Kerala Folklore

3.2. The Three Stages of Divine Impersonation

Thirayattam performers embody the deity through three distinct 'Kolam' forms, each signifying a different stage of the divine manifestation^{3, 5, 7}:

• Vellattam: This form represents the childhood of the 'Murthis' (deities)^{5, 7}. It is performed during daylight hours, characterized by lighter ornaments and a slow-paced dance^{3, 5}.
• Thira (Thirakolams): This stage embodies the youth of the deity^{5, 7}. These performances occur at night, illuminated by traditional torchlight, and feature rapid and dynamic movements^{3, 5}.
• Chanthattam (Chanthuthira): Depicting the grown, matured, or old age form of the deity^{5, 7}. This performance takes place early in the morning, with lighter movements and makeup³.

The progression of 'Kolam' forms, representing childhood, youth, and old age, signifies a deeper narrative structure that transcends mere character portrayal. This sequential representation of a deity's life stages suggests a cyclical understanding of time and divinity within the ritual. It allows for a nuanced exploration of the deity's power and presence—from nascent energy to full, dynamic force, and then to a more serene, matured state. This adds a profound layer of depth to the performance, potentially mirroring human life stages or seasonal cycles, making the divine relatable and dynamic.

3.3. Crafting the Divine Persona: Costumes and Adornments

The costumes are elaborate, unique, and an integral component of the Thirayattam performance^{1, 2, 5, 6, 7}. The makeup and headgear for each character are distinct and varied^{1, 2}. The materials used in their creation are predominantly natural, including arecanut palm, tender coconut leaves, bamboo, nutshell, and jack fruit wood^{1, 2, 5, 6, 7}.

Specific attire elements, particularly for 'Thiratheyyam' (a closely related form), include:

• 'Thalasseela': The divine head cloth worn by the performer¹⁰.
• Headgears: Known as 'pettakam' and 'peranku', with 'peranku' being crafted from brass and designed by skilled brassiers¹⁰.
• Ornaments: These include 'Mukkuttam' (a special decoration on the face made of brass or bronze plates), 'Chettyakam' (exaggerated ear decoration), breast plates (some made of brass), 'Kaithamara' (brass arm decoration), and 'Vanchi' (festoon-like laces worn on the wrist or shoulder, made from the bark of a tree locally called 'Vanchi')¹⁰.
• Accessories: A girdle of bells, known as 'aramani', and heavy anklets, or 'chilambu', are tied to the legs¹⁰. To protect the ankles from the stress caused by the heavy anklets, 'Kamatham', a material made from plantain stem coverings, is used¹⁰. Pleated skirts also form part of the costume¹⁰.

The consistent use of natural materials for costumes and makeup and the involvement of specialized artisans for headgear underscore the integration of local ecology and traditional craftsmanship into the sacred art. The explicit mention of specific natural materials across multiple sources suggests a conscious choice rooted in tradition and a belief that these elements carry their own sacred energy, enhancing the authenticity of the divine impersonation. This also points to a sustainable artistic practice, deeply connected to the land and its resources. The involvement of distinct crafts like carpentry and brass work highlights the collaborative and specialized nature of preparing for the ritual, indicating a sophisticated system of traditional knowledge and skill.

3.4. The Canvas of the Face: Mughamezhuthu and Body Art

Facial paintings, known as 'Mughamezhuthu', and body paintings, or 'Melezhuthu', are meticulously applied by skilled artisans⁶. Natural colors are exclusively used for facial makeup, with ingredients such as raw rice, natural ink, and turmeric forming the palette^{3, 5}. Some 'Kolams' may incorporate face masks and artificial eyes to enhance the character's appearance⁹. This elaborate facial and body makeup is a critical step in the performer's transformation, as it is believed to facilitate the divine presence within them during the ritual³.

4. Echoes of Lore: Legends and Deities in Performance

4.1. Narratives and Mythological Themes

Thirayattam performances bring to life a rich array of stories, encompassing mythological deities, local deities, and ancestral figures^{5, 7}. These narratives are extensively detailed within specific 'totams', which are distinct scenes or segments of the performance⁷. The accompanying songs and chants serve to narrate these legends and myths, forming a crucial part of the storytelling tradition⁴.

