Panikkar, K. - "Teyyateyyam" Once a God-dancer, Now a God-head

Sahitya Akademi

"Teyyateyyam" Once a God-dancer, Now a God-headAuthor(s): Kavalam Narayana PanikkarSource: Indian Literature, Vol. 45, No. 5 (205) (September-October, 2001), pp. 143-165Published by: Sahitya AkademiStable URL: http://www.jstor.org/stable/23344664 .Accessed: 21/01/2014 04:34

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Teyyateyyam Once a God-dancer, Now a God-head

Kavalam Narayana Panikkar

Roles;

Chorus Ankakkaran Paranki (Ramunni) Mekkanthala Mother

Beppooran

Daivathar Poonkanni Traveller Policeman

Salgni

The stage is bare except for one or two medium-sized benches and a clothes'

hanger, made of the branches of a tree, kept on the right side in the rear

of the stage. The stage props, costumes, and other pieces of decoration for the characters are exhibited on the clothes' hanger.

The chorus and the other role dancers all seen huddled behind the

stage. Singers enter singing. The pattern is that of the leader of the chorus

singing a refrain and others repeating it.

Singer : litis play, Teyyateyyam, Teyyateyyam, Teyyateyyam.

Chorus (repeats) : Teyyateyyam, Teyyateyyam, Teyyateyyam, Ramunni enacting the role of a Teyyam, in the Teyyam dance, when Ramunni

changes his costume to take on the role of Paranki

(Selects one person from the chorus and designates him as Ramunni. He wears the ornaments designat ing him as Paranki, kept on the side of the stage and sits in front, watching his image in a mirror.)


(The group sings) Generations create Teyyams this is an old tale

do, do not ask questions; to know a person and then see him transformed into different roles, to see what you see but through the vision of an inner eye that essence of essences, I am here to narrate

Teyyateyyam, Teyyateyyam, I will now start, relating the story of Ramayana As imagined by our village; Rama known as Daivathar

(The group selects one person as Daivathar. He steps forward from the group, wears the costumes of Daivathar, bows to the audience and steps back) This is Ankakkaran Rama's brother, Lakshmana

(From the group, another person is chosen as

Ankakkaran. He wears the costume of Ankakkaran,

steps forward, bows to the audience, steps back and stands behind Daivathar) This beautiful girl, Kannippoo known as Poonkanni. Is Sita-Ma

(From the group, a girl is chosen as Kannippoo: she wears the costumes of Poonkanni, bows to the audience

and goes back to stand in between Daivathar and

Ankakkaran) The days when they wandered in the forest

the stage turns into a forest, where

tigers, elephants and leopards growl But, no, no, this is our own village

(looking at stage) Not even that, but Panchavati this village is now Panchavati

(Viewing Daivathar, Ankakkaran and Poonkanni mov

ing) Some travellers are moving into the forest

144 / Indian Literature : 205


(Daivathar, Ankakkaran and Poonkanni pretend that the stage is a forest and walk) Daivathar: Brother, Ankakkaran, lead the way, Poonkanni behind you, and I will follow

(From the forest, animal growls can be heard, through the sounds made by the chorus)

(Stringing the bow and taking aim) Is it a demon, or a wild animal, or the roar of the forest itself? Poonkanni your feet as soft as flowers are sore, trudging this path, full of thorns and stones. Hold on to this Daivathar's shoulders and walk

Ankakkaran, to know in advance, of the arrival of the demons, walk, with eyes all over your body (Again, the roar of the animals by the chorus is heard)

(They walk away) Ramunni, haven't you yet finished your dressing for enacting the role of Paranki?

Yes, I am almost ready. Here is Ramunni, dressed as Paranki.

(Ramunni dressed as Paranki enters, faces the audience and bows to them. Daivathar, Ankakkaran and Poonkanni remove their costumes and join the chorus) Here comes an evil man from lands foreign, crossing the seas; he is none, but Paranki, the pirate he who travels around the world in his sailing ship (The singer is seen tying a belt to Paranki's ivaist) In this belt lies Paranki's life-power with the belt tied to his waist

Kavalam Narayana Panikkar / 245


he gathers strength to plunder the world and reduce it to an empty shell

Chorus (Song) : From the land of Portugal, seeking new shores

came, he came....The Paranki

(The group takes the shape of a ship with sails. Paranki acts as though he is voyaging in that ship.)

