Arjuna Nritham
Arjuna Nritham is a ritual dance art form being performed in the Bhadrakali temples of Southern Kerala, especially in the districts of Aalappuzha, Kottayam etc. The speciality of this art form lies in its performance. Here, the performers do dance themselves and sing songs with Vayithari (rhythmic sound). A mythical concept related to the story of the epic Mahabharata stands as a background material for the commencement of this art form. During the forest dwelling of Pandavas, Kunthi Devi, their mother had vowed that if their miseries were removed off, they would perform a human sacrifice as an offering to the Goddess. When the Great War of Kurukshethra was over, Bhadrakali, as per the advice of Sage Narada, asked Kunthi Devi to offer a sacrifice. Arjuna with appropriate costumes presented himself before Bhadrakali. But Bhadrakali did not want Arjuna, the son of Devendra (Lord of the Heavens) and also the brother of Yudhishtira, get killed. Instead what Goddess Bhadrakali did was to sting up her canine tooth through the back portion of Arjuna and thus by lift him up and then put him down on earth. It is believed at, that time in order to please the Goddess, Arjuna did perform a dance form. It is in this background of this mythical concept that this ritual dance art form came to be known as Arjuna Nritham. The community of Vilkuruppanmar performs this art form.

Arangatt
Arangatt is the performance of debut. There is a saying that with the performance of Arangatt, the ‘Pulaya’ boy gets himself promoted to the status of a semi – Pulaya. This is a ceremony after which the Pulaya boy gets entered in the field of art and occupation. It is the Pulayas of South Kerala who conduct Arangatt. It is performed when the Pulaya child grows into youth after completing his boyhood. This is a ceremony of making him a noble Pulaya. He is seated in a specially decorated barn (temporarily thatched shed). His head would be adorned with the spathe of the areca palm and with a crown and also such other embellishments. Pulaya’s gurukkal, the preceptor takes initiative to this function. For the performance of Arangatt of the Pulaya boy, the presence of his friends of the same age should be asserted. After the performance of Arangatt the society deputes the boy to do agricultural work and such other responsible duties.

Ayyappan Koothu
This is a ritual art form that is being practiced in Ayyappan Kavus and Sastha temples in order to invoke the favour of Lord Ayyappa. It is also known in some places by the name ‘Ayyappan Theeyattu’. This ritual is generally being practiced by ‘Thiyaadi Nambiars.’

Bhootha Kolam
‘Bhootha Kolam’ is the ritual art of ‘Thulunadu’. This art form is very similar to the art form of ‘Theyyam’. Human beings personify the deity or the ‘Devadaas’. Similar to the ‘Thottampattu’ of Theyam, there is ‘Pattudana’ for Bhootha Kolam. There are many different kinds of Bhootha Kolam like the ‘Panchuruli’, ‘Chamundi’ etc. to name a few.

Bhagavathi Pattu
It is mainly a ritual art that is being sustained among the ‘Kuruppa’ community of Thrissur and Malappuram districts. An attractive ‘Kalam’ or the sacred square is made out of indigenous colours and then the prayers are offered. The song commences with the writing of the ‘Kalam’. On the course of the offering of the prayers, this ‘Kalam’ is systematically elaborated and it goes further on. The presence of an oracle is very essential here. The songs are dedicated to the various deeds of Goddess Bhadrakali. When the process of the writing of ‘Kalam’ is set in motion, the oracle comes forward and goes through a state of hallucination.

Daffumuttu
Daffumuttu is a ritual art form that is usually performed in the Muslim households in connection with various rituals like offerings to the scared, marriage ceremonials etc. It is performed with, keeping the small instrument ‘Daffu’ at one hand and playing it with ease using the other hand and also singing the song simultaneously. The rhythmic movements and the moving of Duff in sudden up and down movements are quite attractive. Of late, this art form is also performed in various stages, other than in relation with the religious rituals and the songs are sung in a language, that is a perfect blend of Arabic and Malayalam.

Darikavadham
This is vogue in the Western regions of Palakkad district in Central Kerala. This dance is performed by members of the Pariah community and is ritualistic in nature. It is also performed as an entertainment. Middle-aged men and youths join to present this. Their profession normally is weaving baskets, winnowing implement (Muram) and bamboo mats. Fourteen persons are needed for a performance. Separate Kalams (floral drawing using coloured powders) and delineated for Badra Kali (Goddess) and Darikan. The Pooja is offered. The dance of Kali (Goddess) and Darikan, their fight and the beheading of Darikan form the theme. In between Lord Siva appears and tries to protect Darikan. But he does not succeed. Thapu, Cyambals, Chenda are the percussion instruments employed. This is performed both during day and night.