4.2. Prominent Deities and Heroes in the Pantheon

Central to the 'Kolams' are figures such as Lord Shiva and various manifestations of Goddess Devi, including Bhagavati, Neelabhattari, Nagakaali, and Theechamundi^{1, 5, 9}. The origin of 'Thiratheyyams', a related art form, is specifically linked to the Shiva-Bhadrakali cult¹⁰. Other significant male deities and heroes depicted include Karumakan, Kariyathan, Karivilly, Thalashilavan, Kulavan, Ghandakarnan, Mundian, Bhairavan, Kuttichathan, and Veerabhadran⁵. Enshrined deities such as Guru Moorthi and Panthappurath Panjali are also represented as 'Thirakolams'⁵.

6. Rituals and Reverence: The Performance Unfolds

6.1. Preparatory Rites and Offerings: Invoking the Divine Presence

The journey into a Thirayattam performance begins with a series of preparatory rites. The first ritual is 'Nirathinu Panam Kodukkuka', which involves providing funds to acquire the necessary makeup for the performers³. Following this, the performance area is meticulously cleaned and adorned, and designated green rooms are prepared where performers can rest and prepare themselves³. Performers and musicians arrive early on the festival day to commence these precursory activities³.

Key rituals include 'Irunnu Purappadu' and 'Kulichu Purappadu', during which performers receive blessings from elders and accept betel leaves ('Vettila') from the elder of the 'Tharavadu' (lineage house)³. Upon reaching the 'Thira' where the art is to be performed, the performers enter the green room and conduct the 'Aniyara Puja', a worship ritual dedicated to the gods and their teachers, performed by lighting a lamp³. This specific ritual is believed to invite the divine presence into the performer, initiating their spiritual transformation³. Elaborate facial makeup ('Mughamezhuthu') and body makeup are then applied, utilizing natural ingredients such as raw rice, natural ink, and turmeric³. The performer's physical transformation into the deity is completed with the addition of long hair, anklets, garlands, and other specific accessories, each contributing to the divine persona³. The detailed sequence of preparatory rituals—from material preparations like 'Nirathinu Panam Kodukkuka' to spiritual acts like 'Aniyara Puja' and receiving blessings—culminating in the physical and spiritual transformation of the performer, indicates a structured, step-by-step process designed to facilitate the performer's spiritual metamorphosis. This journey begins with practical preparations, moves through spiritual purification and seeking blessings from elders (connecting to lineage and community), and culminates in the physical embodiment of the deity through makeup and costume. This suggests that the performance is not just an act but a sacred journey for the performer, meticulously choreographed to invite and manifest divine presence, ensuring the ritual's authenticity and power.

6.2. Divine Manifestation: Trance and Symbolic Acts

Once fully adorned, the Thirayattam performer, embodying the 'Kolam' of the deity, enters a profound trance state, exhibiting forceful mannerisms and gestures that are believed to be direct manifestations of the divine presence^{3, 4, 6, 7}. The performance incorporates numerous rituals that bear resemblances to ancient tribal practices³.

'Theekkanal Nadatham', or walking through fire, is one such ritual, performed to visibly demonstrate the presence of divinity within the performer to the assembled devotees³. Another significant ritual is 'Kuruthi', which historically involved animal or human sacrifice to appease gods. In contemporary Thirayattam, this ritual is symbolically enacted using red-colored water instead of blood, serving as an imitation of primitive sacrifices that were prevalent in Dravidian culture for centuries³. This ritual was traditionally performed to appease the Earth Goddess after each harvest³. The ritual of 'Kuruthi' and its explicit connection to primitive Dravidian practices to appease the Earth Goddess after harvest reveals a deep historical continuity and a sophisticated process of cultural adaptation. The explicit statement that Thirayattam is an "imitation of these primitive sacrifices" is a critical understanding. It demonstrates how ancient, potentially violent, rituals have been symbolically transformed over centuries. This transformation reflects evolving societal norms and ethical considerations while retaining the core spiritual intent of appeasement and offering. This adaptation allows the tradition to persist by making it acceptable to contemporary sensibilities, yet it still carries the weight and memory of its ancient origins, connecting modern practitioners to a deep ancestral past and the concept of appeasing nature's forces for prosperity.

6.3. Dynamic Movements: Chutukali and Martial Influences

'Chutukali' is a dynamic, rhythmic dance performed by a dancer who carries a lighted torch in both hands^{5, 7}. This dance form integrates martial practices alongside its movements, showcasing physical prowess and agility^{4, 5}. The entire performance is often illuminated by traditional torchlight, known as 'Choottu' (made from lighted dry coconut leaves)^{3, 5}, and accompanied by the percussive beats of the 'Chenda'^{3, 5}.

