Pulikali (puli means leopard and kali means play) is a dance performed by men adorning the costume of leopard. It is performed in different parts of Kerala during the festival of Onam. Yet, the one that is performed in Thrissur district is quite old. From children to elderly people take part in Pulikali. The performer will be wearing masks of leopard face and body painted in black and yellow. Leopard faces are also drawn on bellies.
The group comprises predominantly male leopards with few female and child leopards. Since wearing masks, there is no significance for facial expressions. Men with potbellies shake it and dance, which is real fun to watch.
It is enough for one to try and understand the many festive occasions in Kerala in order to get familiar with Kerala’s history, culture and heritage. And the festival of Onam is a grand event for Keralites.
There is a myth behind Onam. Long time ago, Kerala was ruled by a demon king by the name of Mahabali, who had conquered all the three worlds. He always cared for the welfare of his subjects, the fame of which envied the gods and lessened their significance. The gods sought the help of Lord Vishnu for regaining their glory and significance. Lord Vishnu agreed to their request. He took the form of Vaamana (a dwarf Brahmin) and requested King Mahabali to grant 3 foot of land for meditation purpose. As Vaamana began to measure, he assumed a massive form and measured two foot of Mahabali’s kingdom and asked him about the third. To this, Mahabali lowered his head and Vaamana placed his foot on his head and was sent to the nether world. The opportunity granted to Mahabali by Vaamana to visit his subjects once a year is celebrated as Thiruvonam, the most auspicious day of the Onam festival.
Onam also heralds the New Year for Malayalees. It is also the harvest festival of the State, starting from Atham asterism and concluding on the Thiruvonam asterism. The ten-day festival is marked by floral carpets (pookalam) at households, giving of new clothes (onakodi) and grand traditional feast (onasadya).
During Onam people engage in various entertainments. Boat race (vallam kali) is one of them, the thrill of which is to finish first by singing vanchi pattu (song of the boat). Boat races are confined to southern districts of Kerala like Alappuzha, Kottayam and Pathanamthitta.
Thiruvathirakali, also known as Kaikottikali, is a women’s group dance, quite popular during Onam.
Atham asterism in the Malayalam month of Chingam (August / September) marks the beginning of the ten-day Onam festivities in Kerala. As per mythology, Onam festival is a commemoration of the prosperous period of King Mahabali’s rule in Kerala and it also marks his visit to Kerala for seeing his subjects. It is also celebrated as a harvest festival. Athachamayam is celebrated on the Atham day at the historical town of Tripunithura, near Kochi. It is a celebration of a legendary victory of the Raja of Kochi. Pomp and colour mark the pageantry. Caparisoned elephants, varieties of folk art forms, floats and musical ensemble add splendor to the chamayam.
If Onam is the number one festival of Keralites, Vishu takes the second spot. It comes on the first day of the Malayalam month Medam (April), which is also the Spring Equinox, when the duration of day and night are equal.
On the day of Vishu, seeing the Vishukanni (offerings placed in prayers rooms at homes and and in front of deities in temples) as the first thing in the morning is believed to be the harbinger of the year’s prosperity and good luck. The offerings comprise flowers of golden shower (kani konna) tree, vegetables, fruits, traditional lamp, metal mirrors, coins, rice, holy text etc. placed inside a metal vessel called uruli. A lighted bell metal lamp called nilavilakku is also placed alongside. Giving of handsel (kaineettam) by an elderly person in the family to younger members is an integral part of the celebrations.
The art form Krishnanattam (literally knwon as Dance of Krishna) was composed by King Manavedan of Kozhikode. King Manavedan wrote Krishnageethi based on the renowned poet Jayadeva's Gitagovinda. This work in Sanskrit presents the story of Lord Krishna and the art form Krishnanattam originated from this.
Krishnanattam combines artistic elements of Ashtapadiyattam, a dance form evolved in Kerala based on Jayadeva's Gitagovinda. (However, Ashtapadiyattam ceased to exist almost a century ago.)
In Krishnanaattam the story of Krishna right from his birth to his ascent to heaven is presented in eight parts. In the olden days, it was performed in eight days. There is no dialogue. The actors render in accordance with the songs from background. Chengila, maddalam and Elathalam are the accompanying musical instruments. The make up and costumes are colourful and vibrant.
