FOLK TRADITION OF SANSKRIT THEATRE: A STUDY OF "KUTIYATTAM" IN MEDIEVAL

KERALA
Author(s): Renjitha V.R.
Source: Proceedings of the Indian History Congress , 2013, Vol. 74 (2013), pp. 313-322
Published by: Indian History Congress

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 FOLK TRADITION OF SANSKRIT
THEATRE: A STUDY OF KUTIYATTAM IN
MEDIEVAL KERALA
Renjitha V.R.

The classical art tradition of Kerala had a long period of ev

originated from folk traditions and evolved through the temple
and Brahmanical ideologies. The Brahman migration and its
led to tremendous changes in the socio-economic, cultural a
scenario of Kerala. The Brahman culture was framed on the basis of
indigenous cultural tradition as it is indispensable to the existence of a
new culture in an unfamiliar place. The new culture could not
completely transform the existing indigenous culture. They could only
change certain factors and imbibe certain elements in that particular
place. This is also applicable in the cultural forms like arts. The present
study is an attempt to find out the changes and influence of the classical
and folk art forms and its reciprocal relationship. How the Sanskritic
theatre evolved into a unique form of art with indigenous characteristics
is analysed in the present paper. In art history, it is always difficult to
separate the classical from the folk, since we find the fascinating pattern
of the mutual interaction of the two streams. Thus the study of the
structure and development of all art forms are complicated. In most
cases there is mingling between classical and indigenous art forms,
arts in Kerala are not an exception.
A preponderance of local languages, greater accommodation of
the audience participation, relaxation of the classical rules for the more
open ended folk forms, a preference for local colours and flavours,
incorporation of local costumes, music and dance movements to the
structure of the play are some of the traits Sanskrit has shown in the
direction of assimilation of folk arts. Probably the influence of the
folk theatre has been the reason for the vitality and variety of the Indian
theatre and also Kutiyattam * It is a fact that the classical arts influenced
folk arts and vice versa. Like other parts of India, in South India also
the classical art form developed through the process of exchanging.2
The long narration and interpretation in the performance of Vidushaka
(jester) in Kuthu and Kutiyattam is the contribution of the tradition of
long narration and interpretation of early Tamil Kuthu . It still exists in
the regional art forms like Tholpavakuthu ?
The classical art forms like Kuthu and Kutiyattam emerged in the
cultural scenario of medieval Kerala. These are some of the oldest
continuously performed theatre forms of India. Kutiyattam is a Sanskrit
theatre form and two or more characters take part in it, hence it literally

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314 IHC : Proceedings, 74th Session, 20 J 3
means 'acting together'. Unlike Kutiyattam^ Kuthu is a kind of mono
act in which only a single actor performs. These Sanskrit art forms in
Kerala were put on the stage by professional actors belonging to the
class of ambalavasis (temple dwellers), the chakyar, nambyar and their
women folk nangyars.
The Kutiyattam represents the unusual phenomenon of the total
conversion of theatre with the transplantation to the new cultural
background. This phenomenon can be compared to the migration of
people who speak a particular language and the adoption of the regional
diversity of the minor tradition by the grand tradition of myth and
rituals.4 Heie we can identify the indication of abdication of the grand
tradition for the regional tradition in the costumes, stage decorations
and instruments.5

