Jeevatha"Parayeduppu" and "Jeevatha Ezunnallathu", performed mainly by Namboothiris, are rituals peculiar to Onattukara. Beyond the aura of "Bhakthi", the richness of craftsmanship and rhythm raises it to the level of a superior art form.

The temples with "Jeevatha" are mostly in Karthikappilly Taluk of Alapuzha District which includes Kayamkulam, Haripad, etc. All such temples have their own Jeevatha and rhythm group, and five or six of them congregate during the festival ("utsavam") season.

The word Jeevatha connotes that the "jeeva chaithanyam" (living aura) of goddess Devi has been invoked; but alternately, the word "Seevatha" is also used, derived possibly from the important temple ritual "Seeveli". Experts prefer the latter since the ritual is believed to be the occasion when the main deity of the temple comes out to visit the other deities and the "Ashtadikpaalakar".

Jeevatha, made with precision in measurements based on a blend of "Thachusaasthram" (architecture) and expert craftsmanship, was originated by the Raja (king) of Kayamkulam. Centuries ago, he presented a Jeevatha each to the Ramapuram and Chettikulangara temples at the same time. The Ramapuram Bhagavathy (goddess Lakshmi) is in the peaceful and beautiful form, while at Chettikulangara, she is in the frightening and powerful mood. And accordingly, the Jeevatha as well as the rhythm ensemble are also of different styles. Though with similarities and dissimilarities, they both are believed to have their origin at Kodungallur.

In the numerous temples of Onattukara, the "Parayeduppu" period is the festival season. It all begins when the deity ("Devi") of Chettikulangara temple is taken out in procession for Parayeduppu on the Makayriam star of the Malayalam month Makaram. The festivals continue to the end of Medam.

The main part of Parayeduppu is the Jeevatha constructed in the model of the temple structure itself. This box-like carriage for the deity rests on two teakwood poles about two meters long, and is in the form of a palanquin ("Pallakku"). The front resembles "Thidambu" behind which is a kind of small chest ("pettakam") built as per Thachusaasthra calculations. Up front is a woollen cloth embroidered with shining, colourful pictures and gold trinkets. Behind that is kept the deity's holy dress, starched and pleated, and decorated with small mirror pieces.

ParayeduppuSeveral styles of Jeevatha are in vogue. The "Kettu Jeevatha" of Ramapuram area and the "Ura Jeevatha" of the Kaaraazhma Desam are the more popular ones. In the former, parts of the Thidambu in front are hung so as to swing while in motion, while in "Ura", they are fixed. The rhythms used during Jeevatha Ezunnallathu (procession) are quite noteworthy. Several "Thaalams" (beats) such as Lakshmi, Atantha, Chembata, Thriputa, Panchaari and Vishama kundalam are used. Starting with very slow beats, it builds up a crescendo and ends in fast beats. The ensemble consists of Veekkan chenda, Uruttu chenda (both drums), Elathaalam (cymbals), Kombu and Kuzhal (both, wind instruments).

Although Jeevatha Ezunnallathu and Parayeduppu are centuries old customs, the "Chuvadu Vechu Kali" (a peculiar dance with unique steps) is relatively recent. Old timers claim its origin at Ramapuram temple. Mankulam Kesavan Nampoothiri, who was well-versed in all art forms, and father of the eminent Kathakali artiste, late Mankulam Vishnu Nampoothiri, was then "Ezhunnallathukaaran" (prime escort) at Ramapuram temple. He, ably assisted by his contemporary, the expert drummer, Mampara Neelakandha Panikkar, is said to have developed the new step-dance.

Jeevatha Ezunnallathu is mostly in Devi temples, and performed (Thaalam chavittal) by Namboothiris. Wearing their traditional dress ("Thattudukkal") and with towels firmly tied at the waist and on the head, they carry the Jeevatha on their shoulders and perform the step-dance. Among all the variations of the step-dance, the best known now is that of Kandiyur Neelamana Illathu Narayanan Nampoothiri (now bed-ridden). Prominent among the Ramapuram tradition at present are Keerikkat Mankulam Govindan Nampoothiri (died recently, April 22, 2000), his son Kesavan Nampoothiri, and Omanakkuttan. In Chettikulangara, the first "Purappedaasaanthi", Govindan Nampoothiri, Kallampallil Vishnu Nampoothiri, etc. are well-known. The Kaaraazhma Desam can boast of Cheruthaala Madhathil Narayanan Nampoothiri, Vatavaa Melur Subrahmanian Nampoothiri and Vettuviruthi Neelamana Narayanan Nampoothiri. (Courtesy: Namboothiris.com)

Kumbhabharani festival – One among the Greatest Events on Earth as described by the celebrated festivals.com.

