Waka Waka (This Time For Africa) Lyrics
Artist(Band):Shakira
Oooeeeeeeeeeeeeeeeehh
You're a good soldier
Choosing your battles
Pick yourself up
And dust yourself off
Get back in the saddle
You're on the front line
Everyone's watching
You know it's serious
We are getting closer
This isn't over
The pressure is on
You feel it
But you got it all
Believe it
When you fall get up, oh oh
If you fall get up, eh eh
Tsamina mina zangalewa
Cuz this is Africa
Tsamina mina, eh eh
Waka waka, eh eh
Tsamina mina zangalewa
This time for Africa
Listen to your God
This is our motto
Your time to shine
Don't wait in line
Y vamos por todo
People are raising
Their expectations
Go on and feed them
This is your moment
No hesitations
Today's your day
I feel it
You paved the way
Beleive it
If you get down get up, oh oh
When you get down get up, eh eh
Tsamina mina zangalewa
This time for Africa
Tsamina mina, eh eh
Waka waka, eh eh
Tsamina mina zangalewa
Anawa a a
Tsamina mina, eh eh
Waka waka, eh eh
Tsamina mina zangalewa
This time for Africa
[Lady Singing]
[Voice:]
Tsamina mina, Anawa a a
Tsamina mina
Tsamina mina, Anawa a a
Tsamina mina, eh eh
Waka waka, eh eh
Tsamina mina zangalewa
Anawa a a
Tsamina mina, eh eh
Waka waka, eh eh
Tsamina mina zangalewa
This time for Africa
[2x]
Django eh eh [2x]
Tsamina mina zangalewa
Anawa a a
[2x]
This time for Africa
[2x]
We're all Africa
Monday, June 28, 2010
Sunday, June 20, 2010
Yakshagana
Yakshagana
Yakshagana is one of the most important folk theatres of Karnataka and Kasargod which has brought fame to this region. Every village in Kasargod Taluk is familiar with this art and there are a good number of artistes. The Terukkuthu of Tamilnadu, Koodiyatam and chakyarkuttu of Kerala, Veedhinataka of Andhra Pradesh can be considered as sister art forms. Yakshagana was originally known by different names like-Bayalata (in Kannada Bayalata means play played in open air). The stories of Yakshagana were drawn from the Ramayana , Mahabharatha , Bhagavatha and from other mythological episodes.
The struggle between the good and the evil and the ultimate triumph of the Good. Almost all ancient arts are having a common world, in one way other related to God-worship. Ethical Values are better inculcated in the minds of people through entertainment. Yakshagana no doubt is an ancient performing art. Some are of the opinion that Yakshagana evolved from the ancient form of Bhutha-Worship(Theyyam). Bhutha-Worship is very popular in South Canara of Karnataka and Kasaragod Dist. of Kerala. In the process of evolution Yakshagana was also influenced by the Folk Dance, Song, Sanskrit Drama and also from Bharata's Natyashasthra. South Canara Dist. and Kasaragod District of Kerala (erstwhile South Canara Dist prior to State Re-organisation) is the motherland Yakshagana. Parthisubba one of the Pioneer of Yakshagana is the gift of this District.
The dance drama Yakshagana is broadly divided into two 1. Moodalapaya 2 Paduvalapaya. The Moodalapaya is divided into Doddata and Sannata which are crude forms of Yakshagana i.e., purely folkform The Paduvalapaya is again divided into Thenkuthittu and Badaguthittu. The Badaguthittu is very popular in North Canara Dist. of Karnataka and Thenkuthittu is in the erstwhile South Canara Dist.(including Kasargod Dist). These two groups are distinguished by their costumes used by the troupes and the dance style (Angika). Thenkuthittu costumes resembles with the Kathakali to a certain extent. The term Yakshagana would mean a style of music and it is a musical dance drama played in the open air and called as Bayalata (Open air drama). In Yakshagana music and speech go hand in hand and it could reach a good distance without our modern sound system.
The main attraction of yakshagana is stage craft where characters like Gods, Demons and Sanyasis are presented in a supernatural atmosphere and the audience are carried to a world of fantasy. In olden days it is performed usually at night lasting from 9.00PM to 6.00AM in the open-air. The stage of Yakshagana is rectangular in shape measuring about15'x 30' prescribing the rule in the given sanskrit sloka.
Panchahasthena visthirnam dasahasthena unnatham
Ardhachandrapramanena thistathe rangamantapam
Another sanskirt sloka also lays down the rules for the seating of Himmela(Background music)
Vamabhage mrindagecha dakshine thaladharika
Thanmadhyae geethaprasnajah thatvaswe shruthipalakah
Sammukhe narthaki chaiva thadvame hasyakarakah
Natyadhipo poorvamukhe shobhitham rangamantapam.
One side of the stage floor Bhagavatha sits with his accompaniment. Bhagavatha is the Narrator, Director or can be called as Suthradhara. He also sings with the accompaniment of Tala(Jagate) Mridanga(Maddale), Harmonium(Shruthi) and Chakrathala. Besides high pictched 'Chende' is used in special occasions. In olden days oil lamps were used to light the stage. The text of the yakshagana is called "Yakshagana Prasanga" which is narrated in sets of songs. These songs are set of different Ragas and Talas presented according to the "Kalas" ( Periods of night). There are about 100 ragas in yakshagana Some of the Ragas of yakshagana are not heard of in Karnataka Music viz., Panchagandhi, Gopanitem Kore,Koravy etc, The characters will dance to the tune of the songs followed by the dialogue in kannada. The dialogue is presented extempore the framework of the text of songs. The yakshagana is a total theatre because it has everything of a performing art. It entertains and enlighten both the learned and the illiterate.The yakshagana performances starts and ends with the prayer to Lord Ganesha.
Systematic training in dance, music, dialogue and makeup(Dressing) is necessary for an artist. Dialogue and makeup can be learnt only by practice. Navaras (Veera, Sringara, Karuana etc) are expressed by these artists All forms of Abhinaya viz., Angika, Vachika, Aaharya and Bhava follow a fixed development over the centuries. The only art to which the yakshagana of coastal Karnataka can be compared is Kathakali in Malayalam. But the highly stylised expression of motions through the various Mudras peculiar to Kathakali is not observed here. The Characters of this art can be distinguished as Romantic and Demonical. The Role of Karna, Arjuna etc are treated as romantic role, using colourful and pleasing costumes whereas Ravana, Mahishasur, Duryodhana etc are treated as demonical role and their facial makeup is very intricate resembling Kathakali techniques painted by the artists himself. The artists playing Satvika and Sringara roles use green shirts named Dagale. Rajasa use Red shirt and Tamasa black shirt. The dress of a character depicts is habit and behaviour. The main alankara of the head is called Kedge-Mundale, Mundas(Pagadi)Kirita Kesarithattu and Mudi. The main colour for the face decoration is called Aradala (Chayam), Ingalika (red), Green, Kadige, Calcium (SUNNA), rice powder and Kumkuma.and the colour of the face is changed according to the nature of the character.
There is another type of Yakshagana called "Yakshagana Koota" or "Talamaddale" It is performed by the artists without makeup and costumes. Musical accompaniment are the same as Yakshagana Bayalata with 'Vachikabhinaya' and the artists create a fascinating dialogue between themselves according to the text of the play.
There are about 10 troupes of Yakshagaga Bayalata in this Dist,.Some troupes have the heritage of 100 to 150 years.
Yakshagana is one of the most important folk theatres of Karnataka and Kasargod which has brought fame to this region. Every village in Kasargod Taluk is familiar with this art and there are a good number of artistes. The Terukkuthu of Tamilnadu, Koodiyatam and chakyarkuttu of Kerala, Veedhinataka of Andhra Pradesh can be considered as sister art forms. Yakshagana was originally known by different names like-Bayalata (in Kannada Bayalata means play played in open air). The stories of Yakshagana were drawn from the Ramayana , Mahabharatha , Bhagavatha and from other mythological episodes.
The struggle between the good and the evil and the ultimate triumph of the Good. Almost all ancient arts are having a common world, in one way other related to God-worship. Ethical Values are better inculcated in the minds of people through entertainment. Yakshagana no doubt is an ancient performing art. Some are of the opinion that Yakshagana evolved from the ancient form of Bhutha-Worship(Theyyam). Bhutha-Worship is very popular in South Canara of Karnataka and Kasaragod Dist. of Kerala. In the process of evolution Yakshagana was also influenced by the Folk Dance, Song, Sanskrit Drama and also from Bharata's Natyashasthra. South Canara Dist. and Kasaragod District of Kerala (erstwhile South Canara Dist prior to State Re-organisation) is the motherland Yakshagana. Parthisubba one of the Pioneer of Yakshagana is the gift of this District.
