സൂര്യനമസ്‌കാരം | Salutations to the Sun

Practicing sun salutations regularly can produce longevity, efficiency, strength and improve overall health. You can make your waist and spine flexible through sun salutations. You can tone up and beautify your arms and broaden your chest. If your spirit has started sagging lately, practice sun salutations to revive and rekindle your lost and drooping spirit.

Surya Namaskar is included in the regular routine of prayer and worship. Means it must be practiced regularly. Its greater importance has been described in the scriptures. As per the scriptures, a single day worship of the sun has virtues equivalent to the bestowal presentation of one lakh milk cows. Like worship, Surya Namaskaras too has their own significance. Surya Namaskara means prayer (Vandana) of Lord Surya.

Surya Vandana is short. Surya Namaskara is an ancient system of Indian exercise. Stand facing the east at dawn and peacefully chant the mantras to pray Lord Surya and offer red sandals, flowers, rice grains (Akshatas) with water of simply the water alone as ARGHE (libation) and perform Surya Namaskara. This whole process must be performed before the sunrise is better.

Making difficult body movements becomes easy and your movements also become more graceful through practicing sun salutations. Unpleasant body odors are eradicated by Surya Namaskar. If your Adam’s apple has become abnormally prominent, it can be reduced through regularly performing sun salutations. Of course you can reduce your fat and get rid of love handles and beer belly through this exercise.

Even premature greying of hair and excessive hair fall can be arrested through sun salutations. Women can benefit a lot by practicing sun salutations. The process of child birth can become easier and hassle free or pain free and menstrual irregularity gets suppressed by regular practice of sun salutations.

If your breasts have started to sag, this exercise will stimulate the breast mass and restore firmness to your breasts, making them perkier. The pectoral muscles are strengthened and the glands are stimulated through this exercise. This helps to restore lost elasticity and improves the flexibility of muscles.

Skin disorders are prevented and the skin is refreshed through Surya Namaskar.
The function of the endocrine glands as well as that of the thyroid gland is normalized and your anxiety is calmed down through this exercise. It will even eliminate insomnia and promote deep sleep.

Your memory power is improved and the nervous system is toned up through sun salutations. Various kinds of toxic gases including carbon dioxide, and that too in large quantities are eliminated through the practice of Surya Namaskar. Thus this exercise is a kind of detoxifying agent for your body.

The blood is oxygenated and the lungs are thoroughly ventilated through the performance of this exercise. Even the muscles of your abdomen are strengthened. You can eliminate dyspepsia and constipation and activate your digestion and tone up the digestive system through Surya Namaskar.

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For Devotees

The 12 Names of Surya - the Sun
1) Om Maitreya nam-ah (The friend of all)
2) Om Ravaye nam-ah (Praised by all)
3) Om Suryaya nam-ah (The guide of all)
4) Om Bhanave nam-ah (The bestower of beauty)
5) Om Khagaya nam-ah (Stimulator of the senses)
6) Om Pushne nam-ah (The nourisher of all)
7) Om Hiranyagarbhaya nam-ah (The creator)
8) Om Marichaye nam-ah (Destroyer of disease)
9) Om Adityaya nam-ah (The inspirer)
10) Om Savitre nam-ah (The purifier)
11) Om Arkaya nam-ah (The radiant)
12) Om Bhaskaraya nam-ah (The illuminator)

The 108 Names of Surya

Brahma once recounted to the sages the one hundred and eight sacred names of Surya. The Brahma Purana lists these names and we reproduce them in nine groups of twelve names each.

(1) Surya, Archana, Bhagavana, Tvashta, Pusha, Arka, Savita, Ravi, Gabhastimana, Aja, Kala, Mrityu.

(2) Dhata, Prabhakara, Prithivi, Jala, Teja, Akasha, Vayu, Parayana, Soma, Brihaspati, Shukra, Budha.

(3) Angaraka, Indra, Vivasvana, Diptamshu, Shuchi, Shouri,Shanaishvara, Brahma, Vishu, Rudra, Skanda, Vaishravana.

