Though all Ampalavāsis have to do service in temples, they have sufficiently distinct functions to perform. Pushpakans and Nambeesans are teachers in the Pathasalas or Mutts and suppliers of flowers to temple.[1] Chakyar stages dramas calledKooth andKoodiyattam.[4] Marars are temple musicians. Variar and Poduval performed managerial and executive functions of temple committees and served as storekeepers and watchmen.[5]
Social status
Their ritual rank in Hinduism lies between that of aBrahmin andNair.[6][7][8][9] Ambalavasis who wear the sacred thread are Brahmins, while those who do not wear the thread, are not considered Brahmins in temple rituals. Ambalavasis were known as Antharala Jathikal.[citation needed]
Kazhakams
Kazhakams orAmbalakkazhakams refer to associations of Ambalavasi peoples in a temple to perform specific duties in the temple.[10]
Temple arts
KoodiyattamTheeyattamIdakka artist Sri. Chendamangalam Unnikrishna Maarar in action - In the middle.
Traditionally, Ambalavasis are associated with various types of temple arts. Earlier, each of these temple arts were performed only by specific Ambalavasi castes. Now there is no community or caste barrier.[citation needed]
^"The 'Florance' of Nangiar Koothu". No. 10 September 2015. Mathurubhumi Daily. 10 September 2015. Retrieved17 February 2019. Quote: Nangyarkoothu is a traditional artform performed by the women of the Ambalavasi Nambiar community of Kerala, called Nangyaramma. However, people from other castes also has been performing the artform since the second half of the 20th century.
^Dutta, Madhumita (2008).Let's Know Music and Musical Instruments of India. Star Publications. p. 16.
^Nampoothiri, M.V. Vishnu (2012).Folklore: The Identity of Culture. Department of Information & Public Relations, Government of Kerala. p. 73.
^V.T., Induchudan (1969).The Secret Chamber: A Historical, Anthropological & Philosophical Study of the Kodungallur Temple. Cochin Devaswom Board. p. 260.
