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Theyyam is a Hindus religious ritual practised in the North Malabar of Kerala and some parts of Karnataka.
Theyyam is a ritual performance involving extended chanting of mantras and ceremonial preparations that typically span 8 to 10 hours. The ritual culminates with the placement of the mudi (sacred headgear) on the performer, a moment believed to mark the entry of the deity into the performer’s body. As part of the process, the performer consumes madhyam (toddy), which is believed to suppress personal consciousness, allowing the divine consciousness of the devatha to manifest. This practice aligns with philosophical concepts found in Hindu texts such as the Yoga Vasistha, which describe how divine entities (devatas) can enter the human body, Siddhi at a Paramanu level. There is no concept of God in Hindusim, rather the concept of Devata and Brahman. Hinduism traditionally recognizes a multiplicity of devatas, often cited as 33 crore including Brahma, Vishnu, and Maheshwara, rather than adhering to the notion of a singular, all-encompassing godKarippath, R. (2018). Theyy. aprapancham (Malayalam). Mathrubhumi Books. ISBN 978-9386822444.
Theyyam consists of traditions, rituals and customs associated with temples and sacred groves of Malabar Coast. The people of the region consider Theyyam itself as a channel to a god and they thus seek blessings from Theyyam. In Kerala, Theyyam is performed predominantly in the North Malabar region (consisting of present-day Kasargod, Kannur District districts, Mananthavady Taluk Of Wayanad District And Vadakara And Koyilandy taluks of Kozhikode). A similar custom known as Bhuta Kola is followed in the Tulunadu area of the neighbouring Karnataka.Karippath, R. (2018). Theyy aprapancham (Malayalam). Mathrubhumi Books. ISBN 978-9386822444.
Theyyam season starts from the tenth day of the Malayalam month of Thulam (usually falls during October, and known as paththaam-udayam) and lasts up to seven months until the middle of Edavam month (typically late May and June). The last Kaliyaattam for the season is performed at Madayi Kavu and Kalarivathukkal Bhagavathy Temple, both being the family shrines of Kolathiri royal family.Karippath, R. (2018). Theyyaprapancham (Malayalam). Mathrubhumi Books. ISBN 978-9386822444.
Theyyam is typically performed by people from castes and tribes like Pulayar, Vannan, Malayan, Anhoottan, Munnoottan, Mavilan, Koppalan, Velan, Chingathan, Kalanaadi, Paravan, Nalikeyavar, etc. Of these, Kalanaadi people perform only in Wayanad district, while Parava, Pambada, Paanaara and Nalikeyavar perform in places north of Kerala, Mangalapuram(Mangalore) and Udupi districts.
In Kasaragod and Kannur district districts, this ritual art is mainly performed in the (temples) or ancestral houses of Tiyyar, Nambiar, Vaniyar, and Maniyani communities.
There are approximately 400 types of Theyyam, including Kathivanoor Veeran, Vishnumoorthy Theyyam, Vettakkorumakan and Muthappan.
Theyyam may have its origins from ancestor worship. It has been observed that a vast majority of the Theyyam deities have their origin from Thiyya and Nair castes. The ancestor worship ritual was later evolved into the elaborate dance ritual that is seen nowadays. Incorporating many other local beliefs.
Different branches of mainstream Hinduism such as Shaktism, Vaishnavism and Shaivism now dominate Theyyam. However, the forms of propitiation and other rituals are continuations of a very ancient tradition. In several cult-centres, blood offering is seen, which is forbidden in Buddhism and Jainism. In such centres, separate places outside the precincts of the shrine are selected for blood offerings and for the preparation of the traditional Kalam (square made for this sacrifice occasion) known as . The Theyyam deities propitiated through rooster-sacrifice will not enter such shrines. This religious cockfight over blood sacrifice, which does also include the cockfight as a blood sacrifice, is a prime example of "cultural synthesis of 'little' and 'great' cultures".
On account of the late revival of the Vaishnavism movement in Kerala, it does not have a deep impact on Theyyam. Only a few deities are available under this category. Two major Theyyam deities of Vaishnavism are Vishnumoorthi and Daivathar. Vaishnavism was very popular in the Tuluva region in the 13th century when it came under the rule of Vishnuvardhana of the Hoysala dynasty. He was a great champion of Vaishnavism. Most probably he was initially deified as Vishnumoorthi and incorporated into the Bhoota cult of the Tuluvas and then further incorporated as a prominent folk deity into the Theyyam as well. To some, the legend of Vishnumoorthi is symbolizes the god's migration from Mangalore to Kolathunadu.
All other categories of Theyyam deities can be classified under Shaivism or Shaktism. Even spirits, ancestors, heroes, and animals are deified and included in those categories. Briefly, Theyyam provides a good example for the religious evolution of, and the subsequent different stages in modern Hinduism, with the overall understanding that within Hindu syncretism lay propitiation as ancient practices and rituals of ancient worship intended for the blessings of the supernatural not unlike, "in Indus Valley and other ancient civilizations, mother goddess had been invoked for fertility and prosperity".
