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India - Kerala - Kasaragod

History
Lying on the north western coast of the State, Kasargod was famous from time immemorial. Many Arab travellers, who came to Kerala between 9th and 14th centuries A.D., visited Kasargod as it was then an important trade centre. They called this area Harkwillia.

Mr.Barbose, the Portuguese traveller,who visited Kumbla near Kasargod in 1514, had recorded that rice was exported to Male Island whence coir was imported. Dr.Fracis Buccanan, who was the family doctor of Lord Wellesly, visited Kasargod in 1800. In his travelogue, he has included information on the political and communal set-up in places like Athiparamba, Kavvai, Nileshwar, Bekkal, Chandragiri and Manjeshwar.
Kasargod was part of the Kumbala Kingdom in which there were 64 Tulu and Malayalam villages.

When Vijayanagar empire attacked Kasargod, it was ruled by the Kolathiri kingwho had Nileswar as his headquarters. It is said that the characters appearing in Theyyam, the ritualistic folk dance of northern Kerala, represent those who had helped king Kolathiri fight against the attack of the Vijayanagar empire.

During the decline of that empire in the 14 century, the administration of this area was vested with the Ikkeri Naikans. They continued to be the rulers till the fall of the Vijayanagar empire in 16th century. Then Vengappa Naik declared independence to Ikkeri.
In 1645 Sivappa Naik took the reins and transferred the capital to Bednoor.Thus they came to be known as Bendoor Naiks. Chandragiri fort and Bekkal fort are considered to be part of a chain of forts constructed by Sivappa Naik for the defense of the kingdom.
In 1763 Hyder Ali of Mysore conquered Bednoor and his intention was to capture entire Kerala. But when his attempt to conquer Thalassery Fort was failed,Hyder Ali returned to Mysore and died there in 1782. His son, Tippu Sulthan, continued the attack and conquered Malabar. As per the Sreerangapattanam treaty of 1792, Tippu surrendered Malabar except Tulunadu (Canara) to the British.

The British got Canara only after the death of Tippu Sulthan in 1799. Kasargod was part of Bekal taluk in the South Canara district of Bombay presidency. Kasargod taluk came into being when Bekal taluk was included in the Madras presidency on April 16, 1882. Though Vengayil Kunhiraman Nayanar moved a resolution in 1913 on the floor of Madras Governor's Council demanding the merger of Kasargod taluk with the Malabar district, it had to be withdrawn because of the stiff opposition of the members from Karnataka. In 1927,a political convention held at Kozhikode, passed a resolution stressing the above demand.

In the same year, an organisation titled Malayalee Seva Sangham was constituted. Thanks to the efforts made by many eminent persons like K.P.Keshva Menon, Kasargod became part of Kerala following the reorganisation of states and formation of Kerala in November 1,1956.

Kasargod played a prominent role in the National Movement for the freedom of the country. Mohammed Sherul Sahib and Kandige Krishna Bhat were the frontline leaders of the independence movement. Umesh Rao, K.M.Krishnan Nambiar, Shreesankarji, Naranthatta Raman Nair, A.C.Kannan Nair, T.Gopalan Nair, and Meloth Narayanan Nambair were prominent freedom fighters.

The agrarian struggles to end the exploitation and oppression by landlordsand chieftains were part of the National Movement. The Kadakom Sathyagraha various struggles unleashed for the uplift of the scheduled castes and tribes also supported and enlivened in National Movement.

Kasargod offers a variety of patterns of arts which speaks volumes about the rich cultural heritage of regions. The spectacular pageant of Theyyam deities impassinated - raises Kasargod into a land of fabulous fantasies. The symphonic melody created by Yakshgana, Kambala (buffallo race), Cock fight etc. of the Thulanad culture, thrilling along with poorakkali, Kolkali, Duff Mutt, Oppana etc. enchants the visitors.

Kasargod is a land of different languages. The languages without script are also used here. Tulu, Kannada, Malayalam, Konkani, Tamil and other local languages are the popular.

The Hindus, Muslims,and the Christians, live side by side, each influencing and getting influenced by the culture of the other. Communal harmony and religious tolerance are the noteworthy characteristics of the people.

Though the people speak different languages there is no barrier on the cultural unity. Mosques, Temples and Churches stand side by side as symbols of communal cohesion.
The major religious groups are the Hindus, Muslims and Christians.

