This document provides information about the ritual art form of Theyyam performed in northern Kerala. It discusses the origins of Theyyam as a Hindu ritual worship that emerged from Kaliyattam. Key details include the various gods and goddesses associated with Theyyam like Muchilot Bhagavathi and Muthappan. The document also describes the training, costumes, musical instruments, and performance of Theyyam, noting some take place year-round while others are seasonal. Specific types of Theyyam are highlighted like Vishnumoorthy, Gulikan, and Puthiya Bhagavathy, each with their own myths and legends.

1. ARYA V VIJAYAN
PHYSICAL SCIENCE
ROLL NO : 25
CSI COLLEGE OF EDUCATION,
PARASSALA

3. +

6. THEYYAM
 originated as a Hindu ritual form of worship Kannur &
Kasaragod (Kolathunadu area)
 Also called Theyyattam means DANCE OF GOD .
 Came from Kaliyattam.
 Theyyam itself considered as God and people worship it for blessings.
 Performed in front of village shrine, groves and in house as ancestor
worship.
 Theyyam period is from 10th of Thulam (October / November ) and
comes to the close end of June.
 Called by several names as Thira, Theyyattam, Kaliyattam.
 Person who performs Theyyam is known as Kolam means figure or
make-up.

7.  Performed by people from certain casts like Velan,
Malayan, Mavilan, vettuvan, Vannan etc.
 Its not their job. Comes by virtue of birth as these tribes are
responsible for performing such theyyams.
 These people are untouchable by Brahmins, even then the
Brahmins worship the theyyam performed by these people.
 Main deity is goddess Bagavathi, songs are sung by praising them
about their victory against the demons.

8. ORIGIN OF THEYYAM
 Keralolpathi a hystorical document talks about the origin of the
ritual art of Theyyam.
 Parasurama, the sixth incarnation of Lord Vishnu who stemmed
the advancing sea to save the land of Kerala sanctioned festivals
like Kaliyattam, Puravela and Daivattam or Theyyattam to the
people of the North Malabar
 Theyyam originated from Kaliyattam.
 The indigenous tribal communities were handed over the
responsibility to perform the Theyyam.
 The Sangam traditions say that Velan was employed by the
mothers of love lorn girls to exorcise the malignant spirits from
their daughters. The dance of Velan community had taken new
forms and developed into the present day cult of Theyyam.

9.  Theyyam is representative of a form of Hinduism
practiced by the tribal communities since time
immemorial.
 The Satvic rituals practiced by the Namboodiri
Brahmins in temples co-existed with this tribal form
of worship which involves liquor and meat as
offerings to god.
 Theyyam was sponsored by members of the upper
class. Even the high-caste people will have to
worship the Gods who come in the form of Theyyam,
showing traits of anti-racial activates.
 Theyyam puts on show a rare combination of dance
and music, refers the important features of the tribal
community.
 The performers of community have an important
position in Theyyam.

10. LEGENDS AND STORIES BEHIND
THEYYAM
 The myths and legends of the Theyyam deities often relate to the
local heroes and heroines. Glimpses of local history are reflected in
the songs of certain performances.
 The medieval heroes like Kathivannur veeran, and Thacholi
Othenan were deified and worshipped for their heroism.
 Makkam was considered to be an immoral woman by her beloved
brothers. The jealousy of their wives made her a victim of their
suspicion. The brothers dropped her and children in a deep well.
Later she was elevated as a goddess and was worshipped as a
chaste woman. This episode has become the theme for a Theyyam
goddess.
 The manifestation of Lord Shiva in the form of POTTAN is done by
Pottan Theyyam.

11.  Puthiya bhagavathi is also a local girl elevated by the local
people to the status of a goddess.
 The Kannaki and Madurai myth is also a theyyam story.
 Besides this, the practices like spirit-worship, ancestor-worship,
masathi-worship, tree-worship, animal worship, serpent-worship
and the worship of Graamadevataa (Village-Deity) are included
in the mainstream of the Theyyam cult.

