Castes and Tribes of Southern India/Mārān or Mārāyan
Mārān or Mārāyan. — The Mārāyans are summed up, in the Madras Census Report, 1901, as being "temple servants and drummers in Malabar. Like many of the Malabar castes, they must have come from the east coast, as their name frequently occurs in the Tanjore inscriptions of 1013 A.D. They followed then the same occupation as that by which they live to-day, and appear to have held a tolerably high social position. In parts of North Malabar they are called Oc'chan."
"The development of this caste," Mr. H. A. Stuart writes,*[1] "is interesting. In Chirakkal, the northernmost tāluk of the Malabar district, and in the adjoining Kasargōd tāluk of South Canara, Mārāyans are barbers, serving Nāyars and higher castes; in the Kottayam and Kurumbranād tāluks they are barbers and drummers, and also officiate as purōhits (priests) at the funeral ceremonies of Nāyars. In the latter capacity they are known in those parts also as Attikurissi Mārāyan. Going still further south, we find the Nāyar purōhit called simply Attikurissi, omitting the Mārāyan, and he considers it beneath his dignity to shave. Nevertheless, he betrays his kinship with the Mārāyan of the north by the privilege which he claims of cutting the first hair when a Nāyar is shaved after funeral obsequies. On the other hand, the drummer, who is called Mārāyan, or honorifically Mārār, poses as a temple servant, and would be insulted if it were said that he was akin to the shaving Mārāyan of the north. He is considered next in rank only to Brāhmans, and would be polluted by the touch of Nāyars. He loses caste by eating the food of Nāyars, but the Nāyars also lose caste by eating his food. A proverb says that a Mārāyan has four privileges: —
- 1. Pāni, or drum, beaten with the hand.
- 2. Kōni, or bier, i.e., the making of the bier.
- 3. Natumittam, or shaving.
- 4. Tirumittam, or sweeping the temple courts.
"In North Malabar a Mārāyan performs all the above duties even now. In the south there appears to have been a division of labour, and there a Mārāyan is in these days only a drummer and temple servant. Funeral rites are conducted by an Attikurissi Mārāyan, otherwise known as simply Attikurissi, and shaving is the duty of the Velakattalavan. This appears to have been the case for many generations, but I have not attempted to distinguish between the two sections, and have classed all as barbers. Moreover, it is only in parts of South Malabar that the caste has entirely given up the profession of barber; and, curiously enough, these are the localities where Nambūdiri influence is supreme. The Mārāyans there appear to have confined themselves to officiating as drummers in temples, and to have obtained the title of Ambalavāsi; and, in course of time, they were even honoured with sambandham of Nambūdiris. In some places an attempt is made to draw a distinction between Mārāyan and Mārāyar, the former denoting the barber, and the latter, which is merely the honorific plural, the temple servant. There can, however, be little doubt that this is merely an ex post facto argument in support of the alleged superiority of those Mārāyans who have abandoned the barber's brush. It may be here noted that it is common to find barbers acting as musicians throughout the Madras Presidency, and that there are several other castes in Malabar, such as the Tiyyans, Mukkuvans, etc., who employ barbers as purōhits at their funeral ceremonies."
In the Cochin Census Report, 1901, Mr. M. Sankara Menon writes that the Mārārs are "Sūdras, and, properly speaking, they ought to be classed along with Nāyars. Owing, however, to their close connection with services in temples, and the absence of free interdining or intermarriage with Nāyars, they are classed along with Ambalavāsis. They are drummers, musicians, and storekeepers in temples. Like Tiyattu Nambiyars, some sections among them also draw figures of the goddess in Bhagavati temples, and chant songs. In some places they are also known as Kuruppus. Some sub-castes among them do not dine, or intermarry. As they have generally to serve in temples, they bathe if they touch Nāyars. In the matter of marriage (tāli-kettu and sambandham), inheritance, period of pollution, etc., they follow customs exactly like those of Nāyars. In the southern tāluks Elayads officiate as purōhits, but, in the northern tāluks, their own castemen take the part of the Elayads in their srādha ceremonies. The tāli-kettu is likewise performed by Tirumalpāds in the southern tāluks, but by their own castemen, called Enangan, in the northern tāluks. Their castemen or Brāhmans unite themselves with their women in sambandham. As among Nāyars, purificatory ceremonies after funerals, etc., are performed by Cheethiyans or Nāyar priests."
