Avittam – The Drumbeats of Return

If Thiruvonam is the golden crown, then Avittam is the soft curtain that falls gently afterward, a day of transition, reflection, and parting rituals. Though the Onam feast may have peaked, the festival’s spirit still lingers in courtyards, fields, and hearts.

 The day marked by the Avittam star is not merely an epilogue. It holds its own cultural weight, layered with ancestral customs, martial energy, and sacred farewells.

 The Ritual of Removal – Saying Goodbye to Mahabali

In many households across Kerala, Avittam is the day of symbolic departure. The Onathappan idol - clay pyramids representing King Mahabali and Vamana, which stood at the center of the Pookkalam since Pooradam - is gently taken out with prayers and respect.

A small puja is performed. At an auspicious moment, the idol is carried to a pond, river, or sea and immersed in its waters, marking Mahabali’s return to the celestial realms. The act is often accompanied by rhythmic shouts, echoing the chants made during installation.

The Pookkalam, too, is removed petal by petal, the design that bloomed over days disappears. But even this act has beauty, for it teaches the impermanence of celebration, and the grace of letting go. Yet the spirit of Onam is not fully extinguished. In some regions, especially in central Kerala, families continue to maintain the Pookkalam till Makam day. The festival tapers but never fades abruptly.

Onathallu – The Martial Heartbeat of Avittam

If Avittam is remembered for one grand spectacle, it is Onathallu, also known as Kayyamkali - a martial art performed in the open, often on the banks of the River Nila (Bharathapuzha) in the Valluvanad region.

This form of ritual combat is no mere entertainment. It began as a training exercise for royal and feudal soldiers. Over time, it transformed into a traditional performance, especially during the post Thiruvonam days, to showcase the strength and pride of a group or village.

Dressed in simple attire, participants face off in controlled hand to hand grappling, surrounded by a circle of villagers. The bout is closely monitored by the Chayikkaran (referee) usually an experienced elder or former fighter. His role is crucial: he ensures fairness, delivers blessings before the fight, and stands ready with immediate remedies in case of injury.

To master Onathallu takes three to four years of practice, blending speed, mental strength, and discipline. Though rooted in combat, its performance is ceremonial, a tribute to the martial heritage of Kerala and a reminder that festivals also celebrate strength, not just sweetness.

Games That Echo Kerala’s Earth

Kilithattu
In Kilithattu, a game popular in the villages of Kerala, the den protects a stone - the ‘egg’ - placed in the middle of a square, from four men. The men trying to steal the ‘egg’ stand in four squares drawn inside the big one. The den, who is allowed to run along the inner lines of the small squares, tries to touch the men with his hands and feet. If the den succeeds in touching one of them, that player is out of the game. The game ends either when the ‘egg’ has been stolen or when the den manages to make physical contact with all four men.

Kazhakayattam

In Kazhakayattam, a game for youngsters, the competitors attempt to climb a long, oil-slicked pole to reach a prize tied at the top. The prize usually consists of sweetmeats or money.

Other regions stage their final rounds of Kummattikali, Poothan Thira, and folk arts that fuse performance and prayer. These traditions stretch Onam into an extended theatre of identity.

Traditions That Linger Beyond the Feast

Though the grandeur of the Onasadya belongs to Thiruvonam, the spirit of sharing and family continues into Avittam. Leftovers are reimagined into new meals, and in some homes, a simpler meal is made, not out of frugality, but as a mark of transition.

There is also a cultural stillness in the air. The temple premises are calmer, houses quieter, elders more reflective. Grandparents may now take time to tell the full story of Mahabali, beyond the festive blur. On Avittam, the story is no longer a myth - it becomes a memory.

From Festivity to Philosophy

As Avittam night falls, the moon casts its gentle gaze over a quieter Kerala. The streets begin to empty, the Chenda slowly silences, and the fragrance of Onam lingers like a memory.

Avittam doesn’t signal an end, it offers a gentle hand to walk you out of Onam, reminding every Malayalee that even as joy fades, its lessons stay. Humility, Hospitality, Heritage, Strength - all these are carried forward, not left behind.

 Conclusion: A Gentle Goodbye, Not an End

Avittam is not a fading echo, it is the soft silence after the song, the wisdom after the celebration. It tells us that all things beautiful must pause but never perish. The flowers may be lifted, the feasting may quiet, but the stories, the values, and the spirit of Onam will linger - guiding each Malayalee heart till the king returns again.

References:

1. Vinod Nambiar, ICH News, Jan 2018
2. Onam – The Harvest Festival of Kerala, Dept. of Tourism, Govt. of Kerala
3. The Many Faces of Onam – Adoor K.K. Ramachandran Nair
4. M.G.S. Narayanan – Keralacharithrathinte Randu Mughangal
5. Oral interviews: Valluvanad, Thrissur, and Ottapalam regions (1996–2010)

Coming up next (13 September 2025): Aramula Vallasadya - where ritual meets rhythm, and the devotion flows like the river itself