CHAPTER II

KELIPATRAM- A RITUAL TRADITION OF NORTH MALABAR

Kelipatram had been a popular and colorful ritual art in North Malabar, since the second half of the last century. This was performed by the Yogi Gurukkals ¹, is a commemorate  the beggary of Lord Siva. The silent Kelipatra would carrying a skull shaped plate for begging the right hand and in left he take a brass bell. Peoples waiting in the concerned day for the sacred blessings was a common seen in these days. The ritual beggary denotes the suppression of the ego deep rooted within him. And hence it was considered as the one of the best way to attain moksha or salvation. Beggary denotes the complete surrender of the material life and we have seen a lot of examples to this, for instance, the story of Lord Budha and Mahavira ². Their followers were known in the name of Bhikshus. But in modern times these divine rituals were vanished in the vast sky of Kerala folk culture.

2.1 AHARYABHINAYA AND PRE- RITUALS OF KELIPATRAM

The Kelipatram costumes as a shivayogi they used a crown with the would of kumizh or murikku normally known as soft woods. Where chandrakala or crescent, Godess Ganga and serpant or the sacred snakes were carved beautifully and deccorataed with  flowers of thumpa, chempakam, chekki and pichakam ³. They will have a skull shaped bowl and a cane in right hand and a brass bell in left as mentioned early. The red cloth, the red upaveetha in shoulders and the body is smeared with ash would made them a real Sivarupa and the devotees had the feelings of sivadarsana as seeing the kelipatra. One going to perform kelipatra would start dressing from near a siva temple in the village. First step is bathing the temple pond before sunrise. As per the puranas the river Ganga originating from the head of Lord Siva and hence the river water was considered to heavenly and sacred. So the artist would purify the water with rare sacred hymns. Then performs suryanamaskara and smears the whole body with ash. This ceremony is called Gangaye unarthal” or araising Ganga. This is the custom that, before the sunrise the kelipatra reache at least seven houses nearby the temples. They keep silence throughout the ritual. In house the kelipatra take three pradakshinas in the court yard and then receiving bhikha from the house owner in his bowl. After this he gave a little portion of rice and sacred ash to the devotee and gave his blessings to them. Then he returned near the pond and through some grains to the fishes in the pond. It resembles the ritual  which have performed in a Bhairavan theyyam. The name kelipatram was derived from a Malayalam word which means ‘kelvi’ means hearing.

2.2 THE MYTH BEHIND THIS RITUAL ART

The myth Behind the origin of Kelipatra is this; Once there was a despute arises among the Trimurtis ( the three gods, Brahma, Vishnu and Siva ). The question is that once on a vaikunda yekadesi day (auspicious day of Vishnu), goddess Saraswathi reminded Brahma to meet lord Vishnu,his father to seek blessings. Brahma the lord of creation out of ego refused to do so. Saraswathi puzzled by his behavior still pleaded him to go to the abode of Vishnu. Brahma felt he was the most powerful of the three gods and so told Saraswaathy that while naming the Trimurtis his name is uttered first.similarly his function of creation tops the three. There after the other two lords should meet him to get his blessings. Saraswathy warned him that his ego will lead to serious consequences. Not hearing to her advice the four headed Brahmas at on the lotus seat with arrogance. Lord siva and Vishnu knew that what happening. They believed tha an egoof a creator will cause dire consequences and therefore should be timely checked to save the universe. Both lords decide to visit Brahma with a plan in mind. they meet at Brahma’s residence.seeing both siva and Vishnu coming their home, Saraswathy rushes to greet them. Brahma still remained seated, instead of getting up and offering the guest hospitality. Saraswathy with a folded hands as a mark of respect and devotion remarked that she and Brahma were planning to visit Vishnu on the auspicious day. Vishnu replied that they had come to seek Brahma’s help to settle a despute. Hearing this Brahma bloated up with pride and laughingly told Saraswathy that even the two lords need him to resolve problems. Siva and Vishnu looked at eachother in a secrecy smile and thought it’s the right time to bring up the issue that they have planned. Siva told that he felt lord Vishnu to be the supreme power and Lord Vishnu denied that Siva is more powerful than him. Thus who was the strongest of the two was the matter of dispute. Both declared the other was the most powerful than himself. When they asked Brahmas opinion about the supreme power he laughed out of pride and declaredthat indeed he was the most powerful and superiorto Siva and Vishnu. Siva challenged that no one had ever seen his crown and if there is one who could then he would indeed be the most powerful one in the universe. Brahma laughed out of ego and challenge that why no one have attempted such an easy task up to now. And said that he will see Siva’s crown by raising himself from the ground. He challenged Vishnu on this. And lord Vishnu said that since he feels he is always one step lower than Siva therefore he will try to seek sivas feet for blessing. As the context started, Siva kept increasing in length as Brahma arose from the ground. Vishnu took the form of a boar and started digging the ground to see the feet of Siva. Meanwhile brahma lifted himself up to seek siva’s crown. as he decended up and up he began to see it was very far off. Suddenly he felt that the journey to reach lord Sivas crown is very far indeed. But not giving up he travelled far and far until he came across an object coming from the top. It was a flower in form of a women and he asked who she was and were she was from. Declared that she was “kaithapoo”the flower that decorates sivas crown, as she had fell from the crown she is travelling towards the earth.Brahma tired of his long travel in search of the crown asked how far was sivas crown. She warned Brahma that he can never see the crown because the distance is infinite. She also calculated the time Brahma took from earth to reach that meeting point as thousand Brahmavarshas. One Brahmavarsha is the life span of a human being taken as hundred years and she had already crossed fifty thousand rahmavarashas from the crown of lord siva. Brahma unwilling to accept the defeat pleaded her to commit a lie that he had seen sivas crown and travelled together with her to earth. After much  persuavasion kaithapoo agreed. Therefore Brahma went back with kaithapoo to seek his victory word with Vishnu. Vishnu took a form of a boar, dug deep in the soil and successfully sought sivas feet and touched it out of veneration.siva was moved by the act of Vishnu and immedietly bowed down and stretched his hands to lift lord Vishnu. Vishnu then looked up and got the vision of lord Sivas crown. They hugged in love and respect. After some time, Brahma reached with kaithapoo and told Siva and Vishnu that he saw the crown. And Kaithapoo agreed as per Brahma’s instruction. Siva knowing the truth cursed Brahma that due to this ego, arrogance, and also for lying, he will never be woreshiped on earth by human beings. He also cursed Kaithapoo   for being an  accomplish in that lie, that she will there after lie with snakes. And that kaithapoo flowers will not be used in poojas or any other functions. He then informed Brahma about Vishnus deed of touching the feet to see the crown. He further advised Brahma that there is no need to   go far, for whoever touches his feet, he will automatically bent down to them. He said in life, one must always be humple in that way one don’t need to seek God long but God himself will come to them.

