Introduction to Mari Theyyam, a healing exorcism ritual of the Pulayars community. The song on the origin of the instrument tudi is performed by percussion musicians in a procession to the stage, including a musician playing a chengila bronze gong, and a musician playing a tudi variable tension hourglass drum, using a curving stick. Dark and out of focus image. Performed by N. Kanhan Pujari and party.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 67, Jairazbhoy Diary, p. 110, Data Sheets, p. 251
A Poraṭṭu Nāṭakam of the Panan community (Palakkad District, Kerala). A Chettichi woman in peach-colored sari (played by male actor) stands in center stage, having left her husband in the story. A clown character in a woman’s blouse, shorts, and tights listens and reacts to her story. Two musicians stand behind them, playing jālra bronze cymbals and responding. Two musicians sit on a table further behind them, playing mṛdaṅgam or ḍholak and ceṇḍa (chenda) (not seen).<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 242
Padayāni are a “row of soldiers” sent by Lord Siva at Lord Subrahmanya’s request to cool Goddess Kali’s anger, aroused the previous night during the Mudiyeṭṭu Theyyam when she fought and killed the demon Darika. The “soldiers” imitate the Goddess’ wrath, which causes her to laugh and forget her anger. In this image, a pakṣi bird with a short dhoti, a bare chest, and a birdlike mask with green beak, arms has “wings” of bamboo spines with palm leaves. Performed by Guru P. K. Madhavan (Pillai) and party.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 67, Jairazbhoy Diary, p. 110, Data Sheets, p. 252-259
The goddess Kali surrounded by ceṇḍa (chenda) player during a part of the performance that took place among members of the audience. The explosion of fire was created by the practice of thelli eriyal--throwing pine resin on a lit torch. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar. Pazhur Damodara Marar and party. Musicians: Kuruppanmar Marar.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 66, Jairazbhoy Diary, p. 110, Data Sheets, p. 240-241
Rakteswari Theyyam: Naga Kali. The goddess Rakteswari (Rakteshwari, Rikteswari), with a cobra image on crown, rises to her knees after devouring ten raw eggs, her face smeared with egg. Ceṇḍa (chenda) drummers drum behind her.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Rakteswari (Rakteshwari, Rikteswari) Theyyam: Darika-Danavendra. Two crowned and bearded male theyyam dancers in military stance to show determination to fight Kali.<br>Ref: G. Venu. Puppetry and Lesser Known Dance Traditions of Kerala, p. 46-47. <br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Rakteswari Theyyam: Naga Kali. The goddess Rakteswari (Rakteshwari, Rikteswari) stands while being fitted to enormous twenty (?) foot figure of a cobra figure made of slats of palm wood attached to his back by three men. The central “spine” of the cobra is made of a single piece of bamboo (?). Spectators watch.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 64, Jairazbhoy Diary, p. 110, Data Sheets, p. 232-235
Madurai Om Periyaswamy in costume for the a poikkal kuthirai aattam dance, wearing a “false leg horse” or "dummy-horse” costume, made of paper maché type material, elegantly caparisoned, and draped with South Indian block print textile skirt hiding the dancer’s bare feet. He wears a decorated red turban, blue silk kurta and golden jacket, flower garlands, and holds a wooden spear in his right hand. Conai, left, holds urumbi (urummi, uṟumi) double-headed variable tension membranophone with one curved stick in his right hand, and Venkatesan holds a tavil double-headed membranophone held in playing position with both sticks visible, and dancers, listen intently. Two karagam atta pot dancers stand at left. Each balances five decorated clay pots stacked on their heads: young woman balances an angel figure atop her pots, young man (probably son of Om Periyaswamy) balances a parrot figure atop his pots. At the TamilNadu Hotel.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 119-131
O. K. Raman, a musician holding a Pulluvan kudam (“pot”) variable tension chordophone player during a Sarpa Thullal serpent ritual. He is seated on the pounded earthen floor with both legs bent to his right side. The large clay pot rests on his left thigh. A twisted plastic cord stretches between the leather lacing around the pot and the end of a two foot long wooden board (mumbilapatti) and bamboo tube (kutattin kuzhal) held tightly under his left shin. His right hand and his left arm support the pot, varying the tension on the string to create semi-melodic indefinite pitches. The Sarpam Thullal Pulluvan Serpent Ritual was held at a Sarpa Kaavu (snake grove) in a private home in Peramangalam village.<br>Sarpam Thullal (Dance of Snakes), is a mystical ritual of Kerala performed by a community called “Pullava,” and is performed to appease snake gods and bring prosperity to a family. The songs are called “Pulluvan Pāṭṭu.”<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 55, Jairazbhoy Diary, p. 98, Data Sheets, p. 205
Madurai Om Periyaswamy in costume for the a poikkal kuthirai aattam dance, wearing a “false leg horse dance” or "dummy horse dance” in a costume made of paper maché type material, elegantly caparisoned, and draped with a South Indian block print textile skirt swinging with the dancer’s movements and hiding the dancer’s bare feet. One of two wooden feet is visible, tied to the dancer’s feet to create clacking sounds that resemble the sound of a horse’s hooves. The dancer wears a decorated red turban, a blue silk kurta and golden jacket, flower garlands, and holds a wooden spear in his right hand. At the TamilNadu Hotel.<br>Ref. (Related Items): Ethnomusicology Archive, UCLA (coll. 198609_NA84): Bake Restudy Notes, p. 28, Jairazbhoy Diary, p. 61, Data Sheets, p. 119-131
