(This paper presented on Adishakthi Ramayana festival at Pondichery-2010,March)
Wayanad is a naturally beautifull region surrounded by number of mountains .It’s the only district in Kerala which shares borders with Tamilnadu and Karnataka. The ancient history of Wayanad is almost unknown or unclear. Some of the archeological findings of the district date back to the stoneage. 17.43% of the district’s population is constituted by tribals. Wayanad has the highest tribal concentration in Kerala. The tribals belong to 15 communities, including Paniyas, Kurumas, Kurichyas, Kattunaykars, Adiyars, Kadan, Oorali. In addition, there are communities of Hindu, Jaina, Christian and Muslim denominations.
Among certain communities in Wayanad there exist peculiar beliefs relating to the Ramayana story. Most of these Ramayana versions are confined to the limits of their community and religious identity. Within the same community, the same story has different versions. It is remarkable that a large part of such stories are found in Wayanad.
Wayanad is home to different versions of the Indian epics, in a variety of contexts, including stories of the origin of the names of particular places, belief systems, oral traditions, cosmologies, art forms, temple-centered images, legends related to particular hills and so forth.
Eventhough these stories are mainly popular among the Dalit/tribe communities like Wayanadan chetties ,Adiyas, kurumas, Kurichias,etc.the high class bramanical hindus also celebrate temple centred Ramayana oral stories.
The Ramayana of Wayanadan Chetties
The Chettis, particularly the Wayanadan Chettis, are a community that transplant the epic stories through oral tradition into their life ambience and make them their own. The cultural world of the Wayanadan Chettis is a social ambience built on the firm foundations of the beliefs, religious practices and spiritual bonds with places, marked by legends and peoples by Sri Rama, Seetha, Lava, Kusa and Valmiki.
Wayanadan chetties co-relate even this caste name (Chetty) with Ramayana stories. They believe in an ethnic story consists of Chedatilamma and Muni kumars(Sitha and lava kusas). They believe that the locality in Wayanad at called Chedattikavu (Jadayattakavu) is the place in which sita drowned into the another earth as in the Ramayana context and the people there is chedattikavu later became chetties.chedatti evolved on chetty(1).
Kalimalathamburan,Athiralan,Thambiratiyamma,Bammathadaivam,Alakuliyan,elamkariman, and Poothadidaivam are the main hereditary gods/goddesses of the Chetties. Among these Thambiratiyamma is supposed to be Seeta and Kalimalathamburan and Athiralan are Lava and Kusa.
Lava and Kusa are known by different names in different parts of Wayanad. They are referred to as Murikas, Lavakuchas, Arathalar etc. in local parlance.
When Lava and Kusa went from Althara to Pulapalli, they became Mukkuvas (fishermen). When they reached Porakkady, they were known as Poomala. In Chingeri they were transformed into Raram Kaliyachan. In Irulam they became Ilavally. In Manikkavu (beyond Meenangadi) they became Kalinmel Tampran. When Kalinmel Thampran reached Thurumunda they were transformed into Thalachil and when Thalachil reached Sulthanbathery it got transformed into Melethalachil.(2)
Chetties Believe that lava kusa got wedded from a chettyfamily at Ariyapally -Pulpally in the Wayanad district. The marriage context is as follows:
It is believed that in olden days Wayanad was a thick forest and the Asuras used to roam around freely. In those days women and children lived in fear of these people. It was the habit of the Asuras to abduct grown up girls for their sexual satisfaction. Eriyappalli, a dense forest, was prone to the attack of the Asuras. Lava and Kusa saved the locals several times from the attack of the Asuras. Once Kusa saved Chandikadevi, daughter of Erumappally Chetty, from the molestation of the Asuras. The act of saving often led to the tying of the nuptial knots. Thus, respecting the request of Hanuman, Kusa married Chandikadevi, daughter of Erumappalli Chetty, and Lava married Sunithadevi, younger sister of Chandikadevi.(3)
According to Wayanadan chetties ,the first Sloka in the Ramayana (‘Maa Nishada…’) was originated / recited by Valmiki at Ponkuzhi, Noolpuzha panchayath Wayanad district.as per the myth, the first sloka of the great saga was sprouted in the philosophical ,creative mind of the great Valmiki once he saw the savage darting down one of the couple romantic birds. And then, this place began to be known as “Penkili”which was means female bird and later Penkili evolved as todays Ponkuzhi(4)
Wayanadan chetties believe that Valmiki Ashram is situated at the Ashramamkolli, near Pulpally ,Wayanad district. And Lava Lava kusas had undergone–their Martial arts training at Sasimala ,near Ashramamkoli,This Sasimala was earlier known as Shashimala (Infant Hill).(5)
Wayanadan chetties grab our attention into nearly 30 localities ,which they believe ,are the Ramayana locations .Places like Ponkuzhi, Althara, Alinkulam, Ramlpalli, Erulam, Ashramamkoli,Yogimoola,Shashimala,Varadoor,kenichira, Chethalayam,(seethalayam)
Pulpally, Ariyapally, Seehtamount, Ambukutty, Dwaraka, Poothadi, Thirunelly and Mananthavady, are examples of it.(6)
Wayanadan chetty Ramayana story progresses in connection with these localities. There is a Lake called Kanneerthadakam/sitakulam near Ponkuzhi, wayanadan chetties believe that this lake was formed out of sita’s tears. Interestingly, in the Ramayana stories narrated by Wayanadan chetties, their own traditional gods also are appeared. For example , when laxmana and Hanuman come in search of the holly horse at the time of Ashwamethayaga ,it is the fairy gods Athirukalan, Arupuli, Kandanpuli, Dammadan,Kaikolan and Thambiratty who passes the information that lava kusas have captured the horses at the Wayanadan border.