Chorus (Song) : In the waves of the sea, with a sail tied to catch the winds, he goes about in a ship...this Paranki

Riding the crest of waves,

springing with speed he reaches the shores, is climbing up the shores...this Paranki to loot all the wealth

he can set his eyes on he roams around the lands...this Paranki

(The group disappears behind. Paranki acts, as if he has disembarked on the shores. Swirls his sword in

a show of prowess). Paranki : A fortress and bastions

surrounded by the sea, inside the fortress, endless heaps of treasure won by... this Paranki hands outstretched like the sea,

ready to enter and occupy roaring, when the way is invisible

landing with a splash, when the way turns visible

showing all the tricks of his trade. This Paranki

all the way splattered by the wind

he raises the sails high in the tumult caused by the sea's ceaseless

wave upon wave siege he courted the sea with

customary ease and made it his personal swing-cot the grains of gold, solid in weight and price,



he sought out and plundered... This Paranki trained in swordplay harnessing the strength of body and mind even his sword-edge splintering into a persistent gleam of war he comes to conquer the entire country...This Paranki

(A member of the group enters, in the guise of a traveller with a big bundle on his head and moves

through the stage which turns into a forest. Paranki

creeps behind him stealthily) (Swirling his sword)

Hey! You donkey, carrying a bundle on your back Don't bend under the weight of your wealth.

Why tire yourself supporting its weight? Leave your possessions there.

(The traveller attempts to run and escape with his bundle. Paranki pursues him and stands before him, his sword point on the traveller's chest)

(trembling in fear) Your Highness This wealth of mine, all the essence extracted and conserved from the surface of the Earth and then converted into Gold leave it with me, I beg of you, send me away, O, Paranki, the Honourable One. All that sprouts from this Earth. all that lights the human eyes is mine. This is the Law of Paranki are you going to keep the bundle down or shall I finish you off with this sharp sword?

(Paranki takes a step forward and swirls the sword.

Behind, the whole group moves against Paranki,

singing in the tone of a slogan)

Against the might of one man, a whole group of people moving;



hail the people! Victory to People! One man. however strong he be cannot oppose in haughty arrogance and suppress a whole group of people united, solid as a wall constructed. There is no place to run and hide. There is no

place to run and hide

(The group surrounds Paranki. Paranki swirls his sword and pushes all of them aside. The group collapses on the ground.)

Paranki You roaring group of people, mere grains of dust;

you, infantile jackals,

howling in your sleep shrink, shrivel, reduce and be slaves to my physical prowess (Paranki does the action of tying them up, advances

towards them and pushes them to the rear of the

stage. One person comes out of the group, takes the

bundle and goes away. From the group Daivathar, Ankakkaran and Poonkanni enter, wearing their

respective costumes. They act as though the stage is once again the forest and moves on. They stand on one side of the stage. From the group Paranki

enters) Paranki : (Seeing Poonkanni) Ho! Ho! What a beauty! Is

she Parvathy, Lakshmi or a spirit of the forest?

Whoever she is, she is fit to be mine.

(Rushes from behind, in an attempt to embrace

Poonkanni. Suddenly he steps back) Who are those two wretched fellows with her?

One of them looks alright like a white pumpkin with a nose and eyes drawn on it! The other

man, with his bow and arrow in position, ready to shoot. He seems to be slightly excited and

angry. I like his quicksilver anger. The older one

is a complacent fool.

Singer : Paranki, be careful when you irritate them and

talk derisively of them. Who did you compare



to a white pumpkin with nose and eyes? You

shouldn't be talking like that. It is Daivathar.

Who's Daivathar? Don't try your usual plundering and destroying tactics on Daivathar and Ankakkaran. Besides,

they are not even natives of this place. Oh! Is that so? I too am not a native of this place. So, isn't there anyone in this group from this

place? (The group asks each other, "Are you a native

of this place?" All the them hastily say "No, No") Oh! So, having given up the land to foreigners, all the people of this place have run away and

hidden themselves. Just because they are for

eigners - don't we take into consideration the

issue of strength also? Paranki fighting with Daivathar and defeating him. I think, that is not

possible (The group agrees) Don't you know that this Paranki has defeated and subjugated several such Daivathars in many lands and kept them in their place. These men

are fools to have come on a journey taking a

woman along with them. Two blundering idiots! Either they should not have come here with this

beauty or having done that, they should have

enough courage to confront Paranki and protect her. As for me, I may not only use physical powers, but resort to magical powers too.

(He moves the sword and magically hypnotises the

crowd). If they are the men their moustaches

proclaim them to be, let them prove it.

(He moves his hand, invoking magical forces. Daivathar and Ankakkaran appear to have been surrounded by darkness and walks stumblingly.)

Eyes staring, teeth protruding, with a cruel and thunderous roar the dark darkness stretches its sharp nails to me, the lightning falters and falls upon this darkness

Oh! Dawn! you are moving away Even as I extend my hands to embrace you Who has shut my eyes with his might?



Singer

Another man

Singer

Another Man

Ankakkaran : Whoever opposes me, I shall fight and kill.

Poonkanrii : Oh! Dawn! You are moving away, even as I extend my hands to embrace you. (Daivathar and Ankakkaran comes in front of Poonkanni and unconsciously stops Paranki from capturing her. After several such attempts, Paranki succeeds in separating Poonkanni from the other two and he goes to the rear of the stage with her. Daivathar and Ankakkaran are caught in the darkness.)

