Nair ceremonies and customs

There are numerous ceremonies and customs adopted by the Nair caste, who are prominent in the South Indian state of Kerala.

Ceremonial Art forms

Kalarippayattu
Main article: Kalarippayattu

The 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.[1]

Kathakali

Kathakali is a dance-drama which portrays scenes from Hindu epics or stories.[2] 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[3] and had always traditionally been associated with them.[4] Nair rulers and chiefs had patronized the art and Kathakali had foundations in Nair military training and religious customs.[5]

Velakali

Velakali (വേലകളി) is a ritualistic martial art form performed by Nair men in some temples of southern Kerala.[6] 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 the 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.[7]

Earlier customs and traditions

Marumakkathayam and Tharavadu
Main articles: Tharavadu and Marumakkathayam

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

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 article: 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 comparitively 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), eventhough in many or most cases it lasted throughout lifetime[8][9] 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, [10] 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 castes),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.[11]

References
  1. Ltd, Infokerala Communications Pvt (31 August 2018). Kerala Tradition & Fascinating Destinations 2018. Info Kerala Communications Pvt Ltd. ISBN 978-81-934567-4-3.
  2. Goody, J. (1975). Literacy in Traditional Societies. Cambridge University Press. ISBN 978-0-521-29005-0. Retrieved 7 January 2019
  3. Zarrilli, P. (1984). The Kathakali Complex: Actor, Performance & Structure. Abhinav Publications. ISBN 978-81-7017-187-4. Retrieved 7 January 2019
  4. Ashley, Wayne (1979). "The Teyyam Kettu of Northern Kerala". The Drama Review: TDR. JSTOR. 23 (2): 99–112. doi:10.2307/1145219. ISSN 0012-5962. JSTOR 1145219
  5. 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. JSTOR. 18 (2): 1. doi:10.2307/833942. ISSN 0044-9202. JSTOR 833942
  6. Gupta, Shobhna (2002). Dances Of India. New Delhi: Har Anand Publications. p. 62. ISBN 9788124108666.
  7. Nagarajan, Saraswathy (27 December 2012). "In step with the times". The Hindu. Retrieved 22 December 2019.
  8. Karl, R. (2003) Women in Practice: A Comparative Analysis of Gender and Sexuality in India. 2003 Marleigh Grayer Ryan Student Prize Archived 25 February 2004 at the Wayback Machine; Moore, M. (1998) Symbol and Meaning in Nayar Marriage Ritual, American Ethnologist 15:254-73
  9. 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)
  10. KAthleen Gough. Haralambos-Families Household: Published by bob jiggings ;
  11. Dirks, Nicholas. Homo Hierarchies: Origins of an Idea. Castes of Mind. Princeton: Princeton University Press 2001.
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