Theyyam or Theyyatom is one of the most outstanding and popular ritual art of northern Kerala particularly now found in the traditional Kolathunadu of the present Kannur and Kasargod District. As a living cult with centuries old traditions, rituals and customs, it embraces almost all castes and classes of Hindu religion. The term theyyam is a corrupt form of Dhaivam or God. It is a rare combination of dance and music and reflects important features of a tribal culture.
The indigenous Theyyam cult under the influence of the great classical Indian tradition incorporated new ideals and legends. However its form and content did not change very much. The popular folk religion based on Theyyam was influenced by the Brahmanical settlements in Kolathunadu like Payyannur and Taliparamba. According to Keralolpathi, a famous historical book, Parasu Rama sanctioned the festival like Kaliyattam to the people of Kerala. Kaliyattam means Theyyattam or Daivattam, which lasts for 3 to 11 days. He assigned the responsibility of Theyyam dance to the indigenous communities like Panan, Velan, Vannan and Malayan. Velan one of the Theyyam dancers are referred to in the sangam literature. According to sangam traditions, he was employed by the mothers of love born girls to exercise the malignant spirits from their daughters. All rituals described in the sangam works and their commentaries are being observed by Velan and other dancing communities.

Ezhimalai, described in the sangam literature, ruled by Udayan Venmon Nannan , is situated in Kolathunadu near Payyannur. Therefore the Tamil sangam culture with variations still continue in this region. The dance of Velan community had taken new forms and developed in to the present day cult of Theyyam over a period of 1500 years. This uninterrupted continuity of sangam traditions makes theyyam a prominent religious system of north Kerala. As a religious and social institution, it has significant place in the cultural history of the region. Under the impact of Aryans the cult of Theyyam had changed substantially incorporating new trends and sub cults along with its tribal character. In short it can be stated that all prominent characteristics of primitive tribal religious worship had widened the stream of Theyyam cult and made it a deep-rooted folk religion of the million. For instance, the cult of mother goddess had an important place in Theyyam. Besides the practice like spirit-worship, hero worship, masathi worship, tree worship, ancestor worship, animal worship, serpent-worship, worship of the goddesses of disease and gramadevatha worship are included in the main stream of Theyyam cult. Under the influence of Aryan myths and legends, a large number of brahmanical gods and goddesses had infiltrated a separate cuts into Theyyam. Along with these gods and goddesses there exists innumerable folk gods and goddesses and most of these goddesses are known as Bhagavathis as a matter of sanskritisation.

Different branches of Brahmanical religion such as Saktism, Vaishnavisam, and Saivism, now dominate the cult of Theyyam. However the forms of propitiation and other rituals are continuation of a historical part. Blood offering is forbidden in several cult centres under the influence of Buddhism,Jainism and Brahmanism. In such centres, separate places outside the outer wall of the shrines are selected for blood offering, preparing traditional (kalam)Kendra as Vadakkemvathil. The Theyyam deities propitiated through cock-sacrifice will not enter inside such shrine walls. On account of the later origin of Vaishnavism in Kerala, it has no vide-spread influence on Theyyam cult. Only a few deities are available under this category. The two major Theyyam deities of Vaishnavism are Vishnumoorthi and Daivathar. The legend of Vishnumoorthy identified the God's migration from Managlore to Kolathunadu as Vishnavism was very popular in the Tuluva country during the 13th century. All other categories of Theyyam deities can be incorporated in Saivism and Saktism. Even ancestors, heroes, animals etc. are deified and included in those categories. In brief, the Theyyam provides a good example for the religious evolution and its different stages in Hinduism. When the cult of Theyyam, borrowed liberally from Brahaminism, the brahmins with their social and caste superiority also patronised the Theyyam gods and goddesses. They established their own Shrines and Kavus(Groves) for Theyyam deities where non-brahmanical rituals and customs are observed. The goddesses like Raktheswari, Chamundi, Someshwari and Kurathi and gods like Vishnumoorthy are propitiated in these house hold shrines. The rituals in such shrines are different from those of the Brahmanical temples Theyyam cult can be said as the religion of the masses. Even the follower of Islam are associated with the cult in its functional aspects. Same of the mappila characters like Ali Chamundi of Alichammundi Devasthan of Kumbla have found a place in the cult.

