Ritualants of Kerala
(Immortal Symbols at the Verge of Irreparable Deterioration)
-Part 3-
Sarppa Paattu (Worship of Cobra, the King of Snakes)
The temples and dense woods where cobras are worshipped by giving them the status of Gods are known as naaga kshethram and sarppa kaavu respectively. In these places of worship, on special occasions, devotional rituals were practised as sarppa paattu or naaga paattu. Specially erected pandals (tents) are decorated with floral patterns using colorful powders depicting the faces of cobras and other gods/goddesses according to the event and theme. Usually such drawings represented Sarppa Yakshi, Naaga Raja, Naaga Yakshi, Mani Naagam, Kari Naagam, Para Naagam, Eri Naagam, Kuzhi Naagam, and Kanyaavu etc. The Pulluvas (community of people with the right to sing songs related to snake Gods) sang with the accompaniment of Veena, Kutam and Kaimani and the women (mostly pulluvathis, the feminine gender of Pulluvas) used to take part in acting on stage presenting the female characters.
Sarppa Paattu was performed in society with the belief to recover from diseases. At such times Pulluvas practised a ritualistic performance with the lighted wicks made of cotton dipped in oil, known as Thirichchuzhiyal. Many such lighted wicks were held together at a safe distance and they were waved up and down facing the body of the performer; the burning wicks would be bitten by the performer, while background songs would continue along with the rhythmic beat of accompanying instruments. It was believed that these types of ritualistic performance had the power to undo the curse of the cobra, to get the blessings of the naagas, as well as to be blessed to beget children.
Paana Thullal
Paana Thullal is one of the significant types of performing the worship to Goddess Kaali. Paana has been more popular in places like Kochi, Thrissoor, Ponnani, Valluvanadu, Palakkad and Eranadu. This ritualistic art was also familiar as Paana Nruththam and Paana Pituththam. Usually the pandal is erected with the branches of Paala tree. The elder in the Paana troop, dances and performs the worship to Bhadra kali holding the burning wicks/torch (made of cloth), to the beats of the music. Sacrifice and Thiriyuzhichchil are important in the worship. At paana time Kelikottal is also done (Kelikottal implies announcement of performance of kathakali by beating musical drums and Cymbals). Paana Pituththam has a special place in the performance of Paana. Dressed in kachcha the artists performing with Paana Thandu and pookkula in their hands, is known Paana Thullal. Another important aspect of Paana is known as Totam Paattu. After Thottam paattu is over the Velichchappat goes around and brings down the specially erected pandal for the worship place, by breaking every thing and uttering the prophesy. The important instruments for performing this ritualistic art form comprise instruments such as Para, Chenda, Madhdhalam and Ila ththaalam, Kuzhal, Kombu etc. The Paana comes to a close with the performance of Kanal Chaattam. The performers and the Velichchappat jump and dance over the burning charcoal, made out of the branches of jack fruit tree and this action came to be know as Kanal Chaattam.
Samkhakali
Samkha kali was a very popular ritualistic art among the Brahmin community in Kerala. According to the variations in practice in different districts/areas, this ritual art was also known as Chathiraangam and Paanengali. It was practised with the rituals connected with other religious ceremonies. It is presumed that Paanengali began as a combat of words to win over the Buddhists during the governance of Kerala, by Palli Bana Perumaal.
Many variations were observed in Samkha kali. The important ones among them were Kottichcha Kambukal, Naalupaadham, Thonipaattu, Ittikannante Purappaatupoli, Kuraththi yattam, Baliyuzhichha and Vattamirippu etc. It was a special category among the Brahmins who performed this art form. That category of Brahmins had special skills and credentials in society. Two of those categories were those who were either skilled in weaponry or in social guardianship of respective villages. The third category of Brahmins for the afore-said ritual art was those who had their skills/rights in kitchen affairs as well as on stage acting, known as Chaththirar. Though Samkha kali was their privilege for performance, it was one of the inevitable rules of Sankha kali for its totality that Namboothiris, who were involved in the worshipping of deities in temples, had to be present at the front row as observers.
In the next part we will know more about Poorakali, Kanyarkali and Kuththiyottam etc.
Translated by
Lakshmy N