The Bramanical hindu communities in Wayanad also follow these (Chetty Ramayana stories with some kind of amendments. For instance, the Valmiki Ashramam (near Ashramamkolli) and Jadayattakavu(a place near Pulpally where the chetties believe sita drawned in to the mother earth) were earlier preserved by the tribes like Mullakurumas and Wayanadan chetties ,but now by the Bramanical Hindus. That is while the Bramanical Hindus follow the Ramayana as a part of their faith, they follow the oral regional Ramayana stories also.
Sita Taken the lead role in Wayanadan chetty Ramayana. Sita and lava kusa are the protagonists in their oral Ramayana stories.
The present generation of Chettis are the descendants of those, who migrated to Wayanad from far off places. Rao Bahadur C. Gopalan Nair infers that the Wayanadan Chettis came from Dharapuram near Coimbatore in Tamilnadu, while the Edanadan Chettis came from Edanad in Coorg in Kranataka and the Mandadan Chettis from Gudallur taluk in the Nilgiri district of Tamilnadu.(7) In the Malbar District Gazateers, published in 1908, W.Francis I.C.S. also expresses the same view. The dialect and ways of life of these communities give credence to this argument.
The Chettis consider the Purana-ithihasa stories as part of their religion. They are well informed about the Valmiki Ramayana as well as the Adhyatma Ramayana of Ezhuthachan. There are more than one way for the epic stories to reach these communities. The Wayanadan Chettis are found in places, such as Kidanganad, Nenmeni, Moopianad and Noolpuzha; the Edanadan Chettis in places, such as Poothadi, Tirunelli and Amsam; and the Mandadan Chettis in Poothadi, Pulpalli, and Veliyampam. These areas were already inhabited when the Chettis arrived. Tirunelli, Pulapalli and Ponkuzhy are environments, centered round temples. Vaishanavism had established itself long back. Perhaps already before the arrival of the Chettis, the folk traditions of Ramayana might have been in vogue in these places. We can assume that what the Chettis did was to fortify these traditions.
Many of the epic oral traditions might have been the result of the creation of legends by the migrating people to glorify the areas they were migrating into. It is also possible that this is the result of the migrating population to reach up to the cultural status of the local inhabitants.
Another possibility is that the stories, already in circulation among them, were transplanted in the Wayanadan soil, when they settled in the new areas. This may be the reason why beyond the written stories, the oral stories have gained acceptance as part of their religious faith. It is usual for the migrants to reconstruct their traditions incorporating elements of the area of migration, at the same time retaining some of the original ingredients. An instance of this residue is the Bammadeivam of the Wayanadan Chettis. Bammadaivam is a Kannada speaking god. If a temple or name of a place tells legends related to the epics, it is natural for the remaining part of the story to be set in the adjacent place. A good example is the case of the Ponkuzhy temple and Tirunelli. At Ponkuzhy, there is the pond formed by the tears of Seetadevi. Next to it is the pedestal on which Seeta sat. The ashram of Valmiki is not far away. River Thamasa flows by the side of the Valmiki ashram. It is likely that this idea was replanted here.
Noolpuzha river is thus transformed into Thamasa. It was here that the first poem took shape in the heart of the sage Valmiki, on seeing the heart-rending sight of the bird falling down, struck by the arrow of the savage veda. The breeze here resonates with the poetic seniment of pure compassion, which gave birth to the poem. It was here that Valmiki started reciting the poem before committing it to writing. Among the bamboo thickets, quiet flows Noolpuzha stream, unmindful of the passage of centuries. This is the place where Seetadevi bathed and where Valmiki did tapas.(8)
New names can come into being as a result of colloquialism or due to erosion of syllables on account of prolonged use. An example is ‘Sankumeeti’ becoming ‘Chankuvett’. It is not unusual for the names of prominent homes to become the names of places. Examples are Erumappalli (Eriyappalli) and Dwaraka.