The Theyyam dance is generally performed in front of the village shrines.and Tharavadu House, (Joint family House) as ancestor worship with elaborate rites and rituals. There is no stage or curtain and it is performed in an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The Chief dancer who propitiates the central deity of the shrine has to reside in the the aniyara( green room) and observe vegetarianism, fasting etc. as a part of rituals. Further, after the sunset, this particular dancer would not eat anything as a legacy of Jainism. His make up is done by specialist and others. First part of the performance is usually known as `Thottam’ or `Vellattam’. It is performed in the night without proper make up or decorative costume. Only a small red head dress is worn on this occasion. The dancer along with the drummers recites the particular ritual song which describes the myths and legends of the particular deity. After finishing this primary ritualistic part of the invocation., the dancer returns to the Aniyara( green room). After the interval, he appears with proper make up and costumes and with face painting. There are different types of face painting for which primarily and secondary colours are used. It had effected certain stylization also. Then the dancer comes in front of the shrine or sthanam, and gradually metamorphises’ as the particular deity of shine. After observation of certain rituals, the helpers places the head dress on his head and then dances. In the background folk musical instruments like chenda, Tuti, Kuzhal and Veekni are played with rhythm. All dancers take a shield and sword in their hands as continuation of the cult of weapon. Then the dancer circumambulates the shrine, runs in the courtyard and dances. The Theyyam dance has different steps known as “Kalasams”. Each Kalasam is repeated systematically from first to eight system of footwork. A performance is a combination of plying of musical instruments, vocal recitation, dance and strange make up and costumes. The stage practice of Theyyam and its ritualistic observations make it one of the fascination theatrical arts of India especially in northern Kerala.

As a sacred theatre followed with elaborate rituals the Theyyam performance has a difficult meaning and social content entirely different from other theatrical forms. The village shrines groves and cult spots are maintained by the caste councils or village elders for bringing prosperity to the village. In such places the village goddess or Bhagavathis named after that particular locality are propitiated as an ancient practice. The Theyyam festival of that particular shrine has a meaning and purpose. The elaborate rituals observed in these shrines including the preparation of the Kalan or square are intended for blessing of the super nature. Along with the Kalan or square an earthen decorated vessel with areca flowers containing toddy is placed on a platform. It symbolises the womb of mother goddesses. It is the significant aspect of the fertility cult. Offerings of cereals, cock blood, red flowers, etc are made in front of the Kalasam or Kalan., These rituals are responsible as being believed for the blessings of the super nature for prosperity in men and women, cattle and wealth. The dancer throws rice on the audience and distributes turmeric powder as symbols of blessings. Turmeric powder has high medicinal value, against small pox, etc.

The entire village folk attend the Theyyam festival in the village shrines and the members of Tharavadu and relatives attend the Theyyam festivals in their Tharavadus. Some of the grand theyyam festivals (Kaliyattoms) of the Vaniya caste, Thiyya caste and Maniyani caste are followed by the common feast for the entire devotees from the cult centre itself such feasts in favour of the mother goddesses and Kaliyattam take place one in 5 years or 25 years. Different castes and communities participate in such festivals.
They share the expenditure by way of donation. Compulsory levy is also imposed up on the members of the particular caste who own the shrine and offerings made by the devotees. The elders settle major disputes and caste conflicts during Theyyam festival. It was an effective way of administration of justice in the medieval period and even continued in the days of British administration.

The Theyyam ritual dance is exclusively performed by the male members of the traditional caste groups like Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan. These sections belong to scheduled caste and tribes. They are the sole custodians of Theyyam dance. These artists belong to the socially degraded group and only at the time of their performance get a social status and they are been respected by the devotees. It is a seasonal occupation to these groups. It is a social obligation on his part to perform the Theyyam dance in their areas as a hereditary right. Now these people get reasonable payment. Cloth, coconut, rice, paddy and coconut oil are also being given.

Like many other performing arts, there are different areas in Theyyam art which are to be specialised by an artist. An eminent artist generally achieves mastery over all these branches. They are recitation of Theyyam song or Thottam, make up, preparation of costumes, playing of instruments and dancing. There are about one hundred thottam songs pertaining to different gods and goddesses. Some of them are lengthy texts including the legends, myths and traditions of their respective folk deities. These songs are to be memorized by the artist. The methods of recitation and oral revelation like `Varavili` are to be mastered. The ragas or melody vary from one context to the other. Thus he must posses some knowledge of musicology.

The make up involves face painting a different styles and body decoration. Different costumes like leaf dress or Tazha Adai, headdress or muti, `arayoda’ or Vattoda and other body decorations are to be prepared by the artists for performance. Some of the costumes are made up of tender coconut leaves and they are used only for single performance. Some head crowns and masks are used in different occasions. Preparation of these items requires proper skill and craftsmanship and perfect knowledge of primary and secondary colour combinations
The artist has to master the skill to play the folk musical instruments, which have an important place in the Theyyam performance. Most important item of the performance is dancing. Normally instruction is imported when a boy is 7 or 8 years old. It takes 8 or 10 years to master everything of the performance. The teaching of Theyyam dance is given in a `gurukula model’. The eminent dancer teaches his sons, nephews or relatives and when they learn this they will also assist as make up men or drummers. They appear in minor and unimportant items of deities in the village festivals. In certain dance items a dance has to wear burning wicks around his waist and observe fire walk wearing the heavy headdress. He has to learn the method of weight distribution by moving hands, shoulders and legs. There is every possibilities of an accident for an unskilled artist who perform the Theyyam of Muchilot Bhagavathy, Kannangat Bhagavathy and Patakkathi Baghavathi.

