Temple Rituals of Thrissur Pooram

The temple rituals in connection with Pooram are more or less same through out Thrissur though there will be slight difference depending on which side (North, South, West or East) the deity is facing. Some of the common rituals are discussed here.

Kodiyettam - The Kodiyettam or flag hoisting ceremony is conducted in three different modalities

1. ‘Dhwajadi’
2. ‘Anguradi’
3. ‘Padahadi’

Of these, ‘Padahadi’ is the oldest form and more liberal. Flag hoisting is done with out any tantric rituals. The post is to be fixed in front of the Valiya Balikallu and in between outside ‘Balivattom’ and ‘Anakoottil’. The length of the flag post should be less than the distance between valiya balikallu and nalambalam. The length of the flag stick should be less than the length of fins of nalambalam and the stick should point towards north. The surface of the arecanut tree should be chipped in eight sides. The post should be decorated with Darba, mango leaves and banyan tree leaves in odd counts.

Utsava-Bali is another ritual in connection with the Pooram celebrations. Right from the day of Kodiyettam to the last day of festival, ‘Bali’ is performed with diligence. The Thidambu (the replica of deity) is taken out from the shrine with special vadhya called ‘Valiyapani’. There are specific spots marked on ‘Balikallu’, round the shrine and outside the Nalambalam. The ritual is pouring ‘havis’ (rice with flowers, etc) in these spots. Bali is actually the 'offering' to natural and supernatural powers, both good and bad, with respective mantras.


Aarattu - The Thidambu is taken out to the Kadavu (special place in the temple pond) accompanied by the vadhya (mainly chenda). After pooja, the thantri (the special priest) immerses the Thidambu in the water. Later the Thidambu will be applied with cosmetics such as sandal water, rosewater and turmeric. With new dress (Pattu) and after some rituals and offerings, deity will be taken back to temple. This is a daily routine during the 8 days of Pooram festival.


Poorapara - Most of the festivals in Kerala are related to harvest. During the 8 days of Pooram the ‘Thattakam’ (domain of influence) will be in festive mood. All the houses will be painted and decorated. The streets will be cleaned and illuminated. The god will travel along the streets in pompous procession and devotees will present their offerings (paddy, fruits etc). The concept is that the presiding deity of that place is personally verifying the well being of his/her devotees and solving the grievances, if any, before pooram.


Grama-Bali - The ‘Bali’ is performed after the night rituals in the temple on the last day of Pooram. It is believed that holy sprits are stationed at entry points of the temple, on certain trees, ponds, near other temples of the village, etc. The chief priest and thantri presents the offerings at these points in the presence of the deity, who is traveling along with them. This ritual is nearly extinct because of the vast area that needed to be covered during this process.


Kodikutthu - This the last program of Pooram festival. After the holy dip in the Arattu kadavu, diety travels back to temple. In between Arattu kadavu and the flag post, Kodikalpooram is conducted, which is a small procession with vadhyam, accompanying the diety. After the pooram the elephant, which is honored to carry the Thidambu, uproots the flagpost. After the Sreeboothabali the diety enters the shrine with ‘Uttram pattu’, marking the end of the festival.

Temple Arts

Temple Arts

Natya sastra: All temple arts are based on Bharthamuni’s Natya Sastra written around 200 B.C. Natya Sastra is a comprehensive book on arts and its science. The book starts with the origin of “Drama”. The format of Play writing with minute details of semantics, morphology, dialects and their phonology are dealt in length. Acting (or dancing) with in-depth knowledge of 9 emotions, 8 moods, proper dress codes, makeup, production, rehearsal and even criticism are discussed in this treatise. The 28th chapter is dedicated to Music only. This authentic script on art is yet to be surpassed globally.

Koodiyattam

Koodiyattom is a Sanskrit Drama with Regional idioms. This 1400 plus years old temple art is supposed to be the fore runner of dramatic arts of India. Koodiyattom literally means combined acting and is performed in place calledKoothambalam, a temple theater exclusively designed to perform such arts. There was a dramatic change in the history of this medieval art when it came out of Koothambalams and was performed in open air. Normally performed by Chakyiar community of kerala till 1950’s, Koodiyattom was opened to all through the courses offered by Kerala kalamandalam, a deemed university in Thrissur.

The main actor in Koodiyattom will be the Chakyiar and female roles are normally done by Nambiar women known as Nagiyar. Nambiar men will play Mizhavu, the main musical instrument which is a copper drum placed in a wodden frame, mizhavara. Other instruments used are kuzhithalam (a type of cymbal), Edakka (drum instrument with soft percussions),kurumkuzhal (wind instrument) and Sankhu (conch – another wind instrument).

The play will start with few solo notes in Mizhavu as actors pray behind the curtain for the blessings of the god in front of kalivilakku. Koodiyattom may last for several continuous nights going through minute details of text. Off late a monotone running commentary was added to the show in vernacular. This is a modification with the addition of a new character Vidooshaka (the court jester/wise man), a solitary role and his role may extent for long.

