Introduction

Kerala is a land of rich culture and tradition. It is God’s own country

where many ritualistic art-forms are staged that brings gods into reality.

Kerala’s folk ritual heritage is as rich and varied similar to mystic landscape.

In Kerala, the tradition of folk-performing arts is of two spheres, one is Rituals

and other is performing arts. Kerala, the land of castes, creeds and religions,

has been giving us a variety of ceremonial dance forms since ancient times.

Mostly the performing arts are ritualistic, even though we can trace out

exceptions. Now a days many number of folk forms faced extinction. The

traditional art forms of Kerala are Mudipech, Theyyam, Thira, Poorakkali,

Kaalikettu, Poothanum Thirayum, Theeyattu, Padayani, Kalamezhuthum

Paattum, Kanyarkali and so on. These are popular religious rituals of Kerala

and are closely associated with myths and credence.

Folk drama is considered as an art form that keeps the basic elements of a

drama intact, while taking on the stories and flavour of the region it stem from.

This is usually non-commercial, rural and pageantry based on folk traditions

and local history. It is performed by ethnic or folk group and most folk drama

is from old-world religious drama. Folk theatre, a composite art-form in India

with a fusion of elements from music, dance, graphic and plastic arts, religion

and festival peasantry have its roots in native culture is embedded in local

identity and social values. India has a long, rich and illustrious history of folk

theatre. (Narayanan)
 India has a long, rich and illustrious history of folk theatre. In ancient

times, Sanskrit dramas were staged at seasonal festivals or to celebrate special

events between the 15th and 19th centuries. In folk drama, in contrast to the

static scripts of literary dramas, the dialogue and actions represented maintain

certain fluidity, especially when the “same” play is performed in two different

communities. Variation is the rule rather than exception in folk theatre.

Belonging only remotely to oral literature is folk drama.

Folk theatre of Kerala is generally believed to be evolved out of religious

ceremonies. However there are evidences to prove that theatre is indeed older

than religion. There are some folk dramas like Kurathiyattam,

Porattunadakam, Kakkarisinadakam etc. Ancient ceremonial magic could not

have been connected, but folk theatre of Kerala which assumes much

importance as ritualistic drama. This holds the special features of the artistic

tradition of Kerala. Their plot structures manner of presentation, linguistic

expression and characters illustrate the influence of Tamil culture and are

popular in those district that are close to the state. The content of the place

generally have a compact plot with proper beginning, middle and end,

antithetical characters, logical and orderly development of plots.

The acting style involve some of the unique features of ritualistic theatre of

Kerala like audience participation, environmental acting, improvisation in

acting, creation of specific moods etc. Satire, parody and wit are commonly

used in this folk drama that incorporates local mythological legends

contemporary social commentary (The art and culture of Kerala).

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 Each and every society around the world has evolved its own appropriate

system of communication to perform the function of societal transformation

which ultimately gives birth to various performing arts. In this process,

tradition plays a vital role in creating the artistic process that act as indigenous

tools of human communication. The traditional forms of communication

constitute a potential source for conveying messages for economic and social

development.

The traditional art-form, Theyyam a famous ritual art form, originated from

Kaaliyattam. Theyyam is considered as Dance Gods, which is also called as

Theyyaattam. The indigenous tribal communities were handed over the

responsibility to perform the Theyyam. Malayar, Pana, Vannan and Velan are

included in the tribes. Deivam and Aattam are the two words, which are added

to get the name Theyyaattam where Deivam means God and Aattam means

dance. It is performed by males. The Devakoothu is the only Theyyam ritual

performed by women. Theyyam dance is performed in front of the village

shrine, groves and in the houses as ancestor worship. The Theyyam period is

from the 10th of Malayalam month Thulam ( October / November ) and comes

to a close by the end of June ( Ritual art form of Kerala ).

Thira is also a popular ritual form of worship of North Kerala. In this art

form the performers act the role of deities. Theyyam and Thira are basically

the same ritual form with very slight variations. Thira performed in shrines or

traditional houses and these places are called Sthanam.

