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Mudiyettu
is a ritual art where viewers also participate in the performance. Once
the artists get separated, ie, since they `come to the light', the scene
becomes more dramatic. It can be inferred that the character `Kooli' in
Mudiyettu is the first of its kind to amuse the viewers by comic speech
and action.
The
sequence of Mudiyettu is as follows:
2.
Kalamezhuthu
3.
Kalam Paatu
4.
Chutti Kuthal (Make-up)
5.
Vilakku Vaipu (Lighting of the stage lamp - `arangu vilakku')
6.
Keli Kottu
The
story of Mudiyettu goes like this: Daarika and Daanavendra were two notorious
Asuras, born to Daarumathi and Daanamathi. In order to achieve more powers,
they performed severe penance and Lord Brahma was finally forced to appear
before them. They demanded the boon for immortality, but Lord Brahma declined
this request as death was inevitable for anybody once taken birth. The
Asura brothers then compromised with the boon that no males can ever kill
them. Lord Brahma then asked them why they did not demand that females
also could not kill them. The asuras enraged by the pride of the boon they
got, retorted "It is a disgrace to us and our community to demand likewise.How
how dare a female kill us as long as we are strong enough for anyone to
harm us?". Annoyed by the pride of these Asuras and sensing their evil
intentions, Lord Brahma curses them-"Let you be killed by a female". This
part of the story is not performed in Mudiyettu. Following are the sequence
of scenes presented.
Auspicious
occasions:
2.
Thelli Eriyal (Throwing pine resin powder to the cotton torch)
3.
Pantham Uzhiyal
4.
Mudi
Uzhiyal
>>For more Info: Paper presented by Balendu on a symposium about Mudiyettu
Bhadrakaali
prevailed much before the origin of temples. Once the worship of gods and
goddesses started at the temples, various types of arts used to be performed
to please goddess Bhadrakaali at Bhadrakaali temples. By and large, many
of them were ruined while others continued to be performed systematically
and in a more dramatic manner. "Mudiyettu" is one among them, a mixture
of entertainment and devotion. The period of origin of Mudiyettu is un-traceable.
This art is more of a ritual than dramatic. "Theeyaattu" is another ritual
performed in Bhadrakaali temples. Mudiyettu is the story of the war of Bhadrakaali with the two
notorious Asuras Daarikan and Daanavendran, eventually Killing them,
while in Theeyaattu, Bhadrakaali reports to Lord Paramasiva after the assassination
and briefs the whole incident. Mudiyettu, compared to other forms of temple
arts, is presented without much of `mudras', facemasks and facial expressions,
but with facial make-ups and `chutti' (artwork done on face with rice paste)
which makes the characters simple and more acceptable to the viewers. Originally
these characters used to perform with speech and dance, but later on rhythmic
steps were introduced which gives more life to the characters and makes
the performance more interesting.
1.
Kotti Ariyippu (Drum beat announcement)
This
done in the morning, usually after the morning poojas in the temple. This
is how the performance on that particular day is announced. The instruments
used are `Chenda' (High-pitch drum), `Veekkan' (Low-pitch drum) and `Elathaalam'
(Two round heavy brass cymbals with flexible string handles in the center).
This
is usually done in the afternoon. A colourful and artistic portrait of
Bhadrakaali is made on the floor about the size of 5 meters X 3 meters.
It is assumed to be how Naarada Maharshi demonstrated the should-be figure
of Bhadrakaali to Lord Paramasiva. Natural pigments in powder form are
used for this purpose. These are burnt husk of paddy (black), rice powder
(white), dried and powdered leaves of `Vaaka'- Acacia (green), turmeric
powder (yellow) and a mixture of turmeric powder and quick lime (red).
Devotional
songs in praise of Bhadrakaali are sung by the main artist in front of
the `Kalam' after the night poojas in the temple. Bhadrakaali is extolled
here in all her ferocity. After the song, the `Kalam' is wiped off by the
main artist assuming the character of Bhadrakaali is fully absorbed in
to him.
After
`Kalam maayikkal' (wiping off of the portrait) the artists undergo `chutti
kuthal'. Other make-ups resemble that in Kathakali including head gears.
Once the `chutti kuthal' is over, a big oil lamp (similar to `Kathakali
vilakku) is lighted in the centre of the temple yard. The performance is
carried out centralising this `Arangu vilakku'.
This
is to announce the starting of the performance. The thaalam (rhythm) used
here is `Kuntanaachi', a mixture of `Atantha' and `Champa' thaalams.
