The devotees of Varanad are very particular that the Pongala should be performed in the Varanad Devi Temple. The Devi of this temple is said to bless all her devotees and grant all their prayers and wishes. The devotees have informed the Devasom officials of the fulfilment of their prayers like the curing of incurable diseases, blind people able to see and the dump being able to speak, unmarried girls getting good marriage proposals, enemies turning into friends and the removal of various problems by the Blessing of the goddess. To remove obstacles caused by enemies and turning them into friends, and to once come many problems the Shatru Samhara Pushpanjali, Kaivattaka Guruthy, KarimGuruthy and Raktha Pushpanjali are performed thousands on Tuesdays, Fridays and Sundays.
Guruthy is performed in this temple in the midnoon and it is very rare offering. Uma Maheswara Pooja or swayamvara Pooja is performed for removal of obstruction and delay in marriages. Varanad Temple is a rare temple in Kerala where Guruthy pooja is performing daily. Arunazhi Payasam is the another important offering to Devi by devotee. Advance booking is needed for this offering. Varanad Devi Temple, Varanad P. Phone : , Website : www. Thozhiyoor, Kalarikkal Veedu, Namanayangad P. Near Naranath Kshethram, Elooor. Accurate predictions, His mighty knowledge in Astrology has helped different people from all around the world to live a happy and prosperous life.
O, Kollam, Phone : , Mobile : , Website : www. Solving all types of problems with Astrology and has helped different people from all around the world to live a happy life. His mighty knowledge in Nadeejyothisham has helped different people from all around the world to live a happy and prosperous life. Kadalundi, Pin. Narayanan Namboothiri Phone : - , E - mail : sankaranarayanan. Mount P. Phone : 95 - - , Dr. How is it then, today, in a span of 50 years, it has the world's best airport, the third best airlines, fourth-biggest financial centre, and the second busiest container ports?
It is one of the world's leading commercial hubs and busiest port of trade. We have abundant natural resources and are blessed with one of the most beautiful landscape.
Which means Singapore and its citizens are around 60 times better off than Kerala and a Keralite. One of Asia's most famous statesmen, Lee has long been renowned for his dynamism and sharp. Escaping the Matrix is a metaphor for the path to selfenlightenment. The Matrix is the world that we perceive which includes the physical world and the higher planes of emotions and thoughts, which also affect us. Without introspection, the Matrix gets darker and denser.
Anyone who blindly accepts these prevalent, negative thoughts will have his or her life path dictated by the Matrix. The outer world is a reflection of our inner thoughts and beliefs, whether individual or collective, which have been conditioned by our experience in the Matrix. We are, as Shakespeare pointed out, merely "actors" in a divine play.
When we wake up to this knowledge, the play does not stop. We are free to act or interact, in bliss and peace, unattached to the Matrix. We have within us the power to create "heaven on earth. Rising from a legacy of divisive colonialism, devastation of the Second World War, general poverty and disorder, Singapore successfully became a city of the future. An outstanding student from a middle-class, Englishspeaking home, Lee's education was interrupted by the Japanese occupation in World War II.
After a stint as a black-market entrepreneur during the war, he made his way to England following the Japanese surrender and convinced Cambridge University to admit him. Upon passing the British bar exams, he returned to Singapore and soon became enmeshed in the complex politics of independence. The Singapore Story: Memoirs of Lee Kuan Yew The miraculous history of Singapore is dramatically recounted by Lee, who not only lived through it all but fearlessly forged ahead and brought about most of these changes, in the first volume of his memoirs, the Singapore Story.
Meticulously referring to his own notes as well as previously unpublished government papers and official records, Lee details in his book the extraordinary efforts made by him for survival. He explains how he and his cabinet colleagues finished off the threat of anti social elements to the state's security and began the arduous process of nation building - constructing basic infrastructural roads through a land that consisted primarily of swamps, creating an army from a racially and ideologically divided population, stamping out the remainders of colonial era corruption, providing mass public housing and establishing a national airline and airport.
Nothing in Singapore escaped his watchful eyes - whether choosing shrubs for the greening of the country, restoring the romance of the historic Raffles. Hotel, or persuading young men to marry well educated women. Today's safe, tidy Singapore bears Lee's unmistakable stamp. He was sworn in as the Prime Minister of Singapore on 9th August , fighting all the way through. In his memoirs, Lee also gives a close account of his family life and writes tenderly of his wife and professional partner, Kwa Geok Choo and of their three children, the eldest of whom is now Singapore's Prime Minister.
The vulnerability of Singapore was deeply felt, with threats from multiple sources including the communalists and Indonesia with its confrontation stance. Singapore's lack of natural resources, a water supply that was derived primarily from Malaysia and a very limited defensive capability were the major challenges that Lee and the Singaporean government faced. In the second volume of his memoirs, From Third World to First: The Singapore Story, Lee relates how through sound policies Singapore achieved the ninth highest per capita income in the world by the s.
The march is continuing and in it reached the 3rd position. As Singapore gained admission to the United Nations, Lee quickly sought international recognition of Singapore's independence. He declared a policy of neutrality and non-alignment, following Switzerland's model. At the same time, he took steps to build up the Singapore Armed Forces and requested help from other countries, particularly Israel, for advice, training and facilities.
Lee introduced a recruitment policy whereby all able-bodied male Singaporean citizens of age 18 and above are required to serve National Service either in the Singapore Armed Forces, Singapore Police Force or the Singapore Civil Defense Force. Singapore has been ranked consistently in the top five positions in the Global Competitiveness. Report in terms of its reliability of police services and consistently been ranked as the safest country in the world.
Lee always placed great importance on developing the economy, and his attention to The Second Home. The rule of law, an independent judiciary as well as a stable, competent, and honest government that pursued sound macroeconomic policies with budget surpluses almost every year were the foundations for the successful management of the economy. This also led to a strong and stable Singapore dollar. Like many countries, Singapore too had problems with political corruption.
To counter this, Lee introduced legislation giving the Corrupt Practices Investigation Bureau with greater powers to conduct arrests, search, call up witnesses, and investigate bank accounts and income-tax returns of suspected persons and their families. He believed that ministers should be well paid in order to maintain a clean and honest government. In , he proposed to link the salaries of ministers, judges, and top civil servants to the salaries of top professionals in the private sector, arguing that this would help recruit and retain talent to serve in the public sector.