(4) Yama, Vaidyuta, Jathara, Agni, Aindhana, Tejohapti, Dharmadhvaja, Vedakarta, Vedanga, Vedavahana, Krita, Treta.

(5) Dvapara, Kali, Sarvasurashraya, Kala, Kashtha, Muhurta, Kshapa, Yama, Kshana, Samvatsara, Ashvattha, Kalachakra.

(6) Vibhavasu, Shashvata, Purusha, Yogi, Vyaktavyakta, Sanatana, Kaladhyaksha, Prajadhyaksha, Vishvakarma, Tamonuda, Varuna, Sagara.

(7) Amsha, Jimuta, Jivana, Ariha, Bhutashraya, Bhutapati, Sarvalokanamaskrita, Shrashta, Samvartaka, Vahni, Sarvadi, Alolupa.

(8) Anata, Kapila, Bhanu, Kamada, Sarvotamukha, Jaya, Vishala, Varada, Sarvabhutasevita, Mana, Suparna, Bhutadi.

(9) Shighraga, Pranadharana, Dhanvantari, Dhumaketu, Adideva, Aditinandana, Dvadashatma, Ravi, Daksha, Pita, Mata, Pitamaha.

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തിടമ്പുനൃത്തം

Thidambu Nritham is a form of dance associated with temple festivals. Believed to be over 600 years old, a typical Thidambu Nritham features a man carrying the decorated image of the presiding deity of the temple. Wearing a skirt of pleated cloth, a silk vest, ornaments and a decorated head gear called Ushnipeetam the dancer moves around outside the sanctum sanctorum. Various stages of dancing are involved and the dancer is usually accompanied by a group of artistes, playing percussions and couple of men holding traditional brass lamps.

North Kerala has many rich art traditions, of which "Thidambu Nritham" is one. Thidambu Nritham is popular in Kasaragod, Kannur Districts and in some parts of Kozhikode District. It is performed by Namboothiris and Marar plays on percussion instruments, Chenda. In Thidambu Nritham, persons from Nambissan, Warrier and Unithiri communities serve as assistants of Namboothiris. Ten persons are needed for staging this dance. The dance is performed with the decorated deity of the god of the temple carried on the head. Foot work is most important and this is executed to the rhythms of the Chendas.

Thidambu Nrityam is pure dance, completely absorbed in, and regulated by, rhythm (Thaalam) which is "Layam". Surprisingly, it has not been included among the temple arts of Kerala, though connoisseurs admit that this is an art, and a ritualistic one. As the dancer comes out carrying the replica of the idol on his head, the "Maaraar" (hereditary drummer in temples) makes the characteristic drumming when Thaanthric rites are performed.

The word "Thitambu" suggests the direct manifestation of the deity. Idols being carried on top of elephants during festivals as also replicas beings held on shoulders while dancing to the rhythm of percussion instruments are a common sight in Kerala. But, dancing with the replicas on the heads, is a unique feature in the North.

The origin of Thidambu Nritham cannot be easily traced. Some Braahmanans who had migrated to the North of Kerala at the time of Chirakkal Raja may have introduced this dance from Karnataka where a form of "Nritham" called "Darsana Bali" was in vogue.

Replicas are made of bamboo with which a beautiful frame with intricate designs is created. The priestly dancer, clad in the traditional style after performing the usual rituals, comes out of the sanctorum, and standing under the flag, holds aloft the replica weighing about 10 kg-30 kg on his head and starts the divine dance.

The dance begins with "Kotti Urayikkal" (drumming to make the dancer possessed). The drumming in different Thaalams accompanied by scintillating music
coaxes the performer to dance to each rhythm, creating a holy atmosphere. Each circumlocution is regulated by a different Thaalam.

Thidambu Nritham has undergone some changes in accordance with the trend of the times,. The changes are in the Thaalams, though the basic one remains unchanged. The innovation adds to the novelty and variety of this art, according to him.