The dance drama Yakshagana is broadly divided into two 1. Moodalapaya 2 Paduvalapaya. The Moodalapaya is divided into Doddata and Sannata which are crude forms of Yakshagana i.e., purely folkform The Paduvalapaya is again divided into Thenkuthittu and Badaguthittu. The Badaguthittu is very popular in North Canara Dist. of Karnataka and Thenkuthittu is in the erstwhile South Canara Dist.(including Kasargod Dist). These two groups are distinguished by their costumes used by the troupes and the dance style (Angika). Thenkuthittu costumes resembles with the Kathakali to a certain extent. The term Yakshagana would mean a style of music and it is a musical dance drama played in the open air and called as Bayalata (Open air drama). In Yakshagana music and speech go hand in hand and it could reach a good distance without our modern sound system.
The main attraction of yakshagana is stage craft where characters like Gods, Demons and Sanyasis are presented in a supernatural atmosphere and the audience are carried to a world of fantasy. In olden days it is performed usually at night lasting from 9.00PM to 6.00AM in the open-air. The stage of Yakshagana is rectangular in shape measuring about15'x 30' prescribing the rule in the given sanskrit sloka.
Panchahasthena visthirnam dasahasthena unnatham
Ardhachandrapramanena thistathe rangamantapam
Another sanskirt sloka also lays down the rules for the seating of Himmela(Background music)
Vamabhage mrindagecha dakshine thaladharika
Thanmadhyae geethaprasnajah thatvaswe shruthipalakah
Sammukhe narthaki chaiva thadvame hasyakarakah
Natyadhipo poorvamukhe shobhitham rangamantapam.
One side of the stage floor Bhagavatha sits with his accompaniment. Bhagavatha is the Narrator, Director or can be called as Suthradhara. He also sings with the accompaniment of Tala(Jagate) Mridanga(Maddale), Harmonium(Shruthi) and Chakrathala. Besides high pictched 'Chende' is used in special occasions. In olden days oil lamps were used to light the stage. The text of the yakshagana is called "Yakshagana Prasanga" which is narrated in sets of songs. These songs are set of different Ragas and Talas presented according to the "Kalas" ( Periods of night). There are about 100 ragas in yakshagana Some of the Ragas of yakshagana are not heard of in Karnataka Music viz., Panchagandhi, Gopanitem Kore,Koravy etc, The characters will dance to the tune of the songs followed by the dialogue in kannada. The dialogue is presented extempore the framework of the text of songs. The yakshagana is a total theatre because it has everything of a performing art. It entertains and enlighten both the learned and the illiterate.The yakshagana performances starts and ends with the prayer to Lord Ganesha.
Systematic training in dance, music, dialogue and makeup(Dressing) is necessary for an artist. Dialogue and makeup can be learnt only by practice. Navaras (Veera, Sringara, Karuana etc) are expressed by these artists All forms of Abhinaya viz., Angika, Vachika, Aaharya and Bhava follow a fixed development over the centuries. The only art to which the yakshagana of coastal Karnataka can be compared is Kathakali in Malayalam. But the highly stylised expression of motions through the various Mudras peculiar to Kathakali is not observed here. The Characters of this art can be distinguished as Romantic and Demonical. The Role of Karna, Arjuna etc are treated as romantic role, using colourful and pleasing costumes whereas Ravana, Mahishasur, Duryodhana etc are treated as demonical role and their facial makeup is very intricate resembling Kathakali techniques painted by the artists himself. The artists playing Satvika and Sringara roles use green shirts named Dagale. Rajasa use Red shirt and Tamasa black shirt. The dress of a character depicts is habit and behaviour. The main alankara of the head is called Kedge-Mundale, Mundas(Pagadi)Kirita Kesarithattu and Mudi. The main colour for the face decoration is called Aradala (Chayam), Ingalika (red), Green, Kadige, Calcium (SUNNA), rice powder and Kumkuma.and the colour of the face is changed according to the nature of the character.
There is another type of Yakshagana called "Yakshagana Koota" or "Talamaddale" It is performed by the artists without makeup and costumes. Musical accompaniment are the same as Yakshagana Bayalata with 'Vachikabhinaya' and the artists create a fascinating dialogue between themselves according to the text of the play.
There are about 10 troupes of Yakshagaga Bayalata in this Dist,.Some troupes have the heritage of 100 to 150 years.
Theyyam
nullTheyyam
Theyyam or Theyyatom is one of the most outstanding and popular ritual art of northern Kerala particularly now found in the traditional Kolathunadu of the present Kannur and Kasargod District. As a living cult with centuries old traditions, rituals and customs, it embraces almost all castes and classes of Hindu religion. The term theyyam is a corrupt form of Dhaivam or God. It is a rare combination of dance and music and reflects important features of a tribal culture.
The indigenous Theyyam cult under the influence of the great classical Indian tradition incorporated new ideals and legends. However its form and content did not change very much. The popular folk religion based on Theyyam was influenced by the Brahmanical settlements in Kolathunadu like Payyannur and Taliparamba. According to Keralolpathi, a famous historical book, Parasu Rama sanctioned the festival like Kaliyattam to the people of Kerala. Kaliyattam means Theyyattam or Daivattam, which lasts for 3 to 11 days. He assigned the responsibility of Theyyam dance to the indigenous communities like Panan, Velan, Vannan and Malayan. Velan one of the Theyyam dancers are referred to in the sangam literature. According to sangam traditions, he was employed by the mothers of love born girls to exercise the malignant spirits from their daughters. All rituals described in the sangam works and their commentaries are being observed by Velan and other dancing communities.
Ezhimalai, described in the sangam literature, ruled by Udayan Venmon Nannan , is situated in Kolathunadu near Payyannur. Therefore the Tamil sangam culture with variations still continue in this region. The dance of Velan community had taken new forms and developed in to the present day cult of Theyyam over a period of 1500 years. This uninterrupted continuity of sangam traditions makes theyyam a prominent religious system of north Kerala. As a religious and social institution, it has significant place in the cultural history of the region. Under the impact of Aryans the cult of Theyyam had changed substantially incorporating new trends and sub cults along with its tribal character. In short it can be stated that all prominent characteristics of primitive tribal religious worship had widened the stream of Theyyam cult and made it a deep-rooted folk religion of the million. For instance, the cult of mother goddess had an important place in Theyyam. Besides the practice like spirit-worship, hero worship, masathi worship, tree worship, ancestor worship, animal worship, serpent-worship, worship of the goddesses of disease and gramadevatha worship are included in the main stream of Theyyam cult. Under the influence of Aryan myths and legends, a large number of brahmanical gods and goddesses had infiltrated a separate cuts into Theyyam. Along with these gods and goddesses there exists innumerable folk gods and goddesses and most of these goddesses are known as Bhagavathis as a matter of sanskritisation.
Different branches of Brahmanical religion such as Saktism, Vaishnavisam, and Saivism, now dominate the cult of Theyyam. However the forms of propitiation and other rituals are continuation of a historical part. Blood offering is forbidden in several cult centres under the influence of Buddhism,Jainism and Brahmanism. In such centres, separate places outside the outer wall of the shrines are selected for blood offering, preparing traditional (kalam)Kendra as Vadakkemvathil. The Theyyam deities propitiated through cock-sacrifice will not enter inside such shrine walls. On account of the later origin of Vaishnavism in Kerala, it has no vide-spread influence on Theyyam cult. Only a few deities are available under this category. The two major Theyyam deities of Vaishnavism are Vishnumoorthi and Daivathar. The legend of Vishnumoorthy identified the God's migration from Managlore to Kolathunadu as Vishnavism was very popular in the Tuluva country during the 13th century. All other categories of Theyyam deities can be incorporated in Saivism and Saktism. Even ancestors, heroes, animals etc. are deified and included in those categories. In brief, the Theyyam provides a good example for the religious evolution and its different stages in Hinduism. When the cult of Theyyam, borrowed liberally from Brahaminism, the brahmins with their social and caste superiority also patronised the Theyyam gods and goddesses. They established their own Shrines and Kavus(Groves) for Theyyam deities where non-brahmanical rituals and customs are observed. The goddesses like Raktheswari, Chamundi, Someshwari and Kurathi and gods like Vishnumoorthy are propitiated in these house hold shrines. The rituals in such shrines are different from those of the Brahmanical temples Theyyam cult can be said as the religion of the masses. Even the follower of Islam are associated with the cult in its functional aspects. Same of the mappila characters like Ali Chamundi of Alichammundi Devasthan of Kumbla have found a place in the cult.