When heard the lie told by Brahma, Lord Siva angered  and  Beheaded Lord Brahma and went in search of alms as a way of penance to redeem his sins.  This was the myth behind the emergence of Kapaleswara form of Lord Siva.

2.3 YOGI COMMUNITY OF KERALA

Yogis of north malabar are variably called as choyis, jogi, or chothees in different places. And now they reside an area between Kozhkode and Kasargod. In the beginning they were priests, teachers and practiced ritualistic prayers. It is believed that they were called yogis because they were people; traditionally practicing  the art of yoga. Peoples migrated from outer Kerala were commonly called as Gurikkal or kurikkal is the reason for the cast name. it is also heared that the kurikkal position was awarded from the Kadri temple at the dakshina kannada of Karnataka state and the ceremony was known as kurikal mangalam (an auspicious ceremony of one transferred as a Gurikkal ). Such kurikkals of high priest hood were practiced Kelipatra. Their  tharavadu (collective name for joined family ) are called as ‘matas’ ( the house of Brahmins ), Vellikoth, puliyangottu, kanhangad, yogiswra mata, valiyamata, padinjarematam, koroth, vannadi, nuchchil, parayangathu, pallipiriyathu, chekyattu, mepayil, kokkeri, chemberi, chingapuram, mezhur and allanchery etc some among the thirty matas in north Malabar. They were the traditional woreshipers of Bhairava and various mother Godess. Here is the story related to the origin of yogicast as mentioned early Lord Siva wandered tweleve years with carrying the skull in his hand. After all lord Vishnu cut his little finger put it in the skull and thus the skull got filled. Fourty eight yogeeswaras were  emerged from the skull.another tradition is that the yogis come in Kerala from Aryanadu with Annapoorneswary in her woodenship called’ Marakkalm’. May be “choyi ambalam” called pura is situated near the famous Annapoorneswari temple of Cherukunnu, at Kannur district. There are four streams among Choyi cast called keerillaswami, Vayanosami, katoswami, and Kathiro swami’’.

CHAPTER III

SAIVA CONCEPT IN BHAIRAVAN THEYYAM

 3.1 BHAIRAVAN THEYYAM ¹

Bhairavan theyyam is based on the age old legend of Lord Siva who had beheaded Lord Brahma and went in search of alms as a way of penance to redeem his sins. It was also conceived that the begging was mainly to allwiate the sins caused due to the klling of King Kadriyath’s nephew who had been thrown to the altar of fire by Bhairavan for making errors in chanting mantras.Bhairavan theyyam is the prime deity of  Pananmar’. Deity with  “Shaivism cult”. Artists from  Malayan community were performing this Theyyam. The costumes   used for this Theyyam were stunning  and  the performance during nocturnal with  the backdrop of lighted torch creates eminent vibes to the spectators. 

 3.2 RITUALS IN PERFORMANCE

Bhhairavan theyyam is presented before the devotees as a divine glory of Lord Siva. As per the traditions inscribed, the theyyam has to present “sixteen kalasas” ². they are Gopalanrutham, Lakshmikalasam, Akshtakalasam, Ganapathikkottu etc. in the concept of ‘Shodasakaladhara’, sixteen mudras including manmala manivatta, kapalasoolam, are separately held. The most important ceremony in theyyatom is  a ‘homam’( sacred offering ). This ceremony is conducted by the kolam himself. This ritual makes us remember the homam conducted by the King of Kadriyathu as a part of rural or folk mythology. In some areas instead of giving sacrifice after homam, Bhairavan moves around for begging by holding an arecanut palm leaf ( paala ) and a cane stick as he receives rice as alms. The same ritual is witnessed among Yogi casts whose Kelipatra does the same thing wandering around for alms. Both Kelipatram and Bhairavan derives its origin from the concept of Siva. It is to be noted that the symbol of killing or samhara a rooster is killing by steping on it had and thrown away. This ritual is performed after Bhairavan breaks his sacred thread he wears. This ceremony is known as “Brahmam parikkuka”. Inorder to purify his inpure hand of  killing,. paravathiri is burned and poured in to his inner palm.

           

“ panthirukaalam bhikshayettitum azhakashassum dhahichu

               poyamoolam   Vyazhavattametteetum niranjathillallo”.³

It is assumed that the intension of showing this ritual is too specify the fact that it has been a futile attempt to go around for begging for twelve years. After all we could not fill it up as the entire arms has been consumed by Agni ( fire ). At the end of the ritual the begging bowl is offered on the peetam placed in the Northen side corresponding the particular allusion that it is ploting a way in the holly Kasi theertha. Kelipatarm by Yogis are also performed the same ritual during its performance to take a part of rice from their begging bowl and dump it on the water in the pool along enliving. The concept that water in the Ganges have been invocated to the pool purifying its waters.

