It is said that the Raja of Chempakasseri, Pooradam Thirunal Devanarayanan, built a temple at Ambalappuzha as suggested by the royal astrologers, but just before the installation of the deity (Lord Krishna) he was informed that the idol was not auspicious.
It was important to install a suitable idol immediately. Accordingly, the priests identified another idol of Lord Krishna, kept at the Karikulam temple in Kurichi. This idol was believed to have been given to Arjuna by Lord Krishna himself, and was therefore considered very sacred. After getting the idol from Karikulam temple, the Raja’s men set forth by boat for the return journey. While returning to Ambalappuzha, night set in, and, as instructed by the Raja, they took shelter at a Christian household, the home of Mappilassery Itty Thommen, in the village of Champakulam. Itty Thommen was a loyal subject and a confidant of the king.

Itty Thommen and his family received the men and the idol with great honour. The next day, the Raja and his entourage turned up at Mappilassery, accompanied by a huge mass of people. Pujas were offered to the deity and Itty Thommen and his men also travelled with the flotilla to Ambalapuzha where the idol was duly consecrated and installed with great fanfare. On the way, the people of Champakulam and adjoining areas, as well as the priests and laity of the Champakulam Kalloorkadu Church, honoured the Raja and the idol.

These events took place in 1545 A.D. The Raja, pleased with the love and affection shown to him by his Christian subjects, declared that henceforth, to commemorate these events, a great water carnival would be held at Champakulam every year, on Moolam day in the Malayalam month of Mithunam. Thus began the Champakulam Snake Boat Race and related functions, which continue to this day.

In 1613 A.D., sixty-three years after the idol was given shelter at Mappilassery, the old house was being demolished and a new one being built. Raja Devanarayanan’s successor heard the news and immediately sent word to Itty Thommen’s son, Kunhi Thommen that the area where the idol was kept, which was considered a devasthanam or sacred place, was to be specially demarcated and used only as a place of worship. Also, in keeping with Hindu practices, no menstruating women were to enter the room. A special lamp, made of rare metals, was given to the family, to be kept in this holy place, and perpetually burning, as an eternal flame. Special privileges were also conferred on the family, including the grant of lands and coconut groves to supply the oil for the lamp.

Even today, these practices continue. The lamp is kept perpetually burning. Every year priests and other delegates from the temple call at the house on Moolam day, with gifts and prasadam for the karanavar or head of the house. This ceremony is known as the Moolakazcha. It is believed that on Moolam Day, Lord Krishna resides not at the Temple, but at Mappilassery House! Reverentially, on unshod feet, the Temple delegates enter the prayer room, where along with Christian icons like the cross, and statues of Jesus and Mary, the lamp, known as the Vazhakoombu Vilakku is given a place of prominence. The temple representatives then venerate the lamp, and are treated by the family to a sumptuous feast. It is only after all these ceremonies, that the famous Champakulam Snake Boat Race commences.

Thus, for almost 500 years, this wonderful tradition, imbibing the best of Kerala’s fabled religious amity, has continued uninterrupted.

Every year of Aanayoottu, gaja pooja, is conducted. It is believed that offering poojas and delicious feed to the elephants is a way to satisfy Lord Ganesha—the god of wealth and of the fulfillment of wishes. The Vadakkunnathan temple, which is considered to be one of the oldest Shiva temples in southern India, has hosted the Aanayottoo event for the past few years.

The special feed of the elephants includes sugar-cane leaves, coconut, jaggery and the sweet mix of Ganapthi pooja prasadam. The feeding session begins with an offering by the chief priest of the temple—usually to an elephant calf. The festival presently involves sixteen elephants; the number was previously higher (around fifty), but was reduced following under direction of the district administration. During the festival, the elephants are fed on rice, jaggery, ghee, pineapples, and other local produce.

The elephants are hailed as sacred animals (a fact which explains the presence of elephants in the South Indian temples). Elephants are an integral part of Kerala culture, and elephants are integral to all fetivals, including the Aanayoottu. Many of the famous south Indian temples have a number of their own elephants; feeding these elephants are considered as auspicious. Looking in to these devotes feeling the temple authorities started these rejuvenation therapy as a public event named as ‘The Aanayoottoo Festival’.

Onam marks the homecoming of legendary King Mahabali is an annual harvest festival, celebrated mainly in the south Indian state of Kerala.

It is a popular festival among the cultural repertoire of Malayalees ( people who speaks Malayalam, Official language of Kerala State) , and falls during the month of Chingam (August/September as per the Gregorian calendar), the first month of the Malayalam calendar, and lasts for ten days. Traditionally celebrated as a harvest festival, mythologically it is linked to Malayalee–Hindu folktales; but Onam is celebrated by people of all religions .