Koothu is an art form in which the stories of Hindu mythology and epics are orally rendered primarily with the support of acting and hand gestures. In the olden days, it was confined to temple premises. Only the members of the Chakyar community performed this art form and hence the name Chakyar Koothu. This was performed in temple theatres called Koothambalam.
In Chakyar Koothu the entire story is presented by a single performer. The costumes are that of a court jester. Facial make-up is done with rice powder, turmeric powder and black powder. He wears an ornament in one ear and a betel leaf in the other. An accompanying artist plays the percussion instrument Mizhavu in the background.
The highlights of Chakyar Koothu, is satire, social criticism, humor and related stories or episodes presented during the performance. In the olden days of royalty, the Chakyar had the right to criticise even the King and his acts while performing. The practice was that the audience should listen to the Chakyar and accept his criticisms. Any opposition to comments made by the Chakyar while performing would have led to an end in the performance of the art form in that premises for ever.
Nangyarkoothu, a classical art form of Kerala, is a popular temple art form of Kerala. The art form was performed by Nangyars, the female members of the Nambiar community and hence this name. This art form evolved from Kutiyattam, is performed by females only and the very same facial make up and costumes of the female characters of Kutiyattam are used for this too.
Srikrishna Charitham, the story of Lord Krishna is the story often presented in Nangyarkoothu (Nangyar Koothu). It takes 12 days to present the entire story. Mizhavu, a percussion instrument is used for the background score. There is no dialogue and the story is presented via hand gestures. This too was presented only in Koothambalams or temple theaters within temple premises in the earlier days.
The ancient Sanskrit theatrical art form of the state, Kutiyattam is Kerala’s distinctive stage interpretation of the very early Sanskrit drama as dance drama. Kutiyattam (Koodiyattam), which is around 2000 years old, has been accepted as one of the 'Masterpieces of Oral and Intangible Heritage of Humanity' by the UNESCO. It is usually performed only in temple theatres known as Koothambalam by members of the Chakyar and Nambyar castes till the first half of the 20th century. Only through rigorous training lasting many years one can aspire to master the craft of Kutiyattam.
The word Kutiyattam literally means "acting together". There are four methods or types of acting has been mentioned in Sage Bharata’s Natya Shastra – aangikam (expression using different parts of the body), vaachikam (expression through speech), sathvikam (expression of physical reactions to emotions) and aahaaryam (expression through costume, ornaments and props) are all woven into Koodiyattam performances. A typical Koodiyattam performance involves elaborate and lengthy acting sequences using hand gestures and distinctive modes of acting like Ilakiyaattom, Pakarnnaatttom and Irunnaattom.
As mentioned before, Kutiyattam performances are based on Sanskrit plays. However, only a part of the play is enacted. Thus the performance is named not after the play but usually in terms of an event that is in focus. As such, like Vichinnabhishekam, Mayaseethankom and Shoorppanakhaankom. Ankom literally means chapter.
Prathimaabhishekam written by Bhasan, Swapnavaasavadatham, Prathijnjayougandharaayanam, Oorubhangam, Madhyama Vyaayogam, Doothavakyam, Naagaanandam by Sriharshan, Aashcharya Choodamani by Shakthibhadran, Subhadra Dhananjayam by Kulasekharavarman, Thapathee Samvaranam, Kalyanasaugandhikam by Neelakantan, Mathavilasom by Mahendra Varman and Bhadavaddujakam by Bodhayanan.
Today, the presentation of a single ‘ankam’ from one of these plays takes upto eight days where as in the earlier days it took upto 41 days to complete a single chapter.
The Mizhavu is the main instrument used as accompaniment in a Kutiyattam performance. Others include Idakka, Shankhu, Kurumkuzhal and Kuzhithaalam.
The temples with koothamablams (temple theatres) for Kutiyattam performance are Thirumandhamkunnu,, Thiruvaarppu, Thiruvaalathur (Kodumba), Guruvayoor, Arppokkara, Kidangoor, Peruvanam, Thiruvegappuram, Moozhikkulam, Thirunakkara, Harippadu, Chengannur, Iringalakkuda and Vadakkumnatha, Thrissur.
Kathakali is a classical dance form of Kerala, demanding long years of training. Believed to have evolved from Ramanattam, another classical art form composed by Kottarakkara Thampuran, Kathakali incorporates the techniques of some of the major ritual art forms of Kerala.
The characters of Kathakali do not speak and the story is presented through songs from the background. This makes Kathakali music a very important component of this art form. The text of Kathakali songs is known as Attakkatha. Chenda, Maddalam, Chengila and Elaththalam are the instruments used with Kathakali music.
