"The origin of Kalamezhuthu can be traced back to over 4,000 years ago, even before the advent of idolatry."- Satheeshan Nambiar, Kalamezhuthu artist, 2024
Kalamezhuthu is a vibrant ritual art from Kerala where communities draw intricate motifs on treated floors using coloured powders. This sacred art form, performed at temples and sacred groves, serves to purify, bring prosperity, and foster devotion. The term "Kalamezhuthu" blends two words: kalam (the sacred space) and ezhuthu (writing or drawing). Also known as kalampattu or kalamezhuthu pattu, the ritual features motifs representing deities and divine narratives. After the performance, the drawings are erased either through dance by the performers in trance or as a final act of the ritual. Communities such as Vannan, Mannan, and Brahmins perform Kalamezhuthu.
"Kalamezhuthu is performed from Kasargod to Thiruvananthapuram. While regional variations may exist in the drawings, symbols, colours, and in the erasing ceremony, the context remains the same everywhere."- Sreenath Nambiar, Kalamezhuthu artist, 2024
Sacred Spaces
When the Janal team went to Kaliad Irikkur for the documentation of the Kalamezhuthu ritual, the pattupura (ritual space), was being set up with a rectangular stage called pattumandapam or pattarangu, oriented east-west. The kalam's perimeter was defined, and the space was decorated with coir ropes and tender coconut leaves. The ceremony begins with the kalam kurikkal, a purification process involving cow dung and an oil lamp placed at the corners of the space. A sacred motif, the shadkonachakram, is drawn in rice powder, outlining the deity’s figure. The ritual starts with a base layer of black powder, setting the stage for the colourful artwork.
"Kalamezhuthu employs a rich visual language that combines traditional motifs with folk geometry. Each design element is carefully chosen to convey specific messages, reflecting ancient systems of measurement and spiritual beliefs.- Kanni M., researcher, 2024
The Sacred Spectrum
The geometric shapes and patterns are not just decorative but are imbued with symbolic meaning. Traditional colours—white from rice powder, black from burnt paddy husk, green from leaves or henna, yellow from turmeric, and red from turmeric mixed with lime water—are used, symbolising the five natural elements. These geometric patterns do not directly depict deities but instead suggest their presence through symbolism. This approach requires interpretation, inviting participants to engage with the divine on a more abstract level.
Figurative Kalams: A Journey into Vettakkorumakan's Ritual
Figurative kalams bring mythology to life through vibrant colours and ritual precision. One example is the Vettakkorumakan kalam, a revered tradition of the Kallattakuruppu community in North Kerala. This ritual honours Vettakkorumakan, a hunter deity believed to be the son born to Shiva and Parvati during their time as forest dwellers (Kirata Arjuna Episode). In the Vettakkorumakan kalam, the deity is depicted as a robust male figure adorned with a beard and moustache, his body rendered in vivid green. Clutched in his left hand is a bow and arrow, while his right hand brandishes a churika, a small double-edged sword. This iconography underscores Vettakkorumakan’s identity as a hunter and warrior. Satheeshan Nambiar, a Kalamezhuthu artist, describes Vettakkorumakan as a deity who initially troubled people. To resolve this, Lord Vishnu appeared as Urpazhassi (often on the right) with a churika, which Vettakkorumakan coveted. Urpazhassi agreed to give it on the condition that Vettakkorumakan would hold his own bow and arrow, leaving him unable to fight.
"Adjacent to Vettakkorumakan (right side) stands his loyal companion, Urpazhassi, who embodies a bond of unwavering friendship and steadfast loyalty." - Sreelakshmi, MA student, South Asian University Delhi, 2024
Crafting a Face
Crafting a face in Kalamezhuthu is a meticulous and demanding process that requires immense patience and skill. The creation begins with drawing the basic elements of the face, but true artistry emerges in the detailed work that follows. The eyes, for instance, render a three-dimensional effect through careful layering of powders to achieve a lifelike appearance. The intricacy of the iconography reflects years of practice and adherence to traditional formats, demonstrating that such mastery is not something acquired overnight but through dedication and experience. Sreelaksmi, a former research intern at JANAL, explained her experience. She said, "First, they sketch the body, then detailed elements like jewellery and eyes. The artistry is impressive, and it's clear that the artists work with great precision. Even though it might seem like they’re working spontaneously, every move is carefully planned. Since colour powders can't be changed or erased, the talent and skill of the artists are truly remarkable."
