THEYYAM-
A RITUAL DANCE OF KERALA
Dr. KKN Kurup
Training of the Artist
Like many other performing arts, the Theyyam has different branches to be specialized by an artist. An eminent artist generally achieves mastery over all such branches.
An eminent artist generally achieves mastery over all such branches. They are :recitation of Theyyam song of thottam, make-up including preparation of costumes, playing of instruments, and dancing. There are about one hundred thottam songs pertaining to different gods and goddesses. Some of them are lengthy texts including the legends, myths, and traditions of the respective folk deities. These songs are to be memorized by the artists. The method of recitation and oral revelation like varavili are to be mastered. The ragas or melody vary from one context to the other. Thus he must possess some knowledge of musicology.
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The
make-up involves face-painting in different styles and body decorations.
Different costumes like lead dress or tazha atai, headdress or muti,
arayota or vattota and other body decorations are to be
prepared by the artists for a performance.
Some of the costumes made out of tender coconut leaves are used only
for one performance. Some other head–crowns and masks are used for
different occasions. The preparation of these items and face-painting
require proper skill and craftsmanship and prefect knowledge
or primary and secondary colours with their interaction.
Ordinary artist depends upon specialists for make up and costumes.
The
folk musical instruments have an important place in the Theyyam performance.
The artist has to master the skill to play them according to the foot
work of the dancer and strictly follow the rhythm.
Most
important item of the performance is dancing. Normally instruction is
imported when a boy is seven or eight year old. It takes a duration of 8 or
10 years to master everything of the performance. So far the teaching and
training related to the Theyyam dance are given in a gurukula model.
One eminent dancer teaches his sons or nephews or relatives. When they learn
the lessons of this art they also assist as make up men or drummers. They
appear in minor and unimportant items of deities in the village festivals.
Such festivals give the young artists a chance for detailed observation and
practice. In certain dance items a dancer has to wear burning wicks around
his waits and observe fire-walk wearing the heavy headdress. He has to learn
the method of weight distribution during such performance by moving hands,
shoulders and legs. There is very possibility of an accidental death for an
unskilled artist who performs the Theyyam of Muchilottu Bhagavathy,
Kannangat Bhagavathy and Patakkathi Bhagavathi.
The
morning hours are used for instruction. Like in Kathakali, oil massage is
applied to the body of a young dancer. To develop his physical culture,
body-building practices are taught like in kalaripayattu, the martial
art of Kerala. Some advanced lessons of duel fight are also taught. A good
training in kalaripayattu is a must for
a Theyyam artist who performs the role of hero
deities like Kathivannur Veeran, Pumaruthan, Pataveeran, Puthiya
Paramban and many others. Therefore a dancer who is not well trained in
kalari system becomes a poet artist in the role of such deities. The
traditional theatre of Kerala had its development during 14th to 17th
centuries. The indigenous military system based on kalaripayattu and
other physical training program this particular period has much influence on
these theatrical art forms which developed in that period in Kerala.
The Theyyam , patayani, poorakkali, velakali, Kathakali etc
had incorporated physical training program from the martial arts and kalaripayattu.
Read more on next pages .... Next>>
Historical Background
Classification of Sub
Cults
Patronage
By Brahmins
A
Note On Performance
Meaning and Social Content
Dancers and Their Training
Training of the Artist
Caste and Agrarian Relations
Local History
Future of Theyyam
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