12. GODS & DEITIES
ASSOCIATED
WITH THEYYAM IN KERALA
 Muchilot Bhagavathi, Kannankattu Bhagavati, Raktha Chamundi,
Madayil Chamundi, Vishnumoorthi, Kundora Chamundi, Puliyoor
Kali, and Puliyoor Kannan are the common deities of the ritual art
form.
 Though there are different deities associated with the act, Muchilot
Bhagavati is the chief goddess.
 Each deity has a different story to narrate.

13. PATRONAGE
 The patronage of Theyyam was bestowed in the hands of the ruling
landlord communities like the Nambiars and the Thiyyas (ezhava).
 It was common for every Tharavadu to have its own Theyyam.
 The Nair’s didn’t have the right to directly take part in the performances.
This privilege belonged only to the tribal communities.
 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

14. TRAINING
 Theyyam is a seasonal occupation and a social obligation.
 There are different areas in Theyyam art which are to be specialised
by an artist.
 They are, recitation of Theyyam song or Thottam, make up,
preparation of costumes, playing of instruments and dancing.
 There are about one hundred thottam songs pertaining to different
gods and goddesses. Some of them are lengthy texts including the
legends, myths and traditions of their respective folk deities. These
songs are to be memorized by the artist.
 The methods of recitation and oral revelation like `Varavili` are to be
mastered.
 The ragas or melody vary from one context to the other. Thus he
must posses some knowledge of musicology.

15.  It takes 8 or 10 years to master every aspect of the performance.
Normally the training starts when a boy is 7 or 8 years old.
 The teaching of Theyyam dance is given in a `gurukula model’.
 The eminent dancer teaches his sons, nephews or relatives and when
they learn this they will also assist as make-up men or drummers. They
appear in minor and unimportant items of deities in the village
festivals.
 Morning hours are used for instruction.
 The artist has to undergo a good training in kalarippayattu especially if
he is playing deities like Kathivannur Veeran, Poomaruthan and
Pataveeran.
 The tradition of Theyyam is inherited by a son from his father, or a
nephew from his uncle. This practice has continued uninterruptedly for
centuries.
 In certain dance items the dancer has to wear burning wicks around
his waist and has to observe fire walk wearing the heavy headdress.

16. THE MEN BEHIND
THEYYAM
A tradition handed down through family lines, the dancers
begin preparing for their divine roles at a young age, often in their early
teens.
 Years are spent learning the skills required for every part of the
tradition, from how to make costumes from coconut husks to the
delicate art of face painting.
 In the weeks leading up to a ritual, dancer will live a life of purity. He
will consume no meat or alcohol, nor did he lie or speak badly of
others. Will pray at the temple daily and cleans himself before the
dance.
 Once painted and dressed in his most elaborate attire, is his
transformation complete.

17. THOTTAM PATTU
 It's a vocal ballad sung just before performing the Theyyam ritual.
 It's a welcome song which evoke the goddess of we love.
 They are originated in the 13th or 14th century, not available in
written or printed form.
 It's a realistic songs which accompany the performance elaborate
the legends related to the deities.
 Usually drummer men or make-up men or both of them perform the
Thottam pattu.
 Varavilithottam is common for all Theyyams.
 Thottam have the quality of spontaneity and flowing rhythm.
 The epic themes are frequently recreated with local color and
imagination.

18.  Thottam which are prevalent in the Kerala based on the Kannaki
legend but with more Tamil words.
 Apart from glorifying Kali and other deities like Ganapati, thottam
portraying social life of Kerala too.
 Some ritualistic dance performance associated with kali worship also
have Thottam.

19. COSTUMES
 The magnetic designs and colour patterns render Theyyam its mystical
touch.
 It is an astonishing fact that the raw materials for make-up were obtained
from nature.
 The waist dress is made up of bamboo slices and is covered with red cloth.
 Coconut leaves are used to tie around the waist, required to when leaped into
fire.
 Body is covered various colors, red, orange, yellow, black and white.
 Styles of body painting include parunthu vaal ezhuthu, anchupulli ezhuthu.
 Face drawings are prakeezhuthu, sankezhuthu, naagam thalaal ezhuthu,
varezhuthu etc.