Garudan Thookam
This dance form is presented in some temples where the installed deity is Badrakali (Goddess). Two or three dancers in the garb of Garuda, dance of the rhythm of percussion instruments. In imitation of Garuda (the bird king) the dangers preen the feathers with their breaks, carry snakes in the beak, and dance with wings spread in circles, in an ecstasy of joy.

Kanneru Pattu
‘Kanneru Pattu’ is performed to drive away the harmful effects resulting from evil eye. Traditionally the ‘Malaya’ and ‘Pana’ communities perform Kanneru Pattu. The belief is that through this performance, it is able to get rid of the harmful effects due to evil eye and also to prevent unfortunate incidents to persons, animals and homes. Kanneru Pattu is performed after kindling the oil-lamp and worshipping Lord Ganapathi (the God who removes all obstacles). The instrument used in the performance is drum. After performance, the inmates of the house give money, new cloth, rice, coconut etc. as offerings to performers. The belief is that, if Kanneru Pattu is performed and the harm due to the effect of evil eye is removed, the households will prosper.

Kaliyane Vilikkal
‘Kaliyane Vilikkal’ (summoning of Kaliyan) or ‘Kaliyanu Kodukkal’ (offer to Kaliyan) is a ritual art form popular in certain villages of Kozhikode District in Kerala. The summoning of Kaliyan is on the ‘Samkrama’ day (time when planets shift from one zodiac to another) in the month of Karkataka (July /August). This is a ritual performance for fertility. People summon Kaliyan and ask to remove all the miseries and bring home and to the country all the prosperities. At dusk, a ladder made up of ‘Vazhappola’ (layers of plantain) is placed at the bottom of Jack tree etc. People consecrate ‘Kuruthi’. Lighting ‘Choottu’ (a country torch made of dried coconut leaves) and running, they summon Kaliyan. Children take the initiative in the summoning of Kaliyan.

Kalikettu
Kalikettu is a ritual art form of the Paraya community. Kalamezhuthu (decorating the floor with figures of deities in powders of various colours as part of tantric rituals) is an integral part of this ritual art. After worshipping the ground the players in the costumes of Karimkali, Mohini, Kuttidharikan etc. do perform the play together. In Thrissur District of Kerala this art form still exists. The performance of Kalikettu at Kattukampal Temple is very popular.

Kaniyan Kali
‘Kaniyan Kali’ is a ritual art form performed by the community of ‘Kaniyan.’ At Andaloorkavu in Thalasseri, people conduct this art form. The Kaniyan gets engaged in the performance of this art form while the crown of Theyyam at the temple is put. The performers do dance while singing and making promises to God.

Kathiruvela
The farmers belonging to the Cheruma community in Palakkad District perform this art form. The debut of this ritual art form is in the Malayalam month of Vrichikam (November – December). Kathiruvela is also known as Kathirukali, Kathirulsavam etc. the Cherumas arrive at the Bhagavathi temple with the baskets decorated with the ear of paddy and hung on a bamboo. They sing songs and put steps in various rhythms. They also visit the houses of rich people and perform songs and get rice and such other edible things. The old people believe that the homecoming of these persons would bring prosperity.

Kolam Thullal
This is a ritual art form popular in Southern Kerala. This art form is used to conduct usually at Bhagavathi temples and also at homes. Ganaka community is the performers of this art form. At temples this art form is performed along with the performance of Patayani, another ritual art form. At homes, this ritual art is conducted to exorcise demons from women. The figures of goddesses are developed from the spathe of areca nut tree. The faces of goddesses are illustrated in it. This art form is also known as Kani-Thullal.

Kolkali
Kolkali of Kurumars
Kurumar tribe, the inhabitants of the Muthanga, Manmathan Moola Kuruma colony, practice this art form. The theme of this ‘Kolkali’ is the deeds of Lord Krishna. The songs are sung and played, based on the story of Lord Krishna from the time of his birth till the killing of ‘Kamsa’. The play commences from the most important festival of the Kurumar, the ‘Uchal’. Kolkali is also popular among the Kurumar for the marriage ceremonials and other days of importance.

Kolkali of Mulam Kurumar
‘Kolkali’ is an important fun rendering art form for the community of ‘Mulam Kuramar’. They are being conducted in shrines and on occasions of importance. The Kolkali conducted during the marriage functions are quite attractive. Then the bridegroom along with his company would also take part in the play.

