PROGRAM CODE …………………..…….

COURSE CODE …………………………………

ENROLMENT NO
STUDY CENTRE CODE
REGIONAL CENTRE .………………………….

‘‘A STUDY ON THE ROLE OF PROMOTING TRADITIONAL FOLK

DANCE PADAYANI & CULTURAL TOURISM IN PATHANAMTHITTA’’

Project report submitted to the Indira Gandhi National Open University in partial fulfillment of
the requirements for the award of the Diploma in Tourism Studies /Bachelor’s Degree in
Tourism Studies. I hereby declare that this is my original work ad has not been submitted
elsewhere.

Signature of the candidate…………………..

Name of the candidate………………………….
Institutional Address, is any ……………………………
………………………………………………………………………………………………………
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Year………..

1
 CERTIFICATE

Certified that the project Report entitled (Topic of the project) ……………………………..
Submitted by (Name of the candidate)…………………………………………..
Is his/her own work and has been done under my supervision.
It is recommended that this project be placed before the examiner for evaluation.
(SIGNATURE OF THE SUPERVISOR)

Name:…………………………
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2
 ACKNOWLEDGMENT

I would like to express my special thanks of my IGNOU study center supervisor Mr. Ashok
V.T .Who gave me the golden opportunity to do this wonderful project of cultural tourism , in
‘‘A STUDY ON THE ROLE OF PROMOTING TRADITIONAL FOLK DANCE PADAYANI
& CULTURAL TOURISM IN PATHANAMTHITTA’’who also helped me in completing my
project Secondly I would also like to thank MS Seema , Who helped me a lot in finalizing this
project, with all the facility that was required.

Date Stejin Alex

3
 INDEX

SN.NO TOPIC PAGE.NO

1 INTODUCTION

2 CHAPTERIZATION

3 REVIEW OF LITERATURE

4 DESTINATION PROFILE OF
PATHANAMTHITTA
5 ANALYSIS AND INTERPRETATION OF
DATA
6 FINDINGS AND SUGGESTIONS

7 CONCLUSION

8 BIBLIOGRAPHY

4
 CHAPTER 1
INTRODUCTION

Tourism is classically regarded as travelling for recreation although this definition has been
expanded in recent years to include any travel outside of one’s normal working or living area.
The tourist originated when large numbers of middle class people began to joint aristocratic
travelers. As societies became wealthier, and people lived longer, it became not only possible bur
probable that lower middle and middle class people steadily employed would retire in good
health and with some significant savings.
Cultural tourism is the subject of tourism concerned with a country or regions culture especially
the life style of the people in those geographical areas, the history of those people, their art,
architecture, religion and other elements that helped scope their way of life.
.
TOPIC OF THE STUDY
‘‘A STUDY ON THE ROLE OF PROMOTING TRADITIONAL FOLK DANCE PADAYANI
& CULTURAL TOURISM IN PATHANAMTHITTA’’

OBJECTIVES
• To find out the present scenario of Padayani.
• To identify the problems faced by Padayani.
• To Analyze & Suggest measure for promoting Padayani.
• To find out the presence of other cultural tourism in Pathanamthitta.

RESEARCH METHODOLOGY

PRIMARY DATA COLLECTION:

Primary data was collected by preparing a well-structured questionnaire which is meant to find
out the present scenario of Padayani and to understand the problems faced for promoting
Padayani & also to find out the other cultural tourism in Pathanamthitta.

5
SECONDARY DATA COLLECTION:
The Literature provided by the Dept. of culture, Statistics provided by the department of tourism,
various magazines, Journals and News papers etc. were referred to collect secondary data

LIMITATIONS OF STUDY
a) Lack of time
b) Lack of accurate information and materials
c) Lack of co-operations from some authorities

6
 CHAPTERIZATION

CHAPTER – I INTRODUCTION
This chapter consist the introduction, objectives of the study, methodology, limitations and
chapterisation.

CHAPTER – II REVIEW OF LITERATURE

This chapter deals with cultural tourism and reason for the growth of cultural tourism.

CHAPTER– III DESTINATION PROFILE

This chapter deals with historical aspect of Padayani , destination , The Presentation , Myth
behind Padayani , Rituals of Padayani:- Choottuvaippu , Edathu Varavu and Ezhuthi Thullal ,
Thavadi , Pulavritham and Thappu Melam , Vinodam , Adavi , Pooppada ,Valiya Padayani,
Padayani Kolams :- Bhairavi Kolam , Ganapathy Kolam , Marutha Kolam , Kaalan Kolam ,
Pakshi Kolam , Yakshi Kolam , Manushya Kolam, Musical Instruments, Making of Padayani
Kolams, Problems faced by the Padayani and suggest measures for promoting Padayani ,
padayani training centres (kalari), centers location, Other Cultural tourism in Pathanamthitta &
Accessibility etc.

CHAPTER – IV ANALYSIS AND INTERPRETATION OF DATA

This chapter represents data collection method. it analysis and interpretations

CHAPTER - V FINDINGS & SUGGESTIONS

This chapter identifies the findings on the data interpretedand made the suggestions based on it.

CHAPTER – VI CONCLUSIONS

APPENDIX

BIBLIOGRAPHY

7
 CHAPTER – II
REVIEW OF LITERATURE

CULTURAL TOURISM

Cultural tourism has a long history, and with its roots in the Grand Tour is arguably the original
form of tourism. It is also one of the forms of tourism that most policy makers seem to be betting
on for the future. The World Tourism Organisation, for example, asserted that cultural tourism
accounted for 37% of global tourism, and forecast that it would grow at a rate of 15% per year.
Such figures are often quoted in studies of the cultural tourism market (e.g. by water, 1993), but
are rarely backed up with empirical research.

REASONS FOR THE GROWTH OF CULTURAL TOURISM

Discussions about the growth of cultural tourism have ranged from the highly theoretical to
extremely practical approaches. First I want to outline one of the most important theoretical
issues, namely the development of culture and tourism in (post)modern societies.
In theoretical terms, the relationship between tourism and culture illustrates that the current
cultural tourism market represents the latest phase in a long standing process of convergence
between culture and tourism. In the past, culture and tourism were seen as being separate spheres
of social practice, undertaken by distinct social groups at specific times. As John Urry (1995) has
noted, however, the barriers between culture and tourism are disappearing as a result of two
parallel processes:

1) THE CULTURISATION OF SOCIETY

Everyday life is increasingly characterised by a de-differentiation of previously distinct social
and cultural spheres, with the emergence of an economy of signs, the convergence of ‘high’ and
‘low’ culture, ‘art’ and ‘life’. Objects and people have become increasingly mobile, and
boundaries between previously distinct cultures are increasingly being eliminated.

8
2) THE CULTURISATION OF TOURIST PRACTICES
Tourism has attained a greater cultural content, most obviously through the growth of cultural
tourism, but also through the increasing significance of signs in the production of tourist sites.
Not only do tourists consume a wide range of signs during their holidays, but the signs attached
to travel are increasingly produced and circulated by the cultural industries.
The production and consumption of signs and symbols obviously forms an important part of both
of these processes of the culturisation of tourism. We might therefore be able to argue that
tourism itself has become a culture, or a 'way of life' to quote the most frequent usage of the
term. If tourism, like other sectors of social life, is becoming more cultural and is itself becoming
a form of culture, is it still possible to talk about a distinct form of 'cultural tourism'? One might
argue that all tourism is cultural - and in fact some of the definitions presented later imply this is
the case. If so, it is little wonder that cultural tourism appears to have grown.
However, the number of people actually visiting cultural attractions has also grown, indicating a
very practical outcome of the culturisation of society. According to the European Heritage
Group, attendance at museums, historical monuments and archaeological sites has doubled
between 1977 and 1997 (European Commission, 1998). Other estimates indicate that between
1982 and 1995, the attendance at museums and monuments across Europe grew by about 25%
(Richards, 1996). This growth in cultural tourism can be explained in terms of both demand side
and supply side factors.
In terms of demand, one of the most important arguments advanced is that there is an increased
interest in culture in society as a whole. This obviously links to the idea of the culturisation of
society. However, recent research on cultural tourism in the Netherlands has tended to suggest
that tourists are not particularly any more interested in culture than they were in the past. De
Haan (1997) argues that more tourists are visiting cultural attractions today simply because there
are more tourists, not because tourists in general are any more 'culturally interested'.
Perhaps a more convincing argument is that levels of 'cultural capital' or cultural competence
have increased in society as education levels have risen. The number of people entering higher
education in Europe is about three times as high today as it was 30 years ago. This means that
more people are in a position to interpret and appreciate the culture presented by 'high' cultural
attractions such as museums, theatres or the opera. This effect has been demonstrated very
clearly for attendance at museums in France, the UK and the Netherlands. It seems therefore that
cultural tourists do not necessarily consider themselves more interested in culture, but they are
consuming more high culture as their capacity to interpret it grows.
Another major cultural trend that has been important in the growth of the heritage industry has
been the growth of nostalgia. The increasing pace of life and the feeling of disorientation and
loss associated with modernity has ensured that the preservation of the past has become big
business. Membership of organizations dedicated to heritage preservation has grown
considerably in recent decades. The growth of nostalgia is also related to the aging population in
Europe and elsewhere. Many commentators have argued that as people get older, their feelings