Now, I have a doubt. Does the story progress in this way? No, the story does not end like this.

My problem is not that. I do not think that Daivathar and Ankakkaran are such helpless fools.

(Daivathar and Ankakkaran take off their costumes and merge with the crowd) Did anyone say that? But, the truth is that Paranki escaped with the woman.

(From the crowd, a person comes to the front of the

stage and says seriously) Stop it! Stop it!

(He is wearing the costume of a Policeman) Policeman : That is not the problem. Let this issue of the

story of Ramayana which took place in ancient times be set aside. Even if there is a mistake in retelling it, there is nothing to worry. During the time when Ramunni was observing the

penance in preparation of acting the role of

Paranki, some events took place. Aren't they an

important part of this story (the crowd agrees) Let

us somehow, act that out. Come on, move to

that side. I am a policeman. Group : Oh! Police! Policeman : (Separates himself from the chorus and comes for

ward) Stop this retelling of an old tale. Who wants this antiquated tale? And that too, a distorted,

unsophisticated, rustic yarn. Where is the mur

derer?

Singer There is no murderer here. Only a robber. That

Paranki, who came here just now is a plunderer.



Not he. Where is Ramunni? Ramunni? (Searches for Ramunni) No, you are mistaken. Ramunni in the guise of Paranki committed a robbery. He kidnapped and absconded with Poonkanni.

You, you, you are cracking jokes. Don't worry, I will get the clues by and by. Don t think that I will give you any special consideration because

you are a famous singer. Ramunni killed the well-known landlord, Mekkanthala. Don't you know? It is a serious matter, not just song and dance.

No, we won't believe it. Ramunni is not the kind who does such things. You go on saying that. The law will do its job. Don't you want to know what really happened? Yes, we would like to know. Let us act that part. Singer, you begin that story. I will come just now.

(Policeman takes off his costumes and joins the crowd. Paranki and Poonkanni take off their costumes and

join them as Ramunni and Kannippoo) Which story should I relate? The story of Mallan Pillai being struck down by the trunk of the

elephant. No, no, the story of the landlord, Mekkanthala.

(Singer sings. Others repeat the lines)

King of the forests, Mekkanthala, where is Mekkanthala?

(Crowd searches and brings forth one actor and helps him to dress up as Mekkanthala. Mekkanthala comes out of the chorus, steps forward and bows to the audience. Others stand around him holding sickles.)

King of the forests, Mekkanthala, Mekkanthala, who turned the forest to land, the land to ploughing field, Mekkanthala who converted seed into fruit, this Mekkanthala

(The group acts the movements of harvesting Thaka tambi teytharo, tiyyam tatta, thaka tambi

teytharo, Mekkanthala) The corn stalk is heavy



Mekkanthala is estimating the yield while the labourers in the field cut with the sickle the tender stalk of paddy. Taka Thambi Teytharo, Teyyam Tatha

Mekkanthala : Do not drop the grains of rice,

Teyyam Tatha

Group : No dropping, no dropping, Teyyam Tatha

Mekkanthala : (to Kannippoo) Do not drop the grains of rice,

Teyyam Tatha

Kannippoo : No dropping, no dropping, Teyyam Tatha Mekkanthala : (goes behind Kannippoo and says flirtatiously)

: If you drop the grain, it doesn't matter,

Teyyam Tatha (taps on her shoidders) Ramunni : (dislikes Mekkanthala's behaviour)

: It matters, it matters, Teyyam Tatha

(looks at Mekkanthala) Mekkanthala : Never read the unwritten page, Ramunni. Ramunni : Never overstep your limits, Mekkanthala. Mekkanthala : Who are you to tell me that,

to teach me justice, you, a mere Teyyam dancer?

Group : Taka Thambi Teytharo Teyyam Tatha Taka Thambi Teytharo Teyyam Tatha

Mekkanthala : You think you can have a verbal duel with this Mekkanthala?

Ramunni : You think we are people with no sense that

anyone can say anything and get away with it?

Mekkanthala : All of you need not work in my fields. Stop your work and go away. (frightens everyone and drives them away.

Ramunni : After cutting the rice stalks are we to leave them in the field, stop work and go away?

Mekkanthala : It is my law in my fields, Ramunni.

Ramunni : Your fields and your law, Teyyam Tatha

Mekkanthala : How dare you address me as "You," Impudent fellow! (goes towards Ramunni)

Ramunni : You, you, you, what else but you, I repeat thrice.

Mekkanthala : Control your tongue, Ramunni.

Ramunni : Give the wages for the work done, Mekkanthala.