If the new name is related to the puranas and ithihasas, new genesis stories of the names will be created shortly after the introduction of the new name. Thus, in multiple ways were created the folk forms of the epic stories in Wayanad.
THE RAMAYANA OF ADIYAS
The Ramayana stories prevail among the Adiya tribal community in the Wayanad district are the new texts of Ramayana which derails the other verbal Ramayanas including Valmiki text. These people have not at all heard neither about the written versions of Ramayana nor about the great Ramayana poets like Valmiki, Thunjathezhuthachan etc. among the Adiya communities ,one can even find different versions for a single story. The main locations are Wayanad district of Kerala and the neighboring Kudak district of Karnataka.Though Rama and lakshmana are ‘great people’ in the adiya Ramayana, thus are not gods.
I have recorded the Adiya Ramayana version told By Mr. Mathai ,the community leader and traditional healer, in my Book “The Ramayana of Wayanad” .As per this story sita was not Rama’s wife before the lanka fire(lanka dahanam; Ravana not a villain character. Sita and Ravana are in love and they travel together in a bullock cart to Lanka.There is no sea ,but only a river and a bridge in between Lanka and Wayanad. Sita never experience Ravana as a villain. Even she doesn’t know why Hanuman sets Lanka into fire.Neither she has any affection or care for Hanuman.
Once Ravana saw the beatifull sita from the roadside , talk in love with her and wishes to own her. By the time Rama and Lakshmana started their way to sita ,she had already gone to lanka with Ravana .Hanuman is sent to Lanka by Rama to fetech sita back. Rama is not at all going to Lanka .And sita is completely unaware of Rama’s love to her and Hanuman’s search till Lanka fire.
Time is contemporary in Mathai’s story. He uses the Families social –cultural backgrounds.Even the present day miseries faced by the tribes are indirectly seen in the story .The burning issue of the time, the tribal land problem, is appearing as a flash in the story. Hanuman is a person who knows the miseries of Adiya community and he is sympathetic to them. It’s Adiya women who wash sita’s dress at lanka .Charactors eat rice and drink the popular Wayanadan coffee. Rama uses modern language also. Sita is like a powerful Adiya women. She like the sita in the CHANDRAMATHI Ramayana ,is a sensible lady with good commanding power and she fights hard against the fouls of a muscular set-up.
Allah, Adam and prophet rised in the Indonesian work”Hikayath SeriRam’ and the regional Bengali gods like Mangal Pandi,Manasa ,Banadurga,Sulapani Shithala and Shashthi are characterized in the 16th century Bengali book Chandramathi Ramayana. Like wise, the regional Wayanadan gods like Valliyurkavu Bhagavathi,Pulpally Bhagavathi,Pakkatheyyam,Thirunelly Perumal, Siddappan,Nejjappan, and Mathappan are characterized in the adiya Ramayana.
At the end of the story, Lava and kusa captures the holly horse and they conquers Rama, Lakshmana and Hanuman who came to release the horse and tie them on a tree.Atlast sita sends letters to ValliyurkavuBhagavathi, Pulpally Bhagavathi,Pakkatheyyam,Thirunelly Perumal, Siddappan,Nejjappan, and Mathappa daivam and invite them to be the mediators. They discusses the problem thoroughly and conducts a people’s trail for Rama and Lakshmana!
The elders said: “ These are your own children. You did not even realize that”. Others said; “ Children growing up away from their father will behave worse than this”. Rama and Lakshmana listened to all this. They were willing for any compromise. The elders released them. Despite the humiliation, Rama and Lakshamana were happy that they had found their children.
These were the terms of the agreement: Do not fight, do not encroach, accept Seetha and the children. They also decided the authorities and Theyyam of each locality. No one should violate these norms. The Chemmam and Theyyam were decided in the following fashion: Pakkatheyyam for Tirunelli Chemmam and Cheruvali; Pookkarimage Theyyam for Vadaku Manram; Karichathan for Evila; Jogiyachan for Kuppathodu; Ulankanttu for Ulankathu Muthukattu; Malakkan for Katchalevelappa; Pookkarimage Theyyam for Puthurila; Kallarache Theyyam for Kallilamarigod; Madasserimala for Kandappeeli; Kalappan for Kalamkottu Muthiramattila; Thirumuna Theyyam for Seythe Thirumunda; Pandinadu Thamprakkanmar for Pandinadu. They should not encroach on our territory. If they do, all will unitedly resist them. They were informed about this.