9
of nostalgia increase, and they are more likely to visit heritage attractions related to their own
past.
It seems that the combination of nostalgia for the past, the need to reassert national and local
identities and the perceived economic benefits of cultural development have had a dramatic
effect on the supply of cultural attractions. In addition to the demand factors driving cultural
tourism growth, there have been a number of important drivers that related to the supply of
cultural attractions. Tourism in general and cultural tourism in particular have come to be seen as
major sources of jobs and income. In addition, cultural tourism is widely viewed as a growth
market, and this has stimulated many regions and countries to promote cultural tourism as an
economic development tool.
One reason why cultural tourism in particular is a useful development tool for so many regions is
the fact that every place has culture it can develop - unlike the development of beach tourism,
which requires at least a coastline. The plentiful supply of cultural objects can also create major
funding problems relating to the upkeep of historic structures and cultural venues. The solution
to the funding problem may also be seen in the development of cultural tourism.
At the EU level, culture is viewed as an essential resource that not only provides work but which
can also develop cultural harmony within the European Union. Cultural tourism and cultural
attractions have also become central to much of the regional economic development activity
financed by the European Commission.
One of the consequences of increasing public sector intervention in cultural tourism has been a
vastly increased supply of cultural attractions in recent years. In Europe, for example, the
number of cultural attractions is estimated to have grown by over 100% in the past 20 years,
actually outstripping the growth of demand. Richards (2001) has therefore argued that the growth
of cultural tourism may actually be more supply driven than it is stimulated by a growth in
demand for culture. This is a point which also becomes important from the point of view of
defining cultural tourism. Many definitions of cultural tourism, as we shall see, have tended to
emphasize its broad scope or the number of cultural tourists, rather than concentrating on the
'essence' of the cultural tourism experience.

10
 CHAPTER – III
DESTINATION PROFILE OF PADAYANI, PATHANAMTHITTA

HISTORICAL ASPECTS OF PADAYANI

Padayani, also known Padeni (from the Malayalam word for military formations), is a traditional
folk dance and a ritual art from the central portion of the Indian state of Kerala. A ceremonial
dance involving masks, it is an ancient ritual performed in Bhagavati temples.The dance is
performed in honor of Bhadrakaali.Meaning, a 'row of warriors', Padayani is an art form that
blends music, dance, theatre, satire, facial masks, and paintings. It is part of worship of
Bhadrakali and is staged in temples dedicated to the goddess from mid-December to mid-May.
Padayani is unique to central Travancore, comprising the Pathanamthitta and kottayam districts
of Kerala. Padayani is regarded as a remnant of the Dravidian forms of worship that existed
before the advent of Brahmanism.
Padayani is like Theyyam in north Kerala. The percussion instruments used in Patayani are
patayani thappu, chenda, para and kumbham . Padayani is a ritual theatre art form related to the
Goddess temples in the Central Travancore regions of Kerala. Performed at night in the temple
premises, the rituals of Padayani are a symbolic act for pleasing the Goddess Bhadrakali whose
fury remains unabated even after her victory over the mythical demon, Darikan. The duration of
the festivals varies from seven to 28 days according to the number of villages participating and
organising it.
The word Padayani evolved from the combination of two Malayalam words Pada and ani, which
means a group of soldiers and rows respectively. Padayani, which means 'row of warriors' is
believed to have been performed by warriors trained in Kalaripayattu to display their strength
and chivalry in order to frighten their enemies from the southern part of Travancore. Thus this art
form traces back to the rich martial art tradition of Kalaripayattu.
It is also a thanksgiving for a good harvest which the villagers believed was not possible without
the blessings of Gods and Goddesses. In its spirit and content, Padayani takes the form and style
of an epic theater. It also characterises an act of purification carried out by the villagers in all
devotion to ward off evil forces.
THE PRESENTATION
11
The Padayani dance astonishes the audience with its splendid theatrical values. The ritual of
Padayani begins with the Choottuvaipu or lighting of the fire which is followed by a dance
performance in the precincts of the temple. The performers wear colourful masks and spectacular
headgears called Kolams (effigies) which represent various Gods and Goddesses. The major
accompaniment is Thappu, a one-sided drum. The performer attains a frenzied trance during the
dance. There are different varieties of Kolams to represent each distinct figure like Yakshi,
Pakshi, Kaalan, Kuthira, Maadan, Marutha, Pisach, Ganapathi, Bhairavi, and Kaanjiramaala. The
materials for the make-up for these kolams are obtained from nature like for example the spathe
of areca palm, tender coconut leaves, terra-cotta powder, charcoal, and turmeric powder.
The language used in the performance is very evocative.
The essential parts of Padayani are Kolamezhuthu, Kolamthullal, Kolappattu, Thappu
Melam and Vinodam. Kolappattu is the song which accompanies the performance which
includes prayers, admirations, and requests to the deities. Thappu is an 'Asuravadya' made by
covering around the frame of Jacktree hardwood with buffalo hide. In kolamthullal, the

12
performer makes rhythmic footsteps in tune with the kolappattu and the thappu
melam. Vinodam includes satire and protests targeting social evils and vanities.
MYTH BEHIND PADAYANI

In Padayani too, the story part is related to the arduous battle between Goddess Bhadrakali and
the demon Darikan which also forms the base of various other artforms. In the epic, it is said that
the demon Darikan was an ardent devotee of Lord Brahma. And from Him, he received a boon
that he could be killed only by a woman, that too without spilling a drop of blood. If a single
drop spilled, a thousand Darikans would arise from it. With this boon, the demon is convinced
that he can neither be killed and so wreaks havoc all over Earth and heaven. Left with no other
option, Lord Shiva opened his third eye and created the fierce Goddess Bhadrakali. She travelled
on the back of a demon called Vethala and confronted Darikan. The Goddess suffered a few
setbacks at first but finally defeated Darikan and drank all his blood without letting it drop to the
ground. She also wore the head of the demon as an ornament. Even after killing the demon, the
Goddess’s fury unquenched and Lord Shiva sent Ganapathi and Nandi in the form of children in
front of the enraged Kaali. On seeing the children, her mind was filled with motherly love and
Padayani is performed in the glory of this Mother Goddess.
It is also said that the myth of Padayani is not the victory of Kaali over Darikan, but the victory
of Lord Shiva over the uncontrollable and destructive power of Kaali.
RITUALS OF PADAYANI

13
Padayani is usually performed in the Malayalam months of Makaram, Kumbham,
Meenam, Medam, and Edavam which approximately correspond to January, February, March,
April, and May. Several religious rituals and rites have to be performed along with the
performances of the Padayani dance. These rituals may vary from temple to temple, but
differences are only with regards to the details.
The ritual of Padayani, in ancient times, began with the Marar coming with the sacred lamp and
the Oorali (Oracle) performing a ritual dance. The Goddess appears on the Thidambu carried by
the priest which was taken out of the temple to visit the houses in the village. This is
called Parayeduppu. As the festival is related to the harvest, people offered paddy and money to
the Goddess. Once all the houses are visited, the Thidambu returns in a ceremonial manner.
Once the Thidambu reaches the temple, the Padayani event is announced. The announcement is
carried out by the drumming of the Thappu by the Padayani master.
RITUALS OF PADAYANI
 Choottuvaippu
 Edathu Varavu And Ezhuthi Thullal
 Thavadi
 Pulavritham And Thappu Melam
 Vinodam
 Adavi
 Pooppada
14
  Valiya Padayani

CHOOTTUVAIPPU

The very first ritual which happens in the Padayani Kalam, the arena where the performance is
held, begins with Choottuvaippu or burning of torches made of dry coconut leaves and is
followed by the drumming of the Thappu by the Padayani master. It is believed that the
drumming invites the Goddess to the Padayani Kalam. Next is the Chootu
Valathu (circumambulating the temple with the burning torches). It is then followed by the ritual
of Kotti Vilikkal or Vilichariyikkal, in which the Goddess is informed about the weeklong
performance. During the first two days of the festival, only these rituals are performed.
EDATHU VARAVU AND EZHUTHI THULLAL
On the third day onwards Padayani commences, it begins with the drumming of Thappu, a
percussion instrument. The Kolams coming from different regions meet at a place and are taken
to the Padayani Kalam accompanied by the Chenda Melam and Aarppu vili (boisterous cheering
on auspicious occasions). This is known as Edathu Varavu (Procession). The method of dancing
with the kolam tied to the body of the performer is called Ezhuthi thullal.

