Padayani

According to Hindu mythology, evolution of Padayani is related to the birth of Kali. Once an Asura(demon) named Darika delighted Lord Brahma through his hard practice of penance and gained blessings that, he would be killed only by a women. Darika went on with his atrocities. Failing to defend Darika, Devas approched Lord Shiva for help. Hearing the atrocities of Darika, Lord shiva kindled with anger and opened his third eye bursting out fire. It is from this third eye, Kaali was born. Accepting the request of ‘Devas’ and obeying the instruction of her  father Shiva, Kaali left for the abode of Darika mounting herself on Vethal accompanied by ‘Koolee Ganam’. The fight between Darika and Kaali was really frightening. At the end of the battle, Kaali cut off his head. Holding head in her hand and with overwhelming anger she returned to Kailasam. To pacify her and to satisfy her lust for blood, Devas performed variety entertainments like dance, mimicry, dialogues and, comedies. But it did not work. As she was going through the Gopura , the goddess paused a while seeing the painting depicted angry Kaali and she smiled. She asked her father "who drew this?". Shiva answered,  This was drawn by Kurup’ (Kurupu Kurichu"). She glanced at the Kalam(Painting) once more and burst into laughter. Attempts made by Lord Shiva and his Bhoothagana to pacify and delight kaali are imitated as such in Padayani celebration. Even today kalamezhuthum Pattum is strictly conducted in Kaali temples with it own ritualistic originality. Even now,  Kurup ( a caste) draws the kalam.

As the people promised to offer their own blood, kaali became quiet and delighted. Padayani is celebrated annually for the protection and prosperity of the village and its people.

Kalamezhuthum Pattum is nothing but a Dravidian way of worship. It is believed that lord Subrahmanya draw the most fearful form of Kaali for the first time. When saw that, Kali asked Lord Shiva , who draw it. Shiva answered Kurup draw this. Even today Bhadrakaali form is drawn using ‘Panchavarnappodi’ (five types of natural colour powders) by members of the caste division, Kurup. Kaali figure thus drawn has sword, Sharp knife, Arrow, bow, Chakram and gada in hands. Number of hands varies as four, eight, sixteen, thirty two, sixty four and so on. Eighteen colour shades are applied in kalamezhuthu, using panchavarnapodi and their rare combinations. Red colour can be created by mixing equal quantities of lime  and turmeric powder. Powdered rice, Vakayila powder, charcoal are used for creating white, green and black colours respectively. There are special and unique regional techniques and calculations for the preparation, the right proportion in colour combination and for deciding the quantity of colour powders to be taken for each Kalam in accordance with their size. The powder is taken in a special way with the thumb and forefinger and is then made fall through the space between fingers to draw the Kalam.

Kalamezhuthu, Pattu and Kuruthy are the introductory steps of padayani. Kalamezhuthu is done on Tuesday or Friday just prior to the village visit (Paraykkezhunnallipp) of Devi. Paraykkezhunnallippu generally commences on Aswathy, Bharani or Karthika day customarily. The ritualistic function Kuruthy is there seen associated with Kalamezhuthu. In old days blood was offered in Kuruthy. After Aryanization, instead of blood Aratham, a red coloured solution consisting lime and turmeric, is being offered as kuruthy. Offerings of velichappadu, through whom Devi is believed to  speaks, is an important ritual in kuruthy. In some places Oorali, person belonging to Kurava race, performs this pooja instead of velichappadu. In some places Oorali thullal ( a certain type of footsteps performed by the oorali) is regarded as the first step of padayani.

Paraykkezhunnallippu

Devi, the village deity, visits the houses in a procession, seating herself on a Jeevatha accompanied by Chenda and multicoloured decorated umbrellas. Thus she observes the prosperity and poverty of her children. Villagers receive Devi with Nirapara or Anpoli. In some houses, people accompanying Devi will be given food, sweets or whatever they have. Showering graces on villagers, taking steps with Pancharimelam, Devi finds her way back to the temple finishing Paraykkezhunnallippu extending several days.

This is the first step of Padayani. Each Padayanikkarappuram has its own traditional way of Choottuveyppu. Choottu is the tail end of coconut leaves (Thunchani) made in to a bundle. it is then lit  from the lamp in the Sreekovil by the Poojari (the priest) is handed over to the Oorazhmakkaran. People with Kurava and arppuvili accompany him. After Performing Pradakshinam, the Choottu will the nbe placed at the Meenathemoola (South western corner) of the temple. After choottuveypu masters of Padayani (Padayani Ashanmar) beat Ganapathy and padivattam on warmed Thappu. There will be frequent Kathinavedi in the course of Thappu beating. Padayani calls out Devi with loud ‘Eee-hoo’ sounds. This is actually an invitation to Devi to witness Padyani. This function is called Vilichirakkal, Kottivilikkal or  Pachathappum Kaimaniyum in certain places. After 3 hours since sunset. Veekan chenda (a peculiar type of chenda) is used in a particular rhythm and a howling sound is made around the kavu. This is called Pishachine Unarthal (Waking up the Devil) in Padayani.