3.5   THOTTAM SONGS OF BHAIRAVAN THEYYAM

Thottam Pattu⁶   is a vocal ballad sung just before performing the Theyyam ritual. These are played in Theyyam temples before the commencement of Theyyam Art. Thottam Pattu is invocative. This is a mythological belief that by performing this ritual, the performer will be possessed by divine spirits. Thottam Pattu, the ritualistic songs which accompany the performance elaborate the legends related to the deities. Percussions such as Chenda and Thudi accompany the songs. The ritualistic songs  appropriate for Theyyam is known as “Thottam Pattukal”. They describe the origin of the deities, their beauty, and grandeur, their journey, power and boldness. Thottam Pattu or Vaytharu are performed for each Theyyam. Thottam Pattu is nothing but explaining the story in the form of a song which includes the origin, reason of originating, duties to be performed, ways it went through and at last the farewell.
A distinguishing component of Theyyam performance is that of Thottam. These are songs through which the deities are invoked. With few exceptions, Thottam invoke Goddesses Kali and Parvathi and the sons of Lord Siva. A Thottam eulogizes the deity and narrate legends for about five hours at a stretch.Towards the end the deity is believed to have entered the body of the Thottam singer. Thottam Pattukal are mainly to praise the deities and contain myth or legend of deities. They describe the origin of the deities their beauty and grandeur, their journey, power andbrave. Thottam songs help us to understand a lot about the social, cultural and linguistic characters of North Kerala. They expose the cruel and bestial treatment of the old rulers in Malabar. Some describes the dictatorship and evils of misrule. Some questions the futility of perverted casteism and untouchability. “Pottan Theyyam⁷” is a good example. The dialogue between Sri Sankara and Siva, disguised as Chandala (Pottan), is famous and noteworthy.
Thottam Songs generate pretty belief and divine knowledge among the common folk. In some songs the philosophy is that God is the power found in all the phenomena of the world. The self dedication of the ardent devotee can be found in some songs.

 
Some songs have much touching effect. Some give elaborate description of the delightful sight of the Theyyam. Some Thottam songs give picturesque description of war and hunting. Many are heroic worship. Another feature is the representation of the myth with a spiritual tint.
Tamil writings and Sangam (BC 500- AD 500) epoch and historical evidences indicate that a form like today’s Theyyam emerged about 1500 years ago, and passed through several stages of evolution. A key landmark in this process was the emergence of Malayalam as a literary language. Thottam Songs, lauding the divinities relevant to Theyyam came to be composed only after Malayalam became a mature form of literary expression. These songs were transmitted orally from generation to generation, though their authorship remain unknown.
Bhairavan theyyam is the incarnation of Lord Paramasiva. Accending the Legend Siva compelled to be a Bhairava and wandered as a begger with the skull of Brahma deva, which he cutout. As per myth lord siva has to begg for twelve years. This form of Siva is known as Bhairava. Theyyam and another folk art named Kelipatra has also the same myth. The form of this Theyyam is performed by the Malaya communities. As this is a recital and it has to sing “thottampattu” (prayer song to receive the God). The word thottam stands for creation. In thottam song it has three or more stages as to recite. They are ‘Varavili’ Anchadi, Sthuthi, Polichupattu and Thottam.

VARAVILI ⁸

 Prayer song to come the particular God. It is an invocatory item. Traditionally The Kolakkaran sung the song with some body movements and playing with the Chenda. Bhairava belongs to one among the five main deities ( panchamoorthies ). His wore shipping mantras is  as follows:

            “Ohm maheswarabhairava, katiyabairava, kalabhairava, unmathabhairava

             Nee kodutha peyum bhranthum munnitta mahavyadhiyum ozhichu

             Ningalum ningale kadriyathu mantrasalayil kudikolka en guruvinane…”

“Oh come, come the almighty, God Eswarabhairava and please sit in this divine place to remove our obstacles, madness and poverty. The real Kailasanath, who filled the world with Nice miracles and prowce Everywhere in Arunamalai.⁹”

THOTTAM SONG

The meaning of Bhairavan thottam reveals its history, and the story of kapaleeswara in this song.

            “Oh who could tell your tales the serpant Ananthan with thousand

            Tounges  Can’t recite your history, Brahma, Vishnu, Maheswara,

            can’t  recite your story, yet I am going to try that. Indra Chandra

            Varuna Vayu and all devas were praising to thee divine thapasas and

            Yaksha kinnaras were saluting to thee. As a mark of rependance

            You hold the skull of Brahma in one hand and in other ringing bell

            And chooral stick and wandered house to house for alms for twelve years

            Oh Eswarabhairava your decorated figure is filling my mind

            Hanging ankle bells in both legs and gold bangles……………….

            Thirumarmalai, thiruchittambalam, Ponnambalam, Govindappalli

            Again in the temple of King Kathiriyathu.Oh  Eswarabairava…….

            Please come and dance infront of your adobe…….Oh Maheswara.

ANCHADI  ( FIVE BEAT MEASURE ).  

Anchadi is also a divine prayer in a rhythamic style. We have seen some kind of Tala patterns here. Five times drumbeating is essential to this song. The song goes like this;

            “Hearing the lie of Brahma, whose eyes were reddened and trumbelled

            With angry and cut out the head of Brahma Oh Eswarabhairava……..

            You disguise as a begger and wantered for alms for twelve years ……

            You taught every chrime has its own punishment even though he is great

            Oh God come and show me the path of truth……..

STHUTHI ( Praising song): narration of the mighty and miracles deeds of the God.

            “Adorning the skit of moon on the head, serpent in the neck and

              Dressed with tiger skin around the waist, Trident in hand with

             Ashes all over body, You my God, Great bhairava, fairy Bhairava

             Come to this shrine from kaalakkat kattumadam, kambrat   pathillam

             Parameswaram, kandamangalam, poonthottam, natuvam, thoduvam

             Meppadu, keeppadu, chattiyur, vayathur, chalilkotam ,…………..

             Sree Eswarabhairava, please come and hear my prayer dance hear

             At your graceful deeds…………………..Oh Kalabhairava……….

             Silver eye and red dress with Omkara crown on head  ..…………..

             Oh Eswarabhairava, come and pour your grace to us………………”

Bhairavan theyyam mainly sings the ancient  myth in connection with the king of kadriyath.

            “long live,  long live,  the Maheswara Bhairavare rises in the east and sets in the west

for God himself don’t make a mistake in the mantras made it made

the mistakes Kadiravare angry srive Bhairavar become by holding the handss

of the son  of the king of the kadriyathu is thrown in to the altar of fire.”