There is no scope for emotional expressions in this art. An exception is famous "Kootippiriyal" (parting of lord Krishna and Balarama) at Trichambaram. The occasion is very touching with thousands watching with tearful joy, Krishna and Balarama playing about wildly until the former runs after the milkman carrying milk, and the latter returns to his dwelling some distance away. There is a legend woven round the Thidambu Nritham of Thrichambaram. There was an ardent devotee of lord Krishna - a Namboothiri. He visited the temple everyday, seeking Krishna's blessings. Time flew. He grew old, so old that he couldnot walk upto the temple half a kilometer away. Inwardly crushed at his physical incapacity, he prayed : "Krishna, my dear, I cannot come to you; forgive me". Legend has it that, that night, lord Krishna ran up to him with his brother Balarama and danced along what is called "Pookkottu Nada" just in front of the Namboothiri's house. The wonder and delight of the Namboothiri can well be imagined. The famous festival at Trichambaram which goes on from 22nd Kumbham to 6th Meenam (middle March) is in celebration of that event. During the festival, the "Melsaanthis" of Trichambaram and Mazhoor (Balarama's temple) hold aloft the replicas of the two deities and dance to the scintillating rhythm of percussion instruments.

Another legend goes like this : A Namboothiri used to sit in meditation under a nux vomica tree [Botanical name : Stricnos nuxvomica ; Mal. - "Kaanjiram"]. He had sores all over his body. The fruit that occasionally fell on his body gave him excruciating pain. In agony he cried out a curse : "Let this tree bear no fruit any longer". Even today the tree bears no fruit, though it has leaves. It is interesting that during the festival, the dancing Namboothiri priests place the idols of various gods in a small "Mandapam" under the tree. People pay obeisance to the deities

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പുലിക്കളി

Pulikali
Pulikali is a popular folk art performed during the Onam season. In Pulikali a group of performers paint their whole body in the likeness of tigers and wear tiger mask. They prance about, dance and move like tigers. The tigers are accompanied by a hunter and a drummer. The theme of the play is tiger hunting.

The Swaraj Round in Thrissur district is the venue of a grand Pulikali on the fourth Onam day. On this day Pulikali troups from different parts of the district come here to perform.

It is a colorful recreational folk art from the state of Kerala. It is performed by trained artists to entertain people on the occasion of Onam.

Pulikali, also known as Kaduvaakali, is a 200 year old art, carefully preserved by the artists of the state. Literal meaning of Pulikali is the 'play of the tigers' hence the performance revolve around the theme of tiger hunting. The folk art is mainly practiced in Thrissur (Trichur) and Palghat districts of Kerala. Best place to watch the show is Swaraj Ground at Thrissur on the fourth day of Onam, where Pulikali troupes from all over the district assemble to display their skills. It is a vibrant and colourful event, which is an integral part of Kerala's culture, Pulikali meaning dance of the tiger continues to enthrall people belonging to all age groups in Kerala. During the annual festival of Onam, Pulikali performances can be witnessed in different parts of Kerala, with the district of Thrissur taking the lead in maximum number of performances.

Performers of Pulikali undergo make-up that is time consuming and is also something that warrants patience. Men paint their bodies akin to that of a tiger. And in recent years, there has been modified forms of tiger make-up, in terms of design and colours.

During a typical course of performance, the tiger dancers in the presence of a hunter move with dance steps and resort to histrionics, while the percussion players add verve to the whole performance.


The Appearance

Striking feature of this folk art is the colorful appearance of the performers. To get the semblance of a tiger artists paint themselves in bright yellow with patterns of black and red. A tiger mask on the face completes the get up.

It is a painstaking job and artists spend a whole night prior to the performance day on their make-up. Patience of artists must be appreciated, as most paints contain toxic chemicals which create a burning sensation when applied on newly shaved bodies.

The Play

It is a wonderful sight to see humans in the guise of tigers roaming in the streets. Children, specifically take great delight in their performance as the entertainers dance, pounce and walk like a tiger. Scenes of tiger hunting goats and tiger being hunted by a human beings are also beautifully depicted by them. Beat for the dance movement is provided by percussion instruments like 'udukku' and 'thakil'.

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ജന്‍‌മാഷ്‌ടമിദിനാശംസകള്‍

Happy Janmashtami

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ഓണം, ഒരു നേര്‍‌ക്കാഴ്‌ച

Onam
Onam ഓണം, the foremost festival among the cultural repertoire of Malayalees, falls in the harvest season of August- September. The festival is primarily celebrated in Kerala, a state in India, by people across all caste and religions.

