Book Review: “Theyyam: Indian Folk Ritual Theatre” is a Guide to North Malabar’s Captivating Folk Ritual

Theyyam, a captivating folk ritual of North Malabar, encompasses hundreds of variations: most performed annually, others intermittently, and a few as rarely as once in many decades. Deeply rooted in Malabar’s folk religion, this belief system involves local deities and spirits manifesting on earth by possessing men. This belief system transcends traditional boundaries of religion and caste. Historically performed by communities at the bottom of the feudal social hierarchy, Theyyam reflects their cultural expression through mesmerising dance, singing, percussion, elaborate costumes, and intricate face paintings. Over centuries, it has evolved with the region’s sociopolitical shifts, preserving oral histories and often reinforcing social hierarchies through ritualised storytelling.

Conveying the intricate world of Theyyam to new readers poses a challenge as most existing books—primarily in Malayalam, with a few in English—tend to focus narrowly on specific narratives or offer limited or outsider perspectives. This often results in an incomplete portrayal of Theyyam’s cultural and spiritual depth. Theyyam: Indian Folk Ritual Theatre, An Insider’s Vision by K.K. Gopalakrishnan seeks to bridge this gap. It vividly maps the Theyyam landscape, defining its characters, rituals, stories, and art forms.

Gopalakrishnan, who brings authenticity to his narrative as a member of a traditional tharavadu (ancestral home) with ties to Theyyam patronage, was born and raised in the Theyyam-rich region of Kasaragod-Kannur, part of the former Kolathunadu kingdom. His family roots in the tradition, combined with his skills as a writer, photographer, and art critic, enable him to craft an immersive exploration of Theyyam’s universe. He offers cultural and historical context to Theyyam, discussing theories of its origins, and links to Dravidian heritage and explains the complex terminologies and rituals that define the festival. Additionally, he delves into the lore of Theyyam deities and the communities involved in its practice.

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Gopalakrishnan’s photography skills enhance the book, capturing striking visuals of Theyyam’s aesthetics, including rare performances. His insider’s perspective is reflected in his frames as well. The book dedicates full chapters to the evolving nature of Theyyam, noting recent additions to its pantheon, such as Alanthatta Daivathar in Kasaragod, which started to perform as a Theyyam in 2018, and many traditionally performed Muslim Theyyams, which showcase Theyyam’s adaptability.

Belief system at the heart of Theyyam

An aspect that makes the book different is its thoughtful exploration of the belief system at the heart of Theyyam. To write about Theyyam without delving into its deeply rooted beliefs and the personal experiences associated with it is akin to describing a football match by detailing only the players and tactics while completely ignoring the fans’ fervour and emotional connection to their team. The author dedicates an entire chapter to examining the local belief system, emphasising the sacredness of each Theyyam performance as an event where gods and spirits engage directly with believers. He also enriches the narrative with his own Theyyam-related experiences—encounters that often defy rational explanation—adding a deeply personal touch.

K.K. Gopalakrishnan’s photography skills enhance the book, capturing striking visuals of Theyyam’s aesthetics, including rare performances. 
| Photo Credit:
By Special Arrangement

However, outsiders may find it challenging to fully grasp this profound aspect of Theyyam’s belief system. The rise of social media has led to an increasing influx of visitors who attend Theyyam ceremonies merely to capture photographs and videos, often reducing the ritual to just another art form or entertainment spectacle. Their lack of respect for the sacredness of the ritual and the community’s sensitivities can sometimes lead to tensions with local people, a sentiment frequently expressed in local Theyyam WhatsApp groups. Conversely, in recent times, Theyyam performers themselves have faced criticism from local people for taking excessive liberties under the guise of belief, particularly when their performances result in physical injuries to spectators.

Readers should note that Gopalakrishnan’s perspective as a member of a patron family may differ from that of a Theyyam practitioner. This distinction becomes clear when his view is compared with those of the practitioner turned scholar Rajesh Komath, an assistant professor in social sciences at MG University, Kottayam, who emphasises that the true insiders are the performers themselves. For Komath, caste is a critical lens to understand the lived experience of Theyyam, as the ritual obligations bind performing communities to their traditional caste roles, often hindering their social advancement.

Minimal remuneration

Performers engage in the demanding ritual performance of Theyyam with minimal remuneration, risking their health and lives, driven by a deep-seated belief that they are chosen to embody the gods, or simply out of adherence to family customs. There could be a pervasive fear that failing to uphold these traditions might incur divine wrath. There could often be social pressure too. While Gopalakrishnan indeed lists out details of all major castes associated with Theyyam and their roles and addresses some of the challenges faced by practitioners, such as health issues—which often lead to tragic consequences—resulting from the physically demanding nature of their performances, his narrative does not fully examine the deeper caste-based constraints and hierarchies that Theyyam both overtly and subtly perpetuates. Perhaps this angle was beyond the scope of his narrative focus.

Gopalakrishnan also delves into the complex debate surrounding efforts to separate Theyyam from its spiritual essence and adapt it for non-traditional, purely artistic performances outside its native setting. Some performers themselves advocate for this shift, arguing that stripping away the belief-related aspects could help them earn a livelihood during off-seasons by presenting Theyyam as a stand-alone art form or give them opportunities to travel to different places, including abroad as artists. However, many traditionalists oppose this idea, seeing it as stripping away the soul of the ritual dance theatre. Instead of endorsing a particular viewpoint, Gopalakrishnan thoughtfully presents diverse perspectives, enabling readers to draw their own conclusions.

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The book also dedicates separate chapters to Bhuta Kola, a similar ritual practice prevalent in northern Kasaragod and Tulu Nadu, and to Thira, which extends up to the southern regions, including Kozhikode and bears a close resemblance to Theyyam. He meticulously outlines the similarities and differences between these forms. He also dedicates a chapter to Devakoothu, the form in Theyyam that only a female can perform.

As someone from Calicut, I grew up surrounded by the annual Thirayattam performances at my family Kavus—an annual performance that many, including academics, often fail to distinguish from Theyyam, dismissing it merely as a regional variation. Gopalakrishnan thoughtfully differentiates Thirayattam from both Theyyam and Thira, the latter performed north of the Korappuzha river in Kozhikode. It is refreshing to see this clarification presented in the book, even if it is only a brief footnote.

Written in a lucid, engaging style, the book serves as both an introduction to Theyyam and a detailed reference guide, meticulously documenting the tradition’s many intricacies. The addition of digital elements, such as QR codes linking to rare performance footage, further enriches the reader’s experience, making this book a valuable resource for anyone interested in the Theyyam universe.

Sruthin Lal is a co-founder of the Archival and Research Project, a non-profit organisation that promotes the preservation of cultural heritage.