Patayani   Patayani is one of the most colourful and spectacular folk events associated with the festivals of certain Devi temples in Pathanamthitta and Alapuzha districts of Kerala. Like all other ritualistic arts, it also had its origin in religion, but today it is viewed more as a folk art with a genuine secular appeal. Now it has popularity with Kadammanitta Kalari and it continues to be performed by the Kalaries like Ezhumattur, Othara, Kadalimangalam, Kottangal, Naranganam, Kottukavu, Pulladu, Kallissery and Kurambala.     Of the several divinities held in awe in Kerala, the foremost is Bhadrakaali. Oral tradition says that Patayani has been performed annually in Bhadrakaali temples from the time she began to be worshipped for the prosperity of the people. Besides that, they worship her with different types of Kolams, to protect them from natural calamities, serious illness, evil spirit, stench etc.   During a serious illness, well-wishers may vow to offer Patayani to the goddess as a token of gratitude when the person recovers. If an epidemic like cholera breaks out in the village, several dancers wearing the Maruta kolam come in teams and dance furiously, hoping thus to scare away the visitation.   Generally it is performed during the months of March-April on the full moon nights. The performance is presented continuously for 28 days which is reduced to 10 days and even to one day.   Participation of the village people   People who belong to all communities enthusiastically participate in the organization, supply of materials etc and making the performance a success. The dappu, a musical instrument of Patayani is made by the Parayars. Patayani masks are constructed mostly by members of the Ganaka community who have adopted this as a hereditary profession. The Thandan community collects pods of the arecanut tree, tender palm leaves, dry coconut leaves etc, for the preparation of masks. The figures are drawn by the Kaniyar community. They also create patayani songs and sing them. The wood for the frames is gathered by the carpenters. They are also the builders of these frames. The carpenters sing and also dance, wearing the costumes. All the communities in the village where patayani is performed consider the performance as a very strong offering to the Divine.   Legends of Patayani   The killing of the demon Darika by Bhadrakaali has been a favourate theme of Kerala’s ritual dances. In Patayani however, the theme revolves not around the killing of the demon but around the mental state of Bhadrakaali after she has slain the demon. Legend has it that her surging fury did not subside even after she had done away with Darika; her uncontrollable anger raged like a fire threatening to consume the entire world. Even the gods found themselves helpless. Finally, it was left to Subramanya to suggest a solution to Siva.   In his wisdom Subramanya devised a plan whereby dancers with different Kolams (costumes) would come and dance before Bhadrakaali. This, it was hoped, would help calm her down. Subramanya’s advice was heeded and several Kolams appeared in succession before Bhadrakaali, including one of Bhadrakaali herself. Seeing herself thus recreated Devi burst into hilarity and her wrath disappeared. From then on, Patayani became a regular feature of Bhadrakaali worship to ensure her continuing good humour. People still maintain that few things, please Bhadrakaali more than this dance with Kolams.   The Kolams   In Patayani the most important Kolams are those of Bhairavi (Kaali), Kaalan (god of death), Yakshi (a goddess), Pakshi (bird), Marutha (mother goddes), Kuthira (horse) etc. Devotees of Bhadrakaali often sponsor Patayani performances in temples as a votive offering. The Kolam will have a huge headgear with many projections and devices, and a mark for the face and a chest-piece to cover the breast and abdomen of the performer.   These Kolams with the intricately designed marks are made in a variety of shapes, colours and designs with stalks of the Arecanut fronds. A special skill is required for the construction of these Kolams. The pods of the arecanut tree are sliced and levelled and made into a kind of smooth sheet. On this the visage of the god and goddess is drawn and painted, with tender palm leaves used as embellishments. The colurs for painting Kolams are all extracted from natural sources. Red is made by grinding stones dredged from the river-bed, black is the soot from burning coconut shells, powdered turmeric produces yellow. Brushes and pens are made from the hard, fibrous stem of palm leaves.   Kolams are sometimes classified on the basis of the number of pods that go into their making, with 21, 51, 101 or even 1001 pods. The Kolams of Bhairavi which requires 1001 pods, is so massive that it has to be carted to the place of performance. Though Kolams usually have only one face, there are examples with two or more faces.   Rituals of Patayani   In the past, the rituals and ceremonies of Patayani was completed in twenty eight days. All the cutomary rites connected with Patayani, like Chuvatuvaippu, Thappumelam, Tavati, Pulavruttam, Paradesi, Kuthira, atavi, naayaattu, Kolam, Thullal, Puppata, Appindi, Vilakku, etc. are systematized ritualistically to be performed within these twenty eight days.   There are some devotees, who after cutting cane with their bare hands wrap it over their body and dance vigorously, sometimes rolling on the floor. Blood might ooze out in plenty, but the wound would never be painful. Performers are ready for the atavi ritual only after observing strict penance for forty one days.   The Patayani festival has its beginning with the setting of a Kotimaram (flag mast), which is the best arecanut tree in the village. The ritual of the first day is Chuttuvayppu, where, with a Chuttu (country torch made of dried coconut leaves), the temple lamp is lit. The second day witnesses the performances with thappu and kayppatti (drum and palms (fingers). The third day is the day of the Ganapati kolam, Pisaachu and Marutha, who dance according to rhythmic drumming. On the fourth day is the panchakolam which are called Yakshi, Pakshi, Pisacchu, Marutha and Maatan. The Vazhipaatu Kolams dance on the fifth day. The Patayani of the sixth day is Itappatayani and that of the seventh day is Vishupatayani.   Performance   Literally the word Patayani means ‘rows of army’. The actual performance is a symbolic victory march of Kaali after vanquishing Darika. Patayani was traditionally performed by Nair’s, members of an ancient warrior race, who were wellversed in the martial training of kalarippayattu, but without the use of weapons.   The performers dressed up as Kolams, impersonating there characters, present a dance procession which usually ends at the altar of the deity. It cosists of a procession of the divine army of Bhadrakaali with other divine and semi-devine personalities.   Sometimes these dancers attain a certain frenzied state but culminates in running around and extremely vigorous dancing. There are enactments, humorous diologues and ballads whose performances at a fixed spot also take place at times.   There are singers who sing a different song for each kolam. The singing and dancing that fluctuates in tempo are accompanied by a simple drum called thappu and elathaalam.   References   1. Vasudevan Pillai, Kadammanitta. Padeni, State Institute of Languages, Thiruvananthapuram, 1993. 2. Bhargavan Pillai, G., Nattarangu Vikasavum Parinamavum, State Institute of Languages, Thiruvananthapuram, 2000. 3. Festivals of Kerala, Tourist Desk, cochin, 1993.