In , Lee sparked the 'Great Marriage Debate' when he encouraged Singapore men to choose highly educated women as wives. He was concerned that a large number of graduate women were unmarried. Some sections of the population, including graduate women, were upset by his views. Nevertheless, a match-making agency Social Development Unit was set up to promote socializing among men and women graduates. In the Graduate Mothers Scheme, Lee also introduced incentives such as tax rebates, schooling, and housing priorities for graduate mothers who had three or four children, in a reversal of the oversuccessful 'Stop-at-Two' family planning campaign in the s and s.
By the late s, the birth rate had fallen so low that Lee's successor had extended these incentives to all. One of Lee's abiding beliefs has been in the efficacy of corporal punishment in the form of caning. Lee's government inherited judicial corporal punishment from British rule, but greatly expanded its scope.
Under the British, it had been used as a penalty for offences involving personal violence, amounting to a handful of caning sentences per year. The PAP government under Lee extended its use to an everexpanding range of crimes. By it was mandatory for 42 offences and optional for a further Those routinely ordered by the courts to be caned now include drug addicts and illegal immigrants.
From canings in , the figure rose to 3, in and to 6, in The spectacular achievement of Singapore in 50 years is miraculous. He was then the world's longest-serving Prime Minister. What is given above is only a miniscule of the contents of the two volumes of the Memoirs of Lee Kuan Yew as well the views of his critics. After reading through them, one would wonder why other countries could not emulate the Singapore model of administrative reforms.
The argument that Singapore is a tiny nation is only an excuse for non performance. I have tried to present very briefly the achievements of a tiny island-country under the talented leadership of Lee Kuan Yew, its visionary Prime Minister for 25 years. The information is gathered from the two volumes of the Memoirs of Lee and the articles of critics. I wonder why our own Kerala with far better resources is unable to go anywhere near to it and that excuses will not help; if there is a will there is a way. He passed out with the 1st Rank from the University of Kerala.
Congratulations Mahesh..! Abdul Kalam, H.
The President of India Sri. Mahesh L is the Managing Partner of Ms. Would my touch be all? What is the moon? How will the light be? A normal person with a sense of aesthetics can derive total ecstasy from the enchanting beauty of the scenery, the mellowing touch of the breeze, the hugging feel of the chill and the melodious symphony of the world around. Just close your eyes and try to gauge what the blind miss in life?
How can the colours be imagined! Love is blind so they say. But what about the blind? The poetess weaves a poignant Nileena Bhuvanendran poem which articulates the feelings, emotions and pangs of love. Overcoming all physical hindrances love is all encompassing yet unique to everyone. A serene dawn, had a few stars to melt away, A silent silver moon, was yet to fade away, As the first lights of the day touched the horizon, the veil of darkness melted away. As the curving river shined, in shades of an enticing dawn, As the valley bloomed, to garland the day, As the red berries, of the green trees lay scattered on brown and fading yellow rustles.
For an enticing maiden with her seductive eyes, and sensuous curves, was making her way for the day. Carrying the fragrances of the valley, that had bloomed to her seductive splendour. As she moved, her fragrances of her garlands, of jasmines, marigolds, roses and lilies filled the air. As I passed a smile to her seductive glance; she shied away with a luscious smile, only to look away. Swaying her sensuous curves, to rhythms of her tinkling angle bells, She swayed passed us, as her enticing charms swayed away with her.
For the darkness of the night had melted away to a profound day. For the divine glory of incense spread away, the worship chimes sang away to the heavens above. As I held him closer, I marvelled if he ever dreamt? And I marvelled, how his dreams would be? I marvelled, I marvelled, if ever in his dreams he saw a beauty beyond his touch. As for now, all I had for him was this gentle touch of mine. Viswanathan is a person born with a rare gift, a beautiful mind to keep his cool even if he is provoked to the hilt.
Then I could closely associate with him and I formed the opinion about him, which I have mentioned above.
Inspired by him, the Syrian Christians of Kerala started to organise the ceremony. SN Wijesinhe. We can find out and solve your problems without asking you. Tampi, who was also born on the 2nd October, replaced the Europeans and became the first Indian Secretary of the erstwhile European Club, which became the Trivandrum Club later! Chamayavilakku is also a much-anticipated event for the members of transgender community, as it offers them an opportunity to celebrate their real identity. And then may be one day, faith will find its true meaning in our society.
He has done the landscaping for our Legislature Complex and many other beautiful projects. You name any professional or social organization in Trivandrum, Viswanathan's name is there as a reputed member. He is an expert member of the many high profile committees of the Government. In the short write-up Viswam gives some valuable tips for the home garden makers, the dos and don'ts in landscaping with respect to the type and location of the site. He is an ardent fan of the indigenous variety of plants and creepers most suited for our climatic conditions.
Aiyappan, my thoughts went back on the following. Eg: Idukki, Ponmudi etc. Then it was a choice on typical vegetations. The following are some of the names of the species that are suited for small extents of property. Architecture Incorporated, Trivandrum. As Kerala falls within the ideal tropical zone with predominant rain fall regions, it is better to go for vegetations that celebrate our climatic conditions and avoid generally, the maintenance demanding groups like rose, dahlia, and orchids etc. Traditional Kerala homesteads always add kitchen gardens in the rear side of the house Drumstick, Ladies finger, Brinjal, Bitter gourd etc are some of the kitchen garden species.
Front side set back of 3 meters and rear setback of 2 meters encourages garden settings. It is not advisable to plant large trees like Teak, Neem, Tamerind, Ficus etc. Now let us look at the planting of some of the shrubs. Eg: Pavizhamalli Nyctanthes arbor-tristic , Jasmine etc. These shrubs which are scented flowering in nature, should be planted closer to the bed rooms or the living rooms or on areas of south-west sides where the wind direction is towards the house.
If the homestead or house is having the courtyard, the vegetation selected in the courtyard should be of minimum illumination demanding, in the sense that it should demand minimum of light. Eg: roses should not be planted in the courtyard where the intensity of light is low. Similarly jasmine demands high intensity of light. Such vegetations should not be planted inside the courtyards, but cluster of thulasi can be planted in the middle of the courtyard. If you are going to have water bodies in your compound, specific vegetations which goes well with the water bodies should be planted.
Eg: Bottle brush tree calistomon lanceolatus , Russelia Floribunda shrubs etc. Application of pesticide should be very discrete. It is better to go for organic pesticide and manures. When applying pesticide cover your nose and fore arms, to safe guard from allergic reactions. Let me sign off now. You may come across a handsome, cheerful, gentleman in dothi in the car. He is none other than our member Sri. Kalyanikkutty, author of this article. The only daughter of the staunch devotee is a God-fearing person. Having done her studies in the National School of Law, Bangalore and LLM from NewYork University, USA, naturally she will have her own clear cut opinions about God and the so called 'Godmen', which she shares with us here in a well studied, beautifully and powerfully worded, thought provoking article.