Kuthu Ratheeb
This is a religious ritual performed by some sections of the Muslim population in Kerala state of South India. Weapons are used in this ritual. Sometimes it spills over and actual injury is inflicted. Common acts in Kuthu Ratheeb include piercing the tongue, the ear and stomach with iron rods. Byths are hymns that are sung during Kuthu Ratheeb. There are more than twenty Byths and each are different.

Although some Keralites portray Kuthu Ratheeb as a folklore art, many Muslim scholars (see Islahi Movement in Kerala) consider it as a dark innovation (bid'ah) that has crept into the religion of Islam and they strongly oppose such practices.

Kuthiyottam
This art form is conducted in Kavu (a grove where Serpent-God Naga is worshipped) and temples of Goddess in Alapuzha District of Kerala and its southern regions as a part of the festival. Kuthiyottam is conducted as an offering to God to get rid off certain diseases. In concept they are sacrificing their children to Bhagavathi (Goddess) as offering. The performance of Kuthiyottam includes piercing and running. On the ribs of the children’s body the bar made of cane or silver or gold is pierced, the children leap and play according to the rules of Kalari. (a martial art form). Colour pigments on the face, crown (cap made of the spathe of the Areca palm) on the head, red coloured silk cloth ornaments in the body etc. are the costumes of the performer. The performers are led to the venue along with the spectacles in a procession. Drum, Kurumkuzhal (a short pipe-like musical instrument), Thalappoli (a customary way of welcoming gods or dignitaries by young girls in rows holding plates containing lamps, flowers, rice, etc), Kurava (a loud musical sound produced with the mouth by a chorus of women on auspicious occasions) will also be there. The children are made to sit on carts. The persons accompanying them would play the cymbal and leap and sing. The entrance to the temple is on the day of Bharani in the Malayalam month of Meenam (March-April). After circumambulating the temple three times they pray before the deity. After taking out the cane they dedicate all the action. Then taking shield in hand they perform dance and also leaping.

Kuttichathanattom
This is prevalent in central Kerala in the districts of Palakkad, Malappuram and Thrissur. This ritualistic art form is presented by the members of Pariah and Mannan communities. Youth and middle-aged men participate in this. This art form is performed to propitiate the deity - Kuttichathan

Malayikoothu
It is a ritual usually performed by a combine of men and women of ‘Malaya’ community. Characters like ‘Devakanni’, ‘Narada’ etc. get involved in this play. The costumes of Devakanni include a frilled rob, spotted upper-garment called ‘Velumban,’ ornaments made of gold etc. For Narada (a saint) an upper garment and silver cane in the hand are used as costumes. Face painted in yellow, eyes and eyelids, crescent etc. are essential here. It is usually presented before a lighted traditional lamp. At first Devakanni would enter the stage. He would be followed by ‘Sthaanikan.’ Then Narada would come to the stage and along with Devakanni would perform. Malayikoothu is regularly performed in the Cherukunnu, Thekkumpattu Kovilakam. It is also known by the name ‘Deva Koothu.’

Mudiyettu
‘Mudiyettu’ is a ritual art mostly being performed in the Thiruvananthapuram and Kochi districts of Kerala and rarely in some parts of central Kerala. It is performed, so as to invoke the deity of ‘Bhadhrakali’ (Goddess). In some places it is also called as ‘Mudiyeduppu.’ The actor who personifies Bhadhrakali engages himself in the performance, wearing a huge hair made of metal or wood. ‘Kuruppars’ are the practitioners of this art form. Vikku Chenda, Oorutu Chenda, Elathalam, Chengila etc. are the percussions used. The different characters that come to play here are Bhadhrakali, Dharikan, Shivan, Narada, Dhanavendran, Koyimbadan, Kooli etc. At first Shivan and Narada comes to the stage. Then Darikan and Kooli respectively occupy the center stage. Then a heated exchange of words takes place between Kaali and Dharika. It is followed by a fierce war between the two. The last scene would be that of Kaali entering the stage with the visage of the beheaded Dharika. At last, the play comes to an end with the singing of Shivastuthi. (Songs in praise of Lord Shiva). The songs in Mudiyettu are composed in the form of dialogues rendered by the characters involved.

Mudiyattom
’Mudiyattom’ is a ritual art form used to perform in many places of South Kerala. The communities like Pulayar, Vettuvar, Sambavar and Ulladar perform it. When the song is sung and the musical instrument sounds high, the women folks, turning their heads and waving their hairs on all the four sides, perform dances. Contents of the songs are hymns of goddess. Aged women and young girls do perform Mudiyattom. This ritual art is also popular in the regional names such as Thalayattom, Neeliyattom etc.

