anjali makaram 2011

Anjali January
“Bhagavati Kavus”, the temples of the
goddesses. Unlike other theatrical forms such
as Koodiyattam and Kathakali, there is more
direct community involvement in Mudiyettu,
which includes close proximity of the
spectators to the performers, and the interaction
of the main character, Bhadrakaali with
the members of the community. For example,
after the killing of Daarikan by the infuriated
Kaali, infants and children are lifted by the
goddess while dancing around the “Arangu
Vilaku” (main oil lamp) three times. This
ritual is believed to immunize the children
from diseases, particularly from chicken pox
and small pox and bless them with long and
healthy life. “Thelli Eriyal” (throwing of pine
resin powder to the cotton torch) is another
ritual during “Purappadu”, making the
nightly atmosphere refreshing and pure.
When the flaming cotton torch (pantham) is
taken to the devotees after the “Pantham
Uzhiyal” (encircling with flaming cotton
torch) by Kaali to worship Lord Shiva, the
devotees witness the most auspicious ritual
of the night with bhakthi and contentment.
When the devotees leave the venue after
28 KHNA - 2011
“Pantham Uzhiyal”, Kaali takes off her head
gear (Mudi Uzhiyal), offers Prasadam to the
organizers and receive Dakshina.
The progression of the story of Mudiyettu
is noteworthy for its strict adherence to
ritualistic tradition as against other temple
oriented dance-dramas. As the first event of
the day, “Kotti Ariyippu” (announcement) is
done using Chenda (drum), and Elathalam
(cymbals). The detailed “Kalam Ezhuthu”
(multi-color portrait of Bhadrakaali on the
floor using different colors), and “Kalam
Pattu” (songs in praise of Bhadrakaali and the
disfiguration of the Kalam by the chief artist
who transforms himself as Bhadrakaali)
ensues. This is followed by the detailed
“Chutti Kuthal” (make-up) and “Vilakku
Veppu” (lighting of the oil lamp). The
announcement of commencing the
performance is accomplished through “Keli
Kottu”. All these day and night long steps
involve close involvement of the community
in Mudiyattu.
The enactment of Mudeyettu near
“Bhagavathi Kavu” requires strict “vrata”
(penance) by the artists and this custom