After certain days since Choottuveypu, Padayani commences. In some places Padayani begins with Thappumelam but in some other places it is with Valyamelam(The big rhythm). The system of valyamelam is very rare now. Kappoli is at the climax kalayam of melam. Padayanikkalam is situated at the very front of Kshethranada (temple entrance). Men holding leafy twigs with aarpuvili (making a certain type of noise) leap forward to the kalam from either sides and perform dances. At the same time already prepared Kolams are brought in procession to the Kalam in the light of the choottu kattas, accompanied by chendamelam and arppuvili. This is called eduthuvaravu. In tune with this melam, kolam performs kappoli. There will be Kathinavedi very frequently during Eduthuvaravu. After Ganapathi and Padivattom kolams go round the temple and finally come to the Kalam. Then the kolam artists place kolams there in the Padayanikkalam.

Footsteps taken with expertise in body movement following the rhythm of melam. Hand movements or gestures have no much importance in Thavadi. The main performer moves in front taking steps and sounding kaimani. Others follow him dancing in three folds.

On either side of the Thavadi dancers, people appear with masks holding models of chenda, Thappu and kaimani and take comic steps, imitating thavadi dancers. This performance is called Pannathavadi. It is regarded as a protest of people who were expelled from padayani as they had no excellence in the real thavadi.

After thavadi, Velichappadu, a comedy character makes its appearance. In certain padayani grounds Velichappadu appears even before Thavadi. Next performance is Paradeshi. In an age where there was no press or the electronic media news were brought to the villages through ‘Paradeshis’. Comedy items are given more importance in Kurampala Padayani than that in other places. After the comedy items Kolams occupy the kalam. The order of performance is usually like this-- Kuthira, Ganapathi, Ganapathi Pishachu, Marutha, Madan, Yekshi, Kalan, Bhairavi. One important kolam comes to the kalam each day. But in many places, system of Koottakkolam (Conducting the performance of a group of kolams) is also followed.

Adavi is the most important ritualistic function of Padayani which runs for several days. Routine ritualistic performances will be there on adavi day too. In addition, comedy forms such as Seethankan thullal and Vairavi and special ritualistic functions such as Panayadi, Chat will be there. Adavi is generally on the third, sixth or the ninth day since the commencement of Ezhuthi thullal. There will be a special panthal (canopyf) for adavi. Triangular shaped Adavikkodu are made with ‘Palakkampu’ (Stick cut taken from a tree named Paala) and leafy twigs. In front of each koodu, there will be a wooden block. A person stands near the Panayorukku(Things arranged for Pana) with a Panakkutty one side of which is made hollow. Velan begins Parakottichattu. The atmosphere is made uproarious with Aarpuvili and Kathinavedi. The person holding Panakkutty gets possessed and walks round the Panayorukku. After making three such rounds he calls out aloud standing at the temple entrance. At this time another possessed person making roaring sound reaches Adavikkalam with quick running steps. The person who prepares himself with Katina Vratha (hard fast routines imposed on the self) to perform Panayadi will surely reach Adavipanthal for the purpose even if he is buried under ground, putting huge stones on flat wood block placing on the earth above him.

This person walks around panayorukku and receives himself the Panakkutty while making each round, he breaks one tender coconut each hitting on the wooden block. A single hitting is allowed for each coconut. If the coconut is not broken in a single hitting, it is regarded as an ill omen. In his way, he should break all the tender coconuts placed in the panthal.

Azhiyazhikkal, Adavi Uyarthal (in Kottangal)

As the flame rises in the ‘Aazhikkalam’ and sound of conch rises three times amidst Adavi vili villagers rush to the kalam with Karimpana (a type of palm), Areca Palm, Bamboo, Banana, Mango tree etc. to extinguish the flame. After doing this trees are planted there. Then the ground resembles a small forest. People climb on these trees and break the branches including small twigs. At the same time a huge flame is made burning bundles of dry coconut leaves. As the fire extinguishes, plants are put down and removed from the Kalam thus adavi comes to an end.

Vallya Padayani is conducted on the day, which is regarded as the dearest one for the most helpful animal in farming activities i.e. the bullock. Models of bullocks created and are brought everywhere in the village in procession. Neighboring villagers are duly received and honoured. These are some common observations related to Vallya padayani.

This is to eradicate Gandharva badha from virgin girls. Dance of Gandharvan Kolam is seen staged in some places. Piniyal holds the Arecanut inflorescence, Maranpattu is sung. The whole observation is done in an atmosphere of aarpu, kurava etc. Comedy item, Kaniyan Purappadu is also performed along with pooppada.

