This is one of the most outstanding and popular ritual arts of northern Kerala. Presently it is found in the traditional Kolathunadu of the present Kannur and Kasargod District. As a living religious group with centuries old traditions, rituals and customs, it embraces almost all castes and classes of Hindu religion. The term theyyam is a distorted form of Dhaivam or God. It is a rare combination of dance and music and reflects important features of a tribal culture as a whole.

Udayan Venmon Nannan mainly rules Ezhimalai, which is described in the sangam literature. It is situated in Kolathunadu near Payyannur. Therefore the Tamil sangam culture with variations still continues in this region. Over a period of 1500 years the dance of Velan community had taken new forms and developed in to the present day religious group of Theyyam. This uninterrupted continuity of sangam traditions makes theyyam a prominent religious system of north Kerala.

This art has acquired a significant place in the cultural history of the region as a religious and social institution. Under the impact of Aryans the religious belief of Theyyam had changed. Now a days it incorporates new trends and sub cults along with its tribal character. In short it can be stated that all prominent characteristics of primitive tribal religious worship had widened the stream of Theyyam cult and made it a deep-rooted folk religion of the million. For instance, the belief of mother goddess had an important place in Theyyam.

There are many kinds of worships which are included in the Thayyam cult and these are as follows: spirit-worship, hero worship, masathi worship, tree worship, ancestor worship, animal worship, serpent-worship, worship of the goddesses of disease, etc gramadevatha worship. Under the influence of Aryan myths and legends, a large number of brahmanical gods and goddesses had passed separate cuts into Theyyam.

It can be said that during the days the Theyyam provides a good example for the religious evolution and its different stages in Hinduism. When the cult of Theyyam, borrowed liberally from Brahaminism, the brahmins with their social and caste superiority also encouraged the Theyyam gods and goddesses. They established their own Shrines and Kavus or Groves for Theyyam deities where non-brahmanical rituals and customs are observed. The goddesses like Raktheswari, Chamundi, Someshwari and Kurathi and gods like Vishnumoorthy are appeased in these household places of worship. The rituals in such shrines are different from those of the Brahmanical temples. Theyyam cult can be said as the religion of the masses. Even the followers of Islam are associated with the cult in its functional aspects.

Performance:
The Theyyam dance is generally performed in front of the village shrines and Tharavadu or in joint families. It is performed in an open theatre without any stage or curtain. The Chief dancer who makes up the central deity of the holy place has to reside in the aniyara or green room. In that room he observes vegetarianism, fasting etc. as a part of the rituals. After the sunset also this particular dancer would not eat anything as a legacy of Jainism. First part of the performance is usually known as `Thottam` or `Vellattam`. It is usually performed in the night without proper make up or decorative costume. The dancer and the drummers recite the particular ritual song that describes the myths and legends of the particular deity. There are different types of face painting for which primarily and secondary colours are used. After that the dancer comes in front of the holy place.

After observation of certain rituals, the helpers place the headdress on his head and then dances. In the background folk musical instruments like chenda, Tuti, Kuzhal and Veekni are played with rhythm. All dancers take a shield and sword in their hands. Then the dancer walks around the holy place, runs in the courtyard and dances. The Theyyam dance has different steps known as "Kalasams". Each Kalasam is repeated systematically from first to eight system of footwork. A performance is called when a combination of plying of musical instruments, vocal recitation, dance, make up and costumes all work together and thus the performer gets his field. The stage practice of Theyyam and its ritualistic observations make it one of the fascination theatrical arts of India especially in northern Kerala. Altogether it is a captivating to the audience because of its colourful nature.