This arrangement is maintained even today. After examining all the aspects of the case, Seeta was called. She came over to the spot. Seeta saw Rama. Rama saw Seeta. They spoke to each other. Rama admitted that he made a mistake. Seeta narrated the entire set of events to the children. They were delighted. They were glad that father and mother got re-united. Finally Seeta agreed to go to Irippa along with Rama. All the elders and Hanuman accompanied them to Irippa. Seeta lives at Irippa even today. There is a temple in her name, where regular pooja is performed…..((9)
According to Mathai’s Adiya Ramayana story, sita is still alive! She lives at Erapu ,Kudak district ,Karnataka. Many oral Ramayana stories are heard at Erappu, which according to Adiyas,is the home land of sita and Ravana. Two famous waterfalls at Erappu are known as Ramahteertha and lakshmana theertha.
The Ramayana stories told by Adiyas are ,infact ,Sitayanas.Sita and lava kusas are the prominent characters in that story, Rama’s status is lowerd down even to their traditional gods.
The Ramayana stories spread among the Adiyas are not much primitive. Mr.P K Kalan,well known Gaddikka(a traditional –ethnic –ritual art form)artist and Adiya community leader, wisely states that its because of the reason the Ramayana stories are not appeared in their traditional songs.
These you start thinking how did their meet with the story of Rama is the recent times;
This may be explained by their contact with the groups, who were the carriers of the epic stories. The Adiyas are found in several places of Wayanad, including Manathavady, Trissileri, Tirunelli, Edappadi, Chelur, Begur, Mottankara, Panamaram, Muthiramala, Vemam, Bavali, and Kuppathode and in places in the taluk of Taliparamba as well as in areas bordering Mysore in Karnataka state. The influence of Karnataka in their life styles and linguistic peculiarities gives credence to the theory that the present Adiyas may be the descendants of those, who along with the Chettis and Brahmins, migrated into Kerala from Karnataka. In Tirunelli and Trissileri they were the slaves mostly of the Ampalavasi castes. Wherever they might have been, they eked out their living through slave work for communities, such as Chettis, Gounders, Marars, Emprasans, Variars and Brahmins, the main communities whose livelihood was related to temples.
It is natural for the slave classes to absorb the beliefs and religious practices, stories and myths of their owners. Domination is complete only when the consciousness of the dominate classes is absorbed by the dominated classes.
The main reason for the prevalence of the epic stories among the Adiyas must be their long-standing contact with the above-mentioned communities. The Adiyas must have witnessed and heard the temple discourses as well as the dramatic presentations based on the epic stories. They might have overheard the dialogues and discussions of their owners. This might be the route by which the epic stories reached the Adiyas.(10)
THE RAMAYANA OF KURICHIAS
Kurichias are one of the prominent tribal community in the Wayanad district. They consider themselves as the upper caste among tribes. Thet have to purify themselves by taking bath if any non-brahmin touch them.
Ramayana stories are circulated among kurichias in the forms of oral stories and traditional songs. These stories do not tune with the written text. There are many short stories based on Ramayana among the Kurichias. One of these stories are as follows:
Once Ravana reached Kailasa for meeting Siva. During the meeting Ravana asked Siva: “ Would you mind fulfilling a desire of mine?”
“ Of course not” said Siva.
Pat came the demand of Ravana: “ I want to have Parvathy’
Siva was in a fix. But still he could not break his word. Siva agreed to give Parvathy to Ravana on one condition. This was the condition: “Parvathy should not touch the ground; You should always bear her on your shoulders. If you put her down, your head will burst into pieces”.
Putting Parvathy on his shoulders, Ravana descended from Kailasa and started walking. After walking for a long time he encountered a problem. He felt great urge for passing urine. The urge became unbearable. What would he do? If he were to pass urine with Parvathy on his shoulders, she would see.
The tension for passing urine became intense. Ravana could no more manage it. He started to sincerely wish that he got rid of the woman on his shoulders for good. Then Ravana saw a man coming from the opposite direction. He ran to the man. Scared of a man with ten heads approaching him with a woman on his shoulders, the passenger started to run back. Ravana would not let him go. He outran and reached near him. Ravana asked the passenger: “Could you for a few minutes keep this woman on your shoulders?” Enraged, the passenger said: “Are you not ashamed to ask a stranger to carry your woman on his shoulders?” In humble tones Ravana implored: “ For a few seconds, please”. At last the passenger consented.
Quickly Ravana transferred Parvathy on to the shoulders of the passenger and said:’” You can keep her, if you wish”. It was Siva in disguise. Thus Siva reclaimed Parvathy and went back to Kailasa.