There are various views among the scholars on the relation between
classical arts and folk arts especially in the case of Kutiyattam. C.P.
Elayathu suggests that the Desi (native) and Margi (the tradition
transmitted with its strict regulations) traditions are combined in
Kuttiyattam. He also says that the proto-type of Kutiyattam is found in
folk arts like Mudiyettu, Theyyam and Thira.6 C. Rajendran says that
Kutiyattam has basic elements of Indian theatre and elements of
Natyasastra. But it survived due to the existence of Desi tradition.7
According to Venu G. Kutiyattam is an art form which emerged through
the compilation of all folk arts of Kerala. The Kutiyattam has certain
similarities with Theyyam in costumes and with Kakkarissi Natakam
in make-up.8 L.S. Rajagopalan argued that as Kutiyattam was an old
tradition it may have influenced all other traditions.9
Theatrical performance, instruments, costumes, music, etc. are
influenced by the minor tradition of Kerala. Instead of the Natyasastra
gestures the Kutiyattam uses the gestures on the basis of the text which
originated in Kerala, namely Hasthalakshartadipika .10 The grand
tradition of the classical musical instruments11 which includes Veena
(a lute) and flute replace for the minor tradition of percussion which
includes Mizhavu (a metal drum), Idakka (a percussion instrument that
is shaped like an hourglas), Kuzhithalam (a small cymbal), Sankhu (the
conch), Kuzhal (a wind instrument), etc. The colour structure of Kerala's
visual arts and Kalamezhuthu (drawing the picture of local deities with
natural colour power as part of rituals on festival occasions) infloeunced
the costumes of Kutiyattam which had been originally using the north
Indian traditions. At this time the classical musical tradition based on
Natyasastra replaced by the mixed non-Brahmanical and Brahmanical
musical genre.12 The Keralite art form Kutiyattam originated as a result
of the influence of Desi tradition on the north Indian tradition like
costumes, method of accent, instruments, language, dance tradition,

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 Medieval India 3 1 5

gestures, etc. due to Brahmanical hegemon

Kuthu tradition that existed in early Tamizhakam before the
Sanskritisation was a visual art which include dance and narration. It
may be the influence of Tamil tradition on Brahmanical tradition that
resulted in Kutiyattam as an art form of narration and performance.
Thus, the enactment of the drama has come to include narration, both
oral and gestures, especially in opening scenes, which recount the
previous story.14
Theyyams and Thiras are the ritual art forms in which the performer
manifests the presence of the God or the ancestors. These performers
have dual personality of one's self and that of God and narrate their
stories with dance and songs. Approximately the Kutiyattam also
derived from the same concept. The arrangement of Kutiyattam
performance similar to ritual arts help the performer to emote the
character based on puranic themes including the supernatural
characters.15

Thus, Pakarnattam (one actor assuming multiple roles) of

Kutiyattam formed through the use of the expanded possibilities of
Kerala folk tradition. The Kutiyattam has the influence of the body
shivering as part of ritual of Advasis and oracle. At the same time
Pakarnattam can present the individuality of actor as well as
characters.16 The body shivering as part of ritual based on Pakarnattam
like Theyyam and oracle can be seen as the important element of Desi
tradition. This structure also used by Chakyars to present more than
one character at the same time. But ability to emote separate characters
in classical arts especially Kutiyattam is a tough task which is acquired
through a long process. It cannot be seen in rituals or tribal art. But
Pakarnattam of Kuthu and Kutiyattam is a conscious effort, which is
different from Theyyam. Theatre is not a ritual but the dynamics of
rituals are utilised in it. 17

The Vidushaka of Kutiyattam has folk characteristics in many ways.

There are a number of folk dances performed by the Vidushaka. These
include the peacock dance and another nonsense dance called
Kunthanattam. He uses the Malayalam language in the Nirvahana and
employs the most devastating type of humour and satire in the course
of his narration. The technique usually employed by the Vidushaka is
to imagine the spectators as actual characters belonging to the time
and space frame of thę story and alluding to contemporary topics in a
seemingly innocent narration of the original story. This techniques is
nowhere mentioned in Natyasastra but is found in many folk arts of
Kerala. The repertoire of the Vidushaka is more or less same to all the
plays except, of course, the recounting of the previous story which
varies from play to play. These seem to be the result of the direct

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316 IHC : Proceedings, 74th*Session, 2013

influence of the traditional folk discourse prevalent in ancient

Tamizhakam.18

The Vidushaka erase the boundary between the stage and audience
by ridicule of the audience as living characters in drama and criticising
the contemporary society through irony.19 It is similar to the interaction
between the audience and performer in the folk arts like Theyyam Thira,
Mudiyettu , etc. There are one or two jesters ain the folk drama called
Kuthu. It is an art form of manifestation of folk culture which have
tribal original. This jester has quite similar with Vannak in Porattu
Natakam. In the latter case both man and woman perform as jesters.
Here also, the jester has no demarcation between stage and audience
while performing.20 It is intriguing to relate the role of Kooli in
Mudiyettu (a folk theatre form in north Kerala) to that of jester in
Kutiyattam. The character, Koimbada Nayar and Kooli (comic
characters in mudiyettu) in Mudiyettu helps to reduce the intense
feelings like fear, anger, and anxiety which characterise the entire
performance.21