Facial makeup, costumes and ornaments used in Koodiyattom are more or less similar to those used in Kathakali. No special vocalist is involved in Koodiyattom. The actors – both male and female- recite Sanskrit slokas according to text of the drama, like chanting Vedic Hymens. The signs and gestures, the movements and facial expressions are codified centuries ago following Natyasastra by Bharthamuni”. The performers consider the presentation as a visualyagna. It is thrilling experience to watch maestro’s like Guru Mani Madhava Chakyiarperforming Ekalochanam”,a facial expression, with no parallel, in acting Ekalochanam”, Have a close up photograph of this expression, vertically cut it in to two and feel the difference. One part will show Hasyam(ridicule, humor), while the other half of the face will show Roudram (anger, wrath). Bharat Premiji, Stage & Cine artist, was another master in this intricate and precise act.

Few years back UNESCO has recognized Koodiyattom – a classical theatre form, as an oral and intangible heritage of Kerala.

Mizhav in Mizhavara	Seetha
Ravanan	Vidhooshakan

Ashtapadiyattam

Ashtapadiyattam: This unique theatrical art has played a major role the evolution of medieval temple art forms in Kerala. Ashtapadiyattam is based on renowned lyrical play, Gita Govindamof Jayadeva, compiled around 12 AD, which describes the relationship between Sree Krishna and the gopikas (female cow herders) of vridavanam. The text is dived into 12 chapters and 2 sub-divisions called Prabhandas. Prabhandas contain couplets called Ashtapadas. There are only five characters in Ashtapadiyattam - Krishna, Radha and three females. The recital also elaborates the eight moods and nine emotions of Heroine Radha, the Ashta nayika in its verses. The portrayal of this concept “Ashta nayika” is the inspiration to many compositions and choreographic works in Indian classical dances

Instruments used: Chenda, Madhalam, Elathalam and chengala.

Ashtapadiyattam is now extinct.

Krishnattam

Krishnattam: This enchanting dance drama was created as votive offering to Lord Krishna.Krishnattam is a masterly blend of classical and indigenous art styles, based on lord Krishna’s life presented in eight episodes performed during eight consecutive nights. The poetic text of this dance drama is based on “Krishna Geethi” composed by Manevendra Raja, Samoothri of Calicut in 1654 AD. The sweetness of Geetha Govindam, the sublime philosophy of SrimadBhagavadam, devotion of Narayaneeyam are well combined in this cosmic play. Krishnattam draws inspiration from a dasrhan of Lord Krishna with the help of Vilwamangalam Swamiyar.

Colorful gorgeous costumes and head dresses, intricate facial make up, narration in sopanamstyle makes Krishnattam an unforgettable experience. More importance is given to “nritta” (pure dance) that too in group. The act “Mullapoochuttuga” in “avatharam” and “Rasakrida” is the cream of Krishnattam and is unparallel.

Ramanattam

Ramanattam: is the dance-drama based on the life of Lord Rama. As per legend, Ramanattam originated from the rivalry between two Kings. When the Raja of Kottarkkara, a southern Kerala king, requested an audition of Krishnattamat his palace, Samoothiri of Calicut rejected it saying that the southerners are yet to be matured. Humiliated, kottarakaraking formulated “Ramanattam” in line with “Krishnattam”. It is also a serial enactment of eight nights. The notable difference was that the text is in Malayalam and an enchanting facial make was developed discarding the earlier mask. Hand gestures and bhavabhiniya are the highlights ofRamanattam. Ramanattam played the major role in the evolution of “Kathakali”.

During the natural evolution from Koodiyattam to Kathakali, “Koothu” and “Thullal” was popularized as supplementary/complimentary to these temple arts.

Koothu

Koothu: is a classical art form known popularly known as “Chakyar Koothu / Nangiyar koothu” depending on the gender of the performing artist. Koothu is a solo dance accompanied by a Nambiar beating a Mizhavu and Nagiyar woman on cymbals exactly like in “Koodiyattam” and is definitely within the frame work of “Thandava” dance style of “Natyasastra”. Narrating in Sanskrit first and then explaining in Malayalam, the actor has got ample opportunity to criticize / comment on various contemporary issues. Serpentine type head gear in Koothu represents Anantha, the legendary serpent with one thousand heads and that many tongues. Double edged black mustache and sandal paste all over the upper body with red lines, are notable factors of makeup in Koothu.

In Nangiyar koothu Nambiar women uses elaborate makeup, lots of ornaments and a head cap with a small serpent. “Sree Krishna charitham” (epic of Lord Krishna) is the main text forNagiyar koothu.

Thullal

Thullal: Thullal is classified in to three namelyOttan, Seethankan and Parayan of whichOttanthullal is more popular.

