About Author

Monkey Trap \ men-kee-trap\ n: A tender coconut containing a banana with a hole in the top that is large enough for a monkey's hand to fit in but not large enough for a monkey's clenched fist (clutching the banana) to come out; anecdotally used to catch monkeys that lack the intellect to let go of the banana and run away. As I turned 50, a profound midlife crisis engulfed me, causing me to realize that I'd become monkey-trapped – caught clinging to an identity I no longer recognized but could not break free from. Three decades ago, I departed my beloved homeland of Kerala, the enchanting southern state of India, fondly hailed as Gods’ Own Country. Since then, I've been riding a financial engineering tiger like a headless chicken in pursuit of a few dollars, constantly in motion but lacking a clear sense of purpose or direction. I was floundering and had lost my sense of the present and the future. Along the way, I neglected to give thoughtful consideration to any particular destination, allowing myself to conform to the distorted realities that pervade the Western world. In this chaotic tiger ride, three decades flew by in the blink of an eye, my life seemed trapped in fake ivory proverbial monkey traps, and the guilt of drifting away from my motherland and its rich culture tormented me more than ever. "Not many days later, the younger son gathered all he had and took a journey into a far country, and there he squandered his property in reckless living." - Luke 15:13-14; from the Parable of the Prodigal Son It wasn't physical confinement that troubled me the most; it was the deep guilt that constantly gnawed at my soul. Living amidst the trappings of Western society, I struggled to reconcile my choices with the person I had become. The pursuit of material wealth had overshadowed my connection to my heritage, leaving me detached from my true self. Caught in the relentless pursuit of success by distorting the distorted reality fields of the West, I now longed for authenticity and the anchor to my native land's traditions, customs, and values. Moreover, the waves of COVID-19 and the consequent loss of people near and dear to me piercingly amplified my identity crisis and mental jugglery. I felt lost and confused, grappling with questions of who I am and where I belong. I sought answers in a globe-trotting search for penance that led me through twenty countries. I finally realized that I needed to return to my roots: my hometown, my original identity, and the only place I could curl into the comforts of 'who I am.' Over the vast oceans, Kerala, Gods’ Own Country, and my land emerged before me, showering me with a monsoon of memories. As I lean back and close my eyes, an overflowing flood of memories once again transports me back to the misty evenings of Malabar, especially during the Christmas Holidays. I recall the nostalgic moments of my childhood, chasing Theyyams from one Theyyaparambu or Theyyakavu (sacred grove) to another. The sights, sounds, and smells of these performances were truly magical, and I can still feel the excitement and wonder I felt as a child. I now realize there is a fathomable reason for me to lean on the Theyyam in my soul. These performances are not merely entertainment; they are a way for me to connect with my culture and heritage and discover my true identity. Although my journey to find that identity is ongoing, I no longer feel lost. I know that I am a part of Gods’ Own Country, and I know that I am a part of Theyyam. These two aspects are ingrained in my being and will forever define me. My father was an altar boy raised in a strict Catholic family. After completing his Master’s in Science, he joined one of the Catholic Bishops’ Colleges in Kannur as a professor. Following his profound reasons and logic, which are still unknown to me, he turned into a rebel against the Catholic establishment. He even named me after a Hindu God, Lord Ganesh. As a result, I was brought up in a rebellious, agnostic backdrop, where I became more intrigued by Ramayana and other stories from Hindu mythology than by the Holy Bible. I have been to more Kavus and temples than Catholic churches. While many Hindu temples refused entry because of my Catholic religious background, no Theyyakavu ever denied my admission. They embrace everyone, regardless of religion, color, or gender. I have always harbored a deep passion for photography, and my camera has accompanied me on numerous adventures around the world in my various professional and volunteer roles. I've seen some amazing things through the viewfinder. Yet, no matter where I go, my heart forever belongs to my homeland in Malabar. Growing up in a small village in the Malabar region, within the very heartland of Theyyam. I can still feel my soul soaring back to the embrace of my beloved motherland. There is truly no place in the world that compares