22.  A special type dress worn on the head made up of bamboo slides or
wooden pieces covered with cloth or flowers.
 Some Theyyams used 50-60 feet tall mudi made up of bamboo.
 A silver color serpent head is used as crown.
 Female Theyyam wear glittering ornaments.An anklet called
chutakam and bangles called katakam also wear.
 The eye makeup is darkened with black ink highlighting the eyes.
 Coconut spathes are cut and painted in black, white and red patterns
to make costumes.
 Fresh tender coconut fronts form skirt and coconut shell used to
make breast.
 Dress and body painting are distinct in each Theyyam. Preparation of
these items requires proper skill and craftsmanship and perfect
knowledge of primary and secondary colour combinations.

23.  Native musical instruments are used in
Theyyatam festivals.
 The instruments are played in
accordance with the steps of the
dancer.
 Drum, Kuzhal, Perumbara, Counch,
Cherututi, Utukku Chermang-
alam , veekku chenda and
kuzhal are well known musical
instruments used in Theyyatam.
 The rhythm of the playing of these
instruments varies from
Theyyam to Theyyam.
MUSICAL INSTRUMENTS

24. THEYYAM PERFORMANCE
 Theyyam performances are not conducted on a stage ,usually performed
before the village shrine.
 It is also performed in some joint-family houses as ancestor-worship with
elaborate rites and rituals.
 The arena resembles that of an open theatre.
 Most of the devotees would be standing and some would take the
comforts of the sacred tree in front of the shrine.
 There are two types of Theyyam dances thandavam and laasya.
Thandavam is masculine and laasya is faminine.
 The festival lasts around 3 days.

25.  First part is usually known as Thottam done by co dancers without
any make up.
 This is accompanied by playing of folk musical instruments.
 Then dancer returns to green room and appears in proper makeup
and costumes.
 All the dancers take a shield and sword in their hand as the
continuation of cult of weapons.
 Dancer runs around shrine and courtyard and continues dancing
there.
 After the performance gets over the devotees donate money and get
blessings.
 Theyyam dance has different steps known as kalaasams. Each is
repeat systematically 1st to 8th step of footwork.

26. TYPES OF THEYYAM
There are about 456 theyyakkolams in Kerala.
Among this 112 are very Famous and important

27. A. VISHNUMOORTHY THEYYAM
Two Vaishnava Theyyams – Daivatar and Vishnumoorthi. These
Theyyams are believed to be the incarnations of Lord Vishnu. Complicated
rites and rituals are associated with this. This Theyyam narrates the story
of Palanthai Kannan who was a great devotee of Lord Vishnu.
LEGEND :
Kannan, an orphaned boy from Thiyya community who lived in
Nileshwaram, is treated badly by a so called upper caste Kuravat Kurup
and banished from the land. Kannan goes to Mangalore and takes shelter
in a Vishnu temple there. He was a staunch devotee of Vishnu and later
returns to Nileshwaram. While returning to the land, the Kurup kills
Kannan, but Kurup’s family gets hit by various calamities. The confused
Kurup is asked to pay for the murder of Kannan. As an apology of his
crime, the Kuravat Kurup starts to honour Kannan as Theyyam.

29. Muthappan Theyyam is
performed throughout the
year. Other Theyyams are
only performed seasonally.
There are numerous
Muthappan temples in
northern Kerala and each
one has a story of its own.
The most famous
Muthappan temples are
the ones at Parassini
Kadavu and Kunnathur
Padi. The rituals at
Muthappan temples are
performed by members of
the Thiyya community.
B.SREEMUTHAPPAN
THEYYAM

30. C. GULIKAN
Gulikan is a local form of the Hindu god of
death, called Yama , scriptures credited as the most
important warrior of lord Shiva. The intricate and
fascinating dance steps of Gulikan stands apart from
that of the other Theyyams.
MYTH
It is generally believed that everyone
including the gods are afraid to look at Gulikan. On
one occasion, Shiva was walking with his wife
Parvati who expressed to Shiva her fear of looking
at Gulikan. In a rage, Shiva turned to Gulikan and
threw him to the ground. This is sometimes enacted
during the performance of a Gulikan theyyam.
In every Kaliyattam, the performance of
Guligan Theyyam is inevitable.