Mudiyedukkal
’Mudiyedukkal’ is the ritual performance of untying of the idol from the head of the player. There are regional differences in the names of this ritual art such as Mudiparikkal, Mudiyetuppu etc. This is the closing ceremony of Theyyam / Thira performance. The player who appears as Theyyam or Thira takes off the idol from the head after receiving permission from everybody around him. The devotees after bowing the player who appeared as Theyyam returns home with an expectation that they would meet at the festival that would come in the next year. What actually happens is a sort of bidding farewell. The player who appears as Theyyam gives devotees flowers, turmeric and sandal paste and bless them.

Margam Kali
It is art form popular among the Suriyani Christians of Kerala, rendered for fun sake. It is an imitation of Sangham Kali. Margam Kali is performed for fun sake by the Christians armored for the protection of their own country. The coming of Marthoma, the disciple of Christ to Kerala and his expeditions with religious conversions form the main theme dealt with, in Margam Kali.

Marathu Kali
Marathu Kali is knowledge-based art form that is popular in the Kannur and Kasaragod districts of Kerala as a part of Poorakali. The Poorakali teams of two places reach the destined temple where the performance is supposed to be conducted, under the leadership of two ‘Panickers,’ one for each team. They engage opposing each other in various knowledge-based activities like ‘Mimamsa’, Reasoning, Rhetoric, Grammar etc. The slokas are recited and interpreted in detail and the Panicker of a camp exposes the Dvani, Alankara and Rasa to the audience. Meanwhile the follies in the presentation are brought to the light by the Panicker of the opposing camp. There would also be some middlemen on the stage. There are many scenes in Marathukali like ‘Shaivakoothu’, ‘Gaundum Pallum’, ‘Yogiyagam Natakam’etc.

Mappila Pattu
It is an art form that comprises the beat of the colour and vigour of Muslim life and culture. The ‘Kessuppattu’, ‘Vanchipattu’, the ancient marital songs etc. come under the broad horizon of Mappila Pattu. ‘Badarul Muneer-Hunul Jamal’, the ‘Kappa Pattu’ of Kunjayan Muslayar and also the songs of Pulikkottil Hyder and others are generally included under this genre.

Nanduni Pattu
Song sung by using the musical instrument ‘Nanduni’ is known as Nanduni Pattu. This is a ritual art form. Nanduni is made with the wild wine. The members belonging to the ‘Kallatta Kuruppanmar’ are experts in making Nanduni instruments. In olden poems there are many references about this instrument. Communities of Kuruppanmar and of Theyyampadital use this instrument for ‘Kalamezhuthu Pattu’. In special occasions the ‘Mannan’ (washer man) community also play on this instrument. In olden times Nanduni was used at serpent-temples and Bhagavati Temple.

Naga Pattu
Devotees conduct ‘Naga Pattu’ for appeasing the snakes. After arranging the floor (stage) decorated with the figure of snake-gods using powder of various colours, devotees practice Naga Pattu for a period of one week. Each day the form and colours of the play field will get
changed. Nagappattu is observed by the community of ‘Theyyampadi Kuruppanmar’. They are adept in drawing and arrangement of more than twenty play fields. From the very birth to the genealogy of the snakes is eulogized in the song. Conducting Naga Pattu is considered good for the household, for escaping from the torment of illnesses and for receiving the good fortune of progeny.

Nallamma Pattu
In ‘Nallamma Pattu’ the devotees are eulogizing Goddess Kannaki. Nallamma Pattu is popular in the District of Palakkad in Kerala. ‘Mannan’ (Washer man) and ‘Kollan’ (Blacksmith) communities do practice this ritual art form. Also for the Bharani festival of Kodungallur, which falls in the month of Meenam (April / May), the Nallamma Pattu is sung. The singing concludes with obscene vocabulary. The songs are sung by jingling the bells attached to a rod and rotating
in a circle. The singers of Nallamma Pattu stay around the Oracle and sing the history of Kannaki.

Nattathira
‘Nattathira’ is a ritual art form popular in the District of Kozhikode. It is the performance of little ‘Vellatt’ (State of youth of Theyyam / Thira) on the day before the beginning of ‘Thira’. The rites to be observed before the starting of the main ‘Thira’ are conducted during the performance of ‘Nattathira’, In reality, it is a way of giving information to the residents of the village and God, of the commencement of ‘Thira’, and there by wakening them.