Known as poor man’s Kathakali, Ottanthullal is very satirical in nature. Kunjan Nambiar, a malayalam poet, who was on Mizhavu during a “Koodiyattom” play, dozed off during performance and was ridiculed by Chakyar. The very next dayNambiar chartered this act thullal, outside the temple as a protest. During the course of time “thullal” became a perfect solo dance/drama. Dance songs are in simple Malayalam. With Gaudy epaulets, gilled crowns, beaded breast plates, colorful skirts and painted faces, Ottanthullalemploys elaborate make up. Even though thullal gives importance to dance, very often it turns monotonous due to lack of variety. To compensate the actor add more satire and instant humor.

Kalamezhuthu

Kalamezhuthu is unique temple ritual aimed to propitiate gods or to exorcise evil spirits. This is an elaborate picturesque powder design drawn either on temporarily sanctified floor or special area reserved for this in temple or *sacred groves* (*kavu*) of Kerala. This colorful ritualistic art is drawn using the following five earth colors, (growth of life in the nature) all prepared from natural products.

• White from rice flour

• Black from charcoal powder/burnt husk

• Yellow from turmeric

• Green from powdered green leaves (Leaves of “Kunni” / “manjadi” / “vaka” are preferred)

• Red/dark red, made from a fine mixture of lime and turmeric powder.

The primary colors green and yellow, and secondary colors of red and black, and the neutral color white represents five fundamental elements.

• Yellow – earth

• Green -air

• Red –fire

• Black-sky

• White- water.

The design on the floor is called “ kalam” and the ritual is called “Kalamezhuthu “ .

The figure and nature of the kalam depend on the purpose of the kalam. Kalams are written as a Geometrical shape (yantra / chakra) or as portrait. They are generally classified into Tantric Kalam & Magic Kalam. Tantric kalams are symbolic representation of the presiding deity. Magic kalams’ representation varies upon the purpose of magic – whether it is white magic, black magic or in between spell. White magic is Votive/ Devotional Kalams, whereas in-between spell is exorcist ritual and Black magic is destructive.

The in-between spell and black magic are inter linked .

The intricate pattern is developed from a central line growing outwards patch by patch. The upper part of the body is drawn in 3 dimensions in some kalam. The most popular forms are *Badrakali-kalam*, *Naga-kalam*, Yakshi-kalam, *gandrava kalam*, *sasta kalam*.

Special mentions should give the varieties of Sarpa-kalam like *Ashta-naga-kalam* (8 intertwined serpents), Karinaga-kalam* (black kalam), *Anjanamani-kalam* (serpent carrying anjanam, a crystal, on its head) and *devi kalam* with 64 hands carrying various armaments and head of Darika drawn for *“Theyyattu”* and *“Mudiyettu”*.

After inviting the deity to the kalam with pooja and paying the offerings, songs praising the deity are recited with thalam. The duration of the ritual may change according to the type and purpose of kalam. Finally the kalam is erased with song and dance. In a *Nagakalam*, the rhythm of instruments with music lifts the psyche of the young girls sitting on the kalam and gradually elates to trance. During the course of the song, the girl, moving in serpentine style, erases the kalam with her long hair (or coconut leaves).

Bhadrakalikalam is drawn to the folk ritualistic theater play “ *Mudiyettu*”. Here a drama is slowly unveiled around the heroic fight of lord *Badrakali* , the mother goddess, against *Darika*, the demon. Since *Badrakali Kavu* or *Nanadurga temple* under the tree and *Nagathara / Serpakavu*(Naga- the serpent) are the oldest temple worship concepts of Kerala,Kalamezhuthu is centuries old art and architecture.

Some salient features of Kalamezhuthu:

• 1. It is named as “ezhuthu” (writing) and not Drawing. So it is more authoritative.

• Even though the kalam is to be erased within a short time, perfection is never compromised in Kalamezhuthu.

• Sketches are not used. In portrait type a central dot-line is drawn (Sutra pada rekha in Architecture / life line in palmistry).

• There is no erasing during the course of Kalamezhuthu.

• The upper torso of the deity is written in 3 dimensional, which gives an exotic feeling.

• In bhadra-kalam, rice is used to elevate right breast, while paddy is used for left one. The former represent “Asura bhava” while latter “Deva Bhava”.

• Some kalams are bi-dimensional.

• The kalams, in total, are Eco-friendly.

• The green color is specifically charcoal green, color of Lord Krishna (Shyama).

• In Naga-kalam, vaka (for green) is not used as it is an antidote.

• The artists mix and write 11 colors out of these 5 fundamental colors with ease.

• While western Cubism is superficial, the Kalamezhuthu, with its geometrical figures and amazing color sense presents in-depth view.

Kalamezhuthu, is definitely the fore runner of many temple arts namely, mural painting and sculpturing. Koodiyattom, Kathakali, etc employs same color codes and techniques to their make-up.

Kalamezhuthu the perfect frame
Open air, dark midnight sky, complete silence except the vibrant music from “ishara”, gentle breeze, light and shadow from “pantham” ( a torch made out of cloths wound conically over spiral rod on a brass vessel), the flat treatment of Naga-kalam / three dimensional pictures of devi-kalam , the angle of depression.

The spectators may turn psychedelic and may feel that the picture will turn live/personify any moment.