Bhāgirathamma, riding on an elephant, and having eight or twelve hands. She helps fishermen when fishing at night, and protects them against cholera, dysentery, and other intestinal disorders.
Nūkalamma wears a red jacket and green skirt, and protects the fishing community against small-pox.
Orusandi Ammavaru prevents the boats from being sunk or damaged.
Bhāgadēvi rides on a tiger, and protects the community from cholera.
Veyyi Kannula Ammavaru, or goddess of a thousand eyes, represented by a pot pierced with holes, in which a gingelly (Sesamum) oil light is burnt. She attends to the general welfare of the fisher folk.
The chief sea goddess of the Vādas seems to be Orusandiamma, whose image must be made out of the wood of the nīm (Melia Azadirachta) tree. She is supposed to have four arms. Many of the pot temples set up on the sea-shore are her shrines. On no account should she be provoked, lest the fishing boat should be upset. She is regarded as constantly roaming over the sea in a boat at night. Associated with her is a male deity, named Ramasondi, who is her brother. His vāhanam (vehicle) is an elephant. Orusandi is worshipped separately by each family. At the time of worship, flowers, two cloths, a fowl, a goat, and a bottle of toddy or arrack, are carried in procession to the sea-shore. Before the procession starts, people collect in front of the house of the person who is doing the pūja (worship), and tie him and the goat to a long post set up in front thereof. A toy boat is placed before the post, and Ramasondi is invoked by a person called Mannāru, who becomes inspired by the entrance of the deity into him. A fowl is sacrificed, and, with the boat on his head, the Mannāru proceeds towards the shore. Orusandi is then invoked, but does not come so easily as Ramasondi. Repeated invocations are necessary before some one becomes inspired. The goat, post, and a pot shrine for the goddess are taken to the shore. A small platform is erected there, on which the shrine, smeared with chunam (lime), is placed, and in it the image is deposited. Worship is then performed, and the goat sacrificed if it crawls along on all fours and shivers. If it does not do so, another goat is substituted for it. As every family sets up its own pot shrine, the number of these is considerable, and they extend over several furlongs.
The sea goddess Marulupōlamma is housed in a small shed made of date palm leaves. A goddess who is very much feared, and worshipped at the burial-ground, is Būlokamma. Her worship is carried out at noon or midnight. She is represented by a pot, of which the neck is removed. In the sides of the pot four holes are made, into each of which a twig is inserted. The ends of the twigs are tied together with thread, so that they represent a miniature pandal (booth). The pot is carried by a Mannāru, dressed up like a woman in black and white cloths, together with another pot representing Enuga Sakthi. The former is carried in the bend of the left elbow, and the latter on the head. The pots are accompanied in procession to the burial-ground, and on the way thither some one becomes inspired, and narrates the following legend:—“I am Būlokasakthi. Ages ago I was in an egg, of which the upper half became the sky and the lower half the earth, and was released. The moon was the mark on my forehead, and the sun was my mirror. Seven gadhis (a measure of time) after my birth, a west wind arose. By that time I had grown into an adult woman, and so I embraced the wind, which impregnated me, and, after nine gadhis, Brahma was born. He grew into a young man, and I asked him to embrace me, but he refused, and, as a curse, I caused him to become a stone. Vishnu underwent the same fate, but Siva promised to satisfy me, if I gave him my third eye, shoulder-bag, and cane. This I did, and lost my power. Then all the water disappeared, and I was covered with mud. Siva again caused water to appear, and of it I took three handfuls, and threw them over my body. The third handful consumed me, and reduced me to ashes. From these were created Sarasvati, Parvati, and Būlokamma. I am that Būlokamma. I asked a favour of Siva. He made me remain within this earth, and, drawing three lines, said that I should not come out, and should receive offerings of fowls and goats.” At this stage, a chicken is given to the Mannāru, who bites, and kills it. At the burial-ground worship is performed, and a goat sacrificed. The goddess being confined within the earth, no shrine is erected to her, and she is not represented by an image. A small pandal is erected, and the pot placed near it.
The goddess Kalimukkamma is represented by a paper or wooden mask painted black, with protruding tongue. With her is associated her brother Bāithari. She is believed to be one of the sisters created by Brahma from his face at the request of Iswara, the others being Polamma, Maridipoli, Kothapoli, Jungapoli, Nukapoli, Runjamma, and Kundamma. The shrine of Kalimukkamma is a low hut made of straw. At the time of worship to her, a Mannāru, dressed up as a woman, puts on the mask, and thus represents her. A stone slab, containing a figure of Kalimukkamma, is carried by a woman. She is the only goddess who may be represented by a stone. To her pigs are offered.
Peddamma or Polamma is represented by a wooden effigy. Along with her, Maridiamma is also worshipped. The offerings to Peddamma consist of a goat or sheep, and a pot of milk. A pig is sacrificed to Maridiamma. When the people proceed in procession to the place of worship, a toy cart is tied to the person representing Maridiamma, and some one must carry a toy boat. At a distance from the house, the cart is detached, and a pig is killed by an abdominal incision.
Samalamma is a mild goddess, with vegetarian propensities, to whom animal food must not be offered. She is associated with the aforesaid Bengali Bābu riding on a horse. Her image may only be carried by young girls, and grown-up women may not touch it.