Location Accessibility Contact

Total Page：16

File Type：pdf, Size：1020Kb

Panchayath/ Municipality/ Vadakara Municipality Corporation LOCATION District Kozhikode Nearest Town/ Sidhasramam – 1 Km Landmark/ Junction Nearest Bus statio Vadakara New Bus Stand – 3.8 Km Nearest Railway Vadakara Railway Station – 4.7 Km statio ACCESSIBILITY Nearest Airport Calicut International Airport – 74.8 Km The Executive Officer Sree Lokanarkavu Temple Sidhasamaj P O Vadakara – 673101 Phone: +91-496-2527444 CONTACT Website: www.lokanarkavutemple.com DATES FREQUENCY DURATION TIME March-April (Meenam) Annual 8 Days ABOUT THE FESTIVAL (Legend/History/Myth) The Lokanarkavu Utsavam is the annual festival at the Lokanarkavu Temple dedicated to Goddess Durga. It was built by Aryans who migrated to this place about 1500 years ago. It is believed that the Goddess traveled with them to Lokanarkavu and the successors of the race still conceive the divine presence as their mother and not as a Goddess. The rituals at the temple are identified with its Athyuthama state. The temple also finds reference in the ballads of North Kerala as the legendery hero Thacholi Othenan was a devotee of the Goddess. The temple houses a stage in memory of the Aryans who built the temple. As the Goddess is said to have held them in the highest esteem, all devotees must pray to these ancestors and seek their permission to see the Goddess inside. Local Over 15,000 RELEVANCE- NO. OF PEOPLE (Local / National / International) PARTICIPATED EVENTS/PROGRAMS DESCRIPTION (How festival is celebrated) The Lokanarkavu Utsavam is celebrated during Meenam for Kodiyettam 8 days. The festival begins with Kodiyettam (flag hoisting) Aarattu on the Rohini day and the Arattu (holy bath) on the Pooram Aarattu Sadya day. The traditional dance performance of Theyyambadi Nadu Valam Vekka Kurup is the special attraction on the fifth and the sixth days. Thayambaka On the seventh day is the Nadu Valam Vekka and Pallivetta Pallivetta (holy hunt). On the Pooram day, Poorappattu and Poorakkali Poorappattu (a traditional dance ritual performed by men) are organized. Poorakkali Poorakali, conducted during night, is a fascinating event. Kathakali Poorappattu includes theme from the life history of the Goddess..

Copy Link

Recommended publications

1. Introduction
1. INTRODUCTION 1.1. History Kasaragod, the northernmost district of Kerala, is endowed with rich natural resources and is noted for its majestic forts, ravishing rivers, hills, green valleys and beautiful beaches. The rich and varied cultural heritage of the district is portrayed through spectacular presentations of Theyyam, Yakshagana, Poorakkali, Kolkali and Mappilappattu. Seven languages are prevalent in Kasaragod. Malayalam is the administrative language. Other languages are Kannada, Tulu, Konkani, Marati, Urdu and Beary.Prior to State reorganization, Kasaragod was part of the South Kanara district.Kasaragod became a part of Malabar district following the reorganization of States and formation of unified Kerala State. Later, Kasaragod Taluk of Malabar district was bifurcated in to Kasaragod and Hosdurg Taluks and integrated with the then newly formed Cannanore district. Kasaragod became part of Kerala following the re-organization of states and formation of Kerala in 1st November 1956.The district was Kasaragod Taluk in Kannur District.The formation of Kasaragod district was a long felt ambition of the people.It is with the intention of bestowing maximum attention on the development of backward area, Kasaragod district was formed on 24th May,1984 as per GO (MS)No.520/84/RD, Dated 19.05.1984 by taking Kasaragod and Hosdurg taluks from the then Kannur district.The name Kasaragod is said to be derived from the word Kasaragod which means Nuxvemied Forest(Kanjirakuttam). 1.2. Physiography Kasaragod is bounded on the north and the east by Dakshina Kannada and Coorg districts of Karnataka State, on the south by Kannur district and on the west by the Lakshadweep Sea.