 3.6 AHARYABHINAYA IN BHAIRAVAN THEYYAM

Bhairavan theyyam after it is ready for its performance the deity has to go for alms at least in five houses. Then only only he moves to the sanctum. The speciality of the Bhairavn theyyam is the covering of the artificial eye (poykannu ). The theyyam also wears a thalapali on his head just like other theyyams posess great important. On placing the thalappali on the theyyams head it is believed that all gurus (mentos ) have remembered and honoured. Alikkapattam is the next to be bound around the forehead. This is an ornament bond that beautified with ringing bells. Just above the alikkapatam Ohmkaramudi is placed. Infact ohmkaramudi is the particular feature which is found only in Bhairavan theyyaam. This mudi is prepared from murikku (a light wood ). In some areas we can see Bhairavan theyyam wears a mostauche and a beared. This is mainly because the theyyam represent a Sivayogi. The performer wears a cloth with six inches wide around his waist. In arachamayam kannivalayam ( the small bells fixed on a thread hanging around waist ). Velumban, chenduvalayam, odyanam are also included in waist ornaments. Kaikootu, vala (bangls), choodakam, kaipadam, are tied around the arms. Chandrakala ponkuri are found in theyyakolam that originated from Saiva incarnations. Mukhathezhuthu or facial makeup is known as theppum kuriyum. Chayilayam and manayola are used as colours. Bhairavan’s kannezhuthu ( beautification of eyes ) is known as the Vattakkannu. Pattum patakam is also use along with chilambu ( anklets ) on the feet.

The traditional  theatre is an actor-based theatre and the actor is primarily a performer well versed in all the arts of the theatre — acting, mime, dance, recitation, music and acrobatics The actor stands on a bare stage disengaged from any kind of decor, creating the scenic illusion with his own dynamic presence He keeps all the time intensely busy demonstrating skill in various arts, switching over from one art to another with greatest ease and facility In "Theyyam" and "Poorakkali." the performance is set to a heightened pitch and the actors all the time move about in intensely dramatic gait to the accompaniment of drum music, even their sitting and standing   poses arc highly theatrical and eloquent Intermittently, they burst into song and |om the chorus and when the chorus sings their dialogues they dance in a circle with great gusto.

Refference:

1.      C 3, page 18, a theyyakolam performed in North Kerala, enacted the story of Siva yogi. This theyyam is closely associated with the myth of Kelipatram, Poorakkali, and Mathavilasmkuthu.

2.      Ibid: Page 18, ashtakalasams in theyyam performance

3.      Ibid: page 19, the book ‘titled Theyyathile samuhyavalkaranavum samayeekaranavum by Dr Geetha P Koramangalam, chapter 1, page no- 50.

4.      Page 19, Brahmahathya.

5.      Page 22, A backward community in Kerala

6.      Page 23, the invocatory songs in atheyyam performance. It is related to the history and origin of that  particular theyyam. Thottam and Vellatom are two preliminary rituals in a theyyam performance.

7.      Page 23, the theyyam related to the myth about Sree Sankaracharya, a Hindu philosopher. The heroic character in this theyyam was  Alamkaran, who belonged in a Pulaya community well versed in all branches of knowledge.

8.      Page 24, the prayer song in a thottam, traditionally this was performed by the kolakkaran with some body movements and playing a drum called Chenda.

