Culture of Kerala
.
The culture of Kerala is a synthesis of Aryan and Dravidian cultures, developed and mixed for centuries, under influences from other parts of India and abroad. It is defined by its antiquity and the organic continuity sustained by the Malayali people. Modern Kerala society took shape owing to migrations from different parts of India throughout Classical Antiquity. Kerala trace its non-prehistoric cultural genesis to its membership (around the 3rd century CE) in a vaguely defined historical region known as Thamizhagom — a land defined by a common Tamil culture and encompassing the Chera, Chola, and Pandya kingdoms. At that time, the music, dance, language (first Dravida Bhasha — "Dravidian language" — then Tamil), and Sangam (a vast corpus of Tamil literature composed between 1,500–2,000 years ago) found in Kerala were all similar to that found in the rest ofThamizhagom (today's Tamil Nadu). The culture of Kerala evolved through theSanskritization of Dravidian ethos, revivalism of religious movements and reform movementsagainst caste discrimination. Kerala showcases a culture unique to itself developed through accommodation, acculturation and assimilation of various faculties of civilized lifestyle.The flower carpet called Onapookkalam,worship of Thrikkakkara appan,the rhythmic shouts of joy in chorus called”Aarpu vili”,the “Pulikkali” and the mirthful songs associated with it,etc are some of the age old traditions and rituals associated with the grand ten day (harvest) Onam festival in Kerala.The “Vishukkai neettam” ritual during Vishu(Kerala New Year) festival wherein the elders offer gifts and cash to the younger members of the family is yet another important tradition practised in Kerala.
Among the Namboothiri or brahmin community of Kerala, the Somayaga traditions(sacred rituals performed by scholars) have been so well preserved and are practised in their pristine purity regularly during occasions. This yaga tradition which is a grand affair, has survived for nearly 3,000 years.
The music and dance performers of Kerala follow their own indigenous traditions and rituals,each different according to the cultural context within which the activity takes place.
Similarly, Kerala Syrian Christians who are often referred to by the traditional name Nasranis, have preserved some of the original rituals of the early Jewish Syrian Christians. One can easily find many Jewish Syrian rituals and traditions among the Nasranis of Kerala today.
The Muslims of Kerala too have their own unique customs and traditions which they diligently follow during their religious and wedding festivals.The famous oppana,mapillappattu,etc are some of them
kerala has a great culture that has been contributed by the people and different races. The history of Kerala can tell about the process of culture synthesis. Throughout the ages, Kerala has proved that it can respond to any challenges through its adaptation and combination of old traditions.
The people of Kerala have got an honor among those who have achieved Indian cultural heritage. The culture of Kerala is a part of Indian culture. Kerala’s culture has persisted due to the reasons of unity, continuity and universality. It gives importance to the human achievements in any fields like religion, philosophy, language, art, education and social organization.
The cultural heritage of Kerala can be seen from the different art forms and customs of Kerala. The landlords of earlier times encouraged these arts and culture together with holding the moral values of it. A significance of art of Kerala is the special visual effects and good music. Kerala can boast of its performing arts proudly. There is no other state in India which can match up with the creativity of arts of Kerala. The people of Kerala lead a simple life and are culturally inclined and traditional and celebrate the festivals well. The traditional costumes of Keralites are mundu and neriyathu.
The culture of Kerala is a part of both Indian and Dravidian culture. Even then there is some part that has its own flavor. The culture of Kerala was expanded with the influence of neighboring areas as well. The main religion in Kerala is Hinduism even though there are people following Christianity and Islam. The language, dress, organizations and culture of Kerala are distinct. It is interesting to note that there is a similarity in the language and customs of Kerala to that of the Mediterranean civilization, Egyptian civilization and the Indus valley civilization. It is believed that the Dravidas has inhabited the western part of India by making Madurai as their capital. In the songs called as Vadakkan Pattu it is mentioned that the Ezhavas had arrived to Kerala from Ezham which is the present day Sri Lanka. The region which is now called as Kerala was developed at a very late stage and the culture also was developed slowly.
