Mudiyettu

Mudiyettu kerala

                                          Mudiyettu is a ritualistic dance-drama presented in Bhadrakaali temples in South and Central Kerala by Varanattu Kurupanmar. It’s structure is closely associated with drama they acts as per the singing of the drummers except Koyimbidarar and kooli It is based on the Puranic story of Darikavadham, the killing of the demon Darika. The possession of kali, extinguishing the anger of Kali, The dialogue between Koyimbidarar and drummers, and the comic acts of Kooli the ceremonial of entrance of Kali and Darika and taking of the crown ( symbolic act of cutting the head of Darika ) are the important episode of Mudiyettu.mudiyettu the traditional - ritual performing art of Kerala, has been inscribed by UNESCO in 2010 on the Representative List of the Intangible Cultural Heritage of Humanity.




The Myth and Its background

Mudiyettu carries forward the tradition of Badra Kali worship and the victory of good over evil. It is held every year as a custom, an offering or an expression of the collective response of a community with its traditional craft and artistry. Though the performance takes place in the temple courtyard, it really springs up from the depths of their mind nourished by poetic imaginations and contributing to the total theatre with all its hymns, rituals, dramatic dialogues, movements, music and fine arts.

Performance of Mudiyettu emphasizes the dictum, “The theatre of earth never dies”. The myth and style of presentation and collective participation in Mudiyettu clearly demonstrates the continuity of an age old tradition and transmission of multi layered values for the very existence of a healthy society. The myth about Darika runs as follows- In Markandeya Purana,  Asuras (demons) are defeated by Devas (deities). To prevent annihilation of the entire tribe, a few Asuras escape and live in hide. During one such enforced hiding, two Asura women, Darumathi and Danavathi, start penance to please God Brahma and are successful in obtaining a boon from the Lord for mighty off-springs. Darika is thus born as a mighty son to Darumathi. In order to be powerful enough to conquer Indra, the king of Devas and attain immortality, he performs a severe penance to please Lord Brahma. The Lord, pleased with his devotee, appears before him and bestows all the varas (boons) that Darika asks for. One blessing that Darika seeks is that he must neither be slain by any man from the fourteen worlds nor be killed with any known weapon. Another boon he attains is that a drop of his blood, when spilt, should cause the birth of a thousand Darikas, each with the strength of a thousand elephants. The Brahmopadesa Mantra is also passed on to him to be kept secretly for his use. But, strangely enough, together with these boons a curse also befalls him. As he ignored the chance of being killed by a woman, the Lord curses him that he shall die at the hands of a woman born in the Deva class.

Feeling triumphant and bragging that he is invincible, Darika sets out to fulfill his long cherished desire of conqueringDevas. As the name of Darika spreads, those Asuras living in hide come out to serve their new king. Thus commences the despotic reign of Darika. At last, Devas and Rishis like Narada, disturbed by the tyranny of Darika, deputes Kali and Bhoothas for his murder. Riding on Vethala and with an army of Bhoothas, led by Nandi, BhadraKali challenges Darika on the battlefield. In the first phase of the fight, Kali and followers face a set-back as she faints. Kali realizes that Darika is defended by Brahmopadesha Mantra. Darika continues to fight undauntedly. But, at last Kali cunningly obtains the Mantra and rescues the world from his evil subjugation by killing Darika.

The ritual performance of Mudiyettu, more than a secular entertainment, is meant to bring about purification or rejuvenation to the whole community .Within the structure of the self-contained village economy of the past, Mudiyettu is organized as a total festival centred at the most important temple or Bhagavati Kavu of the locality. The temple provides a focal point and people of all castes and tribes are drawn into it. Each caste has a special role which ensures its participation and its importance as well. The Parayan provides the leather for the drum, and bamboo artifacts. The Tandan brings the areca nut fronds required for the masks and headgear. The Ganakan paints the masks and sings. The Kuruvan keeps the country torches burning. The Veluthedan (patiyan) washes the clothes to be used for the deity’s dress. And the Maran gets the torches ready and keeps them supplied with oil. The Brahmin initiates the rituals inside the temple. Each caste with their professional expertise and refinement in art and craft contribute to this ritualistic performance. The Kurups or Marars with their entire ritualistic commitment draw the picture of Kali and by invocation bring ‘her’ into life and is later possessed by the performers into their body. This spiritual and visual transformation has developed into a full-fledged performing art. The core of the performance, no doubt is ritualistic and the human enactment of superhuman roles continue as sacred offering or sacrifice blossomed as a rich theatre in all aspects.