9.      CHAPTER V

 YOGI CONCEPT IN POORAKKALI

 5.1 THE MYTH OF POORAKKALI

The myth of Poorakkali goes like this. When Lord Krishna was playfully engaged with ‘gopikas’ (the celestial maidens),  heard ‘Poora’ singing in praise of Lord Krishna in heaven. Krishna being pleased with her devotion, brings her to Brindavan and visualised her as Durga and asked the other ‘gopikas: to follow her. This is later known as ‘Poorakkali’. Yet another version has it that after the demise of Kama, the whole world appealed to Lord Vishnu to reincarnate Kama and according to his advice eighteen ‘kanyakas’ (celestial beauties) were supposed to sing and dance in eighteen ‘nirams’ (ragams and talams). Among them Ramba, Urvasi, Menaka, Arundhathi, Thilothama, Chitralekha and Ratnavi danced to ‘poovali’, ‘poornahari’, ‘kshetrahari’, ‘vanahari’, ‘kanakahari’, ‘madhyamahari’ and ‘ahari’ ragas ‘sampoorna sruthi’ from heaven; Ahalya, Draupathi, Seetha, Tara, Mandodari danced from heaven in ‘Sankara varni’, ‘Saindhavi’, ‘Bhoodanandi’, ‘Manjari’ and ‘Bhoothaleela’ ragas comprised in ‘aputa sruthi’. While Bhoomidevi, Gangadevi, Vanidevi, Ratidevi, Sreedevi and Parvathidevi danced to the tune of ‘manjari’, malahari’, ‘margini’, ‘salini’, ‘sareeravi’ and ‘malavika’ ragas in ‘shaputa sruthi’ on earth which came to be known as Poorakkali. This is in other words called Nrithyaradhana, that is, worship by dance. Another story unveils the domination of Tiya community on Poorakkali, that during Parasurama’s foreyes into Kerala he had left his bow near Trikaripur and visited Payyannur Perumal, the patent deity of the place. On his return he could not retrieve the bow which revealed the influence of Devi and subsequently Parasurama summoned the local ‘Saundikothaman’ and directed him to follow many rituals including Poorakkali. Later the place where the bow was left by Parasurama came to be known as ‘Sreeramavilayam Kazhakam’, from there the ritual Poorakkali spread to all Tiya Kalakams and shrines. Thus the Tiya community acquired Poorakkali. Another version is that Kamadeva after his reincarnation as Pradyumnan, arrives at Dwaraka with his wife Rati where Lord Krishna created a group of people with his ‘maya’ (illusion) and called them as ‘Ayar’ and Mayar’ who showed the couple a dance form by both male and female folk called ‘Poorakkali’ and however Lord Krishna was not happy with women performing it. Hence this has become an art form exclusively performed by males. Though according to myth this art form is practised by the male folk because of the suggestion of Lord Krishna who was not pleased by women folk dancing. This is also considered to be an opportunity now a days for the young men to impress the women folk who throng the performing places of Poorakkali. Poorakkali is also considered to be the developed form of ‘Rasakreeda’ performed by Lord Krishna with his 16,008 wives at Brindavan. From Brindavan the cowherds who are considered to be Lord Krishna’s close associates took it to several parts of India. According to the version of Maniyani community (Ayar and Mayar) who are also believed to be the successors of Lord Krishna claimed to be the sole recipients of this art form, that after the demise of Lord Krishna the Yadava community got disintegrated and some important Yadava rulers settled down in different parts of Kerala. According to the stone inscriptions of Thiruvithancode and Kandiyoor, the predecessors of Travancore are considered to be the ‘Ayar’ kingdom. The Paliyam Stone inscriptions of Vikramadithya Varagunan also proves the existence of a Yadava dynasty. The ‘Mooshika’ dynasty of Ezhimala is also considered to be the Yadava dynasty. Subsequently the dynasty is known as ‘Kolthunadu’. In Kolathunadu, Poorakkali was performed by the Yadava at Trichambaram Srikrishna Tempe of Taliparamba in Kannur district as its epicentre. After a rift with the ruler a Yadava group reached near Trikaripur and installed the deity and celebrated Pooram with Poorakkali. This place is called ‘Kannamangalam Kalakam’ (Kannoth). This is considered as the first worshipping centre of Yadava community (Adi Kalakam). From there Poorakkali spread to all other places. It is also believed that Lord Siva and Parvathi had Poorakkali is a traditional dance ritual performed by men during the nine day Pooram festival in Bhagavathy temples across Northern Kerala (formerly known as Kolathunadu). The Pooram festival begins with the Karthika asterism and concludes with the pooram asterism of the month of Meenam according to the Malayalam calendar (the sun sign Pisces according to the Julian Calendar) to honour Kamadeva (the god of love). Payyanur, Vengara, and Trikaripur are a few places in Kerala famous for this art form. The Panikkars are well known names in the world of Poorakkali and have contributed a lot to the survival and expansion of this art form. IN the northern part of Kerala, a rare art form exists which combines ritual, dance and song with discussions on philosophy and the arts engaged in by the so-called subaltern classes over generations. This is called Poorakkali. What distinguishes it is the combined devotional, visual and intellectual activity in the form of a performing tradition of the socially disadvantaged Tiyya, Asari, Maniyani, and Salia communities. The marginalisation of these communities is the reason why it remains largely unknown. An exposure to Poorakkali would help understand not only this unique form of cultural expression but also subvert certain prevailing notions on the "ownership" of India's scholastic traditions. As in many other community-based performances of Kerala, there are no definite clues regarding the origin of Poorakkali. It belongs to the oral tradition and consists of devotional and histrionic elements like ritual, song and dance with a debate based on classical Sanskrit sources. As a ritualistic performance, its roots perhaps go back to an ancient past when learning was not compartmentalised into separate and independently functioning systems. The integration of the devotional, intellectual and physical aspects of human life gets reflected in Poorakkali. Performed as a week-long activity according to the local Malayalam calendar during the months of March-April , it is a spring festival celebrating the spirit of love through fertility cults, an expression of mirth through dance and battle of wits through a test. It is celebrated as a grand festival held in local temples dedicated to the goddess, with its participants being ordinary villagers who belong to the so-called 'lower' strata of society. This art form integrates rituals associated with the worship of the god of love, dances dedicated to the several deities worshipped in the region and an academic contest on issues ranging from logic, grammar, dramaturgy and philosophy, conducted by locally trained "scholars". What is unique is that the academic contest reverts the notion that intellectual activity is the prerogative of the elite . Here, the participants belong to the rural communities, some not even having the advantage of a systematic curricular study, but have acquired knowledge of classical sources through the oral tradition of learning . The dance itself is performed by a troop of young men decked in lion costumes and is performed around a huge multitiered lit lamp also known as a "nilavilukku", and involves some pretty masculine movements and acrobatic martial art steps. There are no singers or musicians accompanying the dance and the dancers themselves keep rhythm by singing and clapping and synchronised foot thumping movements. The dancers themselves usually observe a month of abstinence and undergo strenuous practice before the performance. Most of the songs sung are hymns from The Ramayana or The Bhagavata. Poorakkali has a three-tier structure. The first part , Kamane Veykal, is a journey from ritual to romance: the ritual is dedicated to Kama, the god of love. The mythological base of the festival is linked to the story of the burning of Kama by Siva's wrath and Rati's attempts to revive her late husband. Symbolically, it relates to the awakening of the fire of love, the sustenance of the world, in the human heart and passing it on to the next generation through the power of ritual. Girls barely into puberty perform this ritual. At the conclusion of the ritual on the seventh day, Kama is "released", with the request to "come back early next year". One of the songs goes like this:

            "If you are going, start early, at the proper time, Kama!

            When you come back, reach early, at the proper time, Kama!

            Come back in time for the festival of Kunjangalam, Kama!"¹

The second part, Poorakkali, consisting of songs and dances is an expression of joy at the reincarnation of Kama. Though originally performed by women as part of the worship of Kama, men took to it, making it more vigorous and spirited. The dances have martial steps, complicated choreographic patterns and varying tempos. The performers, from six years to seventy are villagers belonging to the local communities. The songs invoke deities such as Ganapati, Saraswati, and Krishna, followed by Navavandana² and obeisance to the elemental forces. The most important is the series of dances called "Pooramala" performed in 18"niram-s" (modes). All these have been integrated into the structure of Poorakkali at different points of time by different people. Maruttukali, literally, "contest-play", constitutes the third part of the festival. It is a debate on academic issues between representatives of two 'kara-s' (localised regions of the same village), held inside the temple complex, mediated by a third person and held in the presence of the villagers. For each group, there is a leader, called Panicker, a title bestowed by the community for his erudition and debating skill. At the start of the contest,a participant asks complicated questions on varied topics. The person who answers, elaborates his point by citing textual sources to convince the opposite party. The opponent can try to disprove the ideas and this leads to a powerful battle of wits . The entire community participates cheering the participants. The debate touches on various topics. Both parties cite several theories (sastras), and the discourses are interspersed with Poorakkali dances and dramatic episodes like Sivakkoothu, Saktikkoothu and Yoginatakam. Though there is a general structure pertaining to the theme and topic of the context, the range of discussion is unlimited, and depends totally on the erudition and presence of mind of the contestant . At the end of the contest, one person is declared by the temple to have done better and the region which he represents has "won" the game. This marks the culmination of the festival and with a last ritual bath, the festival closes for the year. Preparation for the contest by enriching and expanding the knowledge base continues round the year, with each Panicker having his own corpus of texts and manuscripts in his personal collection. While Poorakkali exists in many temples, Maruttukali is limited to very few temples today. The highly advanced level of Sanskrit scholarship and theoretical debate happening in the temples as part of festival rituals is an astounding experience. In fact, Poorakkali has to be viewed not merly from the perspective of ritual, and dance but in its social and historical context.