Morning hours are used for instruction. Oil massage is applied to the body of a young dancer. A good training in Kalaripayattu is a must for the Theyyam artist who performs the role of hero deities like, Kathivannur Veeran, Poomaruthan, Pataveeran and many others.
The Theyyam traditions and arts inherited by a son from his father, or a nephew from his uncle. This practice continued uninterruptedly for centuries. As it was a ritual art without rituals and rites, it has no existence and thus its growth was arrested and restricted.

Theyyam is a developed art form and hence systematic stylization had taken place in the course of its development. Most of the Theyyam dances maintain a unique style pertaining to the performance of each deity, within an particular area. In respect of rituals and songs there may be regional variations, but the visual appearance has no much variations. It is believed that one Manakkadan Gurukkal of Karivellur, a great Theyyam artist, had effected the present style in the 16th or 17th century, under the instruction of Kolathiri Raja. Following this tradition the Kolathiri or chieftains used to distribute the title like Manakkadan, Perumalayan, Peruvannan etc. to the distinguished Theyyam artists.

Theyyam is mainly intended to propagate religions, Hindu mythology, and belief even among the uneducated masses. There the art form is considered only as medium of communication and the cult centre where it is performed is a sacred centre of social organisation . The continued patronage of the masses makes it popular ritual art.

The agrarian society had contributed the cult of theyyam. This society had been organised in a caste hierarchical system. The inferior caste members had patronized their own Theyyam deities. The main deities propitiated by certain castes are

1. Kammalas or Blacksmith Bali Theyyam
2. Thiyyas or Ezhavas Poomala , Vayanattu Kulavan, Kathivannur Veeran, Poomaruthan, Muthappan etc.
3. Vaniyan (oil monger) Muchilott Bhagavathy
4. Maniyanis Kannangatt Bhagavathy
5. Saliyas Chooliyar Bhagavathy

Apart from the above, many other theyyam deities were propitiated commonly by all castes.
The brahmanical temples and feudal families controlled the affairs of Theyyam. The naduvazhi played an important role in such affairs. One of the rituals of a Theyyam festival is to carry out fire or flame from a local Brahmanical temple to the village shrine. The permission for conducting a festival is necessary from the local landlord or naduvazhi. The landlords and the village elders enjoyed the right to restrict the out castes in their respective shrines. All members of a community were forced to observe traditional caste rules.

The myths and legends of the Theyyam deities. often relate to the local heroes and heroines. Some of their songs reflect certain episode from the local history. Divinity to these heroes had been attributed by the society. The medieval heroes like Kathivannur veeran, and Thacholi othenan were characters from local history. They were defied and worshipped for their heroism. The goddess Puthiya Bhagavathy (new) and Makkam were heroines of tragic stories. Makkam was considered to be an immoral woman by her beloved brothers. The jealousy of their wives made her a victim of their suspicion. The brothers dropped her and children in a deep well. Later she was elevated as a goddess and she was a chaste woman. This episode from local family history provided the theme for a Theyyam goddesses. A local chieftain wanted to molest a woman who had lost her several children. Her protest against the chieftain resulted in to the punishment by throwing her in a leaky country boat floated on a river. Burning fire wicks were also placed on her head. Later the memory of this woman was kept alive, by the society who elevated her to a goddess named Puthiya Bhagavathy. This Bhagavathy is a disease mother and a goddess of small pox. Many other stories like these could be traced from the myths and legends of several Theyyam gods and goddesses with deep roots in local history.

Yakshagana is one of the most important folk theatres of Karnataka and Kasargod which has brought fame to this region. Every village in Kasargod Taluk is familiar with this art and there are a good number of artistes. The Terukkuthu of Tamilnadu, Koodiyatam and chakyarkuttu of Kerala, Veedhinataka of Andhra Pradesh can be considered as sister art forms. Yakshagana was originally known by different names like-Bayalata (in Kannada Bayalata means play played in open air). The stories of Yakshagana were drawn from the Ramayana , Mahabharatha , Bhagavatha and from other mythological episodes.