Onathar
In certain places of Kerala this art form is popular in the name ‘Onappottan’ and also ‘Onathappan.’ On the days of ‘Uthradam’ and ‘Thiruvonam’ in the month of Chingam (August/September), Onathar, wearing a palmyra – an umbrella made of palm frond and jingling the cymbal would visit households and receives offerings like rice, money etc. There will be a drummer and a helper with him. In some places the myth of ‘Mahabali’ is seen connected with the performance of this ritual art and thereby the greatness of Onam festival is also projected with importance. Communities like ‘Malayas’ perform this ritual art form.

Pallukali
This art form is in vogue in Chittoor Taluk, Kollengode, Elavacheri, Peringottukavu, Parancheri, Panagatiri etc. This is a dramatic visual art. This ritualistic art is handled by those belonging to the Pariah community. Those between the age of 20 and 30 participate in this. The artists usually would be agricultural labourers. The exponents say that this is 250 years old. But experts believe that this is at least 350 years old. Chenda, Maddalam, Thalam are the instruments used. Nowadays, Harmonium is also used.

Pavakoothu
‘Pavakothu’ is usually performed in temples dedicated to ‘Devi’. In Central Kerala, there is a great popularity for the art performance. It is in the month of ‘Dhanu’ (November / December) that this art form debuts. It is also known as ‘Thol Pavakoothu’ or ‘Olappavakoothu’. There will be a special stage built up for the performance of ‘Pavakoothu’. After conducting certain rites at the temple and then entering the ‘Koothumadom’ (stag for Pavakoothu) the play begins. The content of the play is that taken form the epic ‘Kamba Ramayanam’ (Ramayanam narrated by poet Kambar). Several puppets are made and arranged on both sides. These sides are known as Ramapaksha and Ravanapaksha respectively. The puppets on both sides wear different costumes. Quoting certain special contexts from the Ramayana the debate begins. Simultaneously, the puppets also move. The language of the dialogue is Tamil mixed with Malayalam. ‘Pavakoothu’ is conducted by a particular community. They are known as ‘Pulavar’. Pulavar means ‘Scholar’. Only the real scholars could recite and interpret ‘Slokas’ (verses).

Poothanum Thirayum
In connection with the festivals in ‘Kavu’ (a kind of temple) in Valluvanatu region, the ritual art form ‘Poothanum Thirayum’ gets performed. Thira is the symbol of Goddess Kali where as Poothan is the symbolic representation of the lieutenant of Lord Shiva. The artistes who know the martial art and who possess control over their body structure play the roles of Poothan and Thira. In certain places the ‘Pana’ community also do take these roles. But with regard to the costumes as well as the performance there could be seen some differences between these two sections. Panas have roles like Thekkan and Thekkathi also.

Poorakali
‘Poorakali’ is a ritual art form that is being performed in the Malabar region during the festival of spring. It is an art form performed by men, with vibrant and flexible body movements, in temples or ‘Poomalakkavus’ in the Malayalam month of Meenam (April / May) from the Malayalam star sign of ‘Karthika’ to that of ‘Pooram’. It is a vivid dance form, which is bound out in 18 colours or tunes. No specific instrument is used here. Draped in a kind of coarse cloth with vibrant movements, the performers clap their hands with each other and engage themselves in the play. 12 to 18 persons are involved in a single performance.

Poora Pattukal
‘Poora Pattukal’ are also known as ‘Therippattukal’ (Obscene songs) and ‘Bharanippattu’ (Crude songs sung in some Kali temples). The songs are fabricated in obscene vocabulary. These are ritual songs. In connection with the festivals of Kodungallur Bharani, Cherthala Pooram etc., these songs are sung to please Bhagavathi (Goddess). These songs, which are obscene in character, should be sung from inside the compound wall of the temple only. Carrying children and singing song along with is considered as an offering to the Goddess. Those who sing ‘Bharanippatu’ and the devotees who accompany do not feel any obscenity in it. The beginning of Cherthala Poorappattu itself is with the singing of Poorappattu. By singing such obscene songs the singers and the devotees may be criticizing the fraudulence and the hollowness of the society. Poora Pattukal sung in connection with the performance of Poorakkali in South Kerala is totally different from this art form.