The characters of the folk plays had given serious thought to the
choice of colour to project typical characteristics of man like Satvaguna
(good quality), Thamasika (evil characters), Rajasa (heroic, kingly
characters) and primitive nature. These colour combinations introduced
in a rather naïve manner by choreographers of folk plays have however
stood the test of time. And they were adopted by Kutiyattam and other
later classical art forms.22

One of the typical folk characters in Kutiyattam is Surpanakha in

Ascharyachudamani whose costume is derived from the folk tradition.
Surpanakha speaks slang Malayalam also. She is pasted dark with
charcoal and her hooting in terrible voice resembles her with the evil
spirit presented in folk rituals of Kerala. She is shown as engaged in
reciting a song accompanied by clapping called Utkhattana , which is
also a folk performance. The scene of mutilation of Surpanakha is
enacted with great fanfare strongly suggestive of folk influence. In
this terrible scene, she enters the stage from the audience in the true
folk tradition and creates a great commotion in the atmosphere.23 It
suggests a relation with Kuruthi sacrifice in folk tradition.24
Many other characters in Kutiyattam like Bali in Balivadha , as
well as Sankukarna and Hanuman in Thoranayudhanka of Abhisheka
Nataka show the influence of local art forms of Kerala in their costumes
and manner of acting. In contrast with the main characters like Rama,
Arjuna and Jimuthavahana, these characters play less importance to
the nuances and subtleties of acting and stress the overall commotion
created by them definitely suggestive of a folk feature.25 The elements

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 Medieval India 3 1 7

like fighting, war, killing, roaring, viole

Kutiyattam , which are against the rules o
influence of folk arts like Theyyam , Thira, P
The factors providing the visual aids in t
from early art forms of Kerala like plays an
forms of Kavu may be significantly contribut
Sanskrit drama. Kathyayani, a character in T
ride the elephant circumambulation the tem
in Mudiyettu. In fact it can be considered a
culture in temple arts which worship the m
Outdoor performance developed in Kutiya
of folk tradition. The enactment of the
Nagananda where Garuda appears from the sky and lifts up
Jimuthavahana from the rock is performed outside the temple theatres.28
This mid-air suspension was a folk ritual called Garudan Thukkam
performed in a few Kerala Temples29 and the realistic presentation of
Garuda as a celestial object is still practiced in Tholppavakuthu , a folk
puppet theatre of Kerala and Tamil Nadu enacting puranic stories. It is
most probable that this innovation, not mentioned by Bharatha or other
authors, is due to the folk influence in Kutiyattam .30 Ninam (one
specially of the character of Surpanakha) and Parakhumkuthu (flying
performance) are two important folk traditions added in Kutiyattam in
12th and 13th centuries.31

Method of presentation in Kutiyattam adopts Kerala style. The

external part of its theatrical performance shows entirely which include
completely the Kerala identity except in sophisticated verbal and gesture
acting.32 All the terms including its name like Kuthu and Kutiyattam
and technical terms related with performances belongs to the vernacular
language.33 Popular folk dramas with their gorgeous costumes of many
splendid colour combinations may have attracted the erudite Sanskrit
scholars who may be drawn liberally from them in choreographing the
dramas. The colour combination of Kutiyattam commemorates the
colour structure of visual arts like Theyyam , Mudiyettu ,
Thirayattam,KalamezhuthuyQ'c.u
Many influences can be discerned in the costume of the Vidushaka,
a class by itself, which comprises a thick and buldging lower garment
and an Uththariya (a decorated long cloth with the ends look like full-
blown flowers) thrown over but kept rolled up at the back.35 There is
similarity between Dharika, the character in Mudiyettu with costumes
of the Chakyar in Kutiyattam ,36 The other character also wears lower
garments namely Pristha and Paithakam as well as tight upper garments
called Uppayam. There is similarity between Theyyam Kuthu

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3 1 8 IHC: Proceedings , 74th Session, 2013

