Kannur is named as the City of Looms and Lores, on account of the prospering handloom industry and people craftsmanship called Theyyam. Theyyamis a ceremonial work of art enveloping dance, music and emulate, where the craftsman wears the pretense of God. Kannur is accepted to have its name from being the place that is known for Kannan or Krishna.
Theyyam (Teyyam, Theyam, Theyyattam) is a famous custom type of dance love in Kerala and Karnataka, India. Theyyam comprised of a few thousand-year-old practices, ceremonies and customs. The entertainers of Theyyam have a place with the lower rank local area in antiquated standing design shaped by Namboothiri brahmins in Kerala, and have a significant situation in Theyyam. Individuals of these regions consider Theyyam itself as a channel to a God and they accordingly look for endowments from Theyyam. It is performed by fundamentally by guys, aside from the Devakoothu theyyam. The Devakoothu is the solitary Theyyam custom performed by ladies. It is performed uniquely on the Thekkumbad Kulom sanctuary.
In Kerala, Theyyam is performed prevalently in the Kolathunadu territory (comprising of present-day Kasargod, Kannur Districts, Mananthavady Taluk of Wayanad and Vadakara and Koyilandy Taluks of Kozhikode) and in Karnataka in South Canara and Kodagu. A comparable custom is continued in the Mangalore area of adjoining Karnataka known as Bhuta Kola.
History
"There can be no uncertainty", say Bridget and Raymond Alchin, "that an exceptionally huge piece of this advanced people religion is amazingly antiquated and contains characteristics which began during the most punctual times of Neolithic, Chalcolithic settlement and expression."[full reference needed]
There are roughly 400 sorts of Theyyam, including Vettakkorumakan, Vishnumoorthy Theyyam, Muchilot Bhagavathi theyyam And Sree Muthappan Theyyam.
Characterization of sub-religions
As per K. K. N. Kurup, it tends to be said that every one of the unmistakable attributes of crude, ancestral, strict love had augmented the surge of Theyyam, where "even the devotees of Islam are related with the faction in its practical perspective" and made it a profound established society religion of millions. For example, Bhagawathi, the Mother Goddesses had and still has a significant spot in Theyyam. Other than this, the practices like soul love, predecessor love, legend love, masathi-love, love of nature, creature love, snake love, the love of the Goddesses of infection and the love of Gramadevata (Village-Deity) are remembered for the standard of the Theyyam. Alongside these Gods and Goddesses there exist multitudinous society Gods and Goddesses. A large portion of these Goddesses are known as Bhagavathy (the Mother-Goddess that is the Divine and United type of the three head Goddesses to be specific, Brahmani (Saraswati), Vaishnavi (Lakshmi), and Shivani (Parvati).
Various parts of standard Hindu religion, for example, Shaktism, Vaishnavism and Shaivism currently overwhelm Theyyam. In any case, the types of satisfaction and different customs are continuations of an exceptionally antiquated practice. In a few clique communities, blood offering is seen, regardless of being taboo in sattvic Hinduism, Jainism and Buddhism. In such focuses, separate spots outside the areas of the altar are chosen for blood offering and for the planning of the customary Kalam (Square made for this penance event) known as Vadakkan Vathil. The Theyyam divinities satisfied through cockerel penance won't enter such hallowed places. This strict cockfight over blood penance, which does likewise incorporate the cockfight as a blood penance, is a perfect representation of "social blend of 'nearly nothing' and 'incredible' societies".
Because of the apparently late restoration of the Vaishnavism development in Kerala, it doesn't profoundly affect Theyyam . A couple of divinities are accessible under this class. Two significant Theyyam gods of Vaishnavism are Vishnumoorthi and Daivathar. Vaishnavism was mainstream in the Tuluva district in the thirteenth century when it went under the standard of Vishnuvardhana of the Hoysala tradition. He was an extraordinary hero of Vaishnavism. Most likely he was at first idolized as Vishnumoorthi and fused into the Bhoota religion of the Tuluvas and afterward further consolidated as a noticeable society god into the Theyyam too. To a few, the legend of Vishnumoorthi is represents the God's relocation from Mangalore to Kolathunadu.
Any remaining classifications of Theyyam divinities can be grouped under Shaivism or Shaktism. Indeed, even spirits, precursors, saints, and creatures are exalted and remembered for those classifications. Momentarily, Theyyam gives a genuine guide to the strict advancement of, and the ensuing various stages in current Hinduism, with the general arrangement that inside Hindu syncretism lay satisfaction as antiquated practices and ceremonies of old love proposed for the endowments of the extraordinary much the same as, "in Indus Valley and other old developments, mother goddess had been conjured for ripeness and success".
Support
Out of commitment, administering families set up their own sanctums and Kavus for Theyyam gods where non-sattvic ceremonies and customs are noticed. The Goddesses like Rakteshwari, Chamundi, Someshwari, Kurathi, and the Gods like Vishnumoorthi are satisfied in these family sanctuaries. There, the Theyyam artists show up during the yearly celebrations of Gods and Goddesses. The customs in such places of worship are unique in relation to those of the Brahmanical sanctuaries. The effect of this social combination could be followed to the social association dependent on the rank framework and in the agrarian relations. The intriguing of Brahmin Thanthri to sanctify the symbols of Kavu is a new turn of events.
Custom Performance
The dance or conjuring is by and large acted before the town sanctum. It is additionally acted in the houses as precursor love with expound ceremonies and customs.
