Onam festival of kerala--Pulikali

Pulikali / Kaduvakali

Pulikali is a colorful recreational folk art from the state of Kerala. It is performed by trained artists to entertain people on the occasion of Onam.

Pulikali, also known as Kaduvaakali, is a 200 year old art, carefully preserved by the artists of the state. Literal meaning of Pulikali is the 'play of the tigers' hence the performance revolve around the theme of tiger hunting. The folk art is mainly practiced in Thrissur (Trichur) and Palghat districts of Kerala. Best place to watch the show is Swaraj Ground at Thrissur on the fourth day of Onam, where Pulikali troupes from all over the district assemble to display their skills.

The Appearance

Striking feature of this folk art is the colorful appearance of the performers. To get the semblance of a tiger artists paint themselves in bright yellow with patterns of black and red. A tiger mask on the face completes the get up.

It is a painstaking job and artists spend a whole night prior to the performance day on their make-up. Patience of artists must be appreciated, as most paints contain toxic chemicals which create a burning sensation when applied on newly shaved bodies.
The Play

It is a wonderful sight to see humans in the guise of tigers roaming in the streets. Children, specifically take great delight in their performance as the entertainers dance, pounce and walk like a tiger. Scenes of tiger hunting goats and tiger being hunted by a human beings are also beautifully depicted by them. Beat for the dance movement is provided by percussion instruments like 'udukku' and 'thakil'. The Swaraj Round in Thrissur district is the venue of a grand Pulikali on the fourth Onam day. On this day Pulikali troups from different parts of the district come here to perform.

Onam festival of kerala--Kummatti kali

Kummatti kali - The Mask Dance

Kummattikali is the famous colorful mask-dance of Kerala, South Malabar in particular. During the festival of Onam, Kummattikali performers move from house to house collecting small gifts and entertaining people.

Most interesting facet of Kummattikali is a peculiar way in which Kummati performers clad themselves. They don a heavily painted colourful wooden mask depicting faces of Krishna, Narada, Kiratha, Darika or hunters. These masks are usually made out of saprophyte, jack fruit tree, Alstonia Scholaris, Hog Plum tree or the Coral tree.

Dancers wear skirts woven out of plaited grass. Some performers cover their whole body with bunches of grass for a more bushy appearance. The semblance is made more joyful with the 'talla' attached externally to the mask giving the appearance of a toothless open mouth. Dancers also hold and manipulate long sticks of residuary agricultural produce called 'Kummattikali', it is from this that the dance derives its name. Their dance is related to Shaiva myth. 'Thamma' (an old woman) walks in front with the help of a stick. Thamma is symbolic of mother of every being and everything.

Rhythm for the dance movements is provided by vibrating the string of a bow like instrument called onavillu. Arecanut wood is used to make the bow and the strings are beaten with a narrow bamboo stick.

Kummatti dancers are a sight to watch as they move around from house to house collecting jaggery, rice, or small amounts of cash. Onlookers, specially children take great delight in their performance.

Themes of Kummattikali are mostly taken from the stories of Ramayana, Darika Vadham, the story of Shiva and folk tales like Manjan Nayare Pattu.

It may be noted that folk art of Kerala can be classified into two broad categories - ritualistic and non-ritualistic. Ritualistic can be further divided into - Devotional, performed to please a particular god and goddess and Magical Art Forms. Theyyam, Thira, Poothamthira, Kanyarkali, Kummattikali, etc. are some of devotional art forms.

Kummatti dances are more rampant in Trichur District, during Onam. Pristine or original form of Kummattikali can be seen in the Bhadrakali temple in Palghat district.

ONAM--FESTIVAL OF KERALA --Pookalam

Pookalam

Pookalam is an intricate and colourful arrangement of flowers laid on the floor. Tradition of decorating Pookalam is extremely popular in Kerala and is followed as a ritual in every household during ten-day-long Onam celebrations.

'Pookhalam' consists of two words, 'poov' meaning flower and 'kalam' means colour sketches on the ground. It is considered auspicious to prepare Pookalam, also known as 'Aththa-Poo' during the festival of Onam.

