Ajay Kumar: Included a reliable source for verification.

2023-07-23T15:03:30Z

Included a reliable source for verification.

UpdateBot: robot: Update article (please report if you notice any mistake or error in this edit)

2021-12-12T19:21:13Z

robot: Update article (please report if you notice any mistake or error in this edit)

← Older revision		Revision as of 00:51, 13 December 2021
Line 13:		Line 13:

	===Velakali===		===Velakali===
	[[Velakali]] is a ritualistic martial art form performed by Nair men in some temples of southern Kerala.<ref>{{cite book\|last=Gupta\|first=Shobhna\|title=Dances Of India\|year=2002\|publisher=Har Anand Publications\|location=New Delhi\|page=62\|url=https://books.google.com/books?id=7KeAES9dsUcC&q=velakali&pg=PA62\|isbn=9788124108666}}</ref>The art form depicts the fight sequence between the Pandavas and Kauravas.<ref>{{cite book\|last=Gupta\|first=Shobhna\|url=https://books.google.com/books?id=7KeAES9dsUcC~~&pg=PA62~~&dq~~=velakali#v=onepage&q~~=velakali&f=~~false~~\|title=Dances Of India\|publisher=Har Anand Publications\|year=2002\|isbn=9788124108666\|location=New Delhi\|page=62}}</ref> It originated in Ambalappuzha where Mathoor Panicker, chief of the Chempakasserri army, to boost the martial spirit of the people. Dancers wear colourful and attractive costumes similar to that of the Nair soldiers of the olden days. The dancers carry a painted shield in their left hand and a stick (Churikakkol) in their right hand and the performance resembles the actions in a battle. Percussion instruments like Thakil, Shudhamaddalam, Ilathalam, Kombu, and Kuzhal are used.<ref name="thehindu">{{cite news\|title=In step with the times\|url=https://www.thehindu.com/features/friday-review/dance/in-step-with-the-times/article4245266.ece\|accessdate=22 December 2019\|first=Saraswathy\|last=Nagarajan\|newspaper=The Hindu\|date=27 December 2012}}</ref>		[[Velakali]] is a ritualistic martial art form performed by Nair men in some temples of southern Kerala.<ref>{{cite book\|last=Gupta\|first=Shobhna\|title=Dances Of India\|year=2002\|publisher=Har Anand Publications\|location=New Delhi\|page=62\|url=https://books.google.com/books?id=7KeAES9dsUcC&q=velakali&pg=PA62\|isbn=9788124108666}}</ref>The art form depicts the fight sequence between the Pandavas and Kauravas.<ref>{{cite book\|last=Gupta\|first=Shobhna\|url=https://books.google.com/books?id=7KeAES9dsUcC&dq=velakali&pg=PA62\|title=Dances Of India\|publisher=Har Anand Publications\|year=2002\|isbn=9788124108666\|location=New Delhi\|page=62}}</ref> It originated in Ambalappuzha where Mathoor Panicker, chief of the Chempakasserri army, to boost the martial spirit of the people. Dancers wear colourful and attractive costumes similar to that of the Nair soldiers of the olden days. The dancers carry a painted shield in their left hand and a stick (Churikakkol) in their right hand and the performance resembles the actions in a battle. Percussion instruments like Thakil, Shudhamaddalam, Ilathalam, Kombu, and Kuzhal are used.<ref name="thehindu">{{cite news\|title=In step with the times\|url=https://www.thehindu.com/features/friday-review/dance/in-step-with-the-times/article4245266.ece\|accessdate=22 December 2019\|first=Saraswathy\|last=Nagarajan\|newspaper=The Hindu\|date=27 December 2012}}</ref>

	==Earlier customs and traditions==		==Earlier customs and traditions==

->Jellysandwich0 at 17:08, 2 September 2021

2021-09-02T17:08:25Z

New page

{{Use dmy dates|date=December 2019}}
{{Use Indian English|date=December 2019}}
There are numerous ceremonies and customs adopted by the [[Nair]] [[Caste system in India|caste]], who are prominent in the South Indian state of [[Kerala]].

