REVISION – THE HINDU – EDITORIAL NO.9-JUNE 2018
9. The conceptualisation of a new Theyyam, Alanthatta Daivathareeswaran, in Kasaragod, was a special event that was a
confluence of tradition, folk lore, belief and rituals
There are scholars who opine that the Theyyam is related to the cult of hero worship as it existed in the Sangam period
(300 BC- 250 AD).
These are considered as the base from which more Theyyams originated — surrealistic expressions linked with the worship
of gods, heroes, ancestors, warriors, enemies killed in fight, tragic characters and animals, among others.
The origins of almost all these Theyyams are based on some incidents or omens and popular faith irrespective of religion,
and authenticated by astrological predictions and royal sanction.
During the thottam (rustic songs explaining the origin of the Theyyam concerned, the locality, history and so on that is
sung as a prelude) of the Theyyams, the Alanthatta Daivathar is customarily praised.
The predominant right to perform Theyyams in the region belongs to members of Malaya and Koppala communities living in the
area.
However, astrological beliefs mandated that in this temple, only a member of the Vannan community should perform at the
temple.
Taking into consideration the demands of the concept of the Alanthatta Daivathareeswaran (Theyyam), the choreography was
designed without any vibrant movements or dance unlike many other Theyyams to symbolise the mood of detachment and
renunciation.
To maintain the stayi (dominant mood) of the Theyyam, the Daivathareeswaran is not supposed to speak unlike other
Theyyams. Blessings are only by giving flowers chethippoovu (Ixora) and thulasi (basil) used in temple rituals.
“It is a rare privilege to do this Theyyam and is challenging as the dominant mood is that of a Yogi, unlike usual
Theyyams,” muses Kanoor Kumaran Vannan, who donned the role.
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