Bhagavatipaattu   The Bhagavatipaattu, the song of Bhagavati called Mutippurapaattu (the adoration of the crown of Bhagavati), and Nallammapaattu, are performed differently by Brahmins, Namboodiri's, Theyyampadi's and other castes, residing in many parts of Kerala.   A ritual of appeasement, Bhagavatippattu is generally conducted in the temples or in the homes of Namboodiri Brahmins. The honour of being priests rests exclusively with a section of Ambalavasis called Kurups or Kuruppanmaars. Every version of the ritual, does, in fact, involve the ritualistic drawing of the Mother Goddess in glowing colours made from herbs and stones.   Legend of Bhagavatipaattu   Long ago, the marriage of a young Brahmin girl was delayed, resulting in her reaching puberty before she was wed. This led to all her children being excommunicated by the upper castes, giving birth to a new community called Pushpaka. The Pushpakas were assigned the job of tending flowers and making garlands for Kaali, and were given the right to conduct song and dance festivals in the Kaavus and in the homes of Brahmins and Kshatriyas. Presentation of Bhagavatipaattu The Bhagavatippattu of the Brahmins, is conducted under a canopy of red and white cloth, leaves from banyan trees and areca palms. The shape of the temple is drawn on the floor with rice paste. To the accompaniment of a bronze plate, Elattaalam, Maddalam, drums, cymbals, horns and pipes, the priest chants and the Brahminis sing songs to invoke Ganapati and Saraswati, the goddess of learning.   A Pushpaka woman with painted eyebrows, and in braided clothes covered with a shawl, places herself before the chorus holding a plate of rice. She begins swaying to the music and her slow dance turns frenzied as the mother Goddess possesses her and commences her revelations through her mouth. Soon a Kurup priest joins in as the Velichapaadu, oracle, garbed in red cloth, belt with tiny bells around the waist and holding a sword and shield. Rituals of Bhagavattipattu The first ritual begins in the morning and ends by noon. It begins once again by dusk and the night witnesses the destruction of the Demon Darika and the singing of hymns to Kaali. Whilst the songs are being sung, two women put themselves in front of a platform covered with jasmine, and pound rice and turmeric in a cloth-covered mortar. Into this are poured the juice of the leaves of mango and banyan, trees, turmeric, leaves of tender coconut --palm and a blood-coloured liquid. As the music becomes more and more exciting the pestle is pounded with greater zeal. Finally the mortar is circumambulated and toppled eastward; the spreading water is considered the offering of Bhagavati.   The ritual of the Theyyampadies of North Kerala lasts for 41 days. Music and songs take on primary importance here and a Veena-like instrument called the Nanthuni is used along with the more commonly played ones.   Another interesting variation of the ritual is one conducted by the Ve'las in South Kerala, for the so-called lower caste people. While the basic pattern of the picture - painting remains unchanged, the ritual of destroying the picture through a dance is performed here by a woman who has abstained from sexual intercourse for a prescribed number of days. In this variation the blood sacrifices are not merely symbolic; goats and hens continue to be butchered. As the sacrifice comes to an end, the oracle starts his frantic, frenzied dancing and letting out blood-curdling yells, fragments the branches of the ceremonial trees, bringing the ritual to an end.   Some other communities such as Maaraar, Black smiths, Malayar, etc. also present the Bhagavatipaattu.   Rituals to placate and appease Kaali are found in most parts of Kerala. With slight variations in theme, content, song, dance and make-up they are given many different names. Ultimately, however, they all lead in the same direction - the adoration of the Mother Goddess.   References   1. Mallika Sarabhai (ed), Performing Arts of Kerala, Mapin Publishing Pvt. Ltd., Ahmedabad.