The struggle between the good and the evil and the ultimate triumph of the Good. Almost all ancient arts are having a common world, in one way other related to God-worship. Ethical Values are better inculcated in the minds of people through entertainment. Yakshagana no doubt is an ancient performing art. Some are of the opinion that Yakshagana evolved from the ancient form of Bhutha-Worship(Theyyam). Bhutha-Worship is very popular in South Canara of Karnataka and Kasaragod Dist. of Kerala. In the process of evolution Yakshagana was also influenced by the Folk Dance, Song, Sanskrit Drama and also from Bharata's Natyashasthra. South Canara Dist. and Kasaragod District of Kerala (erstwhile South Canara Dist prior to State Re-organisation) is the motherland Yakshagana. Parthisubba one of the Pioneer of Yakshagana is the gift of this District.

The dance drama Yakshagana is broadly divided into two 1. Moodalapaya 2 Paduvalapaya. The Moodalapaya is divided into Doddata and Sannata which are crude forms of Yakshagana i.e., purely folkform The Paduvalapaya is again divided into Thenkuthittu and Badaguthittu. The Badaguthittu is very popular in North Canara Dist. of Karnataka and Thenkuthittu is in the erstwhile South Canara Dist.(including Kasargod Dist). These two groups are distinguished by their costumes used by the troupes and the dance style (Angika). Thenkuthittu costumes resembles with the Kathakali to a certain extent. The term Yakshagana would mean a style of music and it is a musical dance drama played in the open air and called as Bayalata (Open air drama). In Yakshagana music and speech go hand in hand and it could reach a good distance without our modern sound system.

The main attraction of yakshagana is stage craft where characters like Gods, Demons and Sanyasis are presented in a supernatural atmosphere and the audience are carried to a world of fantasy. In olden days it is performed usually at night lasting from 9.00PM to 6.00AM in the open-air. The stage of Yakshagana is rectangular in shape measuring about15'x 30' prescribing the rule in the given sanskrit sloka.

Panchahasthena visthirnam dasahasthena unnathamArdhachandrapramanena thistathe rangamantapam

Another sanskirt sloka also lays down the rules for the seating of Himmela(Background music)
Vamabhage mrindagecha dakshine thaladharikaThanmadhyae geethaprasnajah thatvaswe shruthipalakahSammukhe narthaki chaiva thadvame hasyakarakahNatyadhipo poorvamukhe shobhitham rangamantapam.

One side of the stage floor Bhagavatha sits with his accompaniment. Bhagavatha is the Narrator, Director or can be called as Suthradhara. He also sings with the accompaniment of Tala(Jagate) Mridanga(Maddale), Harmonium(Shruthi) and Chakrathala. Besides high pictched 'Chende' is used in special occasions. In olden days oil lamps were used to light the stage. The text of the yakshagana is called "Yakshagana Prasanga" which is narrated in sets of songs. These songs are set of different Ragas and Talas presented according to the "Kalas" ( Periods of night). There are about 100 ragas in yakshagana Some of the Ragas of yakshagana are not heard of in Karnataka Music viz., Panchagandhi, Gopanitem Kore,Koravy etc, The characters will dance to the tune of the songs followed by the dialogue in kannada. The dialogue is presented extempore the framework of the text of songs. The yakshagana is a total theatre because it has everything of a performing art. It entertains and enlighten both the learned and the illiterate.The yakshagana performances starts and ends with the prayer to Lord Ganesha.

Systematic training in dance, music, dialogue and makeup(Dressing) is necessary for an artist. Dialogue and makeup can be learnt only by practice. Navaras (Veera, Sringara, Karuana etc) are expressed by these artists All forms of Abhinaya viz., Angika, Vachika, Aaharya and Bhava follow a fixed development over the centuries. The only art to which the yakshagana of coastal Karnataka can be compared is Kathakali in Malayalam. But the highly stylised expression of motions through the various Mudras peculiar to Kathakali is not observed here. The Characters of this art can be distinguished as Romantic and Demonical. The Role of Karna, Arjuna etc are treated as romantic role, using colourful and pleasing costumes whereas Ravana, Mahishasur, Duryodhana etc are treated as demonical role and their facial makeup is very intricate resembling Kathakali techniques painted by the artists himself. The artists playing Satvika and Sringara roles use green shirts named Dagale. Rajasa use Red shirt and Tamasa black shirt. The dress of a character depicts is habit and behaviour. The main alankara of the head is called Kedge-Mundale, Mundas(Pagadi)Kirita Kesarithattu and Mudi. The main colour for the face decoration is called Aradala (Chayam), Ingalika (red), Green, Kadige, Calcium (SUNNA), rice powder and Kumkuma.and the colour of the face is changed according to the nature of the character.