( Daivakkuthu ) and Nangyar. In Theyyam Kuthu and Nangyar Kuthu

dancing girls did not use anklet.37
The make up of Kutiyattam is somewhat simpler, although the basic
colour symbolism is identical. The different type of make-up are the
Pazhitppa of slightly reddish colour used for heroes, kings and
Dhirodatha (good quality) characters; the princes like Arjuna,
Mithravasu and Rama use Pachcha (green-syam); the aborigines,
Asuras (one belongs to a clan of demigods treading the evil path) and
Surpanakha use the Kari (black); and characters like Ravana used the
Kaththi (literally knife i.e., basic red colour) with a pith-ball on the lop
of the nose; for gentle and graceful characters they were inspired by
the golden colour of Konna flower (the Indian laburnum, cassia fistula),
for women, Brahmans and sages allotted the golden hue. These are the
influences of folk culture.38 The manner of applying the Chutti (lining
by the rice flour paste) is not markedly different from Kathakali. The
ingredients used are identical and comprise turmeric powder, redarsenic,
vermilion (CHayilyam), charcoal, Indian blue, rice powder, red Techi
(the plant Inora Cöccinea) flower, grass, bamboo sticks, cork and the
outer covering of the areca nut, palm, etc. These indigenous items are
used in the make-up of characters of folk art forms of Kerala and these
are also adopted by Kuthu and Kutiyattam .39
The ornaments which stylised by engraved timber and weaving
costumes on the basis of this are formed from the concept of the
character manifestation of folk arts.40 The similarities are visible with
the crown used by the hero of Kutiyattam with the round shaped crown
of Theyyam, Thira and Mudiyettu .4| Generally the mask is used in the
traditional visual arts of Kerala. It is found in tribal dances as well as
the classical visual arts like Kutiyattam ,42
The influence of local customs and folk tradition is visible in the
conventions and procedures of Kutiyattam. For instance, the Chakyar
tie a red robe on his head to mark the ceremonial beginning of the
enactment. Red band is generally used in the martial arts of Kalari and
it is also the feature of Yathrakali (;an art form performed by Brahmans)*
and in the serpent worship called Nagapuja where a custom of wearing
red robe called Vasukiya exists. Similarly the head wear as well as the
use of betel leaves on the ear can be traced to local customs and folk
arts like Theyyattam. The thechi flowers widely used in the Kerala
rituals, are also profusely used in the custumes of Kutiyattam and
Chakyar Kuthu.43 The head gear and asana (the cloth around actors
loins is passed between his legs, and he fills out his backside with
frills of cloth) used by Chakyar are also similar with costumes of
Bhadrakali, a character in the folk ritual art form of Theyyattam. The
decoration of the stage with Nirapara (a vessel filled with paddy) and

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 Medieval India 3 ļ 9

tender coconut leaf can also be viewed as the remnant of Kerala

tradition.44

Melody instruments like Veena , flute, which find exhaustive

treatment in Natyasastra are conspicuous by their absence. The smal
pipe called Kurumkuzhal (a wind instrument) though technically
melody instrument is of very limited scope. On the other hand, the
rhythmic instruments like Mizhavu and Idakka are prominent and are
used throughout the performances. It is worth mentioning, in this
context, that Kerala's folk tradition is oriented towards rhythmic
instruments and less accommodative to melodious instruments.45 The
Kutiyattam uses the rhythmic structure found in Thayambaka and Melam
(a band of musicians).46 Similarities are found in the name of swaras
(tone) of music in Kutiyattam with the pans of Thevara Sangeetham
(music offering to deity) which existed in early tamizhakam.47 The
Kutiyattam also accepted the practice of the artists having a thorough
understanding of the music as in the case of folk drama named Kuthu
and Thottampattu (songs in praise of God).48
The art forms of Chakyar influenced the folk arts of Kerala also.
The influence of classical arts especially that of Chakyar Kuthu is
visible in the folk art called Vannan Kuthu which is held in the Kavus
of North Kerala. In early time the stories of Sangam works like Kannaki
and Nilakeshi were performed in the language which is much flavoured
by Chenthamil (literary language used in early medieval Kerala).49 The
Brahmanic ideology which later influenced it led to the inclusion of
hymns with Sanskrit and the stories of the epics like Kiratharjuneeyam ,
Panchaliswayamvaram, Ahalyamoksham , etc. Apart form this the
hymns which praises the Goddess in the beginning of Vannan Kuthuis
the best example of the classical influence. The Vannan Kuthu begin
by p-aising Gods like Ganapathi, Saraswathi, and Vishhu, similar
practice is found in Kutiyattam and Chakyar Kuthu also.50
The Vannan Kuthu in early period presented the epic stories and
Puranas in simple language and flavoured with humour. Later it became
Sanskritised which may be due to the influence of Chakyar Kuthu and
Kutiyattam. There is a tendency in Vannan Kuthu also to use the sub-
stories on certain occasions like that of the jester in Kutiyattam and
Kuthu.51 Devakuthu performed by women is a folk art which shares
similarities with Nangyar Kuthu*2
Ramavilliam Käzhakam is one of the socio-religious organisations
of the Thiyya community in Malabar. It is a non-Brahmanical institution
which has its own folk deities and rituals. The presentation of Theyyam
Kuthu at this Kazhakam may be a result of the influence of
Brahmanism.53 In Theyyam Kuthu a folk dancer performs Kuthu by

