Eternal India Encyclopedia

Eternal India encyclopedia

PERCEPTIONS

RITUALS : DEITY AND THE DEVOTEE

stages of one’s life : at birth, with the onset of pu- berty, marriage, pregnancy and death. The usual form of Hindu worship - idol wor- ship — goes hand in hand with various ablutions and offertories. The offertories could be symbolised

regions show preferences for different colours. Shrines : Worship Centres Approximately four thousand shrines are said to exist in Cannanore district. Teyyams are conducted at each of these worshipping centres. Most of the Teyyams of mantra-murthies have three stages in the performance; in some cases the per- formance lasts over twelve hours, while in others it is finished in less than fifteen min- utes. Many shrines are owned by joint fami- lies. The annual festivals provide the occa- sion for all the relatives to come together. Part of the income from land properties is specially kept at art for celebrating the fes- tival. Certain shrines own a good deal of gold ornaments, including Bhuta masks which are unique works of art. Swords and shields, oil-lamps and other ritualistic ob- jects made of silver with intricate designs are also plentiful in some shrines. Another interesting factor is the archi- tectural aspect of the village shrines where the ritual dances are performed. The shrine could be represented by just a simple stone, or a symbolically placed sword and shield, or even a lighted lamp to denote the altar for worship. Elaborately carved wooden struc- tures and masonry constructions too are used in the shrines, depending probably on the economic status of the owners. Each community and sub-caste has its own shrine as well as its particular deity. How- ever, on festival occasions, festivities are shared by all the people. Harmonious Links Just before the beginning of their an- nual festival, some shrines receive offer- ings from shrines belonging to other com- munities. For example, on a festival day, drumming at a particular shrine can be started only after receiving a lighted lamp or offerings from another shrine, maybe be- longing to another caste. Teyyam and Bhuta performances, more often than not, serve as harmonious links between various communities including the Muslims. Some of the ingredients in ritual func- tions are the same in many places. Tulsi leaves and areca flowers are used in every ritual performance where devotees get into trances (areca flowers are an essential of- fering in similar ritual functions in Sri Lanka and Bali Island). (B N)

through swords, fragrant flowers, incense or utensils with coloured liquids, burn- ing oil lamps or through a diagram or some form of pictorial representation of a deity or spirit. The flower of the arecanut palm is in- variably used in these rituals as the intoxi- cating smell of the flower helps induce a trance-like state in the participants. Craft objects made of fine clay-pots or figures also form part of ritualistic requirements of worship. It is important to note that any votive item, however beautifully made is used only for a particular ritual; it is dis- carded or destroyed after the ritual is over. Sometimes the offerings consist of wooden figures carved out of solid wood blocks. These wooden carvings, often large sized human and animal figures, are used by the village priests who, with the aid of cer- tain yantras or mantras, invoke and “trap” the spirits and conduct them into the figu- rines. The spirits, now drawn into the figu- rines, are imprisoned by driving nails through them. Probably owing to the drabness that surrounds a society stricken by poverty, very bright and rich colours often derived from minerals and vegetables are used to express the various moods of joy and adoration of the rural folk. Colours have not only a hypnotic effect but a mystical meaning too, as can be seen in rituals. The mystical powers in the human body are suggested through symbolic decoration of the whole body or parts of it. The decorations consist of various symbols made with sacred ash, sandalwood paste, certain special preparations of powdered rice, turmeric powder or paste. The different designs and patterns in different colours applied to the human body and face, or the wearing of decorative masks, signify a transformation which helps the performer to assume the role of the superhuman. It is interesting to note that people of different

Closeup of facial makeup of Tondacean Teyyam

Teyyam and Bhuta — Ritual performance During the harvest season in north Kerala and South Canara or Dakshina Kan- nada (the coastal district of Karnataka) vil- lagers gather at shrines and forest groves to celebrate festivals in honour of gods and goddesses. The majority of these are not celestial deities but deities of the earth who protect the rural community and make it prosper. Among these divinities are ances- tral spirits who protect the families by whom they are worshipped. The rituals performed in honour of these deities are known as Teyyam in Ker- ala and Bhuta in South Canara. Even though the Bhuta rituals are conducted in the Tulu language in South Canara and the Teyyam rituals in Malayalam the beliefs and con- cepts surrounding them, the costumes as also the various stages in the enactment of the ritual form, are the same in both regions. Over 450 names of Bhutas are known in Tulunadu. An almost equal number of Teyyams is known in northern Kerala. Among the names of the celebrated Bhutas of Tulunadu are Angarbhuta, Mayasandaya, Koti-Cennaya, Junadi, Piliccandi, Ullalthi. Some of the Teyyams and Bhutas common to Tulunadu as well as Kerala and having the same name are Kshetrapalan, Pottan, Bhairavi, Chamundi, Kuttichattan, Mari- yamma, Muttapan, Alibhuta, Babhiriyan, Panenruli. The portrayal of the power of divinity through magical patterns or objects, sounds or movements of the body, often form the basic element of ritual. These are then util- ised as a medium of communication be- tween the deity and the devotee. Different forms of ritual are performed at various