We are living in a time where every open space is covered with flex boards. We can tolerate the filmi and political persons doing self promotion whether it is fair or not, but what about the promotion of Sanyasis, Priests and Godmen in the same fashion in all the media. But what we see is a lucrative, well organized, with many things concealed and camouflaged business and in some cases for the satisfaction of lust, many times forcefully in the name of the faith.
Those who dare to question them will be dealt with strong muscle! We have to apply our rational minds and study the murky and dangerous situation as an outsider and express our concerted opinion for the benefit of the society. But before we start analyzing this, there are two questions that I need to answer the readers. Well the answer to this is the age old paradox in our culture and our proclaimed ability to think.
In Kerala and among Keralites, the Onam festival is celebrated. Its theme is that a good and benevolent king Mahabali visits his subjects once a year on that day. The subjects are happy that the king lives at least one day a year for them. In North India, Mahabali is a rakshash who is killed by Vishnu, and whose death was necessary so that the world may exist. So, now, what is faith and whose faith is true, the North Indians for condemning Mahabali, or the Keralites for worshipping him. Secondly what can an independent metro-.
The answer to this is simple - my faith in God. Historically, the Godmen syndrome emerged in the wake of the failure of religious establishments. In Europe, the scientists like Bruno, Servatus, and Galileo suffered immense torture at the hands of powerful mediators of the institutional religions.
The rational thinkers, scientists had to face imprisonment or other harassment for discovering things like Earth is round, diseases are not due to wrath of God etc. But certain prophets stood for radical changes in the society, to come out from the evils prevalent in society, they were for change and for justice.
The institutions built in their name are there for status quo and for preserving the system but today a very few benefit and most in the society suffer. Caught in a shadowy time between tradition and globalisation, post liber alised India's fascination for Godmen still continues. We have witnessed a massive upsurge of multitude of religio-mystical cults of Godmen, swamis gurus, particularly during the last three decades. The Bollywood, the politicians, they all seek 'good' dates for muhurats, swearing in ceremonies and well-off Indians speed dial astrologers with fingers sprouting 'lucky' stones before constructing vaastu - compliant homes, are everyday examples.
In a recently published book, the Australian born writer describes how she was sexually abused in an ashram in India, for about 20 years. Another Godman claiming to be a Yoga Guru has reportedly built a crore empire. Elsewhere, a "Bapu! There are thousands of others who exploit the susceptible by promising health, wealth, prosperity and peace of mind in exchange of money, devotion. Many of them, if not all exhibit their 'godliness' by performing so called miracles to attract the gullible into their net.
And the disciples of the Godmen consider them as god's gift which in turn elevates the persons to God stature. After all these examples, one has to wonder how these spiritual experiences operate and why do people flee from God to Godmen? But in this age of unbelief a true guru is hard to find. A substitute will be worse than useless, often positively harmful. I must therefore warn all against accepting imperfect ones as gurus Has a man ever learnt swimming by tying a stone to his neck?
But unwittingly, we invite irrationality, existential insecurity and a life driven and riven by falsehood, hypocrisy and moral anarchy. Nothing is being done to man - man is doing it. Sure, there are some other ultra- dimensional players in there too, but their dominion is unexpectedly slight. Freewill is always primary and all ensouled humans have it. It is not nofaith, but false-faith.
The choice is not between trusting and not trusting God. The choice is between trusting God and surrendering oneself to Godmen. We just know. We can tell… The Second Home. In stark contrast to the Godmen and gurus, is the case of the recently slain antisuperstition activist Narendra Dhabolkar, who was not only a tireless champion of rationality and a fearless crusader against all forms of faith-based exploitation, but also an acclaimed journalist and writer. The assassination of Narendra Dhabolkar does not prove the greatness of individual con men or the worth of teachings they mouth.
It proves the sickness of the age in which we live. The only possible counter to surrendering of your mind to fake gurus is true faith. Faith may give strength, it may impart confidence and it may even imbue one with optimism. But blind faith in individuals of dubious reputation almost always leads to exploitation, harassment and often even loss of life.
Of course, seen from a different perspective blind faith is an extremely lucrative milking cow. The antidote to blind faith is true faith. God and God alone can be the centre of true faith. And the ultimate realization that God does not do favours, he simply protects the balance of life. Rationality can be taught. It needs to be part of the curriculum in all schools and colleges. Perhaps then some of our fellow countrymen will escape from the prisons they willingly put their minds into.
Despite revelations of wrongdoings and corruption by God men, their roaring business remains in tact. This institutionalized exploitation of man by man should be brought under the radar of law. Public opinion has to be mobilised to influence the political rulers to enact Legislation to watch minutely the activities of god-men and auditing in a specialised manner the wealth amassed by them. And then may be one day, faith will find its true meaning in our society. Disclaimer: This article is general in nature.
The material is not meant to hurt any religious or social feelings of individuals. Raj Kumar R , Capt. Chandran Sekar Adiyodi. Taxi sNbvXp.
Sorry and thank you. Ten years back I had a discussion about a flat being constructed by Sri. Krishnakumar at Jagathy and I could visualize from his well studied presentation and replies to queries that, this young man is going to go places. That was the level of knowledge and calculations he had about his projects. A Mechanical Engineer, who left his comfortable, convenient and safe job at ISRO in his home town and ventured out into the competitive world of real estate where there are equal number of success and failure stories.
Here Krishnakumar with no family business background or no godfathers, has built up a model business enterprise based on the trust he could establish with his customers. Now Nikunjam Builders is in the forefront of the builder fraternity of Trivandrum and have acquired some of the key locations in the city and around. They have created the right product-mix of Residential and Commercial Structures, one for outright sale and the other for the regular income to their company respectively. Krishnakumar is an affable, cheerful and always available old friend. From the Fiat to the Rolls Royce, 'Nikunjam Constructions' is a real success story which will be an inspiration to many aspiring new entrepreneurs.
Due to my persuation only he reluctantly gave this write-up. I was working through the usual 9am to 5pm working hours, anticipating retirement at 60 with an assured pension and medical benefit thereafter. Being a trifle pragmatic, I never had any big ambitions in ISRO, so that my life was relatively comfortable. I knew that what extra ordinary ambitions could do to any young engineer. I settled myself for a career with more of personality development and useful interaction with some good talents across India. To my horror, although ISRO had modest programmes and ambitious targets, these good talents across the states were seldom recognized.
