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Ritual Arts >Mudiyettu

This is a more elaborate and dramatic form of ritual dance in which the Kali cult emerges in all its entirety. This is Mudiyettu, the portrayal of the fight between Kali and Darika, ending up with the slaying of Darika. Mudiyettu begins with Kalamazhikkal (wiping out of the floor painting). Mudiyettu literally means the placing of the crown on the head. The moment the person impersonating Kali in the ritual dance drama, wears the headgear, he get possessed and remains possessed all through the night in the battle scenes that  ensue. Kali as well as her rival have their attendants and battalions. On the side of the Kali are the Kalis (her attendant spirits), Koimpidar (a character probably representing the virtuous in society) who sides with all righteous causes. Darika is accompanied by Danava, who joins hands with him in the fight with Kali. There is a vigorous acting in the drama which has no set stage for the enactment. The fight take place at several points in the courtyard around the temple. The facial makeup of Kali shows the boils of small pox, dots of white marks, with rice paste. Kali when made up closely resembles the Kalam drawn on the floor

Ritual Arts >Kotamuri

In Kotamuri, the cow is held as the symbol of prosperity of the village. The vegetative cult find its identity with the social context in the form of a ritual in which a young boy is made up as Kotamuri. A protruding wooden cow face is fitted on a frame tucked into the boys waist. A couple or so of jesters wearing masks painted on green sheaths, dance to the rhythm of songs by the accompanying singers. They crack jokes on social themes of immediate relevance. The party visits houses in the village and collects grain and other presents in the name of the cow of prosperity. The following lines from a song on the cow speaks eloquently and succinctly on its beautiful nature.

"Whenever Kotamuri treads  her way,
Grain and money hold their sway". 

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The song deals with how the goddess of prosperity, 'Annapurna' came to Kerala from the land of Aryans. She sets out on a journey in a ship with her retinue and reaches 'Cherukunnu' where she is idolised and  consecrated. There are references in the song about different varieties of rich seeds imported to Kerala.

Poorakali is a temple festival in the northern areas of Kerala, held in the Bhagavathy temples extending for nine days in the Malayalam month of Meenam. This festival celebrates the rejoicing on the rebirth of Kama, the god of love and the enjoyment of people in regaining the feelings of love that were lost when Kama was burnt by the third eye of Shiva. Poorakkali combines in itself, the rich elements of dance, music, martial art, literature, poetry and philosophy. In a particular section in this repertoire, known as 'Andum Pullum', it is described how Shiva and Parvathy in the guise of Pulluvan and Pulluvathy approach Indra, the celestial ruler and procure the land and seeds for cultivation on earth. It also portrays how Indra magnanimously showers rain for a rich crop.

It is a group dance with the dancers holding sword and shield made of wood. With a major stress on the Kerala folk tunes, the rhythmic mould of these being shaped from the meaningless syllables which form the language of the folk instruments. The dancers tie a string of bells around the ankles and they move in a circle. For Parichamuttukali, the dancers have to undergo rigorous training in Kalari.

There exists an elaborate ritualistic ceremony called Pampinthullal (serpent dance) conducted for propitiating the serpent gods. This ceremony takes place during the Malayalam months of Kanni, Thulam, Kumbham and Medam. The Ayilyam (the Aslesha star) on which falls the birthday of serpents is held auspicious for the serpent dance ceremony. The monsoon months are avoided for the ceremony since the serpents would refuse to come out of their subterranean abodes during this season.

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Pampinthullal is conducted in the temporary sheds attached to the serpent grove or constructed in front of the courtyard of the house. A thatched shed with its floor plastered with cow dung and elaborate floral decorations around is made. Kalams of the serpent gods are drawn on the floor using powders of different colours. Bronze oil lamps are lighted in the Kalam with offerings of coconut and rice placed before the lamp. Pampinthullal is made to propitiate all five varieties of serpent gods - Nagaraja (the king serpent), Nagayakshi (the queen serpent), Karinagam (black serpent), Paranagam (flying serpent) and the Anchilamaninagam (five-hooded and jewel-carrying serpent). Pampinthullal usually lasts for five days, with one of the varieties propitiated on each day. The process of the ritual starts with the whole village participating in the festivities, the Mannan plucking the flower, bunches from the areca and the veluthedan (washer man) bringing the mattu (washed clothes). The Pulluvan is the chief priest who officiates at the ceremony and sings about the serpents in chorus to the accompaniment of instruments played by males and females. The ceremony starts in the morning with songs in praise of Ganapathy at the place where the Kalam is to be made. By noon the images of serpents would have been completed on the floor. The musical score in front of the Kalam ensues when the Paniyal (the representative of the family on whom the effects of the rituals are concentrated) is seated. There may be more than one Paniyal known as 'Kappum Kanyavum' (one boy and one girl) sitting, each with a petal of the areca flower as recipients of the blessings of the serpents. They get possessed and dance with the flower in hand to the accompaniment of the music of the Pullavas, the tempo of which goes in arithmetical progression, reaching the maximum pace. The Paniyal enters the Kalam and rubs the figure of the nagas with the flower bunch. In case the Paniyal does not get possessed or in fury, tries to destroy the decorations, the devotees take it as an indication that the rituals have not brought the desired result. The whole ceremony will then have to be repeated.

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