by the constant playing of folk musical instruments like Chenda, Veekni and Kuzhal and singing of the myths and legends of the deity. Theyyam performers do repeat steps known as ‘Kalaasams’ rhythmically.
The costumes that the performers wear is unique for each deity, the raw materials being directly sourced from nature for example, coconut spathes are cut and painted in black, white and red patterns to make the costumes. Fresh tender coconut fronds form skirts and coconut shells are used to make breasts. Different costumes like leaf dress or Tazha Adai, headdress or muti, `arayoda’ or Vattoda and other body decorations are to be prepared by the artists themselves.
This folk artform is passed on for generations taking at least 8 to 10 years to master. The teaching of Theyyam dance is given in a ‘gurukula model’ where it mandates mastery over various branches like the recitation of Theyyam songs or ‘Thottam’, make-up, designing and assembling of costumes and headdress and playing of musical instruments. There are about a hundred ‘thottam’ songs for each deity. Certain performances mandate knowledge of a martial art-form of Kerala- Kalaripayuttu.
Influence of religions like Jainism and Buddhism on this artform is also to be appreciated since the chief dancer who propitiates the central deity of the shrine has to reside in the premises of the temple itself and is not allowed to eat anything after sunset.
Thus, a Theyyam performance is the combination of dance, vocal recital, playing of musical instruments along with peculiar make-up and costumes making it one of the most fascinating performing arts of India.
About the author: Dr Pooja Kashyap, is an assistant professor of history in Delhi University. She is also a Kerala mural and Tanjore painting artist.
