# Madayi Kavu

Madayikavu (Māḍāyik्kavu), also known as Thiruvarkadu Bhagavathi Temple, is a significant ancient Kaula Shakti shrine in Kerala, located near Pazhayangadi, Kannur. With a history over two millennia long, the sacred grove was administered by various regional dynasties. The Bhagavathi was revered by these dynasties as their royal family deity, and they also carried out renovations of the Kavu at multiple junctures throughout history.
The deity enshrined within Madaayikkavu is the fierce form of Bhadrakali, revered as the mother temple of all Bhadrakali shrines in North Kerala. The temple complex houses deities Shiva, Saptha Mathrika, Ganapathy, Veerabhadra, Kshetrapala, and Shasthavu. The shrine is believed to be the last resort for removing occult sorcery (black magic and witchcraft).
The Maadayikavu temple lies at the top of Maadayippara Hill, a highly biodiverse area with a variety of plant and flower life, especially during the rainy and spring seasons. The abundant nature here attracts butterflies and birds, turning Maadayippara into a significant migration route. During the summer, a dry period occurs, ccasionally leading to fires. This is also thought to be the origin of nearby village’s name, Eripuram, which translates to ‘Burned Village’. Within Maadayippara Hill there is another shrine, Vadukundu Shiva Temple, and a temple pond—the central location for the temple’s ‘Aarattu’ festival. The hill features another pond named 'Juuda kkulam' (meaning "Jew Pond"), believed to be associated with past Jewish traders. Remarkably, this very pond remains a water source even during the dry summers. Furthermore, the hill bears the remnants of an ancient fort, adding to its historical significance.
According to oral and written records, the site may have originally been a simple Kavu (sacred grove). Over time, it evolved into a temple complex, receiving patronage from the Mushika, Kolathunad, and Chirakkal dynasties, along with support from nearby provinces.
During British rule, an incident occurred while constructing a railway bridge across the river—specifically, one of the pillars kept collapsing. A sacred Shankhu (conch shell) was discovered near the site. Subsequently, the local villagers undertook a major renovation of the temple, which coincided with the successful completion of the bridge. The latest renovations at the temple are currently underway.
The Malabar Devaswom Board currently manages the temple. Previously, it was a revered shrine of the Chirakkal Royal Family and belonged to the Chirakkal Devaswom. Situated in Madayi near Pazhayangadi, the temple is more popularly known as Madayi Kavu.

## Etymology

The Thiruvarkkad temple, constructed by the Kolathunad dynasty, is situated within a Kavu (sacred grove). It’s plausible that the site initially housed a small loft (Maadam, മാടംML) used for lighting lamps—a common feature in many Kavu. This loft or 'Maadam' could have acted as a precursor to the magnificent temple observed today. Additionally, the word ‘Maadam’ also signifies a ‘Watchtower’. Notably, the temple is perched atop a rocky hill, providing an unobstructed panoramic view that extends to the sea. Remnants of an ancient fort, constructed by the Mushika King Vallabha, along with four watchtowers, can still be found here. Given the historical link between the royal families and the temple, the term ‘Maadayi ppara’ might also refer to the rock or hill where the watchtower stood. Interestingly, the Malayalam word ‘Maadam’ could have influenced the temple’s name, ‘Maadaayi Kavu.
The following folklore explains the etymology of the name Thiruvarkadu. According to a legend, the Bhagavathi originally resided in the Rajarajeshwara Temple (Taliparamba), near the western gate. However, over time, the Bhagavathi became too fierce, and the rituals needed to worship her conflicted with the pure rituals performed at Rajarajeshwaram. Shiva, seeking a solution, called upon his disciple Parashurama. Parashurama invoked the Bhagavathi within the Rajarajeshwaram Temple and placed her in a sacred conch shell. He then threw the conch westwards. The conch flew through the air and landed on a large rock surrounded by a dense forest. The legend continues that upon the conch landing, the rock and the forest began to tremble. In Malayalam, "virra" means "trembling" and "kaadu" means "forest". This trembling is believed to be the reason for the name of the place. Over a while, it is believed to have changed from Thiruvirayal Kadu to Thiruvarkadu.
A Special Form of Address: Tantrics and Kalaripayattu martial artists call the Bhagavathi "Tiruvarkkad Achchi." In ancient Malayalam, "Achan" also meant "senior male teacher" and "Achchi" meant "senior female teacher" in Kalari martial arts schools. This title was also used for other leaders, like the head of the Mantravada (Sorcery) school ("Kalakattu Illathachan") and senior ministers.

## Legend

The legend is based on Markandeya Purana, an ancient scripture. Two Danavas (demons), Darika and Danavendra, received a powerful boon from Brahma, the Hindu God of creation. This boon made them invincible to any man or god. Filled with arrogance, they attacked the Devas (celestial beings) and wreaked havoc across the heavens. Faced with this threat, the Devas sought help from various gods and sages. However, due to Darika and Danavendra's boon, their attempts were futile. Finally, they approached Sage Narada, known for his wisdom and knowledge. Narada advised the Devas to seek help from Shiva, the Hindu god of dissolution. Upon hearing their pleas, Shiva opened his third eye, and from the flames emerged the goddess - Bhadrakali. Bhadrakali, armed with weapons from various gods, was unstoppable. She fought a relentless battle against the demons. Legend says every drop of Darika's blood that fell on the ground would create another Darika. To prevent this, Bhadrakali, in her ferocious form, licked up the blood before it could touch the ground. Finally, Bhadrakali defeated and beheaded Darika, ending his reign of terror. However, even after victory, Bhadrakali's thirst for blood remained. The Devas pleaded with Shiva to calm her down.
Engulfed in the rage of victory over Darika, Bhadrakali continued her rampage. Unbeknownst to her, Shiva, concerned about her uncontrollable fury, lay down in her path. Blinded by rage, Bhadrakali didn't notice him and accidentally kicked him. The contact with Shiva shattered the trance of her rage, and a wave of horror washed over her. She realized in a devastating moment that she had kicked her father. Shame and shock overwhelmed her. Her mouth gaped open, her tongue protruding.
Seeing Bhadrakali's distress, Shiva transformed into a baby. Triggering her maternal instincts, Bhadrakali gently picked up the baby and cradled him, her anger dissolving into a sense of protectiveness. This act of nurturing calmed Bhadrakali, and she returned to her serene form.
Legacy: Bhadrakali is worshipped as a fierce protector against evil and a powerful symbol of feminine strength. The story of Darika and Bhadrakali highlights the battle between good and evil and the importance of seeking help when faced with seemingly insurmountable challenges.

