During the Every village Koai Thiruvizha festival for Folk Amman Diety such as Mutharamman, Muthumalai amman, Mari amman, every hard working agri and mercantile connected community group take pride to glorify the village goddess goes around the town in the morning to different places, invite the goddess to accepts special ‘mandagapadi’ in the entire evening and reach the temple at night for special pujas. Notable among the followers of Saktha Worship the local Nadar community leaders of a various forms of Shakta (Sakta) group. Shakta, an antinomian variety of Hinduism, also known as Tantra, was very popular in eighteenth-century south India , where it was spread by wandering healers, musicians, and poets known as Siddhas. In Shakta forms of worship, the primary object of devotion is Shakti, the power of the divine feminine thatis thought to pervade and animate the universe, driving its original quiescenceinto the dynamic multiplicity of forms that now characterizes creation. One of the central features of Shakta ritual practice is the deliberate consumption of substances or participation in activities that are considered polluting or taboo according to the purity beliefs of orthodox Brahmanical Hinduism. In south India , low-community men and women were recruited into groups dedicated to Shakti worship, in part because their very impurity in the eyes of orthodox Hinduism made them attractive and powerful according to the logic of Tantra. Members of low-caste groups, in turn, were drawn by the anti establishment rhetoric of the Siddhas, who criticized conventional forms of religion that ex-plicitly denigrated and excluded low castes. Like the Shaktas, Western Pagans also regard life and death as complementary and inseparable arcs in the circle of existence. They acknowledge a triple goddess, characterized as maiden, mother and crone, who reflects the cyclical nature of the world: that everything has a beginning, a middle, an end, and a new beginning. Similarly, for the Shakta Hindu, Kali is a powerful and complex . goddess with multiple forms. In one of the Saktha worship practices, Kalis followers regard her as the eternal reality in its dynamic mode -- the creative, sustaining and destructive energy in and through all things. Philosophically speaking, she has no beginning. As for when her specific forms first entered human consciousness and human history, we simply do not know. It is entirely possible that Tantra is the surviving Goddess religion of the ancient Indus Valley civilization, with a later admixture of folk culture and local shamanism or oracle system. Reemergence of Saktha Worship (PathiraKaliamman Sakthi Worship) Pathirakaaliamman worship is Part of Nadar Community life in the Tamil country and thisSakthi worship in the form Kaali Sakthi has been an integral part of Nadar community for time immemorial. Thiruchendur & surroundings, the souther area dear to Pandya Kings is the place where Five Major variants of Kaali Sakthi Form is said to be prevalent for several millennium. Some of the major variants include Veera Kaali or Veerya Kaali (typically of Kshatriya clan), Karungali Amman or Uchimahali amman , Rudra Kaali etc. Sivakasi Nadar community has promoted the most magnificient temple for Kaali amman . If one finds meaning of Kaali Sakthi worship with Vedic connection, there will be endless stories with Vedic mystic powers. The Vedic connection for the Bhagawati worship and other Sakthi worship has its beginning from the Parasuramas correlation to converting a part of Tamil country to Parasurama Ksethra (present Kerala, kumari district and part of konkan belt). With this sankritisation, Tamil country lost a major portion to other languages. Bhagawati worship and Sastha worship being practiced in fertile lands and jungle areas got fully sanksrtised. So there is a need to filter out the Vedic elements in Sakthi worship to understand that it is the way of life based on Nature, especially a communitys collective effort on respecting the local land or converting the divine blessings, divine intervention through Arulvakku etc for the protection of the community and locality perpetually. Because of Kaali Sakthi worship is so deeply associated with Nadar community, this was put forth as an argument to counter the legal moves of the community for gaining respectful entry to Vedic temples. The major factor is that the name Pathiram can be believed to be a Tamil word for safeguarding, still people tend to associate with some sanskrit meaning. Every settled place, land was considered divine as they provide all facilities and comforts for the human settlement and Kaali Sakthi as UchiMaakaali form worship for the Mother Earth Goddess is being considered as the Chief Folk Deity. The Central Folk deity