Bhuta worship is a distinct and detailed form of worship special to Tulu Nadu. Bhuta thereby means the spirit of the ancestors. Bhuta worship has an identified history of about eight centuries. But its origin must be much older. It is not only a living tradition but is getting revised with much-growing interest. It is a vast and interesting form with beliefs, rituals, rules of worship, apparatus, literature, music, and theatrical elements.
Bhutas are believed to be living in the Sanas (Stana – sacred place), Alade, Gudi, and in specific stones kept under trees and in trees also. The masks, weapons, and statues are also in a way the residences of the Bhutas. About four hundred Bhutas are being worshipped. Some of the prominent names among them are – Guliga, Panjurli, Koti-Chennaya (Baidyerlu), Raktheswari, Ullalthi, Kodamanithaya, Malaraya, Koddhabbu, Orthe, Chikku, Haiguli, Vishnumoorthi, Annappa, Nayer, Jumadi, Koragathaniya, etc. They are believed to be having powers of helping, showing grace, trouble-making, etc. Nature, the powers, likes, and dislikes of Bhutas vary. Bhutas have been playing an important role in the administration and the folk judicial system. The Bhutas are considered as the Ganas or the attendants of Lord Shiva, who are usually the guardians of the villages who play the role of blessing and protecting the villagers and their cattle.
Parba (Parva), Kola, Nema, Bali, Kendaseve are the varieties of Bhuta worship. Among them, Parva is the simple form of worship, with offerings at the ‘Bhuta Stone’. Kola, Nema, Jatre, Bali are all varieties of Kola with differences in detail. Kola means ‘wearing a costume’ or ‘playing a role’. This form is a ritualistic theatre where the Bhuta appears in possession through a medium person. The Kola has stylistic differences and differences in duration depending upon the concerned Bhuta, the level of performance, and area. The performance has definite stages right from the inviting stage to the finale involving the usage of verse singing, storytelling, promises and solutions to various complaints, prayers and problems, use of music and dances, etc. It is an intimate part of the life of the people. It involves devotion and inspiration and is a forum for social contact, community life, and entertainment – all in one. The makeup, costume, dance, background music, dialogues, possession – all together create awe and a trans-like environment.
The costume and make-up have a distinct style and the Bhuta worship presents a very good costume makeup model. They represent the socio-economic order of the society, artistic achievements, socio-cultural patterns, and thinking patterns that have been preserved and practiced by the rural cultures of the various regions in the Tulu Nadu.
The head of the family or the community or a person assigned, has to speak to the Bhuta on various matters regarding the rituals. The dialogue follows a broad pattern. The language used in these conversations and by the Bhutas in their independent wordings (Nudi) is poetic and stylized.
The songs sung in the Kola performances are called ‘Paddanas’ (prayers or ‘Pad’- songs). They are usually narration of the origins of the deities followed by their descent to the mortal land, the courageous deeds that were committed, and the journeys and dimensions of influence. They include many historical and cultural details, along with the story of a Bhuta. According to the paddanas, the cosmos is divided into three distinct realms: Gramya (cultivated lands), Aranya (forests), and Bhuta (spirits). The Gramya realm, which symbolizes order and civilization, is engaged in constant conflict with the Aranya/Jangala realm, which represents the untamed forces of the natural world. The Aranya realm and its inhabitant wild animals threaten to destroy the agricultural lifestyle of the Gramya realm unless the Gramya realm invokes the spirits of the Bhuta realm.
The tradition and custom of Bhuta Kola are carried out throughout the night in elaborately decorated Pandals that contain images of deities and other components of admiration. The Pandals are decorated with palm leaves, mango leaves, and different figures that are made out of areca flowers. This ritualistic dance form takes place in the form of a procession where throughout the night the drummers and other musicians provide music at various tempos and varying tunes. The one who invokes the Bhuta, also known as the Spirit impersonator, is dressed up in vibrant colours, along with bells, knives swords, and other accessories. After dressing up, the impersonator goes through a ritualistic hot oil bath which is for means of purifying his mind, body, and soul and to prepare him for self-hypnotism to invite the Holy Spirit to impose upon him.
On completion of the make-up (the ritual of applying facial make-up is called ardalada paduni) and costume, the impersonator is presented with gaggaras (anklet) and the ritual is called gaggaradechchi. Next, the impersonator wears the elaborate dress and puts on the headgear, the halo-like structure called ani, and other ornaments. He is then offered weapons and the mask in a ritual called nemadechchi. Now fully transformed, the impersonation is ritually sanctified by the assembled village headmen and other dignitaries. This ritual is called ‘poo ari paadune’ (bestowing the impersonator with flowers and rice). With ornaments and outfits on, the Bhuta impersonator displays a variety of dances in the arena. He is helped by the yajaman (head patron of a yajna, a sacred fire ritual) and patri (mediator), who hold torches and make various offerings to the Bhuta.
The faces of these impersonators are painted in various colors that usually plant extracts, each color symbolizes different characteristic features of the spirit. The wife, mother or sister of the impersonator accompanies by singing Paddanas. Once possessed by the spirit the impersonator undertakes its functions and calls out the authorities by their designated ranks to inquire for his solicitation. It is the task of the devotees to by every possible means pacify this spirit and make pledges for the safety and protection, prosperity, riches, and abundance in cultivation to the community. If the spirit is not satisfied, then he prescribes certain punitive rituals for acts of insult or impurity to the holy place or certain acts of commissions and omissions on part of the devotees. While settling the quarrels or disputes the impersonator assumes the role of a tribunal and conducts him in a dignified manner as the upholder of truth and righteousness. The decision of the impersonator is final without provision for appeal.
Devotees believe neglecting the Bhuta will lead to bad fortune, and so they must be appeased. Hence, the Bhuta realm helps in maintaining a balance between the other two realms. If the balance is disturbed, then the spirits become upset and nasty; but if the balance is restored, then the spirits become compassionate and kind. Therefore, the spirits are not representatives of either good or evil, or positive or negative forces. Their main objective is to maintain cosmic balance and deliver justice in society.
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