Mekkanthala : Wages without working? Ramunni : You think all of us are idlers like you, counting



the waves of the sea? Mekkanthala : You dare talk back to Mekkanthala? Ramunrii : If I do, what can you do to me? Mekkanthala : Asking me, what I can do? (Hits Ramunni on

his cheek) (Ramunni and Mekkanthala confront each other in

anger. The group, stupefied, mixes with each other. Mekkanthala hits Ramunni. Ramunni falls to the

ground. He tries to get up. Mekkanthala kicks and

pushes Ramunni down)

Kannippoo : (emotionally) This is a blow to the Earth itself. This Earth which suffers to sprout, the stalk of the corn of good days, to feed us. Ramunni the worker in the fields is the Earth itself. I, a woman, too am the Earth. All these workers are the Earth

so, Boss-man, do not strike men and Women workers and the Earth

(holding the sickle aloft, approaches Mekkanthala) Believe in the Earth, Love all human beings Give up your arrogance and tyranny (Everyone joins to sing those lines like a slogan) Believe in the Earth Love all human beings (Goes off from the stage. Mekkanthala leaves with a show of stubbornness)

(The stage in a subdued light. Kannippoo enters.

Mekkanthala, filled with lust, follows her and grabs her hand. Behind, Ramunni enters and stays hidden, not seen by anyone except Kannippoo. Mekkanthala does not see him.)

Mekkanthala : (Grabbling her hand) Hey, you beauty, you don't have to join in the remaining harvesting.

Kannippoo : Hey, you handsome, this harvesting sickle is

sharp. Mekkanthala : The harvest is not that important, Teyyam

Tatha.

Kannippoo : But this harvest will be important, Teyyam Tatha. Mekkanthala : (fondling her hands) These hands are not meant

for cutting the corn stalk, Jewel of the Eye! Kannippoo : These hands know cutting too, Eyesore! Mekkanthala : Don't cut now.



Policeman

Singers Policeman

Kannippoo : Then when to cut?

Mekkanthala : This harvest "will at least be a Harvest of

Happiness." Kannippoo : Yes, eventually it will turn out to be a happy

harvest.

(Slowly, Mekkanthala tries to ensnare Kannipoo in a forcible embrace. Kannippoo resists. Ramunni leaps into the stage like a leopard, sickle in hand. They

fight. Ramunni strikes Mekkanthala with his sickle

again and again till he is dead. Ramunni and

Kannippoo run away hand in hand. The stage becomes

dark) : (comes forward as the lights come on again)

Don't you want to know what happened after

wards? : Yes, we do want to know.

: I can give you only a rough sketch of what

happened, and that too from hearsay. Listen. Love caused the loss of self control and the tight

grip on the sickle, so says the folk song. One of the

singers : Love? Whose love for whom?

Policeman : This overwhelming love, which Ramunni the dancer felt for Kannippoo, the village belle aroused him to kill Mekkanthala. Then, Ramunni

went secretly to the gate of her house.

(Enter Ramunni) Policeman : This worker, Ramunni, an epitome of manly

beauty. The Teyyam dancer, trained to act the

role of Paranki

(Kannippoo enters from the other side. She comes

and stands listening to the sound of his footsteps, both interpreting the meaning of the song the singers

sing, by the movement of their limbs)

Singers : Kannipoo's father,

Salguni slept on, a moonless night, when one recognised the other

only through a curtain of darkness.

The crickets chattered, and kept guard.

Kannippoo : This vast world it seems to be a prison of fear.

Ramunni : To me, it seems to be such a small world, with

no place to hide.



Both (together) Kannippoo

Ramunni

Both

Ramunni

Kannippoo

Ramunni

Kannippoo

Ramunni

Kannippoo

Policeman

Singer

Salguni

Group

Salguni

This small big world, which offers us no shelter. From behind, the sound of the barking of the

hunting hounds In front, the graveyard forest with its thorns and

stones

(holding hands, trying to run and escape) There is no place to run. This all-consuming heat with no shelter, offering water.

(idropping her hand and moving away) This hell cannot be shared with anyone. But, people who love you must be allowed to share your sorrow. Do not get caught in the hunter's nest and stumble.

(snatching Ramunni's hands) Let us go, hand in hand.

(Tries to run off; from behind the rhythm of a song is heard. Ramunni drops her hand and turns back) Wait. Stop. I have to come back here, to enact the Teyyam role. Am I not the Vannan, Ramunni, who takes on the role of Paranki Chamuni? If I don't act this role, my mother will be furious. Generations will curse me. Even as I plan to run

away secretively, duty beckons me to take on the role allotted by trad torn.

There is no time to stop and think. Behind, the

barking hounds and death's stranglehold. Before

us, there is a cool, hiding place; come.

(Both run and disappear) (Coming Forward) Catch him. Catch and tie-up the murderer, Ramunni.

(From the crowd, one person comes forward who acts as Salguni and stands with a sad expression) This is Salguni, father of the girl, Kannippoo. Is there anyone here who knows the pain of a father who has lost his daughter? And if the father is a good man, the intensity of his pain is more.