The final victory dance of Kali ensures immortality- the dramatic triumph over the forces of evil through the intervention of benign deities. The dramatic element probably holds out the possibility of human survival through the surrender of personal, extinction of personality, empathy and self-transcendence. The village artist who performs Mudiyettu ritual theatre knowingly or unknowingly seems to hold the key to the secret of all artforms in the sense of understanding different perspectives of life. Thus he attains universalization. The pronounced Shaivite content of various ritualistic items inMudiyettu, points to a possible Dravidian origin and basis for this form of temple theatre. Mudiyettu is thus both religion and art, both ritual and entertainment. One can see the origins of the Dravidian theatre, in which drama is related not only to ‘yajna’ but to ‘aradhana.’

In Mudiyettu, we find the myth transformed into a beautiful art form with the aid of dramatic situations that harmoniously blend with the verisimilitude and sense of wonder. Time and influence by generations after generations have enriched its form and content. The highly developed music and performance style reveal this fact. However, they go a long way to enable us to get an insight into the culture, artistic vision and appreciation of the people of ancient times. In Mudiyettu, the dramatic appeal is augmented by a convincing transformation of men into Devas and Asuras. On the audio level, music, rhythm and accompaniments and on the visual level masks, make-up, costumes and choreographic patterns bear testimony to it.

The myth of Kali and Darika in Mudiyettu presents the victory of good over evil and promises a peaceful future for humanity.

Performance 
The actual performance is ushered in with lighting of the stage lamp. Some traditions have it that the village elder or convenor of the festival committee has to perform this ritual. He has to present "Aniyara Daxina" to the artist performing as Kali and accept wicks lighted from the green room lamp. Arangu Keli announces the commencement. Vandana slokam and hymns are sung. These include a slokam summing up the preface.

Scene one is Narada’s plea at Kailas to Lord Siva to save the righteous men and gods from the atrocities of the terrible trio. Here Narada’s part of the dialogue, rather recital, is performed by the artist. Narration and Siva’s replies are done by a percussionist. As the bulk of lyrics is so slender that no specialist singer is used. Lord Siva even does not move his face. The answering gestures are by shaking a bull’s head, kept on the thirasseela. The entry of Darika, known as the Darikan Purappad is the next item. Many consider this part as the most important part of Mudiyet. The rampage is followed by Darika’s announcements facing all directions. Often spectators join in chorus to echoed these shootings. Then comes the entry of Bhadrakali. The percussion will be at its loudest best here. Rapid "Pandi" or "Muri Atantha" are often the rhythm. There may be other variations too. The tempo and length of this scene depends on three factors. (i) Capability of the artist, (ii) quality of percussion and (iii) involvement of the spectators.

Often this scene is culminated in the deliberate removal of the headgear, under the presumption that the wrath of the deity has gone beyond control, a popular cliché to justify the abrupt ending of this climax.

The much needed rest for the main artist is provided by the scene in lighter vein that follows. Kovilppadanayar, or Koimpatar enters with his peculiar brand of witticisms. Dressed very much like a Patayani artist with steps to match, he engages in a humorous dialogue, with one of the percussionists.

Then comes the most popular part. Koolippurappaatu. Kooli is a purattu type character, interacting with the audience. Created in the line of Bheeru of Kathakali, many scholars consider this as the oldest character of its kind in Indian theatre. The dialogue is without a recognized script. The theme is Kooli (one of the bhoothas) going in search of Kali, to accompany her to the battle field. Often this sequence deteriorates to a fund collection spree at the hands of non-professional performers.

The real purpose of Koyimpatar and Kooli is to have personnel to control the situation. In the days when the battle scene used to be well performed, these characters were much needed. Kootiyaattam (drama) follows. The challenge, counter challenge and the battle. The whole ground may become battleground, scattering the audience at the will of the performers. Abruptly at the peak of the battle scene the Asuras disappear and this sends the deity into uncontrollable anger. Kooli removes the deity’s headgear and Koimpadar with a pretended effort snatches the weapon and appeases her.

Some of the troops indulges in rituals like blessing the devotees during the brief interval that follows. But it is definitely better to perform these only in the end. The Asuras reappear after a short while and a dialogue session follows. They engage in a lyrical exchange of words, in the end of which the head gears of Darika and Danavendra are removed to indicate chopping off of the heads.

Performance concluded, rituals commence. The deity blesses the entire gathering and the village. Those who desire special blessings of the goddess for their children can have it by paying a daxina. The styles vary. From a gentle touch on the head to a merry go round with the child around the Ural.

