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Theyyam is an IndianHindu[1][2] ritual practised in theNorth Malabar Region ofKerala and some parts of neighbouringKarnataka.
It involves extended chanting ofmantras and ceremonial preparations that typically span 8 to 10 hours. The ritual culminates with the placement of themudi (sacred headgear) on the performer, a moment believed to mark the entry of the deity into the performer's body. As part of the process, the performer consumesmadhyam (toddy), which is believed to suppress personal consciousness, allowing the divine consciousness of the devatha to manifest. This practice aligns with philosophical concepts found in Hindu texts such as theYoga Vasistha, which describe how divine entities (devatas) can enter the human body,parakāya praveśanam at aParamanu level. Hinduism traditionally recognizes a multiplicity of devatas, often cited as 330 million including Brahma, Vishnu, and Maheshwara, rather than adhering to the notion of a singular, all-encompassing god.[3]
Theyyam consists of traditions, rituals and customs associated with temples andsacred groves ofMalabar.[4] The people of the region consider Theyyam itself as a channel to a god and they thus seek blessings from Theyyam. In Kerala, Theyyam is performed predominantly in theNorth Malabar region (consisting of present-dayKasargod,Kannur districts,Mananthavady Taluk OfWayanad AndVadakara AndKoyilandy taluks ofKozhikode). A similar custom known asBhuta Kola is followed in theTulunadu area of the neighbouring Karnataka.[5]
Theyyam rituals are performed by people of variouscastes, including theThiyyar, who are responsible for theKalasham submission, and the Malayar and Vannan communities, who perform the Theyyam. The Thiyyars traditionally hold the right to cancel any Theyyam performance if needed. Castes that adopted Brahmanical customs and acquired revenue titles have historically had no role in Theyyam, as they relinquished their kulam (lineage) and kulacharam (ritual practices) upon integrating into the Brahmanical fold, often in service of Vedic Brahmins. Female members of these castes are traditionally not permitted to enter the sacred space through the front entrance (thirumuttam) and must instead use the rear entrance.[6]
Theyyam season starts on the tenth day of the Malayalam month ofThulam (usually during October in theGregorian calendar, and is known as paththaam-udayam) and lasts up to seven months until the middle of Edavam month (typically late May and June). The lastKaliyaattam for the season is performed atMadayi Kavu andKalarivathukkal Bhagavathy Temple, both being the family shrines ofKolathiri royal family.[6]
There are about 456 types of Theyyams documented. Theyyam is mainly performed by males, except theDevakkoothu theyyam which is performed by women.[7] Devakoothu is performed only in the Thekkumbad Kulom temple.[8]
Theyyam is typically performed by people from castes and tribes like Pulayar, Vannan, Malayan, Anhoottan, Munnoottan, Mavilan, Koppalan, Velan, Chingathan, Kalanaadi, Paravan, and Nalikeyavar. Of these, Kalanaadi people perform only in Wayanad district, while Parava, Pambada, Paanaara and Nalikeyavar perform in places north of Kerala, Mangalapuram (Mangalore) and Udupi districts.
The political customs surrounding Theyyam have changed in modern times. During the period of Brahminical dominance, the Theyyams of their warriors who fought against that power were traditionally performed in the very ancestral households (tharavads) that had betrayed and killed those heroes, later becoming mixed-caste lineages. The ritual involved the Theyyam walking for kilometers until it reached those families and blessing their members, instead of those families coming to seek blessings from the Theyyam, a practice that the younger generation of Thiyyar has now discontinued. As they reason, "IfBhagat Singh were similarly dressed up and made to dance before today'sBritish people, Indians might forgive it, butSikhs never would". For this reason, Theyyams such asKathivanoor Veeran and Koodan Gurunathan have now ended this practice. Some other castes have made it clear to those who claim to be "self-superior" and label others as "mlecchas", if they call others "sewage cleaners", they are ready to accept it, and are even ready to give them paper and a pen to write it down, and sign beneath it if needed. However, they add one condition: those who mock them should refrain from worshipping their kulapurvikar (ancestral deities, such as Vayanattu Kulavan) and aadhi daivam (primordial family deities) in their households. They further stated that such people should worship their own gods, if they have any, instead of mocking them while still worshipping their deities.[6]
Theyyam has a long history. "There can be no doubt," say Bridget and Raymond Alchin, "that a very large part of this modern folk religion is extremely ancient and contains traits which originated during the earliest periods ofNeolithic,Chalcolithic settlement and expression."[9][full citation needed]
There are approximately 400 types of Theyyam, includingKathivanoor Veeran,Vishnumoorthy Theyyam,Vettakkorumakan andSree Muthappan.[8]
Theyyam may have its origins inancestor worship. It has been observed that a vast majority of the Theyyam deities have their origin inThiyya andNair castes. The ancestor worship ritual was evolved into the elaborate dance ritual, that is seen nowadays, by incorporating many other local beliefs.[8]
According toK. K. N. Kurup, it can be said that all the prominent characteristics of primitive, tribal, religious worship had widened the stream of Theyyam, where "even the followers ofIslam are associated with the cult in its functional aspect"[10] and made it a deep-rootedfolk religion of millions. For instance,Bhagavathi, the mother goddesses had and still has an important place in Theyyam. Besides this, practices likespirit worship, ancestor worship, hero-worship,masathi-worship,tree worship,animal worship,serpent worship, the worship of the goddesses of disease and the worship of Gramadevata (Village-Deity) are included in the mainstream of the Theyyam. Along with these gods and goddesses there exist innumerable folk gods and goddesses. Most of these goddesses are known asBhagavathy.