There is another type of Yakshagana called "Yakshagana Koota" or "Talamaddale" It is performed by the artists without makeup and costumes. Musical accompaniment are the same as Yakshagana Bayalata with 'Vachikabhinaya' and the artists create a fascinating dialogue between themselves according to the text of the play.
There are about 10 troupes of Yakshagaga Bayalata in this Dist,.Some troupes have the heritage of 100 to 150 years

Yakshagana Bombeyatta or Puppet show is an art form of Kasargod District and South Canara district in Karnataka State.

This is presented using string puppets and rod puppets with colourful costumes and dresses. The movements of the dolls are monitored and controlled by strings and rods. Yakshagana is presented through puppets and hence it is known as Yakshagana Bombeyatta. Puppets made out of wood are painted and dressed according to the character in the story. Bombeyatta is controlled from a curtain chamber specially put up behind the seen for the purpose. Musical instruments are also used just as that of Yakshagana. Different puppets enacts different characters in accordance with the story telling by way of dialogue followed with songs.
Now this art form is on the way of extinction. There is only one troupe in Kasargod District which preserve this excellent art form, the Sri.Gopalakrishna Yakshagana Bombeyatta Sanga, located near Sri.Bhagavathy Temple, Pulikkunnu, Kasargod. They are presenting their programmes in various places in and out of the state. The troupe had also participated in the international puppet festival held at Lahore in Pakistan.

Places

ADOOR

45 KMs east of Kasargod town. Famous for its ancient Siva Temple belonged to have been founded by Arjuna. The place where the Kiratha Yuddham battle between Arjuna and Lord Siva took place according to legend. The adjacent forest not frequented by men is considered the abode of Lord Siva and his divine consort. The stream below the valley is nature bounty.

AJANOOR

The famous Madiyan Kulom temple is situated in Ajanur village. It is about five kms. from Kanhangad, the headquarters of Hosdurg taluk. The main deity of the temple is Bhadrakali; but there are also other deities like Kshetrapalan, Bhagavathi and Bhairavan. A peculiarity of this temple is that a Brahmin priest performs pooja only in the noon, while the morning and evening poojas are performed by a sect called Maniyanis. The festivals in the temple fall during the months of Edavam (May, June) and Dhanu (December, January) and on these days all the poojas are performed in connection with this festival.

ANANDASHRAM & NITYANANDASRAMAM

These are the two notable asramams in Kanhangad.
Anandashramam, situated about five kms. east of the Kanhangad Railway Station, was founded in 1939 by Swami Ramadas, a great Vaishnava saint of modern times. The main asramam and other buildings have a beautiful setting in the midst of shady mango, coconut and other groves. There is a hill to the east of the asramam, to which the devotees retire for quiet meditation and from its west, the surrounding extensive landscape can be seen in its natural grandeur. The spot at the highest point of the hill is so fascinating that the devotees, who go up the hill and sit silently, are blessed with deep peace and tranquility.
The Nityanandasramam, which is situated on the hillock about half a km. south of the Hosdurg taluk office, was founded by Swami Nityananda. The spot was at first part of a forest area. Here Swami Nityananda constructed 45 guhas (caves) in a mountain slope. There is a temple built in 1963, after the style and design of the famous Somanatha Temple in Gujarat. A full size statue of Swami Nityananda in sitting posture made of panchaloha is one of the attractions of the asramam.

ANANTHAPURA LAKE TEMPLE
The only lake temple in Kerala and the Moolasthanam (original seat) of Ananthapadmanabha Swami (Sri Padmanbha Swami Temple) Thiruvananthapuram. is 5 km. from Kumbla. Local belief is that Ananthapadmanabha had settled down here originally. The industrial park of KINFRA is situated here.

BEKAL FORT

The largest and best preserved fort in the State. The alluring scene of the sea shore and its exhilarating natural scenery and beauty attracts the visitors. Fast emerging as an International tourist centre. More details.. .

BELA CHURCH Our Lady of Sorrows Church - oldest in the district constructed in 1890 AD. 15 KM north of Kasargod. This Gothic style Roman Catholic church which is under the Manglore Diocese, has celebrated its centenary recently and also renovated.

BELLIKOTH Another centre in Ajanoor village renowned as the birth placeof Poet P.Kunhiraman Nair, veteran freedom fighter and playright Vidwan P.Kelu Nair and Rasika siromani Kanan Nair. A cultural centre of the district.

CHANDRAGIRI FORT Chandragiri lies three kms. south of Kasargod town. It has a large square situated high above the Chandragiri river on its southern bank. The fort it said to have been built in the 17th century by Sivappa Nayak of Bednore, who established his authority over the area and built a chain of forts. The Chandragiri river, on the bank of which it rises, marked the traditional boundary between Kerala and the Tuluva Kingdom. There is a beautiful bridge over the Chandragiri river at Thekkil, five miles from Chandragiri. A mosque is situated nearby and the view of the bridge with the mosque in the background is one of the most attractive sights on a drive along the NH 17 from Kannur to Kasargod. A longest railway tunnel in Kerala passes through Chandragiri Hills. A boat club has been recently started here.