Performance
The Theyyam dance is generally performed in front of the village shrines.and Tharavadu House, (Joint family House) as ancestor worship with elaborate rites and rituals. There is no stage or curtain and it is performed in an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The Chief dancer who propitiates the central deity of the shrine has to reside in the the aniyara( green room) and observe vegetarianism, fasting etc. as a part of rituals. Further, after the sunset, this particular dancer would not eat anything as a legacy of Jainism. His make up is done by specialist and others. First part of the performance is usually known as `Thottam’ or `Vellattam’. It is performed in the night without proper make up or decorative costume. Only a small red head dress is worn on this occasion. The dancer along with the drummers recites the particular ritual song which describes the myths and legends of the particular deity. After finishing this primary ritualistic part of the invocation., the dancer returns to the Aniyara( green room). After the interval, he appears with proper make up and costumes and with face painting. There are different types of face painting for which primarily and secondary colours are used. It had effected certain stylization also. Then the dancer comes in front of the shrine or sthanam, and gradually metamorphises’ as the particular deity of shine. After observation of certain rituals, the helpers places the head dress on his head and then dances. In the background folk musical instruments like chenda, Tuti, Kuzhal and Veekni are played with rhythm. All dancers take a shield and sword in their hands as continuation of the cult of weapon. Then the dancer circumambulates the shrine, runs in the courtyard and dances. The Theyyam dance has different steps known as “Kalasams”. Each Kalasam is repeated systematically from first to eight system of footwork. A performance is a combination of plying of musical instruments, vocal recitation, dance and strange make up and costumes. The stage practice of Theyyam and its ritualistic observations make it one of the fascination theatrical arts of India especially in northern Kerala.
Meaning and Social Content
As a sacred theatre followed with elaborate rituals the Theyyam performance has a difficult meaning and social content entirely different from other theatrical forms. The village shrines groves and cult spots are maintained by the caste councils or village elders for bringing prosperity to the village. In such places the village goddess or Bhagavathis named after that particular locality are propitiated as an ancient practice. The Theyyam festival of that particular shrine has a meaning and purpose. The elaborate rituals observed in these shrines including the preparation of the Kalan or square are intended for blessing of the super nature. Along with the Kalan or square an earthen decorated vessel with areca flowers containing toddy is placed on a platform. It symbolises the womb of mother goddesses. It is the significant aspect of the fertility cult. Offerings of cereals, cock blood, red flowers, etc are made in front of the Kalasam or Kalan., These rituals are responsible as being believed for the blessings of the super nature for prosperity in men and women, cattle and wealth. The dancer throws rice on the audience and distributes turmeric powder as symbols of blessings. Turmeric powder has high medicinal value, against small pox, etc.
The entire village folk attend the Theyyam festival in the village shrines and the members of Tharavadu and relatives attend the Theyyam festivals in their Tharavadus. Some of the grand theyyam festivals (Kaliyattoms) of the Vaniya caste, Thiyya caste and Maniyani caste are followed by the common feast for the entire devotees from the cult centre itself such feasts in favour of the mother goddesses and Kaliyattam take place one in 5 years or 25 years. Different castes and communities participate in such festivals.
They share the expenditure by way of donation. Compulsory levy is also imposed up on the members of the particular caste who own the shrine and offerings made by the devotees. The elders settle major disputes and caste conflicts during Theyyam festival. It was an effective way of administration of justice in the medieval period and even continued in the days of British administration.
Training
The Theyyam ritual dance is exclusively performed by the male members of the traditional caste groups like Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan. These sections belong to scheduled caste and tribes. They are the sole custodians of Theyyam dance. These artists belong to the socially degraded group and only at the time of their performance get a social status and they are been respected by the devotees. It is a seasonal occupation to these groups. It is a social obligation on his part to perform the Theyyam dance in their areas as a hereditary right. Now these people get reasonable payment. Cloth, coconut, rice, paddy and coconut oil are also being given.
Like many other performing arts, there are different areas in Theyyam art which are to be specialised by an artist. An eminent artist generally achieves mastery over all these branches. They are recitation of Theyyam song or Thottam, make up, 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 their respective folk deities. These songs are to be memorized by the artist. The methods 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 posses some knowledge of musicology.
Costumes
The make up involves face painting a different styles and body decoration. Different costumes like leaf dress or Tazha Adai, headdress or muti, 'arayoda' or Vattoda and other body decorations are to be prepared by the artists for performance. Some of the costumes are made up of tender coconut leaves and they are used only for single performance. Some head crowns and masks are used in different occasions. Preparation of these items requires proper skill and craftsmanship and perfect knowledge of primary and secondary colour combinations.
The artist has to master the skill to play the folk musical instruments, which have an important place in the Theyyam performance. Most important item of the performance is dancing. Normally instruction is imported when a boy is 7 or 8 years old. It takes 8 or 10 years to master everything of the performance. The teaching of Theyyam dance is given in a `gurukula model’. The eminent dancer teaches his sons, nephews or relatives and when they learn this they will also assist as make up men or drummers. They appear in minor and unimportant items of deities in the village festivals. In certain dance items a dance has to wear burning wicks around his waist and observe fire walk wearing the heavy headdress. He has to learn the method of weight distribution by moving hands, shoulders and legs. There is every possibilities of an accident for an unskilled artist who perform the Theyyam of Muchilot Bhagavathy, Kannangat Bhagavathy and Patakkathi Baghavathi.
Morning hours are used for instruction. Oil massage is applied to the body of a young dancer. A good training in Kalaripayattu is a must for the Theyyam artist who performs the role of hero deities like, Kathivannur Veeran, Poomaruthan, Pataveeran and many others.
The Theyyam traditions and arts inherited by a son from his father, or a nephew from his uncle. This practice continued uninterruptedly for centuries. As it was a ritual art without rituals and rites, it has no existence and thus its growth was arrested and restricted.
Stylization
Theyyam is a developed art form and hence systematic stylization had taken place in the course of its development. Most of the Theyyam dances maintain a unique style pertaining to the performance of each deity, within an particular area. In respect of rituals and songs there may be regional variations, but the visual appearance has no much variations. It is believed that one Manakkadan Gurukkal of Karivellur, a great Theyyam artist, had effected the present style in the 16th or 17th century, under the instruction of Kolathiri Raja. Following this tradition the Kolathiri or chieftains used to distribute the title like Manakkadan, Perumalayan, Peruvannan etc. to the distinguished Theyyam artists.
Theyyam is mainly intended to propagate religions, Hindu mythology, and belief even among the uneducated masses. There the art form is considered only as medium of communication and the cult centre where it is performed is a sacred centre of social organisation . The continued patronage of the masses makes it popular ritual ar
Caste and Agrarian Relations
The agrarian society had contributed the cult of theyyam. This society had been organised in a caste hierarchical system. The inferior caste members had patronized their own Theyyam deities. The main deities propitiated by certain castes are given below.
1. Kammalas or Blacksmith Bali Theyyam
2. Thiyyas or Ezhavas Poomala , Vayanattu Kulavan, Kathivannur Veeran, Poomaruthan, Muthappan etc.
3. Vaniyan (oil monger) Muchilott Bhagavathy
4. Maniyanis Kannangatt Bhagavathy
5. Saliyas Chooliyar Bhagavathy
Apart from the above, many other theyyam deities were propitiated commonly by all castes.
The brahmanical temples and feudal families controlled the affairs of Theyyam. The naduvazhi played an important role in such affairs. One of the rituals of a Theyyam festival is to carry out fire or flame from a local Brahmanical temple to the village shrine. The permission for conducting a festival is necessary from the local landlord or naduvazhi. The landlords and the village elders enjoyed the right to restrict the out castes in their respective shrines. All members of a community were forced to observe traditional caste rules.
Theyyam and Local History
The myths and legends of the Theyyam deities. often relate to the local heroes and heroines. Some of their songs reflect certain episode from the local history. Divinity to these heroes had been attributed by the society. The medieval heroes like Kathivannur veeran, and Thacholi othenan were characters from local history. They were defied and worshipped for their heroism. The goddess Puthiya Bhagavathy (new) and Makkam were heroines of tragic stories. Makkam was considered to be an immoral woman by her beloved brothers. The jealousy of their wives made her a victim of their suspicion. The brothers dropped her and children in a deep well. Later she was elevated as a goddess and she was a chaste woman. This episode from local family history provided the theme for a Theyyam goddesses. A local chieftain wanted to molest a woman who had lost her several children. Her protest against the chieftain resulted in to the punishment by throwing her in a leaky country boat floated on a river. Burning fire wicks were also placed on her head. Later the memory of this woman was kept alive, by the society who elevated her to a goddess named Puthiya Bhagavathy. This Bhagavathy is a disease mother and a goddess of small pox. Many other stories like these could be traced from the myths and legends of several Theyyam gods and goddesses with deep roots in local history.