People believe the spirit of their dear King Mahabali visits Kerala at the time of Onam. Besides making several other arrangements, people, especially adolescent girls prepare elaborate Pookalams to welcome their most loved King.

Making of a Pookalam
Kilo and kilos of flowers, lot of dedication, creativity, technique and team effort are the basic essential of an eye catching Pookkalam.

Athapoovu are usually circular in shape and multi-tiered colourful arrangements of flowers, petals and leaves. Use of powder colours, desiccated coconut or artificial flowers is prohibited. Pookalams are normally laid on the front court yard of the house. Idols of Mahabali and Vishnu are placed in the center of the Pookalam and worshiped. Diameter of a Pookalam normally ranges from four to five meters.

Ritual of making the flower mats continues for all ten days of Onam. Designing starts from the day of Atham and is made ready by Thiruvonam day. Basic design is prepared on the first day. Size of a Pookalam is increased by adding more to it on every passing day hence a massive Pookalam gets ready for the main day of the occasion. Its a big creative task, as designers have to think of a new design ever day.

Various flowers are used on each day as a specific flower is dedicated to each day of Onam. Commonly used flowers include Thumba (Lucas Aspera), Kakka Poovu, Thechipoovu, Mukkutti (little tree plant), Chemparathy (shoe flower), Aripoo or Konginipoo (Lantana), Hanuman Kireedom (Red pagoda plant) and Chethi (Ixora). Of all these flowers, Thumba flowers are given more importance in Pookalam as they are small in size and glitter in the the soft rays of the sun. 'Thumba Poo' is also considered to be the favourite flower of Lord Shiva and King Mahabali was a devout worshipper of Shiva.

On the next day of Onam, Thumba flowers are used to decorate Onapookalam. The arrangement is not touched for the next 15 days. On the 15 th day, called 'Ayilyam', Pookalam is decorated again. On the next day, called Magam, Pookalam is given a cut in its four corners with a knife. This marks the end of Pookalam decorations for the year. Some also follow the tradition of erecting a small pandal over the completed flower carpet and decorating it with colourful festoons.

Making of Pookalam is itself a colourful and joyous event. Being a team effort it helps to generate feeling of togetherness and goodwill amongst the people. It is animating to watch women as they prepare Pookalam while singing traditional songs. Giggling and sharing jokes between the thought provoking and back breaking job.

Trends
Earlier, people used to make efforts to collect flowers for designing a Pookalam. Children used to get up early in the morning and gather flowers in their small 'Pookuda' (basket) from the village gardens. These days, the trend has changed and people have the option of buying flowers from the market in the shape and colour of their choice.

Pookalam decoration competitions are organised by various societies and groups all over the state on the day of Onam. They have become extremely popular and witness huge public participations. Big prizes are also kept in these contests as they have turned up to be extremely competitive events. A large number of people assemble just to have a look at the innovative and meticulously prepared art pieces.

A beautiful design, though it is said, is created in the heart, use of technology is also in vogue in designing of a Pookalam. People prepare design first on computer and then implement it on floor. This saves a lot of time and energy and helps the designers to come up with stunning Pookalams.

MORE ONA-POOKALAM

ONAM--SPECIAL RECIPES

Sarkarapuratty (Fried Bananas Chips in Molasses)

Ingredients :

Semi ripe Banana - 1 Coconut oil - 100gms Molasses or Jaggery - 75gms

Dried ginger powder - 5gms Ghee - 1tsp Water - 1/4glass

Method of Preparation :

Peel the bananas and split it into two pieces. Cut it into ¹/₄" thick pieces. Fry it in warm coconut oil.

Heat the molasses in ¹/₄glass of water. Remove from fire when it becomes thick. Add dried ginger powder and fried banana pieces in this molasses solution. Keep stirring till the banana pieces separates.

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Kaya Varuthathu (Banana Fry)

Ingredients :

• Semi ripe banana - 1
• Coconut oil - 150gm
• Turmeric powder - ¹/₄tsp
• Salt - to taste

Method :

Peel banana and slice into thin round pieces or split bananas into 4 thin pieces and slice. Heat oil and fry the banana pieces. When it is ³/₄ done, add turmeric powder and salt mixed in 1tsp water. Fry well.