"We use glass to apply pressure on the underlying layers on the eyes, ensuring that each layer is applied with precision. This allows us to maintain the intended depth and detail in the artwork." - Sreenath Nambiar, Kalamezhuthu artist, 2024
Non-figurative Kalams
Non-figurative kalams, known for their abstract designs, intricate patterns, and symbolic shapes are referred to as pathmakalam, by communities like the Velar in Ernakulam and the Mannan in Thrissur. These rituals are performed in village temples, household shrines, and sacred groves, bringing together vibrant traditions and mythology. One example is the Bhagavathi kalam, a ritual deeply rooted in local folklore. In Thrissur, the Mannan community performs the Bhagavathi kalam during the celebrated Kodungallur Bharani festival. The pathmakalam is meticulously designed in a square shape measuring 2 kol and 10 viralu (Malayalam words denoting units of measurement for distance). Leaves are braided into shapes of peacocks, cocks, and other natural motifs. A special tool called panthakkol, made from the outer bark of coconut leaves, ensures the precision of straight lines.
"In some places, Bhagavathi kalam may be figurative, while in others it is non-figurative; variations are seen depending on the kaavu, region, and family tradition."- Satheeshan Nambiar, Kalamezhuthu artist, 2024
The Bhagavathi kalam features symbols of the goddess’s attributes and weapons. On the northern side, the sword (val) and anklet (chilambu) are drawn, while the southern side showcases the lotus (pathmam), spear (shool), conch (shanghu), and auspicious disc (chakram). As part of the ritual offerings, food is served to the goddess and her sacred companions (bhoothaganas). The feast includes rice, cucumber, betel leaf, areca nut, coconut, flattened rice (aval), puffed rice, and jaggery, all presented on banana leaves. A new red cloth is placed over the rice, and a valkkannadi (tailed mirror) is offered, symbolising the goddess’s divine presence.
Kalamezhuthu Pattu
The Kalamezhuthu ritual encompasses more than just the drawing of deities; it also involves singing devotional songs that describe the characteristics of the deities being depicted in the Kalamezhuthu. These songs, integral to the ceremony, often detail the attributes and legends associated with the deities, enhancing the spiritual ambiance of the ritual. Additionally, kalampattu, or the accompanying musical performance, may include explanations of the specific rituals to be performed during the creation of the Kalamezhuthu. Traditional instruments such as the nanduni, kuzhithalam, and chenda accompany these songs, providing a rhythmic and devotional backdrop.
"The rhythm of nanduni and kuzhithalam weaves a mesmerising tapestry of sound, creating an atmosphere that is both enchanting and immersive”- Sreelakshmi, Delhi, 2024
From Divine Creation to Ritual Transformation
Kalamezhuthu bridges the physical and metaphysical worlds where traditional motifs representing various deities and divine narratives transform into tangible, sacred floor paintings. However, performers are also given a degree of creative freedom. Hence, each kalam is unique, even as it maintains the core elements of the ritual. The process of creating the kalam becomes a form of devotion and artistic expression, with the performers channeling their reverence into every line and shape.
The Ritual of Erasure
Sreenath Nambiar, explains the erasure process, it begins with eedum kuriyum (dance moves), starting around the kalam and then moving inside it. This external dance, known as kalamprethikshanam, is performed with the accompaniment of chenda. Two songs are typically sung, and a bathing ceremony described in the kalampattu is conducted. After the bath, participants usually sit on a peedam (low stool) and continue the erasure process. This phase, known as kalam azhikkal underscores that the true essence of the ritual is not merely in the visual appeal of the kalam but in the spiritual and symbolic journey it represents. The possessed oracle offers blessings and prasadam (sacred food) to the devotees, offers predictions, and helps them transition back to their normal state in a process called parkkuka. The climax of the ritual involves the kooradiyal ceremony, where a new piece of silk (koora) is gifted by the devotee and draped over the canopy as a sacred dress for the deity.
The Lifecycle
The lifecycle of the kalam from its creation to its erasure embodies the ritual’s spiritual process. The process of drawing the kalam is both an act of creation and a form of ritualistic communication, where the performers’ intentions and prayers are embedded in the artwork. As the kalam is erased, it symbolises the transition from the sacred to the mundane, marking the end of the ritual and the return to everyday life. This cyclical nature emphasises the continuity of the spiritual practice.