The first Kolam to come in the Kalam is the Ganapathi Kolam which is also known as
the Pisachu Kolam in some places. In certain places, the kolams of Marutha, Anthara Yakshi,
Pakshi, and Madan are also presented along with the Ganapathi Kolam.

15
The Oracle appears around this time to bless the people.
THAVADI

Dance movements that are gentle with synchronised movements of the hands and the feet,
following the rhythmic beats of the Ilathaalam or cymbal and Thappu mark the beginning of
Thavadi dance. Thavadi dance is one of the rituals in Padayani, performed by a group of men
wearing towels wrapped around the head. They are accompanied by one or two dancers wearing
the masks of Appoppan, Ammumma or Maramotha. The main performer moves in front taking
the steps and holding the kaimani. This kind of Thavadi is known by the name of Ner Thavadi.

Pannathavadi is another kind of Thavadi dance popular in some places. In this two groups of
dancers (Ner Kara and Poi Kara) perform the dance facing each other. The costumes of the two
groups will differ slightly. The musical accompaniments for Ner Kara dancers are Thappu,
Thakil, Maddalam, and Kuzhal. The other team with funny instruments made from coconut
leaves and arecanut leaves to mock the real instruments.
PULAVRITHAM AND THAPPU MELAM

An important ceremony held on the third day of the festival is the ritual of Pulavritham. It is also
known by the names of Pula Nrutham, Pulanritham Kali or Pula dance. All the performers
covering their head with a towel or a cap made of spathe starts to sing and dance with devotion.
It begins with a hymn sung in praise of Lord Ganapathi. The harmonious dance steps remind one
about the agrarian culture of Kerala.

Pulavritham is followed by the ceremony of Thappu Melam. For Thappu Melam there will be a
minimum of five men to play the Thappu. Two persons with Ilathalam (cymbals) accompany the
melam. Once Thappu melam reaches a crescendo other musical instruments like Chenda, Kuzhal
and Kombu will join the melam. This kind of musical performance is known by the general
name, Kappoli. During olden days, in some temples instead of Thappu Melam they used to
perform Valiyamelam (an orchestra which includes more than five instruments) and is rare now.
VINODAM

When Kappoli is over, the performance of Kolam begins. The first to come is the Kuthira Kolam
which is followed by the dances of kolams like Sundara Yakshi, Marutha, Antara Yakshi, Kalari,
Yakshi and Bhairavi. In the midst of these heavy performances, comic and entertaining items too
appear. These comic episodes in between the Padayani performance are known
as Vinodam. Mainly there are two popular comic interludes, one is the Vella Paradeshi and the
other is the Chuvanna Paradeshi.

16
 ADAVI

Adavi, which means forest in the regional language, is the most important ritual of the Padayani
festival. Adavi is held mostly on the third, sixth or ninth day after the Kolam thullal.

It is believed that the ritual of Adavi is a symbol of the tradition of environmental conservation.
For the Adavi ritual, devotees make a fire on the temple premises and take out a procession to
the temple precincts carrying a palm tree or bamboo tree. Para, a percussion instrument, is the
main musical instrument. The ritual of breaking the tender coconuts with a Pana stick, known
as Panayadi is also held. With tree twigs, devotees create a Panthal (stage), known
as Adavipanthal, which does not have a roof. Once the Panthal is ready, the men who take part in
the ritual after having purified though by ablutions wrap themselves in fresh thorny rattan plants;
they roll on the ground, despite bleeding all over. Devotees consider the blood oozing out of their
bodies to be an offering to the presiding deity, Bhadrakaali. This ritual is known by the
name Chural Urulicha.

The performance of Pakshi Kolam is another major attraction on the Adavi day. The rituals of
Adavi begin only after the Athazhapooja or after midnight.
POOPPADA

A ritual in which a performer who acts as a Kaniyan (astrologer) performs

the prasnam (astrological calculation) is ritual of Pooppada. A boy with his head covered with a
cloth, holding a Pookkula (arecanut flower) in hand is brought to the Kalam. He dances to the
songs accompanied by Udukku and Maddalam (two percussion instruments). A comic interlude
of Konan or Vidushaka is also performed along with this.

VALIYA PADAYANI

The most important day of the Padayani festival is the Valiya Padayani. It is also known
as Koottakkolam. The Padayani conducted and performed from the Adavi day to Valiya
Padayani day is known as Edappadayani. On the last day of the festival, all rituals held from the
first day is repeated starting from the Thappu Melam, Thavadi, Pulavritham, Paradeshi and
Kolam thullal. The kolams are taken to the temple as a procession and this is
called nirathi thullal. There are usually five Bhairavi kolams, the most important of all kolams, of
different sizes. On the two sides of Bhairavi kolams will be the kolams of Antara Yakshi,
Sundara Yakshi, Kalari, Ambara yakshi and other minor kolams. Finally at daybreak comes the
Mangala Kolam, who will apologise to the Goddess for any faults that happened during the
Padayani festival performance takes place. In most places, Bhairavi and Kanjiramala are
considered as the Mangala Kolam. Valiya Padayani concludes with the artistes and the devotees

17
singing Vallappattu, seeking divine blessings.

PADAYANI KOLAMS

Kolam Thullal (dance of the effigies) is one of the most fascinating aspects of the Padayani
festival. The frenzied dance of kolams in the arena of Padayani is a highly theatrical
performance. These kolams are generally prepared in the vicinity of the temple using green
spathes of the arecanut tree and Kuruthola, the tender coconut leaves. The green portion of the
spathes is cut into different sizes and shapes to form the face and headgear of different forms of
the Kolams. These pieces then ornamented using natural colours like red, yellow and black. The
paint used for the same are Red paint, obtained from grinding red stones; black from the soot of
burnt coconut shells (chiratta) and yellow paint, derived from grinding turmeric (manjal). The
white colour is obtained by polishing the green spathe. To maintain the freshness of the spathe
all the kolams are made just before the performance. The biggest one, representing Goddess
Bhadrakaali, is made of 1001 pieces of spathe. During the festival season, one can see the whole
village take part in the making of these kolams, an image of unity in diversity.

18
PADAYANI KOLAMS
 Bhairavi Kolam
 Ganapathy Kolam
 Marutha Kolam
 Kaalan Kolam
 Pakshi Kolam
 Yakshi Kolam
 Manushya Kolam

BHAIRAVI KOLAM

Bhairavi Kolam at Elanthoor

The biggest and heaviest among all the kolams is the Bhairavi Kolam, which represents the
Goddess Bhadrakali. Usually, this is the last kolam to perform in Padayani festivals. There will
be five Bhairavi Kolam of different sizes in a performance.

The structure for Bhairavi Kolam is made of panels of arecanut tree and bamboo. The skeleton of
the kolam is made out of thin smoothened strips of arecanut wood. The next step is to attach the
spathe cuts, painted and decorated in different sizes accordingly. The facial expression of the
Goddess is anger. The smallest Bhairavi kolam is made up of sixteen spathes and the largest is

19
made of 101 spathes and is about eighteen feet high. The Kolam also wears two ornaments, one
is the Nenchu Mala (worn on the breast) and the other is the Arathali (waist ornament). Elephant
and lion figures are painted on spathes which represent the ears.

In certain places, 1001 spathes are used for making the Bhairavi kolam. And these kolams are
brought to the temple in chariots and the procession is known as Chattathil Kolam.
GANAPATHY KOLAM

This is first kolam to perform in the Padayani Kalam. It is also known by the name Pisachu
Kolam. The mask of Ganapathy Kolam is made of a single arecanut spathe and has a chain made
of another leaf. The Kolam wears white dhoti and tender coconut leaves are tied around it like a
skirt. While performing it holds two chootukatta (burning torches). This kolam is performed to
please the pantheon of spirits. It is also known as the Ganapathy Pisachu Kolam.

There is another Ganapathy Kolam, which is rarely staged now. Also known by the name
Sivakolam, it has a headgear called Shivamudi and a comical hat. The face is made up in green
and a skirt made of Kuruthola with red silk above it is worn. It also has a single tusk. The songs
describing the birth of Lord Ganapathy are sung in a fast rhythm. Of late, in many places
Ganapathy Pisachu Kolam is mistakenly staged as Ganapathy Kolam.

Marutha is the Mother Goddess of the village or Kara and is worshipped as the Goddess

20
Small Pox (vasoori). The mask is made of a single arecanut leaf and the face is made up of
charcoal powder mixed with oil and also has false teeth. The hair of Marutha Kolam is made
using kuruthola. It also has big chest chains and the costume is mostly green. Marutha Kolams
carry burning torches (choottukatta), sticks, Veeshu Pala (fan made of arecanut
leaf), murams etc. The dance of Marutha Kolam expresses various emotions of motherhood,
humour, and devotion.