ONAPPOOKKALAM

Significance

Onam has two specific significances. First it is the communal memory and celebration of past history as enunciated in the Mahabali legend – a story of how paradise was lost. Second it is the celebration of the harvest, tied with the memory of the golden age of prosperity. It is believed that during those days the whole of Chingam was celebrated as Onam season. After the rain-drenched month of Karkidakam (Cancer), with its privations, Chingam is a welcome month for people in the state of Kerala.

The festival is the harbinger of spring — signaling the start of the harvest season. Onam epitomizes the new found vigor and enthusiasm of the season, and is celebrated with traditional fervor with visits to temples, family get together, gifting of clothes called Onakkodi and lots of merrymaking. The Keralites perform the Mohiniattam Dance, dedicated to the female form of Vishnu Mohini. There is also the Krishnanaattam dance. Many Keralites also worship Narayani. Sri Narayani Peedam and Sri Bangaru Adigalar of Kerala and their followers claim that these two figures are a forms or avatars of the goddess Sri Narayani. Thiruvathira kali is another dance form performed at the time of Onam.Onam is celebrated with flower,and Sadhya(Kerala food).The flowers are decorated on the floor to welcome Mahabali.

Legend

Kashyapa had two wives, Diti and Aditi, who were the parents of demons and demigods (Asuras and Devas) respectively. Indra, the king of demigods, went to war with the king of Asuras. Mahabali, the King of Asuras, defeated Indra and proceeded to occupy Indra’s territory. Kashyapa, who had gone to the Himalayas to do penance, on his return found Aditi weeping over the defeat of her son, Indra. By divine insight, Kashyapa recognized the cause of grief. Kashyapa tried to console Aditi who was wailing in grief, saying that nothing happens in the world without God’s will and people should go on doing their duties. Kashyapa asked Aditi to pray to Lord Narayana and taught her Payovrata, a ritual that has to be observed from the 12th day of the bright half of Karthika (Sukla-paksha Dwaadasi).

THIRUVATHIRA KALI

Since Aditi carried out the Vrata with a pious heart, Lord Narayana appeared before her and informed her that he would himself place a child in her womb and help Indra. Later, on the 12th day of the bright half of the month of Bhadrapada, Aditi gave birth to a son of uncommon effulgence. That child, “Vamana-murti”, demonstrated his divine powers by doing marvelous deeds even when he was a child.

Balichakravarthi (Bali, The Emperor) or Mahabali, was the grandson of Prahlad (son of Hiranya Kashyapu) who met Vishnu in his Narasimha Avatar. Prahalad, despite being an Asura, had great faith in Vishnu. One cannot miss the series of warfare between Vishnu and the Asuras – those born of the breath of God. Bali Maharaj, sat in Prahlad’s lap as a child and learnt love and devotion of Lord Vishnu from Prahlad. Mahabali’s rule was considered as the golden era of Kerala. The celebration of Onam resounds and chants the following song all over Kerala:

When Maveli, our King, ruled the land,
All the people were as One.
And people live joyful and merry;
They were all free from harm.
There was neither anxiety nor sickness,
Death of the children were never even heard of,
There were no lies,
There is neither theft nor deceit,
And no one is false in speech either.
Measures and weights were right;
No one cheated or wronged their neighbor.
When Maveli, our King, ruled the land,
All the peoples formed one casteless race.

The gods were very annoyed as Bali became the ruler of all the three worlds having defeated the Devas. Violence was inflicted upon the Devas [gods]. The gods approached Vishnu and asked for his help them. Mahabali, who was performing the sacrificial rite of Viswajith Yagna or Aswamedha Yagna on the banks of Narmada River, declared that he would give anything that anyone sought from him during this Yagna. He Vishnu, incarnated in the form of Vamana, a dwarf to defeat the Daityas.

Vamana came to the Yaga-shala. As he was approaching them, the sages assembled there perceived the extraordinary effulgence form of the young lad. Mahabali went forth to receive the Brahmin boy with all traditional honors and gave him an eminent seat befitting the status of a holy person. Bali with the usual courtesy given to the people who come to ask for help told him

Master! It is my good fortune that you have chosen to honour me with your presence. Whatever you desire, I am here ready to fulfill the same.

Vamana smiled and said:

“You need not give me anything great. It is enough if you give me that extend of land covered by three footsteps of mine”.

