The rumble of drums rises to a crescendo as the Kandanar Kelan flanked by a pair of dhoti-clad men leaps over a raging fire.
He repeats the daredevil act again and again, his sweat-soaked bare torso gleaming in the warm night air and his costume and head-dress evoking a strange mystic fervor.
One begins to wonder if an ordinary mortal can do this without some measure of divine benefaction.
Kerala is a land of mystery where the tribal sub-culture of society pervades the life of the people and surfaces in a colourful explosion of folk art forms.
Theyyam, a lively dance ritual, is typical of Kannur and Kasargod districts that once formed part of the kingdom of Kolathunadu.
‘Theyyam’ derives from the root ‘deyvam’ and the cult dates back to the rituals of primitive societies. Through the medium of hereditary performers who attain trance-like elevation to divine status, the deities of the Hindu pantheon, ancestors and legendary heroes descend among the common people and shower them with blessings.
Each of the 450-500 theyya kolams (forms) fire-walking, stilt walking or sword-wielding apparitions that are at once spine-chilling and awe-inspiring- represents a particular deity or historical figure and bears its own special legend.
Kali worship manifests in a multiplicity of bhagavathi kolams. Angakkaran, Othenan and Kalari Bhagavathi are reminiscent of the deep-rooted martial tradition of the region. The customary blood sacrifices have been dropped in deference to 21st century laws.
Occasionally a rooster is brought to the site in a symbolic adherence to tradition but is not killed. There are ‘naughty boy’ theyyams such as Kuttichathan and Vettaikorumakan.
There are also nagas, veerans, kurathis, gulikans, bhoothams, animals and even Muslim characters like Ummachi theyyam, Kalandhan Mukri, Koi Mammad, Ali Chamundi and Ali Bhootham.
Theyyam is performed at night on the premises of village shrines or ancestral tharavads. The facial decoration (mukhathezhuthu) in bright orange, red and black colours, the costume and headdress gives each kolam a distinctive appearance.
Theyyakarans or kolakkarans are invariably men. The female characters are also enacted by men, the sole exception being Devakoothu.
Theyyakkarans belong to specific castes such as Malayan, Vannan, Koppalan, Pulayan and Velan. The right to perform a particular kolam is inherited through matrilineal channels.
Gaining a temporary reprieve from the rigid caste prejudices that divide society, the performer transcends caste for the duration of the performance.
Once the kaliyattam is over and the crowd disperses, the kolakkaran quietly regresses into his former self, once again becoming an ordinary mortal as he resumes his daily routines.
Amidst the din of primitive rhythms the theyyakaran chants the thottam extolling the virtues of the kolam and recounting the myths associated with it. At this initial stage of the performance he is only partially adorned. Later he dons his elaborate makeup and costume and moves towards the shrine.
The Mukhadarshanam marks the dramatic transition to divinity. The ordinary mortal attains a sublime level of heightened consciousness and metamorphoses into a divine being in a rare moment of self-realization as he views his reflection in a hand-held mirror.
Frenzied dancing follows and the theyyakaran may perform exceedingly dangerous feats before blessing the devotees in a show of benevolence.
Personifying an earthy divinity, he answers questions, ridicules the pompous and offers hope to the despondent. A touch of humour, a dash of prophecy and finally the theyyam removes its mudi (headgear) signalling the end of the show.
The popularity of theyyam has increased exponentially in recent years. Many families conduct theyyam performances near homes and temples. And Gulf Malayalis of Kannur insist that Muthappan prefers foreign liquor to toddy!