31. D. PADIKUTTI AMMA
Padikuttiyamma is
believed to be the mother of God
Muthappan. She was given the
status of goddess when
Muthappan became god. The
Theyyam Padikutti Amma has
been performed in the famous
Palaprath Temple, at
Kodallur.This Theyyam is
performed in the
Malayalam month of Meenam
every year.

32. The uniqueness of
Muthappan AntithIra is that it is
performed only once in all the
Muthappan temples of North
Malabar. The decoration resembles
that of Vettakorumakan in the front
and that of Muthappan in the back.
.
E.MUTHAPPAN ANTHITHIRA

33. Puthiya Bhagavathi is the
main deity of many shrines in Kannur.
She appeared from the homakunda
when the Rishis started a homa in
order to cure the smallpox of Lord
Shiva. In the performance Puthiya
Bhagavathi is accompanied by
Padakulangara Veeran and Veerakali.
It is performed in Koovapratthu Kaavu
Kavinisseri and in the Morazha
Koorumba Kaavu in Pazhangottu,
Matul, Thavam.
F. PUTHIYA BHAGAVATHY

34. G. PERUM KALIYATTAM
In some Kavus the Theyyam festival is conducted at
intervals of 12 or more years. These kinds of festivals are known
as Perumkaliyattam. In 2008, Perumkaliyattams were celebrated
in temples such as Ramanthali Muchilot Kavu, which is latest.

35. Pottan Theyyam is a
vivid, lively and colorful
ritualistic dance which comes
in the traditional art form of
theyyam, and is an essential
part of the cultural heritage of
Kolathunadu. It is believed
pottan theyyam is a
manifestation of Shiva. Pottan
theyyam is a form of
resistance, symbolizing
goodness that would wipe out
the social evils in the
community. The theyyam re-
enacts in ritualistic expressions
the life of those personalities
who had laid down their life for
a social cause and is
interpreted as a social/spiritual
satire that is characteristic of the
theyyam's personality.
H. POTTAN THEYYAM

36. Chamundi theyyam is majorly, of
three types, MadayilChamundi
,Rakta Chamundi ,Kundorra
Chamundi.
Madayil Chamundi.
Chamundi is a form of
Durga Bhagavathy to slay the
demons Chandan and Mundan.
The same goddess is also known
as Raktachamundi as she kills the
demon RakthaBijasura.
On battle with the
savages, Kali followed them to the
underworld and fought. It is called
'Pathalamoorthy' and 'Madayil
Chamundi' .
Kundora Chamundi,
Kundadi Chamundi and Kundoor
Chamundi, is the image of Kali
who killed Darikasura. This
theyyam is built by Velanmar.
I. CHAMUNDI

37. J. AGNI KANDAKARNAN
In Agi
Kandakaran Theyyam
lighted torches are are
attached around the waist
of the performer. This
Theyyam is performed at
Swamimadam in Kannu
Veedu Kapadapuram,
Valiyaparamapa
Kasaragod in Kerala. This
Theyyam is performed in
the early morning in the
Temple.

38. K. PADAMADAKKI BHAGAVATHY
Once the Nileswar Raja was
frightened by an invading force
from Karnataka. He and his
followers prayed to the Koroth
Naga Bhagavathy, Kuttichathans
and Bhairavan. The Gods
acknowledged the appeals of the
devotees and sent Padamadakki
Bhagavathy. It is believed that
upon seeing the Padamadakki
Bhagavathy, the invading troops
became unconscious and the Goddess thus averted a battle. Koroth temple is
the venue where the Padamadakki Bhagavathy Theyyam is performed yearly
in memory of the incident.

