ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
THEYYAM: A PERFORMER’S JOURNEY OF TRANSFORMATION FROM MAN TO GOD Reshma V. R. 1 1 Research
Scholar, Department of English, Nesamony Memorial
Christian College, Marthandam, (Manonmaniam
Sundaranar University), Abhishekapatti,
Thirunelveli- 627012, Tamil Nadu, India 2 Assistant
Professor of English, Nesamony Memorial Christian
College, Marthandam, (Manonmaniam
Sundaranar University), Abhishekapatti,
Thirunelveli- 627012, Tamil Nadu, India
1. INTRODUCTION Theyyam is a ritualistic
dance of North Kerala, performed particularly in Kannur and Kasaragod
districts. The term Theyyam is a demotic
form of Malayalam word daivam designating God. It is a
conglomerate of chants, dance, music and obeisance and reflects traits of
tribal life and culture. The historical text Keralolpathi describes the origins of the ceremonial art of Theyyam. According to the text, Sage
Parasurama, the sixth incarnation of Lord Vishnu granted ritualistic festivals
such as Kaliyattam, Puravela and Deivattam to the people of Kerala. He
allocated Theyyattam to the
aboriginal tribal communities like Panan,
Velan and Vannan. Theyyam, being
a social ritual served to bring society’s members together. Through their
faiths, worship and customary observances a mutual concord, decorum and social
equilibrium were retained. As it is noted by veteran theatre person Kavalam
Narayana Panikkar: In Teyyam, the ritualistic dance, we find how the
primitive man transforms his life experience into metaphysical thoughts through
rites and rituals and identifies his abstract visions in a concrete design,
attributing multiple forms to them. It is the worship of the spirits by
invoking them to the mortal body of the dancer who impersonates them and gives
blessings to the believers. (26) Panikkar (2012) Kerala’s, the southern state of India’s, rich social and cultural history shapes artistic traditions and performance. Theyyam can be regarded as a possession trance that involves transformation of consciousness, of identity and bodily changes. In the ritual context, “possession trance includes the shared belief that such changes result from the takeover of the body and person of the actor by another entity – a spirit, an ancestor, another living person or even an animal. The self of the actor is in abeyance and the behavior presented is that of the other, so that major transformations are accepted” (559). Bourguignon (2004) “Possession trance for the most part involves the impersonation of spirits by human actors. These spirits may be ancestors, foreigners or other humans, animals or spirits that had been never embodied in human or animal form. An inspection of spirits represented in possession trance rituals reveals for the most part, it appears, a symbolic rendition of human society” (22). Bourguignon (2004) The components of this symbol system are an array of various symbolic gestures or symbols. Thus the possession rituals, a component of human society, expresses symbolic meanings in a way that the masses can easily comprehend. The performance of Theyyam, which is commonly known as Kaliyattam, does not take place in temples, which are apparently elite class religious constructions. The personal preferences of landlord-chieftains were much more likely to be reflected in temples' interpretation of God's will than those of the working class. Though temples are the chambers of spiritual rituals, the performer or dancer performs in specially designed divine spaces called Devasthanam (Palliyara, Thaanam, Mundya, Madam, Kottam, Kazakam) or in Kavu (groves) or in tharavadus or illams (the courtyard of ancestral houses). The ornate rituals performed in the shrines are designed to invoke the favour of Gods and Goddesses. It is an offering for preventing illness and dangers, getting rid of evil eye, gaining progeny, wealth and fruition of wishes. The performer’s maneuvers are rooted in indigenous rituals and they imbue their performance with heart and soul. The Brahmins, who were at the crest of hierarchy, also worshipped the Theyyam Gods and Goddesses and built their own shrines and groves for Theyyam deities with non-Brahmanical ceremonies and traditions. Alexander (1991) 2. REVIEW OF LITERATURE In the article titled ‘Carnivalesque, Liminality and Social Drama: Characterising the Anti-Structural Potential of Theyyam’, the authors Raisun & Pandya (2021) consider Theyyam performance as a reflection of the war cry against caste system and oppression prevalent in the social hierarchy of Kerala. The article enquires about the anti-structural characteristics exhibited by the performance of Theyyam based on the concepts of Mikhail Bakhtin’s Carnivalesque and Victor Turner’s Liminality and social drama. The authors conclude that Theyyam symbolises and reflects a counter-culture against the social structure through status reversal and inversion. A critical reading of the work shows that it mainly focusses and views Theyyam performance as an anti-social structure exhibited by the marginalized people among the caste Hindu hierarchy. Beyond this, the cultural identity, artistic, aesthetic and creative contributions of the ritual art of Theyyam have not been considered and these gaps are being attempted to discuss in the present study. In an article