Salguni, why are you feeling so hurt? A woman has to have a man. She herself has chosen a

person suited to her. A good choice, indeed. Hasn't she run away with



One man

Another man Third man

Salguni

Singers

Salguni

Policeman

Salguni

Policeman

Mother

Singer Mother

Salguni

Mother

Policeman

a useless murderer? He is not an ordinary murderer, Salguni. He killed a cruel landlord, Mekkanthala.

Still, a murder is a murder. That apart, we have to think of a father's sorrow too. I am a good man, who keeps his distance from bad men.

Yet, a bad man ran away with his daughter, Kannippoo. He is none other than the murderer, Ramunni.

My whole being, from the tips of my fingers to the ends of my hair is seething to take revenge on him.

Salguni, are you hinting that you have not done

any bad deeds? I do not remember to have done any till now.

But, after all, I am a human being. All right, Policeman, are you a good man or a bad man? For the time being, I am a good man. So I shall stand by you. We have to catch Ramunni. He is indeed a bad man.

(Comes forward out of the group, seething with anger) This is his mother, Ramunni's mother. Yes. I am Ramunni's mother. No one, even the

policeman, can change me from being his mother.

My Ramunni is not a bad man. How dare you all call him as an incorrigibly bad man? Here some people are preening about like good men. I know them. Who is a good man here? Can

any of these men be termed good? I too have been listening, for some time, to this talk on good and bad men. I have brought up my son well.

He is a god-fearing Teyyam dancer. Is that why, old woman, he stole my Kannippoo's heart?

My son will never do such things. He is ob

serving a penance in preparation for taking part in the Teyyam dance. At such a time, he will

not even look at a woman.

What penance? A penance to commit a murder.

We shall see to it that he himself is trans



formed into a Teyyam. Do not think I will spare your son. I am not

only a good man, but a proud one too. If necessary, I can, like your son, commit murder also. Ramunni spoilt the good fortune of the village, spoilt the purity of the Teyyam Ramunni did what should not have been done. He will reap the result. I am a mother. Remember that, before you concoct such a song on my son. What I want to do is not compose songs but aim at his strategic nerve center and give him a solid beating. Old woman, where have you kept him and the girl hidden? Tell the truth.

Or, we will have to use our own techniques. Then we won't even consider that you are a woman. I haven't hidden him anywhere. He will come here when it is time for him to dress up as a

Teyyam. If this bad Teyyam dancer touches and pollutes my daughter, she too will turn out to be bad. She will succumb to evil ways. Think of her fate, a good man's daughter turning out to be a bad woman. Don't cry, Salguni. We will search for her and

bring her back.

(Everyone, except the mother searches for her. Daivathar wears his costume and climbs on the stool kept for him. In between him and the

front of the stage, the singer pretends to see a

river) Here is a river flowing. Hey, preserver of Law! Do you see that river?

(Policeman walks, looking about for the river.

Everyone goes and looks at the flow of the

river) We shall trace the flow of the river backwards and find its source.

(Everyone goes behind the singer) Going, going, going, what do we see (Sees Daivathar) Oh! Oh! This river of tears has emerged



from the eyes of Daivathar. The pain of sepa ration like a volcano breaks the rock and bursts into wave upon wave of this river of tears. Years

pass by, yet, the river of tears repeats the story of this eternal sorrow

Daivathar : (weeping) Such an intense despair, till today no one has felt.

Salguni : Now, now, what about my sorrow, this Salguni's sorrow is a father's sorrow.

Singer : The sorrow of Daivathar is not just the sorrow of a husband. It is an intense sorrow shared by everyone.

Salguni : Any private sorrow is intense. Therefore, I can

say my sorrow is more intense.

Singers : Daivathar's private sorrow, is the sorrow of the

public too.

(This sentence is repeated by the Policeman, Mother and Salguni. They change their costumes and join the chorus) The flow beginning from those tears grows into the river of the country. Poonkanni, kidnapped

by Paranki is the sorrow of our village. She is

the Daughter of the Earth. Her sorrow is the Earth's sorrow who is there to search and bring back the Daughter of the Earth?

("Who is there?" the crowd repeats : The group chooses one person who acts as Beppooran: he comes

forward and bows to the audience. Beppooran is a

monkey with a tail)

Singer : Hey! Beppooran! Beppooran : Yes, I am Beppooran. Singer : What sort of a name is that? Beppooran, your

name?

Beppooran : Why, don't you like it? You may take it as the

name given by my father.

Singer : Couldn't he think of a better name? Your father?

Beppooran : How can anyone ask that question to one's

father? Besides, our names are given to us at

a time which we don't even clearly remember.

At that time, we can only lie down and listen

to whatever name is given to us.

Singer : Your name sounds alright to me. I said what



I said simply; just like that. Even without a name,

people will recognize you. (The group laughs) (Sings. Beppooran dances) This guy with a tail,

Beppooran. This monkey from a good family, Beppooran of name and fame over all lands stood in front of Daivathar with hands folded, this Beppooran. (Ankakkaran comes forward from the group wearing his costumes, and stands in front of Daivathar.