## Tantra

Tantra is a profound and esoteric tradition within Indian spirituality, encompassing a wide array of practices and philosophies aimed at spiritual liberation, personal empowerment, and the exploration of the divine in all aspects of life. Rooted in ancient texts known as the Tantras, it has a rich history and intricate connections to mantra, yantra, and various ritualistic practices.
History of Tantra Tantra is thought to have originated in the post-Vedic period, around the 5th to 9th century CE, though its roots likely trace back to earlier pre-Vedic and indigenous spiritual traditions. It flourished during the medieval period, influencing both Hinduism and Buddhism. The tradition sought to democratize spiritual practices, making them accessible to a broader audience beyond the elite priestly classes. Over time, it spread across regions, giving rise to Shaiva, Shakta, Vaishnava, and Buddhist Tantric lineages.
Tantra emphasizes the immanence of the divine, asserting that spiritual realization can be achieved through the physical and material world, rather than renunciation. The practice integrates both external rituals and internal meditative techniques.
Relation to Mantra and Yantra Tantra is deeply intertwined with mantra and yantra, both of which are central tools in Tantric practice:
* Mantra: Sacred sounds or syllables, such as Om, Hreem, or Kleem, are used for meditation, ritual, and invoking divine energies. In Tantra, mantras are seen as vibrational keys that open channels to higher realms of consciousness. They are often personalized to suit the practitioner's spiritual goals.
* Yantra: Sacred geometric diagrams serve as visual tools for meditation and worship. Each yantra represents a specific deity or cosmic principle. For instance, the Sri Yantra is one of the most revered symbols in Shakta Tantra, embodying the union of Shiva (pure consciousness) and Shakti (creative energy).
The mantra-yatra-yantra triad symbolizes the integration of sound, vision, and movement, representing the holistic approach of Tantra.
Types of Tantra:
* Right-Handed Tantra (Dakshinachara): Focuses on orthodox and socially acceptable practices such as mantra, meditation, and rituals.
* Left-Handed Tantra (Vamachara): Explores unconventional and transgressive practices to transcend societal and psychological boundaries. These may include the use of alcohol, meat, or sexual rituals, though such practices are often misunderstood and sensationalized.
In addition to this division, Tantra is associated with different sects, such as:
* Shaiva Tantra: Dedicated to Shiva as the supreme deity.
* Shakta Tantra: Focused on the worship of Shakti or the divine feminine.
* Vajrayana: Incorporates Buddhist Tantric practices, emphasizing rapid spiritual progress.
Types of Acharas in Tantra:
* Samaya Achara: A highly meditative and internalized form of practice, emphasizing unity with the divine.
* Kaula Achara: Incorporates family-based and ritual practices, blending external worship with internal realization.
* Vama Achara: Known for its transgressive practices, intended for breaking taboos and expanding consciousness.
* Dakshina Achara: Aligns with orthodox rituals and traditional forms of devotion.
* Divya Achara: Represents the highest spiritual mode, where the practitioner perceives divinity in every aspect of existence.
* Virachara: A warrior-like path emphasizing strength, courage, and fearlessness in spiritual pursuit.
Tantra is a vast and intricate tradition with layers of meaning and interpretation. Its practices and philosophies are not only diverse but also deeply spiritual, aiming to integrate the material and spiritual worlds..
'Rituals and External Practices: Shakta Tantra includes a wide variety of rituals designed to honor the goddess and channel her energies:
* Puja (Worship): Elaborate ceremonies with offerings like flowers, incense, and food.
* Yajna (Fire Ritual): Sacred fire ceremonies performed to invoke Shakti's blessings.
* Abhisheka (Ritual Bathing): Deities are ritually bathed with milk, honey, or water during worship.
Some traditions within Shaktism, especially in the Kaula and Vamachara lineages, also incorporate unconventional practices to transcend dualities and attachments. These practices are often misunderstood but serve to break down limiting beliefs about purity and impurity.
Kundalini Shakti and Chakra Activation: Kundalini Shakti, often described as the dormant spiritual energy coiled at the base of the spine, is a vital concept in Shakta Tantra. Through techniques such as mantra chanting, meditation, and pranayama (breath control), practitioners aim to awaken Kundalini and guide it upward through the seven chakras, culminating in the union of Shiva (consciousness) and Shakti (energy) at the crown chakra (Sahasrara).
Types of Shakta Tantra:
* Sri Vidya: Focused on the worship of Lalita Tripurasundari.
* Kali Tantra: Devoted to Kali, the fierce and transformative aspect of Shakti.
* Chandi Path: Based on the worship of Durga as the goddess of cosmic order and victory.

## Upasana

In Hindu theology, upasana refers to devotional worship or meditation aimed at achieving closeness with the divine. The term is derived from Sanskrit, where "upa" means near, and "asana" means sitting, signifying sitting near or approaching the divine with reverence. It is a key practice in many Hindu traditions and philosophies.
Upasana often involves rituals, prayers, chanting (japa), meditation, and offerings, depending on the deity or form of divinity being worshipped. It is not limited to external rituals but also includes internal practices, where the devotee meditates on the qualities, form, or essence of the divine to cultivate a deeper spiritual connection.In the context of Vedanta, upasana serves as a preparatory stage for attaining higher knowledge (jnana). It helps purify the mind and develop focus and devotion, which are considered essential for spiritual progress.

### The Three Upasana

The concept of three upāsanās—Divya (divine), Vīra (heroic), and Pashu (animalistic)—is indeed a significant aspect of certain Tantric traditions, including those associated with Bhairava Tantra. These classifications represent different spiritual approaches or temperaments of practitioners, and they are often discussed in the context of Shaiva or Shakta Tantras.
* Divya Upāsanā (Divine Path): This is considered the highest form of practice, where the practitioner transcends worldly attachments and operates from a state of purity and divine consciousness. It emphasizes meditation, devotion, and self-realization.
* Vīra Upāsanā (Heroic Path): This path is for those with a courageous and disciplined temperament. It involves practices that require overcoming fear, attachment, and duality. Rituals in this path may include challenging or unconventional methods to break societal norms and achieve liberation.
* Pashu Upāsanā (Animalistic Path): This is the most basic level, where the practitioner is bound by worldly desires, ignorance, and fear. The goal here is to gradually elevate the practitioner to higher states of awareness through discipline and guidance.
These paths are not rigid categories but rather stages or tendencies that a practitioner might embody at different points in their spiritual journey. The ultimate aim is to progress from Pashu to Vīra and finally to Divya.

## Shakta Tantra in Kerala and Kashmir

Tantra Shastra encompasses six main traditions: Shaivam, Vaishnavam, Shakteyam, Souram, Ganapathyam, and Kaumaram. All six traditions have flourished in Kerala and other parts of India for thousands of years. This practice spread widely since the first millennial CE. However, Kaumaram finds its most prominent presence in Tamil Nadu, with its practice diminishing elsewhere in recent centuries.
In Kerala, the practice of Shakteya Tantra is particularly widespread because the 'Grama Devatha' (Village Deity) of a majority of the villages are 'Mother Goddess,' whom they address as 'Bhagavathi'. This deep reverence for the Divine Feminine contributes to the prominence of Shakteya Tantra in the region.
In Kashmir, a collection of sacred texts known as "Panchasthavi" was once prevalent. These texts included Laghustuthi, Ghatasthi, Charchasthuthi, Ambasthuthi, and Sakalajananeestuthi. These five texts belonged to the "Sreevidya Samprathaaya" tradition, which encompasses practices like Aanavopayam, Saakthopayam, Saambhavopayam, and Anupoyam. These practices were followed by the Bhattakaaras of Kashmir.
Some Bhattakaras migrated from Kashmir to Kerala and established thirteen Shakta temples across Kerala. These include:
* Mannampurath Kavu, Neeleswaram
* Thiruvarkkattu Kavu or Madaayi Kavu, Pazhayangadi
* Kalari Vatulkkal Kavu, Valapattanam
* Mamanikkunnu Kavu, Irikkur
* Thiruvancheri Kavu, Kuthuparamba
* Kaliyam Kavu, Vadakara, Edacheri
* Pishari Kavu, Koyilandi, Kollam(Malabar)
* Thiruvalayanaadu Kavu, Kozhikode
* Kodikkunnathu Kavu, Pattambi
* Thirumandham kunnu Kavu, Angadippuram
* Kodungallur Kavu, Thrissur
* Muthoot Kavu, Thiruvalla
* Panayannar Kavu, Mannar, Thiruvalla