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320 IHC: Proceedings , 74th Session, 2013
imitating Chakyar Kuthu conducted in the Brahman temple. He wears
a small crown and same costumes relating to Theyyam dance. Folk
musical instruments like cymbals are played in the background. After
reciting some traditonal verses in propitiation of Gods such as
Ganapathi, Parvathi and Siva he narrates the story of Kiratham from
Mahabharatha. Further it is intended to popularise Hindu gods like
Siva and Ganapathi. Thus the performance of Kuthu may be introduced
in the Kazhakam due to Brahmanical influence.54

The above discussion helps us to understand the reciprocal

relationship between folk and classical art forms like Kuthu and
Kutiyattam. Kerala has its own indigenous cultural forms mainly folk
arts from its early stage. The relations of art and worship helps to unite
the ethnic group which propagate their culture to other sections of the
society. The Brahman invasion and their cultural domination led to a
new culture based on Sanskritic tradition.

An art form growing with some unique regional factors would make
specific features and characteristics. It provided regional identity. These
factors help the people to accept these art forms as part of their own
tradition. These special features and regional identity helped in the
existence of these art forms for many centuries. It is a similar case in
the historical growth and existence of Kuthu and Kutiyattam. It is
evident from our study that the Kuthu and Kutiyattam is a hybrid form
of Sanskritic and indigenous art forms. The Sanskrit theatre did not
exist in its original form in socio-cultural milieu of Kerala. So they re-
formed with folk elements, absorbing from indigenous folk art forms,
and became a unique art form. The costumes, make-up, stage
decoration, musical instruments, acting dynamics, incorporation of
some characters etc. acculturate form the folk arts to its fold helped to
enrich these Sanskrit theatre. The acculturation process and temple
ritual and patronage provided an uninterrupted existence and continuity
to classical theatre of medieval Kerala.

NOTESAND REFERENCES

1. C.Rajendran, 'Folk Element of Kerala's Sanskrit Theatre', C. Rajendran

Tradition of Natyasastra , New Bharatiya Book Corporation, New Delhi, 2
2. Idem, Rangapadam (Mai), Kerala Bhasha Institute, Trivandrum, 2009
3. Idem , 'Kutiyattathinte Desi Parambaryanť, Keli , No.53, April -May,
4. C. Rajendran, 'SamskrithaNatakathinte Kerala Padangal', Kerala Padana
January-March, 1994, p. 528.
5. Ibid., p. 530.
6. Anonymous author, 'Guru Ammannurinu Kalakeralathinte Adaram
April-May, 1992, p.57.
7. C. Rajendran, Rangapadam , p. 108.