Chingam or Bhadrapada, the first month of the calendar ushers in Onam, the national festival of Kerala. After the rain drenched Karkidakam with its privations, Chingam is a welcome month of plenty. The sky becomes blue, the deep forest becomes greener and it is time to reap the harvest, time to celebrate and to rejoice along with the Nature. And Onam epitomizes the newfound vigour and enthusiasm about everything around. It is celebrated with traditional Malayalee fervour with visit to temples, family get-togethers, gifting each other clothes called Ona-kkodi and lots of merry making.

This picturesque ten-day harvest festival has been part of Malayalee psyche for centuries now. There are records of Onam being celebrated during the Sangam Age. Onam festivities have been recorded during the time of Kulasekhara Perumals around A.D 800. It is believed that during those days the whole of Chingam was celebrated as Onam season.

Onam - Onam legend
Kashyapa had two wives, Diti and Aditi, who were the parents of demons and demigods (Asuras and Devas) respectively. As the common practice in those days, for a King invading another kingdom to acquire additional territory, Indra, the king of demigods went on war with the king of Asuras. Mahabali, the King of Asuras defeated Indra and proceed 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 recognised the cause of grief. Kashyapa tried to console Aditi who was wailing in grief, saying that nothing happens in the world wihtout God's will and people should go on doing their duties. Kashyapa asked Aditi to pray to Lord Narayana and taught her Payovrata, ritual that has to be observed from the twelfth day of the bright half Karthika (Sukla-paksha Dwaadasi). Since Aditi carried out the Vrata with a pious heart, Lord Narayana appeared before her and informed her that he would himself take birth in her womb and help Indra. Later, on the twelfth 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 the devout Prahalada, the son of Hiranyakasipu. Bali, like Prahlada, too engaged in the glorification of God and in the spiritual and material uplife of his subjects. Mahabali who was performing the sacrificial rite called Viswajith declared that he would give anything that anyone sought from him during this Yagna. Bali wanted to propitiate the Gods so much that, with their blessings, he could extend his beneficent rule over the entire world. Lord Narayan, in the form of Vamana, utilised this opportunity to shower Grace on him.

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 honours and gave him an eminent seat befitting the status of a holy person. Bali 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 fulfil 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, Shukracharya, who could have vision of the future told Bali that the one, who had come to seed a gift 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 and told his Guru that he would never break his promise. He was determined to give Vamana whatever he wanted since breaking one's word was a sin and he had to keep his pledge Shukracharya insisted that he should not fulfil the demand of Vamana as he had come to deprive Bali of all His possessions. He said that Vamana was not really in need of anything as everything was in his hands.

Bali, however, was determined to honour 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'.

So saying, he told 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 told his Guru: "Prana (life) and Maana (honour) are the two eyes of a person. Even if life goes, honour should be protected. Granting 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."

Emperor Bali, the most benevolent ruler, was liberated by being sent to the netherworld by Lord Mahavishnu who incarnated as Vamana. Vamana grew and 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 heaven. There was still one foot of territory that Bali owed him. Bali offered his head to be measured as the third step of land which Lord Vamana had asked for as alms. Honouring the great devotion and sense of sacrifice of Bali, the Lord granted him permission to visit his subjects once a year. Thus, Keralites celebrate Onam festival to commemorate the Advent of Lord Mahavishnu as Vamana Avatar and to rejoice the annual visit of Emperor Mahabali to meet his subjects.

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.

Onam - Atham pathinu ponnonam

The ten-day celebrations of Onam start on Atham day. Earthen mounds, which look somewhat like square pyramids, representing Mahabali and Vishnu are placed in the dung-plastered courtyards in front of the house and beautifully decorated with flowers. Known as ‘Onapookkalam’, it is a carpet made out of the gathered blossoms with one or two varieties of foliage of differing tints pinched up into little pieces to serve the decorator's purpose. It is a beautiful work of art accomplished with a delicate touch and a highly artistic sense of tone and blending. (In a similar manner North Indians make someting called "Rangoli" which is made of powders of various colors.) When completed, a miniature pandal, hung with little festoons is erected over it.