to this quaint corner of Malabar. My parents and relatives still reside in Malabar, specifically in Kannur and Kasaragod, the very nucleus of Theyyam. Visiting them during the Christmas holidays offers an excellent opportunity to once again chase the Theyyam footprints and capture them with unwavering enthusiasm through the lens of my camera. More than three decades have passed, and I find myself compelled to ride back into Gods’ Own Country, seeking solace and comfort, much like the proverbial Prodigal Son. In doing so, I aim to seek redemption for forgetting my roots and relief from my gnawing conscience. "I will arise and go to my father, and I will say to him, “Father, I have sinned against heaven and before you. I am no longer worthy to be called your son. Treat me as one of your hired servants." - Luke 15:18-19; from the Parable of the Prodigal Son My Penance The allure of Theyyam has always fascinated me, ever since my childhood days. I am unaware of any other ritualistic festival or artistic form that is as colorful, massive, and rebellious, synchronously. No other pilgrimage on Earth will let you witness around five hundred gods in a single season. Sadly, Theyyam remains an underappreciated and largely unexplored art form, even within the borders of Kerala. In contrast to the attention bestowed upon Kathakali and other aristocratic art forms promoted by the Kerala Kalamandalam Deemed University, little research or promotion has been devoted to the underprivileged Theyyams. Kathakali is a performance art form patronized by the landed gentry with their own Kathakali Yogams (many established by aristocratic Namboothiri families.) The assimilation of the Theyyams into the feudal class structure was, in a way, a method adopted by the upper classes to bring the marginal communities within their control. This is the power dynamics of the caste-class system at work and is a topic by itself. Throughout the creation of this text, I delved into more than fifty reference books, only to discover that most are out of print, and the available ones merely scratch the surface of these vast and intricate traditions. The plight of Theyyam artists among the most destitute communities worldwide profoundly moved me, encouraging me to document their art forms in an attempt to positively impact their lives. I envision future documentary films fortified by collaborations with academia, government agencies, and businesses, promoting and developing eco-cultural tourism in Gods’ Own Country. I initially decided to start writing as a steppingstone to test my vision. However, it quickly became apparent that this undertaking was too immense for me to accomplish alone, even if I were to dedicate the rest of my life to it. Consequently, in 2022, partnering with some eminent scholars from both the East and the West, I co-authored my first book on Theyyam, titled The Gods of The Gods’ Own Country: THEYYAM - Confessions of a Monkey-Trapped Prodigal Son of The Gods’ Own Country. While the initial impetus behind this book stemmed from a frustrated attempt to assuage my mounting guilt and nostalgic yearning, its purpose evolved into something much more as time passed. It unexpectedly became an Amazon bestseller and was translated into more than a dozen major languages, garnering global goodwill and fostering interest in forgotten people and cultures worldwide. The objective of this work extends beyond merely attempting to green-wash my Prodigal Son's guilt; it aspires to uplift my kingdom (Gods’ Own Country) and put the spotlight on its Gods, the Theyyams. Theyyam artists belong to one of the most economically disadvantaged communities on the planet. Thirty years of professional and volunteer monkey-trap roles have finally provided me with enough resources and a sufficient network to devote myself to bringing greater global attention to the skills and dedication of these underappreciated artists and the sheer visual grandeur of the resulting Theyyams. With unwavering devotion, I presented my book as a tribute to the empowerment and progress of these long-forgotten rebel Gods – “The Gods of Gods’ Own Country.” Beyond the financial contributions made through book royalties, my genuine aspiration, nurtured by the seeds sown through this endeavor, is to contribute to the betterment of the deprived lesser Gods, the Theyyam Artists on the periphery and margins. I sincerely hope that my previous book and subsequent efforts will captivate the attention of the East and the West, shining a spotlight on this precious tradition. My Prodigal Son Redemption In 2023, my book garnered the attention of the esteemed Chirakkal Kovilakam, the royal family renowned for their ancestral involvement in the art of Theyyam. The recognition I received led to a remarkable invitation from the Chirakkal King, summoning me and other scholars who contributed to my book to their