Different branches of mainstreamHindu religion such asShaktism,Vaishnavism andShaivism now dominate Theyyam. However, the forms of propitiation and other rituals are continuations of a very ancient tradition. In several cult-centres, blood offering is seen, which is forbidden inBuddhism andJainism. In such centres, separate places outside the precincts of the shrine are selected for blood offerings and for the preparation of the traditional Kalam (square made for this sacrifice occasion) known asVadakkan Vathil. The Theyyam deities propitiated throughcock-sacrifice will not enter such shrines. This religious cockfight over blood sacrifice, which does also include thecockfight as a blood sacrifice, is a prime example of "cultural synthesis of 'little' and 'great' cultures".[11]
On account of the late revival of the Vaishnavism movement in Kerala, it does not have a deep impact on Theyyam. Only a few deities are available under this category. Two major Theyyam deities of Vaishnavism areVishnumoorthi andDaivathar. Vaishnavism was very popular in theTuluva region in the 13th century when it came under the rule ofVishnuvardhana of theHoysala dynasty. He was a great champion of Vaishnavism. Most probably he was initially deified as Vishnumoorthi and incorporated into the Bhoota cult of theTuluvas and then further incorporated as a prominent folk deity into the Theyyam as well. To some, the legend of Vishnumoorthi is symbolizes the god's migration fromMangalore toKolathunadu.
All other categories of Theyyam deities can be classified underShaivism orShaktism. Even spirits, ancestors, heroes, and animals are deified and included in those categories. Briefly, Theyyam provides a good example for the religious evolution of, and the subsequent different stages in modernHinduism, with the overall understanding that within Hindu syncretism lay propitiation as ancient practices and rituals of ancient worship intended for the blessings of the supernatural not unlike, "inIndus Valley and other ancient civilizations, mother goddess had been invoked for fertility and prosperity".[12]
Out of devotion, ruling clans established their own shrines and Kavus for Theyyam deities where non-sattvic rituals and customs are observed. The goddesses like Rakteshwari, Chamundi, Someshwari, Kurathi, and the gods like Vishnumoorthi are propitiated in these household shrines. There, the Theyyam dancers appear during the annual festivals of gods and goddesses. The rituals in such shrines are different from those of the Brahmanical temples. This fusion in the later stage is an indication of the gradual introduction of civilization into Southern India with increasingAryan influence and assimilation of local cultures into thelarge Vedic religion.[13]
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The dance or invocation is generally performed in front of the villageshrine. It is also performed in the houses asancestor-worship with elaborate rites and rituals.
There is no stage or curtain or other such arrangements for the performance. The devotees would be standing or some of them would be sitting on a sacred tree in front of the shrine. In short, it is anopen theatre. Performance of a particulardeity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The chief dancer who propitiates the central deity of the shrine has to reside in the rituals. Further, after the sun sets, this particular dancer would not eat anything for the remainder of that day. His make-up is done by specialists and other dancers. The first part of the performance is usually known asVellattam orThottam. It is performed without proper make-up or any decorativecostume. Only a small, redheaddress is worn on this occasion.