For the following detailed note on the Mārāns of Travancore I am indebted to Mr. N. Subramani Iyer. The name Mārān has nothing to do with maranam or death, as has been supposed, but is derived from the Tamil root mar, to beat. In the Tanjore inscriptions of the eleventh century, the caste on the Coromandel coast appears to have been known by this name. The Mārāns correspond to the Ōcchans of the Tamil country, and a class of Mārāns in North Malabar are sometimes called by this designation. In the old revenue records of the Travancore State, Mangalyam appears to be the term made use of. The two well-known titles of the caste are Kuruppu and Panikkar, both conveying the idea of a person who has some allotted work to perform. In modern days, English-educated men appear to have given these up for Pillai, the titular affix added to the name of the Sūdra population generally.
Mārāns may be divided into two main divisions, viz., Mārāns who called themselves Mārārs in North Travancore, and who now hesitate to assist other castes in the performance of their funeral rites; and Mārāns who do not convert their caste designation into an honorific plural, and act as priests for other castes. This distinction is most clearly marked in North Travancore, while to the south of Alleppey the boundary line may be said to remain only dim. In this part of the country, therefore, a fourfold division of the caste is the one best known to the people, namely Orunul, Irunul, Cheppat, and Kulanji. The Orunuls look upon themselves as higher than the Irunuls, basing their superiority on the custom obtaining among them of marrying only once in their lifetime, and contracting no second alliance after the first husband's death. Living, however, with a Brāhman, or one of a distinctly higher caste, is tolerated among them in the event of that calamity. The word Orunul means one string, and signifies the absence of widow marriage. Among the Irunuls (two strings) the tāli-tier is not necessarily the husband, nor is a second husband forbidden after the death of the first. Cheppat and Kulanji were once mere local varieties, but have now become separate sub-divisions. The males of the four sections, but not the females, interdine. With what rapidity castes sub-divide and ramify in Travancore may be seen from the fact of the existence of a local variety of Mārāns called Muttal, meaning substitute or emergency employee, in the Kalkulam tāluk, who are believed to represent an elevation from a lower to a higher class of Mārāns, rendered necessary by a temple exigency. The Mārāns are also known as Asupānis, as they alone are entitled to sound the two characteristic musical instruments, of Malabar temples, called asu and pāni. In the south they are called Chitikans, a corruption of the Sanskrit chaitika, meaning one whose occupation relates to the funeral pile, and in the north Asthikkurichis (asthi, a bone), as they help the relations of the dead in the collection of the bones after cremation. The Mārāns are, further, in some places known as Potuvans, as their services are engaged at the funerals of many castes.
Before the days of Sankarāchārya, the sole occupation of the Mārāns is said to have been beating the drum in Brāhmanical temples. When Sankarāchārya was refused assistance in the cremation of his dead mother by the Nambūtiri Brāhmans, he is believed to have sought in despair the help of one of these temple servants, with whose aid the corpse was divided into eight parts, and deposited in the pit. For undertaking this duty, which the Nambūtiris repudiated from a sense of offended religious feeling, the particular Mārān was thrown out of his caste by the general community, and a compromise had to be effected by the sage with the rest of the caste, who returned in a body on the day of purification along with the excommunicated man, and helped Sankarāchārya to bring to a close his mother's death ceremonies. In recognition of this timely help, Sankara is believed to have declared the Mārān to be an indispensable functionary at the death ceremonies of Nambūtiris and Ambalavāsis. It has even been suggested that the original form of Mārān was Mūrān, derived from mur (to chop off), in reference to the manner in which the remains of Sankara's mother were disposed of.
