The following account of Canara devil-dancers and exorcists is given in Mr. Lavie’s Manuscript History of Canara. “It is their duty to carry a beautiful sword with a handsomely curved handle, and polished blade of the finest steel. These they shake and flourish about in all directions, jumping, dancing, and trembling in a most frightful manner. Their hair is loose and flowing, and, by their inflamed eyes and general appearance, I should suppose that they are prepared for the occasion by intoxicating liquids or drugs.... Their power as exorcists is exercised on any person supposed to be possessed with the devil. I have passed by a house in which an exorcist has been exercising his powers. He began with groans, sighs, and mutterings, and broke forth into low mournings. Afterwards he raised his voice, and uttered with rapidity and in a peculiar tone of voice certain mantrams or charms, all the while trembling violently, and moving his body backwards and forwards.” The performance (of devil dances) always takes place at night, commencing about nine o’clock. At first the pūjāri, with the Bhūta sword and bell in his hands, whirls round and round, imitating the supposed mien and gestures of the demon. But he does not aspire to full possession; that is reserved for a Pombada or a Nalke, a man of the lowest class, who comes forward when the Billava pūjāri has exhibited himself for about half an hour. He is naked save for a waist-band, his face is painted with ochre, and he wears a sort of arch made of cocoanut leaves, and a metal mask. After pacing up and down slowly for some time, he gradually works himself up to a pitch of hysterical frenzy, while the tom-toms are beaten furiously, and the spectators join in raising a long, monotonous howling cry, with a peculiar vibration. At length he stops, and every one is addressed according to his rank; if the Pombada offends a rich Bānt by omitting any of his numerous titles, he is made to suffer for it. Matters regarding which there is any dispute are then submitted for the decision of the Bhūta, and his award is generally accepted. Either at this stage or earlier, the demon is fed, rice and food being offered to the Pombada, while, if the Bhūta is of low degree, flesh and arrack (liquor) are also presented. These festivals last for several nights, and Dr. Burnell states that the devil-dancer receives a fee of eight rupees for his frantic labours.”
Nalke devil-dancer.
Of the three devil-dancing castes found in South Canara (Nalke, Parava, and Pompada), the Nalkes are apparently the lowest. Even a Koraga considers a Nalke or a Parava inferior to him. It is said that, when a Parava meets a Koraga, he is expected to raise his hand to his forehead. This practice does not, however, seem to be observed at the present day. The Nalkes, though living amidst castes which follow the aliyasantāna law of inheritance (in the female line), follow the makkalakattu law of Inheritance from father to son. The caste has numerous balis (septs), which are evidently borrowed from the Bants and Billavas. As examples of these, Salannaya, Bangerannaya, Kundarannaya, and Uppenannayya may be cited. The Nalkes have a headman called Gurikāra, who settles disputes and other matters affecting the community, and acts as the priest at marriages, death ceremonies, and other ceremonials.
Girls are married after puberty, and a woman may marry any number of times. The marriage ceremony is concluded in a single day. The contracting couple are seated on planks, and the Gurikāra throws coloured rice over their heads, and ties a turmeric-dyed string with beads strung on it round their necks. Those assembled then throw rice over them, their hands are joined by the Gurikāra or their fathers, and the dhare water is poured thereon.
The dead are either buried or cremated. After burial or cremation, a mound (dhupe) is, as among other castes in Canara, made over the spot. Round it, four posts are stuck in the ground, and decorated so as to resemble a small car (cf. Billava). The final death ceremonies (uttarakriya) are generally performed on the fifth or seventh day. On this day, cooked food is offered to the deceased by placing it near the dhupe, or on the spot where he breathed his last. This is followed by a feast. If the ceremony is not performed on one of the recognised days, the permission of some Bants or Billavas must be obtained before it can be carried out.
All castes in South Canara have great faith in Bhūtas, and, when any calamity or misfortune overtakes a family, the Bhūtas must be propitiated. The worship of Bhūtas is a mixture of ancestor and devil propitiation. In the Bhūta cult, the most important personage is Brahmeru, to whom the other Bhūtas are subordinate. Owing to the influence of Brāhman Tantris, Brahmeru is regarded as another name for Brahma, and the various Bhūtas are regarded as ganas or attendants on Siva. Brāhmanical influence is clearly to be traced in the various Bhūta songs, and all Bhūtas are in some manner connected with Siva and Parvati.
Jumadi Bhūta.
Whenever people want to propitiate the Bhūtas, a Nalke or Parava is engaged. In some places, the Nalke disguises himself as any Bhūta, but, where Paravas are also to be found, the Nalke may not dress up as the Baiderkulu, Kodamanitaya, or Rakteswari. The propitiation of the Bhūta takes the form of a ceremony called Kōla, Nēma, or Agelu Tambila. Of these, Kōla is a periodical ceremony, in which various castes take part, and is always performed near a Bhūtasthana. Nēma is usually undertaken by a single family, and is performed at the house. Agelu Tambila is celebrated by Billavas at their homes. The Kōla ceremony is usually performed for the propitiation of Bhūtas other than the Baiderkulu. The Muktesar or chief man, with the assistance of a Brāhman, fixes an auspicious day for its celebration. The jewels, and votive offerings made to the Bhūtas, are kept in the custody of the Muktesar. On the Kōla day, the people go in procession from the sthana to the Muktesar’s house, and return to the sthana with the jewels and other articles. These are arranged on cots, and a Billava pūjāri places seven plantain leaves in a row on a cot, and heaps rice thereon. On each heap, a cocoanut is placed for the propitiation of the most important Bhūta. To the minor Bhūtas, these things are offered on three or five leaves placed on cots, or on the floor of the sthana, according to the importance of the Bhūta. A seven-branched torch must be kept burning near the cot of the principal Bhūta. The pūjāri goes to the courtyard of the sthana, and piles up a conical mass of cooked rice on a stool. Over this pieces of plantain fruits are scattered. Round the mass several sheaths of plantain leaves are arranged, and on them tender cocoanut leaves, cut in various ways, are stuck. The pūjāri, who wears a metal belt and other jewelry, does pūja to the Bhūtas, and retires. The Nalkes or Paravas then advance dressed up as Bhūtas, and request permission to put on their canopy (ani) and brass anklet (guggirē). They then dance, and sing songs connected with the Bhūtas which are being propitiated. When they are exhausted and retire, the pūjāri steps forwards, and addresses the assembly in the following terms:— “Oh! great men who are assembled, with your permission I salute you all. Oh! Brāhmans who are assembled, I salute you. Oh! priest, I salute you.” In this manner, he is expected to run through the names of all important personages who are present. When he has finished, the devil-dancers do the same, and the ceremony is at an end.