This article delves into the dual nature of Kerala’s folk performance traditions - Theyyam and Ottamthullal - showing how they function not only as vibrant spectacles but also as mediums of social commentary.

Drawing on Alan Dundes’ concept of folklore as “symbolic autobiography,” it emphasizes that these art forms mirror the lived experiences and collective anxieties of marginalized groups.

Theyyam, performed by lower-caste men who embody deities during trance states, breaks caste boundaries by granting the disenfranchised divine authority. The tradition includes around 456 ritual variations, each addressing specific injustices. Accompanied by thottam pattu, the performances often confront caste-based purity norms through powerful mythological reenactments and rituals.

In contrast, Ottamthullal, developed by Kunjan Nambiar in the 18th century, fuses mythic plots with spirited satire aimed at upper-caste hypocrisy, corruption, and societal ills. With its colorful costumes, sharp humor, and fast-paced narration, it continues to serve as a vehicle for societal critique, even influencing modern satire in media and politics.

By seamlessly blending mythology with real-world issues, both art forms foster dynamic platforms for reflection, resistance, and grassroots activism.