Kari Marutha, Kalakeshi Marutha, Pacha Marutha, Pandara Marutha, Thalla

Marutha and Esanthan Marutha are the different types of Marutha Kolam performed in Kerala.

KAALAN KOLAM

A kolam which enjoys a kingly status among all Padayani kolams is the Kaalan Kolam. The
performer needs a great sense of rhythm and flexibility and in most places it is performed by the
master artist. The kolam wears a crown shaped headgear with three or five faces. Snakeheads
(Nagathala) are painted on both sides of the mask and face is painted in black. Sixteen spathes
are used for making this Kolam.

Wearing Kachamani on his legs, the skirt of the kolam is made of Kuruthola and red silk. In
right hand it holds a sword and a burning torch in the left. Chenda is the main drum used for this
performance. Songs telling the story of Markendaya from Shivapuranam is sung in most places.
In certain places, the story of Ajamila Mokasham and Siva Mahathmyam are also sung.

This kolam is also known by the name of Kalari Kolam.

PAKSHI KOLAM

Pakshi Kolam at Elanthoor

21
This Kolam is made in the form of a Pakshi or bird. Pakshi kolam is performed to prevent
children from a disease regionally known as Pakshibhadha, a disease believed to be caused by
birds. A beak made of arecanut leaf in the face is the identity of Pakshi Kolam.

Nenchumala and Aramala are the main ornaments. Red silk is worn on the waist and adorned
with Kuruthola. Wings are made out of tender coconut leaf after removing the eerkil (bony vein
of the leaf). In one of the songs of this Kolam, the story of Kamsa who is sending a pakshi to kill
the infant Lord Krishna is sung.
YAKSHI KOLAM

Yakshi Kolam
A variety of Yakshi kolams are staged in Padayani festivals of Kerala. The list of Yakshi
kolamsgoes on like Sundara, Anthara, Ambara, Arakki, Erinaga, Ayali, Maya, Kolana,
Muyali,Kodiyana, Thoomozhi and Kala yakshi. Each kolam has its own characteristic
feature,expression, and style of performance.

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 SUNDARA YAKSHI

The Sundara Yakshi Kolams represent exquisite beauty. The decorations of Sundara Yaskhi are
made of tender palm leaves. The kolam uses Nenchumala (chain), Aramala (waist chain), and
tender coconut leaf skirt and also holds kavukinpookula (areca inflorescence) in her hands.
Sundara Yakshi Kolams always perform in a group of minimum 4 and a maximum of 6 or 8
kolams.

ANTHARA YAKSHI

The Anthara Yakshi kolam wears a crown shaped mask. To make her costume it takes nine
spathes of areca palm. She wears a Nenchumala (chain) and Aramala (waist chain). She
holds kavukinpookula (areca inflorescence) in her two hands and also has a kachamani on her
legs. A tender coconut leaf skirt is the other feature. The face of the mask is painted
using Manayola (green paste) or Chayilyam (charcoal paste).

AKASHA YAKSHI OR AMBARA YAKSHI

The Goddess of Skies is represented through Akasha Yakshi. A curtain is used for the advent of
Akasha Yakshi to the arena. In certain temples, there was the custom of bringing Ambara Yakshi
in a palanquin. The costume of Akasha Yakshi is similar to that of Anthara Yakshi. The
difference is in the performance.

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Arakki Yakshi performance at Elanthoor
ARAKKI YAKSHI

Arakki Yakshi kolam is almost extinct now from Padayani stages. This kolam has a frightening
appearance. This kolam like other yakshi kolams does not have any caps. The space for the face
is cut out and the upper side of the face is made to project in a slanting manner. The face is
painted black. From other Yakshi kolams, the performance Arakki yakshi uses thullal mara (a
curtain)

MAYA YAKSHI

Maya Yakshi kolam represents the Goddess of both creation and destruction. The costumes of
Maya Yakshi are same as that of other Yakshi kolams, this is also a crowned kolam. The
performer carries a pantham (lighted torch) and vaal (sword) in its hands. Usually, the Kolam
Thullal ends with the dance of Maya Yakshi.

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Kaala Yakshi Kolam at Elanthoor
KAALA YAKSHI

Kaala Yakshi is the most terrible of all Yakshi kolams. The Kolam of Kaala Yakshi is made with
twenty-one spathes. Throughout the performance, fear is the dominant element. The face of
Kaala Yakshi is painted in black and it wears red silk skirt and above it, a skirt made of tender
coconut leaves and Ilanji flowers.
MANUSHYA KOLAMS

Manushya Kolams in Padayani act as Vinodam or comic interludes in Padayani performances.

Some of the popular comic interludes are:-

PARADESHI

Paradeshis are considered to be constant travellers who bring news from the entire world.
Paradesis are experts in reciting slokas, singing and performing different forms of dances. One of
the major performances of a Paradeshi includes the dialogue between the villagers and the

25
Paradeshi. There are two kinds of Paradeshi, one is the Vella Paradeshi (White Paradeshi) and
the other is the Chuvanna Paradeshi or Red Paradeshi.

VELICHAPPADU

A comic interlude in Padayani, the dialogue of the Velichappadu is in questions and answers.

THANGAL

A Muslim character, who comes with some soldiers to pray, does a group dance with swords and
shields. Their performance adds variety to the whole Padayani performance.

ANTHONY
Anthony, a Christian character, is derived from the story of a fisherman who helps people to
cross the river. He is also a comic interlude and he talks to the imaginary travellers and the
audience. He also imitates dances like Thiruvathira and so on. Usually, the Anthony performance
is like a one-man show.

KURATHI
Men disguised as women to perform the Manushya kolam of Kurathi. She comes amidst
fireworks with screams and shouts. She carries dry coconut leaves torches and a sword in her
hands. Kuravan (the spouse of Kurathi) follows her. This recital piece in Padayani is known as
Mudiyattam and Kaliyattam. Besides, there are so many Manushya kolams performing in various
parts like Ammommayum Appoppanum, Pattar and the Girl, Nayarum Namboothiriyum,
Namboothiriyum Valykkarum (Namboodiri and the servants), Gurum Shikshyanum (The Master
and the Disciple), Masappadi and Vyarippu, Kunjarikka Maharshi and so on.

MUSICAL INSTRUMENTS

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Very defferent instruments are using in padayani. Some Instrument used for Padayani only.
THAPPU
It is considered as an Asuravadya. A round frame is cut made from the hardwood of Jacktree.
One side of the frame is covered with buffalo hide using gum paste of ‘Panachicka’ and stone
powder. This instrument can be made beatable by a process called Thappukachu. Both the frame
and hide are warmed in a flame of firewood for hours. After that it was brushed with the leaves
of a herb named ‘panal’ and allowed to cooldown slowly. The process of warming and cooling
down are repeated several times. If the Thappukachu is done properly this instrument produces
the sound of a bell. Thappu is the most important vadya of padayani.
THAPPUMELAM
Thappumelam commences after Ezharanazhika (3 hours) since sunset. The artist sits on the
ground stretching his right leg. Thappu is placed on the knee. Left leg thumb is properly utilized
to keep the instrument is right position. Both the hands are used to beat Thappu Beating style and
beating zones of thappu vary with thalakshara. ‘Kakara’ are beaten with lefthand while thakara
are by right hand. Thappumelam advances in a pattern, Ganapathy, Koottakkappoli, Jeeva,
Valyaganapathy, Naluchempada, urulukayyu, thomthiminthaka, Edayam, Thakathakkan,
Thakathintheem. Systematic pattern of vaythari (orally renounced musical pattern) are strictly
followed. If there occur some error in Jeevabeating beloved, result is nothing short of death.
Kaimani accompanies thappumelam.
VALYAMELAM
It can be described as a joint performance of various instruments like chenda, Thappu, Kaimani,
Thamil, Kurumkuzhal. Valyamelam is often seen associated with Kurampala padayani alone.
This is also done after ezharanazhika since sunset. Towards end of the ‘kalayam’ of valya melam
kappoli commences. Use of various Aksharakala (Time bound beating), Cholkkettu and
Thalakriya are the features of valyamelam. Now days artists aware of the proper performance of
valyamelam are undoubtedly few in number.

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 CHENDA
On specify occasions, chenda is beaten in kolamthullal for Kalankolam, Arakkiyakshi,
Mayekshi, Antharayakshi and Kurathi; chenda is essential. At the time when kolam is brought to
stage and also during the ceremonial travel to chiramudi this asuravadya is used. In the lattercase
veekkan chenda is also beaten.
PARA
It is resembles Udukku in shape and can be beaten on both sides with thin rods. Para is beaten by
velan when the devotee rolls in thorny cane sound of conch accompanies para vadya.
KUMBHAM
They are bamboo sticks of varying length and are often used in Kuravarkali. Head of stick is
beaten on the flat surface of a stone to produce sound.