[Show full text]
Page Front 1-12.Pmd
REPORT ON THE DEVELOPMENT OF KASARAGOD DISTRICT Dr. P. Prabakaran October, 2012 TABLE OF CONTENTS No. Topic Page No. Preface ........................................................................................................................................................ 5 PART-I LAW AND ORDER *(Already submitted in July 2012) ............................................ 9 PART - II DEVELOPMENT PERSPECTIVE 1. Background ....................................................................................................................................... 13 Development Sectors 2. Agriculture ................................................................................................................................................. 47 3. Animal Husbandry and Dairy Development.................................................................................. 113 4. Fisheries and Harbour Engineering................................................................................................... 133 5. Industries, Enterprises and Skill Development...............................................................................179 6. Tourism .................................................................................................................................................. 225 Physical Infrastructure 7. Power .................................................................................................................................................. 243 8. Improvement of Roads and Bridges in the district and development
[Show full text]
List of CCRT Scholarship Holders for the Year 2013-14
List of CCRT Scholarship Holders for the Year 2013-14 AUTHORISED PARENT S.NO. FILE NO. NAME OF SCHOLAR HOLDER FIELD OF TRAINING NAME/GUARDIAN NAME KRISHNAPRIYA LAKSHMI CARNATIC MUSIC SCHO/2013-14/00001 SHRI R.RADHESHYAM 1. RUDRAVAJHALA VOCAL HINDUSTANI MUSIC SCHO/2013-14/00002 PRAVAR DEEP SINGH SHRI RANDHIR SINGH 2. INSTRUMENT-TABLA HINDUSTANI MUSIC SCHO/2013-14/00003 ALISHA MISHRA SHRI VIJAY MISHRA 3. INSTRUMENT-TABLA INDUSTANI MUSIC SCHO/2013-14/00004 GAURAV CHANDRA SMT. KHASTI DEVI 4. INSTRUMENT- TABLE HINDUSTANI MUSIC SCHO/2013-14/00005 SANYAM GROVER SHRI HARISH GROVER 5. INSTRUMENT-TABLA CARNATIC MUSIC SCHO/2013-14/00006 K. SURYANARAYANAN SHRI S. KRISHNAN INSTRUMENT- 6. MRIDANGAM HINDUSTANI MUSIC SCHO/2013-14/00007 PRADHYUMNA RAO SHRI S. VENKATESH KUMAR 7. INSTRUMENT-TABLA HINDUSTANI MUSIC SCHO/2013-14/00008 RIDDHI GULATI SHRI RAKHEE GULATI 8. INSTRUMENT- TABLA BHARATNAYAM SCHO/2013-14/00009 VRINDA SMT. KOMAL GROVER 9. DANCE CARNATIC MUSIC – SCHO/2013-14/00010 SANDHYA JAISHANKAR SHRI G.JAISHANKAR 10. VOCAL CARNATIC MUSIC SCHO/2013-14/00011 KAVYSREE S VARIAR SHRI SATHEESAN K.V. 11. VOCAL SCHO/2013- CARNATIC MUSIC MEGHNA MOHAN SHRI N.CHANDRAMOHAN 12. 14/000012 VOCAL SCHO/2013-14/00013 RAGESHWARI SHUKLA SMT. REENA SHUKLA KATHAK DANCE 13. SCHO/2013-14/00014 KHILKHIL BHASHANANDINI SHRI UPENDRA SWAMI KATHAK 14. SCHO/2013-14/00017 NISHITA BHARDWAJ SMT. SUMAN BHARDWAJ KATHAK DANCE 15. SCHO/2013-14/00018 SAHEN UPADHYAY SHRI ANURAG UPADHYAY KATHAK DANCE 16. SMT. BASANTI KUMARI ODISSI DANCE SCHO/2013-14/00019 RHEA PARIDA 17. NAYAK SHRI DILLIP KUMAR NATH SCHO/2013-14/00020 ANESHA NATH ODISSI DANCE 18.