The dancer along with the drummers recites the particularritual song, which describes the myths and legends, of the deity of the shrine or thefolk deity to be propitiated. This is accompanied by the playing offolk musical instruments. After finishing this primary ritualistic part of the invocation, the dancer returns to thegreen room. Again after a short interval, he appears with proper make-up and costumes. There are different patterns offace painting. Some of these patterns are calledvairadelam,kattaram,kozhipuspam,kottumpurikam, andprakkezhuthu. Mostly primary and secondary colours are applied with contrast for face painting. It helps in effecting certain stylization in the dances. Then the dancer comes in front of the shrine and gradually "metamorphoses" into the particular deity of the shrine. The performance signifies the transitional inversion, reversal, and elevation of status denoting the anti-structural homogeneity of Theyyam.[14] He, after observation of certain rituals places the head-dress on his head and starts dancing. In the background, folk musical instruments likechenda, tudi, kuzhal and veekni are played in a certain rhythm. All the dancers take a shield and kadthala (sword) in their hands as continuation of the weapons. Then the dancercircumambulates the shrine, runs in the courtyard and continues dancing there. The Theyyam dance has different steps known asKalaasams. Each Kalaasam is repeated systematically from the first to the eighth step of footwork. A performance is a combination of playing of musical instruments, vocal recitations, dance, and peculiar makeup (usually predominantly orange) and costumes.[15]
There are more than 400 types of Theyyam, 112 of which are famous.[16] Some of the famous Theyyams Are:
The Kathivanoor Veeran theyyam is performed in the memory of the greatThiyya community warrior Mandhappan Chekavar.[17][16]
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Muchilot Bhagavathi is a virgin goddess and thetutelary deity of theVaniyas of North Malabar. According to local legend, she was a Brahmin woman born in themana calledManiyottu in the village of Peringellur, nearTaliparamba[18] and elevated to the status of a deity. According to a holy manuscript (Pattola), Muchilot Bhagavathi is theKali Yuga avatar of the goddessesSita of theTreta Yuga, Maya of theDvapara Yuga, and Gayatri, who appeared beforeSageVishvamitra. While travelling on Earth, she is believed to have rested at the home of Muchilot Pada Nair, who was a soldier belonging to the Muchilot clan amongvāṇiyas.[19]
Muthappan theyyam consists of two divine figures and is considered as the personification of two divine figures – the Thiruvappana or Valiya Muttapan (Vishnu) and the Vellatom or Cheriya Muttapan (Shiva).[20] Muthappan Theyyam is different from other theyyams as it is performed all around the year. Muthappan Anthithira is another theyyam dedicated toMuthapan. The uniqueness of it is that it is performed only once in all the Muthapan temples.[16]
Kandanar Kelan Theyyam is a Theyyam mainly performed in the Payyannur and Taliparamba areas.
This is the most popularVaishnava Theyyam. This theyyam narrates and performs the story ofHiranyakashipu's death byVishnu in his avatar ofNarasimha. Because of this, Vishnumoorthi is also called Narasimhamoorthi.[16]
Puthya Bhagavathi' is a Theyyam performed in North Malabar and is also known as Puthya Bhagavathi'Puthyayotra (Puthya Bhagavathi Thira). Cheerumba Bhagavathi is considered to be the younger sister of Puthya Bhagavathi. Sri Bhadrakali herself is generally considered to be Puthya Bhagavathi.[21]
Gulikan representsYama, the Hindu god of death. The Benkanakavu (Venganakavu) in Nileshwar is the most famous temple dedicated to Gulikan.[16]
Kuttichathan is a famous theyyam.[16] The theyyam is associated with the Brahmin Family of Kalakatt Illam situated inPayyannur. It is believed thatKalakattachan, angry on him being a threat to his respect in the society, tore Kuttichathan into 396 pieces. There emerged 396 Chathans from the torn pieces and set theNambudiri's house to fire, and burnt nearby Brahmin houses. It is claimed that Kuttichathan can grant any wish if the devotee prays to him with faith.[16]
Chamundi theyyam is majorly of three types, namely Madayil Chamundi,[16] Rakta Chamundi,[16] and Kundorra Chamundi.[16]
Chamundi is identified withKali, who slew theasurasChanda and Munda and drank the blood of the asuraRaktabija, without letting a drop fall to the ground. Chamundi is also known as Rakta Chamundi (Blood Chamundi) and Rakteshvari (Goddess of blood) because she is immersed in blood. It is said that in the battle with the asuras, Kali followed them to theunderworld to resume the fight. This form is called Patalamurti and Madayil Chamundi because she travelled to the underworld.[16]
also known by the namesKundadi Chamundi andKundoor Chamundi, is believed to be a fierce manifestation of Goddess Kali, who slew the demonDarikasura. This Theyyam is traditionally performed by theVelan community. The goddess is revered both as avillage guardian deity (Naattu Paradevatha) and ahousehold deity (Veettu Paradevatha). This theyyam was built by Velanmar.[16]
She is considered part of the group ofwarrior goddesses. According to legend, during the greatDeva-Asura war, the goddess took on many forms to vanquish the demons. One of these significant manifestations wasGoddess Kaushiki, and Kundora Chamundi is believed to be a partial incarnation (Amsha Avataram) of Kaushiki, embodying the fierce aspect ofChamundi Devi.
It is said that Kundora Chamundi is none other than the form ofKali who defeatedDarikasura. Before confronting Darika in battle, the goddess, disguised as a beggar woman, trickedDarika's wife, Kalakeyi, and her daughters into revealing a secret threefold mantra. Mounted on aVetala (spirit), the goddess engaged in a fierce battle with Darika for seven days and nights. On the eighth day, she pinned the demon onto the Vetala's extended tongue, seized him by the hair, and finally slew him by slashing his throat – marking her ultimate triumph over evil.
Puthiyaramban is regarded to have been the greatest warrior of the region called Allada Swaroopam, possessing supernatural power as well as knowledge and skill inkalari (a regional martial art). After a great victory, he is believed to have been betrayed in Nanummel Kali (Kalari). He was posthumously deified. Puthiyaramban Theyyam is performed in Puthiyaramban Tharavadu,Sree Kappattu Kazhagam, Sree Kannamangalam Kazhagam and Udinoor kulom.