Buoyed by the surprising success, I weighed my options between an. The success could leave a legacy in my hometown, become. I had during decided to take the plunge by submitting my resignation and was relieved from ISRO service on the afternoon of December 23rd It was painful, nevertheless my self confidence was sky high since I have set my mind to create a legacy of my own and failure never ever flashed through my mind.
I had to set my own bench marks and do that extra bit of hard work to be able to rub shoulders with others in a highly competitive field, where mistakes are seldom forgiven or forgotten. My Company Nikunjam Constructions Pvt. I was born in a middle class family, both parents hailing from Central Travancore. I have travelled widely and am a great family man.
Wife, Sindhu is a home maker, daughter Arathi a 5th year student of Architecture and son, Siddharth a 12th standard student. Pandian IAS Retd. She is Professor in Sri. Ramachandra Medical College and University, Chennai. Sujatha Balagovind R Grandson of Capt. Gold Medal Winner in the Science Olympiad. Tony Thomas R B. I will start from where Sri. Dinesh concluded this article The flight from Bangalore landed at Trivandrum. My wife, myself and our two year old granddaughter were heading towards the cabin door.
Many of them gracefully returned the gesture and the others took no heed of it. The lady was immensely pleased. She returned the kiss and stepped forward to pat the kid by cupping her palms around her cheeks. What I inferred from this was that the child acted out of its own instincts and not by any training. PR and social skills originate from birth as inheritance, then developed by observation, learning and training. In the case of Kathel Chicken I had a different experience. I am a poor eater and left eatable chicken portions as waste. Kathel Sahib expressed his displeasure to my friend the late Keerthy Krishnankutty chettan "Muthalali don't bring this type of people to my hotel".
It was just shot of him boxing on my ear with his hands! And coming back to Dinesh He is an old family friend with varied interests like reading, travel, sports, art etc. Now he has founded 'Mediant', an entertainment company. In this short but structured article, laced with a tinge of humour, Dinesh had driven home the subject through an interesting, informative and stylish narration. This is the last and final boarding call for passenger Dinesh B. Panicker flying to Trivandrum by Flight IC The passenger is requested to board the aircraft immediately.
Fellow Members and friends, This was the welcome I received as I rushed into the airport with suitcase in one hand, a briefcase in the other, back pack behind me, a couple of packages tucked in my armpit and of all things, a rose which the concierge assigned to drop me to the Airport by the Hotel had given to me gripped between my teeth. Imagine my plight rushing past the check in counter, squeezing through the security, racing along the.
I still remember her name - Genelia. It is in moments of such grave crisis that my PR skills come to my rescue. It prompts me to say something most appropriate however inappropriate situation may be. And there stood Genelia, now with a gentle smile on her face. I had given Genelia something without asking for anything in return. And she in return was teaching me great lesson that in giving we receive. Those were the seventies and not many in the city knew him. But everyone knew the restaurant he owned. No map, no GPS will take you there.
But your nose would. Inside there stood a large wok full of sizzling oil in which pieces of chicken coated with a thick marinade of Kerala spices bobbed up and down, up and down. And behind stood Mr. Kathel with a white prayer cap above, a flowing white beard below and a benevolent smile in between. Hotel Rahmania had only one dish to offer. We children used to call it KFC. Many years later an American by name Colonel Sanders from the State of Kentucky copied that name and recipe and made a lot of money!
The instant you sit down in Hotel Rahmania, Mr. The moment you finished it, there he was politely pleading you to have some more. After many such last pieces, there came the ultimate surprise - the bill. Khader had a simple billing formula for us children - the more we eat, the less we pay.
Inspite of his failing health Mohammed Abdul Khader spent most of his life, frying chicken, on a fire wood stove the way only he could and the rest of it in making people relish it. He did not have the time to worry what he would get for all that he gave. My reverie was interrupted by the announcement The Second Home.
Soon I would be meeting the mother of all givers, an obsessive compulsive giver - my mother then alive who left us two and a half years back. Eliamma would vouch for. My mother, when she left us at the age of seventy had only one desire - to give her eyes away to someone who could not see, when she was gone. Once out on shopping three years back, she was there in the parked car, playing with a balloon she had just acquired. She then noticed another baby her age with her mother outside pointing at the balloon she was holding to her mother.
Without a word being spoken she sensed that the other baby wanted the balloon and without batting an eyelid, extended the balloon to the other child. Her mother tried giving it back, but Prarthana refused to accept it. Finally as they moved away with the balloon, she waved them a cheerful bye. For a child to give away any of her possession is a great act of generosity. I often wonder how did she learn the art of giving at two years of age which I am now desperately trying to learn after four decades of existence.
So you see, I had some amazing teachers in my life teaching me the art of giving unconditionally. But the moot question is, did I bother to learn? Unfortunately, no. Life to me was constant battle to take more and give less. And in this struggle, I forgot to learn the lessons that life was trying to teach me. That in giving we receive. That the more we give, the more we get. And that no matter what you give, give it from your heart.
The outside temperature is 32 degrees Centigrade. Thank you for flying with us. Three cheers to "I-ZI - fn'! CTS No. No Outstation cheques are accepted. No refund if cancelled 2 days before check in date or no show. Tax components are not refunded since deposited with Government. Underwater Hotel in Fiji My friend Mr. Varghese Mathew e-mailed a write up with photographs of a unique resort by name Poseidon Resort built totally under water coming up in Fiji Islands. Some among our members might have come across this in the net. But I am reproducing a gist of the write up and some photographs here which makes an interesting reading.
How about that for a reversal of positions? Now you could penetrate the waves with your eyes, see the amazing underwater world, the colorful fish and algae, the otherwordly glow of the sun through the water. On the private islands of Fiji, at the Poseidon Resort, this dream is becoming a reality. Introducing the first underwater 6-star hotel. This is the first hotel that is completely underwater, at a depth of feet under the waves, in a crystal clear lagoon that offers guests a breath-taking view of coral reefs and the fish that live around them.
Each suite is carefully being designed to be totally modular, and in case of a malfunction or maintenance, it can be raised to the surface individually. The hotel is going to include 25 guest suites and everything else a hotel offers. Eating in incredible style. We wonder if it's all sea food? For those guests who have had enough of this spectacular. A more beautiful room cannot exist.
Astrologers in Vattiyoorkavu, Thiruvananthapuram. Find ✓Pandits For Marriage, ✓Palmists, ✓Numerologists, ✓Nadi Astrologers, ✓Vastu Shastra. Name: NANDAKUMAR M|. Address: 6/ PRANAVAM VARA , ARAPPURA GARDENS VATTIYOORKAVU, THIRUVANANTHAPURAM - TRIVANDRUM.
