Kuruppanmar

Kuruppanmar

This is a small community, considered to be part of ezhava community, found in central and northern part of kerala associated with temple(Bhadrakali) owned by ezhava community. They are completely different from kurup which is part of nair caste. They are also similar to Thiyyambadi and Thiyyadi in north kerala, in terms of responsibilities, though thiyyadi nambiars mostly associated with temples owned by Nairs. They usually draw "kalam" or "kolam" in Bhadrakali temples.

KALAMPATTU

This ritualistic art form is prevailed in north and north-central Kerala with slight differences. There is a temple art by the same name Kalampattu among the communities of Kuruppanmar, Thiyyambadi and Thiyyadi who draw kalam in Ayyappa and Bhadrakali temples and perform a ritual. But kalampattu or kalamezhuthu, the popular folk art, is performed by Kaniyar and Pruvannan communities in north Kerala and by Kallattukurupanmar in north-central Kerala. These performers traditionally make a living by weaving baskets with palm leaf. This art form is believed to be around 600 years old. In a performance, five to fifteen people take part. In some places Kalampattu done by Kaniars is a customary ritual-aid for safe pregnancy, for aiding reproduction and for sound physical health. The rituals begin with the drawing of the kalam picture in five colours on the ground by using vegetable colours. In the kalam picture, the form of Bhadrakali is depicted. The kalam, near which the performance takes place, is drawn inside a pandal. At four corners of the pandal are hung special lamps, and nilavilakku placed near the kalam. A possessed woman accompanied by married women, all neatly dressed with hair tied to the side of the head, will enter the kalam. The singers begin the kalamirakkupattu, the first one in a series of songs. This is followed by a ritual known as kalathilari, then kizhiyedukal that involves a sealed earthen pot taken inside the kalam. At this time, women holding bouquets of coconut flowers stand near the kalam. What ensures is the badhachalanapattu, the song for exorcising evil spirits.The next phase is the rendering of songs narrating stories from classical literature, viz, Balavijayam, Kalyanasougandhikam, Darikavatham, Nalacharithm, Sandanagopalam, etc. The performance comes to a close with polivupattu. In the central region, various other characters such as Ayyappa, Vetteykorumakan, Anthimahakalan are included in the kalam. The notable differences here are the inclusion of songs, each one in praise of a deity depicted in the kalam. Uchapattu, Kalamezhuthu, Sandhya Vela (drumming), Pooja, Pattu, Velichappadu are the various items presented, one by one in that order. Nanthuni and elathalam are the musical instruments used. For the velichappadu, there will not be any special costume.

MUDIYETTU

Mudiyettu is ritualistic dance springing form the bhagavathi or bhadrakali cult. The theme depicts the glory and triumph of Bhagavathy over the demon Darika. The characters are all heavily made up with gorgeous costumes, intricate and elaborate and with conventional facial paintings, tall head - gears etc. Attired and adorned exotically with a unique weirdness and hideousness, the characters seem quit supernatural. Their mien and array make them colorful, imposing and awe-inspiring in the extreme. The dance is performed by a set of people known as Kuruppanmar, mainly in Bhadrakali temple. In the dance, a kolam of Kali first made up to which floral offerings and other rituals are made. Then it is taken round the temple to the accompaniment of percussion instruments. The kolam is then installed in a suitable place. The dance proper is then enacted. In the first part Narada, the celestial sage, is seen informing Lord Shiva of the evil deeds of the demon Darika, and the consequent sufferings of the evil deeds of the demon Darika, and the consequent sufferings of the people. Shiva agrees to send Bhadrakali to kill Darika. In the next phase, Bhadrakali and Darika enter and the whole temple yard is turned into a battle - field. In the end Bhadrakali kills Darika. Chenda and elathalam are the instruments used.

Pichanaattu Kuruppanmar

In the village of Vazhappalli, near Changanassery, there were a limited number of families of a community known as Pichanaattu Kuruppanmar. They were small in number, and in a very difficult situation during Narayana Guru's time. In some respects they were considered low in the social stratum and considered part of ezhava community. Most of the occupational surnames used by the community are same as that of ezhavas. But at the same time they were allowed entry into the temples and adjacent roads. However, the Hindu communities at the higher end of the social stratum did not accept them. This, coupled with the limited number of members in their own community, made it difficult for them to function socially, and they faced increasing isolation. Finally, the leader of this group, Mr. Krishnan Vidyar, converted to Christianity--a conversion of convenience. Muloor S.Padmanabha Panicker, a disciple of Narayana Guru, informed him of the situation. Panicker requested that the Pichanaattu Kuruppanmar be better integrated into the ezhava community so that such conversion could be avoided in the future. Narayana Guru accepted this proposal, and then personally accepted the Pichanaattu Kuruppanmar into the community at a large public meeting which included leaders of other religious groups. Link [http://www.hinduismtoday.com/archives/2000/1/2000-1-16.shtml]

References

* Kerala tourism Information
* Folk dances of kerala from kala keralam
* Hinduism Today website

Links

* Kerala tourism Link [http://www.keralatourism.info/infobin/tart.html]
* Kala keralam website Link [http://www.kalakeralam.com/visual/folkdance.htm]
* Hinduism Today Link [http://www.hinduismtoday.com/archives/2000/1/2000-1-16.shtml]

ee also

* Ezhava caste
* Thandan Surname and caste
* Channar A Ezhava warrior sect from kerala
* Chekavar Another Ezhava warrior sect from kerala