The southern part of India was ruled by the Cheras, Cholas and the Pandyas. There were fights among them for the rule over different areas and it was the Cholas who was successful in ruling the whole of Kerala. After that many local rulers emerged and then there were the coming of the outsiders as well. The language of Kerala, Malayalam was developed during that period. There is a great influence of the Sanskrit language over Malayalam. Ayurveda also started to develop in Kerala at that time.
Even though Kerala is a small strip of land in terms of geographic location, it is possible for one to find a huge number of different parts of cultural heritage. The culture of Kerala can be seen from the arts, cuisines and dance forms of Kerala.
Among the Namboothiri or brahmin community of Kerala, the Somayaga traditions(sacred rituals performed by scholars) have been so well preserved and are practised in their pristine purity regularly during occasions. This yaga tradition which is a grand affair, has survived for nearly 3,000 years.
The music and dance performers of Kerala follow their own indigenous traditions and rituals,each different according to the cultural context within which the activity takes place.
Similarly, Kerala Syrian Christians who are often referred to by the traditional name Nasranis, have preserved some of the original rituals of the early Jewish Syrian Christians. One can easily find many Jewish Syrian rituals and traditions among the Nasranis of Kerala today.
The Muslims of Kerala too have their own unique customs and traditions which they diligently follow during their religious and wedding festivals.The famous oppana,mapillappattu,etc are some of them
kerala has a great culture that has been contributed by the people and different races. The history of Kerala can tell about the process of culture synthesis. Throughout the ages, Kerala has proved that it can respond to any challenges through its adaptation and combination of old traditions.
The people of Kerala have got an honor among those who have achieved Indian cultural heritage. The culture of Kerala is a part of Indian culture. Kerala’s culture has persisted due to the reasons of unity, continuity and universality. It gives importance to the human achievements in any fields like religion, philosophy, language, art, education and social organization.
The cultural heritage of Kerala can be seen from the different art forms and customs of Kerala. The landlords of earlier times encouraged these arts and culture together with holding the moral values of it. A significance of art of Kerala is the special visual effects and good music. Kerala can boast of its performing arts proudly. There is no other state in India which can match up with the creativity of arts of Kerala. The people of Kerala lead a simple life and are culturally inclined and traditional and celebrate the festivals well. The traditional costumes of Keralites are mundu and neriyathu.
The culture of Kerala is a part of both Indian and Dravidian culture. Even then there is some part that has its own flavor. The culture of Kerala was expanded with the influence of neighboring areas as well. The main religion in Kerala is Hinduism even though there are people following Christianity and Islam. The language, dress, organizations and culture of Kerala are distinct. It is interesting to note that there is a similarity in the language and customs of Kerala to that of the Mediterranean civilization, Egyptian civilization and the Indus valley civilization. It is believed that the Dravidas has inhabited the western part of India by making Madurai as their capital. In the songs called as Vadakkan Pattu it is mentioned that the Ezhavas had arrived to Kerala from Ezham which is the present day Sri Lanka. The region which is now called as Kerala was developed at a very late stage and the culture also was developed slowly.
The southern part of India was ruled by the Cheras, Cholas and the Pandyas. There were fights among them for the rule over different areas and it was the Cholas who was successful in ruling the whole of Kerala. After that many local rulers emerged and then there were the coming of the outsiders as well. The language of Kerala, Malayalam was developed during that period. There is a great influence of the Sanskrit language over Malayalam. Ayurveda also started to develop in Kerala at that time.
Even though Kerala is a small strip of land in terms of geographic location, it is possible for one to find a huge number of different parts of cultural heritage. The culture of Kerala can be seen from the arts, cuisines and dance forms of Kerala.
Performing arts
Native traditions of classical performing arts include koodiyattom, a form of Sanskrit drama or theatre and a UNESCO-designated Human Heritage Art. katakhalei (from katerumbu' ("story") andkali ("performance")) is a 500-year-old form of dance-drama that interprets ancient epics; a popularized offshoot of kathakali is Kerala natanam (developed in the 20th century by dancer Guru Gopinath). Meanwhile, koothu is a more light-hearted performance mode, akin to modern stand-up comedy; an ancient art originally confined to temple sanctuaries, it was later popularized byMani Madhava Chakyar. Other Keralite performing arts include mohiniyaattam ("dance of the enchantress"), which is a type of graceful choreographed dance performed by women and accompanied by musical vocalizations. Thullal, padayani, and theyyam are other important Keralite arts.
