KiitiyiiUam in Temples AMMANl>'UR MADHAVA CHAKYAR UtiYii!!'lJ1l is the enactment ofSanskrit drama, traditionally held in the temples of Kerala from ancient times. It is a theatre of ritualistic worship (natyayajnas K confined to the Chakyar community, and is performed with great devotion and a spirit of propitiation of the deity, with the observance of religious rituals. When a male child is born in the Chakyar family , to become a full-fledged member, he has to go through his 'first performance' (arangetram), apart from undergoing the traditional 'sixteen riles' (shodasa kriya). It is said that with the origin ofKerala, when the 'Tantris' were brought for conducting religious rituals, two Chakyars also accompanied them and settled down in Kerala. The Potiyil family and Ammannur family seem to have been the descendents of these two original settlers. Many temples have given land and right to conduct performances 10 specific Chakyar and Nangiar famil ies that existed and are still in existence in Kerala. Kiiltu can be divided into three: Atiyantarakkfntu, Kazhchakkiillu and Vazhivadukiillu. The perfo rmances held year after year according to prior programm e is called Atiyanlarakkiillu, while those thaI are held specially on specific occasions are called Kazhchakkiluu Vazhivadukiittu as a votive offering to the deity. In temples where Siva is the main deity, Mat/a vilasa, ' Mantranka' and ' Anguliyanka' are usually performed, while in Vishnu temples, prominence is given to 'Anguliyanka' , Apart from this, 'Ezhamankam' , Brahmacharikktittu and Kiiliyiigam are also held as Yazhivadukiltru and Kii[iyii!Jarns are also held as Vazhivadukiittu . Those done as Vazhivadu start in the morning with a commencement (Purappadu) and end at night. Such Kiittus have some special features. On the commencing da y of Mattavilasa, 'Anguliyanka', etc.. the Chakyar, Nambiar and Nangiar com e to the performance area (either the inside hall of temple or Kultampalam ) after takin g a purificatory bath. Taking a lighted wick from the sanctum. the Chakyar lights the stage lamp and the lamp in the greenroom, he also places ashtamangalyam ('eight objects', supposed 10 have propitiatory characteristics). In the green-room, the Chakyar worships Ganap ati and Saraswati, ties a red cloth on the head. The head prie st (mel santi) makes an offering 10Ganapati on the stage, and then the Kiittu starts. At the end of the performance, the Chakyar, accompanied by the Nambiar and Nangiar, goes to the sanctum with a lamp (kiatuvilakku) held in his hands, sounds the bell thrice, prays, accepts tirtha and prasada from the head priest, makes a counter-payment to the priest, circumambulates the inner and outer spaces ofthe temple. comes back to the pe~ormance area, bows down by touching the head and thus ends the Kiittu. For s0..me ~u ttu, the deity should be wors hipped at the temple on the last day also. Prabandha Kuttu IS Supposed to be done by Sutas (sutavrttj) and Kii!iyal!3JTl, an actor's an tnatavrtti), 3.a A~t!\tANSVR MADHAVA CHAKYAR When in the olden days the kings combined these two art forms, they specifically instructed that this temple art should not be taken out of the temple premi ses. Old -timers had made the rule that if such a day comes, when Kfitiyattam is performed with 'illathu kiittu' (performance in a house, i.e. outside the temple), 'rn annathi mattu' (soiled, impure clothes"), 'matarnpi vilakku' (a smaller lamp), and 'as okappoovu' (the asoka flower), then the Chakyar should give a (last) performance for a day at Tiruvanchikkulam temple, hang up all the costumes in the hall (mandapa) and leave for Kasi (Benares). Such was the purity and divinity associated with Kii~ya\lam. If the whole of Ramayana in the three existing plays are to be performed together, there are some special rituals and conditions. The three plays Chuddmani, Abhisheka and Pratimiiare intermingled, and the full play in twenty-one act s, takes a full year 10 perform, For this Kiitiya\lam , an auspicious lime is fixed. On the starting day, the Chakyar keeps ready the traditiona l lamp inilavilukku); a vessel fu ll of paddy (niraporat and a smaller vessel full of paddy (nim itangathi). Alter daily chores like shaving and bath , he makes Brahmins perform kulasa-puja , pays their fees, comes to the green-room, places a lamp tnilavilakkur and a vessel each of paddy and rice, spreads a new cloth, and standing near it starts the Kiittu. He takes cloth and pavitram (kllsa grass or darbha , used in religious ceremonies) from the master of ceremony. (On the stage, the master, yajamana; should face westward when giving these objects). Two coins and a twin cloth is given to the Narnbiar, Nangiar and other members from his community, if any. Now the stage is decorated with a vessel of paddy, a vessel of rice and ashtamangalyam. The pillars, mizhavu and pitha, are covered with a new cloth . The Chakyar takes new clothes and six coins forpavitram from the master of