Like most other classical dance forms of India, Kathakali is also based on Natya Shastra, the ancient treatise on dance, written by Sage Bharata. However, Kathakali relies on Hasthalakshana Deepika, another classical text for its hand gestures.
A Kathakali performance has different components or steps. They are Keli, Arangu Keli, Thodayam, Vandana slokam, Purappadu, Melappadam, Kathabhinayam and Dhanaashi. It needs 6 to 8 hours to present the complete version of a Kathakali play.
The spectacular costumes and colourful make up are the other major features of Kathakali. It takes 3-5 hours for the facial make up of most of the characters. The make up and costume of characters are designed to highlight their characters.
To perform Kathakali, an artist needs minimum 4 to 5 years of training. Kathakali was in peril and on the verge of extinction in the beginning of 20th century. Renowned Poet Vallaththol Narayana Menon and Manakkulam Mukunda Raja took the initiative to set up Kerala Kalamandalam, a centre of excellence for classical art forms at Cheruthuruthy in Thrissur. Since then Kerala Kalamandalam works for the revival of this great art form.
Stories for Kathakali are often taken from Hindu mythology and Indian epics. Kottayaththu Thampuraan, Unnayi Warrier, Irayimman Thampi, Vayaskara Moos etc. are some of the major contributors of Attakkatha or the text for Kathakali. The main Kathakali plays include Kalyana Sougandhikam, Nala Charitham, Uththara Swayam varam, Duryodhana Vadham, Bali Vadham , Santhana Gopalam etc.
Thrikkadavoor is a small town located on the banks of the Ashtamudi backwater in Kollam district. It is about 5 km from Kollam town. The Sree Mahadeva temple is an ancient temple situated in the village of Thrikkadavoor and is the most prominent of Shiva temples in the district. The annual ten-day festival of the temple is a splendid celebration attended by thousands of people. The highly devotional Thiruvathira festival and the resplendent kettukazha add to the charm of the festival.
There is an interesting legend attributed to the origin of the temple, which is now administered by the Travancore Devaswom. Sage Mrikandu and his wife were saddened as they did not have a child. Once Lord Siva appeared before them and gave two options. One was to have a short-living intelligent boy and the other to have a long-living idiot. The couple selected the former and was blessed with a baby boy who would live for 16 years. They named him Markandeya.
Young Markandeya was an ardent devotee of Lord Siva. At the age of 16, on his last day, he sat immersed in prayers in front of a Lord Siva idol. The divine mood deterred the messenger of Yamaraja (the God of death) from taking Markandeya's life. Later, Yamaraja took up the task and sprung the noose aiming the boy's neck. Unfortunately, the noose fell over the Sivalinga which angered Lord Siva. The furious god entered into a war with Yama which the former won. In the end of the battle, Lord Siva laid the condition to spare the life of his devout Markandeya for not killing Yamaraja. Mythology says that Thrikkadavoor was where this event occurred.
Elephants are an integral part of Kerala culture. It is the presence of richly adorned elephants that gives a majority of the traditional festivals of Kerala a touch of grandeur and glory.
Aanayoottu at the Vadakkumnathan Temple in Thrissur district is a ritualistic feeding ceremony (locally known as Aanayoottu) that takes place inside the premises of the famous temple, dedicated to Lord Shiva.
On the festival day the elephants are brought inside the premises of the Vadakkumnathan Temple for the special feast. Here, the elephants are lined-up in a single row and facing them would be thousands of people ready with offerings in their hands to feed the elephants. Sugarcane, rice, ghee, coconut, jaggery and Ayurvedic medicines are the major ingredients of the special feed for the elephants.
This ceremony is also rooted in the belief that Lord Ganesha, the elephant-faced God, who removes obstacles in one's life will be appeased if elephants are worshipped and given healthy, delicious food.
One of the largest vegetarian feasts in India, the Aranmula Vallasadhya is a ritual offering to the deity Lord Parthasarathy. In this ritual the oarsmen of the snake boats are offered a feast. The feast has over 70 dishes. This event that stretches to more than two hours combines ritual offerings, sports and music. The feast is made more enjoyable, amusing and interesting with the oarsmen performing special songs for the feast beginning by praising Lord Parthasarathy of Aranmula. As the feast progresses their songs become more playful and include demands of specific dishes that they wish to be served.