have slight variations depending on the type of geographical, climatic and fertility of region. For instance in dry belt areas Central Folk deities are predominantly Mariamman, and in land around Thiruchendur , they are generally Mutharamman, in highly fertile type of lands in Kumari villages, it is Bhagavathi Amman ( eg. Arumana near Kuzhitturai, Mandakkadu etc.). Possession by Folk deities is a part of regular periodic worship: this is called central possession. Village festivals are filled with symbolism.India has always been a land of villages and in the context of village life the most important and powerful divine presence is the gramadevata, a deity identified with the village. A village may have several gramadevatas, each with its own function. Village deities are more numerous than Indian Poochoridhal Oor thiruvizha for Gramadevathai There is a legend that is associated with this festival. The legend behind this festival is, once Goddess Parvathy reincarnated as Goddess Durga to kill the Mahishasuran (an evil). After destroying the Asura she arrived in the jungle to calm her anger. She took the name of Kowmari, took a reddish hue, wrapped herself in a yellow cloth, and covered herself with flowers, undertook a fast and conducted penance in order to regain her original form. As a result she became very kind and benevolent and is worshipped as Goddess Mariamman at selected places. Mariamman is an ancient goddess, whose worship probably originated in the tribal religion of Dravidian India before the arrival of the Aryans and the brahman religion. Local goddesses such as Mariamman who protect villages and their lands and represent the different castes of their worshippers have always been an important part of the religious landscape of South India. However, we can note periods of special significance. The eclecticism of the Vijayanagar period (1336-1565) encouraged folk religion, which became more important and influenced the more literate forms of religion. In the last century and a half there has been a rebirth of Tamil self-consciousness In the middle of the present century deities such as Mariamman have become linked to the great tradition as the strata of society which worship the goddess has become integrated into the larger social order. There is no image and the goddess is represented by a brass pot of water decorated with neem leaves. The neem tree is sacred to Mariamman. In poor villages an earthenware pot is used. During the ceremonies of the goddess there is a symbolic marriage. Although the goddess is sometimes said to have a consort, she is really married to the village, so the goddess and village can nourish each other. The village belongs to the goddess and she is represented only by a head on the soil, indicating her body is the village and she is rooted in the soil of the village. The villagers live inside or upon the body of the goddess. The goddess protects the village and is the guardian of the village boundaries. Mari can mean sakti, and is the mother-power of the village. On the day of Poochoridhal people bring flowers in procession from all the nearby villages in tens of kilo meters away. The festival of poochoridhal for gramadevata- showering of flowers to village mother goddess - takes place in March or April in each village ot tamilnadudof every year to village amman dieties and thousands of people throng local goddess to offer tons and tons of varieties of flowers for the festival. Poochoridhal is celebrated for Shaktha worship temples in the month of Masi , Panguni chithirai when tons of flowers are showered on the goddess all over a day. The festival of this temple Poochorithal (inundating with flowers) in the month of Maasi (February - March). Jasmine Mallige, Jathimalli Jasmine-Mullai, kanakamabara (crossandra) and kakada (a jasmine variety, Marigold, Hybrid rose, Tuber Rose , Patturose, Cockscomb, Nerium,chrysanthemum, malli, marikolundu and carnations are generally traditional flowers of south india. As the Mother Goddess is more important for a village, specific local varieties of flowers are offered to Amman Deity in tons and tons for Poochoridhal function Annual Agni Thiruvizha in the month of Panguni and Oor Kodai Vizha or Oor Pongal Thiruvizha festivals during Chithirai & Vaigasi are grandly celebrated in various towns and viallges of south tamilnadu. The chief festival among being Sivakasi for the Goddess Sri Mariamman and Sri Pathirakaliamman respectively our elders has created a myth in Agni Chatti procession in the annual Agni Thiruvizha being celebrated today at Chinna Seniamman Kovil, Singarathottam, Royapuram, Chennai and transformed this event from the native world to the metropoliton world. In sivakasi, The Mariamman temple in the town was constructed in 1923. Sri Mariamman Goddess temple. Kumbabhishekam was held on 21-1-1983. Kumbabhishekam for the Gopuram of this temple was held on 6-2-1984. There is a beautiful Silver Ratham in the temple. Kumbabhishekam for PathiraKaliamman temple was held on 11-06-1987. Kumbabhishekam for the Raja Gopuram (Main Tower) was held on 7-7-1995. Raja Gopuram has the length of 66 feets, width of 44 feets and the height of 110 feets of 7 stages. The base was constructed by stone, for 30 feets with 100 sculptures in 6 years. 