by Mohanan (2021) titled 'Sounds
from a silenced divinity: the interaction of caste with music in the Theyyam rituals
of Kerala’, the author analyzed the extent to which
casteism influences the socio-political dynamics of Kerala. Through ethnomusiological analysis, the musical elements of Theyyam are
compared to the forms of music practiced by the upper caste communities. The
author concludes that knowledge in essence, is a product of social hierarchy
and forms of expressions are subtle representations of social discrepancy. This
study is limited to a comparison of musical elements and instruments used by
the different classes in society while performing the ritual art, Theyyam. In another article titled ‘The Theyyams of North Kerala: The
Little Gods of Little Kingdom’ by Geetha
(2022), the author holds
that the cult of Theyyam
is built upon the tribal belief in ancestors and heroes and the Theyyattam is a
way of respecting heroes who stood against injustice in society and became
martyrs for upholding virtues. The author further observes that Theyyams are
non-Aryan conventions and divinities worshipped in Northern Kerala, but the
rituals performed both Brahmanical and non-Brahmanical are identical in nature
and they do not feel that their Theyyams are inferior to the other. On a critical
evaluation, it appears that the study is based on the historical perspective of
Theyyams
rather than discussing from the performative level. The author Chandran (2016) in her article titled ‘The Theyyams of North Kerala: The Little Gods of Little Kingdom’ discusses three Theyyams namely Pottan Theyyam, Manakott Amma Theyyam and Vishnumoorthy Theyyam and the mythical beliefs involved in these Theyyams. The analysis is based on the concept of Bultmann’s demythologizing myth and perceive Theyyam performances as symbols of the travails of the downtrodden. The author concludes that myths are more or less served as justification for the glorification of ordinary human being, but Bultmann’s theory changes this aspect of myth. From the critical point of view, it could be seen that for Bultmann myth has no scientific value and truth and hence he strived for the demythologization of myth. The Theyyams in Kerala are institutionalized practices and beliefs and as such the demythologizing theory could not make any impact on such practices. Ashley (1979) 3. OBJECTIVES The objective of the study is to shed light on the different phases through which the theyyam performers transform themselves in their journey from a human being to God from the perspective of the ritual performance tradition and its socio-historical background. In spite of the fact that the temple groves where the Theyyam is mostly performed are shrinking in numbers, the artistic excellence and the performative brilliance of the ritual art still invite the attention of aesthetic scholarship across the globe to conduct more deeper studies on the subject. The study also aims to create an awareness of the aesthetic value and a better understanding of the performing art of Theyyam among the readers and scholars alike so that the art form could be promoted and preserved from extinction. Damodaran (1998), Brown (2003), Boddy (1994) 4. RESEARCH METHODOLOGY The research adopts qualitative methodology and used both primary and secondary sources of data to study and analyze the different forms of Theyyams performed in the shrines and groves of the northern region of Kerala. 5. ANALYSIS Theyyam translates directly to God and Theyyattam to the
dance of the Gods. Theyyattam is an amalgamation of dance, mime, music
(traditional musical instruments like chenda, cheenikuzhal and ilathaalam, will be played),
vocal recitation, bright coloured yet intricate makeup and indigenous costumes.
The exuberant headgears and broad circular skirts are its distinguishing
attributes. Thus in form and artistry, there is diversity. Dr. M.V. Vishnu
Namboodiri states that “the facial decoration of Theyyam comprises of two stages- thep (smearing) and ezuthu (picturing).
Besides these, there is decoration of body too. There are varieties of mukhamezuthu. The
artists give various names to these paintings. As colours manayola,
chayilyam, turmeric red and rice powder are used”
(47). Namboodiri (2012) “Seen in this light, painting the face in Theyyam
is not merely to make it stylistically on a par with the embellishment of the
total form, but more significantly it fulfils the endeavor
of transforming the impersonator from the real to a mythical persona” (62). Chandran (2006)
Dr. A.K. Nambiar, in his essay, ‘The process of Deification and the Role of
Masks in Theyyam’,
argues that “In Theyyam,
the body is completely masked and transformation into a non-human or
supernatural being is intended by the body-mask . . . there is no acting in Theyyam but only
‘being’ and ‘becoming’” (71-73). Nambiar (1997) This completely concurs with Emigh’s observation that, “For the dancer and his audience, of course, the animate
nature of the mask is not illusory, but active and participatory.