### Shakta Kaula Sampradaya

The temple rites are followed in Koula sampradaya. A sub-tradition of Shaktism, the Shakta Kaula Sampradaya is a specific tradition within Shaktism, a Hindu denomination that reveres the goddess Shakti as the supreme reality or ultimate power.
Shaktism: Focuses on the worship of the goddess Shakti, the feminine aspect of the divine often seen as the dynamic energy and creative force behind the universe. Recognizes a multitude of goddesses, including Durga, Kali, Parvati, Saraswati, and Lakshmi. Emphasizes rituals and practices focused on attaining liberation or enlightenment through devotion to the divine feminine.
Shakta Kaula Sampradaya: A sub-tradition within Shaktism known for its association with Tantra, a collection of esoteric texts and rituals focused on harnessing inner power through spiritual disciplines. Characterized by distinctive rituals and symbolism connected with the worship of Shakti and Shiva. These practices often have deeper meanings and interpretations within the tradition. Subdivided into four categories based on the goddesses worshipped: Kuleśvarī, Kubjikā, Kālī, and Tripurasundarī.
Temple Rites and Spiritual Attainment: This temple is associated with the Shakta Kaula Sampradaya follows specific ritual practices. These practices may involve overcoming internal limitations represented by the following eight fetters (Ashtapaasha):
* Hatred (Ghrina),
* Shame (Lajja),
* Fear (Bhaya),
* Doubt (Shanka),
* Reproach/ Insulting others (Jugupsa),
* Family/ professional Pride (Kula),
* Caste/creed Pride (Jaati),
* Inability to Unlearn poor conduct and Relearn (Sheela)
In Kaula hindu theology, the Ashtapaashas are considered bonds that impede spiritual progress. Within the Kaula Sampradaya, a Tantric tradition, conquering these Ashtapaashas is essential before worshipping the Bhagavathi. This disciplined conquest prepares the devotee to be transformed by the Bhagavathi, thus elevating their consciousness, from the Mooladhara (the root chakra) to the Sahasrara Padmam (the crown chakra), culminating in Shivam (the state of ultimate liberation - Moksha). This elevation is often described as a transformation from primal emotions to a state of conscious wisdom.
Maathrushala The Mathrushala is a group of idols found in majority of Kerala temples. In temples adhering to Rurujit architecture, there is a separate sanctum dedicated to the Mathrushala.
The Mathrushala consists of the idols of seven Sapthamathru (Seven Mothers):
Brahmani: The Shakti of Brahma, the god of creation.
Maheshvari: The Shakti of Shiva, the god of dissolution.
Kaumari: The Shakti of Kumara (Subrahmanya), the god of war.
Vaishnavi: The Shakti of Vishnu, the preserver god.
Varahi: The Shakti of Varaha, representing the power of goddess of Earth (Bhoomi devi).
Indrani: The Shakti of Indra, representing the controller(King) of Panchabootha (five elements).
Chamunda: The Shakti of Yama (Dharma), the god of death (or law). The idols of the Sapthamathru are consecrated in a linear arrangement. Adjacent to them, and facing each other, are the idols of Veerabhadra and Ganapathi. Some theologians relate this architectural layout to Kundalini, where the seven divine mothers are analogous to the seven chakras, with Ganapathi representing the Mooladhara chakra and Veerabhadra representing the Sahasrara chakra. The inclusion of Veerabhadra signifies the theological concept that worshippers of Kali are considered 'Veeras' or warriors.

## Rurujuth Vidhanam - Mahartha Sanketham

Bhadrakali worship in Tantra unfolds through five distinct ritualistic traditions (Vidhanams), one of which is the Rurujit Vidhanam. This Vidhanam embodies the fierce (Raudra) aspect of the goddess, notably her manifestation as Chamunda during the slaying of the demon Ruru. Rurujit worship features a complex pantheon, including Chamunda, Shiva in his Bhairava form (the presiding deity), the Saptamatrika (seven mother goddesses), Ganapati, Veerabhadra, and Kshetrapala. The Saptamatrika, Ganapati, and Veerabhadra are typically housed in dedicated shrines (Matrushalas). The uniqueness of the Shakteya Rurujith temple's architecture lies in its dedicated Mathrushala sanctum, as most temples do not have enclosed Mathrushala buildings.
Rurujit temples, primarily found in Kerala, showcase Ugra (fierce) Bhadrakali installations that can face east, west, or north. Within the Sri Vidya tradition, a secret practice called 'Mahartha' is integrated into the Rurujit Vidhanam, reserved for initiated practitioners (Mantra Diksha recipients). This practice follows the Sri Vidya-rooted Samaya Krama.
Alongside the 13 forms of Kali, Shri Lalitha Tripurasundari and the 64 Yoginis are also worshipped, reflecting a blend of Sri Vidya and Shakta traditions. The Rurujit Vidhanam encompasses Tantric Pancha Pranava, Khejiri Beeja, and other significant elements. It's crucial to distinguish between the Chamunda of the Saptamatrika and other Chamunda forms or the general fierce aspect of the goddess addressed as Chamunda. These distinctions are evident in their respective Dhyanams (meditative forms), Rishis (seers), Gayatris (sacred verses), Nirmalyadharis (offering handlers), Mantra Beejaksharas (seed syllables), Yantras (geometric diagrams), and Vahanas (vehicles). The goddess is worshipped in yantra form. The alternative (theological) name of the worship is called Mahartha Sanketam This tantric practice encompasses worship of the 12 forms of Kali, along with Kalasankarshini.
Elaboration on the 12 forms of Kali:
* Objective World (First Four): In Hindu philosophy, particularly within schools like Samkhya, this objective world is often described as "Prakriti" (Nature), consisting of the physical objects.
Cognitive World (Next Four): This is tied in pursuit of Moksha(liberation). It connects the Prakriti to the Anthakarana. It involves the processes of knowledge acquisition, reasoning, and understanding. It involves through aimed training to achieve "Jnana"(True knowledge)
Subjective World (Final Four): This encompasses the inner world of an individual ("Anthakarana" Inner senses), including their thoughts, feelings, emotions, and experiences. It's the realm of the mind (Manas), intellect (Buddhi), ego (Ahamkara), consciousness (Chitta) and Atman (Individual soul)
The 12 forms of Kali, as described within the context of Kashmir Shaivism, serve as a map of consciousness, representing the unfolding of awareness and guiding practitioners toward higher states of consciousness. It's believed that Kashmiri Shaiva traditions reached Kerala via Chidambaram, leading to the establishment of 13 Shakteya temples in Kerala.