This story has several variations. In one story Parvathy is replaced by Sivatmalinga. Siva uses the river Ganga on his head to create the urge for passing urine. The passenger is Balasubramanian. Some versions substitute Parvathy with Seeta and Siva with Rama.(11)
Kurichias have generated neo myths in time to time which connects the orgin of their tribe and Ramayana.The old belief was this:
The Brahamins and the Kurichyas are the noblest among the creatures of Brahma. These are the only two clean groups of people on the earth. Brahma got ready for the creative act. He took the earth, poured water and made clay. Then he perspired. He wiped the sweat and threw out the sweat drops. Out of these sweat drops were formed a sect of humans. Brahma gave them the name of Adiya. From the soil that remained after fashioning man, he made the Paniyas
The men created by Brahma were divided into two groups and they were sent out to hunt in the forest. They were given a note with instruction to reassemble in a place after hunting. The parties went into the interior of the forest for hunting. Brahma did not send them for hunting empty handed. He gave them bows and arrows. One group wandered through the forest. They did not reach the spot appointed by Brahma.The infuriated Brahma called them ‘kadans’ (savage people). The Kurichyas believe that this was the origin of the forest dwelling populations. The second group reached the appointed spot on time. Brahma gave them the name ‘Kurichyar’, since they reached the appointed place on time. (kurichya = the appointed (spot).(12)
Yet another version is like this: The Kurichyas were the soldiers of Sri Rama. When Sri Rama, accomapanied by Seetha went to the forest for his 14 years of hidden life, Bharatha, Rama’s brother, marked a hilly area for the Kurichyas, who felt orphaned in the absence of Sri Rama. Those who were given the place marked by Bharatha were called Kurichyas (kurichya = the marked (place).(13)
Among the Kurichyas there are a number of stories and beliefs, in which Sri Rama and Seeta feature as the main characters. Bows and arrows are inevitable for the Kuruchyas. Not only during hunting, but also in the marriage festival, bows and arrows are essential. We can say that bows and arrows accompany the Kurichyas from the cradle to the grave. They justify their practice of carrying the bows and arrows thus:
Thus did Lord Sri Rama
Go to wed Seetadevi
The Ramayana epic says that Sri Rama had his bow and arrows at his wedding.(14)
Songs of Mullookurumas tribe
Members of the Mullookuruma community have made abundant use of the themes of the Ramayana and Mahabharatha stories in their folk songs. Most of the songs are sung during entertainments, such as Kolkali, Vattakkali. Following are samples of such songs, which admit of different versions.
1. Disguised as a deer
Ravana abducted Seetha
And took her to Lanka;
Under a flowering asoka tree
He seated her.
Asura women were put
In charge of Seetha.
Made an arch of fire
Sky as the canopy
The stars as lamps.
The fortress and the tower
Lo! the king arrives.
2. Comely forest, enchanting garden
Two birds, Jadayu and Sampathy
Soaring in the azure sky
Up and up they went
Meeting the flaming rays of the sun;
Mighty wings on fire
Down went Jadayu
And Sampathy in the Vindhyas
Blind they lay three days.
We need a new wing said they.
Sampathy opening his eyes
Saw the brunt wings;
This is fate, he mused.
Seeing the monkeys in search of Seeta
Sampathy the elder
Showed them where she sat.
By the grace of Sri Rama
New wings sprouted
And crying Oh Seeta
Flew they away.(15)
Siva Tesing Arjuna
Taking veda’s form
Valiantly fought Arjuna.
Paramasiva too took veda’s form.
Arrows rained down
With a bow Arjuna struck Siva’s head
Like a glass into pieces
Shattered lay Siva’s head.
Vedas hunting wild boars
Valiantly fought Arjuna.
Parvathy too took veda form
Stop Arjuna, stop
Your tricks won’t work
So saying she cursed him.
Stoppng tapas
Arjuna said ‘save me oh!save me’.(16)
Do not kill Arjuma, Oh! Lord
No wrong has he done.
Lord, wearing tiger’s hide
And Parvathy, come, bless us.
The angry Bhagavathy said:
Give me space for a pedestal
Beautifully sculpted
With flaming sword
Made by master blacksmith
Sword in hand, marching
And the blasting of fire crackers(17)
The Double Parvathy
Sri Parvathy and another lady
Went down to the bathing ghat;
Fragrant herbal shampoo in hand
And the famed turmeric of Wayanad.
Comes Narada to Kailasa.
Don’t enter Narada, tells the Lord
Parvathy is in the bedroom.
Thinking it true
Narada went to the bathing ghat;
The maids say:
Don’t proceed Narada
Sri Parvathy is bathing here.
‘I saw Parvathy there
I see Parvathy here’ says Narada
Does the Lord have two women?
I have only one sister.
Hearing that Parvathy had a dip
And she went to the Lord;
My prostrations before you.(18)
3. In the middle of the ocean
Is the king’s palace
No one knows the way.