M. Basheer.........................................2207239
A.C.Padmanabhan............................2204001
Ibrahim.................................................2203402
K. Kunhamad......................................2202070
K.K. Musthafa.....................................2202767
M.K. Nanda Kumar............................2203587
P.K. Haris...........................................2203964
M.I. Moideen Kunhi............................2202855
K. Vinod Kumar.................................2205197
Ramesh Bhat.....................................2204434
P. Jayaprakash..................................2207144
H. Prakash Pai...................................2204450
H. Venkatesh Kamath.......................2204108
K. Krishna Bhat..................................2204074
Kishore Kumar...................................2203585
E. Venugopal.....................................2204616
Ramakrishna Bhat.............................2202112
M.A. Abdul Hafees.............................2202260
Thresiamma Jose..............................2204003
P.V. Kelu............................................2204901
K.G. Pai..............................................2203157
K.V. Vasu............................................2204120
K. Srinath............................................2204576
M.K. Jose............................................2204003
M.K. Jayanandan...............................2202882
N.P. Rajan..........................................2204745
K. Jayaprasad...................................2201488
Nithyananda Babu.............................2203968
Gopi Nath ..........................................2204112
K. Sathish Shenoy.............................2202916
Abdul Khader Thidil ..........................2204135
K. Ramakrishna Bhat........................2204056
P. Krishnan.........................................2204250
Kesavan Potti.....................................2205178
T.V. Kunhi Kannan.............................2204005
Nanda Kumar.....................................2207120
K. Vinod Kumar.................................2207197
A.V. Sukumaran.................................2204110
C.R. Jayadevan..................................2207933
Vijaya Raghavan................................2202004
Kunikkullaya........................................2202361
Ramananda Rao................................2202869
Ambujakshi.........................................2204250
Geetha Prakash Pai..........................2201448
Susheela Lazar ..................................2203531
Sulojana ..............................................2202474
Vasanda..............................................2204760
Shameem Hafis.................................2202260
Sharmila Balraj ..................................2204980
Jyothi Padmanabhan ........................2203939
P. Santhosh Kumar............................2204272
K. Guru Dutt.........................................2204434
Deepika Kishore................................2205262
Chakrapani ........................................2202911
M.M. Bhat ...........................................2203923
Bhaskaran ..........................................2203280
Balasubrahmanian..............................2204968
Ganesh Pai .........................................2204211
K.K. Geetha..........................................2203304
M.V. Sasidharan..................................2204420
Balram Nambiar .................................2204596
P.V.K. Harikrishnan ...........................2204898
Gangadharan......................................2202285
Gogumanantha Pai............................2204675
Jayashree............................................2204640
Jayadeva Shenoy................................2202206
Leela Raman.......................................2204096
Mohd Kunhi..........................................2202952
Sujatha .................................................2202349
Vishweswara Bhat...............................2204230
K.V. Vasu ............................................2204120
Radha Krishnan ..................................2204893
Bhaskaran ...........................................2203280
P.K. Balakrishnan...............................2204469
Theyyam or Theyyatom is one of the most outstanding and popular ritual art of northern Kerala particularly now found in the traditional Kolathunadu of the present Kannur and Kasargod District. As a living cult with centuries old traditions, rituals and customs, it embraces almost all castes and classes of Hindu religion. The term theyyam is a corrupt form of Dhaivam or God. It is a rare combination of dance and music and reflects important features of a tribal culture.
The indigenous Theyyam cult under the influence of the great classical Indian tradition incorporated new ideals and legends. However its form and content did not change very much. The popular folk religion based on Theyyam was influenced by the Brahmanical settlements in Kolathunadu like Payyannur and Taliparamba. According to Keralolpathi, a famous historical book, Parasu Rama sanctioned the festival like Kaliyattam to the people of Kerala. Kaliyattam means Theyyattam or Daivattam, which lasts for 3 to 11 days. He assigned the responsibility of Theyyam dance to the indigenous communities like Panan, Velan, Vannan and Malayan. Velan one of the Theyyam dancers are referred to in the sangam literature. According to sangam traditions, he was employed by the mothers of love born girls to exercise the malignant spirits from their daughters. All rituals described in the sangam works and their commentaries are being observed by Velan and other dancing communities.
Ezhimalai, described in the sangam literature, ruled by Udayan Venmon Nannan , is situated in Kolathunadu near Payyannur. Therefore the Tamil sangam culture with variations still continue in this region. The dance of Velan community had taken new forms and developed in to the present day cult of Theyyam over a period of 1500 years. This uninterrupted continuity of sangam traditions makes theyyam a prominent religious system of north Kerala. As a religious and social institution, it has significant place in the cultural history of the region. Under the impact of Aryans the cult of Theyyam had changed substantially incorporating new trends and sub cults along with its tribal character. In short it can be stated that all prominent characteristics of primitive tribal religious worship had widened the stream of Theyyam cult and made it a deep-rooted folk religion of the million. For instance, the cult of mother goddess had an important place in Theyyam. Besides the practice like spirit-worship, hero worship, masathi worship, tree worship, ancestor worship, animal worship, serpent-worship, worship of the goddesses of disease and gramadevatha worship are included in the main stream of Theyyam cult. Under the influence of Aryan myths and legends, a large number of brahmanical gods and goddesses had infiltrated a separate cuts into Theyyam. Along with these gods and goddesses there exists innumerable folk gods and goddesses and most of these goddesses are known as Bhagavathis as a matter of sanskritisation.
Different branches of Brahmanical religion such as Saktism, Vaishnavisam, and Saivism, now dominate the cult of Theyyam. However the forms of propitiation and other rituals are continuation of a historical part. Blood offering is forbidden in several cult centres under the influence of Buddhism,Jainism and Brahmanism. In such centres, separate places outside the outer wall of the shrines are selected for blood offering, preparing traditional (kalam)Kendra as Vadakkemvathil. The Theyyam deities propitiated through cock-sacrifice will not enter inside such shrine walls. On account of the later origin of Vaishnavism in Kerala, it has no vide-spread influence on Theyyam cult. Only a few deities are available under this category. The two major Theyyam deities of Vaishnavism are Vishnumoorthi and Daivathar. The legend of Vishnumoorthy identified the God's migration from Managlore to Kolathunadu as Vishnavism was very popular in the Tuluva country during the 13th century. All other categories of Theyyam deities can be incorporated in Saivism and Saktism. Even ancestors, heroes, animals etc. are deified and included in those categories. In brief, the Theyyam provides a good example for the religious evolution and its different stages in Hinduism. When the cult of Theyyam, borrowed liberally from Brahaminism, the brahmins with their social and caste superiority also patronised the Theyyam gods and goddesses. They established their own Shrines and Kavus(Groves) for Theyyam deities where non-brahmanical rituals and customs are observed. The goddesses like Raktheswari, Chamundi, Someshwari and Kurathi and gods like Vishnumoorthy are propitiated in these house hold shrines. The rituals in such shrines are different from those of the Brahmanical temples Theyyam cult can be said as the religion of the masses. Even the follower of Islam are associated with the cult in its functional aspects. Same of the mappila characters like Ali Chamundi of Alichammundi Devasthan of Kumbla have found a place in the cult.
Performance
The Theyyam dance is generally performed in front of the village shrines.and Tharavadu House, (Joint family House) as ancestor worship with elaborate rites and rituals. There is no stage or curtain and it is performed in an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The Chief dancer who propitiates the central deity of the shrine has to reside in the the aniyara( green room) and observe vegetarianism, fasting etc. as a part of rituals. Further, after the sunset, this particular dancer would not eat anything as a legacy of Jainism. His make up is done by specialist and others. First part of the performance is usually known as `Thottam’ or `Vellattam’. It is performed in the night without proper make up or decorative costume. Only a small red head dress is worn on this occasion. The dancer along with the drummers recites the particular ritual song which describes the myths and legends of the particular deity. After finishing this primary ritualistic part of the invocation., the dancer returns to the Aniyara( green room). After the interval, he appears with proper make up and costumes and with face painting. There are different types of face painting for which primarily and secondary colours are used. It had effected certain stylization also. Then the dancer comes in front of the shrine or sthanam, and gradually metamorphises’ as the particular deity of shine. After observation of certain rituals, the helpers places the head dress on his head and then dances. In the background folk musical instruments like chenda, Tuti, Kuzhal and Veekni are played with rhythm. All dancers take a shield and sword in their hands as continuation of the cult of weapon. Then the dancer circumambulates the shrine, runs in the courtyard and dances. The Theyyam dance has different steps known as “Kalasams”. Each Kalasam is repeated systematically from first to eight system of footwork. A performance is a combination of plying of musical instruments, vocal recitation, dance and strange make up and costumes. The stage practice of Theyyam and its ritualistic observations make it one of the fascination theatrical arts of India especially in northern Kerala.
Meaning and Social Content
As a sacred theatre followed with elaborate rituals the Theyyam performance has a difficult meaning and social content entirely different from other theatrical forms. The village shrines groves and cult spots are maintained by the caste councils or village elders for bringing prosperity to the village. In such places the village goddess or Bhagavathis named after that particular locality are propitiated as an ancient practice. The Theyyam festival of that particular shrine has a meaning and purpose. The elaborate rituals observed in these shrines including the preparation of the Kalan or square are intended for blessing of the super nature. Along with the Kalan or square an earthen decorated vessel with areca flowers containing toddy is placed on a platform. It symbolises the womb of mother goddesses. It is the significant aspect of the fertility cult. Offerings of cereals, cock blood, red flowers, etc are made in front of the Kalasam or Kalan., These rituals are responsible as being believed for the blessings of the super nature for prosperity in men and women, cattle and wealth. The dancer throws rice on the audience and distributes turmeric powder as symbols of blessings. Turmeric powder has high medicinal value, against small pox, etc.