It is perhaps yet another form of resistance to the appropriation of the tools of learning and cultural domination by the privileged classes of society. Sanskrit learning is not the exclusive property of the elite alone, but is part of a common inheritance, which, can be accessed on a wide scale . Arts like Poorakkali reveal that religion, art and learning are not simply matters of individual experience, skill and creative activity, but are processes of sharing of common meanings and common purposes, They are also means by which society endorses common values and controls its environment.  5.2 THE DRESS OF DANCERS The sartorial style of  performers belonging to different communities are conspicuously distinct. Tiyas wear white dhothies above their knees over which a red silk is worn in a particular style known as ‘chellanum-churayum’ over which ‘urumal’ (black towel with border lines) is tied in a triangular format. Some other communities who also wear ‘chellanur-churayum’ may have brown silk invariably with designs. Poorakkali begins with salutation in ‘Kalari’ style to the deity after which the ‘stuthi’ (invocation song) is sung. This vigourous dance form go round the lamp with clapping of hands in a rhythmic manner.Folk plays can be broadly divided into four classes – ritual, religius, martial and recreational. Poorakkali is a ritual play performed in precincts of shrines and temples during the ‘Pooram’ days for propitiating the gods. Many of t 5.2 he folk plays and dances of the land have the great virtue of maintaining ‘their original association with singing, the same performer doing both, resulting in a unity of expression which enhanced the artistic value of the performance, the singing and dancing forming one indivisible art, resulting in a perfect concord of bodily movements with musical accompaniment. The measures and steps correspond to the words of song, as in the exclusive masculine dance of Poorakkali or in the exclusively feminine dance of ‘Thiruvathirakkali’. Poorakkali is considered to be a form of ‘thandava nritham3 as the performers are only male folk. Players under a local shrine start practising will in advance in a common place during night. It is only a recreational play at that time. During the first two or three days of the Pooram festial, Poorakkali is performed in a venue called ‘purappandal’, which is a ‘pandal’ erected outside the shrine compound. It is only the rehearsal when it is performed in the ‘purappandal’. The shifting of the venue to the precincts of the shrine is called ‘Kalakam kayaral’. It takes place after the final rehearsal, that is ‘pandalil kalimaral’.  5.3 MARUTHUKALI4 Marathukali, the second part of Poorakali, is a fusion of two different styles of cultural arts that prevailed in Kannur region. One of them is the arguments and counter arguments of two groups and the other is Poorakkali demonstration of their supporters. Marathukali lasts for a long time and is a competitive art form conducted in temple yards. The important parts of Maruthukali are Chidambarasastra, Yogasastra, Bharathasastra, natyasastra and Yoginatakam.  One of the most important part of the Marathukali is the Yogiyatom. It is based on the story of Kapaleswara Siva. The song used in this part is goes like this;                                                                  “ Paramasivan Brahmadevanudaya sirasai murithu kondu vanna                    Doshamakattaai kapalam dharithukondu bhikshadanam theerthu                    Snanam desasancharam muthayanavey ceythukondu parisudhana                    Ki vanthu innu sabhayil nadanam kondar aanandhathode nadinthar….                    Ippadi yogi nadanam cheythar ippadi natyam cheytha pirah sabha-                    Yilullore mahizhambadi cheythangu chanthamakimana ganamel                    Thudan mohanamaana natyam sambhuparan porunthar…………”5 The essnse is that to releave from the sin due to the beheaded of Lord Brahma, Siva wanderin world around for twelve years with carrying a skull shaped begging vessel in his hand. He took divine bath in sacred rivers, and wandering in all over the world and finally reached the thillai sabha and performed his vigorous dance before the two sages named “Pathanjali and Vyakrapada.”6 The first stage of marathukali is tha beginning of drama or natakam. Here the scholars (panikkar) engaged with great despute about the various elements related to nataysastra. The Natyolpathi’(beginning of dance ) which have described in bharathas natyasatra is described here. There were scholarly arguments were arised between the two groups lead by the panikkarmar. Then They entered in to the second stage called the chidambharam. It was a stylized movements with the accompaniment of a song. The 108 karanas, thity two angahaharas and its explanations are also the basis of Chidambaram. After this the saivanatakas are performed. They were in fifteen types and these are; sivabranth, panchakolam, sivamparam, sivamaruthu, arumukhan, orumukhan, parava, vellurutti, marari, markandeyam, kunnizhachi, kannapan, thinnan, marumukan,and  kavachikan. 5.3.1 SAKTHINATAKAS IN MARUTHUKALI They were fourty nine types of plays are performed in Marathuakali. The belief is that it was performed by the Parvathi the consort of Lord Siva with the support of fourty nine celestials Here kaisikivrithi 7 is predominant in the performance.  5.3.2 YOGINATAKAM IN POORAKALI The story of Siva’s beggary with the Brahma’s skull in hand has been a part of Poorakkali yogi natakam. Yogeecharitham paadal (singing the history of yogis). Abharanavarnana (description of ornaments ), Yogi nilpu (standing like yogis ), Yogiyiruppu (sitting like yogi) and desantharavarnana (description of travelling ) are included in the above said Yoginataka. Yogi performance in Poorakkali begins when thw panikkar, the leader of the players start singing the yogeecharitham  in the traditional way and sound modulation. Here also the subject is the myth of Bhairava and kelipatra. Another variant story heared is, the Brahma on the way of searching Sivalinga meet navayogis and they advised him to go back from the risk. Angry brahma cursed them. Brahma  was cursed by the Yogis “let get you decapitated of your own mistakes”. Thus progress this story. Yogiyatom after yogeecharitham is a real dance with measured steps and rhythm. This ceremony is about nomardic yogis singing songs in different languages. In the following part yogiyil nilpu Panikars of both groups stands face to face in Kanni and meenam rasi and discussions and debate about Yogasastram, Brahmatatwam, and Dehatatvam. In last part of Yogiyilirupu, seated Panikkars in Meenam, Kanni corners cannots the Yogees in paramananda or extreme happiness. 5.4 THE DIVINE DANCES OF LORD SIVA IN POORAKKALI Traditional Poorakkali begins with several preliminary rituals. Most of them are associated with the stories related to Lord Siva and Parvathi. For instance, after the performance of  Vankali and Poorakkali the Panikkar and team prepared to staging a Natakam.  In here the described about the ‘Sivaparvathi nadanam’. This were also known as the name of ‘Saivakuthu and Sakthikuthu’. The belief that Lord Siva and  Parvathi performed the dance for their devotees and for the God’s. The all part is based on the Natyasastra written by Bharatha. Here the Panikkar recite the Natyolpathi story which was mentioned in the Natyasastra. 