Neelamperoor Patayani is a spectacular event that takes place at the Neelamperoor Palli Bhagavathy temple in the district of Alappuzha. Though Patayani is performed in a number of other temples in Kerala, the one held at Neelamperoor is entirely different from others. It comes in the Malayalam month of Chingam (August / September). The word patayani literally means row of warriors. The event is a riot of colours, fervent devotion and festivity.
Massive effigies of swans and other legendary characters are brought in procession. The making of the effigies of the swans is locally known as annamkettu.
The annual Kottiyoor festival in Kannur district is a festival jointly held by two temples viz. Akkare Kottiyoor and Ikkare Kottiyoor, located on either side of the Bavali River in a dense forest. This 28-day festival falls during the months of May and June. Beginning with the neyyattam ritual on the first day and the thirukalasattu ritual on the concluding day are the highlights of this festival.
Lord Shiva, the deity of Akkare Kottiyoor temple is considered as a swayambhoo lingam (self-created idol). There is no formal structure of a temple here at the Akkare Kottiyoor temple. Prayers and offerings are done here only during the festival days.
Unlike all other temples, the deity at the Poruvazhi Malanada Temple is Duryodhana, the antagonist of the Indian epic Mahabharata. Another striking feature of this temple is the fact that the temple doesn't have either an idol or a sanctum sanctorum.
A spectacular event that is a part of this temple is called Malanada Kettukazcha. It is a one-day festival celebrated in the month of March. A fascinating sight in which decorated structures are taken out to the accompaniment of traditional orchestra of drums, the procession attracts scores of people every year. Some of these decorated structures made in a competitive spirit by the people of the surrounding villages are 70 to 80 ft tall. The structures are either carried on the shoulders or taken out on chariots. The sheer grandeur of this procession is what has earned it its repute and fame.
The annual festival – Ezhara Ponnana - at the Ettumanoor Sree Mahadeva Temple in Kottayam is a popular and historic one. The Ezhara Ponnana procession is a major ritual. The story of Ezhara Ponnana is linked to the king’s rule. Ezhara means seven-and-a-half and Ponnana means golden elephant. Made of wood and covered in gold, each of the seven elephants is two feet high and the eighth one is of one foot only. Hence they are together called seven-and-a-half elephants.
Witnessed on the eighth and tenth day of the festival at Ettumanoor is the Ezhara Ponnana procession, which is grand sight to behold.
The annual festival at the Sree Kurumba Bhagavathy temple situated at Kodungallur in Thrissur district is known as the Kodungalloor Bharani. It takes place in the Malayalam month of Meenam.
Majority of the people that take part in the festival are from the northern regions of Kerala, collectively called as Kadatha Nadu. The rituals at the temple are believed to have originated from the ancient ties between Kodungallur and the region under the Chera rule that also had their second capital – Thondi.
Specialities
Kaavu Theendal (defiling of the sacred grove), hoisting of festival flag without rituals, kozhikkal moodal (covering of hen stone), ceremonies performed by a fisherman called Palakka Velan are the festival specialities.
Aswati kaavu theendal is the most important of rituals. On the day of Meena Bharani there are no celebrations in the temple. All festivities start from the day of festival flag hoisting, which is on the day of Bharani asterism in the Malayalam month of Kumbham till Aswathi asterism in the month of Meenam. The ceremony jointly performed by the goodhearted Veeraasaari and Malayan Thattan is an important one. Thattan will ring the handheld bell and defile the temple premises by circumambulating it. This is followed by the sanctification of the temple by the Moothanmars of Plappilli ancestral house. The tying of flags on banyan trees and minarets around the temple mark the beginning of the period of Bharani. Songs featuring vulgar and obscene words are sung by devotees, who come from places like Wayanad, Kannur, Thalassery and Palakkad.
Kaavu Theendal
Kaavu Theendal takes place on the Aswathi asterism. Towards noon, by 11 o’clock, the northern entrance to the temple will be closed and no one is allowed to enter the temple. After the mid-day offerings, a secret offering called Aswathi pooja is also done. After removing all ornamental adornments from the idol of Goddess Bhagavathi, sandal paste is applied. The oracles taking part in Kaavu Theendal will gather in the courtyard of the Vadakedath Mutt, situated on the eastern side of the kaavu (grove).
