Indian Talent, Global Content
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Indian Talent, Global Content |
November 2008: What's in the breeze |
Bhutas: A Tryst with Mystery
The atmosphere seems charged with electricity. In the background, we hear the beating of drums and the singing of the Paadana. A rush of expectation rushes through the crowd as the impersonator begins the ritual. Bhuta worship generally brings to mind the idea of “the worship of ghosts.” This worship involves many rituals, which may seem disturbing to many. Perhaps this is one reason why people have maintained their distance from it. This distancing has lead to misconceptions about this facet of Indian culture. Bhuta worship is practiced in various forms all over the world. We find followers in the Bororo community in Africa and also in some parts of Burma, Sri Lanka and Indonesia. However, Bhuta worship in these areas may not be as fervent as it once was. We find it in its purest form in Coastal Karnataka and in North Kerala (Theyyam). In coastal Karnataka, the term “Bhuta” means a divine spirit, which deserves periodic propitiation. This cult is practiced from generation to generation. The “Bhuta” rituals vary across villages according to the societal structure. The current boundaries of the South Kanara district roughly conform to the area of the traditional “Tulunad”, the land of Tulu speakers. There is a veritable pantheon of “Bhutas” here numbering about 350. “Bhutas” are believed to be capable of shaping the welfare of its followers. Mr. Krishnaiah, a research scholar of the Regional Resource Centre says there is no fixed hierarchy of the Bhutas. Other researchers say that Bermeru is at the top of the order. However, it all depends on the families or the communities that are participating in the worship. In southern India, it is the “Rajaman Bhutas” that occupy the place of honor. They are followed by the “Kodamantaya Bhutas”. However, these positions of honor vary from place to place. The Bhuta concept is male dominated. There are no female Bhuta; however, there is a cult known as the “Siri” cult, which is along the lines of Bhuta worship. Bhuta worship begins in November and lasts till May. It is not carried out in the rainy season. The ritual involves the priestly class, the impersonators and the Paadana singers. The priestly class belongs to castes such as the Poojarys, Mogavirus and Billavas. They are known as priests only for the duration of the rituals. They are also known as “Madhupanpinaris” or interpreters. They are able to translate the complex language of the Bhutas to the worshippers and vice versa. The impersonators are so called because they act as the communication medium of the divine spirit through a possession act or prophecy. They belong to mainly three castes - Paanar (Nalike), who are mainly found in the Udupi, Hiriadka and neighbouring areas, the Paravas and the Pambadas, who are mainly found in and around Mangalore and Subramanya. Bhuta worship adheres to a variety of folk music. The impersonator wears either a metal mask or an Areca leaf mask on his head. The make-up differs according to the sex of the invoked spirit. The ritual dance is very artistic. The “Paadana” is a song that is sung during the ritual. It tells the story of the particular Bhuta being invoked and the singing is done by the mother or sister of the impersonator. The song is rendered with the help of some small percussion instruments called “Karande”, which is smaller and the “Tembere,” which is bigger. Instruments such as the “Mouri” or “Shruti” (wind pipe) are also used. Researchers say that Bhutas were turned to for judicial purposes as well as to solve problems of health, land disputes and other day to day problems. Spirits such as Panjurli were invoked to safeguard righteousness, Pilcandi for rains, Bobbaraya to guard the fishermen and so on. Mr. S.A Krishnaiah says that since this concept has passed down through the generations, a great deal of reverence is attached to the beliefs of the ancestors— the judgments and prophecies of the Bhutas are accepted as the “gospel truth”. These judgments however are not based on government law but are more about what the Bhuta believes to be right. He also adds that a certain amount of faith healing is involved in Bhuta worship. Rituals pertaining to certain spirits such as Guliga and Caundi involve the drinking of chicken blood by the impersonator and animal sacrifices. The Kuti-Chennayya Bhutas (Twin Brothers, as legend goes) stab themselves as a part of the concluding part of their possession ceremony. Researchers say that this is to prove their supremacy. Acts like this go a long way in influencing the psyche of the people. Nature, it is said, has various energy levels in varying intensities, some of which are positive and others negative. Experts such as Mr. Krishnaiah opine that Bhuta worship also has its basis in these energy levels. The impersonators say that they are unable to reach the trance-like state required for the possession act in just any place. In order to provide the right ambience, a triangular shape is marked out in the worship pandal (Bhutastana) with a white cloth as a base and a coconut decoration. Positive energy is thus harnessed. In order to achieve a trance-like state, the impersonators need to numb their senses. This is done by inhaling areca sheets and rhythmically beating the drum while the “Paadana” is being sung. Impersonators say that their visions are in hues of yellow and last only for a few seconds. The images they see constantly seem to be revolving. Bhuta worship has come a long way since it began. As in any other field, a certain amount of commercialization has crept in. Ceremonies, which earlier used to span long hours, are today cut down to the bare minimum requirements. Costumes, which were earlier painstakingly handmade, are commercially manufactured in accordance with the organizers’ budget. Bhuta worship has seen a decline in the last few years, and the elaborate details of make-up, head gear and paraphernalia have come down drastically. Ceremonies, which used to go on for days, have today been cut down to a few hours. One of the main reasons for this drastic change is due to the long time taken for the distribution of the “Prasadam”. Earlier, the headgear would be made from tender coconut leaves; now, it is cut out of wood or bamboo and even carved out of metal. The headgear is also influenced by the headgear of the “Yakshagana” dance form. Changes are also seen in the draping of the sari and in the make-up used. Mr. Krishnaiah says the ritual is now carried out once in two-three years. No form of culture has been able to escape commercialization. This has also now come to include ceremonies related to religion. Rituals have to be made more attractive for the masses and hence we see that these rituals no longer exist in their purest forms.
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