An Analysis of Reverential Ecofear in Theyyam: a Ritualistic Performance of North-Malabar
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University of Calgary PRISM: University of Calgary's Digital Repository International Journal of Fear Studies Volume 03: Issue 01, 2021 2021-04-08 An analysis of reverential ecofear in Theyyam: A ritualistic performance of North-Malabar Rithwik Sankar A. In Search of Fearlessness Research Intitute & The Fearology Institute Sankar A., R. (2021). An analysis of reverential ecofear in Theyyam: A ritualistic performance of North-Malabar. International Journal of Fear Studies, 3(1), 105-15 http://hdl.handle.net/1880/113235 journal article Rithwik Sankar A. ©2021 Downloaded from PRISM: https://prism.ucalgary.ca International Journal of Fear Studies, 3(1) 2001 An Analysis of Reverential Ecofear in Theyyam: A Ritualistic Performance of North-Malabar Sankar A., Rithwik (India) Abstract Theyyam is a ritualistic performance in the North-Malabar region of Kerala, India. It carries ritualistic elements such as worship and penance along with the convergence of various forms like dance, painting, and music. The legendary and mythical characters in Theyyam performances are acted out by artistically skilled men of the exploited sections of the society including Malayas, Pulayas, Vannans, Velans, and Thiyyas. Though the performance of Theyyam by the subaltern communities signals the fearless resistance against the prevailing hierarchies and hegemonies in the society, it also has been used by the system as an ideological means to contain the oppositions or resistance from its subjects. The ritualistic expression of fear and respect forms the basis of each Theyyam performances. Often, people’s fear of nature is ritualistically manifested through Theyyam performance. People’s fear is concerned mainly with the matters of diseases, reproduction and yield in agriculture. These concerns are well articulated in different folk narratives including Kothamooriyattam, Kaliyanattam and the Theyyam performances including Muchilottu Bagavathi and Pulimaranja Thondachan Theyyam. The knowledge about nature acquired through a keen observation of natural cycles and other changes in nature by the ancient people is manifested in these ritual performances. This paper critically examines the influence of fear, using the concepts of ecofear and ecophobia, in the formulation of goddesses in Theyyam worship and the connection between the paraphernalia of Theyyam with nature. It examines the case of Theyyottukavu, a sacred grove in the district of Kannur in the light of the concept of ecofear. The paper also, analyses Theyyam and certain Theyyam myths by incorporating the theories of fear studies formulated by the fearologist R. M. Fisher. Keywords: Ecofear, Ecophobia, Ritual, Theyyam, Mother Goddess, Myth Theyyam is a ritualistic performance in the North-Malabar region of Kerala, India. It carries ritualistic elements such as worship and penance along with the convergence of various forms like dance, painting, and music. The legendary and mythical characters in Theyyam performances are acted out by artistically skilled men of the exploited sections of the society like the Malayas, Pulayas, Vannans, Velans, and Thiyyas. The word ‘Theyyam’ can be an appropriation of the word daivam, meaning ‘god’. The critic E. P. Rajagopalan in his article titled “Theatre in North Malabar” says that, “Teyyam offers parallel world view as its performers are those belonging to the traditionally marginalized communities. It is said the term ‘teyyam’ is a local variant of ‘daivam’ (Sanskrit) or bhuto (Tulu). And this form represents in its fullness, the pre-modern history, geography and aesthetic patterns of North-Malabar and thereby becomes space-specific. Modernity could not wipe out this tradition as the natives find a kind of self- expression in the aesthetic and social stances that teyyam forms seasonally offer” (27). In a society 105 International Journal of Fear Studies, 3(1) 2001 where inequalities and injustices exist, Theyyam has been and continues to be a form of resistance, raising the voice of the subaltern―who has been often subjected to violence from the upper classes and castes. Though the performance of Theyyam by the subaltern communities, who are part of the indigenous worldview (i.e., the love for nature), signals the fearless resistance against the prevailing hierarchies and hegemonies in society, it also has been used by the system as an ideological means to contain the oppositions or resistance from its subjects. As M. Sahira stated in her article titled, “Folk Performances: Reading the Cultural History of the Thiyya Community in Kerala,” “the ritual performance is a form of sacralized folk theatre and in effect becomes an embodied vessel of folk history and memory” (162). “...people’s