Mudiyettu   Mudiyettu is a ritualistic dance-drama presented in Bhadrakaali temples in South and Central Kerala. In the South, this is presented by a community called Marans. It is based on the Puranic story of Darikavadham, the killing of the demon Darika.   Legends about Mudiyettu   In Primeval times, in a war between the Devas (Gods) and the Asuras (Demons) the latter were defeated and their women sought shelter in the nether world. Two of these women, Daanavathi and Daarumathi, through hard penance, propitiated Lord Brahma, and were blessed with sons to avenge the defeat of the asuras. Daanavathi's son was named Daanavendra and Daarumathi's Darika. Darika, in turn, performed rigorous austerities and was given the boon of invincibility. He also won the assurance that from every drop of blood spilled from his body a thousand mighty Darikas would rise. The only being that would destroy him was a woman.   Darika, assisted by Daanavendra, begun overpowering the gods and ruling the universe. The desperate gods sought the help of Lord Siva through Naarada, the celestial messenger. Siva produced Bhadrakaali from his third eye. Upon her creation Bhadrakaali set out with a mighty roar to Darika and his assistant Daanavendra. In her task she was jointly helped by Vetaala, a Sivabhooda, attendant, with an insatiable thirst for blood.   Bhadrakaali, aided by Vetaala and another attendant named Kooli, challenged Darika. A terrible war ensued which shook the three worlds, and the evil one was finally destroyed with the severing of his head. Not a drop of blood fell to the ground as the thirsty Vetaala drank each drop as it spurted out. Thus was the world made safe again. Another legend tells of its origin, after the killing of Darika, Bhadrakaali was still possessed by her terrible rage. Her consort Siva, wondering how to soothe her, called some artists to draw her figure holding Darika's head, on the floor. The Goddess, on seeing the picture, directed her anger at it, and was paid homage through prayer.   Ritualistic Importance   All the early performing arts like the Mudiyettu, Tirayaattam, Teyyam, and Patayani were ritualistic offerings to the divinities. They are performed by Ambalavaasis, people who served in the temple. In Mudiyettu the special participants were the Maarars and Kurups. Generally it is performed between the months of Vrischikam and Meenam (November-March).   Kalamezhuthu   There is an announcement by drumming called Kottiyarikkal before starting the ritual Kalamezhuthu. Traditionally the Mudiyettu is preceded by a ritual performed in the form of Kalamezhuthu, a symbolic drawing of the figure of Bhadrakaali on ground purified by cowdung plaster. The figure is drawn with five colours, red, green, black, white and yellow derived from indigenous materials - rice, turmeric, green leaves from the vata tree, charcoal, etc. The artists of Kalamezhuthu believe that these five colour represent the Panchabhootam.   When the figure of four, eight, or sixteen arms is drawn, nine lamps are placed on it - one above the head, one each between the hands on either side and others around the entire length of the figure. Banana leaves with paddy, coconut, arecanut and incense sticks are placed near the lamps on either side. In the Kalamezhuthu the Goddess is usually seated. In her hands she holds her various powerful weapons, the bell, ghanta, the shield, khethkar, sword (vaal), the demons skull (Kapala), the trident (trisoola), and the sounding anklet (chilambu). The pooja, worship, is offered by waving a lamp to the sound of a conch shell and drums. While the poojari, Kurup, recites, the image seems to emanate the energy of the Goddess and through the entire ceremony, the painting becomes a real live force pulsating with Shakti. Kalampaattu   Kalampaattu hymns are sung in praise of the Goddess, describing her from head to foot and foot to head, kesaadipaadam and Paadaadi kesham. The lamp is placed and lit under the sacred peepul tree, outside the temple compound, where the Goddess is said to reside. Young women accompany the lamp carrying brass trays ceremoniously called Taalapoli into the temple.   Symbolically the light represents the spirit of the Goddess, and is placed at the feet of the figure of Bhadrakaali. With this the Kalampaattu ritual ends, and the place is considered consecrated. The spirit of Bhadrakaali is invoked to remain on the sacred spot through the performance of the Mudiyettu.   