Another Cosmos - When Man Becomes God

Kannur ( Aatadappa, Koodali, Chovva, Pongotee Kaaavu)

7 February 2019 - 13 February 2019

I witnessed my first Theyyam as an 8-year-old child, and the memories of this ritual have remained with me ever since. Yet nothing prepared me for the grandeur of Theyyam I was going to witness this time around. I managed to watch 9 Theyyam's during my stay in Kannur, each one more spellbinding than the other. 

In the 64 performative art forms listed in this country, Theyyam does not find any place, this is because Theyyam is not art, it is life itself. Theyyam, where a ‘Man becomes God’ is an act of purification not merely of the performer, but also of the community around him. It is this noble act of going beyond oneself that elevates Theyyam from mere artistic performance to a ritual. Theyyam thus can be understood as a feat of purpose, in which universal good is sought through Achaadakam (discipline), Chitta (habits), Upasana (devotion) &  Ekagratha (concentration).  

While the visible rituals of Theyyam are symbolic and shrouded in religion, the larger purpose of this act goes beyond the performance itself. Through a series of ritualistic actions and sequential performances, the Theyyam invites the community into another cosmos, a mythical world, where the burdens of this world are shed and answers to life are sought. 

Becoming Theyyam 

I ) Preliminary Rituals - Thottam 

Thottam is a preliminary ritual with minimal makeup, where songs of divinity and myth are sung in accompaniment from drummers and singers. 

1. Passing of Light 

The temple priest passes on a wick light to the performer, which symbolises that the  God now resides in the performer.

2. Guardian attendants

The role of the attendants during the Thottam is significant. The Komaram, Velichapaad (passer of light) accompany the Theyyam with swords and shields. The elevation of the performer to God is also the sacred responsibility of the guardians. 

3. Adornment

The complete make-over of the performer into God happens in a makeshift green room where locally available material is used. Tender coconut fronds, natural dyes turmeric, vermilion, rice powder, lamp black are materials used to decorate the God. 

II) From Man to God - Theyyam 

The final step, the complete transformation of ‘Man to God’ happens with the wearing of the muddi (headgear). The wearing of the headgear is done in front of the shrine. Only then does the performer look into the mirror to perceive the deity. The ritual called the mukhadarshanam (seeing the face) helps him forget his individuality and become one with the deity. This is an act of fusion. At this moment the man becomes a god on earth and he dances and acts as the deity itself. 

Who is Theyyam / God

In my witnessing of Theyyam’s I noticed that unlike performance arts, in Theyyam, the disguise is not used to conceal, the disguise reveals the tender side of the God who otherwise looks fierce and terrifying. In his disguise the Theyyam is elevated to a state power, he assumes the responsibility of his people upon himself. 

The Theyyam counsels listens, reaffirms, restores, motivates, empathizes, philosophizes, urges and cares. He represents the hopes and aspirations of his people and is concerned about their welfare. 

Experience Design of Theyyam 

I was curious to understand what other facets lend to the experience of Theyyam and help in generating belief. I suspected that something beyond the religious and historical nature went into lending authenticity to Theyyam. It is this 'inner essence' that makes Theyyam relevant and firmly rooted in religious faith and culture even to this day. Here are my observations- 

1. Elements 

Material : Tender coconut fronds, banana leaves, hibiscus, indigenous flowers, rice, and sandalwood paste

Smells : Fire, oil, ghee, camphor, ash

Sounds :  Bells, drums 

Colours: Vermillion, turmeric, green, gold, black

Repetitive rituals :  Lighting of lamps, arrangements of objects, shapes, patterns.

All the materials used in this act are of local relevance, they are recognisable from everyday life. The objects reflect the daily social and cultural lives of the people of this land. 

The rituals of - lighting the lamp, singing songs, prayer etc. are repeated many times over, these actions have become recognisable and have meaning and value attached to them. Repetition has helped set meaning and function, explaining why this is an annual festivity that is conducted year after year. 

2. Location 

Theyyam is normally conducted in Kaavus (sacred groves) or in ancestral homes. The ethos of Theyyam comes alive in spaces that are shared with others. This is an act of awakening, realisation, awareness and self - transformation for the entire community. The Theyyam is owned by all. 

3. Time

Time can be understood from 3 frames - i) time as slowing down ii) time as waiting iii) time as a marker. 

Time as slowing down: The journey from Man to God slows down time. The transformation is gradual - controlling body, receiving a being, adorning the disguise, fusing into the deity, the final performance, are all acts in ‘slowness’. 

Time as waiting: Waiting is the trait exhibited by both the Theyyam and the audience. The Theyyam remains with his devotees for hours. He is an available God within their midst. The audience waits through an entire night to witness the God. Both sides display immense patience and commitment to each other. 

Time as a marker: The ritual is repeated year on year, it is awaited and recognisable. 

4. People

The Theyyam brings people together, unlike artistic theatre, it does not relegate the  role of the audience only to aesthetic experience, the community owns this ritual and it involves the close co-operation of many people. Theyyam represents the unity, social values and cultural traditions of the local people. 

At the sites of Theyyam the artists were busy getting prepared for the ritual, hence I choose to talk to them by hanging around the green room and remained as non intrusive as I could be. I relied on conversation, observation and photographs to document the environment around me. 

From these observations I will now attempt to surface attributes of pedagogical value to further my study and my practice for mastery.