80 feets of 7 stages was constructed with 30 architects within a period of 1½ year. There is a very beautiful Nandavanam (garden with peacock /peahen)meant only for men is located in this temple, and it impresses the visitors to a greater extent. Oor Pongal Thiruvizha festival is celebrated for 10 days from the day of Kodiyettram. On the 7th day the Ratha Urchavam (Therottam) is held. The people through four Ratha Veethies drag the Ratham and when it reaches the destination it is celebrated as the last day of Pongal celebrations. In Chithirai Pongal festival, the 5th and 6th days are celebrated very grandly. Panguni Agni Thiruvizha Mandagapadis Every year Panguni Thiruvizha town festival at Aruppukottai is celebrated at Mariamman Temple.It features month long exhibition, people carrying Agni Chatti (fire pots) walking on fire (பூக்குழி) and many. Some people use to carry 21, 51 or 101 fire pots. During this period many migrated families to other towns and cities too return to native town to participate in the mass celebration. People also take out fire pot procession, ‘mulaipaari’ and ‘karagam’ processions Exhibition During the Panguni Agni Thiruvizha, exhibition will be conducted in Aruppukottai Saiva Banu.Kshatriya Higher Secondary Schools playing ground which acts as a meeting ground for various relatives and friend to share their social aspects and participate and witness local Tamil Nadus good cultural programmes. The exhibition serve to bring better bond among the various social groups of Aruppukottai town. This is being organized by Aruppukottai Nadar Uravinmurai Trust. Devotional function of the entire city peoples and they gave every day Mandagapadi To Temple from each successful community group. This is making entire town peoples unity. During that festival the areas around the temple is like heaven. All the family members get together and attend the festival. It is one of the biggest function in Aruppukottai. PARIVATTAM DURING ANNUAL AGNI PUJA AT VIRUDHUNAGAR Annual Agni Puja and Social Upward Mobility - Parivattam Status: As per the claim of the community member with devotion Everything is possible if one has faith. It is faith that gives one the strength. The elements of communalism and of communal conflict between socially suppressed communities and upward communities are dispersed in many contexts where struggles of the suppressed communities over state authority set groups seeking new rights against those fighting for established privilege of the upward community. The cultural dimensions of such conflicts are religious, political, and economic, all at once. Parivattam” Princely Royal Honour to economoically successful persons who contribute to the society in terms of philanthropy, time devotion and social services for the welfare of the humanity in garpagraham of Chief Amman Folk Dieties of the community during Annual Agni Thiruvizhas. People wonder whether Is it a miracle, an illusion, blessings of goddess Marriaman or the precise scientific know-how of human body that despite piercing iron rods and tridents through their cheeks, tongues, pulling cars with irons hooks pierced on their backs, the devotees of Goddess dont shed a single drop of blood or show expression of pain on their faces. Before the ceremony, devotees undergo through Kappu kattudhal or kayiru kattudhal and a fast for previous three days to twenty one days duration depending on individual’s wishes and spend most of their time worshipping the deity The devotees are also required not to eat anything three days before the puja, perform havanas (fire ceremony), remain celibate, abstain non-vegetarian food and sleep on the floor. Group of relatives, friends and other devotees support the main devotee carrying out the thanksgiving ceremony by chanting tamil PHRASES/hymns in praise of Deity, by participating in the procession on public places and road to please the Folk Goddess for her divine blessings. Some also dance to the beat of Folk Music instruments and drums. Surprisingly the devotees do not use any antiseptic but smeare some holy ash (Vibuthi) & Sandal paste (Chandan) on the parts to be pierced. The Neem leaves are used widely to reduce the intensity of heat during different types of Agni Puja. TRADITIONAL Folk Ways