What else is here? A restaurant, bar, gym and even an underwater wedding chapel for those who'd like to say their vows in a very unique setting. Laying on the bed, looking up at the sea - this is a unique experience. A library offers a great place to read while also enjoying the fish swimming by.
Ashtapadi, another name for the Sanskrit work Gita Govindam 13 A. D by Jayadevan. This writer was a member of the royal assembly of Lakshmanasenan, a Bengali king. This poetic composition is renowned in India and is characterized by the overpowering presence of the emotion of love. There are 12 Sargas cantos , 24 songs and 92 slokas. The Ashtapadi songs that abound in equal amounts of devotion Bhakti and love are popularly sung Kathakali is a classical dance form of Kerala, demanding long years of training. Believed to have evolved from Ramanattam, another classical art form composed by Kottarakkara Thampuran, Kathakali incorporates the techniques of some of the major ritual art forms of Kerala.
The characters of Kathakali do not speak and the story is presented through songs from the background. This makes Kathakali music a very important component of this art form. The text of Kathakali songs is known as Attakkatha. Chenda, Maddalam, Chengila and Elaththalam are the instruments used with Kathakali music.
Like most other classical dance forms of India, Kathakali is also Paravoor G. Chalakudy N. Padmabhooshan K. Guruvayur S. Mavelikkara S. Santha P. Pala C. Rasa is the philosophy espoused by Sage Bharatha, author of the Natyasastra, the ancient Indian treatise on performing arts, as the foundation of poetic beauty. Rasa is envisioned as the soul of poetry. The rasas can be said to be the major emotions distilled from the myriad human emotions.
Bharata mentions a whole range of emotions that the human heart is capable of feeling including 8 Sthayibhavas, 8 Sathvik bhavas and 33 Vyabhichaari bhavas. According to Bharata, a dancer should be Shringara is the one of the nine rasas of the Navarasas. Shringara is the rasa used to portray on stage romantic love between a man and woman. Desire is the primary emotion expressed through shringara rasa.
Shringara is of two types — Sambhoga shringara and Vipralambha shringara. Sambhoga is the state when the hero and the heroine are together or united. The state when they are apart is Vipralambha. While the heartache and pain of separation from the loved one is conveyed through Vipralambha, the intense desire for the lover is conveyed through Sambhoga. While acting out Shringara rasa, the performer sports a One of the Navarasas. Veera is the passion and eagerness evoked in the heart while the person engages in fighting for good over evil, protecting a just cause and safeguarding the interests of the helpless and have-nots.
Veera rasa is of four types: Dharma veera, Daya veera, Daana veera, Yudha veera.
When reacting proactively to the urgings of the conscience or the call of duty, one feels Dharma veera; Daya veera rasa is the feeling evoked when responding to a call for protection; Daana veera is the eagerness to help a person reaching out to you in his need; Yudha veera This rasa is the manifestation of sorrow, pain, sadness and bitterness that the character experiences as a result of the departure of or parting from loved ones, death, thwarting of desires or an undesirable event.
In order to portray this rasa, the actor contracts his pupils and looks downward, keeps his nostrils still, pulls his cheeks in slightly and turns his neck slowly from side to side, all the while maintaining a look of dejection on his face. This rasa is the manifestation of amusement and delight. This emotion is expressed when witnessing objects or events that evoke amusement. Haasam laughter is the predominant emotion of this rasa.
When the actor portrays the Haasya rasa, he lifts one eyebrow, pulls the pupils of his eyes inward, tightens his nostrils slightly to make the nose smaller, pulls his eye-lids down half-way and takes on an expression of happiness and pleasure. Athbhutha is the manifestation of the wonder and amazement felt at witnessing unusual or incomparable objects and events.
When the eyebrows are raised, the gaze is slowly directed outwards, the eyelids are stretched to the sides, the chin and neck are lightly thrust forward and the face displays an expression of delight, you have athbhuta rasa. Bhayanaka is the feeling of panic and dread brought on by the anticipation of danger. It denotes a weakness of heart and a want of strength in character.
Fear is the base emotion of the Bhayanaka rasa. To portray Bhayanaka, the actor widens his pupils and pushes them forcefully outwards. With eyes quivering, he raises his eyebrows one at a time and then together, pulls his lips inward, flares his nostrils, and looks from side to side like a deer that has caught the scent of danger. The darkly reddened face conveys the adrenaline rush of extreme fear This rasa represents the revulsion that the character feels, on seeing unpleasant sights or things.
Jugassa or disgust is the basic emotion here. While portraying this rasa, the character stoops his neck forward slightly, pulls his eyes inward to make them smaller, lowers his eyebrows, blinks his eyes, and pushes his cheeks and lips downward, all in a highly exaggerated fashion. The rasa that is evoked when one is greatly wronged or humiliated. The base emotion is rage, and is manifested through a readiness to protest and resist, through verbal aggression, and through violence and war. To portray this rasa, the actor keeps his eyes wide open, his eyelids aflutter and his eyebrows lifted up.
Flared nostrils, quivering lips and clenched teeth also add to the intensity of the emotion on his face reddened by rage. Shantha is the emotion experience by a content mind filled with peace and with an absence of desire for material comforts. Detachment is the emotion that best expresses this rasa. The state of Shantha is brought about by liberation from desires and detachment from the material world in combination with strong faith in God.
To portray Shantha, the actor focuses his eyes on the tip of his nose, keeps his eyelids still and half closed and maintains an expression of realistic calm. Kathakali music is the music used during the performance to convey the story line or the dialogues between the actors. The dancers dance to the Aattakatha, the story, that unravels through a musical delivery by the playback singers. Of the two singers, one is the lead singer — the Ponnani — and the other repeats the verses sung by the lead. He is known as the Shingidi. The verses are sung repetitively to allow the actor to convey an idea or express an emotion to his complete satisfaction.
The distinctive music of Kathakali was born out of Sopana Sangeetham or Sopana Purappadu is one of the ritualistic elements of the play that signal the beginning of a Kathakali performance. The Purappadu comes after the Thodayam and the Vandana sloka. The main elements of this ritual include a sloka as a preface or introduction which is the purappadu sloka in Raag Bhairavi, and a padam that describes the heroic qualities of the main character.
During the rendering of the sloka and the pallavi, a pacha or heroic character and a female character enters the stage from behind the half-curtain that is held up by two people standing on both sides of the Ekalochanam is one of the extraordinary feats mastered by very few Kathakali artistes, wherein the artiste portrays anger in one eye and sadness in the other.
