A bonfire is blazing as we arrive at the village at 4:30 am. The stage is being set for what will be the most spectacular Theyyam we have seen yet.  The Kavu, or sacred shrine,in the courtyard of a wealthy Keralan landowner, is the setting for a seldom seen fire dance.  The three day Pottan Theyyam he has ordered as a blessing for his family and their new home is an expensive undertaking, and I am thrilled that we will witness this event. Theyyam looks similar to the more famous Kathakali dance theater of Kerala, but it is a religious event rather than a performance for entertainment. These rituals take place once a year during the months of December through March.

As dawn begins to break on this second day of the ritual,the temple attendants, dressed in lunghis(wraps), throw in another log each time the fire seems to be dying down. Sparks are flying and I move some distance away so as not to have my carry bag catch fire.  We are with two other westerners, who have been staying at our guest house, Angela and Annette from the UK.

It is still dark and the sun will not start to peek through until 7:00 am. The four young drummers, who played so vigorously last night for two solid hours, are snuggled together sweetly in the spoon position, on a blue plastic tarp in the “green room” ( the sacred space for Theyyam preparation).

Enormous pots are boiling in the back area of the house where a festive meal is being prepared for the throngs of villagers  who will attend the ceremony.We are offered tea with a typical Keralan sweet, and an invitation to enter the house.

Theyyam performers traditionally receive money from each person who lines up to ask for a favor or prayer, or  to thank the gods for wishes fulfilled. Last night two men personifed different aspects of the deity,Golikan.  Today there will be four deities,including the famous Vishnumoorthi  who will perform the fire dance.

The first dancer comes out with a  20 foot headdress made out of banana leaves in the shape of a ladder.  He is wearing a large clown like mask painted a brilliant silver,red and black. First he blesses the shrine, then he encircles the Kavu,with the drummers leading the way. After an hour of dancing which includes highly skillful stilt-walking and recounting his story, he is seated on a type of throne, with his headdress resting against the wall.  Next comes a Theyyam with an elaborate red hemispheric shaped headdress bordered with peacock feather designs,a mask with large ear flaps and mouth,and  a skirt created over a rectangular frame.   I remind  both Annette and Gerald to make sure not to forget to stand when the deity passes by (a sign of respect).  The night before, Gerald was so engrossed in his drawing that he didn’t notice that Golikan was right in front of him, remained seated, and an angry deity glared and threw rice in his face.  The same with Annette who was so in awe of seeing Theyyam for the first time, that she,too,didn’t get up. She got the stink eye.

Meanwhile the fire has been smoldering and the attendants make a neat pile of the burning hot coals, getting ready for the arrival of Krishnamurthi who will lay down on the ashes.  His mask has been resting in the house after having been blessed, surrounded by ghee lamps burning all night. Both the first and second deity are now seated, receiving villagers and talking with each one individually. The tension mounts as the drummers continue their fierce drumming, jumping in unison high into the air from time to time.  I can’t imagine how they can keep this up- it is now 10:30 in the morning and they have been going at it since 4.

Krishnamurthi arrives in a grass skirt made out of young banana leaves, heavy metal ankle and arm bracelets, and a mask. When the moment arrives, he is led to the burning coals by the temple attendants, one on each arm.  I think it will be quick, but no, I am wrong.  After a bit of positioning, he lies down, crosses his legs, and makes himself comfortable.  Each of the other two deities approach, bend down and have a few words with him.  Then, suddenly he jumps up, changes direction, and lies back down.  This is repeated in all four directions.  The intensity of this Theyyam requires the performer to prepare for forty one days. Complete abstinence from sex,alcohol,tobacco and meat. His mind and body must be sharp and focused.

Preparation for the final dancer reveals a completely different facial design- with orange colored turmeric paste and black charcoal around the eyes. An intricate pattern, called “face writing” is drawn with a brush made from banana leaf. Only his head and arms stick out of a huge grass skirt. Red cloth bands are on his forearms and silver bracelets on his wrists.

The climax arrives with all four Theyyam interacting and dancing around the courtyard.  By this time it is noon and the sun is beating down on us until we feel like we will collapse.  It reminds us that although our minds and spirits have been transported  to an alternate reality, our bodies are still very much in the tropics of the Malabar coast. Hundreds of villagers are mulling about, eating, drinking tea, talking on their cell phones or standing and taking close up photos. We are treated as honored guests due to my blond hair, and Gerald’s size.  Chairs are set up for us directly in front of the action to ensure the best photos, and we are made to feel included at all times.  The women beckon to me to come on the steps of the home in order to get a better view, and push me almost directly into the path of Vishnumurthi as he enters to bless their home.

I am sad to leave tomorrow, but we are heading north to Ahmedabad where we will start our teaching at Gandhi’s ashram. The Theyyam has left an indelible mark on my psyche which I can never forget. And I will carry the vivid red of their costumes and the pulsating rhythms of the drums with me throughout the rest of the journey through India.