[Show full text]
Kerala School Kalolsavam 2017- 2018 Thrissur 06 Jan 2018 - 10 Jan 2018
Kerala School Kalolsavam 2017- 2018 Thrissur 06 Jan 2018 - 10 Jan 2018 List of participants For Team Manager ( Ernakulam ) Festival: HS General School Code: 25002 School Name: Vidyadhiraja Vidya Bhavan E. M. H. S. Aluva Sl.No Item Name Reg No. Adm.No. B/G Class Cluster Stage No Date 607 - Kathakali Sangeetham Stage 18 1 ACHYUTH UNNI 4588 7046 B 10 1 06 Jan 2018 (Boys) Neelakadambu Stage 18 2 615 - Violin - Paurasthyam SAINANDAN P V 4589 7226 B 9 1 08 Jan 2018 Neelakadambu Stage 7 3 625 - Ottanthullal NIRUPAMA VENUGOPAL 4591 7353 G 8 2 08 Jan 2018 Neermaruthu Stage 10 4 656 - Aksharaslokam PRANAV S 4594 7064 B 10 1 06 Jan 2018 Manchadi Stage 23 5 663 - Parichamuttu (Boys) ARJUN O B 4610 7130 B 9 5 09 Jan 2018 Chandanam 6 663 - Parichamuttu (Boys) MOHAMMED ADHNAN 4608 7191 B 9 7 663 - Parichamuttu (Boys) ATHUL K L 4609 7249 B 9 8 663 - Parichamuttu (Boys) DEEPAK UNNIKRISHNAN 4611 8374 B 9 9 663 - Parichamuttu (Boys) ASWAL ASOKAN 4612 7966 B 9 10 663 - Parichamuttu (Boys) HARIKRISHNAN E V 4613 7159 B 9 11 663 - Parichamuttu (Boys) FAHSAN MIRZA M A 4614 8575 B 9 12 663 - Parichamuttu (Boys) PRITHVIN RAYMAND 4615 8561 B 9 Stage 16 13 664 - Poorakkali (Boys) FARIS P A 4607 8608 B 9 1 09 Jan 2018 Rajamalli 14 664 - Poorakkali (Boys) AADHIL IBRAHIM 4596 7752 B 9 15 664 - Poorakkali (Boys) VISHNU SUBHASH 4597 7163 B 9 16 664 - Poorakkali (Boys) ASWIN SURESHBABU 4598 7164 B 9 17 664 - Poorakkali (Boys) BIJAI BATIN 4599 7161 B 9 18 664 - Poorakkali (Boys) HARIKRISHNAN R 4600 7436 B 9 19 664 - Poorakkali (Boys) AROMAL VIJAYAKUMAR 4601 7312 B 9 20
[Show full text]
Poorakkali – a Ritualistic, Martial and Melodious Musical Art Form of North Malabar
www.ijcrt.org © 2020 IJCRT | Volume 8, Issue 7 July 2020 | ISSN: 2320-2882 Poorakkali – A Ritualistic, Martial and Melodious Musical art form of North Malabar 1Namitha Balagopal 1PhD research scholar 1Vels University Abstract: “Narayana Narayana Vasudeva kaithozhunnen” when you hear this beautiful song undoubtedly you can say it is Poorakkali, the ritual of integrating dance and music in North Malabar which become more and more popular in present day. The reason that I choose to write about this ritual art, because today this is practiced and performed by the artist without any cast of religious barriers. Once this art form was only performed within the temples of Kasargod and Kannur Districts. It is a great pleasure to see that Poorakkali has come out from the shrine and to have many entertainers all over the world. Introduction: Poorakkali is one of the most important, beautiful and sacred ritual art forms of North Malabar. It has a closer resemblance with the martial art form Kalarippayatt. Poorakkali is played in the temple by the lower community. It can be seen that a group of captives of the upper class would automatically evolved into folkloric forms, and the art which later became rhythmic rhythms and rhythms, in this the voices and celebrities who volunteered to ease their burdens. The historical fact is that almost all folk arts are concentrated on agriculture. Poorakkali can only be seen as part of a collective effort made by working-class lifters. This art, which was made in a materialistic way, has gradually become devotional. It is a group of seven communities who are taking care of this art which has become a ritual.