The commonly used alternative by performers is to shift This is a ritual performed as part of the performance when kathi, kari and thaadi characters enter the stage. Before they start acting, these characters, when standing behind the half-curtain, hold the curtain on the top with fingers spread out and look out at the audience. In actuality, they are looking at the flame of the lit lamp kept on the stage. This is followed by the actor looking to both sides of the stage, after which the ritual is complete and the curtain removed.
During the thiranottam of the kurumkathi characters who enact romantic scenes, a head ornament is held Aattavilakku vilakku means lamp is the traditional bell metal lamp that is kept lit on the stage during the entire Kathakali performance. The lamp chosen for this is required to be no less than four feet tall. The top part of the lamp that will hold the wick or wicks should be around one and a half feet in diameter. The flame The Arangukeli comprise the initiatory rituals associated with a Kathakali performance.
These include the Keli and the Arangukeli. Keli is the ritual to publicise an upcoming performance whereas the Arangukeli is the introductory ritual of the actual performance. As soon as the lamp kept on the stage is lit, the Arangukeli begins. Other descriptive names given to the Arangukeli include Shuddhamaddalam, Kelikkai and Ganapathikkyu Koduka. The only two instruments used are the maddalam and the ilathaalam. The Arangukeli starts with the performers facing the audience.
After a few minutes of playing on the maddalam, the artiste moves to one side and One of the techniques employed in the Indian acting tradition. In this method of acting known as Angikaabhinayam, hand gestures are used to convey ideas and emotions. To convey a single idea, sometimes a variety of hand and finger positions are used. Every mudra or hand gesture has a particular meaning. In Kathakali, hasthamudrakal form the most important part of Angikaabhinayam. The hand gestures mentioned The eight day celebration is marked by the line-up of 21 caparisoned elephants.
Traditional musical ensembles like panchavadyam and pandimelam add more charm to the festivities. Peruvanam Pooram is noted for its antiquity and is held at the Peruvanam temple dedicated to Lord Shiva. It is believed that the sanctum sanctorum of the temple was built at the spot where Lord Shiva is believed to have meditated under a tree. The festival in the beginning here was different from what it is now. Due to unknown reasons, the conduct of the festival changed to Peruvanam and Aarattupuzha festivals. The version of Peruvanam festival as we witness today is of years old. The festival takes place during the Malayalam month of Meenam March-April.
Highlight of the festival This is the very first ritual associated with a Kathakali performance and is carried out to publicise an event that is to take place shortly. The first keli is usually performed in a crowded place so that the people of places in and around the venue, are made aware of the event; as such it need not take place on the stage. The instruments used for the kelikottu are the chenda, the chengila, the maddalam and the ilathaalam. This tradition originated at a time when there was no other medium to publicise Kathakali performances.
Today, however, it is a mere ritual. A festival of colours and tuskers held every year, the Chinakkathoor Pooram is held at Sree Chinakkathoor Bhagavathy temple, Palappuram in the district of Palakkad in north Kerala. The highlight of the festivities at Chinakkathoor Bhagavathy temple is the day-long pooram. The pooram day is marked by a grand procession of caparisoned elephants and also features traditional orchestra like the panchavadyam and various art forms like vellattu, theyyam, poothanum thirayum, kaalavela, kuthiravela, aandi vedan, karivela and so on.
This ritual, in meditation of Shiva and Parvathi, focuses on dance, and involves two characters, one male and the other female. Actors who enact the roles of younger versions of the characters, dressed in pleated dhotis, dance behind the half-curtain. First of all, the actors enter the stage, bow, and then move towards the percussionists, playing on the chengila, A rare confluence of different cultures of modernity and traditional can be witnessed in this five-day long festival. The people here owe their prosperity and happiness to Kavil Amma, the presiding deity. The festival days bring a great deal of joy to the devotees.
The highlight of the festival is the procession on the concluding day. It would feature richly decorated kuthira kolams effigies of horses , ceremoniously brought to the temple by the devotees as offerings. The procession is accompanied by players of traditional percussion instruments and it culminates Vandanashlokam refers to the verses sung in praise of the Goddess and comes after the ritual of Thodayam. One example of a vandanashlokam is that written by the famous Kathakali story writer, Kottayatthu Thampuraan, who, after finishing four stories without any hitches, composed one remembering his guru.
The rules laid down by Vellaattu Chaathupanikkar, who was a guru at the kalari Kathakali school of Kottayathu Thampuraan, form the foundation of this change in format. Panikkar ushered in the new style by bringing about a lot of changes to the Vettatthu tradition, prevalent at the time.
These included changes in various components of the art form like the costume, the use of the stage, make up and the dance routines. Champakkulam Moolam Vallam Kali vallam kali means boat race is held at Champakkulam village in the taluk of Kuttanad in Alappuzha district. The race is held on the Champakkulam river, a tributary of River Pamba. The race has various categories like the chundan snake boat , veppu, iruttu kuthi, churulan etc. Cutting across religious faiths, people take part in this event. The Kapplingaadan Sampradayam refers to the reformation in the style and format of Kathakali put in place by Kapplingaattu Namboodiri, with the patronage of the erstwhile Travancore royal family.
Kapplingaattu Namboodiri was a native of Nedumpura village in Thallappalli taluk of Thrissur district. This is a stage presentation style in Kathakali, the famous Indian classical dance drama form from the state of Kerala. There are three basic styles in Kathakali called sampradayams Vettathu Sampradayam, Kalladikkodan Sampradyam and Kaplingadu Sampradayam These styles differ from each other in subtleties like choreographic profile, stress on dance than drama and position of hand gestures..
The kalluvazhichitta adopts its style by mixing two basic styles called Kalladikodan and kaplingadan. This style is propounded by Ittiraricha Menon who belonged to the village Kalluvazhi near Vellinezhi in Palghat district and hence the name. This style is mainly seen in central Kachakettu - putting on of the costume and make up is the very first lesson taught in as part of training in Kathakali.
The aspiring pupil who, after a cleansing bath, arrives at the kalari, the house where Kathakali is taught, first pays his fees — the guru dakshina - to his teacher. He offers the fees to his guru while standing and facing east, in front of a lighted lamp - symbolic of the Divine Light. The guru accepts the dakshina and in return, hands over a piece of cloth that is worn during training — the kacha In Kathakali performances, Melappadam comes between the Purappaadu and the Kathaarambham. Though Geet Manjuthara is used in the Melappadam, only the first charanam verse is sung.