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 Medieval India 3 2 1

8. Venu G, 'Kutiyattam: KEraleeya Natyasaili', Keli , N

9. Anonymous author, 'Guru Ammannurinu Kalakcral
10. C. Rajendran, 'Saniskritha Natakathinte Kerala Padanangal*. Kerala
Padanangal, p. 535.
11. K.P» Narayana Pisharoti (ed. And trans.), Bharathamuniyude Natyasastram (Mai.),
Vol.111, kerala Sahitya Academy, Thrissur, 1984. p. 339.
12. C. Rajendran, Samskritha Natakathinte Kerala Padangal', Kerala Padanangal, p. 535.
13. idem., 'Kutiyattathinte Desi Paràmbaryam'. Keli, No. 53, April-May, 1997, p. 60.
1 4. Idem., 'Samskritha Natakathinte Kerala Padailgal', Kerala Padanangal, p.535: Idem ,
'Folk Elements in Kerala's Sanskrit Theatre', Item (ed.). Living Tradition of
Natyasastra , p. 1 1 8.
15. Venu O., 'Kutiyattam: Keraleeya Natyasáili', Keli, pp,50-5I, N. Ajith Kumar,
Vamozhiyude Soundarya Sasìhram (Mai), Kerala Bhasha Institute, Trivatidrum. 2006,
pp. 155-158.
16. Anônynious author, 'Guru Ammannurinu Kalakcralathinte Adaram', Keli , p. 57/
17. Kavalam Narayana Panikkar, 'Desi Parambaryáthll Kutiyattathinte Prasäkthi'. Keli.
No. 53, April-May, 1997, p. 53; C.R. Rajagopalan, 'Pakarnattathinte
Chihnavijnaneeyanv, Ibid., p:63.
18. C. Rajendran, 'Folk Eléments in Kerala's Sanskrit Theatre', C. Rajendran, (ed.),
Living Tradition of Natyasastra, pp. 11 8- 11 9; N. Ajith Kumar, Vamozhiyude
Soundarya Sas tram, pp. 156-1 57.
19. C. Rajendran, 'Kutiyattathinte Desi Parambaryanť, Keli , p. 62.
20. Chummar Choondal, Karutha Kalakal (Mai), Kerala Folklore Academy, Thrissur*
1991, pp.76-78.
21. Raghavan Payyanadu, 'Mudiyettu', Raghavan Payyanadu, (ed.) Kerala Folklore
(Mai ), Folklore Fellows Malabar (Trust), Payyanur, 1997, pp. 169- 173; K G. Paulóse,
Kutiyattam Abhiyathinte Thudarchayum Valarchayum (Mai.), International Centre
for Kutiyattam, Trippunithura, 2001, p. 185.
22. M.K.K. Nayar, 'Kutiyattam', Gopinath Krishna (ed.), Kerala 's Arts and Culture ,
published by Gopinath Krishna, Trivandrum, 1990, p. 37.
23. C. Rajendran, 'Folk Elements in Kerala's Sanskrit Theatre', Idem (ed.), Living
Tradition of Natyasastra , p. 120.
24. V.J. Varghese, N. Vijayamohanan Pillai and Skaria Zakaria* (eds.), Anjöoruvarshathe
Keralam: Chila Arivadayalangal (Mai.), Association for Comparative Studies,
Changanasssery, Kottayam, 1999* p.231.
25. C. Rajendran, 'Folk Elements in Kerala's Sanskrit Theatre', Idem (ed.), Living
Tradition of Natyasastra, p. 120.
26. Idem , 'Kutiyattathinte Desi Parambaryanť, Keli , p.62; Idem, Rangapadam, p, 1 1 5.
27. V.J. Varghese, N. Vijayamohanan Pillai and Skaria Zakaria (eds.), op. cit., p. 23 1 .
28. C Rajendran, 'Folk Elements in Kerala's Sanskrit Theatre', Idem, (ed.), Living
Tradition of Natyasastra, p. 1 .2 1 .
29. V.J. Varghese, N. Vijayamohanan Pillai and Skaria Zakaria (eds.), bp. cit., p.231.
30. C. Rajendran* 'Folk Elements in Kerala's Sanskrit Theatre4, Idem (ed.), Living
Tradition of Natyasastra , p. 12 1 .
31. K.G. Paulóse, ' Kutiyattam Noottandukalilude', Keli , p. 57.
32. Madavur Bhasi, Malayala Natakavediyude Katha (Mai.), Chaithanya Publishers,
Trivandrum, 1996, p. 44.