MAKING OF PADAYANI KOLAMS

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Like Padayani performance, it is equally interesting to watch the villagers effortlessly making the
Kolams or the masks worn by the Padayani performers. Kolams are made out of fresh green
spathe of the arecanut palm and the long tender coconut leaves (kuruthola).

Designed by the members of the Ganaka community and is executed by a group of villagers. The
green portion of the spathe is cut out in the required shape and size and is then smoothened. To
keep the freshness of the spathe all the kolams are made just before the performance. These cut
out pieces is elaborately decorated using paintings. The brush to paint this spathe is made out of
a small length of the stem of Kuruthola, one end of which is beaten and crushed to become a
brush.

The colours used to make these kolams are purely natural. The black colour is made from the
soot of burned coconut shells; red is prepared by grinding red stones. The yellow colour is made
from manjal (turmeric). The white colour is made out of using polishing the green spathe, so
there is no need for white paint. For green colour the spathe will not be smoothened where ever
the green colour is needed, the original colour is left untouched. Once the decoration is over,
they are joined together with the midribs of the blade of a coconut leaf. Some of these kolams are
worn out on the head as a headgear and some as masks for the faces of the dancers. The skeleton
for making the headgear is made of thin strips of smoothened arecanut wood. In some places, the
biggest kolam, representing the goddess Bhadrakaali, is made of 1001 pieces of spathe and is
carried on wheels.

All these kolams can be used only for a single performance and once it is over the kolam is
thrown away. Each year new kolams are made for the performance. Gods and Goddesses
represented in these kolams are Ganapathi, Marutha, Yakshi, Pakshi, Kaalan, Kuthira, Bhairavi,
Maadan, and Kanjira Maala.

PROBLEMS FACED BY THE PADAYANI & SUGGEST MEASURES FOR

PROMOTING PADAYANI
Kerala- the ‘God’s own country’ is a birth place for innumerable art forms filled with life and
social values. In addition to the level of worship or artistic presentations, they have the flavour of
life of old generations. These older generations are intellegant in finding art in their professions
and are able to do their work artistically. Un fortunately, the arrival of external cultures, their
influences and the developments of new trends destroyed the identity of the real tradition to a
large extent. The net result is the disappearance of several art forms. Many were in the situation
of deformation. Some are misinterpreted or unable to get the real flavour and beauty. Hopefully,
like glittering stars, some are still alive and active as the carriers of the real culture and tradition.
Such a remarkable and peculiar form is ‘padayani’- the well known ritual tradition of central
travancore in south kerala.
Just as other art forms, Padayani cannot be considered as a single art form with a given frame. It
is the name for a set of rites like ‘oorali thullal’ (a form of worship to please ‘maladeva’ - the hill

29
god, oorali is the priest of maladeva)’Vellamkudi’ (the ritual to please departed souls) and
village festival conducting annually in sacred groves as Bhagavathy temples. Thus it is a group
of rites and arts coming under are cultural flow. It is flourished and popularised on the bank of
the sacred river ‘Pampa’in south Kerala. Still it is active at this area and is mixed with the village
life thus it is an evident of the great ‘Pampa River Culture’
The term ‘Padayani’ has several interpretations. One is that it is the representation of a battle
array. It is connectd with the march of ‘Kali’ for the fight against the devilish king ‘Darikasura’
the item ‘Thavadi’ in padayani can be attached to this argument. Another one points out that the
festival sprangup from the meeting of soldiers at the intervals of battles for time pass. They used
witty remarks and humorous shows. To an extentit can be linked to the stires of padayani called
‘Vinodam’. The third argument it in the sense of creativity. It opines that everything in padayani
is related to the mighty creation. There are several factors supporting this idea firstly, according
to the belief, it is performed to cooldown the furious Kali. It is an escape from destruction and
formation of the normal life. Secondly this festival motivates complete purification of the
village. There is the cleaning of air, water, sky, earth and ultimately the human mind for getting
healthy generations, Thirdly, it is an agro-festival conducting at the interval of harvest and next
seeding,. It is thanking the mother for providing good harvest and a pray for prosperity in future.
There is a process of awaking the earth to receive seeds for next harvest is going through the
festival. The relevance of creation lies in these situations.
Apart from other rituals, padayani has a different structure. When other forms concentrates
mostly to the shrine, padayani brings the deity outside from the shrine or the sacred grove to the
middle of the society. Performances are the correct mingling of the deity with the people without
a priest or mediator. Padayani culture believes that the performances are to show the mother
goddess by the total village. It bring padayani to connect with the concept of total theatre. The
belief is that the mother is every where and she join with the people when they calls.
This festival survives as part of mother culture. In older times women have super position and
they are the reulers. This is a custom practiced by the living beings. The social orders of
honeybee is the best example , human societies also followed this system. Padayani is a
continuation of it. People belives that the mother is the protector and at the same time destructure
also. Destruction is the result of mistakes. To to overcome this, she must be pleased. They found
padayani as the solution for this.
The Rhythm Structure
Padayani is a treasure of traditional rhythms. Padayani society recognised the rhythm base of
atom to theuniverse the rites of Padayani starts with the application of particular rhythm to call
the deity. From here onwards in each and every performsnces there are rhythms of several forms.
The rhythm structure of padayani has very close resemblance to the hill structures of this area.
There is an intellegant copying of the nature. Sources of the development of rhythms, extensions,
mixing of two or more rhythms and making of new ones are the chracteristics of this tradition.
There is a rare rhythm called ‘Jeeva Thalam’ which is founded only in padayani, It is considered

30
as the rhythm of the soul. The frame and filling of rhythms are based on arranged syllables called
‘Vaitari’. many of them have such long syllables. It indicates its traditional structures.

PADAYANI TRAINING CENTRES (KALARI)

Kurampala Gothrakala International Padayani Foundation
It is a training centre for various folk and ritualistic art forms. Kurampala Gothrakala Sangham
Started in 2014 is later registered in 2016. Gothrakala sangham members of this kalari play key
roles in Kurampala Padayani. Padayani items like Kolamthullal, Kolappattu, Kolam Making,
Thappumelam, Vinodam (satire) etc. are well taught here. Velakali, etc. are also trained here
properly, Kalari performs Padyani throughout Kerala. It was Sri.Pandalam Narayana Pillai Aasan
who made remarkable efforts to popularise this unique ritual art among young generation and
kept the flame of this uncomparable folk culture without going extnguished.

Gothra Kala Peedam, Kunnamthanam

The very existence of Gothra Kala Peedom its objectives and tasks at hand are oriented towards
the sustenance and promotion of age-old temple rituals of Kerala like the Padayani,
Kalamezhuth, Mudiyettu and other rituals. These ritual art forms, unlike many other art forms of
Kerala receive the whole-hearted involvement of the local people, which makes them stand
apart.

Among the activities of the Gothra Kala Peedom are its efforts to promote projects involving
Padayani and also of other ritual art forms of Kerala; to provide training in Padayani; training
and promotion of tribal art forms; to assist research works on the history of Padayani; and to
implement welfare programmes for Padayani artistes

 Gothra Kala Kalari, Kadammanitta

 Sree Bhadra Padayani Sangham, Puthukkulangara
 Sree Bhadra Padayani Sangham, Njaliyil
 Sree Bhadra Padayani Sangham, Kadalimangalam
 Bhairavi Padayani Sangham, Kadalimangalam
 Sree Bhadra Padayani Sangham, Eraviperoor
 Ambikavilasam Padayani Sangham, Porittikkavu
 Sree Bhadra Padayani Sangham, Thelliyoorkkavu
 Sreedevi Padayani Sangham, Kuriyannoor
 Devi Vilasam Padayani Kalasangham, Naranganam
 Sreedevi Padayani Sangham, Kidangannoor

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  Sreedevi Padayani Sangham, Elanthoor

CENTERS
Padayani is being celebrated every year, in almost thirty temples of Alappuzha, Pathanamthitta
and Kottayam districts even today. But it was there in more temples in earlier years. As time
passed, the lack of competition among the villeges and able performers made this artform weak
and even stop in many villages. But the villages like Kunnanthanam and Thelliyoor rewamped
the very spirit of Padayani, after decades. In some places, Padayani is being performed with the
help of the performers of their neighbouring villages.
Padayani in each village has its own peculiarities. The time period, attire, Kolams..everything
will have some regional changes. For example, Kalamadan Kolam is performed in Porittikavu
and Kunnamthanam only. Chettamadan is seen in Kurampala only and Ambarayakshi is the
unique Kolam of Kunnamthanam.