The important part of the festival opens in some localities on Thiruvonam day and in others on the previous day known as Utradam. On Thiruvonam day, King Mahabali is believed to visit every Malayalee home and meet his people. Houses are cleaned and decorated with flowers and traditional lamps. A fabulous display of fireworks turns the capital Thiruvananthapuram into a veritable fairyland. Sumptuous feasts are prepared in every household. The eldest member of each family presents clothes to all the members of the family. Even the poorest of the poor manage to find something for himself to celebrate the national festival in his own humble way.

Onam comes in the month of "Chingam" according to Malayalam calendar. People put flower mats in front of their houses, to welcome the King. There will be competition for the laying of flower mats; Keralites all over the world will be celebrating this ten days will pomp and gaiety. They will wear new dresses, will be visiting almost all temples which they can, they will be performing lot of dances like Thiruvathira kali Thumbi Tullal etc. to name a few and the most important thing is the grant lunch they will be having on the Thiuruvonam day. Which is also called the Fourth Onam. Whatever may happen they will not miss the Grant lunch. There is a saying in Malayalam that "Kanam Vittu Onam Unnanam" which means "We should have the Thiruonam lunch even if we have to sell all our properties". They give that much importance to the lunch on the Thiruonam day.

Onam is celebrated with focus on different cultural aspects in each place. ‘Athachamayam’- a cultural procession takes place in the royal town of ' Tripunithura ' near Ernakulam-Kochi, on the Atham day of Chingam, which also marks the beginning of Onam celebrations. At the Vamanamoorthy temple in Thrikakakara, the annual temple festival coincides with Onam. The temple is dedicated to Lord Vamana and is directly linked to the mythological background of Onam.

At Shornur, Kathakali dancers in gorgeous costumes enact the legends. A strikingly impressive procession of caparisoned elephants is taken out at Thrissur.

The celebrations begin within a fortnight of the Malayalam New Year and go on for ten days. The last day called the Thiruvonam is the most important. All over the state, rituals along with new clothes, traditional cuisine, dance, and music mark this harvest festival.

In Thrissur, a vibrant procession with resplendently caparisoned elephants is taken out while at Cheruthuruthy, people gather to watch Kathakali performers enact scenes from epics and folk tales. Pulikali, also known as Kaduvakali is a common sight during Onam season. Performers painted like tigers in bright yellow, red and black, dance to the beats of instruments like Udukku and thakil.

At Aranmula, during Onam days the famous Aranmula Vallam Kali is conducted.

The swing is another integral part of Onam, especially in the rural areas. Young men and women, decked in their best, sing Onappaattu, or Onam songs, and rock one another on swings slung from high branches.

Onam - Onam activities

The most important things about Onam are the onakkodi, the new dress worn on this day and onam sadhya, a feast which is quite elaborate. During Onam, people create a multi-colored floral decoration on the ground in the front of their home called a pookkalam. Young children are often entrusted with the task of gathering and laying out the flowers in elaborate patterns.

The Vallamkali (the snake boat race) is another event that is synonymous with Onam. Well-known races include the Aranmula Boat Race and the Nehru Trophy Boat Race. About 100 oarsmen row huge and graceful snake boats and men and women come from far and near to watch the snake boats skim through the water.

This festival is also important because of its secular character. Whatever might be the origin of Onam, today it is celebrated with equal fervour by the Hindus, Muslims and Christians, and hence it cannot be regarded as a Hindu festival in its strict sense.

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ഓര്‍മ്മയിലെ ഓണക്കാലം

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പൊന്നോണം

King Mahabali & Onam

The legend of King Mahabali is the most popular and the most fascinating of all legends behind Onam. Onam celebrates the visit of King Mahabali to the state of Kerala every year. The festival is celebrated with fervour as King Mahabali is greatly respected by his subjects. King Mahabali is also popularly called Maveli and Onathappan.