## History

Thiruvarkkad Bhagavathi temple is believed to be the coronation site of the ancient Mushika kingdom. The location also has an ancient military fort built by Mushika Kingdom. The 11th king of the Mushika dynasty, Shatasoman (Sutasoman), renovated the Perinchallur (Talipparamba) temple, where the family deity Bhadrakali was worshipped. Centuries later, in 344 AD, the Kola Swaroopam is credited with raising the Bhagavathi temple. Initially, the Kola Swaroopam, which was divided into four parts, was eventually reduced to two: Udayamangalam and Palli. Following the dissolution of Udayamangalam division Palli division only remained. The kingdom of Palli division hence was known as Chirakkal. Chirakkal Royal Family took over the administration of Madayi kavu and revered Bhagavathi as their family deity.
The temple had the influence of almost all Swaroopams (kingdoms) around the locality. Therefore the historical details of these kingdoms are described in Thottam Pattu (ballads) of the Theyyam.

### Temple, Tradition, Dynasty: How Theyyam Keeps North Kerala's Royal History Alive

Theyyam performances are held at the temple during festivals. During these festivals, Theyyams and Oracles known as "Komaram" sing ballad called "Thottam pattu." These songs offer a rich historical background of the region's kingdoms and folklore.
The Mushika Dynasty
Before the formation of the Swaroopams, the region was influenced by the ancient Mushika Dynasty(also referred to as Ezhimala dynasty) that once ruled over North Malabar. Historical accounts suggest the Mushika dynasty ruled North Malabar for centuries, possibly predating the rise of the Kolathiri in the Kannur and Kasaragod districts. The Mushika influence is believed to have extended from Vadakara in Kozhikode district to Mangalore in present-day Karnataka. Though details are scarce, historical accounts suggest their rule predated the rise of the Kolathiri in Kannur and Kasaragod districts. Some sources claim the Kolathiri rulers are descendants of the Moshika dynasty.
The Mushika dynasty reigned over a vast area in North Malabar, with its headquarters shifting between Ezhimala, Taliparamba, Madayi, Srikandapuram and Valapattanam. The period of their rule is estimated to be between the Sangam period (before 3rd century CE) and the 15th century CE. The noted kings are:
* Ramaghatamushikan: Considered the founder of the dynasty.
* Nandan: A prominent ruler known for his valor. He might have fought against the Chera kings.
* Shatasoman (11th king): Established the Perinchalloor temple and is credited with performing penance to appease Shiva.
* Vallabhan II: Possibly the last significant ruler; the dynasty transitioned to the Kolathiri dynasty with headquarters at Vallabha pattanam (Valapattanam) around the 11th-15th centuries.
The Mushika Vamsa Kavya, a Sanskrit epic poem by Athulan (court poet of King Shrikantan, 11th-12th century CE), chronicles the history of the Mushika kings up to the 12th century.
Following the decline of the Chera Empire around the 12th century AD, a political vacuum emerged in Kerala. This paved the way for the rise of independent kingdoms known as Swaroopams. These Swaroopams were ruled by joint families following matrilineal lineages. In North Kerala, two prominent Swaroopams emerged:
* Nediyirippu Swaroopam (Kozhikode): This kingdom, also known as the Samoothirippad(Zamorin) rule, later evolved into the powerful kingdom of Kozhikode, encompassing present-day Kozhikode district and parts of Malappuram district.
* Kolathunad Swaroopam (Kannur): This kingdom held sway over a significant portion of North Kerala, with its capital in Kannur. The Kolathunad influence extended roughly from Kannur district to Kasaragod district.