ceremony, goes to the green-room and gives itaway at an auspicious time. Then he ties a cloth on his head, puts on make-up and costume, performs according to the rules of Kiittu Purappadu , does Nityakriya, goes to the temple in his costume. worships the deity, receives tirtha and p rasada, makes a payment as offering, circumambulates and enters the stage from the right side, salutes the stage by touching it and touching his own forehead. and takes off his costume. All Purappadus in Ramayana are performed with these ritu als. When the story of Ramayana is enacted in this way. stretching up 10 one year, Rama's coronation (Pau abhisheka) is presented on the last day. In Atiyantarakkuttu of Vennimala temple (Kottayarn district) the rituals are highly sre:ialized. Starting on Rohini day in Makara (according to Malayalam calendar) and lasting for a full month of twenty-eight days with the Arattu (immersion ceremony. the l ~ t day ofa festival) held on Rohini day in Kumbham, the Kiittu performance is also held SImultaneously with the festival , On Rohini, the commencing day of the festival when the flag IS hoisted, the Sutradhara's Purappadu (Commencement) is performed. The two days following also have Purappadu by Sutradhara. After the nigh t ceremony of the fourth day. the head pnest (me/ sanri) announces the name of the play to be performed (Topatisamvarana IS usually held) . After the Purappadu of Tapatisamvarana, four days oforal narration; the next day on Utram, Vivada; on Atharn, Lakshrnana's Purappad from filS~ aCI of Chudamani; on Chinira Day, Sri Rama's Purappad from the seventh act of Chhdamani; on Choti day, Krishna's Purap pad from Dutavakya; on Visakbam, KlITIYAITA.\l I';TEMPLES JS Kfi !iyli!!am for Second Day, Act One, Dhananjaya; on Anizha Day, Kfi!iyli!!am from Mutalanka (Act I), Samvarana; on Trikketta, Kiiliyli!!am from Sephalikanka: on Moolam Day, Kfi!iyli!!am, Second Day, Act Seven; On Pooratam, 'Swapnakam' : on Tiruvonarn, Duravakyam Kutiyattam; on Avittam, Kiitiyattam from Dhananjaya, Act I; on Chatayam, Kfi \iylil\am from Toranayuddham, Day I; on Pooruruttati. Kalyanasaugandhika; on Unrartati, Samva rana Act II; on Revathi, Dutaghtotkacha; on Asvati Day, Balivadha. (On the day of Balivadha, the Nambiar places his Mizhavu in front of the gopura gate­ tower, sounds it and strikes it like a trumpet. This is supposed to signify Sugriva challenging Bali to fight. This ceremony is seen only in that temple. On Bharani Day, third day from Dhananjaya and on Karttika, Surpanakhiinkam are enacted. (In Vennimala temple, for Surpanakha nkam, Laks hmana's role is not enacted. The deity of the temple is Lakshmana. The actorgoes to the sanctumand enacts the cuttingof the nose-this is also a special feature of this temple . The scene of blood bath (ninam) is also enacted in the temple itself; before the actor returns the Sutradhara performs Purappadu and the Kutiyattarn is over. Thus Vennimala temple used to conduct many plays in parts. All the performances were done in Valiyambalam (the big hall in the temple), for there is no Kuttampalarn in Vennimala. Kii!iyii!!am was regularly performed in Velloor temple ( Vaikkom Taluk) also. On Tlruvonam Day in Karkitakam, Sutradhara's commencement;prabandhafrom second to the eleventh day. On the twelfth day, the Kilttu is decided on. At night during the night ceremony (Athazha puja) when the sanctum is opened for Prasanna Puja, the head priest donning his traditional cloth comes to the northern main hall, sits in front of a lighted lamp and asks three times: 'Have the Chakyars of Tottam, Karthikamartam arrived? Have Ayyanakuzhi, Tangilappalli Chakyars come ?" As the representative of the deity, he then makes the pronouncement that if the chief of the temple gives permission, the actor should get ready to co nunence Kutiyanam. donning the costume of Vidushaka in Saml'arana. On the same day the performance starts with the Vidushaka's Purappadu and goes On to Samvarana, Samudratarananka, Vicchinnabhisheka, Dhananjaya Act II, Dutavlikya, Asokavanikanka, Bhagavaddoolu,Sephalikanka, Mallanka, Ezhamanka, Kapali, etc, These Kii!iyii!!3ffis last till Tiruvonarn Day in Chingam. On thai day, Sutradhara does Purappadu and ends the Kiittu. In this way, each year, Kiiliyli!!3ID used to be performed for Iwenty-eight days. In Tirumoozhikkulam temple. in Vrschikam during the time of 'Sarnkramana' , the SUlradhara should start Purappadu. Then follows Salacharita Kiittu stretching for nine days, If the 'Samkrarnana' is during the night, the members of the family are not SUPPOSed to eat or sleep until the Kiittu commences. During the time of Kilttu. the sanctum is kept open. On the eleventh day, during the night ceremony (arha:ha puja ) When the sanctum opens, the mel santi declares the name of the story to the administrator (Kazhakakkaram) of the temple, and he in tum conveys it to the Chakyar, On that very OI~h t the Chakyar enacts the story prescribed by the representative of the Lord.