The traditional occupation of the Mārāns is sounding or playing on the panchavadya or five musical instruments used in temples. These are the sankh or conch-shell, timila, chendu, kaimani, and maddalam. The conch, which is necessary in every Hindu temple, is loudly sounded in the early morning, primarily to wake the deity, and secondarily to rouse the villagers. Again,when the temple service commences, and when the nivedya or offering is carried, the music of the conch is heard from the northern side of the temple. On this account, many Mārāns call themselves Vadakkupurattu, or belonging to the northern side. The asu and pāni are sounded by the highest dignitaries among them. The beating of the pāni is the accompaniment of expiatory offerings to the Saptamata, or seven mothers of Hindu religious writings, viz., Brāhmi, Mahēsvari, Kaumari, Vaishnavi, Varahi, Indrāni, and Chāmunda. Offerings are made to these divine mothers during the daily sribali procession, and in important temples also during the sribhutabali hours, and on the occasion of the utsavabali at the annual utsava of the temple. There are certain well-established rules prescribing the hymns to be recited, and the music to be played. So religiously have these rules to be observed during the utsavabali, that the priest who makes the offering, the Variyar who carries the light before him and the Mārāns who perform the music all have to fast, and to dress themselves in orthodox Brāhmanical fashion, with the uttariya or upper garment worn in the manner of the sacred thread. It is sincerely believed that the smallest violation of the rules would be visited with dire consequences to the delinquents before the next utsava ceremony.
In connection with the musical instrument called the timila, the following legend is current. There was a timila in the Sri Padmanābha temple made of kuruntotti, and there was a Mārān attached to the temple, who was such an expert musician that the priest was unable to adjust his hymn recitation to the music of the Mārān's drum, and was in consequence the recipient of the divine wrath. It was contrived to get a Brāhman youth to officiate as priest, and, as he could not recite the hymns in consonance with the sounds produced by the drum, a hungry spirit lifted him up from the ground to a height of ten feet. The father of the youth, hearing what had occurred, hastened to the temple, and cut one of his fingers, the blood of which he offered to the spirit. The boy was then set free, and the old man, who was more than a match for the Mārān, began to recite the hymns. The spirits, raising the Mārān on high, sucked away his blood, and vanished. The particular timila has since this event never been used by any Mārān.
The higher classes of Mārāns claim six privileges, called pāno, kōni, tirumuttam, natumuttam, velichchor, and puchchor. Kōni means literally a ladder, and refers to the stretcher, made of bamboo and kūsa grass or straw, on which the corpses of high caste Hindus are laid. Tirumuttam is sweeping the temple courtyard, and natumuttam the erection of a small pandal (booth) in the courtyard of a Nambūtiri's house, where oblations are offered to the departed spirit on the tenth day after death. Velichchor, or sacrificial rice, is the right to retain the remains of the food offered to the manes, and puchchor the offering made to the deity, on whom the priest throws a few flowers as part of the consecration ceremony.
A large portion of the time of a Mārān is spent within the temple, and all through the night some watch over it. Many functions are attended to by them in the houses of Nambūtiris. Not only at the tonsure ceremony, and samavartana or closing of the Brāhmacharya stage, but also on the occasion of sacrificial rites, the Mārān acts as the barber. At the funeral ceremony, the preparation of the last bed, and handing the til (Sesamum) seeds, have to be done by him. The Chitikkans perform only the functions of shaving and attendance at funerals, and, though they may beat drums in temples, they are not privileged to touch the asu and pāni. At Vechūr there is a class of potters called Kūsa Mārān, who should be distinguished from the Mārāns proper, with whom they have absolutely nothing in common.
Many families of the higher division of the Mārāns regard themselves as Ambalavāsis, though of the lowest type, and abstain from flesh and liquor. Some Mārāns are engaged in the practice of sorcery, while others are agriculturists. Drinking is a common vice, sanctioned by popular opinion owing to the notion that it is good for persons with overworked lungs.
In their ceremonies the Mārāns resemble the Nāyars, as they do also in their caste government and religious worship. The annaprasana, or first food-giving ceremony, is the only important one before marriage, and the child is taken to the temple, where it partakes of the consecrated food. The Nāyars, on the contrary, generally perform the ceremony at home. Purification by a Brāhman is necessary to release the Mārān from death pollution, which is not the case with the Nāyars. In Travancore, at any rate, the Nāyars are considered to be higher in the social scale than the Mārāns.
In connection with asu and pāni, which have been referred to in this note, I gather that, in Malabar, the instruments called maram (wood), timila, shanku, chengulam, and chenda, if played together, constitute pani kottugu, or playing pāni. Asu and maram are the names of an instrument, which is included in pāni kottugu. Among the occasions when this is indispensable, are the dedication of the idol at a newly built temple, the udsavam pūram and Sriveli festivals, and the carrying of the tadambu, or shield-like structure, on which a miniature idol (vigraham) is borne outside the temple.
- ↑ • Madras Census Report, 1891.