On hearing him, Bali’s preceptor, the Brahmin Shukracharya (a Daitya priest) who had vision of the future told Bali that the one, who had come to take alms from Bali was not an ordinary Brahmin but Lord Narayana Himself who had assumed this form. He advised Bali not to promise the lad anything. But Bali was a king who would never go back on his word. He told his Guru that he would never break his promise as it was a sin. Shukracharya insisted that he should not fulfill the demand of Vamana as he had come to deprive Bali of all his possessions.

Bali, however, was determined to honor the word given to Vamana, begged pardon of his Guru for disregarding his advice. Earlier, while Bali was embarking on the war with Indra, he had prostrated at the feet of his preceptor, Shukracharya, and on his advice he performed the Vishwajit Yagna from which he secured very powerful weapons. It was only because of Shukracharya’s help that he was able to conquer Indra. On this occasion, Bali was not prepared to heed the advice of the same preceptor.
Shukracharya cursed Bali, saying:

‘As you have not heeded your Guru’s words, you will be reduced to ashes’.

Bali was firm and replied:

‘I am prepared to face any consequence but will not go back on my word’.

Saying so, he asked Vamana to measure the three feet of land as desired by him. All attempts of Shukracharya to dissuade Bali from offering the land desired by Vamana proved futile. Bali considered everyone who came to him as god himself and never refused anyone anything that they have asked.
Bali told his Guru:

“Prana (life) and Maana (honor) are like the two eyes of a person. Even if life goes, honor should be protected. Knowing that the person that has come now is the Lord Himself, I should be the most fortunate one as the Lord, who gives everything to mankind, is seeking something from me.”

Bali boasted that even if Vishnu himself were to come to his sacrifice and ask for anything, Bali would deliver it.

Vamana grew in size until he towered above the heavens. With one foot, he measured all of the earth. With the other, he claimed all of the heaven. There was still one foot of territory that Bali owed him. Bali asked to place the final step on his head as the third step of land which Lord Vamana had asked for as alms. Vamana placed the third step on the head of Bali and suppressed him to Patala, the underworld.
For the devotion of this Daitya Mahabali, Lord Vishnu (Vamana) granted him rule over Patala. Vamana aka Vishnu granted Bali the boon that he would hold the position of Indra for one Manvantara , thus fulfilling his devotee’s desire ( the office of Indra being a rotating position , changing every Manvantara ).

As a last wish Mahabali was granted the permission to visit his subjects once a year. Thus, Keralites celebrate Onam festival to commemorate the memory of a Great King Mahabali who would keep his promise. Mahabali fulfilled his name as the great martyr for the sake of Truth (“Satya”). The name “Mahabali” itself means Great Sacrifice.

Onappottan, a symbolic representation of King Mahabali. Onappottan visits houses during the Onam and gives blessings. Off late Onappottan has become a rare sight, confined to villages.

ONAPOTTAN

During Onam, the feast and festive mood of the people, dressed in their best, is considered reminiscent of the prosperous and truthful life of the subjects during Bali’s flawless reign. People wear new clothes (Vastra) during Onam. The ‘Vastra’ also stands for heart. Thus the significance of wearing new clothes is about making the heart new by removing all bad thoughts and feelings. People forgetting their sectarian outlooks, join together to welcome the auspicious ‘ThiruvOnam’ day.

Alternate Legend :

In an alternate legend, it is believed by many Malayalees that during the Onam Parasurama visits Kerala. Dr. Gundert defines in his Malayalam Dictionary, Onam, as the day that Parasurama recovered Kerala from the sea.

The culture of Kerala is one of its kinds in India. Traditional yet modern, the fascinating aspects of Kerala culture have been covered in our related sections. You will be amused to read about the rich cultural heritage of Kerala, which till date is intact in almost all natives of Kerala. The traditional rituals and sacred practices are very much alive even today. People over there are fiercely protective of their cultural heritage and are very proud of it.

KATHAKALI ACTOR & DRUMMER

Performing Arts A slice of Culture!

Talking about its cultural and ethnicity, various clans and cultural groups have influenced the culture of Kerala over a period of years. The Aryans inhabited the place first and were later joined by the Jains, the Buddhists and the Brahmins. These cultural invasions led to the blending of various art forms. Koodiyattam, for instance, is a Mudiyettu Dancer fusion of the local Dravidian culture and some Aryan influences. It has been acknowledged as one of the ‘Masterpieces of the Oral and Intangible Heritage of Humanity’ by UNESCO.