Beppooran bows to Daivathar. The group goes behind

the stage and stands with their backs to the audience.)

Lord, I, Beppooran, searched for you every where. You are the Teacher of Teachers I yearned to see. Who knows the essence of your story? Without that Devi, the Mother of Gods besides

you, you seem to me a river of tears overflowing

beyond its shores. I start in a trice, to find a solution to your pang of separation. I, Ankakkaran, ready to fight, am telling you, Beppooran, Paranki's end is near. He, who stole another man's possession and boasts about

it, that ship of his with sails, and him, with all his plundered wealth will be sunk to the deep sea. To kill Paranki, this monkey's strength is enough. Paranki, beware, your end is near. Poonkanni is wilting in the pain of separation. Give my message of love to her Beppooran. Tell

her, she will soon have the joy of union with me. This messenger is starting. In one swift leap I will cover this ocean of illusion?

(Beppooran climbs on a stool, leaps and reaches the

ship with the sails, Daivathar and Ankakkaran join the singers) A ship covering miles, as swift as the wind a ship that has travelled over the seven seas. It is the small island where the unconquered pirate lives one wave, one wave that turns to two two to three and then to four wave upon wave, the ocean churns



Beppooran

Singer

Beppooran Singer

Beppooran Singer

Beppooran

Singer

Beppooran

Singer

Paranki

160 / Indian

the small island fighting the waves is this ship with sails. Where should I go in this island the narrow ways are a puzzle a cris-cross garland of threads, I

feel I have been caught in the haze of labyrinth. Where is Paranki?

: Must I say? Paranki? Oh, yes. So, are you a friend or an enemy? Consider me a friend. Then I will say. But, let no one hear.

When I think of his cruelty, how can I remain his friend? (to himself) So I will say. He is inside, in the

depths of the ship, sleeping a king's sleep. : A king's sleep? Whose king is he? : King of pirates. An expert in plundering and

pillaging. : Is there a trick to lead Paranki to the straight

path? : Even though it is improper on my part, 1 shall

divulge the trick to you. : How can it be improper? To begin with, just

take me through the narrow path. Once I reach his bedroom, I shall manage to do what I came to do.

: (Holding Beppooran's hand and leading through the

winding paths) You won't be able to do what you have to do that soon. You have to use unethical methods

to sever Paranki's head. First, you have to remove

the belt he wears around his waist. That is

possible only when he sleeps. After that, even

if he wakes up, you can confront him. Beat him

in fight and kill him. His strength is in his belt.

(Hides Beppooran among the chorus members)

(From one side Poonkanni enters fearfully and loalks

through the narroiv path. Ramunni, in the guise of Paranki enters from the other side and follows her.

They walk through the group) : Poonkanni, you did not secretly run away with

me. I stole you and brought you here. With your

unsurpassed beauty let my ship with sails become

Literature : 205


a Heaven all that belongs to this Paranki is yours. Come near me, my beloved.

(Approaches Poonkanni and tries to capture her. The

group gets up, steps in and stops him) If you do not submit to my desire I will, through magic and physical prowess conquer your heart and make you mine.

(Unleashes his magical power. The crowd acts like

the flames of fire and stops him once again)

My body and my heart are mine, mine only, which no one can possess. Is there anyone who cannot be conquered by my magical powers? (acts as though he is unleash

ing his magical powers. The group once again acts as fire surrounding Poonkanni. Paranki jumps back

as though struck by lightning) Oh! Oh! Fire! Fire!

Unapproachable fire! You think you have out

smarted my magical powers. For the time being I admit defeat to you. But I will return after a

prolonged spell of penance. Get away from my presence. (Poonkanni runs away. Paranki is engrossed in his

penance) Paranki thwarted in his amorous play sat down to do penance, an intense penance to possess Poonkanni but the tone of the penance is spoilt. (By and by Paranki feels tired and falls asleep) His concentration has shifted to his sleep. Paranki

sleeps forgetting everything else, a deep, deep sleep. (Paranki sleeps) (holding Beppooran's hands) As his snoring reaches high finish the work don't be afraid. If you remove the belt, the rest will

be easy. (Beppooran takes off Paranki's belt. Paranki wakes

up from his sleep and gets up suddenly. Beppooran hits him with the belt. Paranki fights with Beppooran. Singers circle Paranki and render him helpless. Beppooran crushes Paranki's neck. Two people enter with a curtain. Poonkanni and Beppooran stand behind the curtain and disappear along with the movement of the curtain. The group covers Paranki



who has fallen dead. Later, the people holding the curtain come in front ofParanki and stand covering him. Behind the curtain, the headgear of Paranki chamundi Teyyam can be seen coming up. The roaring of Paraki Chamunidi can be heard. The headgear disappears. Ramunni's mother appears in front of the curtain)

Mother It is time to prepare for the Teyyam dance, the time for Paranki Chamundi Teyyam.