Significance and social content:
Thyyam treatre or Thyyam folk art has completely different rituals, which possess elaborate performances, which are totally different from the other art form. The caste councils or village elders for bringing prosperity to the village maintain the village places of worship and cult spots. In such places the village goddess or Bhagavathis named after that particular locality are appeased as an ancient practice. The Theyyam festival of that particular shrine has a meaning and purpose. The elaborate rituals observed in these holy places including the preparation of the Kalan or square are intended for blessing of the super nature. The process symbolizes the womb of mother goddesses. It is the significant aspect of the fertility cult. Offerings of cereals, cock blood, red flowers, etc are made in front of the Kalasam or Kalan. These rituals are responsible for the blessings of the super nature for prosperity in men and women, cattle and wealth. The dancer throws rice on the audience and distributes turmeric powder as symbols of blessings. This turmeric powder has also high medicinal value, against small pox, etc.

The entire village folk attend the Theyyam festival in the places of worship while the members of Tharavadu and relatives attend the Theyyam festivals in their Tharavadus. Some of the grand theyyam festivals or Kaliyattoms of the Vaniya caste, Thiyya caste and Maniyani caste are followed by the common feast for the entire devotees. Different castes and communities participate in such festivals as well.

They share the expenditure by means of donation. The members of the special caste who possess the holy place and offsprings made by the devotees pay compulsory charge. The elders settle major disputes and caste conflicts during Theyyam festival. It was an effective way of administration of justice in the medieval period and even continued in the days of British administration.

Training:
The Theyyam ritual dance is utterly performed by the male members of the traditional caste groups like Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan. These sections belong to scheduled caste and tribes. They are the sole custodians of Theyyam dance. This is a seasonal occupation to these groups i.e. in off-season they work something else. It is a social obligation on his part to perform the Theyyam dance in their areas as a hereditary right. In present days these people get reasonable payment to perform this form of dance. Cloth, coconut, rice, paddy and coconut oil are also being given sometimes.

Like many other performing arts, there are different areas in Theyyam art, which are to be specialized by an artist. An eminent artist generally achieves mastery over all these branches. These include make-up, acting, dance, playing musical instrument, etc. There are about one hundred thottam songs pertaining to different gods and goddesses. Some of them are lengthy texts including the legends, myths and traditions of their respective folk deities. These whole songs are to be memorized by the artist. The methods of recitation and oral revelation like `Varavili` are to be mastered. The ragas or melody vary from one context to the other. All these process needs too much of training and expertisation.

Costumes:
The make up involves face painting in a different styles and also body decoration. Different costumes like leaf dress or Tazha Adai, headdress or muti, `arayoda` or Vattoda and other body decorations are to be prepared by the artists for performance. Some of the costumes are made up of tender coconut leaves that are used only for single performance. Some head crowns and masks are used in different occasions. Preparation of these items requires proper skill and craftsmanship. Perfect knowledge of primary and secondary colour combinations is also important at times.

The artist has to master the skill to play the folk musical instruments as this has an important place in the Theyyam performance. Most important item of the performance is dancing. The teaching of Theyyam dance is given in a `gurukula model`. The eminent dancer teaches his sons, nephews or relatives and when they learn this they will also assist as make up men or drummers. Thus this art is transmitted through generation to generation. They appear in minor and unimportant items of deities in the village festivals. In certain dance items a dance has to wear burning wicks around his waist and observe fire walk wearing the heavy headdress. He has to learn the method of weight distribution by moving hands, shoulders and legs. There are every possibilities of an accident for an unskilled artist who performs the Theyyam of Muchilot Bhagavathy, Kannangat Bhagavathy and Patakkathi Baghavathi.

In morning hours they usually give instruction to the in experienced dancers. Oil massage is applied to the body of a young dancer. A good training in Kalaripayattu is a must for the Theyyam artist who performs the role of hero deities like, Kathivannur Veeran, Poomaruthan, Pataveeran and many others.

The Theyyam traditions and arts inherited by a son from his father, or a nephew from his uncle. This practice continued uninterruptedly for centuries. As it was a ritual art and therefore without rituals and rites, it has no existence and thus its growth was arrested and restricted. This can be called as folk arts, which is transmitted through generations.