The Bharani festival celebrated in the month of Kumbham is quite an event to the people of this locality and neighbouring places. This festival celebrated with pomp and gaiety is now been widely known as the Kumbhamela of South. Lakhs of people from different parts of Kerala and abroad visit Chettikulangara to participate in this mega event.

The highlight of the festival is Kuthiyottam and Kettukazha. Kuthiyottam is performed as an important offering to the deity. This is a ritual dance practiced and perfected through several centuries. It can be witnessed in several houses of Chettikulangara and in neighbouring areas. The houses are decorated, and the portrait of the deity is installed in temporary structures. Kuthiyottam starts a week before Bharani day. It is a type of folk dance performed by youths with the accompaniment of folk music and other musical instruments.

Young boys between 8 to 14 years are taught this ritual dance in the house amidst a big social gathering before the portrait of the deity. Early in the morning on Bharani, after the feast and other rituals, the boys whose bodies are coiled with silver wires, one end of which is tied around his neck and an arecanut fixed on the tip of a knife held high over his head are taken in procession to the temple with the accompaniment of beating of drums, music, ornamental umbrellas, and other classical folk art forms, and richly caparisoned elephants.

All through the way to the temple tender coconut water will be continually poured on his body. After the circumambulation the boys stands at a position facing the Sreekovil (Sanctum Sanctorum) and begins to dance. This ceremony ends with dragging the coil pierced to the skin whereby a few drop of blood comes out. On this day just after mid day the residents of the locality bring huge decorated effigies of Bhima panchalia, Hanuman and extremely beautiful tall chariots in wheeled platforms, and after having darshan the parties take up their respective position in the paddy fields lying east of the temple.

During the night, the image of Devi will be carried in procession to the effigies stationed in the paddy fields. On the next day these structures will be taken back. A big bazar is also held at Chetikulangara as part of this festival.

Jeevatha"Parayeduppu" and "Jeevatha Ezunnallathu", performed mainly by Namboothiris, are rituals peculiar to Onattukara. Beyond the aura of "Bhakthi", the richness of craftsmanship and rhythm raises it to the level of a superior art form.

The temples with "Jeevatha" are mostly in Karthikappilly Taluk of Alapuzha District which includes Kayamkulam, Haripad, etc. All such temples have their own Jeevatha and rhythm group, and five or six of them congregate during the festival ("utsavam") season.

The word Jeevatha connotes that the "jeeva chaithanyam" (living aura) of goddess Devi has been invoked; but alternately, the word "Seevatha" is also used, derived possibly from the important temple ritual "Seeveli". Experts prefer the latter since the ritual is believed to be the occasion when the main deity of the temple comes out to visit the other deities and the "Ashtadikpaalakar".

Jeevatha, made with precision in measurements based on a blend of "Thachusaasthram" (architecture) and expert craftsmanship, was originated by the Raja (king) of Kayamkulam. Centuries ago, he presented a Jeevatha each to the Ramapuram and Chettikulangara temples at the same time. The Ramapuram Bhagavathy (goddess Lakshmi) is in the peaceful and beautiful form, while at Chettikulangara, she is in the frightening and powerful mood. And accordingly, the Jeevatha as well as the rhythm ensemble are also of different styles. Though with similarities and dissimilarities, they both are believed to have their origin at Kodungallur.

In the numerous temples of Onattukara, the "Parayeduppu" period is the festival season. It all begins when the deity ("Devi") of Chettikulangara temple is taken out in procession for Parayeduppu on the Makayriam star of the Malayalam month Makaram. The festivals continue to the end of Medam.

The main part of Parayeduppu is the Jeevatha constructed in the model of the temple structure itself. This box-like carriage for the deity rests on two teakwood poles about two meters long, and is in the form of a palanquin ("Pallakku"). The front resembles "Thidambu" behind which is a kind of small chest ("pettakam") built as per Thachusaasthra calculations. Up front is a woollen cloth embroidered with shining, colourful pictures and gold trinkets. Behind that is kept the deity's holy dress, starched and pleated, and decorated with small mirror pieces.