most illustrious ancestral celebration, the famed Perumkaliyattam festival divine durbar, the celebrated Perumkaliyattam festival. This extraordinary event, organized by Chirakkal Kovilakam after 87 years, offered a once-in-a-lifetime opportunity to witness several quintessential Theyyams once again gracing our land to shower blessings upon the faithful. Moreover, with incredible generosity, the Kovilakam granted us media rights and unrestricted access to the entire festival, allowing us to conduct further research and preach the gospel of “The Gods of The Gods’ Own Country.” This included interviews with the King, the secretary of the Kerala Folklore Academy, and behind-the-scenes insights into the making of the Theyyams. We also had the privilege of consulting with the various performers and esteemed guests from cultural and academic communities. This occasion was indeed a dream come true for me; a personal aspiration nurtured over the course of half a century. To ensure the preservation of this invaluable experience for advanced research, we transported state-of-the-art equipment, including high-end cameras, spatial 360-degree ambisonic audio recording equipment, 8K videography recording tools, and multiple drones, all the way from the United States. Working alongside two dozen professional crew members from the film industry, we captured approximately 500 hours of the highest-quality footage. Additionally, we made significant scholarly contributions by publishing five papers and sponsoring the production of a collectible souvenir book, “Muppathaivar.” As a mark of honor, we had the privilege of providing Annadanam (the sacred tradition of offering food) for a day, catering to the needs of some of the 450,000 people who attended the event over a span of five days. To supplement our research efforts, we assembled a team of top scholars from around the world, representing both the East and the West, to delve into advanced studies on Theyyam and its intricate craftsmanship. During the Perumkaliyattam festival, we received unfettered access to nearly one hundred meticulously choreographed performances revived in accordance with the original vision set centuries ago by Manakkadan Gurukkal. To be part of such an extraordinary event is an experience I doubt I will witness again in my lifetime. I am deeply honored to acknowledge that our priceless contributions - time, resources, and intellectual input—were genuinely recognized by the organizers and the esteemed Kovilakam in the grand undertaking of this event. "For this, my son was dead and is alive again; he was lost and is found.’ And they began to celebrate." - Luke 15:24; from the Parable of the Prodigal Son The performance of Perumkaliyattam, held from April 5th to 9th, 2023, marked a significant milestone in our journey, yet it was merely the beginning of our ambitious endeavors. Our dedication and hard work have paid off, as we have now been granted exclusive global copyright ownership of the 2023 Chirakkal Perumkaliyattam media. This remarkable achievement is a testament to our collaboration with esteemed scholars from the East and West, who joined forces with the Chirakkal Kovilakam to create this groundbreaking book. Using this manuscript as our guiding principle, we have plans to develop a gospel, to preach the stories of these unrecognized and underappreciated Gods to unchartered frontiers, and to create compelling content for global media platforms such as Netflix, Amazon Prime, Apple TV, National Geographic, and more. Our ultimate goal is to spread the doctrine of “The Gods of The Gods’ Own Country” to every nook and corner of the world. With unwavering confidence in the partnership of these brilliant minds, we believe this book will serve as a solid foundation to showcase and promote Theyyam and the rich cultural heritage of Kerala and India. In doing so, we hope to attain global recognition for this magnificent art form while shedding light on the forgotten histories and the communities that have sustained it through the ages. Furthermore, we see this endeavor as an opportunity to promote academic research, foster business partnerships, and secure sponsorships to further preserve and promote the Theyyam tradition. I firmly believe that through these efforts, we can establish a philanthropic foundation dedicated to conserving and sustaining Theyyam and other remarkable endangered civilizations. The foundation will provide a platform to seed, cultivate, and nurture Theyyam and similar other world heritage art forms and artists that have historically been ignored yet possess richness in every aspect of their existence. "But he that knew not and did commit things worthy of stripes, shall be beaten with few stripes. For unto whomsoever much is given, of him shall be much required: And to whom men have committed much of him, they will ask the more." - Luke 12:48