Carrying her on his shoulders
He flew over the roaring ocean;
Seeta played a trick
Removing her golden anklet
She threw it on to the earth
Hanuman coming that way
Picked it up and gave it to the Lord
And he prostrated before the Lord. (19)
This song tells the story of Rama’s killing of Tadaka. The incident is narrated in a different manner.
Not seeing the beautiful Seeta
The demoness came that way.
There comes Tadaka
Like a tornado yelling.
Rama with arrow struck her breast
And like a mountain fell Tadaka.
Blood flowing like a river
Rama swam across the river of blood.
Who killed the woman, Rama?
I killed the woman, says Rama. (20)
Sri Rama Kusa-Lava Drama of the Irulars
The tribals of Varagampadi Ooru and Oothakuzhi Ooru in Palakkad district believe that sage Valmiki, after composing the Ramayna, visited the tribals and entrusted it to them. They believe that Valmiki composed the Ramayana in Tamil. Five generations ago, when Sonkamooppan ruled Varagampady, they started to satge a drama called ‘ Sri Rama Kusa-Lava Natakom’. Ever since, this art form is being performed here. There are some differences between their Ramayana story and the Valmiki Ramayana.
The play starts with the sleep of Sri Rama and a dream he has during his sleep. The dream is as follows: Seeta is five months pregnant. She is abandoned in the forest. Valmiki gives refuge to Seeta in the forest. She gives birth to Lava and Kusa in the ashram of Valmiki. When Lava and Kusa grow up they destroy seventy naval forces of Sri Rama.
Sri Ramar (Sri Rama) is agitated that what he saw in the dream might come true. At once he sends Lakshamana to find out if Seeta is pregnant. Lakshmana enquire of mother if Seeta is pregnant. Mother confirms the pregnancy of Seeta and asks him to make arrangements for her post-partum care. Sri Rama reveals the dream to sage Vasishta and consults him on its purport. Vasishta tells Sri Rama that everything in the dream will come true. He also gives the appropriate time for performing the prescribed rituals. Sri Rama meets Seeta and says:
“For 9000 years I thought you are not pregnant. But on the words of mother and Vsishta I am ceratin about your pregnancy. So, what are your desires that I should fulfill?”
Seeta asked for the favor of taking her to the Dandakaranya forest where they used live earlier. Sri Rama raises objections and dissuades Seeta. But Seeta is adamant on her demand. Sri Rama decides to let Seeta go alone into the forest and Lakshmana is put in charge of her security. Rama also appoints four people to gather the news in the country.
A washerman asks his wife to take the washed clothes to the respective houses and bring cooked rice in return. Though the wife did as told, she was a bit late in coming with the cooked rice. The washerman is enraged and beats and kicks the wife. She escapes from there. The mother of the washerman is cross with him and asks him to bring his wife back. The washerman rejects that demand and says that only people like Sri Rama will do such ignoble deeds. He was referring to Rama’s taking back Seeta who had been abducted by Ravana.
The gang of four informs Sri Rama about this. Rama gets angry. He asks Lakshmana to leave Seeta in the middle of the forest. Seeta takes leave of the mothers. The mothers say that Sri Rama did the wrong thing and Seeta should not go into the forest. Seeta insists that snce Sri Rama does not want her she should go away. Lakshmana takes Seeta to the forest and leaves her there. On their way they see bad omens of crow, snake and a man with a pitcher of oil.
Seeta faces several hardships in the forest and finally meets sage Valmiki. In Valmiki’s ashram she gives birth to Kusa. (Note the diversion from the Valmiki Ramayana).
Valmiki asks Seeta to bring water for the naming ceremony and she goes out for fetching water leaving the infant in the cradle. Seeta who sees on the way the monkey mothers holding their infants close to their breast returns and picks up the child and goes out again.
On not finding the baby in the ashram, Valmiki creates Lava from a blade of the darfa grass. Here too we see the difference from the Valmiki Ramayana. (Note the similarity with the Ramayana of the Wayanadan Chettis).
When Seeta returns to the ashram, Valmiki recounts all that happened. He gifts Lava to Seeta. The the naming ceremony is conducted. Valmiki gives education to the children and they grow up.
At this time Sri Rama performs the Aswamedha yaga. Lava and Kusa are playng in the forest. They see the horse and chain it. Shatrukna ties Lava to the chariot and takes him away. Unfortunately, Kusa does not know abou this. The maids see this and inform Seeta about it and she becomes sad. By this time Kusa returns home and after getting the persmissin of mother starts with his bow and arrows to fight. He kills everybody in the battle (including Lakshamana, Bharatha and Shatrukna) and Rama on reaching the spot faints and falls down. Hanuman and Sambavar who are not dead look around thinking that Lava and Kusa have left. At this time Lava and Kusa bind them and take them to Seeta. She recognizes them and comes to know everything. Seeta requests sage Valmiki to revive all the dead. She threatens that otherwise she will end her life. Valmiki revives everyone. Sri Rama enquires who these people are and Valmiki reveals the truth and introduces everyone. Sri Rama recognizes Seeta, Lava and Kusa.