ALAPRA THACHARIKKAL TEMPLE

Nearest town Erumeli

Date Date: Pooruruttadi to Rohini Day in Meenam Month
Specialties only one padayani centre in Kottayam District. Temple situated in Ponthanpuzha
forest

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 AYIROOR PUTHIYAKAVU

Nearest town Kozhenchery

Date Revathy day in Kumbham
Specialties Eduthuvaravu

AZHAKIYA KAVU TEMPLE

Nearest town Chengannur

Date Pooradam day to Aswathy in Kumbham (8 days)
Specialties four Karas : Umayattukara, Mepram, Mazhukkeer, Thaimaravumkara
Phone +91 479 2165068

ELANTHOOR BHAGAVATHIKKUNNU

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Nearest town Pathanamthitta
Date Makayiram in Kumbham to 8 days

ERAVIPEROOR THIRUNELLOORTHANAM

Nearest town Thiruvalla

Date Medam 1st (Vishu)
Phone +91 469 2670780

EZHUMATTOOR PANAMATTATHUKAVU

34
Nearest town
Date 25th Meenam 1st Medam

KADALIMANGALAM DEVI TEMPLE

Nearest town Thiruvalla

Date Choottuveypu commences on Pooyam day of Meenam month to the next 10 days. Padayani
starts on the 11th day (Thrikketta). The Final day willbe Utrattathi. Previous 2 days are
celebrated as chooral adavi. Kalayekshi on Revathi day.
Specialties Kalayekshi (burning coal gather in handfuls) & Chooral Adavi

KADAMMANITTA DEVI TEMPLE

35
Nearest town Pathanamthitta
Date 1st to 10th in Medam (Valiya Padayani 8th)
Specialties Kanjiramala Kolam, Oorali Padayani
Phone +91 4735 245824

KALLOOPPARA DEVI TEMPLE

Nearest town Thiruvalla

Date Revathy day and Aswathy in Kumbham month (2 days)

36
 KANJOOR DURGADEVI TEMPLE

Nearest town Harippad

Date 9 &10th day from festival
(Festival started nearest day of Tuesday or friday in Vrichikam 41)
Specialties Two Karas (Kizhakkekkara (valiyakuzhi) & Padinjarekkara (Kanjoor Kottackakam)
Pilla Theeni Kolam
KAVIYOOR NJALIYIL TEMPLE

Nearest town Thiruvalla

Date Ravathy day in Makaram
Specialties Ninabhairavi, Nagayekshy, Chooral Adavi

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 KIDANGANNUR PALLIMUKKATHU

Nearest town Aranmula

Date Pooradam day to Aswathy in Meenam

KOTTANGAL DEVI TEMPLE

Nearest town Manimala

Date Bharani day in Dhanu month to Makara Bharani Choottu vaypu Bharani Day in Dhanu
(28 days, Valiya padayani on Revathy, Aswathy in Makaram)
Specialties Division of two kara: Kottangal and Kulathoor Pana, Adavi, Aattuvela

38
 KUNNAMTHANAM DEVI TEMPLE

Nearest town Thiruvalla

Date Medam 1st to 7th
Specialties Ambara Yekshi, Kalamadan, Devatha Kolam
KURAMPALA PUTHENKAVIL DEVI TEMPLE

Nearest town Pandalam

Date 13 Days (once in 5 years)
Specialties Chooral Adavi, Vellayum Kariyum Kolam, chettamadan Kolam, Pana, Kelayekshi
(51 areca leaf sheath used), Ampalavum Vilakkum, Thulliozhikkal at chiramudi, Padayani
Vinodam
Phone +91 4734 250960

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 KURIYANNUR EDANATTUKAVU TEMPLE

Nearest town Kozhenchery

Date Bharani, Karthika & Rohini in Meenam Month (3 days)
Specialties Nina Bhairavi Kolam
MUNDANKAVU DEVI TEMPLE

Nearest town Chengannur

Date Revathy and Aswathy in Meenam month
Specialties Bhdrakali Kolam
Phone +91 479 2450508
NARANGANAM MADATHUMPADI

40
Nearest town Pathanamthitta
Date Kumbha Bharani (from 10 Days)

NEDUMPRAYAR THEVALASSERIL

Nearest town Kozhenchery

Date Uthram day in Meenam Month
Specialties Bhadrakali Theeyattu with padayani.

POTHERA DEVI TEMPLE

41
Nearest town Chengannur
Date Thiruvathira day in Kumbham to Meena Thiruvathira (last 10 days)
Specialties Chattathekkolam (1001 areca leaf sheath used this kolam)

ORITTIKKAVU DEVI TEMPLE

Nearest town Thiruvalla

Date Aswathy day to Rohini in Meenam month (4 days)
Specialties Kalamadan

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 PULLAD DEVI TEMPLE

Nearest town Kozhenchery

Date Bharani Day in Kumbham Month
Specialties Arakkiyekshi Kolam, Sivakolam, Velakali

PULLAD PARIYARATH TEMPLE

Nearest town Kozhenchery

Date Makam day in Medam

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 PULLAD THENGUMTHOTTATHIL

Nearest town Kozhenchery

Date Uthram day in Medam

THAZHOOR DEVI TEMPLE

Nearest town Pathanamthitta

Date Aswathy Day in Kumbham

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 THELLIYOORKAVU DEVI TEMPLE

Nearest town Kozhenchery

Date 5th to 10th in Dhanu Month in Dhanu Month
Specialties Chooral Adavi

THOTTAPPUZHASSERI POOZHIKKUNNU

Nearest town Kozhenchery

Date Bharani day in Meenam

VALAMCHUZHI DEVI TEMPLE

45
Nearest town Pathanamthitta
Date Revathy, Aswathy & Bharani days in Meenam

VETTOOR AYIRAVILLAN TEMPLE

Nearest town Pathanamthitta

Date Pooram Day in Meenam
Specialties Choottuvaravu

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 OTHER CULTURAL TOURISM IN PATHANAMTHITTA

PATHANAMTHITTA
Pathanamthitta is the smallest district of Kerala. The name Pathanamthitta is derived from two
Malayalam words “Pathanam” and “thitta”, which together mean "array of ten "family" houses
by the riverside".
It is the pilgrim center of Kerala, renowned for the shrine of Lord Ayappa in the Sabari Hills,
drawing millions of devotees from near and far off places. The district also is known as a center
for experiencing and learning some of the cultural as well as traditional practices of Kerala.
Kollam, Kottayam and Alappuzha form the adjoining districts of Pathanamthitta.
The district is frequented by visitors from India and abroad often for its water fiestas, religious
shrines and the cultural training centre.
Pathanamthitta town is located on the fertile banks of the River Achankovil.The name
Pathanamthitta is derived from two Malayalam words Pathanam and thitta, which together mean
"houses by the riverside". Pathanamthitta is a town situated in the very heart of the Central
Travancore region of Kerala State, India.It is the administrative capital of The Pathanamthitta
District. The town has a population of 38,000. It is known as the Pilgrim Capital of Kerala.
Pathanamthitta is a fast-developing town and business center. It is the main transport hub to the
famous Hindu pilgrim center of Sabarimala. The main trunk road to Sabarimala is from
Pathanamthitta. Pathanamthitta is a cosmopolitan town, with people of different faiths like
Hindus, Christians, and Muslims living in harmony. Pathanamthitta District has a commu nal
break up of Hindus 55.58%, Christians 40.35%, Muslims 4.03%.
Places around Pathanamthitta town within a distance of 15km include Kadammanitta,
Vazhamuttom, Pandalam, Manjinikara, Omallur, Malayalappuzha, Kodumthara, Muloor
Smarakam, Kodumon, Cherukolpuzha, Thumpamon, Maroor, Pramadom, and Valamchuzhy.
The places beyond these are Nilackal, Parumala, and Maramon. Pathanamthitta town lies on the
road route to the pilgrim town of Sabarimala, which is 65km away.
Parumala Church, Niranom Church, Trinity Marthoma Church Mekozhhor, Thiruvalla Shri
Vallabha Temple and a host of other temples and churches are present here. 6 km away from
Pathanamthitta, there is a place called Kadammanitta that is famous for its Devi Temple, and is
also the hometown of famous Malayalam poet Kadammanitta Ramakrishnan.
Pathanamthitta claims to be first district in India to achieve 100 percent literacy rate and it has
the lowest population growth rate in the country.