### Origins of Kolathunad

The Kolathiri dynasty, rulers of Kolathunad, trace their lineage to the Mushika dynasty. The Mushika Vamsa Kavya, an 11th-century sanskrit epic by Athulan, chronicles the royal family's history until that time, identifying them as mythological Chandravanshi Kshatriyas of the Heheya clan.
Between the 9th and 12th centuries, the Mushika dynasty governed the Chirakkal region of northern Malabar, while the southern Thalassery-Wayanad area was part of the Second Chera Kingdom. Possibly descended from the ancient Nannan dynasty of Ezhi mala, the Mushikas were perhaps Chera vassals. However, some scholars dispute this, arguing that the absence of a Mushika ruler among the signatories on the Terisappalli and Jewish Copper Plates, which list the rulers of Eranadu and Valluvanadu, suggests their independence. Intermarriage was common between the Mushika dynasty and the Muvendhar rulers (the three kingdoms Cholas, Cheras, and Pandyas). The Mushika dynasty is mentioned in Hindu texts like the Vishnu Purana and the works of the Greek geographer Strabo (64 BC to 24 AD, best known for his work Geographica). Until the 11th century, the Mushika kings followed a patrilineal system of succession. Subsequently, the inheritance pattern shifted to matrilineal succession.
Pandya invasions during the 6th and 7th centuries caused significant turmoil in South Malabar. As a result, the Cheraman Perumal of that era relocated northward to Gokarna, where he encountered and married three North Indian Kshatriya princesses on a Shiva pilgrimage. One of the princess's daughters, Ambalika, became the designated crown princess and subsequently married Ravivarman. Keralavarman, born to Ambalika in 724 AD, founded the Kolathiri dynasty. His lineage continued with his niece's son, Udayavarman, who succeeded him as the ruler of Kolathunadu. The Kolathiri dynasty forged matrimonial alliances with the Mushika Kingdom.
Rise of the Kolathiris
The Kolathiri royal flag featured a Naandakam Vaal (sword) and a Nenmeni-vaka flower. According to legend, possibly allegorical, Parashurama assisted their coronation and bestowed the sword as a symbol of authority. The Nenmeni-vaka flower symbolizes Ayurveda and medicine, reflecting the dual teachings of combat and healing in Kalaripayattu.
Centuries later, seeking to restore their lost Kshatriya rituals due to Nair intermarriage and matrilineal succession, the Kolathiri king Udhayavarman turned to the Namboothiri settlements in Taliparamba for support in the ritual(Yaga followed by Hiranyagarbham ritual) to become a Kshatriya king. However, he was denied, being told that he was a Shudra (a lower caste) and that they do not agree to any other king apart from the deity of Rajarajeshwaram Temple, 'Perum Thrikkovilappan' (Shiva). The Brahminic settlements in Payyannur are the earliest in Kerala and were very powerful. They considered the deity 'Perum Thrikkovilappan' as the sole 'Empuraan' (Emperor-Ruler of Kings), establishing a hierarchy where the deity is at the apex of authority and power. This projection of the deity's supremacy served to protect and enhance the power of the Brahminic settlements, ensuring that no earthly ruler could govern the land of the deity or challenge their authority. Defying the local Brahmins, the ruler underwent the Hiranyagarbha rebirth ritual to reclaim Kshatriya status with the assistance of Sagara-Dwijas Brahmins from Gokarnam and Tulunadu. Following this, the Kolathiri Rajas adopted the title Perumal and were celebrated as "Vadakkan Perumal" (Northern Kings) in the Keralolpathi. These Brahmins (237 households settled in belts near the Perumba River called Anjudesam -Cheruthazham, Kulappuram, Arathil, Kunneru Vararuchimangalam. Another group of 257 Tulu Samudra Brahmins joined). These Brahmins adopted Namboothiri customs and they settled in North Kerala (Later 143 households moved to Tiruvalla. They were addressed as Embranthiri). As Udayavarmman breach the Sanketa Maryada, the Taliparamba Yogam and Sabha jointly decided to demolish the Karippathu Kovilakam, the residence of Udayavarmman. This eventually led to social clashes between Tulu Brahmins, Malayali Brahmins, the Royal family, the Kalaris they owned, and conflicts with classes of people they considered untouchables. The Tulu Brahmins showed more aversion towards untouchables as they did not have any previous societal bonding compared to the Malayali Brahmins. The tensions between the Kolathiri and Malayali Brahmins, exacerbated by the oppression of the untouchable castes, fostered the development and expansion of the, then pre-existing religious art form Theyyam. Kolathiri eventually had to bow down to the Perinchellur Namboothiri yogam. The tensions between the Royal family and the Malayali Namboothiri community of Perinchellur (comprising Taliparamba Rajarajeshwaram temple and Payyanur Subrahmanya Swamy temple) might have led to a focus on developing Madayikavu, where Malayali Namboothiris lacked authority.
Decline of Kolathunad
By the 17th century, the Kolaswarupam's political authority was shared with the Nileswaram (Allada swaroopam) and Arakkal kingdom. Internal power within the Kolaswaroopam was divided among several kovilakams. The Keralolpathi identifies four kovilakams sharing political authority: Talora Kovilakam, Arathil Kovilakam, Muttathil Kovilakam, and Karipathu Kovilakam, while the Karipathu Kovilakam claimed superiority. These kovilakams further branched out, creating a network of 'political houses' within the Kolaswaroopam. The Dutch records indicate that the Palli Kovilakam and the Udayamangalam Kovilakam held greater political influence in later periods.
The military conquests of the Samoothiri of Kozhikode, the Canara invasion, and, most significantly, the Mysorean invasion contributed to Kolathunad's decline. The Arakkal Kingdom's alliance with Mysore forced many Kolathiri royals to seek refuge in South Malabar. Those who remained were killed or captured and deported to Srirangapatanam, and their palaces and mansions destroyed.
The decline of the Udayamangalam division in Kolathunadu can be attributed to several factors. By the 17th century, the Kolaswarupam’s political authority was shared with two other lineages in North Kerala—the Nileswaram Swaroopam and the Arakkal kingdom, which claimed independent political identities. Additionally, the Udayamangalam branch was excluded from assuming the title of Rājā, leading to the abandonment of the ancient title of Kolathiri Rājā. Consequently, the ruling family (Palli division) monopolized the right of succession as Rājā, and the title of Kolathiri was no longer used.
The Kolathunad Swaroopam and Its Subordinate Kingdoms The Kolathunad Swaroopam was ruled by the king addressed as Kolathiri. The Kolathunad Swaroopam's control over its entire claimed territory was not absolute. Numerous smaller kingdoms, collectively known as the 'Kolathu Naalu Swaroopam' ("Four Swaroopams of the Kolathiri"), existed within its domain. These kingdoms, considered subordinates to Kolathunad, were:
* Thekkan Kutti Swaroopam : This branch of the Kolathiri, located around present-day Valapattanam in Kannur district, revered Kalariyaal Bhagavathi as its deity. The region earlier called Valoor Perum Kalari (Valapattanam), Azhikkod, and the Kannur region are part of the Thekkan Kutti Swaroopam.
* Vadakkan Kutti Swaroopam : This branch, situated in the northern areas of Kannur and Kasaragod districts, worshipped Thiruvarkaattu Bhagavathi as its deity. The Vadakkan Kutty Swaroopam is located on the north side of the Valapatnam River. The Kaanam and Karivallur regions belong to this Swaroopam.
* Chuzhali Swaroopam : Encompassing the eastern hilly region of Kannur district, it has Chuzhali Bhagavathi as its kingdom deity. The Chuzhali Swaroopam was ruled by the Chuzhali saamanthanmaar (Chuzhali Nambiar).
* Neriyottu Swaroopam : Ruled by the Neriyottu Kammall clan, with its capital at Kuttiyeri pazhayidam in Kannur district, it worshipped Someshwari as its Kingdom deity. Payyanur and Taliparamba belong to the Neriyottu Swaroopam.
During the Kalasha Uthsavam of Maadayikavu the Theyyam of these Swaroopam's are performed.
Other Notable Kingdoms and Their Deities
* Prattara Swaroopam : The Prattara Swaroopam (also known as Puram nattu kara swaroopam, Kottayam swaroopam, Kotiiyottu swaroopam, or Prayakkukara swaroopam) is a major swaroopam (principality) of the Chirakkal or Kolathiri kingdom. This was the biggest principality (even bigger in area than Chirakkal) of Kolathunad from the eastern mountains till Thalassery. The Prattara Swaroopam was formed by the adoption of two Kshatriya caste princes from North India into the ruling lineage. Unlike other Kerala rulers who adopted the 'Hiranya garbham' ritual to ritually convert them to Kshatriya status, the rulers of Prattara Swaroopam did not practice this ritual. Their kingdom deity was Shri Porkkali Bhagavathi, and their territory extended from Dharmadam to Kuthuparamba to Kottiyoor. Kerala Varma Pazhassi Raja, a renowned ruler and warrior, belonged to the Prattara Swaroopam and resided in Kottayam (Malabar). This swaroopam was a prominent center of Kalarippayattu (martial arts) and the birthplace of Muthappan folklore.
* Allada Swaroopam : Near Payyanur, close to the Oloda River, lies a smaller swaroopam known as Allada Swaroopam. It was established by conquering the territories of chieftains Allon and Manu. The Samuthiri of Kozhikode supported this venture and appointed Panngipulleri and Kerala Varma Raja as kings of the Swaroopam. The kingdom deities were Madiyan Kshetrapalan and Kalarathri Bhagavathi.
* Mavilaayi Kudakkannadu Rannduthara Swaroopam : Ruled by the Ranndu thara Achanmaar (Kudakkanaadan Nambiars or Randdutthara Nairs), the Rannduthara Swaroopam encompassed the regions of Poyanad (Dharmadam, Edakkad), and Anjarakkandi. This conglomerate of four Nambiār families – Kandoth, Palliyath, Āyilliath, and Arayath – traced their lineage to Edathil Kadāngodan and Ponnattil Māvila. As chieftains of the erstwhile Poyanādu, they held considerable influence in the region. Urpazhassi Daivathar and Chala Bhagavathi are the principal deities.
Further north in Kannur district lay the following noteworthy kingdoms:
* Ilam Kutti Swaroopam : Ruled by the Chirakkal royal family, this kingdom encompassed Hosdurg, Bekkal, and Kottikkulam. Kotti Perumal served as its ruler, and the family deity was Kundamkuzhiyil Shasthavu.
* Kumbala Swaroopam (Kumbalamayiram vattom or Kumbiya seemai): This marked the northernmost boundary of the region, possibly extending into present-day Karnataka.
Smaller Swaroopams: The region also encompassed several smaller Swaroopams:
* Iruvanattu Swaroopam (Iruvazhinad) : Once part of the Prayattukara Swaroopam, these were ruled by the Chandroth Nambiar clan. They served in the army of Kottayam Swaroopam. The region of Panniyannur, Panur belongs to this Swaroopam.
* Kurumbiathiri Swaroopam (Kurumbranad) (Vadakara and Koyilandi): Home to numerous major temples of Vettakkorumakan, this Swaroopam in Kannur district significantly contributed to the Theyyam tradition. The prominence of Vettakkorumakan Theyyam within its territory suggests a focus on this powerful warrior deity.
Theyyam Performances: Reverence for the Deities : Theyyam performances pay homage to the deities of these erstwhile kingdoms. The songs sung by the Theyyam artists narrate the legends of the region, keeping their memories of the royal families and kingdom alive. Invocations are made to the kingdom deities, seeking their blessings and protection. The Theyyam costumes, with their vibrant colors and elaborate headgear, often reflect the symbolism associated with these deities. For a Theyyam artist, understanding the region and the specific Swaroopam (dynasty) associated with the temple is essential. Even the Thottam Pattu (ballads) and other intricacies of the same Theyyam can vary based on different Swaroopams. This intricate relationship between Theyyam and the region's history helps preserve a unique cultural heritage. The art form serves as a living testament to the bygone era of Swaroopams, their rulers, and their deep-seated faith in the divine.