CHERUVATHUR The place of illustrious poets and scholars of Kuttamath Kunniyur family. The Veeramala hills at this place has the ruins of a Dutch fort built in the 18th century, is a picnic spot.

EDNEER MUTT It is 10 Km. North East of Kasargod. This Mutt belongs to the Sankaracharya tradition, presently renowned as a seat of art and learning.

GOVINDA PAI MEMORIAL In Manjeswar, is the native place of M.Govinda Pai (1883-1963), one of the greatest Kannada poets of modern time. He was conferred the title of "Poet Laureate" by the erstwhile Government of Madras. He is known as Rashtra Kavi Govinda Pai.

HOSDURG FORT The fort with its round bastion looks imposing from a distance. Somashekara Nayak of Ikkeri dynasty built the fort. The place made well known by the Nithyanandasram with 45 caves.

KAMMATAM KAVU An evergreen forest of about 50-60 acres with a perenial stream is a centre of worship connected with Kammadam Bhagavathi Temple.

KANJAN JUNGA 16 KMs east of Kasargod is an artist village, established by Artist P.S.Pununchithaya, the renowned artist of the west coast.

KANWATHEERTHA BEACH RESORT 3 Km. north of Manjeshwar, has a large swimming pool lake, and a beach of 4 Km. length. The swimming pool is formed by sea water in the neat vast beach is one of the gifts of nature.

KARIANGODE RIVER Running through the hills and dales of Hosdurg Taluk. Immorlised as Tejaswini by great novelist Niranjana laps on its shore. The famous village of Kayyur - the cradle of agrarian revolutions where the farmers and farm workers staged a historic battle against feudalism and the British imperialism.

KASARGOD TOWN The Municipal town is situated on the bank of river Chandragiri. The confluence of several languages and culture where eight languages are spoken. The splendor of Kasaragod Saree comparable to that of Kanjeepuram is a cynosure of the market. Kasargod is the emporium of cash crops like Areacanut and Coconut. Malik-Deenar Juma Masjid, Malika Arjuna temple and Dolors Church are worshiping places of historical importance. Pulikkunnu, one of the seats of the assembly of gods where 39 Theyyams are presented for the annual festivals. Other features - Important business centre; 31 metre above sea level.

KOTTANCHERI HILLS The rain forest near Konnakkad 30 KM north- east of Kanhangad. Beautiful picnic centre and ideal for trekking. Thalakkaveri in the Brahmagiri mountain of Coorg is near this hills. Reflection of genetic beauty of Kodaikkanal.

KOTTAPPURAM Mud fort build by the Nileshwar Rajas and later annexed by Bednore Nayaks in the 18th century. A Juma masjid and a Hindu shrine stand close by.

KUDLU Kasargod suburb - 4Km. towards north, where famous eight day discourse between Madhavacharya, the great Dwaita Philosopher and Trivikrama Pandit, the famous Adwaita Scholar took place, in the presence of King Jayasimha of Kumbla ended in the victory of Madhavacharya and the acceptance of Dwaita philosophy by Trivikrama Pandit. The 75 year old

CPCRI - the premier plantation crop research institute is located here.

KUMBALA 13 Km. north of Kasargod. The ancient seat of Rajas of Kumbala. The town stands on a bold peninsula in a lagoon seperated from the sea by a sand spit and connected to it by a narrow channel. Parthi Subbha, father of Yakshagana was born here in the 18th century. Famous Gopalakrishna temple situated here.

MADHUR 8 KMs north east of Kasargod. Famous Srimad Anantheswara Vinayaka temple is situated here.

The rich architecture, imposing structure of the temple, with its turrests and gables and the copper plate roofing rises majestically against the beautiful land scape of hills paddy fields and gardens with the river Madhuvahini flowing leisurely in front of it.
The Madhur Temple is a Siva temple with Srimad Anantheswara as its presiding deity. But importance is given to the deity Maha Ganapathi. The Sivalingam of the temple is said to have been found by a harijan woman, Madharu.
The special festival of the temple is Moodappa Seva, which is covering the large figure of Maha Ganapathi with appam made of ghee and rice. The festival is conducted only periodically in view of the huge expenditure involved. It was celebrated in April 1962, after a lapse of about 160 years, and recently in April 1992.
Namaskara Mandapam of the temple has been decorated with beautiful figures of puranic heroes in wood. A closer examination of the wood carvings would disclose the various episodes of the Ramayana, beginning with the Seethga Swayamvaram. The Mantapam in the interior of the temple building as well as the outside facade of the second and third storey of the main building are also profuse with attractive and exquisite wood carvings.
It is said that the temple was attacked by Tippu Sultan of Mysore during his invasion and he felt thirsty and drunk the water from the temple well, which changed his mind and left the temple without damaging it. There is a mask on the temple which is said to be made by Tippu with his sword.