The entire village folk attend the Theyyam festival in the village shrines and the members of Tharavadu and relatives attend the Theyyam festivals in their Tharavadus. Some of the grand theyyam festivals (Kaliyattoms) of the Vaniya caste, Thiyya caste and Maniyani caste are followed by the common feast for the entire devotees from the cult centre itself such feasts in favour of the mother goddesses and Kaliyattam take place one in 5 years or 25 years. Different castes and communities participate in such festivals.
They share the expenditure by way of donation. Compulsory levy is also imposed up on the members of the particular caste who own the shrine and offerings made by the devotees. The elders settle major disputes and caste conflicts during Theyyam festival. It was an effective way of administration of justice in the medieval period and even continued in the days of British administration.
Training
The Theyyam ritual dance is exclusively performed by the male members of the traditional caste groups like Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan. These sections belong to scheduled caste and tribes. They are the sole custodians of Theyyam dance. These artists belong to the socially degraded group and only at the time of their performance get a social status and they are been respected by the devotees. It is a seasonal occupation to these groups. It is a social obligation on his part to perform the Theyyam dance in their areas as a hereditary right. Now these people get reasonable payment. Cloth, coconut, rice, paddy and coconut oil are also being given.
Like many other performing arts, there are different areas in Theyyam art which are to be specialised by an artist. An eminent artist generally achieves mastery over all these branches. They are recitation of Theyyam song or Thottam, make up, 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 their respective folk deities. These songs are to be memorized by the artist. The methods 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 posses some knowledge of musicology.
Costumes
The make up involves face painting a different styles and body decoration. Different costumes like leaf dress or Tazha Adai, headdress or muti, 'arayoda' or Vattoda and other body decorations are to be prepared by the artists for performance. Some of the costumes are made up of tender coconut leaves and they are used only for single performance. Some head crowns and masks are used in different occasions. Preparation of these items requires proper skill and craftsmanship and perfect knowledge of primary and secondary colour combinations.
The artist has to master the skill to play the folk musical instruments, which have an important place in the Theyyam performance. Most important item of the performance is dancing. Normally instruction is imported when a boy is 7 or 8 years old. It takes 8 or 10 years to master everything of the performance. The teaching of Theyyam dance is given in a `gurukula model’. The eminent dancer teaches his sons, nephews or relatives and when they learn this they will also assist as make up men or drummers. They appear in minor and unimportant items of deities in the village festivals. In certain dance items a dance has to wear burning wicks around his waist and observe fire walk wearing the heavy headdress. He has to learn the method of weight distribution by moving hands, shoulders and legs. There is every possibilities of an accident for an unskilled artist who perform the Theyyam of Muchilot Bhagavathy, Kannangat Bhagavathy and Patakkathi Baghavathi.
Morning hours are used for instruction. Oil massage is applied to the body of a young dancer. A good training in Kalaripayattu is a must for the Theyyam artist who performs the role of hero deities like, Kathivannur Veeran, Poomaruthan, Pataveeran and many others.
The Theyyam traditions and arts inherited by a son from his father, or a nephew from his uncle. This practice continued uninterruptedly for centuries. As it was a ritual art without rituals and rites, it has no existence and thus its growth was arrested and restricted.
Stylization
Theyyam is a developed art form and hence systematic stylization had taken place in the course of its development. Most of the Theyyam dances maintain a unique style pertaining to the performance of each deity, within an particular area. In respect of rituals and songs there may be regional variations, but the visual appearance has no much variations. It is believed that one Manakkadan Gurukkal of Karivellur, a great Theyyam artist, had effected the present style in the 16th or 17th century, under the instruction of Kolathiri Raja. Following this tradition the Kolathiri or chieftains used to distribute the title like Manakkadan, Perumalayan, Peruvannan etc. to the distinguished Theyyam artists.
Theyyam is mainly intended to propagate religions, Hindu mythology, and belief even among the uneducated masses. There the art form is considered only as medium of communication and the cult centre where it is performed is a sacred centre of social organisation . The continued patronage of the masses makes it popular ritual ar
Caste and Agrarian Relations
The agrarian society had contributed the cult of theyyam. This society had been organised in a caste hierarchical system. The inferior caste members had patronized their own Theyyam deities. The main deities propitiated by certain castes are given below.
1. Kammalas or Blacksmith Bali Theyyam
2. Thiyyas or Ezhavas Poomala , Vayanattu Kulavan, Kathivannur Veeran, Poomaruthan, Muthappan etc.
3. Vaniyan (oil monger) Muchilott Bhagavathy
4. Maniyanis Kannangatt Bhagavathy
5. Saliyas Chooliyar Bhagavathy
Apart from the above, many other theyyam deities were propitiated commonly by all castes.
The brahmanical temples and feudal families controlled the affairs of Theyyam. The naduvazhi played an important role in such affairs. One of the rituals of a Theyyam festival is to carry out fire or flame from a local Brahmanical temple to the village shrine. The permission for conducting a festival is necessary from the local landlord or naduvazhi. The landlords and the village elders enjoyed the right to restrict the out castes in their respective shrines. All members of a community were forced to observe traditional caste rules.
Theyyam and Local History
The myths and legends of the Theyyam deities. often relate to the local heroes and heroines. Some of their songs reflect certain episode from the local history. Divinity to these heroes had been attributed by the society. The medieval heroes like Kathivannur veeran, and Thacholi othenan were characters from local history. They were defied and worshipped for their heroism. The goddess Puthiya Bhagavathy (new) and Makkam were heroines of tragic stories. Makkam was considered to be an immoral woman by her beloved brothers. The jealousy of their wives made her a victim of their suspicion. The brothers dropped her and children in a deep well. Later she was elevated as a goddess and she was a chaste woman. This episode from local family history provided the theme for a Theyyam goddesses. A local chieftain wanted to molest a woman who had lost her several children. Her protest against the chieftain resulted in to the punishment by throwing her in a leaky country boat floated on a river. Burning fire wicks were also placed on her head. Later the memory of this woman was kept alive, by the society who elevated her to a goddess named Puthiya Bhagavathy. This Bhagavathy is a disease mother and a goddess of small pox. Many other stories like these could be traced from the myths and legends of several Theyyam gods and goddesses with deep roots in local history.
Geography
Geography
The district is marked off from the adjoining areas outside the State by the Western Ghats which run parallel to the sea and constitute an almost continuous mountain wall on the eastern side. The Ghats dominate the topography. The coastline is fringed with low cliffs alternating with stretches of sand.
A few miles to the interior, the scene changes and the sand level rises towards the barrier of the Ghats and transforms into low red laterite hills interspersed with paddy fields and coconut gardens.
Based on physical features, the District falls in to three natural division. The low land, bordering the sea, the mid land consisting of the undulating country and the forest, clad high land on the extreme east. There are mainly four types of soils namely, sandy, sand loam, laterite and hill or forest soil. The sandy and the sandy loam soils exist as a continuous narrow belt all along the Western coast about 20 Kms in width.
The land of the district can be categorized in detail as follows.
(a) Steeply slopy hill lands
(b) Upland plateau
(c) Deep gorges with steep side slopper and very narrow valleys
(d) Border valleys bounded by subdued hills
(e) Coastal plain and marine plain, and
(f) Nearly level lowland plains along the coastal plain.
Rivers
There are 12 rivers in this district. The longest is Chandragiri (105 kms) originating from Pattimala in Coorg and embraces the sea at Thalangara, near Kasargod. The river assumes its name Chandragiri from the name of the place of its source Chandragupta Vasti; where the great Maurya emperor Chandragupta is believed to have spent his last days as a sage.
The second longest river is Kariankod (64 kms), across which a dam is being built at Kakkadavu.
Shiriya (61 kms), Uppala (50 kms), Mogral (34 kms), Chithari (25 kms), Nileshwar (47 kms), Kavvayi (23 kms), Manjeswar (16 kms), Kumbala (11 kms), Bekal (11 kms) and Kalanad (8 kms) are the other rivers. These rivers provide ample irrigation facilities
The district is marked off from the adjoining areas outside the State by the Western Ghats which run parallel to the sea and constitute an almost continuous mountain wall on the eastern side. The Ghats dominate the topography. The coastline is fringed with low cliffs alternating with stretches of sand.
A few miles to the interior, the scene changes and the sand level rises towards the barrier of the Ghats and transforms into low red laterite hills interspersed with paddy fields and coconut gardens.