### The impact of invasions

The region faced several external threats during the eighteenth century. The first came in the form of a Canara invasion (Nayakas of Bednur - The capital shifted from Keladi to Bednur during 17th centaury) in 1732, at the invitation of the Arakkal kingdom. Basavappa Nayaka II was the ruler in Bednur. Under the millatry commander Gop alaji, Canara forces swiftly overran Prince Kunhi Ambu’s forts in northern Kolathunad. They captured Kudali and Dharmapatanam by early 1734. However, with English East India Company support, the Canara were expelled by 1736. This victory came at a considerable cost, plunging the region into debt. The Nayakas attacked again during 1737. To prevent further incursions, a peace treaty was established in 1737, delineating the Madayi River as the northern boundary of Kolathunad. The English East India Company also secured its trading interests through a treaty with the Nayakas of Bednur.
Mysore Invasions and Subsequent Restoration The relative peace following these early conflicts was short-lived. The latter half of the eighteenth century witnessed a series of devastating invasions by the Mysore kingdom. Hyder Ali's initial attack in 1766 marked the beginning of a tumultuous period for the region. His subsequent campaigns, culminating in the destructive raids by the army of Tipu Sultan (1789-1790), inflicted significant damage upon the Madayikavu temple and the surrounding area. Hyder Ali’s forces, aided by the Arakkal kingdom and a rebel prince, Kappu Thampan, orchestrated these attacks. The Kolathiri Raja was forced into exile to British fort in Thalassery after the Arakkal Raja seized and burned his palace. Despite earlier agreements, the British East India Company failed to provide promised protection. To consolidate power, Hyder Ali reinstated the Chirakkal Raja in 1776, in an agreement to join the Mysore army in suppressing Pazhassi Raja of Kottayam. The temple bore the brunt of these conflicts. Acts of desecration, including the slaughter of cattle within the sacred precincts, were perpetrated by the invaders. A local Nair warrior, Vengayil Chathukutty, avenged this sacrilege by beheading the culprit and earning the title of Nayanar. Eventually, the Chirakkal king, locally known as Koonan Raja, initiated the task of restoring the temple.

## Worship

Temple Layout and Deities:
The Madayi Kavu Temple adheres to a Tantric architectural style known as Rurujith Vidhanam. In this style, Shiva's sanctum sanctorum (innermost shrine) faces east. Adjacent to it, the Bhagavathi's sanctum faces west and is positioned slightly southeast. Directly opposite the Bhagavathi's sanctum lies the Mathrusaala, a shrine dedicated to the seven mothers (Saptha mathrika): Brahmi, Vaishnavi, Kaumari, Shankari, Varahi, Indrani, and Chamundeshwari. The Mathrusaala itself faces north towards Shiva's sanctum. Within the Mathrusaala, Ganapathy faces east, while Veerabhadra faces west. Inside the temple, there is another sanctum of Shastha facing east. The idols of Paathala Bhairavi and Kaala Bhairava are also in this sanctum.
Worship Etiquette: The traditional worship practice at Madayi Kavu Temple involves entering through the eastern gate and following a circumambulatory path. Devotees first pay their respects to Shastha, followed by Kshetrapalakan, Shiva, Mathrusaala (the abode of the mothers), and finally, Bhagavathi.
Priesthood and Traditions: Kattumadom Esanan Namboothirippad serves as the temple's Tantri, the head priest. (The Kattumadom family is one of Kerala's five prominent Mantravada Brahmin clans. These five Brahmin families are:
* Kaattumaadam (Moothedathu): Ancestral home near the central jail site in Kannur, later moved to Valanjeri, Malappuram.
* Kaloor: Ancestral home in Kottakkal, later moved to Thrippunithura.
* Kaalakaattillam: From Payyannur, Kannur.
* Panthalakkottath illam: From Angadippuram, Malappuram.
* Pullanjeri mana: From Kuthuparamba, Kannur.
These five Brahmin families and one non-Brahmin family constitute the 'shad mantravada' (six sorcery) sampradaya or families in ancient Kerala. Notably, the popular 'Surya kaladi mana' is not considered among the 'shad mantravada' sampradaya.)
Temple rituals are conducted by Pidarar Brahmins who adhere to the Koula Sampradaya tradition. The temple also shares a connection with the Bhadrakali Temple of Mannanpurathu Kavu (Nileshwaram) and Vadukunnu Shiva Temple. A Special Offering: A unique aspect of the temple is "Kozhi Kalasham," a ritual sacrifice of poultry for the goddess Bhagavathi, which holds significant importance within the temple's traditions.

## The Bhagavathi Idol and Kadu Sarkara Yogam

The main idol of Bhagavathi in a specific Kerala temple is crafted using a rare and closely guarded technique called "Kadu Sarkara Yogam." This method, a legacy passed down by artisans, is used to create sacred idols in select Kerala temples. However, for abhishekam, the ritual purification ceremony, an additional metal idol exists. This metal idol is taken outside the temple during the "Aarattu" festival procession. The Kadu Sarkara Yogam idol was crafted during 17th century under the guidance of Thukalassery Kuzhikkat Maheshwaran Bhattatirippad.
Inspiration for the Padmanabha Swamy Temple Idol: The new idol of the Padmanabha Swamy Temple in Thiruvananthapuram (formerly Trivandrum), completed in 1739, is believed to have drawn inspiration from the practices of the Attingal queens (Rani) of Travancore. These queens, originally from Kannur (four princesses and two princes were adopted from Chirakkal Kingdom of Kannur by Umayamma Rani), worshipped an idol of Madayi Kavil Amma within the Attingal palace. Notably, the Padmanabha Swamy idol is crafted from 12,008 sacred Shaligram stones brought from Nepal and employs the unique Kadu Sarkara Yogam technique.