Table 2: Stages of Thirayattam Performance

7. Custodians of Tradition: Performing Communities and Social Dynamics

7.1. Traditional Performing Castes and Hereditary Learning

Historically, the privilege and responsibility of performing Thirayattam have been traditionally held by men from the 'Perumannan' and 'Vannan' communities^{5, 6, 7}. Over time, men from the 'Panan' and 'Cherumar' communities have also begun to participate in this art form^{5, 6, 7}. It is important to note that Thirayattam is exclusively performed by men^{5, 7}.

The skills required for performance are learned hereditarily, passed down through generations within these communities⁴. Training often takes place directly at the Thirayattam venue, where practices like 'Chootu Kali' help learners understand the intricate traditions of the 'Kaavu', its oracles, and the specific deities associated with the performances³.

7.2. Thirayattam as a Social Unifier and Platform for Justice

Thirayattam functions as a powerful unifying force within communities, bringing together individuals from diverse caste and class backgrounds to participate in the ritual³. This collective engagement fosters a strong sense of shared identity and community bonding³. It provides a unique opportunity for social interaction, collaboration, and celebration, thereby strengthening the social fabric of the communities involved³.

The art form has played a significant role in temporarily suspending traditional caste hierarchies and promoting social and cultural inclusivity³. Performers deliberately wear masks and costumes that conceal their individual social identities, challenging rigid caste divisions and emphasizing the universality of human experience under the divine presence^{3, 4}. Thirayattam serves as an expression of the collective self and identity for the oppressed and marginalized sections of society, who were its original custodians^{3, 5}. It functions as a platform to voice the collective grievances and aspirations of marginalized communities, advocating for social justice and equality^{3, 4}. A remarkable aspect of this ritual is that while performances are often patronized by upper-caste individuals, they are performed by lower-caste subjects. During the performance, when the performer is believed to be possessed by the divine, upper-caste devotees will bow before these lower-caste men, temporarily subverting the traditional caste hierarchy^{3, 4}. This temporary subversion of caste hierarchy, where upper-caste individuals bow before lower-caste performers embodying deities, is a profound social commentary embedded within the ritual. This act represents a powerful, albeit temporary, reversal of the established social order. It highlights the agency and voice conferred upon marginalized communities through their sacred role. The deliberate concealment of social identity through masks and costumes further reinforces this, suggesting that in the divine realm, earthly distinctions dissolve. This points to Thirayattam's function as a subtle yet potent mechanism for social critique and empowerment within a traditionally hierarchical society, providing a unique space for social justice advocacy.

7.3. Modern Adaptations and Preservation Efforts

With the gradual transition of the art form into more secular spaces, there have been instances where members from non-traditional communities, including the Muslim community (e.g., P. V. Sadique), have been trained to perform Thirayattam³. This adaptation reflects ongoing efforts by practitioners and academicians to preserve the art form for future generations³. The combination of hereditary learning of performance skills with the recent inclusion of members from non-traditional communities indicates a dynamic and adaptive approach to cultural preservation. Hereditary transmission ensures the authenticity and deep knowledge transfer within traditional communities, maintaining the lineage of the art. However, the explicit mention of training members from other communities suggests a strategic adaptation to ensure the art form's survival and relevance in changing social landscapes, potentially broadening its base of practitioners and patrons. This points to a tension between preserving strict tradition and adapting for continuity, demonstrating the art form's resilience and its capacity to evolve while retaining its core essence.

8. A Comparative Lens: Thirayattam and

Theyyam

8.1. Shared Foundations and Ritualistic Essence

Both Thirayattam and

Both art forms involve elaborate costumes, distinctive makeup (referred to as 'Kolam'), and rhythmic music that drives the performance^{1, 2, 5, 6, 7, 10, 16}. 'Thottam Pattu' plays a crucial role in both, sung just before the ritual to elaborate legends and to aid in the divine possession of the performer¹⁵. Percussion instruments such as Chenda and Thudi accompany these songs in both ritualistic forms¹⁵. Furthermore, both Thirayattam and