Poothanum Thirayum is a ritual art performed during the temple festivals

mainly in Palakkad and Malappuram districts. The Thira signifies Goddess

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 Kaali and the Poothan represents her Bhoothagana (demon). Basically

performed in the temple premises and from house to house as the performance

continues the Poothan and Thira welcomed respectfully by householders with

the traditional deepam (lighted lamp ) gifted by paddy, rice and money. Thudi

and Ezhupara are the musical instruments are used at the time of performance.

Poorakkali is a traditional art form performed in Bhagavathi temples and

sacred groves all over the North Kerala. It is performed during the 9- day

Pooram festival (mainly during the Malayalam month of Meenam), the art

form focuses mainly on rhythmic steps similar to martial arts movements. The

name literally means play on Pooram day. Initially, it was a female art form,

but today it is performed by men as well. The Poorakkali presentation begins

after a number of ceremonies, and includes a number of ceremonial elements,

including Pooramala, Ganapathi songs and hymns in praise of Goddess

Saraswathi and Lord Krishna. The songs usually depict the stories from

Ramayana and Mahabharata.

Theeyattu is a ritual art form used in ancient Malayalam texts such as

Keralolppathi and Sanghakkalipattu. The performer of a traditional dance

form of theeyattu is considered a symbol or icon of God. Ayyappan

Theeyattu and Bhadhrakali Theeyattu are of two types. The Ayyappan

Theeyattu is an offering to Lord Ayyappa while Bhadhrakali Theeyattu is an

offering to the mother Goddess (Kaali). A colorful ritual drawing of a deity

(Ayyappa or Bhadhrakali ) on the floor using natural powders ( also known

as Kalamezhuthu ) is an important part of this ritual. Then, the deity is

invoked to the field through traditional songs and offerings are made. The

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 story of deity is told through a ritual dance performance. Eventually the

priest or oracle enters Kalam and dances there, gradually erasing the Kalam.

Kalamezhuthu comes from two words Kalam and Ezhuthu in Malayalam.

Kalam means picture and Ezhuthu means painting. So the word eventually

means painting a picture. However, the picture is just one part of the whole

ritual. Singing, drawing and playing music has an equally important role in the

ritual. It is traditionally performed in Kaali temples or Bhagavathi temples,

particularly popular throughout Kerala. Being conducted during any time of

the year, people seek and worship the Goddess for granting wishes through

this ritual. There are no restrictions on venue, as it can be performed as long as

it is a sacred space and that can be your temple at home. People typically do it

for getting rid of diseases, to get a job or to get married. Philosophically in

Kalamezhuthum Paattum, Kaali depicts the three States of existence in the

world – Srishti (creation), Sthithi (sustenance) and Samhara (destruction).

Padayani is a ritual or traditional art form performed in the Bhadhrakali

temples located on the banks of the river Pampa. According to mythology, this

ritual dance is reminiscent of a dance performed by Lord Shiva and other

deities to please Goddess Durga, who could not quell the anger of the demon

Dhaarika. Many temples in south Kerala such as Kadammanitta, Kottangal,

Othara and Kunnathaanam are famous places where the Padayani is

performed. Kolamthullal is the major part of Padayani. Kolam is a masque

made by drawing pictures on the leaves of a palm tree. Dressed in Kolam, the

performer carry out a ceremonial dance with devotion.

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 Kanyarkali is a folk dance performed at the Bhagavathi temples and

the Vettakorumakan Temple in Palakkad district. Kali (play) is performed

by members of the Nair community to please Bhagavathi and attain

blessings. The dance is performed at night for four consecutive nights and

ends at dawn. The dances begin with the men of the community gathering at

the temples and performing a rhythmic circular dance called Vattakali.

Vattakali is a ritual, it is followed by Purattukali, an entertainment. There is

no particular costume and the players sing and dance around a traditional

lamp.