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 KAVIYOR ROCK TEMPLE

An ancient rock cut temple is located there, carved on a huge rock and the carved rooms and
sculptures are well preserved. The Kaviyoor Thrikkakkudi Cave Temple, also known as the
Rock Cut Cave Temple, is of historical importance and is preserved as a monument by the
Archaeological Department. The temple was taken over by the Travancore Devaswom Board on
December 20, 1967
The temple has a verandah with a sculpture of Lord Ganapathi carved into the wall and inner
sanctum containing a tall shivalinga, all carved out a one huge rock. It bears close resemblance to
the Pallava style of architecture. The engravings here are among the earliest specimens of stone
sculptures in Kerala. Enshrined in a square cave is the main deity of the shrine, Lord Shiva,
represented in the ' Shivalinga' which is about three feet high and carved out of rock. The shrine
also has idols of Ganapathy, Maharshi and Dwarapalakas. It was constructed during the rule of
the Pallava dynasty who reigned over South India from 608 to 850 AD

CHANDANAKUDAM

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Chandanakudam festival is celebrated in the mosques at Changanacherry, Erattupettah, Erumeli,
Thiruvananthapuram and so on. The ten-day Chandanakudam Festival, which begins on the first
of jama dul Akbar (March- April) of the Hijri Calander. The Chandanakudam celebration at
Beemapalli Mosque, Thiruvananthapuram, is a great undertaking. The Chandanakudam festival
is directed as a prelude to the notable Pettathullal
Pilgrims from different communties carry kudams with their top covered with cloth and a few
burning Bathis discharging scent from them and loaded with coins as offerings. They have a few
incense sticks likewise with them. These pots are secured with sandal wood paste (chandanam).
Hence it is named as 'Chandanakudam'. With this they move towards the place of worship. In the
night there is a vast procession headed by two caparisoned elephants. Fireworks presentation is
additionally a piece of the celebration. Various variety entertainments are hung on the occassion
like sword play, dance, music, show, kathaprasangam and so on.
Throughout Makaravilakku celebration, Erumeli in Pathanamthitta Kerala is well known for
Petta thullal and Chandanakudam celebrations. Chandakudam is likewise celebrated as a piece of
the Kodikuthu celebration at the Kanjiramattom mosque spotted in the Ernakulam region. The
celebration is likewise an open door for individuals to watch customary Muslim artistic
expressions like the Duffmuttu and the Kolkali.

ANANDAPALLI MARAMADI

Bull race, locally known as Maramadi is a post harvesting festival of Kerala, India. Almost 300
pair of bulls participated in this event on the particular day these pictures were taken.It is an

49
action filled event which causes many accidents but never lowers the spirit of participants
.Anandapally Maramadi is the famous festival in the small village of Anandapally that is near
Pathanamthitta district. This festival is held in the month of August-September; in this festival
the Bull Race carnival is commonly held. The race is held in the freshly ploughed vast stretched
paddy fields, this is used as a stadium and to cheer the participants the villagers gather around the
stadium. In the Anandapally Maramadi, the Ox Race Carnival the participants group a pair of
oxen which is managed by three People and this is considered as one unit. The race begins in the
afternoon and continues till dusk. There are 30 units that participate in the race
MANNADI

A historical museum, a statue of Veluthampi Dalawa and an open-air theatre are the major
attractions here. The Kerala Institute of Folklore and Folk Arts functions here.
The ancient Bhagavathy Temple at Mannadi has some exquisite stone sculptures. The annual
temple festival is held in February/March. Velu Thampi Dalawa, the former Diwan of the
Travancore Province, had committed suicide at Mannadi Temple, to avoid capture by the British.

AARANMULA KANNADI

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These unique metal mirrors are the result of Kerala’s rich cultural and metallurgical traditions,
and have great historical and cultural value and are even considered to bring good luck. Produced
by a single extended family in Aranmula, the origins of the Aranmula kannadi are linked with
the Aranmula Parthasarathy Temple. Legend has it that eight families of experts in temple arts
and crafts were brought by the royal chief to Aranmula from Tirunelveli district to work in the
Parthasarathy temple centuries ago on the mirrors.

The British Museum in London has a 45 centimeter tall Aranmula metal mirror in its collection.
The mirrors have received a Geographical Indication
The exact metals used in the alloy are unknown to people and is maintained as a Vishwakarma
family secret; however metallurgists suggest the alloy to be a mix of copper and tin. It is then
polished for several days in a row to achieve their reflective surface.They are considered one
among the eight auspicious items or “ashtamangalyam” that make up a Kerala bride’s trousseau.

ARAMULA VALLASADYA

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Valla Sadya is a celebration in the temple at Aranmula, Kerala, India. During the festival the
village conducts a snake boat race in thePampa River, and there is a feast at the temple. The
Valla Sadhya is conducted on Ashtamirohoni day. During Valla Sadhya, Lord Krishna, the main
deity worshipped in the temple, will come to take the offerings from people. The legend is that in
a Valla Sadya all dishes asked for must be given to the people in order to please the lord.

ARAMULA BOAT RACE

The Aranmula Uthrittathi Boat Race Is Considered As A Ritual Than A Race That Takes Place
On The Uthrittathi Asterism (As Per The Local Malayalam Calendar) During The Onam
Festival. There Is An Interesting Story Associated With The Boat Race That Makes It All The
More Beautiful.
Legend Has It That A Devout Brahmin Vowed To Offer All The Requirements For The
Thiruvona Sadya (The Grand Traditional Feast On The Day Of Thiruvonam) At The Aranmula
Parthasarathy Temple. Once, The Boat Known As Thiruvona Thoni Carrying These Offerings
Was Attacked By Enemies. In Order To Protect The Thiruvona Thoni People From
Neighbouring Areas Sent Their Snake Boats. Later On, This Practice Evolved Into An Offering

52
To Lord Parthasarathy In The Form Of A Snake Boat Race, Held On The Uthrittathi Day Which
Eventually Became Popular As The Aranmula Boat Race

MURAL PAINTING

Kerala mural paintings are the frescos depicting mythology and legends, which are drawn on the
walls of temples and churches in South India, principally in Kerala. Ancient temples, churches
and palaces in Kerala, South India, display an abounding tradition of mural paintings mostly
dating back between the 9th to 12th centuries CE when this form of art enjoyed Royal patronage.

SABARIMALA SREE AYYAPPA TEMPLE

Sabarimala Sree Ayyappa Temple is one of the most ancient and prominent Sastha temples in the
country. Located in the Western Ghat mountain ranges of Pathanamthitta district in Kerala,
Sabarimala Sri Dharmasastha Temple is one of the few Hindu temples in India that is open to all
faiths. The shrine of Sabarimala is one of the most remote shrines in southern India yet it still
draws three to four million pilgrims each year. Surrounded by mountains and dense forest
Sabarimala is believed to be the place where Ayyappan meditated. Perhaps the best known
pilgrimage destination in Kerala is Sabarimala. Sabarimala Sri Dharmasastha Temple is the most
famous and prominent among all the Sastha Temples. It is believed that "Parasurama Maharshi"
who retrieved Kerala from the sea by throwing his axe, installed the idol of Ayyappa at
Sabarimala to worship Lord Ayyappa.

53
The pilgrimage begins in the month of November and ends in January. The temple attracts
pilgrims not only from the southern states of India, but also from other parts of the country and
abroad. The shrine gets thronged with devotees especially during the main pilgrim season from
November to January. Mandala pooja (December12,2011) and Makaravilakku(Jan.15th,2012)
are the two main events of the pilgrim season. The temple stays closed during the rest of the year
except for the first five days of every Malayalam month and during Vishu (April).

HOW TO REACH PATHANTHITTA

BY FLIGHT
Trivandrum International Airport serves as the nearest airport to Pathanamthitta. It is located
nearly 120 km from the town and is well-connected to several major cities of India as well as
many the Middle East and South East Asian countries. You can easily avail a taxi from the
airport till the required destination. The Chipsan Aviation also operates regular helicopter
services from Cochin and Thiruvananthapuram to Sabarimala.
Nearest Airport: Trivandrum International Airport (TRV) - 88 kms from Pathanamthitta.
BY ROAD
Pathanamthitta is easily approachable through all the major town of Kerala via a well-maintained
network of roads. Private buses, as well as KSRTC buses, plies regularly within and outside the
town like Kochi, Trivandrum, Mangalore, Coimbatore, Kozhikode and Madurai. In fact, there
are direct buses that connect the town from the other major cities like Bangalore, Mumbai and
Chennai.
BY TRAIN
The nearest railway station to Pathanamthitta is Chengannur about 28 km away. Thiruvall is
another option to approach the town via rail which is situated at a distance of 30 km. Bus and
taxi both are available outside the station till town.
LOCAL TRANSPORT IN PATHANAMTHITTA
Pathanamthitta is a small town where there is regular influx of tourists and pilgrims in large
number. The transportation facilities in the town are plenty and according to everyone's budget.
The place offers a very efficient bus service and is an economical way to commute. Auto
rickshaws are also an option especially in case of commuting between the tourist attractions.
However, make sure you bargain as they tend overcharge the outsiders. Taxi is another best
option which is available at quite cheap rates. Car rentals are also easily available in the town
where you can self drive if well versed with the place. No matter whatever way of commutation
you choose, make sure you plan your trip keeping weather condition of the region in mind.

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 CHAPTER – IV
ANALYSIS AND INTERPRETATION OF DATA

TABLE – 1
DISTRIBUTION OF RESPONDENTS ON THE BASIS OF DURATION OF STAY

Duration of Stay Respondents Percentage (%)

Less than I day 18 60%

1-3 days 8 25%
1 week 3 10%
More than one week 1 5%
Total 30

Source: Primary Data

10% 5%

Less than I day

25% 1-3 days
60%
1 week
More than one week

INTERPRETATION: Regarding the duration of stay of the respondents at the destination, 60%
of them stayed less than one day while 25% of them stayed more than one day and 10% stayed
for a week and 5% more than a week.