Sri Rama agrees to take them back after the fire ordeal. Lava is burned out in the fire. The others survive. Sri Rama gives the throne to Kusa. Seeta is not willing to go with Sri Rama. She says that she is not prepared to suffer more humiliations and prefers to go to mother earth. The earth caves in and Seeta disappears.
The tribals maintain their style of telling stories. The story is interspersed with songs and dialogues. A team with musical instruments of harmonium, mridangam and ganchira will be at the backstage. They will be singing the songs in the play.
First comes Vinayakar (Ganapathi). Ganapathy wears masks made of wood and saffron cloth suitable to the character. After the pooja, Ganapathy withdraws behind the curtain. Then the clown, wearing a conical crown enters. Soon the clown, with only a minor, role exits. Then comes the dancer singing the song ‘nadiya penkal mantare’. She also goes out. Then the minister kattiyakkaran comes announcing the arrival of the king and exhorting everybody to be prepared to receive him. Then the play starts.21
There are a lot of diversions from the Valmiki Ramayna in this play. The philospophy of the tribals is enshrined in this drama. This play is an authentic reflection of their cultural status. Their intimate link with the forest is well portrayed. This art form of the children of the Attappadi hills is staged much like a ritual for three days every year, just before the Sivarathri festival.
The Ramayana stories are found throughout Kerala. The lines of M.Govindan that in the paddy fields of Ponnani Ramayana is grown along with paddy is applicable not only to Kearla, but to every Indian village.
“In each furrow, in each clod of soil
There are smiling Seethas
The Janakas and the Ramas sing along
How beautiful this popular poem on Seetha”.
In the Nomadic Literature
Independent narrations of the Ithihasa stories are found among numerous low caste communities in India in the form of story, song and ritual. They are closely linked to their identity and self-expression. Among the nomadic singing communities, the epic stories are freshly recreated, with additions and frills in tune with their mental states and for making them more enjoyable. Since these belong to the oral traditions, the same song is rendered differently by each singer.
The most endearing character for the nomadic groups is Seeta. Seeta is the representative of womenfolk. The rhythms, aspirations, frustrations and emotions of women are reflected in Seeta.
The nomadic songs add many things left unsaid by Valmiki. For instance, in a Kannada folk song, compiled by Ramagouda and his assistants, Seeta is Ravana’s daughter. Seeta is conceived by Ravana, not Mandodari. Ravana conceives as a result of eating with gusto an exquisitely sweet mango fruit gifted by Siva. The details of the story include the gradual growth of the foetus, the pain, anguish and shame borne by Ravana for nine months, and the issuing forth of the baby through his sneezing, to the utter astonishment of the midwives etc. The story which depicts Ravana as a father who is destined to desire his own daughter is a tragedy stemming from the inscrutable ways of fate. However, the most striking feature of this art form is that it provides the freedom and space for altering the central theme and characters to suit the taste and need of the hearers as well as the story teller.22
The study of Melcheru Narayana Rao on the Telugu oral tradition of Ramayana is very illuminating. Through the study he has shown with what deftness the composer inserts into the song the feminine experiences and interests. The conception of Kausalya, her morning sickness, details of post-partum care, the cradle song sung for Rama, bathing the infant Rama, marraiage of Seeta, her journey to the husband’s home, the first menses of Seeta, Seeta’s pranks with Rama etc. are the details which the male-centred epic omits. Through these songs a wolrd in which women dominate is presented. Such a world is present in both the brahmin and non-brahmin backgrounds.