Pootham Kali
This is vogue in Thrissur and Malappuram districts of Kerala. Those belonging to the Mannan community perform this. The age of the participants range from 18 to 45. Wooden masks made out of the wood of Pala and Murukku trees are worn. These masks are coloured. The percussion instrument used is Thudi. This art form is performed during daytime at Devi (Goddess) temples from the Malayalam month of Makaram to Medam (December to May)

Sastham Pattu
‘Sastham Pattu’ is otherwise known as ‘Ayyappan Pattu.’ It is the performance of a ritual art form praising Lord Ayyappa. Though some regional differences are present with regard the rituals and songs all of them are considered as Sastham Pattu. In Kavu (a kind of temple) the members belonging to the community of ‘Theyyampadi Kurup’ conduct Sastham Pattu. They call this as ‘Bhoothathan Pattu.’ Members of the community of ‘Kallattu Kurup’ also perform Sastham Pattu. In certain areas, this art form bears the name ‘Nambiar Pattu.’

Sleehanercha
This custom is observed by the Christian community of Kerala. ‘Nercha’ means offering, which in this context is done to avoid abortion, children’s diseases etc. People provide food to children and pray. Twelve children are given food. These twelve children are the symbolic representation of twelve disciples of Jesus Christ.

Sopana Sangeetham
Sopanasangeetham is a musical art form performed with the accompaniment of Idaikka especially in the temples of Kerala. Sopanasangeetham is recited only when the inner sanctum sanctorum of the temple is closed for customary ceremonial offerings to gods and goddesses. Only the Maaraar and Pothuval community had the privilege of doing this. It is also sung with the accompaniment of another musical instrument named Chengila. It is customary to sing this song, from the time the inner sanctum sanctorum closes to the time it opens, in praise of the respective god or goddesses, the temple is dedicated to. The lyrics are either in Malayalam or Sanskrit. The 24 songs in Gita Govindam, which is known to be India’s first light music composition.

In the past there existed four different castes in Kerala – Brahmin, Kshathriya, Vaisya and Sudhra. The Maaraar and Pothuvaal community belonged to the Sudhras, lowest in status compared to the other castes. They used to sing the Sopanasangeetham from inside the temple. It was Njeralathu Raamapothuvaal who made the most important and notable contribution towards this genre of music. He rebelled against the beliefs, breaking Sopanasangeetham free from the shackles of customary rules and started performing anywhere he liked. This was done with the notion that he ardently believed that the ‘God is omnipresent’. And thus he instituted a version of the Sopanasangeetham that he sang outside the temple as Bhajanam or prayer and popularized it as the Janahitha Sopaanam (the sopaanam according to the interest of the public) of the masses and the common man. Today, Njeralathu Harigovindan, the sixth son of Njeralath Raamappothuvaal is the only singer of Sopaanasangeetham who adopts this method in Kerala. His brother Njeralath Aanandha Sivaraaman is the only person in Kerala who produces an Idaikka in its real structural and complete form.

Thidampu Nritham
Thidampu Nritham, which is over 700 years old, is a ritualistic art form of North Kerala. The dancer moves to the rhythmic beats of the Chenda carrying the Thidampu (the symbolic image of the deity) on his head. Seven artists accompany him on percussion instruments while two others hold aloft the ritualistic lamps. The artist wears much jewelry and a decorated turban known as Ushnipeetam. Brahmins perform Thidambu Nritham carrying the Thidambu.

Velikkala
This is a talismanic ritual art form prevalent in the District of Kozhikode in Kerala. The astrologer verdicts that it is due to the possession of evil spirits on the body of the woman, that she is not having any offspring. To evict these evil spirits from the body of the woman affected, the ‘Panas’ (a particular community) draw the figures of the goddesses. With five different colour powders and perform songs. They put on the costumes and play the role of gods such as ‘Kuttisasthan’, ‘Bhairavan’, ‘Gulikan’, ‘Bhrammaraksha’ etc. The woman, who takes her seat in the play field, shivers and trembles in frenzy. The belief is that she gets cured and soon will be blessed with an offspring.

Vedanthullal
It is a ritual art form that is popular in the Kannur and Kasaragod districts of Kerala. Vedanthullal is performed by artistes who belong to the Malayan and Vannan communities, who are generally the practitioners of the art form of Theyyam. With a crown made of Pala, draped in silk, with a painted face and making the sound of hand bells, the performer goes to each and every courtyard of local households. In tune with the drumbeat, two or three persons engage in singing. Adivedan, Karthodathi, Onavedan etc. are the three different kinds of Vedan. The first and the second are performed during the month of Karkkidakam (June/July) and the second one falls during the month of Chingam (August/September), on the day of Thiruvonam.