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Attending Theyyam is by far the best thing one can do while they are in Kerala. ”Theyyam” is a ritualistic performance, which can be described as the most visible, spectacular art form of Malabar (Northern part of Kerala), associated with myths and legends. Theyyam can also be described as a form of worship consisting of rituals, colorful costumes, and divine dance through which the gods are appeased and honoured.
Theyyam – the form of worshipping gods, goddesses, legendary heroes, etc is based on a rather simple concept, that after suitable propitiatory rituals, the god or goddess belonging to a temple becomes temporally manifest in the body of an empowered man (the performer), thereby elevating him to a divine status. Theyyam ceremonies usually take place either within the precincts of a small shrine – usually called Kavu, Kazhakam, Muchilottu, Mundiya, Sthanametc, or in the yard of an ancestral house or in an open space with a temporary shrine called Pathi.
According to Hinduism, all the creation-preservation-destruction activities in the universe are controlled by the three Gods – Brahma, Vishnu, and Maheshwara (Shiva), respectively. For upholding righteousness, these gods appear in many godly guises and incarnations. For propitiation of these gods, apart from ritualistic worship and sacrifices, the man also gave form to donning their godly forms and performing as another form of worship. These became a part of their culture, underwent many changes over time, and is an evolution of the clan culture. It is very difficult to find out the exact period of the origin of theyyam. At the same time, none can refute its antiquity.
According to the general belief, the origin of the theyyam is attributed to Manakkadan Gurukkal.(Gurukkal means master) He was a great artist and occultist belonging to the Vannan Community. Once, the Rajah of Chirakkal invited this great occultist to test his capacity as an artist as well as a magician. Gurukkal was residing at Manakkad in Karivellur, about 40 kilometers away from the palace of the Rajah. The Rajah had given several tests like causing obstacles to the ferry as he was trying to cross the river. But Gurukkal managed to cross the river with his divine power. The gates of the fort were also closed to prevent him from entering, but here also he managed to appear before the king with his physical power. The Rajah sat along with a few other persons so that Gurukkal could not identify him. But Gurukkal easily recognized the king and respected. While he was called for the food it was so arranged that he himself would have to throw away the plantain leaf in which food would be supplied. This was intended to make him feel inferior. Gurukkal foreseeing this received the hot rice in a melon leaf and after taking the food he swallowed the leaf and thus he cleverly avoided the indignity of himself taking the leaf and throwing it away. Thus he successfully overcame the tests of the Raja, Manakkadan. Gurukkal was asked to make the costumes for some deities whose ritualistic dances were to be performed in the form of the theyyams in the night. Accordingly, Gurukkal designed 35 different theyyams before the sunrise. Rajah realizing Gurukkal’s skill, a title, Manakkadan was bestowed on Gurukkal. It is believed that this is how the present form of Theyyams originated.
Theyyam reveals the human capabilities of abstraction, synthesis, and idealization; it describes social and economic activities and reveals practices, beliefs, and ideas. It provides a unique insight into spirituality, intellectual life, and cultural adventures. It is a divine dance with ancient testimony of customs, traditions, and artistic creativity. Shrines, ancestral houses, Kavus in villages offer the platform for theyyam festivals. Since the theyyam performer, transforms to the status of a particular deity, theyyam is very much a divine dance. Invoking god or goddess in his body, he dances through the compound of the sacred space where deities are worshipped. The dance is considered not for propitiating gods or goddesses, rather it is dance of the gods or goddesses themselves. Scores of nature deities (including animals and trees), ancestors, village heroes and heroines, and gods and goddesses from Saivite, Vaisnavite, and Sakti traditions of Hinduism form part of the pantheon of theyyam performance.
The fundamental facts of existence of theyyam performance, even in the present day, make the ritual a powerful instrument that influences the thoughts and practices of Malabar society. In support of this, experts point out that the deities are worshipped and propitiated for the blessing of fertility, for protection and security. There are powerful deities who ward off smallpox and other contagious diseases. Theyyam ritual performances also provide judicial services.
Some of the major disputes and caste conflicts are often settled by a specific representative of a particular deity during the theyyam performance. The devotees present their personal problems and troubles to the deities and the deities give them counsel and blessings.
During the time when I attended one of these rituals in theyyam, I was positioned right in front of where the holy bonfire is made in order to click photographs. I was warned by the authorities there to sit somewhere else as the devotee who dances in and around the fire strews the embers in his enthusiasm and that it was dangerous for me. I was quite reluctant to move, because I had travelled far to reach there and really wanted to materialize the composition that I had in my mind. I decided to stay put and watch the performance. As the performer entered the premises, the energy of the area completely changed. Their dance form was extremely exhilarating to watch and they were performing with absolutely no holding back. As he entered the fire, dancing to the music, his movements and actions actually tossed a large number of embers in his surroundings and especially on me because I was in proximity. I got really promising photos but I got burned by the shower of embers and my clothes got badly burnt too albeit at the compensation of getting some really memorable photographs.
Kashi: A heaven for photographers.
Whenever Kashi is talked about, immediately we see the Ghats, the pure water of the river Ganga
and the ancient alleyways of the city of Kashi. It is every photographers dream to go to Kashi to take
photographs one day. It is indeed a rare opportunity to get to visit Kashi for photography. One will
find a story every step of the way while wandering in Kashi. If you rotate 360 degrees in the middle
of the road, you will get a better photograph and story each time.
Throughout my travel, I have observed that you cannot fulfil your desire for photography regardless
of the days that you spend there. I had been to Kashi in 2016 for photography and it was unlike
anything that I have ever experienced. Kashi stands as a true testament to its greatness and
diversity back since the ancient times. Tourists, pilgrims and saints travel from all around the world
to congregate at Kashi to attain liberation for their ancestors which is also called as ‘Moksha’.
In order to attain liberation, one must learn how to detach themselves from worldly gains and
understand the importance of maintaining a good demeanour. In Kashi, all of these things
are taken care of and people come here to attain monkhood. I met an enormous number of
people coming from very diverse walks of life. They explained their perspectives, opinions
and the importance of Kashi and due to these personalities, I got the opportunity to witness
Lord Shankar himself in them. Every photo I captured seemed to revive an old memory or
story of that place in front of my eyes.
I stayed in Kashi for 5 days. There is a stigma about crematoriums where people get goose bumps
even if they are mentioned in a conversation, but I think that there are no purer places than
crematoriums. I look at it as a place where people are completely rid of their pride and vanity and
we can observe who they were in a very real sense. It is a place where a line is drawn between life
and death. I stayed in such a crematorium for a total of three days. Of all the people I have seen in
my life, I am the only one who I know who took the decision to photograph in a crematorium for
three days straight. Although, everything I learnt in that period was the ultimate truth. Not only did I
get the opportunity to stay at a place where I will be at my end, but I also enjoyed it.
Every moment in the 5 days that I was at Kashi was spent being content and extremely self-
reflective. I believe photography enables you to appreciate the ups and downs in life. It allows you to
comprehend difficult situations and how to get over them as well. My time in Kashi was spent
photographing every place and sentiment I could with my complete attention.
I am presenting these photos to you now. Every photo of Kashi has the ability to garner different
emotions in everyone, and today I am expressing my feelings through my perspective of Kashi.
Vorrei vedere dai tuoi occhi, sentire dalle tue orecchie, sentire con la tua pelle, baciare con la tua bocca.
Frida Kahlo