Based on physical features, the District falls in to three natural division. The low land, bordering the sea, the mid land consisting of the undulating country and the forest, clad high land on the extreme east. There are mainly four types of soils namely, sandy, sand loam, laterite and hill or forest soil. The sandy and the sandy loam soils exist as a continuous narrow belt all along the Western coast about 20 Kms in width.
The land of the district can be categorized in detail as follows.
(a) Steeply slopy hill lands
(b) Upland plateau
(c) Deep gorges with steep side slopper and very narrow valleys
(d) Border valleys bounded by subdued hills
(e) Coastal plain and marine plain, and
(f) Nearly level lowland plains along the coastal plain.
Rivers
There are 12 rivers in this district. The longest is Chandragiri (105 kms) originating from Pattimala in Coorg and embraces the sea at Thalangara, near Kasargod. The river assumes its name Chandragiri from the name of the place of its source Chandragupta Vasti; where the great Maurya emperor Chandragupta is believed to have spent his last days as a sage.
The second longest river is Kariankod (64 kms), across which a dam is being built at Kakkadavu.
Shiriya (61 kms), Uppala (50 kms), Mogral (34 kms), Chithari (25 kms), Nileshwar (47 kms), Kavvayi (23 kms), Manjeswar (16 kms), Kumbala (11 kms), Bekal (11 kms) and Kalanad (8 kms) are the other rivers. These rivers provide ample irrigation facilities
Christian Festivals
Christian Festivals
The Perunal Festivals of Churches are also famous as far as the District is concerned. There are two famous churches which were constructed during 1879-1880 period. They are at Kasaragod and Bela.
The Church of Our Lady of Dolurus at Kasargod situated near the Railway Station Road constructed during the year 1880 is also famous and the Thirunal Festivals of the Church attracts thousands of people.
The Mother Dolorus Church of Bela is about 11 K.M. on the Kumbla-Badiadka Route. This Gothic Style Roman Catholic church under the Mangalore diocese has celebrated it Centenary recently. Perunal (Thirunal) festival in the Church falls during the month of December every year which attracts large number of people.
Sacred Heart Church at Vorkady, Church at Manjeshwar, ChristuRaja Church at Kayyar, St. Veronica Church at Kumbla., Sacred Heart Church, Ukkinadukka, St.Johns Britanica Church at Narampadi, are the churches constructed between 1911 and 1942, and the Perunals of these churches attracts large number of People.
The other Churches in the District were built after 1943 when the Christians migrated from Travancore to the Eastern hilly areas of the district. The important among them are Rajapuram Church, Ranipuram Church, St Antonys Church at Balal, Christu Raja Church Bheemanadi, St. Marys Church at Kadumeni, St.Geevarghese Church at Kanhiradukkam, St.Sebastian Church at Maloth, Marypuram St.Mary's Church at Karivedakam, St.Thomas Church, Thomapuram, Cherupuzha at Vellarikundu. All these Churches celebrates the annual festivals (Thirunals) in a befitting manner, which attracts thousands of people. Grand processions and firework display makes these festivals colourful.
The Perunal Festivals of Churches are also famous as far as the District is concerned. There are two famous churches which were constructed during 1879-1880 period. They are at Kasaragod and Bela.
The Church of Our Lady of Dolurus at Kasargod situated near the Railway Station Road constructed during the year 1880 is also famous and the Thirunal Festivals of the Church attracts thousands of people.
The Mother Dolorus Church of Bela is about 11 K.M. on the Kumbla-Badiadka Route. This Gothic Style Roman Catholic church under the Mangalore diocese has celebrated it Centenary recently. Perunal (Thirunal) festival in the Church falls during the month of December every year which attracts large number of people.
Sacred Heart Church at Vorkady, Church at Manjeshwar, ChristuRaja Church at Kayyar, St. Veronica Church at Kumbla., Sacred Heart Church, Ukkinadukka, St.Johns Britanica Church at Narampadi, are the churches constructed between 1911 and 1942, and the Perunals of these churches attracts large number of People.
The other Churches in the District were built after 1943 when the Christians migrated from Travancore to the Eastern hilly areas of the district. The important among them are Rajapuram Church, Ranipuram Church, St Antonys Church at Balal, Christu Raja Church Bheemanadi, St. Marys Church at Kadumeni, St.Geevarghese Church at Kanhiradukkam, St.Sebastian Church at Maloth, Marypuram St.Mary's Church at Karivedakam, St.Thomas Church, Thomapuram, Cherupuzha at Vellarikundu. All these Churches celebrates the annual festivals (Thirunals) in a befitting manner, which attracts thousands of people. Grand processions and firework display makes these festivals colourful.
Muslim Festivals
Muslim Festivals
Kasargod acquired over the years, considerable importance as a centre of Islam, on the west coast. The District is famous for Mosques. Festivals known as Urooses are celebrated in the Makhams (grave of holly persons) every year. The Makhams are also known as Jarams and Urooses as Nerchas. The famous Urooses in the district are as follows.
Malik Dinar Mosque Uroos
The mosque, Juma Masjid which is one of the best kept and most attractive in the district is located at Thalangara, 2KM. away from Kasargod Town. This is believed to have been founded by Malik Ibu Dinar. It contains the grave of Malik Ibu Dinar and the place is sacred to Muslims. The Uroos conducted in the name of Malik Ibu Mohammed. Once in every three years is very famous. Religious speech is also conducted in connection with this. The one special feature of the Uroos is poor feeding. The Uroos attracts Pilgrims from all over India.
Thangal Uppappa Uroos at Muhayuddin Juma Masjid, Nellikkunnu, Kasargod Thangal Uppappa Uroos at Muhayyuddin Juma Masjid, Nellikkunnu near Kasargod Town is celebrated once in two years in memory of Thangal Uppappa Valiyullahi Mohammed Haneef. This is celebrated during December-January. The Nercha celebration lasts for seven to eleven days. Religious speeches by Muslim scholars are also conducted in connection with the festival. On the last day of the Uroos, mass-feeding takes place. It attract6s people in thousands.
Eriyadi Makham Uroos at Bandadukka, Parappally Makham Uroos at Ambalathara in Hosdurg Taluk. Bekal Makham Uroos Paika Manavatty Uroos etc. are also famous and attracts a large number of people irrespective of caste and religion.
Kasargod acquired over the years, considerable importance as a centre of Islam, on the west coast. The District is famous for Mosques. Festivals known as Urooses are celebrated in the Makhams (grave of holly persons) every year. The Makhams are also known as Jarams and Urooses as Nerchas. The famous Urooses in the district are as follows.
Malik Dinar Mosque Uroos
The mosque, Juma Masjid which is one of the best kept and most attractive in the district is located at Thalangara, 2KM. away from Kasargod Town. This is believed to have been founded by Malik Ibu Dinar. It contains the grave of Malik Ibu Dinar and the place is sacred to Muslims. The Uroos conducted in the name of Malik Ibu Mohammed. Once in every three years is very famous. Religious speech is also conducted in connection with this. The one special feature of the Uroos is poor feeding. The Uroos attracts Pilgrims from all over India.
Thangal Uppappa Uroos at Muhayuddin Juma Masjid, Nellikkunnu, Kasargod Thangal Uppappa Uroos at Muhayyuddin Juma Masjid, Nellikkunnu near Kasargod Town is celebrated once in two years in memory of Thangal Uppappa Valiyullahi Mohammed Haneef. This is celebrated during December-January. The Nercha celebration lasts for seven to eleven days. Religious speeches by Muslim scholars are also conducted in connection with the festival. On the last day of the Uroos, mass-feeding takes place. It attract6s people in thousands.
Eriyadi Makham Uroos at Bandadukka, Parappally Makham Uroos at Ambalathara in Hosdurg Taluk. Bekal Makham Uroos Paika Manavatty Uroos etc. are also famous and attracts a large number of people irrespective of caste and religion.
Hindu Festivals
Hindu Festivals
Sarvajanika Ganeshotsavam at Kasargod Town
This festival is celebrated during September every year in connection with Ganesh Chathurthi, by the local people under the banner of Sarvajanika Ganeshotsava Samithi, Kasaragod. A big idol of Lord Ganesha is made with clay and adorned for five or seven days conducting poojas and on the last day the idol is taken with a procession through the town and to immerse in the Temple tank. This festival attracts thousands of devotees. Ganesh Chathurthi day has been declared as public holiday in Kasargod District.
Annual Festival at Anantheswara Temple, Manjeswaram
The annual car festival of the temple is on the Marga Shira month usually between the 3rd week of November and 3rd week of December. It is also called Shashti festival, which attracts thousands of devotees and pilgrims.
Madhur Srimad Anantheswara Vinayaka Temple annual festival
During the month of March/April every year. 7 days festival. Special festival Moodappa seva conducted periodically in view of the huge expenses involved. A large number of devotees attend the festival.
Mujamkavu Parthasarathi Kshetram Annual Festival
The temple is situated in Ednad village of Kasaragod taluk, 4 Kms. east of Kumbla. The annual festival lasts for seven days during February every year. On the day of 'Thulava Sankramam' a large number of devotees attend the temple for Theertha Snanam, holy bath which is said to be curing skin diseases.