39. L.MANAKKOTT AMMA
Manakott was a powerful Nair tharavadu (household in Nileswar. Once
there lived a woman who restrained herself from the stringent rules of caste
system that existed at that time. She was educated and wanted to challenge the
system. While she was carrying a child, she broke the caste law by drinking
water from a pot made of areca nut leaf being used by an outcast. Annoyed by
this incident the head of the familykilled her. The murder of a pregnant woman
created a lot of problems in the Tharavadu and it finally ceased to exist. Later the
villagers came to the conclusion that the assassinated woman must have
emerged as a Goddess who they called Manakkott Amma. Her Theyyam is
performed every year in the Vairajathan Temple, Malappacherry in Nileshwar in
the month of April.

40. M. KUTTICHATHAN
Kuttichathan is a widely acclaimed theyyam throughout Kerala. It is
the theyyam of Bhrahmin caste. Kuttichathan theyyam is considered to have
originated for Lord Shiva in Vishnu Maaya. Though there are lot of chathans
known, three of them are prominent and standout from the rest. They are
Karim Kuttichathan, Poo Kuttichathan and Thee Kuttichathan. Popular belief is
that Kuttichathan would carryout any kind of wish to those who make chathan
happy through continuous prayer from the heart.

41. N. KATHIVANUR VEERAN
Mandhappan was a great warrior in whose memory
KathivannurVeeran is performed. He was born to a Thiyya family in
Mangad near Thaliparamba. The couples Kumarachan of Methalliyillam
and his wife Chakkiyamma had no children. They made offerings to
Chuzhali goddess and Mandhappan was born even in his youth
Mandhappan refused to steer clear of his silly games. One day
Kumarachan broke Mandhan’s bow and arrow and threw them out.
Mandhappan became very angry and left his native village and went to
Coorg, where his uncle was residing. There he got a warm welcome and
uncle gave half of his properties to Mandhan. There he married a girl
named Chemmarathi. At that time kutakas started a war against
malayalans. Mandhan and his friends participated in that war and defeated
kutakas. But unfortunately he lost one of his fingers with a ring on it,
Mandhan returned to the battle field to get back his ring, enemies saw him
coming alone and killed him. Chemmarathi killed herself by jumping into
mandhappan’s funeral pyre. A great excellence is needed in the martial art
of Kalaripayattu in order to perform the Kathivanur Veeran`

42. ATTRACTIONS OF THEYYAM IN
KERALA
From peculiar makeup to blood sacrifices, everything about
Theyyam in Kerala grabs attention and keeps viewers rooted to their
positions. This ritualistic art form is not just another tourist attraction
but a devoted act done to please the Gods. The ritual is believed to
bring in the best of times for the devotees and that the Gods will clear
them off all their hurdles and dangers.
The act is sometimes not believable to the eyes, as there are
fire and bloodshed. The one possessed does the unimaginable.
Jumping into the fire, hurting oneself with swords; there is a greater
emotion than just a dance performance. This ritualistic art leaves the
spectators spellbound and that is why it is a major attraction in North
Malabar.
Ultimately it is an economic issue ,theyyam celebrations are
expensive and it is a tough job for the vast majority of the clans to
keep it going.

43. The courageous believers are all set to perform Theyam not to
please the viewers to please his Lord.
Theyyam is a feeling. Feeling of the community to their Gods.
A feeling that brings together different sects of people.A feeling that
binds one belief.
Theyyam in North Kerala feasts your ears with the hypnotic
chants and rhythmic drumbeats as well as your eyes with the colorful
pageantry and vigorous dance moves.

44. IN ADDITION
 Kannur is known as “ The Land of Theyyams”.
 A theyyam museum is planned to be built at Chanthappura in Kalyassery
of Kannujr district in 2019

45. REFERENCE
 https://www.tyndisheritage.com/theyyam/pottan-theyyam-in-kerala/
 https://www.thehindu.com/society/history-and-culture/they-said-she-
was-only-a-woman/article25272220.ece
 https://www.kerala.me/specialities/art-and-culture/theyyam
 http://www.keralaculture.org/theyyam/74
 https://www.keralatourism.org/bekal/theyyam-various-types.php
 http://www.theyyamcalendar.com/theyyam_types.html
 https://en.wikipedia.org/wiki/Theyyam
 https://en.wikipedia.org/wiki/Thottam_Pattu
 https://www.kerala9.com/arts-and-culture/thottam-pattu-defines-divine-
history/