Performance   Before the performance begins, the Kurup wipes out the Kalamezhuthu with coconut leaves leaving the face untouched. The coloured powder is distributed among the devotees as prasaadam of the Goddess.   The songs of Mudiyettu are in the sopaana style and each song has its own raagas and taalas. Mukhari, Neelambari, Aanandabhairavi, Kaamboji, Saaveri, Mohanam and Bilaahari are some of the ragas.   Two types of chenda-Uruthichenda and veekuchenda - and cymbals are the percussion instruments used.   Drumming announces the start of the ritual, accompanied by the elathaalam (the cymbals), and the shankham (conch). In earlier days singers stood behind the tiraseela (a plain cloth curtain), and recited slokaas in praise of Siva and Bhadrakaali. Arrangements for the performance begin with a Nilavilakku (a tall standing lamp), being placed on the ground with a stool beside it. The lamp is lit signalling the start of the arangu-keli, playing of the musical instruments. The curtain is held by two people behind the nilavilakku, and the singers and musicians, standing behind, sing the vandana-sloka, the invocation. Siva and Naarada enter the stage in a crescendo of music and a rain of flowers. Siva stands on the stool behind the curtain indicative of mount kailaas, with only the upper part of his body showing. A wooden Nandi - head held on the curtain suggests that Siva is riding his vehicle, the bull, Nandi. Naarada appears in front of the curtain.   Naarada informs Siva about Darika's misdeeds and explains how he holds the devas to ransom. He implores Siva to save the gods and humans from the asura. Darika enters behind the tirassila and dances a violent introductory dance. He mounts the stool and begins his tiranokku, literally curtain- look, repeated thrice. A burning torch held in front of him highlights his appearance. He jumps down from the stool, and with the torch flames flying high, runs across the ground with the audience watching in awe.   The actor playing Kaali comes from within the temple having received the poojari's blessings and is handed a sword and a garland from the deity. The Goddess's head, muti, is placed firmly on his head. The actor is now possessed by the Goddess and hurls challenges at Darika. A light ensures, which covers the entire length and the breadth of the temple ground. They chase each other around the central lamp and finally Bhadrakaali drives Darika behind the curtain representing his banishment to the nether regions, Paathaalam. She follows, and soon re-enters the arena with Darika's and Daanavendra's head-gear signifying their death. Mudiyettu thus symbolises both the killing of Darika and also the wearing of Kaali's crown, muti.   Three type of dances:- irunnaattam - dance by sitting, patinyaattam - dance by standing, ilakiyaatam reveals all types of movements are performed in Mudiyettu. Costumes and Make-up   The characters are all heavily made-up and in gorgeous costumes, intricate and elaborate, with conventional facial paintings, tall head gears, muti, which represents the Goddess's head and hair. At the time of the performance, the pettikaram, who is in charge of the make-up room, places a garland of chethi flowers around the muti. The dancer begins his make-up with six dots before he blackens his entire face. Decorations in white and red follow. Kaali's make-up consists of a black face with protruding white chutti representing small pox marks. In preparation for the role of Kaali, the dancer undergoes a ritual fast on the day of the performance.   The characters are dressed up in exotic fashion with a unique weirdness to give a touch of the supernatural element. The whole effect they cause is colourful, imposing and awe-inspiring. Darika and Naarada have costumes and make-up similar to those used in Kathakali. Kaali has long flowering locks. Uduthukettu, a loincloth worn in a peculiar fashion, is a distinct feature in its costume design.   This spectacular ritual art is presented after dusk, beneath a pandal with four pillars supporting, as in Kathakali. The curtain is held by helpers in a similar fashion as in Kathakali and removed when needed. However, the rich heritage of dance, decoration and music emerges in every festival and every ritual, and the trance dancers are the eternal link between god and man.   References   1. Mallika Sarabhai (ed). Performing Arts of Kerala, Mapin Publishing Pvt. Ltd., Ahmedabad 2. Varghese, P.J., Ramachandran, K.R., Kurian, P.S. (Compilers), Festivals of Kerala, Tourist Desk, 1993. 3. Bharghavan Pillai, G., Nattarangu. Vikasavum Parinamavum, State Institute of Languages, Thiruvananthapuramm, 2000.