After the temple is opened, the ruler of Kodungallur Kovilakom is welcomed by devotees and the officials of the temple. After drinking tender coconut juice given to the ruler by Paalakka Velan, the ruler will order the namboothiri to lift the silk parasol. Paalakka Velan will be the first to do the kaavu theendal (defiling of grove). This is followed by defiling of the kaavu by oracles and devotees, who will also hit the temple rafters with wooden sticks. And they circumambulate the temple three times.
Bharani Paattu (Bharani Song)
The kaavu theendal ceremony is held amid songs of devotion and those that feature vulgar and obscene words.
The Chettikulangara temple situated in Mavelikkara taluk of Alappuzha district is renowned for its annual Bharani festival. The temple is dedicated to Goddess Bhagavathy. The festival begins on the Bharani asterism in the Malayalam month of Kumbam).
The main rituals of the festival are kuthiyottam and kettu kazhcha. Kuthiyottam features circumambulation of young boys who have observed rigorous ritual penance. Kettukazhcha (kettu means ‘put together’ and kazhcha means ‘spectacle’). Effigies of 100 ft high bulls are built and are brought to the temple, accompanied by musicians playing the chenda (traditional percussion) and Ila Thaalam (cymbals). The bull effigies circumambulate the temple and later take positions on one side of the temple.
A renowned pilgrim centre atop the rugged hills of the Western Ghats, the holy Sabarimala Temple is dedicated to Lord Ayyappa. The main pilgrimage is undertaken between November and January. Devotees undergo rigorous penance before starting on the pilgrimage. Regardless of caste, creed and colour they wear black or deep blue dhoties (traditional Kerala wear for men) and carry on their heads, cloth bundles containing traditional offerings like coconuts filled with ghee, camphor and rice. When it comes to female devotees only females who are past their menopausal age or have not attained puberty are allowed into the precincts of the shrine of the Lord who is considered to have remained unmarried.
Kadammanitta, a village 8 km away from Pathanamthitta is famous for its annual Patayani festival held in the premises of the Devi temple. The five-day festival commences on the first day (pathaamudayam) of the Malayalam month of Medam (April). The festival marks the victory of Goddess Kaali over the demon Daarika and is noted for its traditional orchestra and dance.
The Kottankulangara temple in Chavara, near Kollam, is renowned for its unique festival. Here, hundreds of men dress up as beautiful women and come to the temple at night, holding the chamaya vilakku (make-up lamp). This is a kind of offering to the presiding deity of the temple - Goddess Bhagavathy. This ritual attracts a great number of people.
A festival that entered the Guinness records for being the largest single gathering of women for a religious activity, Attukal Pongaala of Attukal Bhagavathy temple in Thiruvananthapuram district is a phenomenon of sorts.
The pongaala takes place on the ninth day of the festival that takes place in the Malayalam months of Makaram / Kumbham (February / March). The ritual starts with an offering to Lord Ganapathi. Flattened brown rice, roasted white rice, betel leaf, areca nut, banana, jiggery, flower, incense, traditional lamp, bowl of water, rice measuring vessel are used as part of the pongaala ritual. The hearths of devotees are lighted only after the one inside the temple is lighted. The offerings include white rice, deserts made of jiggery and rice and theraly (a sweet made by steaming) and manda puttu. The pongaala will come to a conclusion with the sprinkling of holy water by the temple priests on the offerings prepared by the devotees.
The Valliyoorkkavu temple, located high in the Wayanad hills at Valliyoorkkavu, 3 km from Mananthavady town is dedicated to Goddess Bhagavathy. Here goddess is worshipped in three of her principal forms - Vana Durga, Bhadrakali and Jala Durga.
The annual 14 day arattu festival of this temple whose idol is believed to have been self-manifested is held in the month of March. Announcing the festival, the sword of Valliyooramma will be brought from the Palliyara Bhagavathy temple at Pandikkadavu near Mananthavady by the chief priest on the first day. Unlike other temple festivals, here the kodiyettu (the flag hoisting ceremony)is performed only on the seventh day of the festival by tribal chieftains.
Important rituals held during the festival include the oppana varavu, a procession from Cheramkode Bhagavathy temple at Kallody near Mananthavady will come to Valliyoorkavu temple. Adiyaras, a procession with tender coconut for abhishekam (ablution) marks the arattu of Valliyooramma. The festival concluded when the oppana varavu returns to Cheramkode Bhagavathy temple after the rudhirakkolam, a symbolic fight between Goddess and the demon king, Darika, in which the Bhagavathy wins.