### Kadu Sarkara Yogam

Kadu Sarkara Yogam is a rare and intricate method for creating temple idols in Kerala, India. Unlike many other idol-making techniques, Kadu Sarkara Yogam utilizes a unique combination of materials and a specific on-site construction process. There is only limited use of the craft. It's important to note that only a handful of temples in Kerala house idols crafted using Kadu Sarkara Yogam. This scarcity highlights the complexity and potentially diminishing knowledge required for its creation. A defining characteristic of Kadu Sarkara Yogam is the location-based construction. The idol is meticulously built within the designated temple where it will be permanently housed. This practice might be attributed to the specific materials used or the need for specialized rituals during construction. Unlike many other idol types, Kadu Sarkara Yogam idols are not done abhisheka. Abhisheka means cleansing or applying water on idols.
Six-Stage Handcrafting Process:
The creation of a Kadu Sarkara Yogam idol involves a well-defined sequence of six stages:
* Skeleton Construction: The initial stage involves crafting the idol's framework using high-quality wood like sandalwood, Karingali, or Devatharu. These wooden components are meticulously joined using copper wires and plates to ensure a sturdy foundation.
* Ashta-bandha-lepana: For secure binding, a unique paste called Ashta-bandha-lepana is applied to the wooden skeleton. This paste is meticulously prepared with specific proportions of ingredients like Thiruvattaapasa gum (a tree resin), Kunthirikkam, Guggulu (resinous exudate), jaggery, Chenchelyam (possibly a type of shell), and Kavi (lime). The mixture is powdered, combined with oil and ghee, and heated in an earthen pot until it reaches a paste-like consistency. This paste is then applied lukewarmly to the entire framework.
* Nadi-bandhana: This stage focuses on replicating the human nervous system within the idol. Finely processed fibers obtained from coconut husks are meticulously woven and integrated into the skeleton to represent the intricate network of nerves.
* Mrtth-lepana: The idol's body begins to take shape through the application of a specially prepared medicated mud paste called Mrtth-lepana. This paste is crafted using a combination of soil collected from diverse locations (dry land, marshy land, desert) and blended with three distinct herbal kashayams (medicinal decoctions). The first kashayam is prepared with Karingali (possibly a tree bark) and Maruthu (possibly a type of creeper). The second combines Nalpamaram, a group of four specific trees (Athi, Ithi, Arayal, and Peral). The third utilizes Kolarakku (possibly charcoal). Each soil type is soaked in its corresponding kashayam for ten days before being combined. Further refinement involves adding powdered river sand and a mixture of barley, wheat, and kaashavu (possibly a type of pulse) in specific proportions. The final stages incorporate a complex combination of ingredients including coconut water, Thiruvattaapasa gum, Kunthirikkam, Guggulu, Chenchayam, honey, cow's curd, spices like ginger, pepper, and long pepper, ghee, milk, various plant gums and resins, powdered precious metals like gold and silver, and various types of sand – all meticulously added at different stages and proportions. The entire concoction is then soaked in a kashayam made from the Ilippa tree for five days before incorporating small pieces of coconut husk and specific plant gums. This final mud paste is then applied to the idol, shaping its features and form.
* Silk Cloth Application: A layer of pure silk is carefully wrapped around the entire idol, likely secured using a natural adhesive like gum or latex. This layer serves to protect the underlying mud paste (Mrtth-lepana).
* Kalkka Application: The final stage involves creating a protective coating called Kalkka. This coating is prepared by grinding a specific mixture of river sand, black sand, specific types of stones found in riverbeds, and Kozhipparal (possibly a type of shell) daily for a month in a kashayam made with a combination of herbal gums. This paste is then applied to the idol's surface and can be used for ornamentation and decoration. Notably, conch shell powder can be used to create a whitening effect.

## Temple Festivals

Originally, the Madayi Kavu temple celebrated four annual festivals.
Except for the Malayalam month of 'Dhanu', every other month has festivals in the temple:
* Karkidakam month: Festival - Nira
* Chingam month: Festival - Puthari
* Kanni month: Festival - A month-long Chakyar Koothu
* Thulam month: Festival - Paattu Uthsavam
* Makaram month: Festival - Paattu Uthsavam
* Kumbham month: Festival - Shiva Rathri
* Meenam month: Main festival - Pooram or Poora Mahotsavam (Seven days of festivals from Karthika Nakshatra to Pooram Nakshatra). Festivals are centered at Madayippara and based on the legend of killing the demon Darika. Bhagavathi is believed to proceed in a ceremonial procession to a place called Daarikan Kotta. The symbolic fight Vaalpayattu is performed using the Naandakam sword of Bhagavathi.
* Medam month: Festival - Vishu Vilakku, Vishu Pooja (an 11-day festival)
* Edavam month: Festival - Kalasham or known as Perum Kaliyattam in olden days
* Midhunam month: Festival - Prathishta Dinam (a one-day pooja)

### Rituals and Observances

Observances of the Villagers:
* Kamadeva Puja: This ritual is performed during the nine-day Pooram festival in the Malayalam month of Meenam, starting on the Karthika nakshatra. In households, young girls offer flowers to an earthen form made of mud, representing Kamadeva, while singing devotional songs. A new, larger mud shape is created each day, culminating in the largest one on the last day of Pooram. Flowers and mud shapes are then taken to the paddy fields, accompanied by prayers beseeching Kamadeva's return the following year. According to folklore, Kamadeva, who Shiva incinerated, was reborn as Krishna's son due to the prayers of these children.
* Niraputhari: This festival celebrates the first harvest. Offerings are made to Bhagavathi by covering the first harvest in various leaves and presenting it to the deity.
Perum Kalasham:
Held in the Malayalam month of Medam (April–May), this festival is a shorter event, lasting only a few hours. It is believed to mark the conclusion of annual festivals in North Kerala.
* The Ritual :During the Perum Kalasham, the Maadayi peruvannaan (Theyyam performer of Kalariyaal Bhagavathi) performs a "thottam" while wearing the sacred weapon. Apart from the Maadayi peruvannan there will be seven other Peruvannan. This takes place near Vadukundu Temple, nearly in the middle of Maadayippara hill, accompanied by religious rituals. Following the "thottam," the Maadayi peruvannaan walks westward and performs another "Thottam" facing the sea, holding the sacred weapon. Finally, they return to the temple's western side to participate in the "Kalasham" rituals.
* Kalasha Uthsavam (Kalasam Festival): During the Kalasham festival, a specific ritual called "Kalasha Uthsavam" (also known as Perum Kaliyattam) takes place. This ritual occurs in the afternoon and involves eight theyyam. These theyyams perform a ceremonial procession around the "Kalasha" (a sacred pot) and offer worship to it three times. This is followed by a ritualistic fight over the Kalasa, known as "Kalasha Thallu," performed with bare hands.
* Kavu Pidi Ritual: Another important practice associated with the temple is 'Kavu Pidi,' which translates to 'temple catch.' This involves fishing in a nearby river near 'Chemballi Kkunndu' on specific dates. The first day of the Malayalam month of Edavam (May–June) and the day before the Kalasam festival. Fish caught during Kavu Pidi is considered sacred offerings (prasadam) from the goddess.