Kalikettu is a popular performing art form of the Parai community in

Thrissur district. The artists come on the scene after performing the pooja

which lasts for a very long duration. The mixture of Dalit language is visible

in Kalampattu. Karinkaali, Mohini, Karidhaarikan and Velichappadu create

steps or dance together. Symbolically, a hen is slaughtered and sacrificed,

completing the story of Dhaarikavadham.

Traditionally, all these art forms, the performances begin in the evening

with a ritualistic dance called ‘Chhok'. The play unfolds gradually after this

and ends in the early hours of the morning. The communication embodies an

important human behavior and help in the process of social, political and

cultural transformation of a society.

Communities and individuals have utilized a wide range of media –folk

music, folk dance, folk theater etc. for social purposes as a support to local

development schemes for health and family welfare campaigns for creating

political awareness. These art forms are based on the rituals followed in

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 religious or social beliefs. Ritual art forms are performed with particular

motives like attaining prosperity, eliminating evil possessions and diseases or

pleasing a deity. Dance and songs with the accompanying traditional musical

instruments, colorful ritual paintings called Kalam and indigenous decorations

are the specialties many these art forms, some of these are very complex

tantric rituals.

These art forms maintain the rituals but also transmit new knowledge to the

people and create awareness of the art form among them. The legend of the

temple as well as those who are not familiar with it are enlightened by seeing

and hearing these arts. While some folk theatre forms are recognized all over

the country. There are some which, in spite of being equally amazing remain

largely unnoticed. Mudipech is one among these above mentioned art form

( The art and culture of Kerala ).

Mudipech, traditional folk theatre form of Kerala is celebrated in the

Malayalam month of Vrischikam (November – December). It is performed

only in the Kaali temples of Kerala, as an oblation to the Goddess. It depicts

the triumph of Goddess Bhadhrakaali over the demon, Dhaarika. As a ritual

folk drama, it discloses the myth of the war between the God and Asura along

with the birth of Dhaarika, and his execution by Goddess Kaali.

Mudipech is one of the unsung art forms of Kerala. It is a ritual,

performed only in few temples. Most of the people are not familiar with this

art form. Analyzing this art form to open out the information about it to the

spectators and there by focusing it through the aspects of ‘cultural theory ‘.

The audience is the soul of theatre for what the playwright has in mind while

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 he or she writes the play. The role of audience could encourage the actors

through their appreciation and applause. The art form reflects the spiritual

awakening, along with enlightenment, entertainment as well as awakening of

aesthetic emotions in the spectators.

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 Chapter one

Mudipech, the ritualistic folk drama, performed only in some temples,

discloses the mythical war between Goddess Kaali and the Asura Dhaarika. In

Dwapara Yuga, after the disastrous defeat in the battle with Lord Vishnu, the

Asuras went hiding into the Netherworld. Among them, the Asura sisters,

Dhaarumathi and Dhaanamathi, performed penance. God Brahma blessed

them with two powerful Children, Dhaarika and Dhaanavendra. When

Dhaarika and Dhaanavendra grew up, they sought the blessings of God

Brahma . Brahma blessed them with the boon that none among the living men

in any of the fourteen worlds of Hindu mythology could kill him. Backed by

this blessing, both began warring all over the world. Seeing this,Naaradha

reported the situation to Lord Siva as a calumny. An enraged Siva brought

alive Kaali from his third eye, who executes Dhaarika after a great battle, and

thus ended his vanity that no man could kill him.

Mudipech is based on this mythological tale of the battle between Goddess

Kaali and Asura Dhaarika. After the summer crop harvest that takes place in

the months of February (Kumbham) and March (Meenam) a weekly festival is

organized in honour of Goddess Kaali. Kelikottu or the traditional music by

musicians informs of the performance and invites the villagers. A floor design

of GoddessKaali called as Kalam, is drawn inside the temple. It is

accompanied by a song in praise of Kaali called Kalampattu. Kalampattu

songs describes the deity from toe to head. Musicians of Mudipech are experts

in Sopana Sangeetham or temple worship music, the mother of South Indian

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 Carnatic music. Long hours of makeup with traditional materials are required.