MOHINIYAATTAM

MOHINIYAATTOM

Kerala’s performing arts are feast to the eyes of tourists. A sheer variety of art forms, when performed by consummate artistes with the requisite paraphernalia make watching them worth. Legends and legendary characters resurrect from the dog-eared pages of history books and make their apparitions on the stages leaving the audience in ecstasy. The attire, roves and facial expressions of the artistes are a sumptuous treat for eyes. Centuries down, Kerala’s performing arts had enjoyed the patronage and pats from successive rulers. Besides, the now defunct feudal system had also contributed for the nourishment of art and culture.

The Northern region of the state is a repertoire of arts and culture. Many of these performing arts are enmeshed with the cultural history of religious communities. While classical art forms such as Kathalkali and Bharathayatyam were the stronghold of upper class, those from lower strata of the society performed dance forms such as theyyam and padayani. If the former class performed in the temple premises and specially erected stages, the later had to venture on streets to show their artistic prowess.

The traditional dance forms of Kerala that we have covered in our related sections are Kathakali, Krishnattam and Mohiniattam. Apart from the dance forms, Kerala also has an ancient form of martial art known as “kalaripayattu”. The music of Kerala is very melodious. There are many forms of music in Kerala, be it vocal or instrumental. People have sets of songs for every occasion. The devotional songs are sung so beautifully that it is no less than a divine experience listening to them attentively.

THEYYAM

There are many folk dances and performance styles in Kerala which include Theyyam – known for its fearsome masks and the trance like state of the performer, Thiruvathirakali – a graceful dance by women during Onam and Kaikotikalli a dance performed by women to celebrate a wedding.

THEYYAM ACTOR FACE MASKING

Spectacular visual effects and stunning music are hallmarks of Kerala’s performing arts. In a land which cannot boast of monumental architectural feats, unlike many other parts of India, the performing arts, both individually and collectively, make up for the lost magnificence. No other State in India can match the grandeur and creativity of Kerala’s performing arts. The classical and ritual arts of Kerala have always enjoyed a rich patronage, from the former kings who ruled the state to the latter day democratic governments.

Besides, the aborigines of the state have their own art forms. Cherumarkali, a harvest dance is one among them. Dancers, men and women, with hands entwined, waltz rhythmically to the drumbeats. They will send you into trance. Rapturous moments for audience. Dainty world of performing arts. Engrossing ensemble of dance and folk arts.

FULL MEALS [SADYA]

ONA SADYA (CUISINE) IBN BANANA LEAF

While music and dance provide food for the soul, the actual “food” of Kerala is a sumptuous treat to anyone who is visiting Kerala. The cuisine has a wide range to choose from. The staple diet of Kerala is rice. There is much in store for both vegetarians and non-vegetarians. The vegetarians can choose from a variety of steamed and fried treats, while the non-vegetarians can feast on sea food. Kerala is famous for its handicrafts and art work. Make sure that you buy a work of art as a souvenir for yourself to remind you of Kerala, which is aptly named God’s Own Country.

Kerala’s unique selling point is its rich culture which was mellowed by centuries-old rich heritage. Culture and heritage are pervasive presence across the state and are kept alive through the state’s performing arts.

THRISSUR POORAM

Thrissur Pooram is called ‘the pooram of all poorams’ (festival). It is the biggest of all poorams held in Kerala state. The Thrissur pooram, is celebrated every year in the month of Medam (mid-April to mid-may) as per the malayalam calendar. While all poorams have a huge influence on surrounding neighborhoods and towns, few other festivals require their active involvement.

Thrissur town plays host, for 36 hours from the wee hours of the pooram day, to one of the most largest collection of people and elephants. The richly decorated elephant, as seen during the Thrissur pooram, is now globally recognized, and its association with Kerala. On the pooram day, fifty (50) or more elephants pass through the very center of Thrissur town, the Vadakkunnathan temple.

THRISSUR POORAM “KUDAMAATTAM” (EXCHANGING THE UMBRELLAS)

The main features of the pooram (festival) are these decorated elephants with their nettipattam (decorative golden headdress), beautifuliy crafted kolam, decorative bells and ornaments etc. Add to this is the panchavadyam, the rhythmic beating of the drum, and what would be a cacophony otherwise is turned into an organized but spontaneous symphony. The fireworks display in the early hours of the next day, rival shows held anywhere in the world, without even using many of the modern and newer pyrotechnics.

Flamboyant cultural procession is an integral part of any festival here. In temple fests, deities adorned with glittering jewels and colorful garlands are shouldered in the procession to the accompaniment of chanting of hymns, blowing of conchs and playing of Naadaswaram.