==Ceremonial Art forms==

===Kalarippayattu===
{{main|Kalarippayattu}}
The [[Kalaripayattu|Kalarippayattu]] training was undergone by every youth of Nair community. However it was not the sole prerogative of only the Nairs, for there were some Muslims, Christians, Ezhavas, and even Brahmins who practiced and mastered the techniques of Kalarippayattu.<ref>{{Cite book|last=Ltd|first=Infokerala Communications Pvt|url=https://books.google.com/books?id=fCWmDwAAQBAJ&q=The+Kalarippayattu+training+was+undergone+by+every+youth+of+Nair+community&pg=PA412|title=Kerala Tradition & Fascinating Destinations 2018|date=2018-08-31|publisher=Info Kerala Communications Pvt Ltd|isbn=978-81-934567-4-3|language=en}}</ref>

===Kathakali===
[[Kathakali]] is a dance-drama which portrays scenes from Hindu epics or stories.<ref>Goody, J. (1975). [https://books.google.co.in/books?id=B9SUyI-3tRwC&pg=PA132&redir_esc=y#v=onepage&q&f=false Literacy in Traditional Societies]. Cambridge University Press. {{ISBN|978-0-521-29005-0}}. Retrieved 7 January 2019</ref> It is a classical dance form of Kerala, demanding long years of training. Believed to have evolved from ''[[Ramanattam]]'', another classical art form composed by Kottarakkara Thampuran, Kathakali incorporates the techniques of some of the major ritual art forms of Kerala. The dance drama was historically performed exclusively by Nairs<ref>Zarrilli, P. (1984). The Kathakali Complex: Actor, Performance & Structure. Abhinav Publications. {{ISBN|978-81-7017-187-4}}. Retrieved 7 January 2019</ref> and had always traditionally been associated with them.<ref>Ashley, Wayne (1979). "The Teyyam Kettu of Northern Kerala". The Drama Review: TDR. 23 (2): 99–112. {{jstor|1145219}} {{issn|0012-5962}}.</ref> Nair rulers and chiefs had patronized the art and Kathakali had foundations in Nair military training and religious customs.<ref>Wade, Bonnie C.; Jones, Betty True; Zile, Judy Van; Higgins, Jon B.; Qureshi, Regula Burckhardt; Owens, Naomi; Flora, Reis (1987). "Performing Arts in India: Essays on Music, Dance, and Drama". Asian Music. 18 (2): 1.{{jstor|833942}} {{issn|0044-9202}}.</ref>

===Velakali===
[[Velakali]] is a ritualistic martial art form performed by Nair men in some temples of southern Kerala.<ref>{{cite book|last=Gupta|first=Shobhna|title=Dances Of India|year=2002|publisher=Har Anand Publications|location=New Delhi|page=62|url=https://books.google.com/books?id=7KeAES9dsUcC&q=velakali&pg=PA62|isbn=9788124108666}}</ref>The art form depicts the fight sequence between the Pandavas and Kauravas.<ref>{{cite book|last=Gupta|first=Shobhna|url=https://books.google.com/books?id=7KeAES9dsUcC&pg=PA62&dq=velakali#v=onepage&q=velakali&f=false|title=Dances Of India|publisher=Har Anand Publications|year=2002|isbn=9788124108666|location=New Delhi|page=62}}</ref> It originated in Ambalappuzha where Mathoor Panicker, chief of the Chempakasserri army, to boost the martial spirit of the people. Dancers wear colourful and attractive costumes similar to that of the Nair soldiers of the olden days. The dancers carry a painted shield in their left hand and a stick (Churikakkol) in their right hand and the performance resembles the actions in a battle. Percussion instruments like Thakil, Shudhamaddalam, Ilathalam, Kombu, and Kuzhal are used.<ref name="thehindu">{{cite news|title=In step with the times|url=https://www.thehindu.com/features/friday-review/dance/in-step-with-the-times/article4245266.ece|accessdate=22 December 2019|first=Saraswathy|last=Nagarajan|newspaper=The Hindu|date=27 December 2012}}</ref>

==Earlier customs and traditions==

===Marumakkathayam and Tharavadu===
{{main|Tharavadu|Marumakkathayam}}
Marumakkathayam is matriliny. Tharavad is subclan-household, which was matrilineal for Nairs. Tharavad was headed by eldest male member of the family (known as Karanavan) while other male members were known as Anandravan.

=== Sambandham (an earlier form of marriage) and related customs ===
In the past (before 1937 in Cochin, before 1928 in Travancore and before 1933 in Malabar) Nairs had three major marriage/rite of passage ceremonies. Kettu Kalyanam (mock marriage ceremony/ auspicious ceremony), Thirandu Kalyanam (menstrual ceremony) and Gunadosha-Sambandham/Pudamuri/Pudavakoda (cloth-giving ceremony, actual union).