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 TABLE – 2
DISTRIBUTION OF RESPONDENT ON THE BASIS OF MODE OF TRAVEL

Mode of travel Respondents Percentage (%)

Line bus 15 50%

Car 6 20%
Coach 7 20%
Others 2 10%
Total 30

Source: Primary Data

10%

20%
50% Line bus
Car
Coach
20%
Others

INTERPRETATION: 50% of the respondents visited Pathanamthitta through schedules line

buses operated by the private sector and the government sector, 20% of the travelers used four
wheelers, and also equal percentage of them came by coach, hired on contract basis and 10%
came by other means which included two wheeler and other supplementary transport means.

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 TABLE – 3
DISTRIBUTION OF RESPONDENTS ON THE BASIS OF TRANSPORTATION
FACILITIES, IF TRAVEL BY LINE BUS
Transportation facilities
(availability of seats, timings Respondents Percentage (%)
etc.)
Excellent 3 20%
Good 3 20%
Satisfied 4 26%
Poor 5 34%
Total 15 -

Source: Primary Data

20%
34%
Excellent
20% Good
Satisfied
26% Poor

INTERPRETATION: Regarding to satisfactory conditions of schedule buses in terms of

availability of seats , timing, punctuality, stoppages etc. only 18% termed it as excellent, 20%
termed it was good, 22% termed it as satisfactory and 30% attributed to the facilities as poor,
much of this regard was pointed to private bus operators.

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 TABLE – 4
DISTRIBUTION OF RESPONDENTS ON THE BASIS OF RESTAURANTS
FACILITIES

Restaurant Facilities Respondents Percentage (%)

Excellent 4 10%
Good 13 44%
Satisfied 11 40%
Poor 2 6%
Total 15 -

Source: Primary Data

6% 10%

Excellent
40%
Good
44%
Satisfied
Poor

INTERPRETATION: Regarding to satisfactory level of restaurant and food facilities near the
vicinity of Pathanamthitta only 10% of them termed it as excellent with 4% terming it as good
with a 40% just satisfactory and 6% Poor

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 TABLE – 5
DISTRIBUTION OF RESPONDENTS ON THE BASIS OF ACCOMODATION
RESTAURANTS FACILITIES

Accommodation Facilities Respondents Percentage (%)

Excellent 4 10%
Good 18 64%
Satisfied 6 20%
Poor 2 6%
Total 15 -

Source: Primary Data

6% 10%
20%
Excellent
Good
Satisfied
64%
Poor

INTERPRETATION: Regarding the accommodation facilities available their 10% of them as

excellent with 44% terming it as good and 40% just about exorbitant rents being charged by
hoteliers and lodging establishments without proper rent structures monitored by local
authorities.

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 CHAPTER - V
FINDINGS & SUGGESTIONS

FINDINGS

 Padayani celebrations usually fall during the Malayalam months of Kumbham, Meenam
and Medam (February, March and April).

 In South Kerala, this traditional art can be seen in temples in Kadammanitta, Kottangal,
Othara, Kunnanthaanam, Neelampeeror, etc.

 Padayani is an ancient ritual art form popular in the Bhadrakali Temples of Central
Travancore (mid-Kerala).

 According to mythology, this ritual art form commemorates the dance performed by Lord
Shiva and other Gods to pacify Goddess Kali, whose rage could not be quenched even
after she slew the demon, Darika.

 The main attraction of Padayani festivals is its theatrical procession called Kolam. The
frenetically pirouetting Padayani Kolams, in their over-sized headgears and masks,
performing the ritualistic dance to the rhythms of Kolappattu (songs) followed by the
rhythm of traditional percussions like thappu and chenda are an impressive sight to
behold.

 Padayani performances include a number of sessions like Kolamezhuthu, Kolamthullal,

Kolappattu, Thappumelam, Vinodam – the satire part, etc.

Traveling in the City

Large fleets of taxis and private buses ply in the city. They can be easily rented for sightseeing
around Pathanamthitta. A network of auto rickshaws will be the cheapest way to cover short
routes.
Traveling Cautiously
You may need to deposit your cell phone or leather items at some temples in Pathanamthitta.

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 SUGGESTIONS

 It is a thanksgiving for a good harvest which the villagers believed was not possible without
the blessings of Gods and Goddesses.

 In its spirit and content, Padayani takes the form and style of an epic theater.

 It also characterises an act of purification carried out by the villagers in all devotion to
wardoff evil forces.

 Performed at night in the temple premises, the rituals of Padayani are a symbolic act for
pleasing the Goddess Bhadrakali whose fury remains unabated even after her victory over the
mythical demon, Darikan.

 Even after killing the demon, the Goddess’s fury unquenched and Lord Shiva sent Ganapathi
and Nandi in the form of children in front of the enraged Kaali.

 On seeing the children, her mind was filled with motherly love and Padayani is performed in
the glory of this Mother Goddess.

 The duration of the festivals varies from seven to 28 days according to the number of villages
participating and organising it.

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 CHAPTER – VI
CONCLUSIONS

PATHANAMTHITTA – SMALL IN SIZE, BIG ON TOURISM

Judge Pathanamthitta’s tourism potential solely based on its size—it is Kerala’s smallest
district—and you would be missing out on a unique South Indian heritage experience. This hilly
town is a prominent pilgrimage center, with ancient temples scattered amidst a scenic terrain of
lush rivers and coconut groves. The temple of Sabarimala remains sacred nationwide. Beyond
the religious shrines, the heritage experience also continues in Pathanamthitta’s thriving arts and
culture. Cultural training centers for Padayani (a famous folk dance) and Aranmula Kannadi
(handcrafted metal mirrors) has been prospering here more than any other place in South India.
See if you can visit Vaasthu Vidya Gurukulam, a center of classical Indian architecture,
particularly ‘Vaastu Vidya’. More than half of Pathanamthitta’s total land continues to be
forested. The fact that it is in Kerala makes spectacular sightseeing such as mountain ranges,
forest reserves and waterfalls an obvious part of your journey.
Soon the rustic hamlets of God’s Own Country will bear witness to some breathtaking sights of
ethnic art that celebrate the very essence of folk music, art, dance and satire.Clad in heavy
headgears, loud make-up and flamboyant costumes, the Padayani kolams will walk majestically
through the sacred groves of South Kerala during the annual festival season spreading festivity
all around.Padayani is an ancient ritual art form popular in the Bhadrakali Temples of Central
Travancore (mid-Kerala). According to mythology, this ritual art form commemorates the dance
performed by Lord Shiva and other Gods to pacify Goddess Kali, whose rage could not be
quenched even after she slew the demon, Darika.Padayani celebrations usually fall during the
Malayalam months of Kumbham, Meenam and Medam (February, March and April). In South
Kerala, this traditional art can be seen in temples in Kadammanitta, Kottangal, Othara,
Kunnanthaanam, Neelampeeror, etc.The main attraction of Padayani festivals is its theatrical
procession called Kolam. The frenetically pirouetting Padayani Kolams, in their over-sized
headgears and masks, performing the ritualistic dance to the rhythms of Kolappattu (songs)
followed by the rhythm of traditional percussions like thappu and chenda are an impressive sight
to behold.Padayani performances include a number of sessions like Kolamezhuthu,
Kolamthullal, Kolappattu, Thappumelam, Vinodam – the satire part, etc.Unlike Kadamanitta or
Kottangal, Nelampeeroor Padayani performances are unique with their grand processions of
highly decked effigies of swans that are made of organic materials such as Ixora flowers, lotus
leaves and the stem of plantain trees.

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 BIBLIOGRAPHY

1. Vēṇu, Ji (1990). Puppetry and Lesser Known Dance Traditions of Kerala. Natana Kairali,
Research and Performing Centre for Traditional Arts. p. 55.

2. Jump up to: a b Kuttoor, Radhakrishnan (16 September 2009). "Padayani Village coming
up in Kadammanitta". The Hindu. Retrieved 20 February 2011.

3. "Archive News". The Hindu. Retrieved 20 February 2019.

4. Wilfrid Dyson Hambly ,Tribal dancing and social development:with a pref. by Charles
Hose, photos., sketches and a map. 1926

5. Chummar Choondal A folk literature 1980

6. Ananda Lal The Oxford companion to Indian theatre 2004

7. Mārg̲: Volume 19Modern Architectural Research Group 1965

8. Manorma SharmaFolk India: a comprehensive study of Indian folk music and

culture2004

9. Subodh Kapoor The Indian Encyclopaedia: Volume 1 .2002. Page 2431

10. Shovana Narayan Folk dance traditions of India2004

11. Pietro BardiIndian folklore research journal: Issues 2-5 National Folklore Support Centre
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