Kerala also has several tribal and folk art forms. For example, Kummattikali is the famous colorful mask-dance of South Malabar, performed during the festival of Onam. The Kannyar Kali dances (also known as Desathukali) are fast moving, militant dances attuned to rhythmic devotional folk songs and asuravadyas. Also important are various performance genres that are Islam- or Christianity-themed. These include oppana, which is widely popular among Keralite Muslims and is native to Malabar. Oppana incorporates group dance accompanied by the beat of rhythmic hand clapping and ishal vocalizations.
Margam Kali is one of the ancient round group dance of Kerala practiced by Saint Thomas Christians.
However, many of these native art forms largely play to tourists or at youth festivals, and are not as popular among ordinary Keralites. Thus, more contemporary forms — including those heavily based on the use of often risqué and politically incorrect mimicry and parody — have gained considerable mass appeal in recent years. Indeed, contemporary artists often use such modes to mock socioeconomic elites. In recent decades, Malayalam cinema, yet another mode of widely popular artistic expression, have provided a distinct and indigenous Keralite alternative to both Bollywood and Hollywood.
Other than the unique art of body painting for specific dance forms such as Kathakali, Kerala has a rich style of oil paintings. While the state identifies with the rest of India in its use of henna to paint parts of the body such as hands and feet, Kerala has also its singular art forms of floor drawings and paintings (Kalamezhuthu).
Music
The ragas and talas of lyrical and devotional carnatic music — another native product of South India — dominates Keralite classical musical genres. Swathi Thirunal Rama Varma, a 19th-century king of Travancore and patron and composer of music, was instrumental in popularising carnatic music in early Kerala. Additionally, Kerala has its own native music system, sopanam, which is a lugubrious and step-by-step rendition of raga-based songs. It is sopanam, for example, that provides the background music used in kathakali. The wider traditional music of Kerala also includes melam (including the paandi and panchari variants), as style of percussive music performed at temple-centered festivals using an instrument known as the chenda. Up to 150 musicians may comprise the ensembles staging a given performance; each performance, in turn, may last up to four hours. Panchavadyam is a differing type of percussion ensemble consisting of five types of percussion instruments; these can be utilised by up to one hundred artists in certain major festivals. In addition to these, percussive music is also associated with various uniquely Keralite folk arts forms. Lastly, the popular musicof Kerala — as in the rest of India — is dominated by the filmi music of Indian cinema. The most remembered name in kerala music culture is of Great Indian musician Sri K. J.
Yesudas.
Like the rest of South India, Kerala's classical music is essentially Carnatic, raag - taal based music. It is also famed for Sopanam. Music is an integral part of the every day life. There are the traditional folk songs for occasions such as marriages and childbirth and also the devotional songs such as Ayyappanpattu and Maripattu. A number of musical instruments including wind and string instruments, percussions are played and practiced in Kerala.
Literature
Though the origins of are generally traced to Tamil, due to its affinity to the classical language, Malayalam has evolved and is a vast ocean as it stands today. The prose, poetry and plays are appreciated by critics
Malayalam literature is ancient in origin, and includes such figures as the 14th century Niranam poets (Madhava Panikkar, Sankara Panikkar and Rama Panikkar), whose works mark the dawn of both modern Malayalam language and indigenous Keralite poetry. The Triumvirate of poets (Kavithrayam: Kumaran Asan, Vallathol Narayana Menon and Ulloor S. Parameswara Iyer) are recognized for moving Keralite poetry away from archaic sophistry and metaphysics and towards a more lyrical mode. Later, such contemporary writers as Booker Prize winner Arundhati Roy(whose 1996 semi-autobiographical bestseller The God of Small Things is set in the Kottayam town of Ayemenem) have garnered international recognition. From 1970 to early 1990s, a lot of Malayalam Novelists and story writers contributed to the Literature of Kerala. The contributions from OV Vijayan, CV Sriraman, T Padmanabhan, Sethu, Perumbatavam Sreedharan, Kovilan have been remarkable. Significant contributions from poets and song writers such as P. Bhaskaran and ONV Kurup have influenced contemporary literature. Critics such as M Krishnan Nair have added value by providing critical analysis on the books written during the recent past.worldwide.
