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 paattuis 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

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