Kumbala Sree Gopalakrishna Temple
Five day festival during the month of January every year. Display of fire works at the end of the festival is very famous.
Adoor Mahalingeswara Temple
Annual Festival of the Temple starts with Dhwajarohanam on the 27th of Kumbam (Feb/March) every year and concludes with the holy dip in the waters of Payaswini on the 4th of Meenam(April) every year. The Makara Sankramam is an important festival day in the temple when a Sahasra Kumbabishekam with feeding of a large number of people takes place.
Mallikarjuna Temple, Kasargod
One of the most important festival of Kasargod town, dedicated to Lord Shiva. The annual festival in the temple falls in the month of March and it attracts huge crowds. The festival lasts for five days. Legend says that the idol of Lord Shiva was adorned by Arjuna.
Mallam Durga Parameswari temple
The temple situates near Bovikanam in Muliyar village about 10 kms away from Kasargod. The temple dedicated to Durga Parameswari. The only one temple from where the devotees get daily annadanam (food). A large number of piligrim visits the temple especially women folk. Tuesday and Friday are very important days in the temple. The annual festival lasts for 7 days, which falls in the month of February-March every year.
Thalaklayi Subrahmanya Tmeple, Paravanadukkam
Situated about 5 kms away south of Kasargod town. Dedicated to Lord Subramanya. The Shasthi festival during the month of December-January every year is famous which attracts large number of devotees. Thefestival last for days.
Kizhur Sri Sastha Temple, Chandragiri
This is an ancient temple situated at Chandragiri which is about 6 kms away from Kasaragod town. This is the head quarters of Anjooru Nayanmars - Troupes of five hundred professional singers sing jointly in praise of the greatness of the diety. This temple has close connections with Trikkannad Siva temple. The dignitaries of all the Kazhakams of Saliyas from Pattuvam to Panamboor (present Manglore) known as Pathinalu Nagaram assemble here annually on the second saturday of November.
Trikkannad Siva Temple
The temple is situated on the sea shore within one km of the Bekal bridge. The Pandyan Kallu, a rock rising above the sea near the temple is of historical importance. Legend says that when the Pandya rulers tried to attack the temple through the sea, the ship was burnt by the deity and the burnt ship became a rock, which is known as Pandyan Kallu. This temple is also known as Dakshina Kasi. The one week festival in the temple starts with the Kodiyettam (flag hoisting) during the month of March-April every year. Ashtami Villakku and Pallivetta are associated with the festival. Thousand of devotees from all over the district attend the festival. This is the only one temple with face to the west.
Palakkunnu Shree Bhagavathy Kshetram is one km. north of Trikkannad on the Kasargod - Kanhangad road (Chandragiri route). It is one of the famous temples of the Thiyya Community. The treasure house of the temple is situated near the railway gate of Kottikkulam railway station. Important deity is Mootha Bhagavathy (Kurumba Bhagavathi). Ilaya Bhagavathy, Dhandan, Ghandakarnam,Vishnu Moorthy and Gulikan are the sub deities. Padinhatta Chamundi, and Moovalamkuzhi Chamundi, are also worshipped in the Treasure House. The famous festival of the temple is Bharani Maholsavam which falls in the month of March every year. Maruputhari festival, during the month of December-January, Kalam Kanippu Maholsavam during the month of January and 'Poorolsavam' of March-April, are the other festivals of the temple. Bharani festival starts, the next day of the Arattu festival of Trikkannad temple.
This temple has close connection with the Trikkannad temple. The rope used for Dhwajarohanam at Trikkannad temple is used for the Dhwajarohanam in the Palakkunnu temple, for Bharani festival . Bharani festival ends with the Auirathiri Ulsavam. The temple has jurisdiction over the areas of Pallikkere Panchayath, Udma Panchayath, Chemnad Panchayath, and Kolathur village of Bedadka Panchayath. Every year on the festival day the deities of these areas give great offerings to the temple. These offerings are taken to the temple through colourful processions which is known as Kazhchae. After the end of each processions, brilliant fire works display, is conducted. A large number of people from all over the district and other districts and Karnataka state attend the Bharani festival especially to witness the Kazhchas and the fire works display which lasts for hours.
Bekal Fort Mukhya Prana temple festival
Temple inside the Bekal Fort. Rama Navami is celebrated in the Bekal Fort, Mukhya prana temple dedicated to 'Hanuman' , during the month of March- April every year. Various programmes are conducted in connection with the festival like Kathakali, Yakshagana, Harikatha, Ganamela etc., which attracts large number of people.
Madiyan Kooloom Temple at Madiyan, Ajanur village
The famous Madiyan Koolam temple is situated about 5 kms. from Kanhangad, the head quarters of Hosdurg Taluk . The main deity of the temple is Bhadrakali (Kalarathri). There are also other deities like Kshethra Palan, Bhagavathy, Bhairavan etc. A peculiarity of this temple is that a Brahmin priest performs pooja only in the noon, while in the morning and evening poojas are performed by poojaris from Maniyani sect. The festivals in this temple are very famous which are known as 'Kalasam' and Pattulsavam. 'Kalasam' falls in the month of Edavam (May and June every year). 'Pattulsavam' falls in the month of Dhanu (December-January every year). Theyyam is performed during this festivals. Cultural performances religious rites, grant procession Fire works display etc. makes these festivals colourful.
Mannanpurathkavu, Nileshwar
Mannan purath kavu temple is situated at Nileshwar, near railway gate. This temple is dedicated to 'Durga' where poojas are performed by a sect called Pidarar. Another specialty of this temple is that Kurathi is performed here by sacrificing cocks. A large number of devotees visit this temple on Tuesday and Friday, the important days of the temple. Annual festival in this temple is known as 'Kalasam' which falls during Edavam (May) every year. Theyyam is performed on these festival days. Cultural performances and religious rites attracts thousands of devotees. Grand four in also conducted in connection with the festival
Sarvajanika Ganeshotsavam at Kasargod Town
This festival is celebrated during September every year in connection with Ganesh Chathurthi, by the local people under the banner of Sarvajanika Ganeshotsava Samithi, Kasaragod. A big idol of Lord Ganesha is made with clay and adorned for five or seven days conducting poojas and on the last day the idol is taken with a procession through the town and to immerse in the Temple tank. This festival attracts thousands of devotees. Ganesh Chathurthi day has been declared as public holiday in Kasargod District.
Annual Festival at Anantheswara Temple, Manjeswaram
The annual car festival of the temple is on the Marga Shira month usually between the 3rd week of November and 3rd week of December. It is also called Shashti festival, which attracts thousands of devotees and pilgrims.
Madhur Srimad Anantheswara Vinayaka Temple annual festival
During the month of March/April every year. 7 days festival. Special festival Moodappa seva conducted periodically in view of the huge expenses involved. A large number of devotees attend the festival.
Mujamkavu Parthasarathi Kshetram Annual Festival
The temple is situated in Ednad village of Kasaragod taluk, 4 Kms. east of Kumbla. The annual festival lasts for seven days during February every year. On the day of 'Thulava Sankramam' a large number of devotees attend the temple for Theertha Snanam, holy bath which is said to be curing skin diseases.
Kumbala Sree Gopalakrishna Temple
Five day festival during the month of January every year. Display of fire works at the end of the festival is very famous.
Adoor Mahalingeswara Temple
Annual Festival of the Temple starts with Dhwajarohanam on the 27th of Kumbam (Feb/March) every year and concludes with the holy dip in the waters of Payaswini on the 4th of Meenam(April) every year. The Makara Sankramam is an important festival day in the temple when a Sahasra Kumbabishekam with feeding of a large number of people takes place.
Mallikarjuna Temple, Kasargod
One of the most important festival of Kasargod town, dedicated to Lord Shiva. The annual festival in the temple falls in the month of March and it attracts huge crowds. The festival lasts for five days. Legend says that the idol of Lord Shiva was adorned by Arjuna.
Mallam Durga Parameswari temple
The temple situates near Bovikanam in Muliyar village about 10 kms away from Kasargod. The temple dedicated to Durga Parameswari. The only one temple from where the devotees get daily annadanam (food). A large number of piligrim visits the temple especially women folk. Tuesday and Friday are very important days in the temple. The annual festival lasts for 7 days, which falls in the month of February-March every year.
Thalaklayi Subrahmanya Tmeple, Paravanadukkam
Situated about 5 kms away south of Kasargod town. Dedicated to Lord Subramanya. The Shasthi festival during the month of December-January every year is famous which attracts large number of devotees. Thefestival last for days.
