DEPARTMENT OF Malayalam

Parichamuttukali : Christian folk art in Kerala-Cultural Analysis

(MRP(H)-0574/12-13/KLMG023/UGC-SWRO)

A group of ten to twelve men with swords and shields adorned in the traditional Kalari vesham or battlefield dress of Kerala, repeating the words recited by their Asan or Master, matching strategic steps of a fight, forming an art form with a battle cry  known as Parichamuttukali. In the Middle and Southern parts of Kerala, this folk art was popular and also known as Parichamuttukali. The influence of Kalaripayattu and Parichakali is evident in the dress and steps of this folk art.

 It was popular among different sections of the society in Kerala. Now it was mainly practised among the Christians in Kerala. In ancient period the art form was also performed by Hindu and Muslim community. Practising artists who belonged to the Hindu religion had their hands and neck carrying metal pieces and magical threads. Their foreheads were adorned with sandal paste and dressed in kalari dress or battlefield dress. Ancient epic and mythological stories, Spiritual and Heavenly praises, stories of valour were the themes of Hindu believers.

Among the Muslims also, those who had knowledge of kalaripayattu, kolkali took active interest in parichamuttukali and presented it. The themes which the Muslims adopted were revolving around Prophet Mohammed and other prophets, holy places of pilgrimage and they had much in common with Christian parichamuttukali. Though other communities presented parichamuttukali, it is primarily known today as a Christian folk art of Kerala. For all Christian festivals, marriage functions and so on along with margamkali, parichamuttukali is also being presented today.

In 1599, Vasco Da Gama came to Kerala. Though they came as traders, they began to excert influence in cultural and political areas also. This became evident in the field of religion as well. Even though there were Christians in Kerala before the coming of the Portuguese, they were not accepted by the Latin believers. The Synod at Udayamperoor lay the foundation for a shift in thoughts among those who followed Christian principles and hindu beliefs. It may have been at this time that Christian art forms like Chavuttu nadakam, Margam kali, Parichamuttukali which were different from Hindu art forms began to get prominence. The works of Ezhuthachen and Poonthanam were imitated and a distinct Christian influence on art was created by Arnos Pathiri’s works Killipattu and Panna based on the Bible. Similarly in imitation of Hindu art forms, a distinct Christian art form also evolved during this time. The main difference was that Christian art forms took tales from the Bible and also the lives of the saints.

Christians went to North Malabar and brought teachers from there to learn the art of kalaripayattu from skilled masters. Probably people who observed this form of kalaripayattu in their spare time must have practised an art form which later evolved as parichimuttukali.  It has a lot of similarity with ancient margamkali. The first part of margamkali involves singing and moving in a circle. The second part was parichimuttukali. The three Christian communities namely, the Jacobite, the marthoma and latin were all well versed in parichamuttukali. The dalits who embraced Christianity also began to practise this art form. The kolkali, vattakali, parichakali which were popular among the dalits were absorbed into their practise of parichamuttukali.

Practise of the Folk Art.

Several steps taken from kalaripayattu have been continued in the presentation of parichamuttukali. Depending on the community and the region, the art form differed but the common practises are as follows.

Lighting the Lamp: Lighting of the lamp as a sign of the precence of God. As a representation of twelve apostles, a lamp with twelve wicks would be lit as a lamp.

Paying Respect to the Stage:  Paying respect to the lamp and to the stage on which the art form is to be staged. These procedures of paying respect are taken from the paying of homage common to kalaripayattu.

Paying Respect to the Guru or Teacher: This custom is also from kalari customs. In the beginning of parichamuttukali, the players praise the Guru and give him Guru Dakshina or offering in some places. The sword and shield were taken from the Guru at one time but now it is just picked up with reverence from the floor.

Song of Reverence: A song of reverence praising God and the teacher begins the art form. The practise in other keralite art forms are being followed here as well.

Presentation of Parichamuttukali: Reciting the words being told by the Teacher, the players present the art form with their steps and various movements. Beginning with slow steps, the movements pick up speed and rise to a vibrant measure. Most of the steps followed are similar to kalari movements.

Dress: Kalari dress is usually used in the practise of parichamuttukali. Inspite of this we find difference in dress depending on the region where it is practised. For example, the Christians in Kottayam district wear a white dhoti and have a white towel tied on their heads. The Latin Christians of Alapuzha wear the dress of the kings soldiers of that age. Today, however a special dress consisting of red turban on the head, white clothes with red towel around the waist, hands with bands, cross worn as a chain and complete with sword and shield make the performer ready. This dress which is used today is similar to that of the heroes of the previous age of  north Keralite ballads or Vadakkan pattu.

Song: The songs form an important element in parichamuttukali. The songs recited by the teacher are repeated by the players and this begins the art form. The songs used depict the cultural and regional ethos of each community and differs in turn from place to place. The culture, history and life vision of each community are reflected in the presentation of the art form. Depending on the subject matter of the songs, they can be divided into religious and social themes. Within this there are sub areas known as church songs, religious songs, koothu (dance) songs and entertainment songs. The songs are all arranged in such a manner that rhythm and tone help the players to perform. Beginning in a slow rhythm and rising to a crescendo involving the spectators is a special feature of the songs. In order to add spirit to the songs, musical instruments like small cymbals, leg anklets and drums add to the performance.

As parichamuttukali has become a school event for arts competitions, it has undergone a lot of change. The number of players has reduced from twelve to seven. The time of the play has become ten minutes leading to reducing the steps of the performance. Only the hand held cymbals are used in the competition as musical instrument. Even though time has led to several changes in the performance, parichamuttukali has become an folk art to showcase Christian principles.