Singers But where is the person to perform the Teyyam? Mother : He will come now. He will come, dress up as

Paranki Chamundi and perform the Teyyam. This performance has been the traditional right of this family. If he does not perform this Teyyam dance, the good times of the village will come to an end.

Singers : If that is so, let the Teyyam dance commence. A pandal with a roof the roof with festoons and garlands

glowing torches stuck to plantain stems.

rice, fluffed rice, pancake, raw sugar,

sugar cane, a black cock. The rituals to ward off the evil eye and propitiate the gods, let them be done with blood, small coins for the priest. Let flowers - champak, jasmine, red techi all arranged on a plantain leaf, Drum beats, victory calls women's ululation

the other resonant noises, the small brass plates holding burning cotton

wicks.

The eyes of people opening in wonder.

(The group decorates the stage with palmyra fronds. The singer beats the drum and sings. Ramunni

dressed as Paranki Chamundi Teyyam enters dancing and keeping the rhythm to the drum beat. He repeats

from behind the curtain the song sung by the singer)

Singer : Drawing a perfect circle and square and within it, seen by the human eyes smelt by the human nose



offering honey and flesh to men and divine beings, with the inner self and the soul, the life and life-spirit.

Leaving aside the human body and soul I come from today onwards I swear by my teacher. The T who remain inside is pure. The T who appears outside is not me, not me, As Paranki Chamundi's Teyyam wearing all the costumes and jewellry I have come as myself I, wearing the helmet and the earrings covering myself with the blue-black cloth

giving a body to the blue-black soul out of my free will, Save me from bad times, receive my offerings and bless me. As I leave, I untie the gear when I perform, I tie it again blood, water, honey, meat for everything that is offered in prayer and all that I am destined to suffer I stand a witness before you. Drawing the circle and the square thinking of the whole world as my house here stands Paranki Chamundi.

{Singing the above song, Paranki Chamundi emerges from behind the curtain. The group sings and dances to the tune of the song and stands on the right side

of the stage with their backs to the audience. After the dance, Paranki Chamundi Teyyam roars. The

group turns, each holding a stick in hand. Salguni and the Policeman wear their costumes. The Police

approaches with the handcuffs.) Policeman : There is Ramunni

(The group repeats what he says) Paranki Teyyam: I was killed

I, who plundered the country and ran away with the woman I desired I am Ramunni, I am Ramunni 1 am also Paranki Chamundi



Paranki who died and woke up as Paranki Chamundi

(Policeman holds the handcuffs up and approaches to arrest Ramunni) Law cannot watch this act passively. Law breaker Ramunni has to be handcuffed.

Salguni : Ramunni, you Teyyam dancer, who brought a bad name to the village. Here I come, with the

people of the village to punish you for the harm done to me.

(Salguni and the villagers from one side and the

policeman from the other side approach the Teyyam. Salguni and followers hit the Teyyam from behind. The Teyyam disappears behind the curtain. The group appears in front of the curtain from both sides)

Group : Teyyateyyam, Teyyateyyam, Teyyateyyam. Generations create the Teyyams (The Teyyam takes off all his costumes from behind the curtain and comes in front as an ordinary actor. The people who hold the curtain leave it aside and

join the group)

Singers : There, from behind that curtain emerges, the Teyyam of the Teyyam dancer. All dead people are elevated as Teyyams but when a Teyyam itself lives and dies it is made into a Teyyam's Teyyam. When you die and live you are a Teyyam, the reverse, you live and die then also you are a Teyyam, The criminal is beaten to death by the people; Later, he is made into a Teyyam. Then, that Teyyam is also killed

to be made into a Teyyateyyam all this happens because of his evil nature. Evil is a form of human weakness; when a criminal appears in the garb of a Teyyam and is taken in procession, it is a warning do not do what shouldn't be done.

Those who perform good deeds or bad deeds all want to be Teyyams.



Thus, man enjoys creating the tradition of

Teyyams Man, human being, a combination of good and

evil. Even when a Teyyam is created for an evil reason let us praise good deeds and finish this dance performance.

(Darkness spreads)



Article Contentsp. [143]p. 144p. 145p. 146p. 147p. 148p. 149p. 150p. 151p. 152p. 153p. 154p. 155p. 156p. 157p. 158p. 159p. 160p. 161p. 162p. 163p. 164p. 165

Issue Table of ContentsIndian Literature, Vol. 45, No. 5 (205) (September-October, 2001), pp. 1-208Front MatterHERE AND NOW: Transformations of the Hero in Medieval Indian Literatures [pp. 5-9]REFLECTIONS: Reversing the Gaze: The 'West' in Indian Imagination [pp. 10-18]ACCENT ON URDU POETRYSURVEYPost-Independence Urdu Poetry: The Indian Panorama [pp. 19-33]

