Madayi Kavu

Madayikkavu
Madayi Kavu മാടായിക്കാവ്
Tiruvarkkadu Bhagavathi Temple
Religion
Affiliation	Hinduism
District	Kannur
Deity	Bhadrakali
Festivals	Pooram, Perum Kalasham
Governing body	Malabar Devaswom Board
Location
Location	Pazhayangadi, Kannur
State	Kerala
Geographic coordinates	12°2′4.99″N 75°15′41.14″E
Architecture
Type	Kerala architecture
Creator	Parashurama, Mushika dynasty, Chirakkal Kingdom
Temple(s)	5 sanctums

Madayikavu (Māḍāyik्kavu), also known as Thiruvarkadu Bhagavathi Temple, stands as a significant Kaula shakti shrine in Kerala. It possesses a distinguished history exceeding two millennia, during which the Kavu (sacred grove) was administered by various regional dynasties. The Bhagavathi was revered by them as the royal family deity. Furthermore, these very dynasties undertook renovations of the Kavu at various 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 holds the belief of being the last resort for the removal of Occult Sorcery (Black Magic and Witchcraft).

The Malabar Devaswom Board currently manages the temple. Previously, it held the status of 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 Madayi Kavu Temple worships Thiruvarkkadu Bhagavathi, also known as Madaayikkavil Amma. The temple's location in Madayi, near Pazhayangadi. The Thiruvarkkad temple, built by the Kolathiri dynasty, stands within a Kavu (sacred grove). It's possible that the site originally held a Maadam (മാടം, small loft) for lighting lamps, a common feature in many Kavus. This Maadam might have served as a precursor to the grand temple we see today. This earlier Maadam could have inspired the name 'Maadaayi Kavu'. "Maadam" also carries the meaning of "watch tower." Interestingly, the temple sits atop a rocky hill that offers a clear 360-degree view, including the sea. Considering the royal families' (military) connection to the temple, "Maadayi ppara" could also signify the rock or hill where the watch tower was located.

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 "kadu" means "forest". This trembling is believed to be the reason for the name of the place. Over the period of time 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 school ("Kalakattu Illathachan") and senior ministers.

Legend

The legend is based on Markandeya Purana.

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 a fierce and beautiful 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 own 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.

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 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.

The Arayal Thara, a Peepal tree in front of Madayi Kavu (Tiruvarkad Bhagavathi Temple), is believed to be the Moolasthanam of the Bhagavathi

Some Bhattakaras migrated from Kashmir to Kerala and established thirteen Shakta temples across Kerala. These include:

1. Mannampurath Kavu, Neeleswaram
2. Thiruvarkkattu Kavu or Madaayi Kavu, Pazhayangadi
3. Kalari Vatulkkal Kavu, Valapattanam
4. Mamanikkunnu Kavu, Irikkur
5. Thiruvancheri Kavu, Kuthuparamba
6. Kaliyam Kavu, Vadakara, Edacheri
7. Pishari Kavu, Koyilandi, Kollam(Malabar)
8. Thiruvalayanaadu Kavu, Kozhikode
9. Kodikkunnathu Kavu, Pattambi
10. Thirumandham kunnu Kavu, Angadippuram
11. Kodungallur Kavu
12. Muthoot Kavu, Thiruvalla
13. Panayannar Kavu, Mannar, Thiruvalla

History

Thiruvarkkad Bhagavathi temple is believed to be the coronation site of the ancient 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. Kola Swaroopam had 2 divisions 'Udayamangalam' and 'Palli'. Following the disollution 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 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 Legacy and the Rise of the Kolathunad Swaroopam

Prior to 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 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.

The Kolathunad Swaroopam and Its Subordinate Kingdoms The Kolathunad Swaroopam was ruled by the kings addresses 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 Madayi Kavil Acchi 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 Maadayikkavi 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 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 till 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 as 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 headgears, 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 the deep-seated faith in the divine.

The impact of Mysore invation : Hyder Ali's incursion into Malabar around 1780 saw the desecration of Madayi Kavu with slaughtered cattle entrails. In response, a local Nair warrior named Vengayil Chathukutty beheaded the culprit and delivered the severed head to the temple authorities. This act earned the Nair family of Vengayil the title of Nayanar.

Worship

Temple Layout and Deities:

Saraswathi Mandapam

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. There is another sanctum of Shastha facing east inside the temple. 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 the four prominent Mantravada Brahmin clans in Kerala. 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.

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:

1. 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.
2. 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 lukewarm to the entire framework.
3. 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.
4. 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.
5. 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).
6. 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.

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 follow specific ritual practices. These practices may involve overcoming internal limitations represented by the Ashtapaashas (eight fetters): Ghrina (hatred), Lajjaa (shame), Bhaya (fear), Shanka (doubt), Jugupsa (reproach/insulting others), Kula (family/ professional pride), Jaati (caste/creed), Sheela (inability to unlearn poor conduct and relearn) Overcoming these internal limitations is considered crucial for meditation, particularly within the Kaula Sampradaya tradition. The theological belief suggests that by mastering the Ashtapaashas, a devotee's consciousness can be elevated through the grace of the goddess Bhagavathi. This elevation is often described as a transformation from primal emotions to a state of conscious wisdom.

Annual Festivals

Originally, the Madayi Kavu temple celebrated four annual festivals. Currently, the two main festivals are:

Pooram: Celebrated in the Malayalam month of Meenam (March–April), this festival is a significant event and typically lasts for seven days.

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 peruvannan (Theyyam of Kalariyil 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 or Kalioyattam) 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 "Kalasa 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 are 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 Kalariyil Bhagavathi, Kshetra palakan, Chuzhali Bhagavathi, Someshwari, Kaala rathri Bhagavathi, Maanjalamma, and Vettur Chekavan. The Bhagavthi theyyams are the kingdom deities of 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 ensures 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 suggests 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.

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 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.

See also

• Madayi
• Kalarivathukkal Bhagavathy Temple
• Kannur