Experimentally, map and territory have become one; within the frame of the
dance, the dancer has become what he represents” (19). Emigh (1996) Thus in Theyyattam, the performer’s body
is sublimely masked and decorated with paint which aids the performer’s
transformation into deity, which is an integral part of Theyyam performance. Nambiar (1996) Prefatory rites have prime significance in the process of
ennobling to the position of God in Theyyam. After accepting Betel leaves, arecanut
and rice in a banana leaf (Adayalam Vangal), the performer is required to perform the Theyyam in the
particular shrine in the specified day and time. He then gets mentally and
physically ready to perform the Theyyam that has been assigned to him. On the day of
performance, the performer receives Deepavum Thiriyum in a Kodiyila (lit wicks held in a banana leaf), from a Brahmin
priest through a mediator. Nambiar recognizes this as a “symbolic act in which
the poojari
invokes the God into the lighted wicks and gives it to the performer [and] this
has to return to the priest after the performance in the sense that the spirit
of the God is given back” (73-74). Nambiar (1997) What follows is Thidangal or Varavili which is
also known as Kavunarthal.
It is the invocation song or intense summoning of the Theyyam God. Thereupon, either Kulichu Thottam
(recitation of lengthy Thottam
songs) or Vellattam
(recitation of short and condensed Thottam songs, dance gets more importance in Vellattam)
occurs. Kulichu Thottam or Vellattam is the
recitation of the specific ritual song or ballad that recounts the myths of the
shrine's deity to be propitiated. “In general, the heroes or victims in the tottams of theyyam either
transform themselves as theyyam
after their death, or they are being rendered in theyyam as expiatory act for the
calamity that ravages the village as a consequence of their victimization. The
atonement is performed in conformity with the traditional pattern prescribed by
the kanisan
village astrologer. This is the usual process of deification as narrated in the
tottam”
(52). Chandran (2006)
Vellattam is recited only for male Gods by the
performer’s accompanying people and Kulichu Thottam is recited for both male and female Gods by the
performer himself. Thottams
lasts from thirty minutes to four or five hours. This too makes it possible for
the performer to enter the deity.
Rendering of rhythmic phrases, incantation and Thottam songs empower the
performer to attain a psychological state of association with the deity.
Performances, whose traits of reiteration, cadency,
hyperbole, description, and spectacle create an immediate feeling of pleasure,
ease individual and communal anxieties and generates a powerful aesthetic
milieu and mood for the audience. That
being so, performance is involvement “a journey, a test (of self, of
suppositions about others), a ritual passage, an exposure to peril, and an
exposure to fear” (226). Turner (1985) The next stage is the most essential and ultimate juncture
of transformation, that is, Mukha darshanam (looking into the mirror). Once the makeup
and masking is finished, the performer looks at himself in the mirror, in front
of his audience, and identifies himself with the Theyyam and rapidly goes into a
trance like bodily quivering, culminating in the transformation into the Theyyam or deity.
According to Panikkar, the Theyyam dancer travels through three stages: The dancer in Teyyam while
passing through the metaphysical experience and getting himself possessed,
traverses through three stages; first being one of impersonation which is the
negation of his own self and affirmation of something that will help him to
affront the supra-sensible vision. The grotesque mask gives him a new
personality (in Latin 'persone' means mask) which is
far from the reality. The second stage helps him to evolve a mental state of
flight to mystic heights before which the dancer takes a look at the mirror,
which is a meaningful ritual, indicating that he gets convinced about the
identity of the deity (Teyyam) which he impersonates.
The last stage of impersonation signifies the processed state which is
energized fully by the rhythmic accompaniment. The whole physique and the
psyche of the performer get possessed by the mood of the character which he
impersonates. His demeanour is not only adjusted to a special rhythm, but also
his utterances attuned to a totally non-realistic, beyond-the-consciousness
level. The dancer has to prepare his mind and body to entertain the Teyyam within
himself. (31) Panikkar (2012) The dancer’s goal is not just to transform into the deity
represented by their character, but also to bring in the viewers very close to
their gods and goddesses by the goodness of their impersonation, blurring the
boundaries between mankind and divine. Thus, Theyyam can be seen as a sacred
journey of metamorphosis of a skilful and zealous performer from a finite being
to the truly Infinite God. Fogelin (2007) Perumkaliyattam is the performance of Theyyam which comes about once in twelve years or twenty-five years or at times more than that. Kaniyan, a lower caste astrologer, carry out Varachu Vekkal to determine the Koladharis or performers. After ascertaining the koladharis, they are summoned to the shrine’s premises for granting them Adayalam Kodukkal. Since then, they should cover their head with a mundu (white dhoti) and are required to stay nearby the shrine refraining from all worldly pleasures. Thus, during the period of asceticism, the performer centralizes his tutelary deity with intense holiness and devotion. Gardner and Maier (1996) Customarily, the male members of indigenous caste groups like
Vannan, Malayan, Chingathan,
Mavilan, Velan, Pulayan, Munnoottan, Koppalan (Nalkathaya)and
Panan do the Kaliyattam.
