Performing arts encompass dance, drama and music performed before an audience, representing one domain of UNESCO’s intangible cultural heritage. In the Kerala context, the Department of Cultural Affairs categorises performing arts into five groups: classical art forms, ritual arts, folk arts, tribal arts and martial arts. While certain art forms such as Oppana, Margamkali, Thiruvathirakkali, Kathakali, Ottanthullal and Kolkkali are practised throughout Kerala, this article delves into the patterns and systems of the art forms prevalent in Malabar, especially in and around Kozhikode, that remain accessible to the public.
Irattappanthi Melam
Melam, or Chenda Melam, is a traditional art form performed using the percussion instrument chenda, wind instruments kombu and kurumkuzhal, and ilathalam (cymbal), common throughout Kerala. While Panchari, Pandi, Chembada and Adantha are classical melam variants, Shinkari Melam is a recent evolution. Typically, the melam showcases a single group of artists performing continuously, however, the Irattappanthi Melam is unique in that it involves two sets of artists.
This performance is most prevalent in Pisharikavu, Koyilandy, about 25 kilometers north of Kozhikode. On Valiyavilakku, the seventh day of the annual Kaliyattam festival, Irattappanthi Melam commences at midnight. The first team begins the performance at a slow pace, followed by the second team when the former concludes. Initial rounds allow each team approximately 10 to 15 minutes; with durations decreasing as the tempo picks up, allowing them to finish at maximum speed. This celestial performance draws thousands of spectators from across the district and beyond.
Kalamezhuth Paatt of Vettakkorumakan
Among the over 300 varieties of Kalamezhuth identified, those dedicated to Lord Vettakkorumakan are prominent in the old Kurumbranad kingdom, which falls in the present-day Kozhikode district. Balussery Kotta, 25 kilometers north of Kozhikode, was the administrative centre of the kingdom, stretching from Kottayam in the north, Wayanad in the east, and Polanad or Kozhikode of the Zamorins in the south. Mythology recounts how Lord Vettakkorumakan, arriving from Nambumala Kotta of Gudallur, aided the Kurumbranad king against his enemies, and was subsequently accorded the status of the kingdom’s protective deity. The Kalamezhuth Paatt performance, dedicated to Vettakkorumakan, is believed to have originated from the Balussery Kotta temple, later spreading to other parts of the state.
Kalamezhuth Paatt at the Balussery Kotta temple. (Picture credits: Devakumar Thencherry.)
The annual festival at this temple falls in the second week of January. This day-long ritual art integrates various performances. Specific skilled communities play crucial roles, particularly the Kurup subcaste of the Hindu community, who create three-dimensional deity representations on the floor using five natural powders while singing out loud. A prominent Kurup settlement near Balussery Kotta temple maintains this tradition. While the floor drawing progresses, the komaram, or the oracle, embodies the deity and performs ritualistic dances, while the marar, or the drummer, performs thayambaka, a chenda concert, before the temple. The main artists lead on chenda from the centre, supported by others forming a semicircle. After completing the drawing, the deity proceeds outside for the Mullakkal Paatt ritual, returning on an elephant amid vibrant melam performances. The ceremony continues with Shasthrangam Kali, ritualistic dances, and oral traditions of thottam and padappattu, echoing Kurumbranad’s royal heritage.
Shasthrangam Kali
Formerly performed by Kerala’s Brahmin community during weddings and birthdays, Shasthrangam Kali (also known as Chathirangam, Yathra Kali or Panem Kali) survives today primarily at Balussery Kotta temple’s annual Kalamezhuth Paatt festival, though 32 teams once performed it statewide.
During the procession at night, the King of Kurumbranad leads in honour of Lord Vettakkorumakan, followed by four trained Namboodiri Brahmins bearing swords and shields. Their attire, reminiscent of Kalaripayattu masters, includes red skirts, necklaces, anklets, bangles and small turbans. Post-melam, these artists demonstrate martial arts skills synchronised with traditional instruments like chenda, lathalam (cymbal), kombu and kurumkuzhal (wind instruments). Though this is not a ritualistic dance performance, the same team performs a ritual called nalu padam at the end of the ceremony. Perhaps this is the only place where the art form of Shasthrangam Kali is performed regularly nowadays.
Padappaatt
Thottam at the Balussery Kotta temple. (Picture credits: Devakumar Thencherry.)
Padappadtt means war song. This is performed as part of Vettakkorumakan’s Kalamezhuth Paatt in the old Kurumbranad principality. The mythology traces Vettakkorumakan’s origins in the Mahabharata, where Lord Siva and Parvathy, after blessing Arjuna, conceive a child while disguised as hunters. Ballads or thottams recount the birth and adventures of this hunter god. One such thottam evolved from the war between the Zamorins and the Portuguese armada. People from the Kurup community usually present this. Artists typically sit on the side of the kalam, which is a powder drawing on the floor. The main Kurup performs the thottam-padappaat, playing the nanthuni, a small string instrument, while others support him with kuzhithalam, a small cymbal, or clapping to create the rhythm. Other artists like the marar or drummers also support the main artist by prodding him with questions in between. This makes the entire context theoretical. While other thottams in Kalamezhuth Paatt are ritualistic in nature, this particular segment is primarily performed for entertainment. Today, the art form is on the verge of extinction with a decline in such traditional performances.