fear for the unpredictability of nature in turn created a worship system...” The ritualistic expression of fear and respect forms the basis of each Theyyam performance. “In indigenous communities, the deep relationship between the people and their land is maintained through sacralization of cultural and natural materials…the process of sacralisation of a natural/cultural material is manifested as fear, awe, and/or reverence creating a nexus of nature-culture-sacred” (Alex and Deborah 422). Theyyam worship can be categorized into the worship of heroes, mother goddess, ghost or dead people, ancestors, animals, and serpents. Theyyam encompasses the goddesses of war and illness including Angakkulangara Bagavathi, Kotteve, Vasoorimala, Puthiya Bagavathi and Muchilottu Bagavathi. The goddess Cheerma or Sree Kurumba is a goddess of illness, who sows the seeds of sickness on humanity. The sickness of the people will be cured when the people repent for their sins. These goddesses come under the title of mother goddess in Theyyam performances. They are worshipped by people for curing illness and for a better yield in agriculture. In short, people’s fear for the unpredictability of nature in turn created a worship system in the society. Often, people’s fear of nature is ritualistically manifested through Theyyam performance. Puli Theyyams (Theyyam related to the leopard) such as Pulikandan, Pulimaruthan and Pullooru Kali, and the serpent goddess Nagakkanni are the examples of this close relationship between Theyyam and nature. The nature knowledge acquired through the keen observation on nature cycles and other changes in nature are manifested in these ritual performances. This paper critically analyses the influence of fear in the formulation of goddesses in Theyyam worship. The study also focuses on the connection between the paraphernalia of Theyyam with nature. This article also examines the case of Theyyottukavu, a sacred grove in the district of Kannur, in the light of the concept of ecofear introduced by Fisher. Fisher calls this in his article titled “Ecocriticism, Ecophobia and Indigenous Criticism” as a “deep fear of nature” (4). The cult of mother-goddess worship evolved from the people’s belief in the deity’s power to bless and curse. The concept of culture of fear discussed by Fisher in his article titled “Ecocriticism, Ecophobia and the Culture of Fear: Autobiographical Reflections,” can be better adapted here as it is an attempt to manage fear by using fear-based means, which creates more fear and which, on the cultural grounds, is more evident in these ritual practices (13). People 106 International Journal of Fear Studies, 3(1) 2001 attempt to propitiate nature, as the nature has either the power to create destruction or to ensure prosperity, to overcome their fear of nature. People’s fear is mainly concerned with the matters of diseases, reproduction and yield in agriculture. These concerns are well articulated in different folk narratives including Kothamooriyattam i and Kaliyanattam ii. The ritual song titled “Vithupolippaattu” (song of seeds) in Kothamooriyattam includes the description of 18 types of seeds of rice cultivation. Ritual art like Kothamooriyattam is performed mainly to bring prosperity to each household. The song which describes the invitation of the holy cow Kamadhenu (a symbol of prosperity) to earth by offering flowers to it, is also included in Kothamooriyattam. This song also describes a ritual day called Pooram, where the maidens take penance to worship Lord Kama for getting good husbands in future. M. V. Vishnu Namboothiri states in his volume titled Folklore Nikhandu that, in North Kerala, there is a ritual performance called Kaliyanattam performed by Pulaya community to alleviate evil spirits and to bring prosperity to each household. In Kaliyanattam, the goddesses named Kaliyan and Kalichi are considered to be the goddesses of evil spirits. Kaliyanattam is performed to appease these deities to bring prosperity in agriculture and cattle rearing (190). People fear that infertility can bring disaster to their life. As Nature is the ultimate symbol of fertility and reproduction, the human beings realized the importance of worshipping it. The creation of ritual performances like Pooram, Kaliyanattam and Kothamooriyattam, thus, remarkably point to people’s fear of nature. Theyyottukaavu: A Ray of Hope and the Emerging Sense of Ecophobia The creation of sacred groves depends mainly on the nearness of water bodies. Sacred groves, water bodies and women are always associated with each other and they represent fertility cult. Theyyottukavu, a sacred grove situated at Alappadamba, in the border of Kannur-Kasaragod districts, is still showing its resistance to the changes of modern times. The lighted torches made out of coconut leaves are very common during