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. 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. Further, after the sun sets, this particular dancer would not eat anything for the remainder of that day. 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 religion deity to be propitiated. This is accompanied by the playing of 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, kottumpurikam, 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. The performance signifies the transitional inversion, reversal, and elevation of status denoting the anti-structural homogeneity of Theyyam.Mathew, Raisun and Pandya, Digvijay. "Carnivalesque, Liminality and Social Drama: Characterising the Anti-Structural Potential of Theyyam." Rupkatha Journal on Interdisciplinary Studies in Humanities
Known as Kundora Chamundi, Kundadi Chamundi and Kundoor Chamundi, this goddess is the image of Kali who killed Darikasura. This theyyam was built by Velanmar.
/ref> He, after observation of certain rituals places the head-dress on his head and starts dancing. In the background, folk musical instruments like chenda, tudi, 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 weapons. Then the dancer Circumambulation 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 (usually predominantly orange) and costumes.
Types of Theyyam
There are more than 400 types of Theyyam, 112 of which are famous. Some Of The Famous Theyyams Are :
Muchilot Bhagavathi
Muchilot Bhagavathi is a virgin goddess and the tutelary deity of the Vaishya of North Malabar. According to local legend, she was a Brahmin woman born in the Illam called Maniyottu in the village of Peringellur, near Taliparamba and elevated to the status of a deity. According to a holy manuscript (Pattola), Muchilot Bhagavathi is the Kali Yuga avatar of the goddesses Sita of the Treta Yuga, Maya of the Dvapara Yuga, and Gayatri, who appeared before Maharishi Vishvamitra. While travelling on Earth, she is believed to have rested at the home of Muchilot Pada Nair, who was a soldier belonging to the Muchilot clan among Vaishya.History of Muchilotu Bhagavathi http://www.thekeralatemples.com/templeinfo/bhagavathy/karivellur_muchilottukavu.htm
Muthappan
Muthapan consists of two divine figures and is considered as the personification of two divine figures — the Thiruvappana or Valiya Muttapan (Vishnu) and the Vellatom or Cheriya Muttapan (Shiva). Muthappan Theyyam is different from other theyyams as it is performed all around the year. Muthappan Anthithira is another theyyam dedicated to Muthapan. The uniqueness of it is that it is performed only once in all the Muthapan temples.
Kathivanoor Veeran
The Kathivanoor Veeran theyyam is performed in the memory of the great Tiyyar community warrior Mandhappan Chekavar.
Kandanar Kelan
Kandanar Kelan Theyyam is a Theyyam mainly performed in the Payyannur and Taliparamba areas.
Vishnumoorthi
This is the most popular Vaishnava Theyyam. This theyyam narrates and performs the story of Hiranyakashipu's death by Vishnu in his avatar of Narasimha. Because of this, Vishnumoorthi is also called Narasimhamoorthi.
Gulikan
Gulikan represents Yama, the Hindu god of death. The Benkanakavu (Venganakavu) in Nileshwar is the most famous temple dedicated to Gulikan.
Kuttichathan
Kuttichathan is a famous theyyam. The theyyam is associated with the Brahmin Family of Kalakatt Illam situated in Payyanur. It is believed that Kalakattachan, angry on him being a threat to his respect in the society, tore Kuttichathan into 396 pieces. There emerged 396 Chathans from the torn pieces and set the Nambudiri's house to fire, and burnt nearby Brahmin houses. It is claimed that Kuttichathan can grant any wish if the devotee prays to him with faith.
Chamundi
Chamunda theyyam is majorly of three types, namely Madayil Chamundi, Rakta Chamundi, and Kundorra Chamundi.
Madayil Chamundi
Chamundi is identified with Kali, who slew the Chanda and Munda and drank the blood of the asura Raktabija, without letting a drop fall to the ground. Chamundi is also known as Rakta Chamundi (Blood Chamundi) and Rakteshvari (Goddess of blood) because she is immersed in blood. It is said that in the battle with the asuras, Kali followed them to the Patala to resume the fight. This form is called Patalamurti and Madayil Chamundi because she travelled to the underworld.
Puthiyaramban
Puthiyaramban is regarded to have been the greatest warrior of the region called Allada Swaroopam, possessing supernatural power as well as knowledge and skill in Kalaripayattu (a regional martial art). After a great victory, he is believed to have been betrayed in Nanummel Kali (Kalari). He was posthumously deified. Puthiyaramban Theyyam is performed in Puthiyaramban Tharavadu, Sree Kappattu Kazhagam, Sree Kannamangalam Kazhagam and Udinoor kulom.
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