1.Siva
Naarada Samvadam (Discussion between Siva and Naarada)
2.Daarikan
Purappadu (Triumphant march of Daarika)
3.Kaali
Purappadu
4.Koyimpata
Nayar
5.Kooli
Purappadu
6.Koodiyattam
(Yudham or Battle)
7.Daarika
Vadham (Killing of Daarika)
1.
Kaali, after Kooli Purappadu but before Koodiyattam, takes infants among
the viewers to the Arangu Vilakku, rotates the child around it thrice,
and offers Prasaadam (flower from the garland on the head gear). This rite
is supposed to immunise the child from contagious diseases (especially
small pox), a long healthy life and to help the child to drive away all
unwanted fear in mind.
Cotton
torches are an unavoidable part of the ritual during the Purappadus as
well as the battle. Dried and powdered resin of pine wood (`Thelli') is
thrown on to the flame of the cotton torch which inflates highly and adds
to the seriousness of the scene. Further, this has proven medical values
as the smoke emitted cleans and refreshes the atmosphere and destroys harmful
elements which cause contagious diseases.
After
Killing the Asuras, Kaali performs a pooja in front of the Arangu
Vilakku worshipping Lord Siva. The cotton torch used on this occasion is
is then taken amidst the viewers, `Thelli' is thrown on its flame and the
viewers inhale the smoke which is considered to be the most auspicious
act of this ritual.
All
the viewers leave the scene after `Pantham Uzhiyal', but the person who
offered the performance stays back along with his kith and kin for the
next rite - Mudi Uzhiyal. Kaali takes off her head gear, encircles it near
the face of the person and his family members thrice, offers Prasaadam
(again the flowers from the garland on the head gear), receives `Dakshina'
(supposed to be the reward for the performance) and concludes the ritual.
An article by Balendu (To contact author submit feedback form) Mudiyettu may well be considered older than all other existing theatre forms of our country. It is definitely older than Koodiyattam, as the dramatic concept is much cruder and folklorish. Moreover, it belongs to the period when worship was conducted in "Kavu" (grove), for temples were yet unknown in these parts of the country. Worship of nature as mother was a salient feature of our culture and no wonder this is evident in most of our ritualistic art forms.
There are few distinguishing features of Mudiyettu, which highlight its ritualistic nature. The absence of a restricted and designated stage ensures the viewers' involvement, which is an essential aspect of Mudiyettu. The near total absence of Hasthamudras (Hand gestures) perhaps the most important element of acting in Kathakali, Koodiyattam and the like is a clue to its ancestry. The theme of the performance is the well known story of the incarnation of Bhadrakali as the compilation of the positive forces of the universe and as the sum total of the strength of all the gods. It was essential as the adversary was the concentration of all that are evil, viz., ferocity, oppression and disease. Mudiyettu has succeeded in presenting both these adversaries in their full glory through well composed flowing movements in unison with awe inspiring performance by percussionists, the like of which can be witnessed only in Kerala. Mudiyettu was considered the ultimate remedy against the most dreaded epidemic, Small Pox. Still, popular belief is strong as is indicated by the rush of devotees wanting the blessing of the actor performing as Kali. Blessing of the entire village by him at the end of the performance is an essential part of the performance. There are few mandatory rituals needed to be performed before Mudiyettu is performed at a venue. These include, Kalamezhuthu and Pattu and Kuruthi (Sacrifice). The former is to please the deity herself whereas the latter is intended for her Bhoothagana (the army of demons). There are many scenes in the performance like the Narada delivering the message to Lord Shiva the stress is on three important scenes namely, (i) Darikan's entry, (ii) Kali's entry and (iii) the fight. Perhaps the earliest existence of comic characters in Theatre can be found in Kooli and Koimpadar. The former, a representative of the demon warriors is a fore-runner of Bheeru in Kathakali, who tries to amuse the audience by crude extempore actions, while the latter relies more on subtle comments following a recognised script and behaves rather like the Vidooshaka of Sanskrit Theatre. However the real duty of these two during the performance is attending to the various chores related to the sequence and assisting the main performers, much like the buffoons of a circus. Facial Make-up and the headgear of Kali are classic examples of our rich tradition in sculpture and other handicrafts. Theeyattu can be considered a by-product of Mudiyettu, though many Theeyattu artists today tend to disagree. However, as indicated by rather well developed Abhinaya (Acting) using Hasthamudras (Hand gestures), Theeyattu is much younger to Mudiyettu, which in the pure form is absolutely without any gestural acting. |