Temple Festivals
Kerala is the land of high festivities and cheer. A number of Festival like Onam, Vishu and Thiruvathirai are celebrated. They are usually marked by family get together, cheer and festivity. Kerala has a large number of temples. The temples celebrate annual festivals which are not only unique to the region but sometimes have features that are unique to each temple. Each temple describes each interesting history behind its creation.
Kerala celebrates a host of major festivals that include religious,temple,social and community rituals and traditions.The flower carpet called Onapookkalam,worship of Thrikkakkara appan,the rhythmic shouts of joy in chorus called”Aarpu vili”,the “Pulikkali” and the mirthful songs associated with it,etc are some of the age old traditions and rituals associated with the grand ten day (harvest) Onam festival in Kerala.The “Vishukkai neettam” ritual during Vishu(Kerala New Year) festival wherein the elders offer gifts and cash to the younger members of the family is yet another important tradition practised in Kerala.
Among the Namboothiri or brahmin community of Kerala, the Somayaga traditions(sacred rituals performed by scholars) have been so well preserved and are practised in their pristine purity regularly during occasions. This yaga tradition which is a grand affair, has survived for nearly 3,000 years.
The music and dance performers of Kerala follow their own indigenous traditions and rituals,each different according to the cultural context within which the activity takes place.
Similarly, Kerala Syrian Christians who are often referred to by the traditional name Nasranis, have preserved some of the original rituals of the early Jewish Syrian Christians. One can easily find many Jewish Syrian rituals and traditions among the Nasranis of Kerala today.
The Muslims of Kerala too have their own unique customs and traditions which they diligently follow during their religious and wedding festivals.The famous oppana,mapillappattu,etc are some of them.
Martial arts and sports
Kerala also has its own indigenous form of martial art — Kalarippayattu, derived from the words kalari ("place", "threshing floor", or "battlefield") and payattu ("exercise" or "practice"). Influenced by both Kerala’s Brahminical past and Ayurvedic medicine, kalaripayattuis attributed by oral tradition to Parasurama. After some two centuries of suppression by British colonial authorities, it is now experiencing strong comeback among Keralites while also steadily gaining worldwide attention. Other popular ritual arts includetheyyam and poorakkali — these originate from northern Malabar, which is the northernmost part of Kerala. Nevertheless, these have in modern times been largely supplanted by more popular sports such as cricket, kabaddi, soccer, badminton, and others. 'Kochi Tuskers Kerala' playing in the Indian Premier League (IPL) is from Kerala. Kerala is home of he football clubs Viva Kerala and FC Kochin.it has also being liked by people from all over the world.
Kerala Modern Society
The highest literacy rate and education level changed the Kerala society in a greater way that they prefer to live in western standards . Keralites are open towards social and technological developments ; they have a mixed life with traditional values and advanced life style.
Elephants in Kerala culture
The elephants are an integral part of the daily life in Kerala. These Indian elephants are given a prestigious place in the state's culture. Elephants in Kerala are often referred to as the 'sons of the sahya'. The elephant is the state animal of Kerala and is featured on the emblem of the Government of Kerala.
THEYYAM
Theyyam (Teyyam, Theyyattam or Thira) is a popular ritual form of worship of North Malabar in Kerala, India, predominant in the Kolathunadu area (consisting of present-dayKasargod, Kannur Districts, Mananthavady Taluk of Wayanad and Vadakara and KoyilandyTaluks of Kozhikode of Kerala) as a living cult with several thousand-year-old traditions, rituals and customs. The performers of Theyyam belong to the lower class community, and have an important position in Theyyam. People of these districts consider Theyyam itself as a God and they seek blessings from this Theyyam. A similar custom is followed in the Tulu Nadu region of neighbouring Karnataka known as Bhuta Kola.
History
"There can be no doubt", say Bridget and Raymond Alchin, "that a very large part of this modern folk religion is extremely ancient and contains traits which originated during the earliest periods of Neolithic, Chalcolithic settlement and expression".