T.V. Chandran notes that “apart from the performer-castes, every caste
of Hindu community is the patron of the Theyyam. Some of the major castes like Nayars, Thiyyas, Vaniyas,
Chaliyas, Asaris, Musari, Maniyani have their
village shrines where yearly performance of Theyyam is conducted” (75). Chandran (2006) Devakoothu is the only woman Theyyam in North
Kerala. It is performed at Kunjimangalam Thekkumbad Koolom Thazhekavu in Kannur district. The lady dancer too
follows rigid pre - performance practices. Another appealing Theyyam of North Kerala is Mappila Theyyam (Muslim Theyyam), which
discloses the love and peace exist among people regardless of their religion.
The Mappila Theyyams
like Aryappunkanni, Bappiriyan,
Ummachi Theyyam, Aali Chamundi, Mukri
Pokkar, Kalanthan Mukri were propitiated and impersonated in Hindu
shrines. It is performed by Mavilans, Koppalans
and Vannans
of North Kerala. Although Theyyam is a
conventional Hindu ritualistic art form, it honours social cohesion by
embracing Muslim figures. Harner (1973) 1)
Some Popular
Forms of Theyyam ·
Vishnumoorthy Theyyam Vishnumoorthy Theyyam is the rendition of Vaishnavite cult. It recounts the tale of the Asura king ‘Hiranyakashipu’, his son ‘Prahlad’, an ardent follower of Lord Vishnu and ‘Narasimhamoorthi’, the fourth avatar of Lord Vishnu. Hiranyakashipu persuaded his son Prahlad to oppose Lord Vishnu but he failed and the Asura king becomes so angry and decided to kill his son. But Lord Vishnu protected his devotee every time. Hiranyakashipu extremely irritated by his son's assertion that his Vishnu is Infinite and supreme, asks his son if Vishnu is in the pillar. Suddenly, the pillar shattered with a thunderous boom and Vishnu materialized there in the form of Narasimha and destroyed Hiranyakashipu. Thus the myth as a whole demonstrates the triumph of devotion against evil and profane. In Vishnumoorthy Theyyam, Vishnumoorthy is the deified form of Palanthai Kannan. Kannan, an orphan Thiyya boy was an extreme devotee of Lord Vishnu. The poor lower caste tenant boy was often maltreated by upper caste feudalist Kuruvat Kurup. One day, in a fit of rage, he murders Kannan which invited Lord Vishnu's rage. Subsequently, Kurup's family suffered numerous woes. Deeply regretted and annoyed Kurup resolved to honour Kannan as Vishnumoorthy Theyyam. The dance is performed by Malaya community. Vishnumoorthy enters into pyre and returns amidst the devotees (Agnipravesham) which is known as Ottakkolam in Kasaragod and Theechamundi in Kannur districts. ·
Karimchamundi Theyyam Karimchamundi Theyyam performed in North Kerala, is the manifestation of Supreme power. Among all the Theyyam Goddesses, Karimchamundi is regarded as the scariest Goddess. Karimchamundi was the one who murdered Mahishasura, a bestial Asura king in Hindu mythology. Lord Parameshwara, in fulfillment of her request, granted Karimchamundi, an abode named Kozhithavalam. She rambled there all the time and people were frightened to move across that place. Later, the people realized that the terrible form was Karimchamundi. Eventually, in accordance with an astrologer's advice, the people placed the Goddess on ‘Payath Hill’ and assigned Peruvannan to do the Theyyam of Karimchamundi. Another legend prevailing in North Kerala about the Karimchamundi Theyyam is the tale of a Muslim man named Aali and his pregnant wife who were fiercely killed by an ogress. The ogress in guise of a midwife ripped his wife's belly and drank her blood. Grief-stricken Aali attacked the ogress with an iron pestle and the injured ogress ruthlessly slaughtered Aali too. The ogress' atrocities repeated and the terrified people approached their Chief. He commanded to build a shrine for the ogress and from there the ogress took divine form. Vannan, Mavilan, Pulayan and Malayan are entitled to perform Karimchamundi Theyyam. ·
Bhairavan Theyyam Bhairavan Theyyam, a
prominent Theyyam
of North Malabar is linked to the Shaivaite cult.