[Show full text]
Nominations for Padma Awards 2011
c Nominations fof'P AWARDs 2011 ADMA ~ . - - , ' ",::i Sl. Name';' Field State No ShriIshwarappa,GurapJla Angadi Art Karnataka " Art-'Cinema-Costume Smt. Bhanu Rajopadhye Atharya Maharashtra 2. Designing " Art - Hindustani 3. Dr; (Smt.).Prabha Atre Maharashtra , " Classical Vocal Music 4. Shri Bhikari.Charan Bal Art - Vocal Music 0, nssa·' 5. Shri SamikBandyopadhyay Art - Theatre West Bengal " 6: Ms. Uttara Baokar ',' Art - Theatre , Maharashtra , 7. Smt. UshaBarle Art Chhattisgarh 8. Smt. Dipali Barthakur Art " Assam Shri Jahnu Barua Art - Cinema Assam 9. , ' , 10. Shri Neel PawanBaruah Art Assam Art- Cinema Ii. Ms. Mubarak Begum Rajasthan i", Playback Singing , , , 12. ShriBenoy Krishen Behl Art- Photography Delhi " ,'C 13. Ms. Ritu Beri , Art FashionDesigner Delhi 14. Shri.Madhur Bhandarkar Art - Cinema Maharashtra Art - Classical Dancer IS. Smt. Mangala Bhatt Andhra Pradesh Kathak Art - Classical Dancer 16. ShriRaghav Raj Bhatt Andhra Pradesh Kathak : Art - Indian Folk I 17., Smt. Basanti Bisht Uttarakhand Music Art - Painting and 18. Shri Sobha Brahma Assam Sculpture , Art - Instrumental 19. ShriV.S..K. Chakrapani Delhi, , Music- Violin , PanditDevabrata Chaudhuri alias Debu ' Art - Instrumental 20. , Delhi Chaudhri ,Music - Sitar 21. Ms. Priyanka Chopra Art _Cinema' Maharashtra 22. Ms. Neelam Mansingh Chowdhry Art_ Theatre Chandigarh , ' ,I 23. Shri Jogen Chowdhury Art- Painting \VesfBengal 24.' Smt. Prafulla Dahanukar Art ~ Painting Maharashtra ' . 25. Ms. Yashodhara Dalmia Art - Art History Delhi Art - ChhauDance 26. Shri Makar Dhwaj Darogha Jharkhand Seraikella style 27. Shri Jatin Das Art - Painting Delhi, 28. Shri ManoharDas " Art Chhattisgarh ' 29. , ShriRamesh Deo Art -'Cinema ,Maharashtra Art 'C Hindustani 30. Dr. Ashwini Raja Bhide Deshpande Maharashtra " classical vocalist " , 31. ShriDeva Art - Music Tamil Nadu Art- Manipuri Dance 32.
[Show full text]
Pooram Mahotsavam Kalarivathukkal Bhagavathy Temple
POORAM MAHOTSAVAM KALARIVATHUKKAL BHAGAVATHY TEMPLE Panchayath/ Municipality/ Valappatanam Panchayat Corporation LOCATION District Kannur Nearest Town/ Valappatanam Post Office-150 m Landmark/ Junction Nearest Bus station Valapattanam Tollbooth Jn Bus Stop– 190 m Nearest Railway Valappatanam Railway Station- 1.1 Km station ACCESSIBILITY Nearest Airport Calicut International Airport – 121.6Km Kalarivathukkal Bhagavathy Temple Valapattanam Post Valapattanam Kannur – 670010 CONTACT Phone: +91-9496735480 DATES FREQUENCY DURATION TIME March/ April (Meenam) Annual 9 days ABOUT THE FESTIVAL (Legend/History/Myth) Kalarivathukkal Bhagavathy Temple, Bhadrakali Shrine located near Valapattanam river, is the family shrine of Chirakkal Royal Family. The deity of the shrine is the fierce form of Bhadrakali. Kalarivathukkal Bhagavathy is considered as the mother of the ancient martial art Kalarippayattu and hence the name.The holy shrine is one of the Devi temple triads of the erstwhile Chirakkal Kingdom. The other two being Cherukunnu Annapoornashwari Temple and Tiruvarkadu Bhagavathy Temple(Madayi kavu). The mythology says that Annapoornashwari came from Kasi to Chirakkal in a boat along with Kalarivatukkalamma and Madayikkavilamma who were her mates; to see the Krishna Temple and never returned. The Chirakkal Kings were the successors of Kolathiris' who in-turn was the direct descendants of the Mooshika kings. Mooshika of North and Ay of South were the oldest dynasties of Kerala. The Ay dynasty eventually became extinct but the Mooshika was able to sustain. The later name of Mooshika King was Kolathirippad after the amalgamation of Aryan culture to the local one by Brahmins. The Kolathiris' relocated their capital from Ezhimala to Chirakkal near Valapattanam river. The temple was once owned by Vadakke illam and was acquired by Chirakkal Kovilakom.