For adding colour and variation to the rendition, the charanas are sung in increasing tempo, from the first to the fourth kaalam. The first charanam, Manjuthara, is sung in Raag Mohana, and the last, Vihithapadmavathi sukhasamaaje in Raag Madhyamavathi. At the beginning of the charanam, there is a round of percussion with the Chenda, and the pallavi the thematic line of a song, usually one cycle long and repeated twice is rounded off with a Ashtapadi or Gitagovindam is a famous Sanskrit poetic work by Jayadeva. Jayadeva was a member of the royal assembly of Lakshmanasena, a Bengali king.
These are hymns with each composition comprising of eight lines hence the name ashtapadi ashta means eight in Sanskrit. The Ashtapadi songs that are abound in equal amounts of devotion and love are popularly sung at Vettathu sampradayam sampradayam means tradition is the innovation in performance style that catalysed the metamorphosis of the art form of Ramanaattu to its present-day form of Kathakali.
It is named after the Vettathu king who set in motion the process of change. The Vettathu tradition changed various aspects of Ramanaattu including the method or style of acting, the background music and so on. Many trademark elements of modern-day Kathakali, like the costumes and makeup, styled after those used in Koodiyattom, the tradition of actors not speaking during performances, and the ritual of Purappaadu, were adopted under the influence of the Manjuthara is the ritual that follows the Melappadam in a Kathakali performance.
Ashtapadis are hymns of love and supreme devotion, where the music has eight lines steps within each composition. The song puts to music the words spoken by a friend to a decked up Radha awaiting the arrival of her lover Krishna. Manayola is a yellow substance used as a base material to make the facial makeup used for Kathakali. It is ground and mixed with oil to make a paste that is then used for application on the face, and is considered ideal for the face. Other types like red and green makeup are made by mixing colours with the manayola.
In Kathakali, the face is made up in a vivid and eye-catching style to add to the beauty of the facial expressions and consequently, the interpretations of the various rasas. Aattakatha is the literature of Kathakali. Aattakatha includes the three elements of sloka presenting the story on stage , padam conversation , and dandakam summary of events. Aattakatha is written in Sanskrit or Manipravalam a combination of Sanskrit and Malayalam and used on those occasions when the script requires the story to be told and not acted out. These include scenes where characters are introduced, shlokas recited, the time, place and circumstances of an event are to be communicated and so on.
Padam is the conversation between characters. The padam, rendered in Malayalam, has three parts — the pallavi, the anupallavi and the The Kathakali performer needs to be particularly adept with his foot movements and as such, intensive training in footwork chuvadu sadhakam is imparted to the pupil. The training begins with the pupil keeping step to the Chembada tala at its slowest tempo which involves eight steps taken to single beats.
After this, the lessons progress to cover six different types of foot movements, ascending from the single-beat rhythm the first tempo to an eight-beat rhythm the fourth tempo and then descending back to the single beat. As the rhythm increases in tempo, the beats double at each change of tempo. To master Kathakali, training, in a rigorous and scientific format, must be undertaken from a very young age.
The school where Kathakali is taught is called kalari. Kalari is also the name given to the place where martial arts are taught. There are various stages to Kathakali training which begins with the giving of the dakshina, a ritualistic offering of the fee, to the guru or teacher. The Kathakali student has to go through physical training, training in dance and acting, and learn the associated literature of stories, songs and so on.
Training is imparted in various aspects of the art These art forms are based on the rituals followed in religious or social beliefs. Ritual art forms are performed with particular motives like attaining prosperity, eliminating evil possessions and diseases or pleasing a deity. Dance and songs with the accompanying traditional musical instruments, colorful ritual paintings called 'Kalam' and indigenous decorations are the specialties of many of these art forms.
Some of these are very complex tantric rituals. Ayappan Pattu is a ritual performed by devotees of Lord Ayyappa. Also known as Sastha Pattu and Udukupaattu, the pilgrims embarking on a journey to Sabarimala perform Ayappan Pattu in their houses and temples. It is held in the left hand and struck by the right hand. Ilathalam cymbal is also played. The songs rendered are based on the legends of the Pandalam king and Lord Ayyappa, besides songs of Devasuram war and Palazhi Madhanam are also Nalleppilly Brothers 2.
Ayamkudy Kuttappa Marar 3. Mankathil Balakrishnan Nair 4. Ramakrishnankunju 5. Vidwan Baburao 6. Bakkar Edakkazhiyoor 7. Kunhiraman Nambiar 8. Kalan Kani 9. Kunhikkutty Sathar Mani Iyer 1. Guruvayur Kunjan Marar 2. Chemanchery Narayanan Nair 3. Kaithavana Madhavadas 4. Thrikkoor Rajan 5. Punnakkal Balakrishna Marar 6. KPAC Johnson 7. Korambu Subramanian Namboothiri 9. Trippunithura Malathi Varma Annamala Pulavar Kidangoor Kuttappa Chakyar Pallan Joseph Ganapathi Rao Kalaratnam Pallippad Kesavadev Sarathchandra R.
Varkala Sreenivasan Kalam, a unique drawing of Kerala is a ritual art form as old as the Sanghom Age. Coloured powders are used for preparing the kalam. Primarly, five natural colours are used — white, black, yellow, green and red. For making the colours various natural products are used. White colours are extracted from rice flour, charcoal powder for black, turmeric powder for yellow, powdered green leaves for green and a mixture of turmeric powder and No Winner Year 1.
Vasudevan 2. Thikkurissy Sukumaran Nair 3. Bhaskaran 4. Abhayadev Ayyappan Pillai 5. Vincent 6. Raghavan 7. Dekshinamoorthy 8. Devarajan 9. Krishnan Nair Menon Yesudas Madhu Aranmula Ponnamma Mankada Ravi Varma Ramadas Raveendranathan Nair Sethu Madhavan Navodaya Appachan M. Punnose Jose Prakash Sasi Kumar Vasudevan Nair Poorakkali is a ritual art form performed in the Bhagavathi temples and sacred groves across North Kerala. Performed during the nine day Pooram festival mainly held during the Malayalam month of Meenam in Bhagavathy temples, this art form focuses mainly on rhythmic foot steps resembling the movements of martial artform.
The name Poorakkali literally means play on Pooram day. Originally, this was an artform of the women folk but today it is performed by men. Velakali is a ritualistic martial art form performed by men in some of the temples of southern Kerala. Velakali originated in Ambalappuzha where Mathoor Panicker, chief of the Chempakasserri army, to boost the martial spirit of the people.