It is performed on the day following Adavi. Animals which comes to the cultivated field were once driven away with the help of dog and by lighting flames. Nayattum Padayum (The Hunting and the army) can be considered as the imitation of this practice. Ayyappa charitham ( story of Lord ayyappa) is sung in  Nayattum Padayum. Pulikkolam(tiger), naykkolam (dog), Karadikkolam (bear) etc. are associated with this item.

Mangalakkolam comes on Vallya Padayani day which is otherwise called Nirthu Padeni. When all kolam finish their performance on Vallya padeni day, it will be day break. Mangalakkolam beg pardon kavilamma for the faults and problems that might have happened while staging padayani. Bhairavi and Kanjiramala are often regarded as Mangalakolam. Dance of Mangalakkolam comes to an end only after day break. After that samarppana gadyam is chanted and kolam mask is removed.

In Kurampala Padayani, after the performance of Bhairavi, all the wicked deities are attracted and favoured showing a black hen. Then they are led to the chiramudi along with the kolam. Chiramudi is a place with a plenty of pinaple plants, Ilanji trees, Yakshippana, Pala trees etc. Karinkozhi (black hen) is offered as bali cutting by its neck. Mannan performs some magic rituals. Then the kolam is hung on a Palamaram. Without looking back, all leave chiramudi.

This kolam comes after Mangalakkolam. The kolam, as its name suggests, is mounted on a chattam, a wooden platform on wheels. On each face of this kolam,  will be a lighted torch and a bell. This is otherwise called Ayiramaniyan Kolam (Kolam with thousand bells). This kolam is cut made using thousand areca leaf sheaths. Chattathekkolam is performed only associated with Othara Padayani.

Neelam Peroor Pooram Padayani

Pally Bhagavathi Temple, Neelamperoor has a history of about 1700 yrs and it is one of the few relics of the Buddhist culture in Kerala. The principal deity of the temple is Goddess Vanadurga. The festivals of the temple are two in number- the ten day festival in the solar month meenam with its nineth day falling on pooram and the pooram padayani which starts from the day next to Thiruvonam in Chingam ( the first solar month of the Keralite calendar ) and lasts till Pooram, the birth day of Devi.

Pooram Padayani of this temple is a rare and unparalleled festival because it represents a synthesis of the Buddhist and Hindu cultures. It is strikingly similar to the Buddhist festival which Fahiyan, the Chinese traveler saw in Padaliputra (now, Patna in Bihar). It also resembles the ceremonies held in Sreemoolavarom which was once a Buddhist centre in Kerala,. The Pooram Padayani is characterized by the display of exquisitely decorated effigies of Swans, Bhima, Ravana, Yakshi,Elephant etc. These are offerings of the devotees for the fulfillment of their desires needs and solving their problems. Making of these effigies need consummate craftsmanship. About one lakh rupees is needed for the construction of the Big Swan. The cost of conducting a Padayani is shooting up each year and the organizers are facing problems in raising the funds. Donations made by the local people and various organizations are the main source of money for meeting the expenditure.

Padayani begins at 10 p.m on the avittam day with prayers. Flames are received from the priest. With this flames devotees set fire to the bundles of coconut leaves. With these bundles in hand they move to the monument of Cheraman perumal at the western side. After receiving his symbolic sanction, they start padayani. This continues for the first four days. The next four days are characterised by Kudapadayani which consists of floral decorations on umbrella-shapes made from the stems of coconut leaves. From the eighth day to twelth effigies made out of green leaves of jackfruit trees are offered. The effigies displayed for the twelth day are made of the fibrous stem of plantains or slender leaves of coconut stems. The last two days are characterised by the display of swans (Annams) which are made of plantain stems and slender leaves of coconut trees with floral decorations. The highlight of the days is of course the offering of the big swan to propitiate the deity.

On the final day a smith breaks a coconut and turns it round. On the basis of this he makes some predictions. The temple closes at 10 P.M and then starts what is known as Kudampooja. The padayani is characterised by Thothakali, a rhythmic dance in accordance with songs from the folklore and the beating of the drums. Devotees arrange themselves round the big fire at the centre twirling small clothes in an artistic pattern and dance. Spectators from different parts of the country throng to the place to see this rare artistic form. The most spectacular of all is the display of the BIG SWAN which is about 45 feet high. Other swans and fully decorated effigies enhance the beauty of the scene.

Ponadu Choottu Padayani

This is the annual festival at the ancient Bhagavathy Temple in Meenachil taluk. Bunches of dry palm fronds (chootu) are lit and carried in procession around the temple before the performances. Padayani performers then hit each other with the burning chootu.