The traditional ritual arts like Kalamezhuthum pattum, Eedum koorum (special dance performed by orcales) and Sopananritham will be performed during all the nights of the festival. The dances performed by the local tribals using native percussion instruments are another highlight of this festival.
Known as the festival of festivals, Thrissur Pooram has a tradition of more than 200 years. This spectacular event was started by Sakthan Thampuran, the erstwhile ruler of Kochi. Held on the Moolam asterism in the Malayalam month of Medam (April-May), festival related events take place at the Vadakkumnathan temple situated in the heart of Thrissur town and the adjoining Thekkinkadu ground.
The pooram festival mainly happens between two groups representing the geographic divisions of Paramekkavu and Thiruvambadi. They will compete in their respective presentations of richly caparisoned elephants, traditional orchestra called panchavadyam, the swift and rhythmic changing of brightly coloured and sequined parasols called kudamattom and the dazzling fireworks in the early morning hours are the festival highlights.
The procession taking the representation of the Goddess of Thiruvambadi to Brahmaswam Mutt; arrival of the procession to the mutt accompanied by panchavadyam called madathil varavu; the pooram setout of Paramekkavu temple by noon and the one-hour long chembada melam (melam means orchestra); Ilanjithara melam (orchestra held in front of the Ilanji tree); Thekkotirakkam ; meeting of the two temple groups of Thiruvambadi and Paramekkavu; Kudamattom (exchange of colourful parasols), the small-scale fireworks; the panchavadyam (traditional temple orchestra) at night; the major fireworks at early morning; the pakal pooram held on the next day; the fireworks following it and finally the conclusion of pooram festivities with the ceremonial departure called upacharam cholli piriyal are the main events of the pooram festival.
The goddesses of Thiruvambadi and Paramekkavu are believed to be taking part in the pooram. Though the presiding deity at Thiruvambadi is Lord Krishna, it is the second in importance deity of Goddess Bhagavati that takes part in the pooram. There are also eight other temples taking part, but some exclusive rights as part of pooram are vested with Paramekkavu and Thiruvambadi temples. Those rights include rights on the path surrounding the Vadakkumnathan temple and also fireworks and exchange of parasols.
The festivities on the main day commence with the arrival of poorams from eight temples. By 6.30 in the morning, the first pooram of Kanimangalam Sastha temple will arrives at the Vadakkumnathan temple, followed by others like Karamukku Bhagavathy, Choorakattukavu Bhagavathy, Naithilakattu Bhagavathy, Laloor Bhagavathy, Panayckambilli Sastha, Ayanthol Karthiyayani Bhagavathy, and Chembookavu Bhagavathy.
Considered as the mother of all pooram festivals in Kerala, Aarattupuzha Pooram is famous due to its sheer magnitude and grandeur. The Sree Sastha Temple at Arattupuzha, about 15 km from Thrissur is the venue of the festival. Held during the month of March, the eight-day long festival marks the visit of gods and goddesses from nearby temples to the Aarattupuzha Sastha temple. The seventh day of the pooram witnesses the percussion ensemble of Sastha, which will also have caparisoned elephants and brightly lit traditional temple torches called thee vetti.
Next day early morning is the grand spectacle, which will have 50 odd elephants carrying the replica of the deities of nearby temples, moving to the nearby field for the final assembly. The temple orchestra lends a majestic tenor to the extravaganza. Following this, the aarattu (ceremonial dip) in the nearby river is done for all the deities with the presiding deity of Aarattupuzha Sastha temple taking it in the end.
Peruvanam Pooram is noted for its antiquity and is held at the Peruvanam temple dedicated to Lord Shiva. It is believed that the sanctum sanctorum of the temple was built at the spot where Lord Shiva is believed to have meditated under a tree. The festival in the beginning here was different from what it is now. Due to unknown reasons, the conduct of the festival changed to Peruvanam and Aarattupuzha festivals. The version of Peruvanam festival as we witness today is of 1400 years old.
The festival takes place during the Malayalam month of Meenam (March-April). Highlight of the festival is the grand elephant pageantry in which one of the caparisoned elephants carries the replica of the presiding deity of the temple. By midnight, once can witness the four-hour long panchari melam (traditional Kerala percussion ensemble) followed by fireworks.
Uthralikkavu Pooram is held at Sree Ruthira Mahakalikavu temple is dedicated to Goddess Kali. The eight day celebration is marked by the line-up of 21 caparisoned elephants. Traditional musical ensembles like panchavadyam and pandimelam add more charm to the festivities.