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Lord Buddha

In the sixth century before the Christian era, religion was forgotten in India. The lofty teachings of the Vedas were thrown into the background. There was much priest craft everywhere. The insincere priests traded on religion. They duped the people in a variety of ways and amassed wealth for themselves. They were quite irreligious. In the name of religion, people followed in the footsteps of the cruel priests and performed meaningless rituals. They killed innocent dumb animals and did various sacrifices. The country was in dire need of a reformer of Buddha's type. At such a critical period, when there were cruelty, degeneration and unrighteousness everywhere, reformer Buddha was born to put down priestcraft and animal sacrifices, to save the people and disseminate the message of equality, unity and cosmic love everywhere. Buddha's father was Suddhodana, king of the Sakhyas. Buddha's mother was named Maya. Buddha was born in B.C. 560 and died at the age of eighty in B.C. 480. The place of his birth was a grove known as Lumbini, near the city of Kapilavastu, at the foot of Mount Palpa in the Himalayan ranges within Nepal. This small city Kapilavastu stood on the bank of the little river Rohini, some hundred miles north-east of the city of Varnasi. As the time drew nigh for Buddha to enter the world, the gods themselves prepared the way before him with celestial portents and signs.
Flowers bloomed and gentle rains fell, although out of season; heavenly music was heard, delicious scents filled the air. The body of the child bore at birth the thirty-two auspicious marks (Mahavyanjana) which indicated his future greatness, besides secondary marks (Anuvyanjana) in large numbers. Maya died seven days after her son's birth. The child was brought up by Maya's sister Mahaprajapati, who became its foster-mother.

The World of Kalari

It is a Hindu form of martial arts that dates back to the 12th Century, which probably makes it the oldest form of martial art. 'Kalari' has been derived from the Sanskrit word 'Kholoorika' meaning military training centre and 'Payattu' means the fight.

Kalari also refers to the specially constructed hall with ample space of fighting floor with idols of all the presiding deities of the art and photographs of the entire lineage of Gurus. The instruction and practical training in this art is imparted inside the Kalari.

Kalaripayattu as the Martial Art of Kerala

Kalaripayattu is taught by the Guru or master who is an exponent in the field. It is taught by the master to the students and is considered to be a sacred art form of Kerala. Kalaripayattu developed during the 9th century was practiced by the warrior clan of Kerala, the Nair community to defend the state and the king. The Nair community considered it an honour to die for the nation and the king.

This martial art is as much a spiritual discipline, as it is physical. It helps the students in character build up, self-confidence and adoptability to circumstances. Kalaripayattu helps systemize the flow of energy in the body.

The pupils are trained in self-discipline and physical culture. Before the pupils are initiated into the techniques of warfare, their bodies are toned pliable, agile and versatile by regular massage by feet and hands with medicated oil. Then taught to wield Kuruvadi (short sticks), spear, dagger, sword, shield, etc. The last and sophisticated piece in the weaponry is 'Urumi' a thin springy three-meter long double edged sword worn around the waist locked like a belt drawn unwound in a flick of a moment when required. It is highly lethal for an adept wielder can aim it to swirl around the neck of the opponent and, at the slightest jerk, the head will roll on the floor of the arena. Flying feats, daring onslaughts and dodging with dexterity are the ways in combat. Defensive and offensive strikes with lightning speed are its peculiarity. There are customarily eighteen 'Adavu' (tricks) in this warfare. Seventeen of them are fighting with all the weapons one by one and the eighteenth being 'Poozhikkadakan', a feat producing a cover of whirlwind of dust around the combatant by stamping the earth and swift circular movement to camouflage him from the opponent and to take him by surprise with sudden retaliatory deathblow.

The Kalari the training arena has to be built in specific dimensions. The structure of Kalari (cocoon-like) is greatly suited for training in the humid climate of Kerala. The ritualistic and spiritual atmosphere plays an important role in forming a strong character and moral attitude to the disciples. To acquire discipline and concentration, a series of symbolic rituals are practiced everyday. The training is mainly divided into three parts Maithari, Kolthari, Ankathari.