### Theyyam and Thottam Pattu: Ritualistic Dance and Ballads in North Kerala

During the Kalasha Festival the following theyyams are performed in the temple Kalariyaal Bhagavathi, Kshetra palakan, Chuzhali Bhagavathi, Someshwari, Kaala rathri Bhagavathi, Maanjalamma, and Vettur Chekavan. The theyyams are the kingdom deities of the surrounding provinces of the temple.
North Kerala boasts a rich cultural heritage, exemplified by Theyyam, a ritualistic dance form with a documented history exceeding a millennium. Theyyam performances function as multifaceted cultural expressions, deeply rooted in religious devotion, historical narratives, and regional identity.
Performers utilize vibrant costumes, intricate makeup, and dynamic movements to embody a diverse pantheon of deities, heroes, and ancestral spirits. Pulsating percussion and melodically recited "Thottam Pattu" narratives accompany the performances.
Theyyam transcends culture and worship. It serves as a living testament to the enduring belief systems and rich folklore traditions that have shaped North Kerala for centuries.
* Pre-Hinduism Roots : While the precise origins of Theyyam remain under academic debate, some scholars posit its connection to pre-Hindu animistic practices and ancestor worship, potentially dating back to the first millennium CE. This perspective highlights the complex interplay between indigenous and later Hindu influences in the evolution of Theyyam.
* Social Inclusivity : Theyyam performances have traditionally challenged the rigid caste structures of Kerala society. Deities themselves are often portrayed as coming from lower castes, reflecting a more inclusive form of religious devotion compared to stricter Hindu rituals. This aspect of Theyyam provides valuable insights into the social dynamics and cultural values of historical Kerala.
* Oral Historical Records : "Thottam pattu" songs, sung during Theyyam performances, are more significant than a ritual. They serve as repositories of local history and folklore, encapsulating narratives of past events, legendary heroes, and regional customs. These songs provide invaluable resources for historians and anthropologists seeking to understand the cultural tapestry of North Kerala.
As a vibrant and vital component of religious festivals in North Kerala, Theyyam ensures the continued transmission of this ancient cultural heritage. The theyyam performers and communities ensure that this millennial tradition remains a cornerstone of regional identity and a captivating window into Kerala's rich past.

## Thiru Arattu Kavu Attingal, Thiruvanathapuram

Located in Thiruvananthapuram, the Bhagavathi temple is believed to house the deity Madayikavil amma. This temple holds significance due to Maharaja Swathi Thirunal's reverence for the goddess, as expressed in his keerthanams (compositions) where he addresses her as "pahi parvatha nandini." Notably, Swathi Thirunal's maternal lineage hails from Kannur.
Historical records suggest that Madayikavil amma's presence in Thiruvananthapuram is linked to an adoption from the Chirakkal Kingdom of Kannur into the Travancore Royal family. Rani Umayamma Aswathi Tirunal adopted two sons and four daughters from the Pally Kovilakam of the Kolathunad Royal house and the Royal family's branch in Beypore. These adopted members were then allocated a palace in Attingal. As the Kolathunad Royal family of Kannur worshipped Madayikavil amma as their family deity, the adopted princesses brought a Bhagavathi idol from Kannur to Attingal and worshipped it as Madayi kavil amma. Initially housed within the palace, the royal family later built a dedicated temple for the Bhagavathi nearby. These princesses subsequently married princes, also from the Kolathunad royal family of Kannur. Kings Marthanda Varma and Dharma Raja were the next-generation descendants of these adopted males and females, ensuring the continuation of the worship and traditions.
The Travancore royal family built upon a tradition of adoption, echoing the precedence of the adoption by King Sangramadhira Ravivarman Kulaśēkhara of the Chera dynasty centuries ago. In 1305 CE, he adopted two princesses from the Kolathiri dynasty, known as Attingal and Kunnumel Ranis. The line of kings following Ravi Varman adhered to the Marumakkathayam law of matrilineal succession. Thus, the royal family continued through the female lineage. Whenever there were no females to take forth the line, princesses were adopted from the Kolathiri family, the latest adoption being in 1994.

## Temple Etiquettes

The following are the etiquette practiced in the temple.
Attire
* Men: Following the temple tradition, entering inside the temple with a bare upper body is acceptable. For this purpose, wearing a traditional Mundu or Dhoti is recommended. Shirts, vests, lungis, trousers, and pants are not allowed inside the temple.
* Women: Sarees, salwar kameez, set mundu, skirts with blouses, and other similar clothing that covers the shoulders and knees are appropriate attire. Jeans and revealing western wear are not permitted. It is customary for women to adorn neat hairstyles. Hair should be secured properly, with particular emphasis on ensuring the ends are tied.
General etiquette
* Respectful Conduct: Refrain from entering the temple after consuming alcohol, smoking, or using paan or other intoxicants. Maintaining a clean and respectful environment is important. It is expected to refrain from spitting or littering within the temple complex.
* Dress modestly: Even if not explicitly mentioned, it's always a good idea to dress modestly when visiting any place of worship. This shows respect for the religious significance of the place.
* Remove footwear: It's customary to remove shoes and socks before entering the temple sanctum.
* Photography: Photography is prohibited within the temple.
* Silence and Respect: Maintaining a peaceful and respectful atmosphere is important. It is expected to avoid loud talking or disruptive behavior.

## Access

Madayi Kavu Temple, situated in Pazhayangadi village of Kannur district, Kerala, enjoys good regional connectivity but might require planning for access from major Indian cities.
* By Road: National Highway: National Highway NH 66 passes through Kannur town, approximately 16 kilometers away from Madayi Kavu. This highway connects Kannur to major destinations within Kerala and other South Indian states.
** Nearest Bus Stand: The nearest public bus stand to Madayi Kavu Temple is Pazhayangadi Bus Stand, located about 1.5 kilometers away. Regular bus services connect Pazhayangadi to Kannur, Payyannur, and other nearby towns.
* By Train: Closest Railway Stations are Kannur and Payangadi.
** Kannur (CAN): Located approximately 24 kilometers south of Madayi Kavu. This is a major railway station with better connectivity to various Indian cities compared to Payangadi.
** Payangadi (PAY): Situated around 2.6 kilometers west of Madayi Kavu. This is a smaller station with potentially fewer train options.
* By Air: Kannur International Airport (Kannur): This is the closest international airport to Madayi Kavu, located about 68 kilometers away. Domestic flights are frequently available, but direct international flights may be limited, mainly connecting to the Middle East and Southeast Asia.
** Other options include:
*** Mangalore International Airport (Mangalore): Located approximately 130 kilometers north of Madayi Kavu.
*** Calicut International Airport (Calicut): Situated roughly 160 kilometers south of Madayi Kavu.