ParayeduppuSeveral styles of Jeevatha are in vogue. The "Kettu Jeevatha" of Ramapuram area and the "Ura Jeevatha" of the Kaaraazhma Desam are the more popular ones. In the former, parts of the Thidambu in front are hung so as to swing while in motion, while in "Ura", they are fixed. The rhythms used during Jeevatha Ezunnallathu (procession) are quite noteworthy. Several "Thaalams" (beats) such as Lakshmi, Atantha, Chembata, Thriputa, Panchaari and Vishama kundalam are used. Starting with very slow beats, it builds up a crescendo and ends in fast beats. The ensemble consists of Veekkan chenda, Uruttu chenda (both drums), Elathaalam (cymbals), Kombu and Kuzhal (both, wind instruments).

Although Jeevatha Ezunnallathu and Parayeduppu are centuries old customs, the "Chuvadu Vechu Kali" (a peculiar dance with unique steps) is relatively recent. Old timers claim its origin at Ramapuram temple. Mankulam Kesavan Nampoothiri, who was well-versed in all art forms, and father of the eminent Kathakali artiste, late Mankulam Vishnu Nampoothiri, was then "Ezhunnallathukaaran" (prime escort) at Ramapuram temple. He, ably assisted by his contemporary, the expert drummer, Mampara Neelakandha Panikkar, is said to have developed the new step-dance.

Jeevatha Ezunnallathu is mostly in Devi temples, and performed (Thaalam chavittal) by Namboothiris. Wearing their traditional dress ("Thattudukkal") and with towels firmly tied at the waist and on the head, they carry the Jeevatha on their shoulders and perform the step-dance. Among all the variations of the step-dance, the best known now is that of Kandiyur Neelamana Illathu Narayanan Nampoothiri (now bed-ridden). Prominent among the Ramapuram tradition at present are Keerikkat Mankulam Govindan Nampoothiri (died recently, April 22, 2000), his son Kesavan Nampoothiri, and Omanakkuttan. In Chettikulangara, the first "Purappedaasaanthi", Govindan Nampoothiri, Kallampallil Vishnu Nampoothiri, etc. are well-known. The Kaaraazhma Desam can boast of Cheruthaala Madhathil Narayanan Nampoothiri, Vatavaa Melur Subrahmanian Nampoothiri and Vettuviruthi Neelamana Narayanan Nampoothiri. (Courtesy: Namboothiris.com)

The unique rituals during the Aswathy festival clearly convey the firm bondage and human pathos at the time of separation between the people and their beloved Bhagavathy. Held in the Aswathy day in the month of Meenom, this festival is attracting a large number of visitors. This festival is imagined as a send off to the deity on her journey to visit her mother at Kodungallur. In the evening, 100 odd decorated chariots ( Kuthiras & Rathams) and different effigies are brought to the temple mainly made by the children.

Though the size of these chariots are comparatively smaller than the Theru & Kuthiras made for Bharani festival, the number of chariots in union provide a visual impact even challenging the aesthetic effect of Bharani.

During the day, Bhagavathy visits the four karas surrounding the temple for Parayeduppu and official Anpolis are given by Kara leaders at Kuthirachevudu, the place where Kuthiras are made. After that she visits and blesses the offerings displayed at the temple premises.

By dawn, she decides to leave, and seeks their permission to leave for Kodungallur. The people of the first four karas make Polavilakku ( a large structure drawn on wheels decorated with tender banana stem and lighted with numerous traditional lamps) during her farewell procession. They offer her a grand farewell procession with Aappindi [a unique slow paced dance carrying a pyramid shape box on head). Aappindi will be embellished with crackers, pookkula ( cluster of coconut flowers - inflorescence ), and will be covered with tender banana stems.] and Thalapppoli (traditional sacred lamps carried by ladies).

People from Kaitha North and Kaitha South participate in the function with Thiruvantham. It is said that Thiruvantham, a palanquin type structure with fireballs and carried by four people, is the light of Darika, which incenses the Bhagavathy. She scares them away. After the procession, she again visits the Upaprathishtas and asks the people and other gods to let her visit her mother at Kodungallur.

By dawn, she proceeds with lightning sped towards west. Normally, within the 100 meters, the Poojaris carrying the Jeevatha will fall down unconsciously, and the Jeevatha will be taken back to the temple.

The temple will remain closed for the day, and will be opened only the day after. The Aswathy festival concludes the five month long festivities at this temple.