[Show full text]
Some Brief Reflections on Change Andcontinuity of Agrarian Practices and Rituals of Chittoor- Thathamangalam
[ VOLUME 5 I ISSUE 4 I OCT.– DEC. 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 SOME BRIEF REFLECTIONS ON CHANGE ANDCONTINUITY OF AGRARIAN PRACTICES AND RITUALS OF CHITTOOR- THATHAMANGALAM Diana Mathews Assistant Professor, Department of Sociology, Mar Athanasius College, Kothamangalam. Received: July 22, 2018 Accepted: October 07, 2018 Social continuity cannot simply be defined as the absence of social change, that is, things remaining the same for a long period, because social change is a continual process in all societies. Nothing "remains the same". However, within societies there are structures which are inherently resistant to change, and remain intact for a long period of time In this sense, we can talk about them as being social continuitiesThis paper gives us reflections on change and continuity of someagrarian practices related to paddy cultivation In The chittoor- Thathamangalam area of palakkad ,district in Kerala. Many of the agrarian practices and rituals which may be discarded at hand by scientific community are still practiced. .Here the present and the past are so fused that the preset includesmanifestations of the past too Chittur is a town in Palakkad district of Kerala, South India. It is the headquarters of Chitturtaluk, situated 13 km away from Palakkad Agriculture is the main occupation of the people and is the area contributing maximum rice production in the state. Thathamangalam is a place with the pretences of a small town where the virtues of a typical countryside still lingers. It is the confluence of Tamil Malayalam cultures. A land that predominantly depends on the income of Agricultural Sector for survival, mostly unpolluted by any major industries.
[Show full text]
International Research Journal of Management Sociology & Humanities
International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 10 Issue 4 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) THE DIVINE THEYYAM – AN ARTISTIC REFLECTION OF THE LEGENDS ON MUCHILOTTU BHAGAVATHY BY - LAKSHMI S M.PHIL SCHOLAR DEPARTMENT OF HISTORY UNIVERSITY COLLEGE, TRIVANDRUM Kerala, the state which lies at the peninsular tip of the country is the land of rich and varied cultures . This God’s own land is famous for its many different varieties of dance and art forms from time immemorial . The traditional and ritualistic art forms of Kerala centres around the religious and social beliefs . When it comes to the traditions and rituals, Keralites gives much importance and reverence to “ Mother Goddess worship” . Some of the most popular ritual art forms of Kerala includes Theyyam, Thira, Padayani, Teeyattu, Poorakkali etc . Theyyam is one of the most popular art forms based on the North, Central and South regions of Kerala or of the ancient Kolathunaadu (Kingdom of Cannanore) . It is conducted from the Malayalam month 10th of Thulam ( October/ November ) till the end of June in the village shrines, groves and places of ancestor worship . The origin of Theyyam is from different cults which represented ancestors, Mother Goddess, Heroes, animals, snakes etc . Myths also have much influence on the evolution and growth of this art form . There are about four hundred forms of Theyyams and this is because of the variation in the content, forms, myths, rituals, songs, costumes, make-up and the style of how each Theyyam is performed .
[Show full text]
Dance Forms of Kerala: Symbols of Traditional Culture Jayaprabha Ravindran
Dance Forms of Kerala: Symbols of Traditional Culture Jayaprabha Ravindran Abstract Kerala or the land of ‘Kera’ or coconut is synonymous with pristine beaches with a never ending array of coconut palms, backwaters, magical monsoon, rich and vibrant flora and fauna, fragrant spices, countryside reverberating with the sounds and music of various rich art form, fairs and festivals. Present day Kerala comprises erstwhile princely states of Travancore, Cochin and Malabar which was part of Madras province. It has a total population of approximately 33.3 million comprising Hindus, Christians and Muslims and few Jews and some other minorities. Kerala with its rich and vibrant history and deep rooted cultural divisions based on caste structure has distinct art forms for different communities and castes. Music and dance are the main components of art. Music has undergone a lot of change with the evolution of Malayalam as a language. Dance forms of Kerala are varied and colourful. There are two distinct types of dance forms: Ritualistic or classical and folk dances. 1) Ritualistic Dances: koodiyattom, Kathakali, Mohiniyattom, Krishnattom, Thullal, Thiruvathira Kali etc. These are all conducted in specially designed stages on religious festivals. Does it cater to the masses or is it elitist? and 2) Folk Dances: Poorattam, Kaliyattom, Theyyam, Aivar Kali, Pootham Kali, Pulikali, etc. The paper explores the origin of different dance forms, performers, stage setting, accompanying music and targeted audience and highlights problems faced by these dance forms. The role of the government and also the role of influential and rich business establishments in encouraging and protecting the traditional dance forms needs to be explored if they are to survive in the present world.