There is no stage or window ornament or other such game plans for the exhibition. The fans would be standing or some of them would be perched on a holy tree before the sanctum. To put it plainly, it is an open theater. An exhibition of a specific god as indicated by its importance and progressive system in the place of worship proceeds for 12 to 24 hours with stretches. The main artist who satisfies the focal god of the place of worship needs to dwell in the ceremonies. Further, after the sun sets, this specific artist would not eat anything for the rest of that day. His make-up is finished by trained professionals and different artists. The initial segment of the exhibition is generally known as Vellattam or Thottam. It is performed without appropriate make-up or any beautiful ensemble. Just a little, red hat is worn on this event.
The artist alongside the drummers presents the specific ceremony melody, which portrays the fantasies and legends, of the divinity of the hallowed place or the people god to be satisfied. This is joined by the playing of people instruments. Subsequent to completing this essential ceremonial piece of the summon, the artist gets back to the green room. Again after a short span he shows up with legitimate make-up and outfits. There are various examples of face-painting. A portion of these examples are called vairadelam, kattaram, kozhipuspam, kottumpurikam, and prakkezhuthu. Generally essential and auxiliary tones are applied with contrast for face painting. It helps in affecting certain stylization in the moves. At that point the artist comes before the sanctuary and step by step "transformations" into the specific divinity of the holy place. He, after perception of specific ceremonies puts the hood on his head and starts moving. Behind the scenes, society instruments like chenda, tudi, kuzhal and veekni are played in a specific beat. Every one of the artists take a safeguard and kadthala (blade) in their grasp as continuation of the weapons. At that point the artist circumambulates the altar, runs in the yard and keeps moving there. The Theyyam dance has various advances known as Kalaasams. Each Kalasam is rehashed methodicallly from the first to the eighth step of footwork. A presentation is a blend of playing of instruments, vocal recitations, dance, and exceptional cosmetics (normally overwhelmingly orange) and ensembles. The Kathivanoor Veeran Theyyam is one of the popular theyyam in Kerala.
Kinds of Theyyams
There are around 456 kinds of Theyyam (theyyakkolams), among which 112 are renowned. A portion of the celebrated Theyyams are:
Vishnumoorthi
Principle article: Vishnumoorthy Theyyam
Vishnumoorthy Theyyam
It is the most mainstream Vaishnava Theyyam.This theyyam describes and plays out the tale of Hiranyakashipu's demise by the Lord Vishnu in his symbol of Narasimham. It is a direct result of this, that Vishnumoorthi has another name, 'Narasimha Moorthi' [half man and half lion avtar of Vishnu].
Sree Muthappan Theyyam
Thiruvappana or Valiya Muttapan(Vishnu) on left and the Vellatom or Cheriya Muttapan (Shiva) on right
Muthappan theyyam comprises of two heavenly figures is considered as the representation of two heavenly figures—the Thiruvappana or Valiya Muttapan(Vishnu) and the Vellatom or Cheriya Muttapan(Shiva). Muthappan Theyyam is unique in relation to other theyyams as it is played out all around the year. Muthappan Anthithira is another theyyam committed to Muthapan. The uniqueness of it is that it is performed just a single time altogether the Muthapan sanctuaries.
Padikutti Amma
The Padikuttiyamma is accepted to be the mother of Muthapan. The Padikutti Amma Theyyam is acted in the Palaprath Temple in Kodallur close to Parassini Kadavu in the Meenam(a Malayalam month).
Gulikan
Gulikan addresses Yama, the Hindu God of death, called Yama. The Benkanakavu (Venganakavu) in Nileshwar is the most renowned sanctuary committed to Gulikan.
Padamadakki Bhagavathy
It is acted in the Koroth Temple. The legend behind the Padamadakki Bhagavathy theyyam is that the Nileswarr Raja appealed to the goddess for help from the attacking armed force from Karnataka and Devi sent Padamadakki Bhagavathy for help. After seeing the Padamadakki Bhagavathy,the assaulting armed force became oblivious and along these lines the conflict was deflected.
Kathivanur Veeran
The Kathivanur Veeran theyyam is acted in the memory of the extraordinary hero Mandhappan.
Manakkott Amma
Manakkott Amma Theyyam is acted in the Vairajathan Temple in Nileshwar. The Manakott was a lady brought into the world in a Nair family. She went against the position framework that existed around then. At the point when she breaker a position rule, she was executed by the top of the family. She was pregnant around then. Her homicide caused a ton of issues in their family and was at last annihilated. Later she arose as a Goddess.
Kuttichathan
Kuttichathan is a renowned theyyam.
Chamundi
Chamundi theyyam is significantly, of three kinds, to be specific; Madayil Chamundi, Rakta Chamundi, Kundorra Chamundi
Madayil Chamundi
Chamundi is a similar Kali who executed the Chandamundans and got up and drank the blood of the Raktabijasura without tumbling to the ground. Chamundi is otherwise called 'Rakta Chamundi' and 'Rakteshwari' in light of the fact that she is drenched in blood. It is said that in the fight with the savages, Kali followed them to the hidden world and battled. It is called 'Pathalamoorthy' and 'Madayil Chamundi' in light of the fact that he went to the hidden world.
Chamundi is a type of Durga Bhagavathy to kill the evil spirits Chandan and Mundan. A similar goddess is otherwise called Raktachamundi as she slaughters the evil spirit RakthaBijasura.
Known as Kundora Chamundi, Kundadi Chamundi and Kundoor Chamundi, this goddess is the picture of Kali who murdered Darikasura. This theyyam is worked by Velanmar.
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