Those communities who did not accept the Brahminical supremacy in temple worship, eg. Thiyyars were patrons of Theyyam, and it was not uncommon for every Tharavadu to have its own Theyyam. However, the Brahmins did not have the right to directly take part in the performance of Theyyam, as this privilege belonged only to the tribal communities. Despite this, out of devotion, ruling clans established their own shrines and Kavus for Theyyam deities where non-sattvic rituals and customs are observed. The Goddesses like Rakteshwari, Chamundi, Someshwari, Kurathi, and the Gods like Vishnumoorthi are propitiated in these house-hold shrines. There, the Theyyam dancers appear during the annual festivals of Gods and Goddesses. The rituals in such shrines are different from those of the Brahminical temples. The impact of this cultural fusion could be traced to the social organization based on the caste system and in the agrarian relations. The inviting of Brahmin Thanthri to consecrate the idols of Kavu started very recently. Except the Non-Brahminical communities and those like Nair and Nambiar who supported Brahminical supremacy, other castes especially Thiyyas took it as a "major religious practice"
Those communities who did not accept the Brahminical supremacy in temple worship, eg. Thiyyars were patrons of Theyyam, and it was not uncommon for every Tharavadu to have its own Theyyam. However, the Brahmins did not have the right to directly take part in the performance of Theyyam, as this privilege belonged only to the tribal communities. Despite this, out of devotion, ruling clans established their own shrines and Kavus for Theyyam deities where non-sattvic rituals and customs are observed. The Goddesses like Rakteshwari, Chamundi, Someshwari, Kurathi, and the Gods like Vishnumoorthi are propitiated in these house-hold shrines. There, the Theyyam dancers appear during the annual festivals of Gods and Goddesses. The rituals in such shrines are different from those of the Brahminical temples. The impact of this cultural fusion could be traced to the social organization based on the caste system and in the agrarian relations. The inviting of Brahmin Thanthri to consecrate the idols of Kavu started very recently. Except the Non-Brahminical communities and those like Nair and Nambiar who supported Brahminical supremacy, other castes especially Thiyyas took it as a "major religious practice"
Classification of sub cults
It can be said that all the prominent characteristics of primitive, tribal, religious worship had widened the stream of Theyyam cult, where "even the followers of Islam are associated with the cult in its functional aspect" and made it a deep-rooted folk religion of millions. For instance, the cult of Bhagawathi, the Mother Goddesses had and still has an important place in Theyyam. Besides this, the practices like spirit-worship, ancestor-worship, hero-worship, masathi-worship, tree-worship, animal worship, serpent-worship, the worship of the Goddesses of disease and the worship of Graamadevataa (Village-Deity) are included in the main stream of the Theyyam cult. Along with these Gods and Goddesses there exist innumerable folk Gods and Goddesses. Most of these Goddesses are known as Bhagavathy(the Mother-Goddess that is the Divine and United form of the three principal Goddesses namely, Brahmani (Saraswati), Vaishnavi (Lakshmi), and Shivani (Durga)).
Different branches of mainstream Hindu religion such as Shaktism, Vaishnavism andShaivism now dominate the cult of Theyyam. However, the forms of propitiation and other rituals are continuations of a very ancient tradition. In several cult-centres, blood offering is seen, despite being forbidden in sattvic Hinduism, Jainism and Buddhism. In such centres, separate places outside the precincts of the shrine are selected for blood offering and for the preparation of the traditional Kalam known as Vatakkanvathil. The Theyyam deities propitiated through cock-sacrifice will not enter such shrines. This religious cockfight over blood sacrifice, which does also include the cockfight as a blood sacrifice, is a prime example of "cultural synthesis of 'little' and 'great' cultures".
On account of the supposedly late revival of the Vaishnavism movement in Kerala, it does not have a deep impact on the Theyyam cult. Only a few deities are available under this category. Two major Theyyam deities of Vaishnavism are Vishnumoorthi and Daivathar. Vaishnavism was very popular in the Tuluva region in the 13th century when it came under the rule of Vishnuvardhana of the Hoysala dynasty. He was a great champion of Vaishnavism. Most probably he was initially deified as Vishnumoorthi and incorporated into the Bhoota cult of the Tuluvas and then further incorporated as a prominent folk deity into the Theyyam cult as well. To some, the legend of Vishnumoorthi is symbolizes the God's migration from Tulu Nadu to Kolathunadu.