5.4.1 CHIDAMBARASASTRA This is the situation when lord Siva performed his Anandatandava in Chidambaram and lord Vishnu attracted by this dance. The serpant Anantha, wished to see the cosmic dance of  Lord. Due to the advice  of  Vishnu,  Anantha take rebirth at river side near ‘Kollada, where Patanjali and Vyaghrapatha also wore shiped for the divine appearance of Lord Siva. Thus siva appeared before them and performed his Tandava dances for his devotees. 5.4.2 NATAKAM (DRAMA) This part is related to the dance, which was played by Siva and parvathi. All members in a poorakkali play were engaged in this part. So it is also called in the name of Natakam. 5.4.3 YOGASASTRAM Yoga and Natya are the different ways to attain moksha. The next section in this content, the actor engaged in to a debate, While taking the form of a Sivayogi. Throughout the performance he is called as the name ‘Yogi.’ It resembles the old belief, after see the cosmic dance of Lord Siva, Pathanjali the sage had entered in aYogic mood and the patanjali’s Yogasutra slokas are here used. 5.4.4 YOGIYATOM After Pooramala and Vankali, the next section is commences where the dances based on Bharathanul’which was a detailed song about the laws of Natyolpathi based on the entire story of Natyasastra. It is also a description about the cosmic dance of Lord Siva, which he performed before Patanjali and Vyaghrapada. Besides all these fifteen types of Saivakoothu (dances related to Lord Siva) also the part of Marathukali. These are Sivabranth, Sivamparam, Sivamaruthu, Aarumukham, Pkavaktram, parava, Vellurutti, Marari, Markandeyam, Kausikam, Kunnizhachi, Kannappan, Thinnan, and Marumukam. 5.4.5 SIVABRANTHU (the madness of Siva) It is also known as Mathavilasamkuthu. In here Siva taking the role of a drunkard and perform some types of dance movements. It is said to be believed that, after the long prayer, lord siva appeared before Patanjaly and Vyaghrapada and performed his famous Thandava dance with stylized body manner. The songs used in this performance is goes like this;             “valarekalam tapasavritya, komalarakiya Vyaghrapatanjali             Mamunimariha kalabhamrughabhaya makalethalli nithantham             Kaalayude muthuke vyalavibhooshananakiya sivanude nadanam             Kanman maruvina kalamiha nalvathinnai palavidhamakiya nadana             Rasathe kaaatuvathinnu muthirnnaneesan……………………..  After the long worship and prayers, Patanjali and Vyaghrapada the two Siva devotees engaged in a state of meditation. At the time Lord Siva apeadre before there and blessed them. They pleaded Siva to perform his cosmic dance for them. Due to this, the Lord had performed these different types of dances for them in Thillaivanam’. The song says “ Siva entered on his vehicle (nandi),and adorened his body with snakes and he removed their fear about external attacks. In other song in this section, described about the divine dance of Siva and Parvathi,which they performed in Mount Kailasa. Here, Lord Siva consume a large portion of toddy, the divine nector then the intoxicated Siva performed various types of dances. This is known as Sivabranthukuthu. This story is also related to the myth of Vayanatttukulavan theyyam. 5.4.6 PANCHAMAKOLAM This is the section of various dances performed by Lord Siva, who take the form of Vishnu,Brahma,Sivan,Subrahmanyan and Ganapathi. During the performance Nandi played tala and the subordinates of Siva also joined throughout with his performance. He played his dance with adorened his body ith sacred ash,and worn a cloth made from the elephant skin etc. it is considered as Ananthathandava of Lord Siva. 5.4.7 SIVAMBARAM Siva performed this cosmic dance, after the auspicious time of sunset to entertain Patanjali and Vyaghrapada. It is same to the Sandyatandava which refered in classical dance sections. With the accompaniment of the wild drumbeats he engaged in his divine dance. All the Deva’s are enterd in a stage of eternal happiness. The song used here is like this;             “Sankare bhagavan Vyaghrapatanjaimarude sankatamakale theerpan              Tilvam-Balamathil ninnu naditha Sivambaramakiya natakasutram” 5.4.8 SIVAMARUTH It is the most sacred form of Lord Siva. The story related to this section is this, when Siva and Parvathi were in Kailasa the Devi requested him to expose his divine form of Sivarudra. Due to this Siva take took the form of Nataraja and performed his divine dance for his consort Parvathi. He performed the dance with a kapala and sula (trident) in his hands and various colourful costumes. 5.4.9 ARUMUKHANATAKAM This is the dance which Siva take his divine form of Ohmkara with six faces of Devaswarupa. Here is the mention that in various texts we have seen the Panchamuka of Lord Siva, may be it is same to the six faces above mentioned.(Aghoram, Esanam,Talpurusha,sadyojatha,Vamadevam). A few lines in this section is, “Dharaneedaravara thanayaramanan tharamayarumukha nadanam cheythan…..eedarnnedina nadakanatye koodi  vihayasikinnara mukharum paadee thodi varadiyil ragam thedi maanasatharil kuthukam” EKAVAKTRAM: Siva is the embodiment of Panchabhoothas, the five elements (earth,water,fire,air sky). Here Lord performed the same dance where he performed for Patanjali and Vyaghrapada.             “Nadanamudanadinan Sreeparameswaran Nandikesan padahathaadanam cheythuthe” PARAVANATAKAM: Here Siva took the form of a divine Bird (parava) and performed the dance for the sages. The mythical story was related to the characters named Kolavan and Vinatha who were cursed by Sage Agastya. VELLURUTTI: The lord in a form of Vellurutti (son of a silver deer)and performed his vigorous dance with wild beats and various acrobatic movements. MARARIKUTHU: It is the coloqial usage of Marahari,means one who killed Kamadeva. This kamadahana Nrutha is known as mararikuthu. MARKANDEYAKUTHU: The myth behind this performance related to the story of Markaendeya a devote of Lord SIVA. The Lord saved him from Yama (the god of death) and blessed mim.during this occasion he performed the famous Markandeyakuthu. KUNNIZHACHIKUTHU: Siva’s dance for Parvathi the daughter of Hill (kunnu). He performed the dance after their marriage reception time. KANNAPPAKUTHU: The story is that a Semi-God Kannapan was cursed by Durvvasavu. After he see the divine dance of Lord Siva he releaved from that curse. This is also the dance Siva performed in Thillai ambalam for Vyaghrapadar. THINNANATAKAM: Here the Lord expose his divine foam Thinnapa(a Semi-God) infront of his devotee Kannapan. MARUMUKHANATAKAM: The story behind this dance is this. After receiving a sacred boob from Lord Siva the devotee Vrukan’tried to test it towards Siva. The boon is that when Vruka touch his finger in the head of anyone,that person is died’. Due to the fear arises in mind Siva take the form of Marumukha and acted the dance called marumaukahanatakam. KAUSIKAKUTHU: Siva suppressed the ego of Kavusika and performed this dance. These are the fifteen types od dances which mentioned in a Poorakkali performance. Besides these there are about fourty nine types of Sakthikuthu’s are also described in this section. If through a deep study we have find a lot of similarities with the dances of Siva mentioned in Chilapathikaram and other texts also.

