Тейям: Ритуальный культ Северной Кералы

Ritual form of worship from Kerala, India

Theyyam (/t̪eːjjəm/; romanised: teyyam) is a Hindu religious ritual practiced in northern Kerala and some parts of Karnataka. Theyyam is also known as Kaḷiyāṭṭaṁ or Tiṟa. Theyyam consists of traditions, rituals and customs associated with temples and sacred groves of Malabar. 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 the North Malabar region (consisting of present day Kasargod, Kannur, Mahe Districts, Mananthavady Taluk of Wayanad and Vadakara and Koyilandy Taluks of Kozhikode). A similar custom known as Bhuta Kola is followed in the Tulunadu region of neighbouring Karnataka. Theyyam season starts from the tenth day of the Malayalam month of Thulam (usually falls during October, and known as paththaam udayam) and lasts up to seven months till the middle of Edavam month (typically late May and June). The last Kaliyaattam for the season is performed at Madayi Kavu and Kalarivathukkal Bhagavathy Temple, both being the family shrines of Kolathiri royal family.

There are about 456 types of Theyyams documented. Theyyam is mainly performed by males, except the Devakkoothu theyyam; the Devakkoothu is the only Theyyam ritual performed by women. Devakoothu is performed only in the Thekkumbad Kulom temple. Theyyam is typically performed by people from castes and tribes like Pulayar, Vannan, Malayan, Anhoottan, Munnoottan, Mavilan, Koppalan, Velan, Chingathan, Kalanaadi, Paravan, Nalikeyavar, etc. 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. In Kasaragod and Kannur districts, this ritual art is mainly performed in the kavus (temples) or ancestral houses of Thiyyar, Nambiar, Vaniyar, and Maniyani communities.

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 of Neolithic, Chalcolithic settlement and expression." There are approximately 400 types of Theyyam, including Vettakkorumakan, Kathivanoor Veeran, Vishnumoorthy Theyyam, Muchilot Bhagavathi and Sree Muthappan. The word Theyyam came from Daivam (God). Theyyam may have its origins from Ancestor worship. It has been observed that a vast majority of the Theyyam deities have their origin from people who were in the backward castes of the Kerala's caste system. The ancestor worship ritual was later evolved into the elaborate dance ritual that is seen nowadays. Incorporating many other local beliefs.

According to K. 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 of Islam are associated with the cult in its functional aspect" and made it a deep rooted folk religion of millions. For instance, Bhagavathi, the mother goddesses had and still have an important place in Theyyam. Besides this, the practices like spirit 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 as Bhagavathy. Different branches of mainstream Hindu religion such as Shaktism, Vaishnavism and Shaivism 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 in Buddhism and Jainism. 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 as Vadakkan Vathil. The Theyyam deities propitiated through cock sacrifice will not enter such shrines. This religious cockfight over blood sacrifice, which does also include the cockfight as a blood sacrifice, is a prime example of "cultural synthesis of 'little' and 'great' cultures". 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 are Vishnumoorthi and Daivathar. Vaishnavism was very popular in the Tuluva region in the 13th century when it came under the rule of Vishnuvardhana of the Hoysala dynasty. He was a great champion of Vaishnavism. Most probably he was initially deified as Vishnumoorthi and incorporated into the Bhoota cult of the Tuluvas 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 from Mangalore to Kolathunadu. All other categories of Theyyam deities can be classified under Shaivism or Shaktism. 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 modern Hinduism, 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, "in Indus Valley and other ancient civilizations, mother goddess had been invoked for fertility and prosperity".

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. The impact of this cultural fusion could be traced to the social organisation based on the caste system and in the agrarian relations. The inviting of Brahmin Thanthri to consecrate the idols of Kavu is a recent development.

The dance or invocation is generally performed in front of the village shrine. It is also performed in the houses as ancestor 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 an open theatre. Performance of a particular deity 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 as Vellattam or Thottam. It is performed without proper make up or any decorative costume. Only a small, red headdress is worn on this occasion. The dancer along with the drummers recites the particular ritual song, which describes the myths and legends, of the deity of the shrine or the folk deity to be propitiated. This is accompanied by the playing of folk musical instruments. After finishing this primary ritualistic part of the invocation, the dancer returns to the green room. Again after a short interval, he appears with proper make up and costumes. There are different patterns of face painting. Some of these patterns are called vairadelam, kattaram, kozhipuspam, kottumpurikam, and prakkezhuthu. 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. He, after observation of certain rituals places the head dress on his head and starts dancing. In the background, folk musical instruments like chenda, 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 dancer circumambulates the shrine, runs in the courtyard and continues dancing there. The Theyyam dance has different steps known as Kalaasams. Each Kalasam 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. The Kathivanoor Veeran Theyyam is one of the famous theyyam in Kerala

There are about 456 types of theyyam (theyyakkolams), among which 112 are famous. Some of the famous theyyams are:

The Kathivanur Veeran theyyam is performed in the memory of the great Thiyya community warrior Mandhappan Chekavar. and elevated to the status of a deity. According to a holy manuscript (Pattola), Muchilot Bhagavathi is the Kali Yuga avatar of the goddesses Sita of the Treta Yuga, Maya of the Dvapara Yuga, and Gayatri, who appeared before Sage Vishvamitra. 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 among vāṇiyas.

It is the most popular Vaishnava Theyyam. This theyyam narrates and performs the story of Hiranyakashipu's death by Vishnu in his avatar of Narasimha. Because of this, Vishnumoorthi is also called Narasimhamoorthi. Muthappan Theyyam is different from other theyyams as it is performed all around the year. Muthappan Anthithira is another theyyam dedicated to Muthapan. The uniqueness of it is that it is performed only once in all the Muthapan temples.