Kizhur Sri Sastha Temple, Chandragiri
This is an ancient temple situated at Chandragiri which is about 6 kms away from Kasaragod town. This is the head quarters of Anjooru Nayanmars - Troupes of five hundred professional singers sing jointly in praise of the greatness of the diety. This temple has close connections with Trikkannad Siva temple. The dignitaries of all the Kazhakams of Saliyas from Pattuvam to Panamboor (present Manglore) known as Pathinalu Nagaram assemble here annually on the second saturday of November.
Trikkannad Siva Temple
The temple is situated on the sea shore within one km of the Bekal bridge. The Pandyan Kallu, a rock rising above the sea near the temple is of historical importance. Legend says that when the Pandya rulers tried to attack the temple through the sea, the ship was burnt by the deity and the burnt ship became a rock, which is known as Pandyan Kallu. This temple is also known as Dakshina Kasi. The one week festival in the temple starts with the Kodiyettam (flag hoisting) during the month of March-April every year. Ashtami Villakku and Pallivetta are associated with the festival. Thousand of devotees from all over the district attend the festival. This is the only one temple with face to the west.
Palakkunnu Shree Bhagavathy Kshetram is one km. north of Trikkannad on the Kasargod - Kanhangad road (Chandragiri route). It is one of the famous temples of the Thiyya Community. The treasure house of the temple is situated near the railway gate of Kottikkulam railway station. Important deity is Mootha Bhagavathy (Kurumba Bhagavathi). Ilaya Bhagavathy, Dhandan, Ghandakarnam,Vishnu Moorthy and Gulikan are the sub deities. Padinhatta Chamundi, and Moovalamkuzhi Chamundi, are also worshipped in the Treasure House. The famous festival of the temple is Bharani Maholsavam which falls in the month of March every year. Maruputhari festival, during the month of December-January, Kalam Kanippu Maholsavam during the month of January and 'Poorolsavam' of March-April, are the other festivals of the temple. Bharani festival starts, the next day of the Arattu festival of Trikkannad temple.
This temple has close connection with the Trikkannad temple. The rope used for Dhwajarohanam at Trikkannad temple is used for the Dhwajarohanam in the Palakkunnu temple, for Bharani festival . Bharani festival ends with the Auirathiri Ulsavam. The temple has jurisdiction over the areas of Pallikkere Panchayath, Udma Panchayath, Chemnad Panchayath, and Kolathur village of Bedadka Panchayath. Every year on the festival day the deities of these areas give great offerings to the temple. These offerings are taken to the temple through colourful processions which is known as Kazhchae. After the end of each processions, brilliant fire works display, is conducted. A large number of people from all over the district and other districts and Karnataka state attend the Bharani festival especially to witness the Kazhchas and the fire works display which lasts for hours.
Bekal Fort Mukhya Prana temple festival
Temple inside the Bekal Fort. Rama Navami is celebrated in the Bekal Fort, Mukhya prana temple dedicated to 'Hanuman' , during the month of March- April every year. Various programmes are conducted in connection with the festival like Kathakali, Yakshagana, Harikatha, Ganamela etc., which attracts large number of people.
Madiyan Kooloom Temple at Madiyan, Ajanur village
The famous Madiyan Koolam temple is situated about 5 kms. from Kanhangad, the head quarters of Hosdurg Taluk . The main deity of the temple is Bhadrakali (Kalarathri). There are also other deities like Kshethra Palan, Bhagavathy, Bhairavan etc. A peculiarity of this temple is that a Brahmin priest performs pooja only in the noon, while in the morning and evening poojas are performed by poojaris from Maniyani sect. The festivals in this temple are very famous which are known as 'Kalasam' and Pattulsavam. 'Kalasam' falls in the month of Edavam (May and June every year). 'Pattulsavam' falls in the month of Dhanu (December-January every year). Theyyam is performed during this festivals. Cultural performances religious rites, grant procession Fire works display etc. makes these festivals colourful.
Mannanpurathkavu, Nileshwar
Mannan purath kavu temple is situated at Nileshwar, near railway gate. This temple is dedicated to 'Durga' where poojas are performed by a sect called Pidarar. Another specialty of this temple is that Kurathi is performed here by sacrificing cocks. A large number of devotees visit this temple on Tuesday and Friday, the important days of the temple. Annual festival in this temple is known as 'Kalasam' which falls during Edavam (May) every year. Theyyam is performed on these festival days. Cultural performances and religious rites attracts thousands of devotees. Grand four in also conducted in connection with the festival
Sunday, June 6, 2010
Doctors and Hospitals in Nileshwar.
Community Health Centre - Perole..........................2282933
K.C.U.Raja Memorial Hospital (Dr.K.C.K.Raja)...........2282579
Dr. Ibrahimkunhi Nursing Home, Padnekad................2280215
Bharath Hospital (Dr.K.P.Ahamed)..........................2280389
Dr.Haridas Verkkot.............................................2280445
Dr.V.Komalam...................................................2282036
Dr.V.Sureshan....................................................2282935
Dr.Radhakrishnan Nair (Homeo)..............................2280576
Dr.Ganapathi Bhat (Dental Surgeon).........................2282778
Dr.Matha..........................................................2280509
Dr.Radhakrishnan................................................2280576
K.C.U.Raja Memorial Hospital (Dr.K.C.K.Raja)...........2282579
Dr. Ibrahimkunhi Nursing Home, Padnekad................2280215
Bharath Hospital (Dr.K.P.Ahamed)..........................2280389
Dr.Haridas Verkkot.............................................2280445
Dr.V.Komalam...................................................2282036
Dr.V.Sureshan....................................................2282935
Dr.Radhakrishnan Nair (Homeo)..............................2280576
Dr.Ganapathi Bhat (Dental Surgeon).........................2282778
Dr.Matha..........................................................2280509
Dr.Radhakrishnan................................................2280576
A.C.Padmanabhan............................2204001
K. Kunhamad......................................2202070
K.K. Musthafa.....................................2202767
M.K. Nanda Kumar............................2203587
P.K. Haris...........................................2203964
M.I. Moideen Kunhi............................2202855
K. Vinod Kumar.................................2205197
Ramesh Bhat.....................................2204434
P. Jayaprakash..................................2207144
H. Prakash Pai...................................2204450
H. Venkatesh Kamath.......................2204108
K. Krishna Bhat..................................2204074
Kishore Kumar...................................2203585
E. Venugopal.....................................2204616
Ramakrishna Bhat.............................2202112
M.A. Abdul Hafees.............................2202260
Thresiamma Jose..............................2204003
P.V. Kelu............................................2204901
K.G. Pai..............................................2203157
K.V. Vasu............................................2204120
K. Srinath............................................2204576
M.K. Jose............................................2204003
M.K. Jayanandan...............................2202882
N.P. Rajan..........................................2204745
K. Jayaprasad...................................2201488
Nithyananda Babu.............................2203968
Gopi Nath ..........................................2204112
K. Sathish Shenoy.............................2202916
Abdul Khader Thidil ..........................2204135
K. Ramakrishna Bhat........................2204056
P. Krishnan.........................................2204250
Kesavan Potti.....................................2205178
T.V. Kunhi Kannan.............................2204005
Nanda Kumar.....................................2207120
K. Vinod Kumar.................................2207197
A.V. Sukumaran.................................2204110
C.R. Jayadevan..................................2207933
Vijaya Raghavan................................2202004
Kunikkullaya........................................2202361
Ramananda Rao................................2202869
Ambujakshi.........................................2204250
Geetha Prakash Pai..........................2201448
Susheela Lazar ..................................2203531
Sulojana ..............................................2202474
Vasanda..............................................2204760
Shameem Hafis.................................2202260
Sharmila Balraj ..................................2204980
Jyothi Padmanabhan ........................2203939
P. Santhosh Kumar............................2204272
K. Guru Dutt.........................................2204434
Deepika Kishore................................2205262
Chakrapani ........................................2202911
Ganesh Pai .........................................2204211
K.K. Geetha..........................................2203304
M.V. Sasidharan..................................2204420
Gangadharan......................................2202285
Gogumanantha Pai............................2204675
Jayashree............................................2204640
Jayadeva Shenoy................................2202206
Leela Raman.......................................2204096
Mohd Kunhi..........................................2202952
Sujatha .................................................2202349
Vishweswara Bhat...............................2204230
K.V. Vasu ............................................2204120
Radha Krishnan ..................................2204893
Bhaskaran ...........................................2203280
P.K. Balakrishnan...............................2204469
A.Balachandran ...................................2202011K. Deepa ................................................2207510 S.R.Chandrasekar ................................2203438
K.K. Jyoti ...............................................2203939
Krishna Kumari .....................................2201485K. Kumaran ...........................................2204094 P.K. Kumaran .......................................2201489 M. Maya .................................................2201747 N. Sasidharan .......................................2205280 K. Moli ....................................................2202301 M.R. Nambiar .........................................2203420 H. Ramadas Nayak ...............................2201479 K. Ramakrishna Bhat ............................2204056 V. Ravindran ..........................................2205204
Subscribe to:
Posts (Atom)