of Thanks Giving TO goddess: (Note: This is only a compilation of Data. The method of thanks giving can vary from place to place depending upon practices, local rules and Governmental restrictions) . BODY PIERCING AND CAR PULLING: CAR PULLING: Few devotees pull a car tethered to hooks which have been pierced into their backs, but genrally their faces are devoid of any expression of pain during the pulling. BODY PIERCING: Impassioned devotees with knifes, tridents and rods pierced through their cheeks for granting their wishes. Not a single drop of blood emerges from the wounds caused by the tridents, rods and hooks. GIVING UP OF ONEs EGO/ COMPLETE IDENTITY SURRENDER: : The devotees go around the roads chanting hymns in completely different attire where no one can identify them. This practices to give up ones ego which becomes a handicap in owns retraining positive family relations and growth due to too much of pride in oneself SURRENDERED IDENTITY: The devotees go around the roads in procession chanting hymns in simple attire with their body smeared with ash to express that they have surrendered everthing to Folk Deity. Children perform trick or treat with dressing of Neem leaves attire. While the above are predominantly taken up by menfolk, the women folk take up activities related to cooling the Deity by deluging pots and pots of water, Pachcharisi Maa Vialkku and padaial of Pongal, Kanji, Kool, Paal Kuda Oorvalam. Mavilakku ( lamp made of rice flour ) is placed on a banana leave. Many women who put this lamp on their bodies ( mostly in the stomach region ) can be watched. This ritual is executed to attain cure of an illness by the help of the Goddess. It is carried out in front of the sanctum sanctorum ( garbha griham, tamil version of the word garbha griha ) of the particular temple. Ponkal-cooking ( rice meal ) takes place in front of the temple. After the fire is lighted, women place a pot on a hand-made “stone-stove” (sometimes ready-made terracotta-stoves) and start to cook their Ponkal. When it is ready, it is offered to the Goddess and afterwards like Mavilakku distributed to other devotees (Ponkal pataiyal –Ponkal distribution, the Ponkal is mostly sweet Ponkal). Amman Arul (grace of Goddess) descends to some women. They get possessed by the Goddess. In the movie, they are shown wea ring dresses made of neem leaves. The women who accompany them have similar functions as the attendants concerning the Angapradakisnam ritual. Mulaipari–processions are also shown. Mulaipari is a very important ritual which takes place at almost every village Goddess celebration. In its most original form, it is an exclusively women’s ritual and is of great importance for the whole village. The participants of the processions carry earthen pots with grown grains (nine different types of grains) inside on their heads and walk towards a river where the content is dissolved. In the movie, one can only watch the procession. It is accompanied by Amma n. In reality, the ritual is more elaborate. Before the procession starts, a special song and dance ( Kummi Pattu, Kummi ) are performed. The original meaning of the ritual performance is a request to the village Goddess for rain in order to secure a rich harvest. Akkini-catti or tii-catti (fire mud pot): Neem twigs are given into a mud pot and lighted afterwards. In festivals, people carrying Akkini-catti form often huge processions. The film slightly changes the original way of performing this ritual. Mostly, a group of women in red/yellow saris perform a dance while carrying Akkini-catti. Amman is among the women and acts as lead dancer. CARRYING FIRE POTS & WALKING OVER FIRE: FIRE WALK: .With Religious fervor at its peak , several devotees walk barefoot over smouldering coal. FIRE POTS (AGNI CHATTI): The devotees go on procession with fire pots in their hand or head and surrender the agni pots to Goddess as a sort of fulfilment of their wishes. Karakattam (a special kind of dance) is also peformed by Amma n as lead dancer and a group of other women. A shakti karakam5 is placed on the head of the dancers. The sound of different types of South Indian music instruments accompanies the dance. The Akkini-catti- and Karakattam dance scenes appear in some movies. Amma n sings specific songs describing herself and her presence, e.g. “Goddess with snake hood” ( Mariyamma n´s iconographical representation) or “the Goddess is in the house”, which means the Goddess, her spiritual energy, is in the temple.6 It is clearly indicated that Amma n is present at Her festival. As accompanying sound of many rituals, one can often listen to Kulavai ( a chorus sound through mouth, arisen by women).
Posted on: Fri, 25 Oct 2013 13:29:15 +0000
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