Finally, by day-break the main artist removes the head gears and waves it in the direction of the devotees and places it for worship.

The stage 

In fact there is no clearly defined stage for the performance. Where there is a temple of any sort, the performance takes place facing the deity, straight in front of the temple’s main door, at a convenient distance. The props required are very minimum. A large "ural" (a wooden mortar used to husk and grind grains in those days) served the purpose of stool, raised platform etc. A very large oil lamp combined with torches prepared on-the spot provided the illumination required. Extra effects are created by finely ground pine resin (Thelli) on the burning torch. A large piece of cloth served as curtain with a variety of purposes.

Make up (Chutti) 
Conventionalists use only three items for this purpose. Lamp black in cocoanut oil, rice paste with a touch of lime and vermillion (kumkumam) for black, white and red colours. Of late a touch green is added with Manayola & blue. The make-up has also undergone few changes from being predominantly only small pox scars and boils to chutty similar to that of Koodiyattam.

Costume: 
A lot of similarity with koodiyattam is seen in the case of main characters. Which art form imitated which is anybody’s guess. Kali’s headgear is a unique piece of handicraft. A fierce face of the deity and a cobra’s hood are engraved prominently on it. This is the one most important element that gives the character its fierce look. The abundant imitation of hair with finely torn tender cocoanut leaves, Kurutthola and prominent upper eye teeth, small pox boils with a ripe appearance, scarlet eyes, and the shrill screams combine well with the peculiar circular motions to give Bhadrakali the most fearful appearance. Only two characters, Koimpadar and Naradan have costumes similar to those of folk theatre characters.

Audience 
The audience form a vital part of the performance. Participation of the on-lookers is an important aspect. In fact the success of a show depends a lot on the active participation of the audience. Here I would like to request those of you who have witnessed Mudiyet before to contribute their mite, to cheer the performers and create the ambience. In fact this ambience is the lifeline of a Mudiyet performance. The three most important phases of the performance, the entry of Darikasura, that of Bhadrakali and the fight can become the fiercest best only if the audience in large number cheer them. Artistes Traditionally only members of Kuruppu/Maraar community performs Mudiyet. This is but natural, as these are men who performs two important aspects of Mudiyet. On the ritual side, Kuruthi, Kalamezhutthu etc are their forte. Sopaana sangeetham and percussion concerts are traditionally their profession. Recently men from other Hindu communities are known to be performing both. However, as on date the performers are exclusively male.

Rituals 
Kalam Ezhutthu, Paattu and Kuruthy are mandatory before Mudiyet performance. As these are items associated with many other rituals and proceedings throughout Kerala, explaination about them, here, is absolutely redundent. The significance here is worth mentioning though. Kalamezhutthu is a reminder of how Narada presented a plausible "design" for the creation of Bhadrakali. Once the form of the deity is created, singing her praise by the person to perform as Kali follows along with other thanthric rituals. He is in fact receiving the deity’s blessings for impersonating her during the performance. Kuruthi is for pleasing the group of various spirits forming the deity’s army, popularly known as bhoothagana. Then there are the artistic rituals known as Kotti Ariyippu and Sandhyakkottu. These are in fact Keli, with a unique style of performance. A rythmn "Kuntanachi" is used. It can be termed a hybrid of the popular Atantha and Champa. Whatever it be, It is very delightful.

Kalamezhuthu Pattu

There is an announcement by drumming called Kottiyarikkal before starting the ritual Kalamezhuthu. Traditionally the Mudiyettu is preceded by a ritual performed in the form of Kalamezhuthu, a symbolic drawing of the figure of Bhadrakaali on ground purified by cow dung plaster. The figure is drawn with five colours, red, green, black, white and yellow derived from indigenous materials - rice, turmeric, green leaves from the vaka tree, charcoal, etc. The artists of Kalamezhuthu believe that these five colour represent the Panchabhootam. Varanattu kuruppanmar doing it in Ayyappa Temples and in Bhagavathy temples in Kerala. It is belived that while parasurama created kerala he authorised varanattu kuruppanmar to do this for the welfare of the home and the country. Those kalam’s are drowned by varanattu kuruppanmar are Bhadrakali Kalam, Bhuvaneswary kalam, Rakteswary Kalam, vellam Bhagavathy Kalam,Vettakkoru Makan Kalam,Kailasanaga Kalam, Sundara Yakhi kalam

