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 . Theyyam is usually performed by lower caste communities like the Vannan, Malayan, Velan, Kopalar, Pulayar etc . From the start, the whole performance begins by the invocation of the deity, the description of the story which is to be performed, the ecstatic dance and last the offering of blessings by the performer/ Kolakaran to the devotees . The Theyyam festivities are about two to five days and sometimes more . The performance of the Theyyam is accompanied by musical instruments like Chenda, Elathalam, Kurumkuzhal, and Vekku Chenda . The initial part of the Theyyam is known as Vellattam / Thottam and for some Theyyams will be having the function of receiving Podiyilla instead of Vellattam . Once the ritual song or the Thottam is over, the performer who is known by the name Kolakaran comes up with the make-ups and costumes ready to perform . The colours used for the make-ups is from the nature itself which includes Chayilyam, Karimazhi, Maniyola, Aripodi etc . The costumes of Theyyam as of the make-ups is made International Research Journal of Management Sociology & Humanites ( IRJMSH ) www.irjmsh.com Page 11 IRJMSH Vol 10 Issue 4 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) from or taken from nature making use of every natural elements available . It includes coconut leaves, barks of banana tree and areca nut trees, bamboo, dried grass, flowers etc . They also have head dresses which is much elaborate with glasses and other accessories . It’s already mentioned that there are about four hundred types of Theyyams and each of them will have their own facial make-ups, ornaments and costumes . Once the performance kick start, at certain stage the performer gets possessed and starts the movements by shaking his legs and ultimately shaking whole of his body . This shakings vigour increases as the sounds of the drums and other instruments becomes louder . “ Enacting the legend as narrated in the Thottam, the actor / performer gets possessed and becomes the Theyyam ”1 . These Theyyams gives assurance to the village and its people that all the problems of them will be taken care off . When it comes to Muchilottu Bhagavathy Theyyam, there are many stories and myths associated with it . The main story tells us that it all happened some centuries back in a village called Perinchallore . This village was famous for the supremacy of the priestly Namboothiri caste and they were renowned scholars in the field of literature, Vedas and grammar . Scholars from different regions come to this village for having debates with the Namboothiris of Perinchallore to prove their wisdom and to earn fame . Amongst all these priestly families, Rayaramangalath Mana was the most reputed family . There happened a situation in that family that there was no successors and they prayed hard to their patron deity Rayaramangalath Bhagavathy to bless them with a son . Instead of boy, a baby girl was born, whom they named as Daivakanya which meant the heavenly girl . She was extraordinarily brilliant and she couldn’t be defeated in any of the debates . It was the custom in that village to marry off the girls when they turned twelve years of age, Daivakanya agreed for it but under one condition that she would marry only a person who would defeat her in the debate . The debates started and for the first two days no one could defeat her . Being jealous of her talent and skill, the other Namboothiris conspired to get rid of her and on the third day of debate, they asked her which was the most significant “rasam” and what was the greatest pain known to humans . She replied that the most significant rasa is that of the romantic love and the greatest pain is the pain a woman experience during child birth . Taking this as the right opportunity the conspirers blamed her by saying how can a virgin answer so perfectly about the above questions unless she have experienced those . The wedding arrangements were cancelled and she was banned and expelled from the Perinchallore village . Daivakanya left the village and sat down for an intense prayer at Eachikulangara temple . On the 40th day of her prayer she felt an strong urge to leave her body by jumping into the fire to prove her innocence . The next day at the hour of Brahmamuhurtha, she 1 Jiwan Pani, World Of Other Faces Indian Masks,The Director Publications Divisions,Ministry of I & B , New Delhi, 1986,p.46. International Research Journal of Management Sociology & Humanites ( IRJMSH ) www.irjmsh.com Page 12 IRJMSH Vol 10 Issue 4 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) reached a place called Karivelloore, where she decided to end her life . She made a pyre and jumped into it leaving just an anklet of hers behind . But the flame was not enough, therefore she asked a Muchilotan, a person from Vaniya community to pour the oil which he was carrying in a pot into the pyre . That man sensed divinity in her and did what she asked him to do . She blessed him and vanished in the flames . After all these incidents the Muchilotan went back home, enroute the journey he noticed that the pot in which he carried the oil was following him . According to the legends the scholars who conspired against Daivakanya met with unceasing misfortunes and diseases and its said that Daivakanya was actually Goddess Parvathy herself, who was born in human form to destroy the arrogance of the scholars of Perinchallore and dwells as Muchilottu Bhagavathy to those who seek her blessings . Thus ends the story and the legends about how the Muchilottu Bhagavathy Theyyam evolved and the background of this Theyyam . Till this date, Muchilottu Bhagavathy Theyyam is performed in various parts of North Kerala with much festivities and its one of the most elaborate and gorgeous of all the Theyyams . We can see many temples and kavus dedicated to Muchilottu Bhagavathy in North Kerala especially in Kannur and most of these temples are managed by people from the Vaniya community . This Theyyam mesmerizes the viewers with its feminine looks, movements and its fierce eyes and it can be said that it is gentle and intensely fierce at the same time . In every sense, Theyyam is a mesmerizing art form, a feast to the eyes which can’t be missed . Its aching to see that this precious art form is being neglected and unnoticed in front of the present civilization making it pertinent for every Keralite to make sure that this rich cultural masterpiece never loses its purity, importance and this legacy should pass on to the future generations as well . Keywords : Thulam, Kolakaran, Chayilyam, Karimazhi, Maniyola, Chenda, Elathalam, Kurumkuzhal, Vekku Chenda, Rasam, Vaniya, Vannan, Malayan, Velan, Kopalar . REFERENCES: . Rizvi, Aliyeh ( 2015, May 14) . Coming Face To Face With Kerala’s Fierce Gods And Goddess . Epic Journals . Gopalakrishnan, K.K ( 2018, October 20 ) . They Said She Was Only A Woman . The Hindu . Santhakumar, Anoop ( 2018, March 1 ) . Theyyam- Popular Traditional Ritual Art In Malabar . International Research Journal of Management Sociology & Humanites ( IRJMSH ) www.irjmsh.com Page 13 IRJMSH Vol 10 Issue 4 [Year 2019] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) . Jayarajan, V . Theyyam-A Divine Dance Tradition Of Kerala . Delhi. 2008. Indira Gandhi Rashtriya Manav Sangrahalaya. Cheerath, Bhawani & Komath, Rajesh . Theyyam : The Other Gods .2015. Stark World Publishing Private Limited. International Research Journal of Management Sociology & Humanites ( IRJMSH ) www.irjmsh.com Page 14 .. 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