POETRYBlood [pp. 34-35]My Journey [pp. 35-36]The Poet [pp. 36-37]An Anxious Dream [pp. 37-37]A Green Pigeon on a Dried up Branch [pp. 38-38]Yudhishtira [pp. 38-39]We shall Never Visit Your Dreams [pp. 39-40]My Lips are Sealed [pp. 41-42]The Moistness of your Voice [pp. 42-42]All the Decisions [pp. 42-43]Twenty-first Century [pp. 43-43]Poem as Context [pp. 44-44]On Reading Ghalib [pp. 44-45]Joy of a Myth Displaced [pp. 45-45]The Last Sapling [pp. 46-47]The Footfall [pp. 47-48]Lost [pp. 48-48]A Banner: The Last One [pp. 48-49]Braille [pp. 49-50]Air Hostess [pp. 51-51]The Road (On the Tercentenary of Calcutta) [pp. 51-52]You, Nowhere and the Smile [pp. 52-53]Kill Us [pp. 53-54]Newspaper [pp. 55-55]The Hunt [pp. 55-56]The Knock [pp. 56-57]Space Travel [pp. 57-58]In Custody [pp. 58-59]Splinter [pp. 59-59]Haikus [pp. 60-61]Ghazal [pp. 62-62]Ghazal [pp. 62-63]Ghazal [pp. 63-63]Autobiography [pp. 63-64]The Sea [pp. 65-65]My Trees [pp. 65-66]A Window in the Sky [pp. 66-66]Death [pp. 66-67]Imagination [pp. 68-68]Dancing Spark [pp. 69-69]A Moment [pp. 69-69]Home [pp. 70-70]Ghazal [pp. 71-71]Ghazal [pp. 71-72]Ghazal [pp. 72-72]Rapport [pp. 73-73]Away from the Stagnant Moment [pp. 73-74]The Vagrant Life [pp. 74-74]You Secret Holders of the Future Dawn [pp. 74-74]The Angel [pp. 75-75]Flight [pp. 75-76]Birthday [pp. 76-76]What if He be the Son of Mary [pp. 77-77]New Caravans of Mourners will Arrive [pp. 78-78]Hands [pp. 78-79]Ghazal [pp. 79-79]Ghazal [pp. 79-80]Something as if Lost [pp. 81-81]The Man who Got Angry [pp. 82-82]Bastards [pp. 82-83]Looking for Something New [pp. 83-83]On the Death of my Father [pp. 84-84]A Canvas For Each One [pp. 85-85]Time [pp. 86-87]Virus [pp. 87-88]Where is the Path Going? [pp. 88-88]Empathy [pp. 89-89]Revolution [pp. 90-92]Two Paintings of Hazrat Zainab [pp. 93-94]Night Painting [pp. 94-95]Whenever I Saw My Father Entering the House [pp. 95-96]Whenever I Come to Delhi [pp. 96-97]A Poem [pp. 98-99]A Poem [pp. 99-99]A Poem [pp. 99-100]What's in a Name [pp. 101-101]A Poem of Shivering Moments [pp. 101-102]My Village [pp. 102-102]And Once Again [pp. 102-103]The Spook of Dread [pp. 103-103]The Assassin [pp. 104-104]Call of the Night [pp. 105-105]To Dream Abandoning People [pp. 105-105]The Second Dialogue with the Self [pp. 106-106]In Memoriam: Khaleel-Ur-Rahman Azmi [pp. 106-107]I had Resolved [pp. 107-107]Ghazal [pp. 107-108]Ghazal [pp. 108-109]You [pp. 110-111]Dichotomy [pp. 111-111]An Evening in an Ancient Temple [pp. 111-112]The Manuscripts are Lost [pp. 112-113]Alert [pp. 114-114]Ego [pp. 114-115]Come, Stay With Me A while [pp. 115-116]The Wounded Voice [pp. 116-116]One [pp. 117-117]Two [pp. 117-117]Three [pp. 118-118]Four [pp. 118-118]

INTERVIEWGopi Chand Narang in Conversation with Abrar Rahmani and Ahmad Sagheer [pp. 119-132]

IN FOCUSK.N. Panikkar's "Teyyateyyam": Resisting Interculturalism Through Ritual Practice [pp. 133-140]Introductory Remarks on the Play, "Teyyateyyam" [pp. 141-142]"Teyyateyyam" Once a God-dancer, Now a God-head [pp. 143-165]

IN PERSPECTIVEFeminism In Indian Context : The Contemporary Relevance of K.Saraswathy Amma [pp. 166-174]SHORT STORYThe Forbidden Path [pp. 175-181]

MASTERSThe Other is Not 'Hell' [pp. 182-189]AN EXCERPT FROM NOVELAntim Aranya: 1.1 [pp. 190-195]

BOOK REVIEWSReview: untitled [pp. 196-199]Review: untitled [pp. 199-202]

Our Contributors [pp. 203-208]Back Matter

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Panikkar, K. - "Teyyateyyam" Once a God-dancer, Now a God-head

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