Bhairavan is the ghastly form of Lord Shiva. Maheshwara, in order to
recompense his error of beheading Brahma (the first god in the Trimurti cult, according to Hindu
mythology, others being Vishnu and Maheshwara) becomes a beggar and a vagabond
named Bhairavan. Thus being a form of Maheshwara as a beggar man, the Bhairavan
Theyyam is
known as being conceived by the Lord for eradicating the pride and arrogance of
human beings. This Theyyam
is mainly performed by the Malaya
community and in the performance, the dancer’s eyes are concealed with a silver
coloured eye mask. Even though the dancer would be able to see only through a
thin slit in the eyemask the koladhari or the dancer rotates
with wrath. ·
Muchilottu Bhagavathy
Theyyam Muchilottu Bhaghavathy is Vaniya community’s patron Goddess. According to the legend, Bhagavathi was a Brahmin girl born in ‘Perinchallur’, Muchilottu village whose intelligence intimidated erudite Namboodiri men. Hence, the agitated and jealous male scholars devised a scheme to defeat and humiliate her. The men grilled her asking two questions-which was the most significant emotion and what was the highest pain known to mankind. She answered romantic love as the most passionate emotion and labour pain as the greatest pain. The scholars scorned her and asked one another, how a chaste girl could respond to these questions flawlessly. So they stamped her as impure and banished her from the community. The severely distressed girl decided to end her life and arrived at ‘Karivellur temple’ and made a funeral pyre for her. She then jumped into the pyre but the flames were insufficient. Immediately, she noticed a Vaniya boy who was carrying an oil container. Bhagavathy commanded him to spill the oil on the pyre. Though the boy defied, she insisted and ultimately she made him obey her command. She then jumped into the pyre ending her life. The Vaniya boy who witnessed the act discarded his oil container and turned back home. When he arrived home, he was astonished to see his container restocked with oil. The news spread among the people and they discerned the girl as Goddess Bhagavathy, the Goddess of wisdom and riches, incarnated on earth and the Vaniya community deified her as ‘Muchilottu Bhagavathy Theyyam’. This Theyyam is mainly performed in ‘Muchilottu’ temples by Vannan community. ‘Kaniyal Bhagavathy’ and ‘Keezhala Bhagavathy’ were based on Muchilottu Bhagavathy legends. . ·
GulikanTheyyam An incarnation of Shaivite strength, Gulikan
Theyyam
tells the legend of Markandeya, son of Mrikandu, a
witty and pious boy and an extreme devotee of Lord Shiva who had just sixteen
years of life on earth. Markandeya came to know this through his father and
decided to build a Shiva Linga on the sea shore and worshipped Lord Shiva all
through the day. When Yama (the God of death in Hindu mythology) came to take
the soul of this young boy on his sixteenth birthday, the boy grasped Shiva
Linga firmly and chanted Shiva mantras. Yama hurled his looped rope (yamapasham) which
encircled Markandeya's neck as well as the Shiva Linga. At once, Lord Shiva
emerged with trident in his hand, from the Shiva Linga which has split into two
parts. Maheshwara opened his Thrikkannu (third eye situated at the centre of His
forehead) and kicked Yama so vigorously that Yama fell off to the edge of the
earth. After God Yama's demise, there was no death in the earth and everyone
grew older and weaker and so, in order to put an end to this, Lord Shiva
pressed His thumb and Gulikan emanated from His
thumb. Maheshwara sent Gulikan to earth granting him
the responsibilities of God Yama. Gulikan Theyyam is one of
the most enthralling Theyyam
forms of North Kerala. Kula Gulikan, Thekkan Gulikan, Vadakkan Gulikan, Karim Gulikan, Kara Gulikan, Umatta Gulikan, Marana Gulikan, Mantra Gulikan are some of the different forms of Gulikan Theyyam. Gulikan Theyyam is
performed by Malayan, Pulayan, Nalkathaya
and Mavilan
communities. ·
Pottan Theyyam Pottan Theyyam is one of the most charismatic Theyyam forms of North Kerala representing the Shaivite concept. It deals with the futility of caste system and equality and dignity of human beings. According to the legend, Lord Shiva wished to test the Advaita Vedanta scholar Shankaracharya's wit and virtue before he attains Sarvanjapeedam (the pinnacle of wisdom). Hence, Lord Shiva approached him in the guise of Pulayan Pottan. Shankaracharya, upon seeing the Dalit Pottan coming towards him, failed to maintain his composure, roared with rage and commanded to move out from his way since the upper caste scholar did not want to be contaminated by this lower caste member. But Pulayan Pottan was not willing to walk away from Shankaracharya's way. They got into a dispute in which Pulayan Pottan condemns the wickedness of caste system which splits man. He adds that we all have red blood gushing through veins regardless of religion, caste and gender. The diligent words of Pulayan Pottan made the Vedic scholar perceive that it was Lord Shiva who was testing his intuition and generosity towards humankind. Pottan is a dynamic and powerful deity and is revered by all communities and the performance is done by Pulaya, Malaya and Mavilan groups. Moser & Knust (2017) 6. DISCUSSION Ritual works as a mode of operation, devised and enacted
