KOCHI: Amid the bustle of modern life, an ancient ritual art form is not just surviving but finding new life in a quiet pocket of Kottayam town. Theeyattu, a vibrant dance-drama traditionally performed within the hallowed confines of Bhadrakali temples, is witnessing a remarkable revival. Once a rare spectacle, this sacred performance now lights up the Pallipurathu Kavu in Kottayam almost every day, offering a vivid glimpse into Kerala’s rich spiritual and artistic heritage.
Theeyattu, which intricately narrates the ferocious battle between Goddess Bhadrakali and the demon Darikasura, culminating in the goddess’ triumphant victory, is primarily known for its two forms: Bhadrakali Theeyattu and Ayyappan Theeyaattu. The Bhadrakali form, the focus of the revival, remains largely confined to a small geographical pocket stretching from Kottayam to Vaikom and is performed exclusively by the Theeyattunni community. The Ayyappan Theeyattu, which depicts the story of Lord Ayyappa, though has been much popular in the northern parts throughout.
Sasidharan Sharma, a 70-year-old artist from the Theeyattunni community, corroborates this surge, stating, “Earlier, there were only a few offerings at the temple, but now the Theeyattu offerings have gone up substantially. While ‘Nadel Theeyattu’ is performed on almost all days, an average of 60 ‘Valiya Theeyattu’ performances are held at the temple a year.” Sharma, who has been consistently performing the ritualistic art at Pallipurathu Kavu since 2022, now stages an impressive 200 plays a year, a testament to the art form’s renewed popularity.
“Bhadrakali Theeyattu is performed exclusively by a particular community — Theeyattunnis. Presently only four or five families are performing the art. This highlights the critical importance of temples like Pallipurathu Kavu in sustaining the artistic lineage,” he adds.
“Now on most days, offerings are being done at Pallipurathu Kavu,” observes writer Manoj Kuroor, also the head of the Malayalam Department at NSS College and a scholar deeply connected to Kerala’s performing arts. “People too have become much more religious, which drives the demand for these offerings.”
The narrative spine of Theeyattu — the Darikavadhom — is a foundational myth for many regional art forms across Kerala. From ‘Kaaliyoottu’ in Vellayani and ‘Paranettu’ at Sarkara to Pathanamthitta’s Padayani, which explores how to calm the enraged Bhadrakali post-Darikavadhom, the tale reverberates through diverse cultural expressions. Another fascinating connection is ‘Maduyezhuttu,’ a festival held once every 12 years at Kalkulattukavu in Changanassery, and the ‘Mudiyettu’ performances spanning from Nendoor to Chalakudy, all drawing from the same epic conflict. This interconnectedness highlights the deep cultural roots of the worship of Goddess Bhadrakali within Kerala’s performing arts landscape.
A crucial element of Theeyattu is its unique instrumental accompaniment. While the modern chenda has gained prominence over the last 50 years, the ancient ‘Para’ drum boasts a history stretching back to the Sangham era (1st century AD). Along with the chenda and ilathalam, the ‘Para’ creates the resonant soundscape for the ritual. Manoj himself shares a personal connection to this tradition, having learned to play the instruments and accompanied his father, Kuroor Vasudevan Namboothiri, a respected figure in the art, in the 1990s. His academic research on folk art further underscores his commitment to these vanishing traditions.
The performance itself is a meticulous, deeply engaging process. It begins with ‘Kalamezhuthu,’ an elaborate floor art where the image of Bhadrakali is meticulously drawn using five natural colours — red, yellow, black, white, and green. This intricate ‘Kalam’ serves as the sacred stage for the powerful story-narrative dance by the artist donning the ritualistic costume.
“The artist wears a crown while staging the powerful dance and uses fingers to express different signs to depict the ‘Darikavadhom’ story on stage. Towards the end, the crown is taken and used to give blessings to the devotees. Also, a ‘pantham’ (fire stick) will be lit while culminating the performance,” Sharma elaborates.
The ritual then concludes with the distribution of ‘prasadam.’ Specific rituals and several hymns in praise of Bhadrakali are chanted throughout the occasion, enhancing the spiritual atmosphere. “The entire ritual lasts two to three hours. It provides a deeply immersive experience, blending visual art, music, dance, and devotion,” Manoj says. Pallipurathu Kavu also holds historical significance as the ancestral temple of Kottarathil Sankunni, the renowned writer known for his work ‘Aithihyamala.’ Sasidharan Sharma himself serves as the secretary of the Kottarathil Sankunni Smaraka Trust.
Ritual meets art
Theeyattu intricately narrates the ferocious battle between Goddess Bhadrakali and the demon Darikasura, culminating in the goddess’ triumphant victory
It is primarily known for its two forms: Bhadrakali Theeyattu and Ayyappan Theeyaattu