A festival of colours and tuskers held every year, the Chinakkathoor Pooram is held at Sree Chinakkathoor Bhagavathy temple, Palappuram in the district of Palakkad in north Kerala. The highlight of the festivities at Chinakkathoor Bhagavathy temple is the day-long pooram. The pooram day is marked by a grand procession of caparisoned elephants and also features traditional orchestra like the panchavadyam and various art forms like vellattu, theyyam, poothanum thirayum, kaalavela, kuthiravela, aandi vedan, karivela and so on.
Ochira Kalakettu is a ritual related to irupathi ettaam Onam (28th Onam day) at Ochira Parabrahma temple. Gigantic effigies of bulls in pairs called kettu kaalakal are made and displayed in the temple premises. Each bull effigy is a contribution of 52 divisions of Onattukara region.
Each kara (land subdivision) decorates their bull to excel that of others and takes them in procession to the accompaniment of percussion ensemble to the temple premise. The best bull effigy is also given a prize.
Ochirakkali
Ochirakkali is unique to Ochira, also known as Dakshina Kaashi.
Two centuries ago, many battles were fought between the kings of Kayam- kulam and Venad in the battle field of Ochira. Ochirakkali is held to commemorate those battles. Mock fights are staged in muddy waters on the first two days of the Malayalam month Midhunam.
About 3000 traditional martial arts experts from 52 karas (land sub- divisions) viz. Karthikapalli, Karunagapalli and Mavelikkara taluks of Onattukara meet in the battle field of Ochira. They arrive wearing the traditional headgear, armour, brandishing swords and shields.
After sighting the Krishna parunthu (Brahminy Kite, the eagle believed to be the vehicle of Lord Krishna) over the battle field, the leaders of the two groups would race to the battle field, shake hands and announce their decision to battle on the next day. With that the rituals of the first day gets over. Next day afternoon, the warriors would assemble in the battlefield and display their prowess in thakida kali. Later, the performers receive the prize money given by the organizers, which is followed by a grand feast that marks the end of Ochirakkali.
1. Ankuradi - where the ceremonial flag is hoisted on a new bamboo flag post.
2. Dwajadi - where the ceremonial flag is hoisted without a bamboo flag post.
3. Padahadi - where instead of flag hoisting, beating of drums marks the beginning.
The ten-day long Aaratt festival of Guruvayur temple is of ankuradi type. The festival is celebrated in the month of Kumbham (March) according to the Malayalam calendar. It starts with the elephant race and the ceremonial flag hoisted on the day of the pooyam astersim. The festival concludes with the aaratt or the ritual immersion of the idol. Brahma kalasha ceremony is performed, eight days prior to the hoisting of the festival flag. Kids below five years are not allowed to enter the temple during the entire period of the brahma kalasha ceremony. Also, the ritual of trippuka will not be performed in the temple till the end of the festival.
On the first day of the festival, the ritual sheeveli is conducted without elephants. The running race for the elephants is held in the afternoon. On the second day, the ceremonial direction flag is placed. On festival days, after the pantheeradi worship, a ritual called sree bhootha bali darshanam is held in the temple at 11 a.m. and after the athazha pooja (the ritual of serving dinner to the diety), idol of the principal deity is taken to the pazhukka mandapam made of gold.
Palli Vetta (royal hunt) is held on the ninth day of the festival. And after deeparaadhana the Lord is taken out of the temple in a procession. The aaratt is held on the tenth day of the festival. After the aaratt, the idol is worshipped in the temple of Bhagavathi (Mother Goddess). This is the only day when the principal deity of the Guruvayur temple is given mid-day worship outside the sanctum sanctorum. After this, the idol is taken inside the temple through the eastern gate and circumambulates by running 11 times, followed by lowering of the festival flag.
The Konganpada festival of Chittoor is one that combines religious beliefs with history. It commemorates the battle between the people of Chittoor and king Konga of Tamil Nadu and is held on the first Monday that succeeds the first Wednesday after the new moon in the month of Kumbham. The festival is an offering to Chittoot Amma (Goddess), who helped the people of Chittoor to emerge victorious in the Konga battle. The festival is also attended by people from neighbouring regions of Chittoor like Nalleppalli, Pattanchery, Perumatty and Thathamangalam.