to make itself communicative – to exchange thoughts and ideas. “Rituals are
episodes of repeated and simplified cultural communication in which the direct
partners to a social interaction, and those observing it, share a mutual belief
in the descriptive and prescriptive validity of the communication’s symbolic
contents and accept the authenticity of one another’s intentions. It is because
of this shared understanding of intention and content and in the intrinsic
validity of the interaction that, rituals have their effect and affect” (527). Alexander (2004) Man designed the ‘social drama’ Theyyam to defy
discrimination and imparity in society. It defines, upholds, or challenges
social orders that are frequently understood in terms of dominance and
servility. Regardless of caste and social standing, an outcast performer can
enter a Namboothiri house in the form of Theyyam, which is else addressed
with harsh punishment. It becomes feasible in a society which had immense
religious needs, reverence for impersonality and belief in transformation.
Therefore, rigid caste laws are largely suspended in Theyyam. Penner (1985) As Turner contends, “a social drama is initiated when
the peaceful tenor of regular norm-governed social life is interrupted by the
breach of a rule controlling one of its salient relationships. Since social
dramas suspend normal everyday role-playing, they interrupt the flow of social
life and force a group to take cognizance of its own behavior
in relation to its own values, even question at times the value of those
values. In other words, dramas induce and contain reflexive processes and
generate cultural frames in which reflexivity can find a legitimate place” (83)
Turner
(1979). Social drama is the
substance for performances that engage in critical reflection on the nature of
the social interaction. Rituals are not merely
reflections or depictions of social life and people's concerns. Rituals offer a
platform for discourse as well as contemplation, which enables discussions
about a shared understanding of social reality. Quack & Sax (2010) An important aspect of the tribal religious system is the
ritual impersonation of supernatural beings. In his work on man-gods, Serge Gruzinski observes that, through coalition with sacred
beings, often present in holy relics, “something penetrated the man, possessed
him, transformed him into a faithful replica of God” made him “part of the very
authority he adored” (22-23). Gruzinski (1989) The impersonator
adopts the perspective of a deity connected to the human world and perceives
himself as the deity. For “body is not an abstract object with a fixed culturally
human perspective, but a process comprising a series of transformations, each
of which entails a transformation of perspectives” (30). Turner (1979) The impersonator
maintains a permeable condition in which multiple views can appear and interact
with one another. He transforms his vista by altering his physical body,
interaction with participants and being possessed by the deity. He refashions
his self to be in the exact condition for the deity to appear and play through
his body. His self develops into a reflexive state through which profuse
perspectives go back and forth. Turner (1979) 7. CONCLUSION To sum up, Theyyam is a renowned social, cultural and religious ceremony of North Kerala. All castes and socioeconomic strata in the Hindu community participate in the Theyyam performance, which is still an active tradition. Each Theyyam ritual is given a name in honour of the deity or spirit that possess the performers and every Theyyam has a myth connected to its genesis and has ceremonies distinctive to their Theyyam. The myths and legends in their visual representation, produce emotions of holiness, ecstasy and sublimation in people heedless of their social strata. As the deity do not have a Sthula Sarira or the gross body, they need a medium to make themselves visible. The performer who traverses from mortal to the immortal requires strict and severe adherence to the indigenous traditions and rituals. It is he who creates a proper aura and expresses the slight and sophisticated emotions of the deity impersonated. Regardless of the verity in myth and legends, people admire those tales, honour their living Gods and its essence embolden their lives.
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