When the figure of four, eight, or sixteen arms is drawn, nine lamps are placed on it - one above the head, one each between the hands on either side and others around the entire length of the figure. Banana leaves with paddy, coconut, arecanut and incense sticks are placed near the lamps on either side. In the Kalamezhuthu the Goddess is usually seated. In her hands she holds her various powerful weapons, the bell, ghanta, the shield, khethkar, sword (vaal), the demons skull (Kapala), the trident (trisoola), and the sounding anklet (chilambu). The pooja, worship, is offered by waving a lamp to the sound of a conch shell and drums. While the poojari, Kurup, recites, the image seems to emanate the energy of the Goddess and through the entire ceremony, the painting becomes a real live force pulsating with Shakti.

Kalampaattu 

Kalampaattu hymns are sung in praise of the Goddess, describing her from head to foot and foot to head, kesaadipaadam and Paadaadi kesham. The lamp is placed and lit under the sacred peepul tree, outside the temple compound, where the Goddess is said to reside. Young women accompany the lamp carrying brass trays ceremoniously called Taalapoli into the temple.

Symbolically the light represents the spirit of the Goddess, and is placed at the feet of the figure of Bhadrakaali. With this the Kalampaattu ritual ends, and the place is considered consecrated. The spirit of Bhadrakaali is invoked to remain on the sacred spot through the performance of the Mudiyettu.

Varanattu Peruma

It is believed that while Parasurama created kerala, he authorized varanattu kuruppanmar to do this for the welfare of the home and the country. There is also believes that Varanattu Kuruppanmar done darikavadham. It is considered that the old form of kadhakali( Ramansttam, Krisnanattam etc) are derived from Mudiyettu. we can find similarities in its dressings and crown used in Ramanattam and krishnanattam with the dressings and crown of Varanattu Kurup

Sree ( Mr ) Varanattu Madhava Kurup ( 1878-1978 )

He was a well known person in traditional arts and spiritual art forms. He is considered as the master of Mudiyettu and he was familiar with other arts like kalamezhuthum Patum , Sopana Sangitham, vocal instruments etc. He born in 1878 February and actively participated in Mudiyettu till he is 78. He achieved many awards at that time and also known as Kalikurup. his wife was Vadakkini marath parukkutti amma ( late ) and children are Varanattu Sankara Narayana Kurup and Varanattu Gopala Krishna Kurup & Savithri

Sree ( Mr ) Varanattu Sankara Narayana Kurup

Disciple and the son of Late Varanattu Madhava Kurup ( kali kurupp ) born in 1946 . After the death of his father he taken the responsibility of the troop Sree Bhadra Mudiyettu Sangham. In last 50 year’s he is conducting Mudiyettu and kalamezhuthum Pattum in more than 60 Bhagathy temples in kerala. He also learned the traditional vocal instruments like Chenda, Thimila, Idakka and sopana Sangitham (A traditional Music) from his Uncle Cheranallur Kuttappa Kurup (late ). He is able to act any role in mudiyettu He got many awards from many organization including kerala sangitha nataka academy ( kalamezhuthu ) . wife is Vijayakumari and son is Madhu sankar

Sree ( Mr ) Varanattu Gopala Krishna Kurup

Disciple and the son of Late Varanattu Madhava Kurup ( kali kurupp ) born in. In last 30 year’s he is conducting Mudiyettu and kalamezhuthum Pattum in more than 60 Bhagathy temples in kerala. He also learned the traditional vocal instruments like Chenda , Thimila , Idakka and sopana Sangitham ( A traditional Music ) from his Uncle Cheranallur Kuttappa Kurup ( late ). He is a acting in all roles in Sree Bhadra Mudiyettu Sangham with his brother Sree ( Mr ) Varanattu Sankara Narayana Kurup. Got award for mudiyettu from pongam temple ( Koratty ). Wife is Santha kumari and daughter is Bhanukrishna.

Sree ( Mr ) Madhu Sankar ( Madhavan )

Disciple and the son of Varanattu Sankara Narayana Kurup. He also Practiced Mudiyettu and Kalamezhuthum Pttum Chenda, Thimila, Idakka etc. He is also able to Carrie all the roles in Mudiyettu.

Contact us 

Sree Bhadra Mudiyettu Sangham
Varanattu House
Koratty South
Trichur ( Dist.)
Kerala , India
Pin -608380

Contact Person :

Varanattu Sankara Narayana KurupPhone +91 484 2641370, +91 484 2731556+91 9846802686, +91 9526818461

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