Reign of King Mahabali

The story goes that the beautiful state of Kerala was once ruled by an Asura (demon) king, Mahabali. The King was greatly respected in his kingdom and was considered to be wise, judicious and extremely generous. It is said that Kerala witnessed its golden era in the reign of King Mahabali. Everybody was happy in the kingdom, there was no discrimination on the basis of caste or class. Rich and poor were equally treated. There was neither crime, nor corruption. People did not even lock their doors, as there were no thieves in that kingdom. There was no poverty, sorrow or disease in the reign of King Mahabali and everybody was happy and content.

Brief Sketch of King Mahabali

It may be noted Mahabali was the son of Veerochana and grandson of Prahlad, the devout son of demon King Hiranyakashyap. Mahabali had a son called Bana, who became a legendary king in his own right and became popular as Banraj in central Assam. Mahabali belonged to the Asura (demon) dynasty but was an ardent worshiper of Lord Vishnu. His bravery and strength of character earned him the title of “Mahabali Chakravathy” or Mahabali – the King of Kings.

Challenge for Gods

Looking at the growing popularity and fame of King Mahabali Gods became extremely concerned and jealous. They felt threatened about their own supremacy and began to think of a strategy to get rid of the dilemma.

To curb the growing reign of Mahabali and maintain their own supremacy, Aditi, the mother of Gods seeked help of Lord Vishnu (the preserver in the Hindu trinity) whom Mahabali worshiped.

It was said Mahabali was very generous and charitable. Whenever anybody approached him for help or requested for anything he always granted. To test the King, Lord Vishnu disguised himself as a dwarf and a poor Brahmin called Vamana. He came to the Kingdom of Mahabali, just after Mahabali performed his morning prayers and was preparing to grant boons to Brahmins.

The Legend of King Mahabali

It is believed that there once lived a wise and generous asura (demon) king, Mahabali. He was highly regarded by his subjects and everybody was happy in in his kingdom.

Gods felt challenged with the growing popularity of Mahabali. They seeked help from Lord Vishnu who was worshiped by King Mahabali. Lord Vishnu took the avatar of a poor and dwarf Brahmin, called Vamana and came to the kingdom of Mahabali just after his morning prayers, when the King gave boons to the Brahmin.

The disguised Lord Vishnu asked for as much land as could be covered by his three steps. The King made a promise to do so. Suddenly, Vamana increased to a massive size. With his one step he covered the whole of the sky and with the other he covered the whole of earth. He then asked for a place to put his third step. King realised that the boy was no ordinary Brahmin and asked Vamana to to put his third step on his head.

The boy did so, pushing Mahabali in the nether world, the patala. Lord Vishnu was pleased with King Mahabali generosity and granted him a boon. Deeply attached with his people, the King said he would like to visit Kerala and his people every year. Lord Vishnu was pleased to grant the request.

It is this homecoming of King Mahabali that is celebrated as Onam every year.

Another Version of the Legend

There is another legend related to King Mahabali but with a different view point. It says, though, King Mahabali was a wise and judicious ruler, he was also very egoistic. He was a devout worshiper of Lord Vishnu and the Lord wanted to redeem his devotee of the sin.

Lord Vishnu took the avatar of a poor and dwarf Brahmin, called Vamana and asked for a piece of land from the King. The egoistic King said he may have as much land as he wanted. Vamana replied that he want only as much land as could be covered by his three steps. To this the King laughed and made a promised to do so.

The Brahmin boy increased in cosmic proportions. With his one step he covered the whole of sky and with the other, the whole of the earth. King Mahabali realised that the boy was God himself who came on a purpose and offered his head to place his third step. This pushed the king to the nether world, patala. It proved to be a blessing for the King as it released him from the cycle of life and death. This is why, Onam is celebrated by wearing new clothes. People resolve to lead a new life of honesty, piousness, love, and humility.

Customs of Onam

Carnival of Onam encompasses a spectrum of fascinating activities. Traditional people of Kerala even go out of their way to celebrate the festival exhaustive of stipulated customs and traditions in full grandiose.

Besides the various rituals that are meant to be completed in individual households, there are a lot of customary activities that are organised at the level of society and city all over the state.