Dancers wear colourful and attractive costumes similar to that of the Nair soldiers of the olden days. The dancers carry a painted shield in the left hand and a stick Churikakkol in their right hand and the performance resembles the actions in a battle. Tholpavakoothu or shadow puppetry is a temple art form which is prevalent in the Bhagavathy temples mother Goddess in Palakkad district and nearby regions in Kerala.
Tholppava Thol means leather, Pava means puppet are moved with the help of strings, and their shadows are depicted on a screen with the help of a row of oil lamps in the background. The story of Tholppavakoothu performance is from the Indian epic, Ramayana. In the olden days it was performed elaborately over a period of forty-one days. The narrative used for the performance is a mixture of prose and poetry called Adalpattu. A traditional dance form, in Theeyattu the performer is considered to be the icon of God.
Theeyattu is of two types — Ayyappan Theeyaattu and Bhadrakali Theeyaattu. Ayyappan theeyaattu is an offering to Lord Ayyappa whereas Bhadrakali theeyaattu is an offering to the mother Goddess Kali. Subsequently, the deity is invoked through traditional songs to the A ritual art related to Lord Subrahmanian, Kavadiyattam is mostly conducated an offering to the Lord.
Also known as Subramanian Thullal, in Kavadiyattam the performer carries on his shoulder an ornate Kavadi a huge bow, richly decorated with peacock feathers and will dance. Kavadi used for the dance is of different sizes and shapes, each with its own significance. Background music of Panchavadyam, Nagaswarm etc is an added attraction.
The dancers twist and spin in a row. They gradually move in a frenzy, in step with the rising beats of percussion music. Some of the dancers even pierce parts of their Margam Kali is a ritual art form popular among certain sects of the Christian community of Kerala. Rhythmic movements and songs are the major attractions. The participants wear traditional costumes and jewellery. The movements of this art form are very difficult and it needs rigorous training to master this art form.
The songs are mostly devotional. Certain songs present the history of Christianity in Kerala. The word "Margam" means path or way or solution in Malayalam. In the religious context it refers to the path to attain salvation. Poothanum Thirayum is a ritual art performed during the temple festivals of Palakkad and Malappuram districts. Initially Poothan and Thira will be performing in the temple premises and then will go from house to house and perform.
They are also gifted paddy, rice and money. The performance is rhythmical and appealing along with the musical instruments are Thudi and Ezhupara. Thudi is beaten when Poothan enters, whereas Ezhupara is significant for Thira. Theyyam and Thira are two popular ritual forms of worship of North Kerala. These are ritual dance forms where the performers act the role of deities. Even though there are variations like Theyyam, Thira and Kolam, all these are basically the same ritual form with slight variations. Sometimes, human beings lived along with us will also Theyyam is the popular ritual art form of Kolathunadu Kingdom of Cannanore.
The Theyyam dance is performed in front of the village shrine, groves, and in the houses as ancestor worship. Man assumes the form of God and dances propitiating and appeasing them and in return, the Gods assure prosperity and peace to society and is the belief behind the Theyyam performance.
It is said that the prominent characters of Theyyam are the Grama Devatha village deities and the deities worshipped by various social orders. Some are ancestral deities. Both male deities and female deities are worshipped as Theyyams. The Theyyam performed by each community has Normally Kaliyattam Theyyam performance is conducted annually. There are kaliyattams which are conducted in intervals of 2, 3, 4 and 5 years. The Theyyam festival conducted once in 12 years are known as Perum Kaliyattam. It is costly with many rituals and Theyyam performances.
The performers arrive at the sthanams the sacred places where Theyyam is conducted to the accompaniment of percussion and this indicates the starting of rituals. On the day before the main performance of Theyyam and Thira, the performer will conduct a sample performance with all the costumes and percussion music. In this rehearsal Theyyam, there is no face makeup for the performer. This is called Uriyattu Kelppikkal. The Theyyam will greet each community separately and will give the blessings in a rhythmic manner. Duffmuttu is a ritual art form prevalent among Muslims in the Malabar region of Kerala.
Duff is a percussion instrument made of wood and ox skin. Duffmuttu is performed as a tribute to heroes and martyrs. It is performed as social entertainment and to commemorate festivals. The singers sway their bodies to the tempo of the song which is set by the rhythmic beats of the duff.
In the beginning the songs were in Arabic language. Over the years it transformed and songs in other languages are sung today. Dapp Ratheeb is a Duffmuttu religious ritual.
Muslims used Dapp Ratheeb in their The Ezhara Ponnana procession is a major ritual. Ezhara means seven-and-a-half and Ponnana means golden elephant. Made of wood and covered in gold, each of the seven elephants is two feet high and the eighth one is of one foot only. Hence they are together called seven-and-a-half elephants.
Witnessed on the eighth and tenth day of the festival at Ettumanoor is the Ezhara Ponnana procession, which is grand sight Padayani is a ritual art form performed at Bhadrakali temples located on the banks of river Pampa. According to mythology, this ritualistic dance commemorates the dance performed by Lord Shiva and the other Gods to appease Goddess Durga, whose anger could not be quenched even after annihilating the demon, Darika.
Popular places where Padayani is performed are Kadammanitta, Kottangal, Othara, Kunnanthaanam and many other temples in south Kerala. Though traditionally, it lasted for nearly two weeks, now-a days, it is held for durations that are as short as a single day. Kolam thullal is the major portion of Padayani performance. Mudiyettu is a ritual art form performed to appease Goddess Kali called Durga, in many other places prevalent in South Kerala and Kochi and rarely in central Kerala. It is also known as Mudiyeduppu. Mudi refers to the headgear of Kali, with her terror-inspiring face and her wild hair, made of wood or metal.
The instruments played during the ritual includes Veekku chenda, Uruttu chenda, Ilathaalam and Chengila. The mudi is put on the actor playing the role of Goddess Kali at the temple. A ritualistic drawing Kalamezhuthu of Goddess Kali is made with powders in five colours. The image drawn is that The Chettikulangara temple situated in Mavelikkara taluk of Alappuzha district is renowned for its annual Bharani festival. The temple is dedicated to Goddess Bhagavathy.
The festival begins on the Bharani asterism in the Malayalam month of Kumbam. The main rituals of the festival are kuthiyottam and kettu kazhcha. Kuthiyottam features circumambulation of young boys who have observed rigorous ritual penance. Effigies of ft high bulls are built and are brought to the temple, accompanied by musicians playing the chenda traditional percussion and Ila Thaalam cymbals. The bull effigies circumambulate the The annual festival at the Sree Kurumba Bhagavathy temple situated at Kodungallur in Thrissur district is known as the Kodungalloor Bharani.