Rudhira Kolam
According to mythology, Kali, the fierce form of Devi, was birthed by Lord Shiva from his third eye to kill the demon king Darika. The fight between Kali and Darika is the theme of many ritual arts in Kerala. Rudhira Kolam, which dramatises this episode, is performed in some of the Bhadrakali temples and Brahmin houses of Kozhikode district. Also known as Kolam Kettu and Kolam Kora, this midnight performance requires day-long preparations and associated rituals, including a Kalamezhuth Paatt performance on the auspicious day of Rudhira Kolam. After doing the night worship, artists, usually from the Kurup community, sit under the ritual pavilion of paattu mandapam and put on their costumes and make-up. Darika’s attire consists of thin and long hair, a mustache, a beard and small headgear. The artists paint their face, cheeks, arms and limbs with turmeric and rice powder. Kali is black-faced, the upper body covered in black cloth, with pleats of white cloth placed over the lower body, and adorned with a small headpiece. Their symbolic battle unfolds against maram and chengila instrumental accompaniment, with facial expressions and movements enhanced by traditional lighting. The performance culminates in Darika’s defeat.
Erokkali
Malabar’s prominent ritual arts include Theyyam and Thira, with the latter primarily practised in Kozhikode district. Similar to Kalamezhuth Paatt, Thira also incorporates a series of sub-rituals. While Vellaatt, Anchadi, Guruthi and Thirayattam are highly ritualistic, events such as Erokkali primarily serve to interact with the audience and are meant for entertainment, i.e., to aid the audience or devotees in staying awake during night-long ceremonies. Artists circle an oil lamp while singing devotional songs, accompanied by chenda and lathalam, gradually increasing tempo and incorporating simple but engaging dance steps.
Ayyappan Vilakku
This distinctive form of Ayyappa worship in Kozhikode district (similar to Desavilakku in Thrissur and Palakkad) combines religious ritual with performing arts. Using the stem of a plantain tree and tender coconut leaves, members of skill-based community create beautiful miniatures of the Sabarimala and Malikappuram temples and the mosque of Vavar, and symbolically install the deity in the temple. The late evening procession features Chenda Melam, an ensemble of percussion and wind instruments, devotees carrying rice and lamps to welcome the deity, and oracles holding swords, symbolising Lord Ayyappa and Vavar, Ayyappa’s friends. After the procession, oracles circumambulate the temple, synchronised to the music of the chenda. They gradually increase the speed and complete the performance in a ritualistic manner. This is the major attraction of the event, and many people, irrespective of the cast and creed, attend the ceremony. Ayyappan Vilakku is performed during the sacred period of mandala kalam, which spans from mid-November to the end of December.
Duff Muttu
Duff Muttu performance at the National Folk Festival 2012, held at Naduvil High School in Kannur district. (Picture courtesy: Public domain, via Wikimedia Commons.)
Duff Muttu is an art form popular among the Muslim community of Malabar, especially in Kozhikode. It is performed as a part of festivals and special occasions in connection with mosques or to welcome dignitaries. A duff is a small percussion instrument made up of a small wooden rim, covered with ox skin on one side. Performers are dressed in white dhoti and shirt with a head covering. The main artist leads religious recitations while others provide accompaniment, creating distinctive synchronised movements and rhythms. The uniqueness of the art form lies in the artist’s body movements and synchronised playing of the duff. Arabana Muttu is a similar art form that is also popular in Malabar’s Muslim community.
Kalaripayattu
Sunil Gurukkal demonstrating his techniques to students during a practice session at CVN Kalari in West Hill, Nadakkavu. (Picture credits by Joseph Rahul.)
Kerala’s regional art forms have been heavily influenced by its martial arts legacy, Kalaripayattu. Ballads glorifying the warriors or the Chekavars of Kadathanadu demonstrate the importance of Kalaripayattu as a combat technique in North Malabar. Beyond its military applications in principalities’ defence, Kalaripayattu evolved into a performing art, entertaining local monarchs and landowners. The performance features two or more warriors demonstrating combat skills with or without weapons like swords, daggers and maces. These demonstrations, requiring exceptional flexibility and agility, are traditionally practised in Kuzhikalari—six-foot-deep pits still prevalent in Kozhikode’s Kadathanadu region.
Kalaripayattu warriors practising on the beach. (Picture courtesy: Public domain, via Wikimedia Commons.)
Other Art Forms
While most discussed art forms reflect male-centric traditions, with women’s participation typically limited to behind-the-scenes preparation, certain performances specifically feature female artists. Oppana, commonly performed at Muslim weddings in Malabar, showcases women’s dance traditions. Margamkali and Thiruvathirakkali, rooted in Christianity and Hinduism respectively, share similar patterns despite differing in costume and song content. Margamkali persists among highland Christian communities, while Thiruvathirakkali appears throughout the district.
It is evident that the majority of Kozhikode’s performing arts possess unique compositions and are rooted in religious beliefs. Many of these art forms are becoming increasingly popular and secular due to their increased visibility and opportunities on social media and other visual platforms. Some of these art forms, such as Shanthramgam Kali, balance ritualistic elements with entertainment. The suffix ‘kali’ in many art forms indicates a leisure component. These art forms reflect the continuous evolution of community traditions and practices over generations. However, urgent measures are needed to safeguard some of these art forms from disappearing into oblivion.