[Show full text]
Location Accessibility Contact
Panchayat/ Municipality/ Kunhimangalam Panchayat Corporation LOCATION District Kannur Nearest Town/ Nandalala Auditorium – 54 m Landmark/ Junction Nearest Bus Station Pilathara Petrol Pump Bus stop – 1.4 Km Nearest Railway Ezhimala Railway Station – 2.2 Km ACCESSIBILITY Station Nearest Airport Calicut International Airport –158 Km Sree Malliyottu Palottu Kavu Vengara Chempallikundu Road Kunhimangalam – 670309 CONTACT Phone : +91- 497-2811608 DATES FREQUENCY DURATION TIME March – April (Meenam) Annual 9 Days ABOUT THE FESTIVAL (Legend/History/Myth) Poorotsavam is celebrated every year at the Malliyottu Palottu Kavu Temple starting from Karthika asterism till Pooram asterism during the Malayalam calendar month of Meenam. Palottu Daivam, considered to be an incarnation of the Hindu God Vishnu to kill the demon Hayagreeva is the presiding deity of the temple. The Kavu or the temple complex comprises of a Nalukettu, sanctums of several Gods and Goddesses, Kailasakallu, Kodimaram and Pattupura. The shrine of Devi is outside the Nalukettu. Local Over 5000 RELEVANCE- NO. OF PEOPLE (Local / National / International) PARTICIPATED EVENTS/PROGRAMS DESCRIPTION (How festival is celebrated) Poorotsavam starts on Karthika asterism of the Malayalam calendar month of Meenam. The festival is marked by Kazhakam Kayaral various rituals and ceremonies. The Kazhakam Kayaral Chovvavilakku Chadangu to Annekkara Poomala Temple on the third day Adiyanthiram and the Chovvavilakku Adiyanthiram on the fourth day are Marathukali some of the significant ritualistic events associated with the Poovideel festival. Marathukali and Poovideel are the main ceremonies Poorakkali on the fifth day. Poorakkali and Thozhuthupattu are the other rituals performed as part of the festival. A large number of devotees visit the temple during Poorotsavam to offer prayers and witness the rituals and ceremonies.
[Show full text]
Kāma Worships of Northern Kerala: in a Women Centered Ritualistic Perspective
ADALYA JOURNAL ISSN NO: 1301-2746 KĀMA WORSHIPS OF NORTHERN KERALA: IN A WOMEN CENTERED RITUALISTIC PERSPECTIVE 1Anju M, Ph.D Research Scholar, Department of History, Periyar University, Periyar Palkalai Nagar, Salem- 636 011, Tamil Nadu, India. Email – [email protected] 2 *Dr. C. Jeya Veera Devan, Assistant Professor, Department of History, Periyar University, Periyar Palkalai Nagar, Salem-636 011, Tamil Nadu, India. -------------------- -------------------------- ------------------------ ------------------- -------------------- Abstract Kāma worships is one among the important ritual festival. The centre of this worship mainly in Northern Kerala. One of the important specialty of this festival is the involvement of the female participants. This Kāma worships is otherwise called as Poorothsavam, and which is very distinct from other ritual practice of northern Kerala. Thus so there have been many studies that prevailed in the area of Kāma worships of northern Kerala. But here in this, the study focuses on the women representation in it. And it also tries to study in a women-centered point of view. In other words, the paper tries to enquire about the role of women in Kāma worships and how they are involved in it? Why they are chosen for this ritual? The reason to celebrate this ritual as a traditional ceremony, the mythological relevance of this ritual in the traditional Kerala culture, and how this is regarding to the concept of fertility? These questions are analyzed in detail in this paper. Keywords: Kāma worships of Northern Kerala, Ritual activities, Female participations, Lore of a Community, Cultural/Ritualistic background of Norther Kerala, the Fertility concept. Introduction Kāma worships is one of the rare ritual practice exists only in northern part of Kerala.
[Show full text]