 Refferences:

1.      Page 54. The meaning is that, oh lord kama, please come early in the next year, before the festival commences at Kunjimangalam temple.

2.      Navavandana-nine types of salutations praising the deities of various directions.

3.      Page 55. Thandavanrutham-the vigorous dance performed by Lord Siva.

4.      Page 56. Maruthukali-also known as marathukali is the second of a poorakali, Maruthukkali sahithyam by Dr E Sreedharan.

5.      Ibid, page no 204.

6.     Page 57. Poorakkali-Dr K K Karunakaran,department of cultural publications Trivandrum

7.     Kaisikivrithi, This vriti is predominant in Dakshinatya region.

“ya slakshna nepathya viseshachitra,

stri samyutha ya bahunriyah  geethah,

kamobhabhoga prabhavopachara tham,

kaisikim vritim mudaharanthim” N S-22.40.

 CONCLUSION

Folk art and classical art are the two main streams of   the rich cultural and artistic traditions of India. Folk art and its expressions are culminated from the life and the culture of the innocent and marginalised people of the society who were forced to stay behind the curtain of our social life. When they faced crisis in their life inorder to tide over the difficulties they formed certain rituals to gain positive energy and thoughts. It was the modern society who named their artistic expression as folkarts. when we observe the artistic performances classified as folk we find the true unity of the people who lived in that region. Theyyam, Poorakkali, Kelipatram, Mthavilasamkoothu offered by childless devotees in temples are the best examples for this cultural tradition. Classical form  of art are belonged to aristocratic and feudalistic community. This art forms can be only appreciated or enjoyed by those who have a complete awareness about this forms. The art form Ottanthullal, stands in between the classical and folkarts in presentation. But it is to be stated that the new economic policy and the modern base of life**is generatedout of it are playing a great role in destroying the rich cultural tradition artistic forms and our life and heritage.

In this modern life of challenges when competations and selfish motifs rule the world, I attempt to find out the importance of Kelipatram a long forgotten ritual art form. This dissertation mainly seeaks to focus our attention to bring out the relation between the ritual like Kelipatram with theyyam, Mathavilasamkoothu, and Poorakkali, which can be considered both all as folk arts. This work is also aims a humple attempt to my part to reach and enquiry in to the ritual kelipatram so as to find the artistic elements in it.

I have selected Bhairavan theyyam for my study. In short Bhairavan theyyam is one of the theyyam sparks in the vast and eternal universe of theyyam. Kelipatram and Bhairavan its origin back to Saivamsam. Both are spring from the same mythological concept. Viruthikkoothu and Mathavilasamkuthu are conducted as artistc rituals at the temples of Karivellur, Kottiyur in Kannur districts. The presentation and mythological concept are mentioned above. This dissertation hence submitted before those who involve and respect such traditional beliefs and rituals. Though in our busy life of struggles and tensions such people are a few in number. For the revival of the regional folk art forms, non-governmental organisations try to study the forms and perform them on par with dramas, etc from the Government side, the forms can be made part of the syllabus in schools so that there can be a possibility of knowing the form by young children and they can establish their interest towards these traditional folk art forms in future Another step for the revival or for the development of these traditional forms is to help the actors and performers of these forms As already discussed, actors are the heart of these forms If actors and performers are in good condition both socially and financially, then only they can strive for the development of the olden traditional forms to flourish in future It is also essential that training camps should be conducted to the professional artists as well as to the amateur artists in these traditional folk forms, thereby they can know the roots of these forms through experts and establish interest towards these performances Attention should be focused on writers of these forms also Workshops and seminars should be conducted for them through which they can know the techniques of writing and try to modify their writings which will suit the interests of modern audience If government and the traditional folk form lovers seriously think over these points, then the traditional theatre and folk forms will flourish in future and through which a number of artists will get their livelihood who are eagerly awaiting for this happy moment.

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