MALIK DINAR MOSQUE Over the years, Kasargod acquired the considerable importance as a centre of Islam on the west coast. It is the site of one of the mosques believed to have been founded by Malik Ibn Dinar. The mosque, Juma Masjid, which is one of the best kept and most attractive in the district, is located at Thalangara. It contains the grave of Malik Ibn Mohammed, one of the descendants of Malik Ibn Dinar and the place is sacred to Muslims. Another notable mosque, in Kasaragod is the Theruvath Mosque which is in the centre of the town. An important local celebration takes place every year in commemoration of the arrival of Malik Ibn Dinar. The Uroos attract pilgrims from all over India.
MAIPADY PALACE Eight Km. east of Kasargod on the Kasargod-Perla road. There are ancient palaces of Kumbala Rajas.

MALLIKARJUNA TEMPLE Situated in the heart of the Kasargod town is one of the famous temple in Kasargod district. The temple festival and yakshagana are most attractive.

MANJESWAR Lies in the northern most extremity of Kerala and a place of historical and religious importance. For a long time it was the seat of a flourishing community Gowda Saraswatha or Konkini Brahmins. Famous for the two old Jaina Bastis at Bangra Manjeswar. Manjula Kshethra Mahathmya a legend which deals with the history of this place. The birth place of Rashtra Kavi Govinda Pai.

NELLIKUNNU MOSQUE Famous for Uroos, this mosque attracts thousands. Very near to Kasargod town. The Nercha celebration, during the second half of November, lasts for one week.

NILESHWAR Abbreviated form of Nilakanta Iswar. Formerly seat of Nileshwar Rajas who belonged to the Kolathiri family. The place witnessed the battle between Bednore Nayaks and Nileshwar Rajas. The cultural centre of the District. In and around there are several Kavus where nature, God and man commune serene silence. Major among them is Mannan purathu Kavu, where the grand finale of the annual temple festival of the region takes place. Porattu of Anjoottambalam Veerarkavu draws large crowds. Porattu is the satrical representation of everyday life presented in pageantry during the Poram.

PERNE Out of the 28 Muchilottu Bhagavathi temples, Perne in the northern most and the only one north of Chandragiri seema situated in the vicinity of Ananthapuram. The mass marriage at the time of Pooram festival in the month of Meenam is a unique feature of this temple.

POSADIGUMPE An ideal picnic centre and tourist resort located on a hillock 487.68 metres above sea level in Dharmathadka 30 KM north-east of Kasargod. From the hill top one can see the Arabian Sea, Manglore, Kudremukh, etc.

POVVAL FORT An old fashioned fort on the Kasargod-Mulleria route about 10 KMs from Kasargod.

RANIPURAM Formerly known as Madathumala. About 48 KMs east of Kanhangad. Lying 780 meters above sea level. In beauty and boundary of nature comparable to Ooty. An ideal place for trekking. Tourist cottages are available here.

TRIKARIPUR The old seat of Thazekkattu mana famous for T.S.Thirumumbu, poet and freedom fighter. Birth place of Guru Chandu Panikkar the famous Kathakali artist.

TRIKKANAD & PANDYAN KALLU A famous temple on the sea shore near the Bekal fort, dedicated to Lord Siva. Also known as Dhakshina Kashi. Pandyan Kallu, a rock rising in the sea about 2 KM from Trikkannad is an ideal place for adventurous swimmers. It has the legend that ship of one of the Pandya King who attacked the Trikkannad temple was converted into a rock by Lord Siva. Palakkunnu Bhagavathi Kshethram, one KM north of Trikkannad is famous for annual Bharani festival, which attracts thousands.

TULUR VANAM Also known as Kekulom (the eastern place). Near Panathur Temple here is consecrated to Kshethrapalan and Bhagavathy. Eight day annual festival attracts large crowd from all over the district as well as from Coorg.

VALIYAPARAMBA 5 KMs south west of Cheruvathur separated from the mainland by back waters. One of the main tourist spots of the District. This is an island in the Arabian Sea. An ideal place for picnic also a fishing centre.

VEERAMALA HILLS Situated at Cheruvathur. Hill top with ruins of a Dutch fort built in the 18th century. A picnic spot from where the natural beauty of Kariangode river and surroundings can be enjoyed.