====Kettu Kalyanam (mock marriage ceremony)====
Elaborate auspicious ceremony that resembles real marriage of patrilineal castes. Tali-tying rite. Regarded as relic of a past (before ~1200) when Nairs too were patrilineal.
{{main|Kettu Kalyanam}}

====Sambandham/Podamuri/Pudava Koda/Mundukoda (lit.cloth-giving. Marriage alliance, where divorce is permitted, unlike in Vedic Vivaha)====

The ''Sambandham'' ritual was less religious than the ''thaali'' and puberty rites, and literally means "alliance" or "relationship". It was a form of marriage alliance between men and women following ''[[marumakkathayam]]''. The ritual was comparatively simple. It involves the groom, of same or higher subcaste/caste of bride, whose horoscope has been checked and matched with that of the bride, giving a piece of cloth (Pudava) to the bride in front of a lit lamp (symbolizing Agni) and eight auspicious objects (Ashtamangalyam), with witness of bride's kin and groom's friends/kin. Sambandham was not necessarily a permanent arrangement (unlike Vedic Vivaha of Brahmins, and many other castes, where concept of divorce did not exist), even though in many or most cases it was life-long.<ref name = "Karl_Moore">Karl, R. (2003) Women in Practice: A Comparative Analysis of Gender and Sexuality in India. 2003 Marleigh Grayer Ryan Student Prize [http://www.newpaltz.edu/asianstudies/nycas/2003%20UG%20Ryan%20Prize%20Renee%20Karl.doc] {{Webarchive|url=https://web.archive.org/web/20040225072915/http://www.newpaltz.edu/asianstudies/nycas/2003%20UG%20Ryan%20Prize%20Renee%20Karl.doc |date=25 February 2004 }}; Moore, M. (1998) Symbol and Meaning in Nayar Marriage Ritual, American Ethnologist 15:254-73</ref><ref name = "RMMC_NAI">Report of the Malabar Marriage Commission (henceforth RMMC) I (Madras: Lawrence Asylum Press, 1891), p. 98. Appendix A, Home Judicial Proceedings (May 1896), no. 245±55, Part B. National Archives of India (henceforth NAI)</ref> However it was this innate weakness, ie, divorce being permitted, of ''sambandham'' that helped maintaining the integrity of the matrilineal ''tharavadu''.

''Sambandham'' can denote hypergamy between Nair women and Namboothiri men as well. Among the Namboodiris only the eldest son was permitted to marry (Veli, or Vedic Vivaha) within own caste (primogeniture) to maintain the integrity of ancestral property. The remaining younger sons contracted Sambandhams with [[Kshatriya]] or [[Samantan]] princesses, [[Ambalavasi]] or Nair ladies. Since the offspring of these alliances were, as per Marumakkathayam, legally members of their mothers castes and families, the Namboodiri father would not be legally obliged to provide for them, but in most cases would give a part of self acquired property. This was known as Putravakasham (son's right) or Acchankoduthathu (father's gift). For the matrilineal castes in turn Sambandhams with Brahmins were a matter of prestige and social status. Thus Sambandham was in both ways a gain to the castes involved. Namboodiri-Kshatriya and Namboodiri-Nair Sambandhams may also be considered morganatic marriages for while the husband was of higher social status and the mother of relatively lower status, the children were still considered legitimate although they did not inherit the titles or wealth of their fathers. However, [[Marxist]] and [[feminist]] anthropologist, [[Kathleen Gough]] argues that there is little evidence that [[polyandry]] was rarely practiced in few areas, before 1800,<ref name = "Kathleen Gough">KAthleen Gough. Haralambos-Families Household: Published by bob jiggings [https://www.scribd.com/doc/45110751/3/Kathleen-Gough-%E2%80%93-the-Nayar];</ref> while famous Kerala historian and anthropologist [[K. M. Panikkar]] has stated that "Nairs have no tradition of polyandry" in his 1918 paper about Nairs published by Royal anthropological institute.

In case of ''sambandham'' with Namboothiri men, the system benefited both the Namboothiri Brahmins as well as matrilineal castes like the Nairs for two reasons. First, Namboothiri Brahmins had institutionalized primogeniture, permitting only the eldest son to marry within the caste. Younger sons (also called ''aphans'') in Namboothiri families were expected to establish ''[[sambandham]]'' with Nair, ''[[Ambalavasi]]'' (temple service caste), royal [[Samantan]] or [[Kshatriya]] women. This allowed Nambudiri Brahmins to have more influence through close blood-relations with the ruling elite and martial castes. Secondly, Nair families encouraged the ''sambandham'' arrangement with Namboothiri men, who were not involved in warfare and provided stable alliances, and also increasing their ''tharavadu'' and caste status.<ref name = "Dirks">Dirks, Nicholas. Homo Hierarchies: Origins of an Idea. Castes of Mind. Princeton: Princeton University Press 2001.</ref>

==References==
{{reflist}}

[[Category:Culture of Kerala]]

Nair ceremonies and customs - Revision history

Ajay Kumar: Included a reliable source for verification.

UpdateBot: robot: Update article (please report if you notice any mistake or error in this edit)

->Jellysandwich0 at 17:08, 2 September 2021