Athachamayam

Athachamyam is a grand procession that marks the beginning of the grand carnival of Onam. It is celebrated with lot of fan-fair on the day of Atham at Thirpunithura and Piravam. The event recalls a royal tradition when Maharajas of erstwhile Kochi State as a custom traveled to the Thripunithura Fort with their entire entourage. Today, even in the absence of the King, the custom retains its regal charm. Highpoints of the event are performances by folk artistes, caparisoned elephants, musical ensembles and dance shows by skilled artsites.

Snake Boat Race

The most enthralling and popular of all such customary events is the Vallamkali or the Snake Boat Race. The event is held just a few days before Thiru Onam. Though the event takes place at several places in the city, the most important of them all is the one organised at Alappuzha. A large number of big and decorated boats called chundan vallams participate with hundreds of boatmen. Rowing of boats on the rhythm provided by the songs and music of the drum makes it a captivating event.

Aranmula Uthrittathi

This is another magnificent boat event organised in connection with Onam. This annual event takes place on the day of Uthrittathi Asterism at Aranmula. This is meant to relive mythology that narrates a story of Lord Krishna crossing the river on that particular day. It is believed that the spirit of the Lord is present on all the boats hence there is no competition of any sort in this event. A large number of people come to watch the joyous event. Some also offer Valla Sady as a vazhipadu (offering) in the temples on this occasion.

Procession of Decked Elephants

Trichur, the cultural capital of Kerala, marks the festival in its own beautiful style. Here, a procession of decorated elephants in carried out on the streets. It’s a resplendent site to watch the bejeweled elephants walking on the streets in their full majesty and grandeur. Children particularly take great delight in watching the show of their favourite animal. Songs, dance and merry making are a part of this event.

Celebrations at Cheruthuruthy

Renowned for housing the famous, Kerala Kalamandalm, the Kathakali Training Centre, Cheruthuruthy is a small village in the north of Trissur district. Onam celebrations at Cheruthuruthy are marked for the Kathakali performance by the best artists of the state. A large number of people gather in this village to watch the enactment of scenes from epics and folk tales.

Pulikali/Kaduvakali Performance

This is the most entertaining custom of Onam. In this performers take the guise of tigers. They paint their bodies yellow with patterns of black and red. Scenes of tiger hunting goats and tigers being hunted by humans are beautifully depicted through this folk art. Beat for the performance is provided by udukku and thakil. Pulikali performance of Thrissur and Palghat districts are the most famous.

Kummattikali

This is another recreational folk dance from the state of Kerala, particularly South Malabar. Clad in plaited grass and a huge colourful wooden mask, Kummattikali performers can be seen entertaining people on the festive occasion of Onam. Children are a huge fan of the performance. Mythological and folk themes are enacted on the beat of onavillu in Kummattikali.

Athapoovu Competitions

An integral tradition of Onam, Pookalam has come up as an art form. Competitions for decorating Pookalams are organised all over the state. They are extremely popular and witness the participation of large number of Pookalam designers and onlookers. Creativity of the designers in unleashed through such competitions as they come up with innovative designs each year.

Kaikotti kali / Thiruvathirakali

Kaikottikali is an elegant clap dance performed on the occasion of Onam. In this women sing songs praising the legendary King Mahabali and dance around the pookalam. At the centre of this is placed a lit bronze lamp called nilavilakku. It is a captivating sight to watch troupe of female dancers performing in their traditional Kerala attire consisting of gold bordered off-white mundu-neriyathu and decked with a fragrant gajra in their hair.

Thumbi Thullal

Women also perform Thumbi Thullal as a custom in Onam. It is a folk dance performed by a group of women who sit in the formation of circle. The lead performer sits inside the circle who initiates the song which is taken up by other singers. Clap dance is also performed by the women dressed in their best clothes and ethnic jewelery.

Onakalikal

This is a collective name for all the games played on the occasion of Onam. Traditional games of Onam constitute rigorous sports like Talappanthukali, Kutukutu and combats like Kayyankali and Attakalam. Archery is also a part of Onakalikal. Senior members go in for indoor games like cards and chess. Sports events are organised by various social and cultural organisations all over the state.

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