Vaikkathashtami is one of the main festivals of Vaikom temple in Kottayam district, which starts on the day of krishnapaksham in the Malayalam month of Vrishchikam (November – December). This 12-day festival ends on ashtami day, giving it the name - Vaikkathashtami. On ashtami, late in the evening, Lord Mahadeva, the principal deity of the temple is taken out in procession, which is joined by processions from the neighboring temples also. The ritual immersion of the the principal deity (aaratt) is held at Udayanapuram Subrahmanya temple.
This famous Vishnu temple in Thiruvananthapuram city has Lord Vishnu as its principal deity, seen reclining on Anantha, the serpent. The two major festivals here are in March / April (the Malayalam month Meenam). The festival flag is hoisted on the day of the Rohini asterism and concludes with the holy bath (aaratt) ceremony of the idol on the Atham asterism. For the festival in October / November (the Malayalam month Thulam) the festival flag is hoisted on the day of the Atham asterism and the aaratt is conducted on the day of the Thiruvonam asterism.
Both the festivals culminate with the the procession to the Shankumugham beach for the aaratt or the holy bath ceremony.
Painkuni Festival
This festival is celebrated in the Malayalam month of Meenam (March / April). It starts with the kodiyettu - the hoisting of the festival flag on the day of the Rohini asterism. The ten-day long festival ends with the aaratt (holy bath) at Shankumugham beach on the day of the Atham astersim. On the first day, the festival flags are hoisted on the kodimaram or flag posts of Padmanabhaswami (the principal deity) and Thiruvambadi Krishnan. On the ninth day of the festival, the head of Travancore Royal Family performs the palli vetta (royal hunt) ritual. A coconut is placed in a temporary trench and His Highness, the Maharaja of Travancore, who is considered as the representative of Lord Padmanabha will break the coconut by shooting an arrow. The aaratt is held on the tenth day. The aaratt procession will begin with the deities taken on palanquins that will circumambulate the temple twice and then exit the temple through the western gate. The head of the royal family along with other members of the family escort the deities during the procession. When the procession exits through the western gate of the temple, 1001 maroons (kathina) are burst. The festival concludes with the aaratt at the Sanghumugham beach where the ritual immersion of idols (aaratt) in the sea is performed. The chief priests as well as the members of the royal family take part in the ritual immersion. After this ritual, the ceremonial flag is lowered.
Alppassi Festival
The name is derived from Tamil month of alppassi, which corresponds to the month of thulaam in the Malayalam calendar. All the rituals followed in Painkuni festival are repeated during the Alppassi festival too. The ceremonial flag is hoisted on the day of the Atham asterism and the ritual immersion or aaratt is celebrated on the day of Thiruvonam asterism.
The festival of Machattu Mamangam is associated with Machattu Thiruvanikkavu Bhagavathi temple. A rare confluence of different cultures of modernity and traditional can be witnessed in this five-day long festival. The people here owe their prosperity and happiness to Kavil Amma, the presiding deity. The festival days bring a great deal of joy to the devotees.
The highlight of the festival is the procession on the concluding day. It would feature richly decorated kuthira kolams (effigies of horses), ceremoniously brought to the temple by the devotees as offerings. The procession is accompanied by players of traditional percussion instruments and it culminates at the temple premises, making it a memorable event.
The ritual art form of Theyyam is very popular in the northern districts of Kerala. This art form combines elements of dance, music and drama and is associated with the worship of ancestors and heroes.
The two popular sacred groves, where Theyyam is performed in Kasaragod district are Perumthitta Tharavad and Kanathoor Nalvar Bhoothasthanam. Perumthitta Tharavad is at Kottamkuzhi. The ten-day long festival here is marked by the performance of theyamms like Ilayur, Chamundi and several others.
For Theyyam lovers, Kanathoor Nalvar Bhoothasthanam offers a spectacle of 400 odd theyyams.
The chariot festival (ratholsavam) at Kalppathi village marks the beginning of chariot festivals in temples associated with 98 agraharams (settlement of Brahmins) in Palakkad district. The antiquity of the festival goes back to the Vedic times. The highlight of the festival is the carting of huge, intricately carved temple chariots through the streets of Kalppathi by thousands of devotees.
Traditionally, the village of Kalppathi has a settlement of Tamil Brahmins. The Viswanatha temple by the side of the Kalppathi river is the nerve centre of festivities. The Kalppathi chariot festival was the biggest of festivals in the Malabar region, when the region was under the Madras presidency during the British rule. The first day of the festival will have once chariot, then two on the second day and three on the third day.