The performance thus imbibes the spirit of Kaali.

Goddess Kaali is given a ceremonial reception and betel leaves are

showered on her. Paddy seeds are sprayed over the devotees as blessing them

with the seeds of prosperity. Goddess Kaali visits the houses of devotees in the

village as part of the ceremony. The Kalam worship concludes with the ritual

dismantling of the floor design. The actual performance of Yamam(late into

the night). The light from the lamp at the Kalam is brought to light up the

Puppadakottil.

The performance begins with the bringing in of the respective Mudi

(ornate headgear) by Dhaarika and Goddess Kaali. We are launched in

media’s res into the mythological story of Dhaarika and Kaali. The war cry of

the arrogant Dhaarika gloating over the fact that no man can kill him

reverberates from atop the Eastern Mountains. The whole world trembles in

fear. Kaali or Bhadrakali, the Goddess born out of the third eye of Siva makes

her entry from within the temple into the performing area. Kaali sits atop the

Western Mountains challenging Dhaarika to fight and thus the war begins.

The courtyard of the temple becomes the field of action. Koyimbada Nair, a

noble chieftain and Kooli, a clown like character comes into provide comic

relief in the otherwise tensed atmosphere. Kooli interacts with the audience.

Kooli accompanies Kaali everywhere similar to the clown following his king

reminiscent of the Fool in Shakespearean plays. Kaali and Kooli battle with

Dhaarika.

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 Initially Kaali faints and her devotees lose heart. After a while with

revived spirits the warring teams begin to move around the temple courtyard

chasing each other. Audience also joins the performance obliterating the

performer-spectator boundary. Kaali defeats Dhaarika and performs the

victory dance, blessing all the devotees. Devotees leave carrying

pandham(torches) that signifies victory of good over evil. The performance

concludes with the villagers clamoring in trance the victory of Kaali, thereby

praising the victory of Good over the Evil. Mudipech is so integrated into the

village life that in most of these villages time is defined in term of one

Mudipech performance to the next. The overall theme highlighted in this art

form is the emergence of Kaali along with the execution of Dhaarika in order

to maintain peace all over the world (Balendu).

The comic elements in this art form is the two characters, Kooli and

KoyimbadaNayar. Kooli is the follower of Kaali. A man dons on the attire of a

woman to become Kooli. The makeup is comical. The face is blackened and

the performer wears red clothes. The stomach and breasts are deliberately

protruded to create a comical effect. She carries a bunch of leaves that

symbolizes a broom. This symbolically stands for her journey through the

forest. If Kaali inspires awe and devotion in the spectators, Kooli provides the

much needed relief from the spell binding terror. She runs through the crowd

and makes them jump, inspiring much laughter. She takes the spectators to a

heightened level of entertainment.

KoyimbadaNayar is the only character in Mudippechu who does not

possess any divine attributes. But some scholars believe that he represents Siva.

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 There are no complicated make up or costume. He is armed with a sword and

shield like a warrior. He enters the stage after Kooli and Dhaarika and his

performance has no elements of stylization in it, not even in the dialogues. He

is represented as the chief of Kaali’s army and the representative of the good

on the earth. His character reminds us of the Soothradhara (director) of

Sanskrit plays. But the difference here is that he enters at the middle of the

performance whereas Soothradhara makes his entry at the onset of every act.

Nayar reveals the context, aim and purpose of the performance to the

spectators. His dialogues are earthy as he enters into a conversation with the

musicians. He and his performance bring out the purely folk element in the

performance. The character is a relief from the ritualistic intensity. At the

same time, he is also a storyteller. He relates the problems prevalent in the

society including poverty and suffering of the common masses. Thus he

reveals the problems of the feudal society. The purpose that Nayar serves in

the performance is that of social satire (Comic Relief in Mudiyettu, Folk Ritual

Theatre of Kerala).