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 322 IHC: Proceedings, 74th Session , 2013
33. Venu G., Aranginte Porulthedi (Mai ), Sahithya Pravarthaka Corporation, Kottayam,
2006, p. 144.
34. M.K.K. Nayar. 'Kutiyattanť, Gopinath Krisha (ed.), Kerala 's Art and Culture ,
published by Gopinath Krishna, Trivandrum, 1990, p. 38; C. Rajendran, Rangapadam
(Mai.), p. 82.
35. Kapila Vatsyayanan, Traditional Indian Theatre : Multiple Streams (1980), National
Book Trust, New Delhi, 2005, p. 30.
36. Raghavan Payyandadu, 'Mudiyettu' Raghavan Payyanadu (ed.), Kerala Folklore,
p. 167.
37 Madavur Bhasi, op. cit., p. 52
38. M.K.K. Nayar, Kutiyattanť, Gopinath Krishna (ed.), Kerala s Arts and Culture ,
published by Gopinath Krishna, Trivandrum, 1990, p. 37; Kapila Vatsyayanan,
Traditional Indian Theatre: Multiple Streams , p. 30.
39. Kapila Vatsyayanan, Ibid., p. 30; Chummar Choondal, Mudiyettu (Mai.), Kerala
Folklore Academy, Thrissur, 1981, p. 58; VenuG., Aranginte Porulthedi , p. 146; Devi,
Puthiya Bhagavathi Theyyam', Raghavan Payyanadu (ed.), Kerala Folklore (Mai.),
Folklore Fellows Malabar (Trust), Payyanadu, 1997, p. 168; M V. Vishnu Namboothiri,
'Kavu Theyyam Puravrithanť, Kumaran Vayaleri (ed.), Kavu Theyyam Puravritham
(Mai.), Shaithi, Sree Sankaracharya University of Sanskrit, Regional Centre,
Payyannur, 201CÍ, pp.! 1-12; E.K. Seena, 'Adivedan Theyyam Upasamskara
Viniinayangal', Kumaran Vayaleri (ed.). Ibid., p.45; Sheeba P.P., 'Mukhathezhuthinte
Sountharyalmakatha', Kumaran Vayaleri, (ed.), Ibid., pp. 68-76.
40. Venu G., Aranginte Porulthedi, p. 46.
41. C. Rajendran, Rangapadam , p. 60.
42. C.R. Rajagopalan, A Study of the Theatrical Aspect of the Masks in Theyyam,
Kummatti Thirappotham, Krishnanattam and their Relevance in Modern Theatre
Practice , Ph.D. Thesis, University of Calicut, 1993, p,l.
43. C. Rajendran, 'Folk Elements in Kerala's Sanskrit Theatre', Idem (ed.), Living
Tradition of Natyasastra , p. 121; Idem, Rangapadam , pp. 110-1 11, 59-60; Kerala
Varma Ammaman Thampuran, Kuthum Kutiyattavum (Mai.), Mathrubhumi
Publishers, Calicut, 1989, p. 37; Venu G., Aranginte Porulthedi , p. 146.
44. C. Rajendran, 'Kutiyattathinte Desi Prambaryanť, Keli, p. 60.
45. Idem, 'Folk Elements in Kerala's Sanskrit Theatre', Idem (ed.), Living Tradition of
Natyasastra , pp. 121-122; Idem , ' Samskrita Natakathinte Kerala Padangal , Vol. IV,
January-March, 1994, p. 530; Sebastian Joseph, 'Kutiyatta Parishkarathil Tholante
Sambhavanakal', Vijnana Kairali , Vol. XXVII, No. 2, March, 1996, p. 9.
46. C. Rajendran, 'Kutiyattathinte Desi Parambaryam', Keli , p. 62.
47. Ibid.

48. Chummar Choondal, Karutha Kalakal (Mai ), Kerala Folklore Academy, Thriss
1991, p.78.
49. Sumesh K., 'Vannan Kuthum Classical -Nadodi Parambaryavum', Keli , No. 11 7,
October-November, 2008, pp. 6-7.
50. Ibid.

51. Ibid., pp. 8-9.

52. Ibid., p. 9.
53. K.K.N. Kurup, Aryan Dravidian Elements in Malabar Folklore , Kerala Histori
Society, Trivandrum, 1977, p. 47.
54. Ibid.

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