8.2. Distinctive Features and Regional Variations

Despite their shared ritualistic core, Thirayattam and

• Geographical Prevalence:
  • Thirayattam: Primarily found in the Southern Malabar region, specifically within the Kozhikode and Malappuram districts^{3, 4, 5, 6}.
  • Theyyam
  : Dominantly practiced in North Malabar, including districts such as Kasargod, Kannur, and certain areas of Wayanad and Calicut¹⁶. This clear geographical distinction, despite shared fundamental characteristics, suggests a regional specialization of ritualistic performing arts within Kerala's broader cultural landscape. If both forms share core tenets (divine possession, lower-caste performers, ritualistic songs, elaborate costumes), their distinct geographical concentrations imply a historical divergence or parallel evolution. Local nuances, specific deities, and community traditions likely led to unique expressions of a shared spiritual impulse. This indicates that they are not mere synonyms but distinct cultural identities shaped by their specific local contexts, reflecting the rich diversity within Kerala's ritual traditions.
• Nomenclature Nuance: While
• Theyyam
is occasionally referred to as 'Thirayattam' (meaning 'dance at thira – village') or 'Kalliyattam' (meaning 'dance for/of Kaali') in certain localities¹⁶, the current understanding distinguishes Thirayattam of Southern Malabar as a specific art form with its own unique customs and performance styles. This overlap in nomenclature could imply that "Thirayattam" is a broader, generic term for 'dance at thira/village' that applies to various ritual dances, or that there's a historical connection or evolution where they were once more closely linked. However, the explicit instruction to compare them as distinct entities, and the repeated assertion that "Customs, traditions and artistic exuberance make Thirayattam unique"^{4, 5} despite similarities, mandates a clear delineation. The focus here is on the specific "Thirayattam" of Southern Malabar, which possesses distinct features from the dominant "
• Theyyam
" of North Malabar. This distinction is crucial to avoid oversimplification and accurately represent the cultural landscape.
• Similarities to Other Art Forms:
  • Thirayattam shares commonalities with '
  • Mudiyettu
  of Central Kerala, '
  • Padayani
  ' in Travancore, and 'Kola' in Tulunadu^{4, 5, 7}.
  • It is explicitly stated to be distinct from '
  • Poothanum Thirayum
  ' of Valluvanad^{4, 5}. 'Poothan and Thira' is another Malabar art form that shares headgear similarities with
  • Theyyam
  , based on Lord Shiva's lieutenant 'Poothan' and Goddess Kali ('Thira')¹⁶.
• Unique Characteristics: Despite these similarities, the specific customs, traditions, and artistic exuberance inherent to Thirayattam render it unique^{4, 5}.
• Number and Types of Kolams:
• Theyyam
is notable for its extensive repertoire of over 400 'Theyyakollams', with more than 100 prominent ones, categorized into Bhagavathi Theyyams, Saiva Vaishnava Theyyams, and Manushika Theyyams¹⁶. Thirayattam, while featuring numerous 'Kolams', is specifically structured around three distinct forms representing the deity's life stages: Vellattam, Thira, and Chanthattam^{3, 5, 7}.
• Performing Communities (Theyyam Specific): While there is overlap in performing communities, Theyyam's 'tie castes' encompass a broader list, including Perumalayan, Panan, Anjutan, Munnutan, Kalanadis, Mavilan, Kopalan, Nalkitthaya, Thulumalayala Velan, and Pulayar, in addition to Vannan^Theyyam
from preliminary search)">18. This contrasts with Thirayattam's core traditional performers, primarily the Perumannan, Vannan, Panan, and Cherumar communities^{5, 6, 7}.

Table 3: Comparative Overview: Thirayattam vs.

Theyyam

9. Conclusion: Preserving a Living Heritage

9.1. Enduring Significance of Thirayattam

Thirayattam stands as a profound cultural, religious, and social phenomenon, deeply embedded in the identity of the Southern Malabar region of Kerala. Its ability to seamlessly blend ancient Dravidian traditions with contemporary social dynamics, fostering community unity, spiritual enlightenment, and even social justice, underscores its enduring relevance and importance. The art form is not merely a historical relic but a living, evolving tradition that continues to shape the cultural fabric of its communities.

9.2. Resilience and Adaptation for Future Generations

The survival of Thirayattam through centuries, its continued practice in traditional 'Kaavukal' and temples, and its adaptive capacity, as seen in the inclusion of new communities in performance, demonstrate its remarkable resilience in the face of changing times. These adaptations are crucial for ensuring its continuity and relevance, allowing it to navigate modern societal shifts while retaining its core spiritual and cultural essence. The willingness of practitioners and scholars to engage in preservation efforts, even by broadening the participation base, highlights a commitment to the art form's future.

9.3. The Imperative of Preservation

As a living heritage, Thirayattam offers invaluable insights into Kerala's rich history, spiritual beliefs, social evolution, and artistic traditions. Its meticulous preservation is not merely an academic exercise but a vital cultural imperative for maintaining the diversity of human expression and understanding the intricate, symbiotic relationship between art, ritual, and community. The ongoing efforts of practitioners and academicians in this regard are paramount to ensure that this unique cultural treasure continues to thrive and inspire future generations.

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