The rest of the performance is done in such a way to evoke fear and

pity. The performance begins in the Bhadrakali Yamam that is deep into the

night. Thus the ambience of night and darkness lit up by huge pandham

( lighted torch) brings up fear in the audience and creates a setting of mystery

and horror.

The play is performed at the puppadakottil were a Kalam ( ritualistic

drawing of goddess kaali) is drawn. The kalam mainly consists of five

elemental colours. They are white, red, green, black and yellow. These are

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 made with powders in five colours. The artist believe that these five colours

represent five elements of nature. The image drawn is that of Kaali holding the

bloody head of her enemy Dhaarika. The drawing is accompanied by songs

praising various deities. The colours are extracted from natural sources.

This drawing, in a way represents the nature of Kerala. The colour

coordination of soft and solid colours suites the performance at night. Black

represents night; green, nature; red, sacrifice; yellow, fire and white, richness.

The drawing brings together all these.

The only costume used is white dhothies which are folded into the

needed shapes. The colourful facial make up called Chutti consisting of two

colours, red dots with in white circles. Mudipech consists of nine chuttis on

the face, one on the forehead, two on the nose, and three on the right cheek,

two on the left cheek and on the lower jaw.

The drawing is begun with black. The the other colours are used to

complete the picture. Breasts, nose and eyes are drawn in three dimensions.

There are variations to the figures from place to place with change in number

of hands. There are figures with four, eight or sixteen hands. It takes around

three hours to complete the drawing. Mudipech involves only the drawing of

Bhadrakali Kalam. The process starts in the morning. The space for drawing is

marked out and the drawing begins. The rough drawing is made marking the

basic figure needs. Usually the big figures are drawn by Marars.

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 The day of the performance begins with special pujas in the temple at

dawn. Offerings are made to the goddess. Singers and musicians perform in

the evening. The sacred lamp for the performance of Mudipech is lighted at

midnight and the performance continuous till dawn. Thus, the rituals and the

performance last for twenty four hours. The time between 9 o’clock at night to

3 o’clock in the morning is considered to be the ' hour of Bhadrakali '

(Bhadrakali Yamam) and the actual performance happens in this time span.

The performance of Mudipech is not a one dimensional one. It acquires

its own dimensions in each performance. Although the performance has a text

of its own, as seen in the discussion of the legend and myth behind the

performance, the performance of the text is open to the interpretation of the

performer. A new performance text emerges in each performance of the

written or oral text. This basically means that Mudipech leaves immense room

for improvisation for the performers. The appeal of the performance text also

depends on the involvement of the audience as they are an integral part of the

performance. In short, in the actual performance of Mudipech, the authority of

the actual text is minimal or nominal.

Mudipech begins with the bringing in of the ‘ Mudi ' kept inside the

temple to the puppadakottil with the accompanying of musicians. Mudipech

mainly depends on the movement and rhythm of footsteps. An important part

of the performance is done dancing on a small sacred stool (Peedam that

represents the Eastern and Western Mountains). The play begins with the

exodus of the central characters Goddess Kaali and Dhaarika, with an

accompanying of Bhairava Bhairavi dance. Bhairava is the incarnate of

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 evilness, who had managed to execute many innocents including Gods.

Attemps to end the evilness of Bhairava results in the creation of Goddess

Kaali. Kaali emerges from the third eye of an enraged Lord Siva.

Th noise of the weapons of Kaali who goes in search of Dhaarika and

revelling Dhaarika breaks through the silence of the night. The spectators

stand spellbound. At the summit of the performance, the entire audience and

the musicians shout at the top of their voice and the performers enter a state of

heightened trance ( Mudiyettu, Ritual Theatre and Dance Drama of Kerala).

Mudipech is conducted on the temple’s puppadakottil which is well

arranged with the holy ambience created by lamps (Nilavilak).

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