All other categories of Theyyam deities can be classified under Shaivism or Shaktism. Even spirits, ancestors, heroes, and animals are deified and included in those categories. Briefly, Theyyam provides a good example for the religious evolution of, and the subsequent different stages in modern Hinduism, with the overall understanding that within Hindu sycretisms lay propitiation as ancient practices and rituals of ancient worship intended for the blessings of the supernatural not unlike, "in Indus Valley and other ancient civilizations, mother goddess had been invoked for fertility and prosperity".
Performance
The dance or invocation is generally performed in front of the village Shrine. It is also performed in the houses as ancestor-worship with elaborate rites and rituals.
There is no stage or curtain or other such arrangements for the performance. The devotees would be standing or some of them would be sitting on a sacred tree in front of the shrine. In short, it is an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The chief dancer who propitiates the central deity of the shrine has to reside in the rituals. This may be due to the influence of Jainism and Buddhism. Further, after the sun sets, this particular dancer would not eat anything for the remainder of that day (again possibly on account of a legacy of Jainism). His make-up is done by specialists and other dancers. The first part of the performance is usually known as Vellattam or Thottam. It is performed without proper make-up or any decorative costume. Only a small, red headdress is worn on this occasion.
The dancer along with the drummers recites the particular ritual song, which describes the myths and legends, of the deity of the shrine or the folk deity to be propitiated. This is accompanied by the playing of folk musical instruments. After finishing this primary ritualistic part of the invocation, the dancer returns to the green room. Again after a short interval he appears with proper make-up and costumes. There are different patterns of face-painting. Some of these patterns are called vairadelam, kattaram, kozhipuspam,kotumpurikam, and prakkezhuthu. Mostly primary and secondary colours are applied with contrast for face painting. It helps in effecting certain stylization in the dances. Then the dancer comes in front of the shrine and gradually “metamorphoses” into the particular deity of the shrine. He, after observation of certain rituals places the head-dress on his head and starts dancing. In the background, folk musical instruments like chenda, tuti, kuzhal and veekni are played in a certain rhythm. All the dancers take a shield and kadthala (sword) in their hands as continuation of the cult of weapons. Then the dancer circumambulates the shrine, runs in the courtyard and continues dancing there. The Theyyam dance has different steps known as Kalaasams. Each Kalaasam is repeated systematically from the first to the eighth step of footwork. A performance is a combination of playing of musical instruments, vocal recitations, dance, and peculiar makeup and costumes.
There is no stage or curtain or other such arrangements for the performance. The devotees would be standing or some of them would be sitting on a sacred tree in front of the shrine. In short, it is an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The chief dancer who propitiates the central deity of the shrine has to reside in the rituals. This may be due to the influence of Jainism and Buddhism. Further, after the sun sets, this particular dancer would not eat anything for the remainder of that day (again possibly on account of a legacy of Jainism). His make-up is done by specialists and other dancers. The first part of the performance is usually known as Vellattam or Thottam. It is performed without proper make-up or any decorative costume. Only a small, red headdress is worn on this occasion.
The dancer along with the drummers recites the particular ritual song, which describes the myths and legends, of the deity of the shrine or the folk deity to be propitiated. This is accompanied by the playing of folk musical instruments. After finishing this primary ritualistic part of the invocation, the dancer returns to the green room. Again after a short interval he appears with proper make-up and costumes. There are different patterns of face-painting. Some of these patterns are called vairadelam, kattaram, kozhipuspam,kotumpurikam, and prakkezhuthu. Mostly primary and secondary colours are applied with contrast for face painting. It helps in effecting certain stylization in the dances. Then the dancer comes in front of the shrine and gradually “metamorphoses” into the particular deity of the shrine. He, after observation of certain rituals places the head-dress on his head and starts dancing. In the background, folk musical instruments like chenda, tuti, kuzhal and veekni are played in a certain rhythm. All the dancers take a shield and kadthala (sword) in their hands as continuation of the cult of weapons. Then the dancer circumambulates the shrine, runs in the courtyard and continues dancing there. The Theyyam dance has different steps known as Kalaasams. Each Kalaasam is repeated systematically from the first to the eighth step of footwork. A performance is a combination of playing of musical instruments, vocal recitations, dance, and peculiar makeup and costumes.
GOD"S OWN COUNTRY......!!!! KERALA....!!!!
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