BHUTHARADHANE (SPIRIT WORSHIP)
Bhuthradhane (BUtArAdhane) (ಭೂತಾರಾಧನೆ)
or the spirit worship is a
religious-cultural ritual practiced in the west coast of
Bhutas
are classified under three categories. The first category consists of spirits
who are in the form of animals such as a tiger, a he-buffalo, a wild boar and a
bull. Human beings who are deified after their death for various reasons are
worshipped extensively. KalkuDa-kallurTi, kOTi cennayya, panjurli, siri, Ali,
aNNAppa and magrandAya are some Bhutas who belong to this second category. The
third important category consists of spirits that are taken from ancient
culture and mythology. Many of them bear resemblance to the Hindu Gods and
Goddesses. jumAdi, (dhUmAvati) Bhagavati, raktEshvari, cAMuNdi are worshipped
in a similar form with minor variations.
Bhutas
reside in their particular abodes and they are called bUta sAnas.
(Bhutasthanas) They are unpretentious constructions with out any windows. Brass
idols either in the form of human beings or animals are placed inside these
places. Usually it contains a cot which is called bhUtada manca. A sword and a
bell are kept on this cot. All of them are worshipped when the occasion
demands. Some of these animal representations are also treated as the vehicles
of the spirits.
Bhuta
worship has evolved both as a ritual and an art form. There are many types of
Bhutaradhane such as kOla, nEma, bali, tambila, banDi, jAlATa, maime etc. Some
of them are annual events and others are performed on special occasions. Some
are held in the nights and others during the day time. They have to be
performed by people belonging to particular communities such as vaidyas (a sub
caste among Brahmins), nalike, parava, pambara, pANAra etc. Bhuta worships are
usually public performances. Once in a while they are performed in private homes
also. Incidentally most of the offerings during these worships are vegetarian.
Bhuta
Nrityas are ritual dances performed during Bhuta Worship. The performer is
called a ‘pAtri’. He has to don a particular makeup and decorations. These
details are passed on from generation to generation. They wear different masks
representing different Bhutas. These masks are usually kept in the temple. They
are evocative of different aggressive emotions. Each Bhuta has its own set of
weapons which the pAtri has to take up after he is dressed up.
The
dance is usually accompanied by back ground instruments such as tembare, DOlu,
nAgasvara etc. These dances have various movements and postures which are
reminiscent of Yakshagana. pADdanas are Tulu songs delineating the story of
particular Bhutas. Many of them have literary merits.
The
Bhutas worshipped by Kannada speaking communities, such as jaTTiga and bobbarya
are less pretentious. They do not have pADdanas associated with them.
Of
late, rituals such as Bhutaradhane and nAgamaMDala have become tools to assert
one’s cultural uniqueness and they are celebrated with devotion and pomp.
Further
1.
Bhuta Worship: Aspects of a ritualistic theatre, by U. Padmanbha
Upadhyaya and P.Susheela Upadhyaya, Rangasthala Monograph Series, 1984, Regional
Resources Centre for Folk Performing Arts, M.G.M. College (Udupi, India)
2. www.yakshagana.com/bhuta.htm
(Bhuta in fury)
3.
www.mangalorelink.com/matv/more/mangalore/bhu...
4.
www.mangalorelink.com/matv/more/mangalore/bhu...
5.
Bhuta
Kola
6.
‘Bhutaradhane: Kelavu Adhyayanagalu’ by K.Chinnappa
Gowda, 1982, Tuluva Prakashana, Mangalore.
7.
‘The mask and the message’ By K. Chinnappa Gauda,
2005, Madipu Prakashana, Mangalore.
8.
‘Special Study report on Bhuta cult in South Canara District’
by K. Sanjeeva Prabhu, 1977, published by the Controller of Publications.
9.
‘The
Devil Worship of the Tuluvas’, A.C. Burnell, 1894.