In a story related to Shoorpanakha, included by Helevanakatte Giriyamma, who lived in the 18th century, in her ‘Lavakusarakalaga’ there is a development of a story ended by Valmiki. Shoorpanakha is a character most liked by the nomadic singers. In the traditional narration of Valmiki Ramayana, Shoorpanakha’s presence is limited to Panchvady. Shoorpanakha falls in love with Rama and when she finds that Rama is not interested in marrying her, she turns to Lakshmana. On realizing that Lakshmana too is not interested in marrying her, Shoorpanakha becomes violent. As a result of her abusive language, her breasts, nose and ears are cut off. On hearing her complaint, Khara and Dussasana rush to fight with Rama and in the battle they are killed. Shoorpanakha flies to Lanka and complaints to Ravana. She also mentions that the wife of the enemy is very beautiful. Revenge compounded by lust for the woman lends fast tempo to the Ramayana story. Shoorpanakha, seeking treatment for the wounds, disappears from the scene. Nothing is heard of Shoorpanakha after that. But in the folk songs she returns. Desire for Rama is still burning within her. Disguised as a mendicant, Shoorpanakha reaches Ayodhya. She succeeds in persuading Seeta to draw the picture of the nails of Rama’s feet. Seeta had seen only the toes of Ravana who used to visit her in the Asoka garden to win her heart and threaten her. She draws the picture of the nails. Shoorpanakha completes the picture. She prays Brahman the creator to give life to that picture so that she can see him alive once again. Brahma concedes her request. The picture of Ravana comes alive and he compels Seeta to accompany him to Lanka. Seeta insists that the picture be burnt. But that does not happen. Rama comes along and begins to doubt the faithfulness of Seeta. He does not give ear to the advice of Urmila, Mandavi and Sruthakeerthi. Rama orders that Seeta be exiled into the forest. This was the story that inspired Chaduranga to compose the Kannada play Bimba (1990). In that play Seeta and Shoorpanakha are depicted as ordinary women subject to human emotions. The play rejects several values imposed on people by the male-centred ethos. Certainly such folk stories and culture are capable of delving deep into the recesses of human emotions.
This is related not only to the Ramayana stories. The Mahabharatha stories too have undergone similar modifications and additions. They have deep roots in the life style and culture of local communities. In the tribal and dalit communities of Kerala too there are folk versions of the Ramayana and Mahabharatha stories.
In sum, just like the rain water falling in different soils flows with the color of that soil, the epic stories that reached each and every nook and corner of the country have penetrated the local cultures and have flown throughout India with the special features of each region and community. Time will create newer Ramayanas. The reason is that time keeps conversing, debating and at times quarreling with the Ramayana. All this enriches the Ramayana literature. Like the unity in diversity of the Indian society, the epic stories too present unity in multiplicity. This will lead to the evolution of a new civilization based on pluralism.
Notes
1. Page;111,Jeevithavum Samskaravum:article By Joseph Munjad ,edited By
Dr.M V Vshnu Namboothiri
2. Page:53 ,Karutha kalakal by Chummar Choondal
3. Page:47Wayanadan RamayanamQuoted From Page 130 , Page;111,Jeevithavum
Samskaravum:article By Joseph Munjad ,edited By Dr.M V Vshnu Namboothiri
4. Narrator: Kalankandy Ravunni Chetty ,Muthanga,Wayanad
5 .Same Above
6. Page:54-62 Wayanadan Ramayanam by Dr.Azeez Tharuvana
7. Rao Bahadoor C.Gopalan Nair ,”Wayanad-Its People And tradition,Malayalam
Translation By KKN Kurup ,Modern Books ,S.Bathery
8. C..Unnikrishnan ,Ividethe kattinu eradikalude Impam,’Indian Labour Rashtriya
Vartha Masika,Ponkuzhi, SriRama kshetra Samuchayam,PunaPrathishta Mahotsava
Suppliment-April-1,2004
9. Page:30 -31 Wayanadan Ramayanam by Dr.Azeez Tharuvana
10 .Kattujeevithathinte spanthanangal By Dr.P G Padmini, Published
By Akam Samithi, Thalassery-2001
11. Narratot: K.K.Annan, Kammana, Wayanad
12. Quoted by D. Chacko from the work ‘ Kurichyarude Lokam’
(Kerala Bhasha Insitute)
13 Dr. Kumaaran Vayaleri: “Kurichyarude Jeevithavum Samskaravum’ p.16,
Current Books
14.K. Panoor: Malakal, Thazhvarakal, Manushyar, p.60, N.B.S. Kottayam
15 Narrator: Madakundu Surendran (36), Madakundi.
Learnt form Theyyankuni Chakkan
16 Narrator: Theyyakuni Karunakaran (39) Learnt from his father
17 Narrator: Theyyakuni Karunakaran (39) Learnt from his father
18 Narrator: Theyyamkuni Chakkan (83) Does not remember from who he learnt this.
19 Narrator: Theyyamkuni Chakkan (83)
20 Narrator: Padacheni Chanthu (75) Does not remember from who he learnt this.
21 P.237,238, Gotra Smrithi Smaranika’ 95 (published by the Kearla Saksharatha
Samithy), Sri Rama Kusa-Lava Natakom:Rajan C.P. Attappadi
22 Prof B. Surendra Rao, Many Ramayanas, Bhashaposhini, 2003, October issue-5.
23 Prof B. Surendra Rao, Many Ramayanas, Bhashaposhini, 2003, October issue-5.
Dr.AzeezTharuvana
Editor
Kerala Bhasha Institute
Cherootty Road
Calicut
Ph.09048657534
Email:azeeztharuvana@gmail.com
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