While Kerala’s Onam celebrations are often defined by vibrant pookkalams, sumptuous sadhyas, and majestic Chundan Vallams (snake boats), there exists a quieter ritual theatre in the northern part of the state (the Malabar region) that speaks in silence and dance—the hauntingly beautiful traditions of Onapottan and Pootham.
Onapottan, also known as Onesvaran or Oneshwaran, is a Theyyam-inspired folk character who drifts through village pathways during Uthradam and Thiruvonam, entering homes as a solemn, regal presence. His arrival—marked by the soft chime of a handbell—heralds Onam’s beginning.
Adorned with radiant face paint, an ornate crown topped with jasmine flowers, palm-leaf umbrella, and a flowing red dhoti, Onapottan commands attention. One remarkable detail: a banana-fibre beard tied above his lips ensures his silence remains unbroken. After a strict 41-day vow of abstinence and ancestral devotion, the performer enters this divine persona, blessing each household before disappearing with the day’s fading light.
Reserved for members of the Malaya community, Onapottan moves swiftly, never pausing, to touch as many homes as possible. Each visit feels like a sacred whisper of prosperity and harmony.
In contrast, Pootham bursts with kinetic energy. Rooted in rituals like Poothan and Thira, this folk form—often performed by the Mannan community in temple precincts—channels ancestral spirits, deities, and traditional healers (vaidyas). Poothan and Thira signify the visit of Goddess Bhagavathy and Poothan to the village and households to remove all demons and negativity, thereby blessing the people.
Pootham’s dazzling costumes feature semi-circular headgear (the mudi), face masks with protruding tongues and wide eyes, and richly decorated attire complete with bangles, chest ornaments, and vibrant fabrics. Dancers begin with measured steps to the beat of thudi, a small frame drum, until their tempo rises to an ecstatic crescendo.
“Onapottan represents Mahabali,” says author Anand Neelakantan, tracing the mythic thread that binds the performance to Kerala’s favourite king. “He comes as a silent witness, visiting homes on the eve of Onam—Uthradam—and again on Thiruvonam, dressed in red robes, palm-leaf umbrella in hand, sometimes with a bag, blessing people with prosperity.”
The name itself carries meaning. Pottan in Malayalam means mute—he does not speak. The silence, Neelakantan explains, is deliberate: “Mahabali is not supposed to interact. He comes only to see if his people are living happily, in equality, as they once did in his reign. Onam is a festival of forgiveness and sharing. You ensure that you have resolved quarrels and live in harmony before he arrives.” In this way, the mute Onapottan becomes a reminder of an ideal society, a proto-socialist dream where caste, class, and gender distinctions disappear.
While in the south, performers often resemble Mahabali as a humble villager-king, in north Kerala, Onapottan takes on a more dramatic appearance. Children and young men paint their faces, adorn themselves with ornaments, and embody the spirit of the king in a form that echoes the ritualistic theatre of Theyyam. The performance, though brief, carries weight: it is both ritual and remembrance, a home visit rather than spectacle.
If Onapottan is solemn silence, Pootham is raucous laughter. “They are usually older men who dress up, chased by children across fields, creating entertainment and joy,” says Neelakantan. “Sometimes they narrate the Onam story, sometimes they simply embody the festive mood.”
Yet beneath the humour lies a deeper layer. Pootham characters, he explains, often connect to folk spirits or rebellious heroes who once resisted feudal and caste oppression. “Many Theyyam and Pootham forms represent figures who died long ago—folk heroes, women, even animals. When the performer dons the costume, after days of ritual preparation, he becomes divine. Even kings once bowed before them.”
This is why Onapottan and Pootham remain rooted in Malabar, closely linked to the Theyyam and Thira traditions of ritual performance. They are not stage shows; they are living rituals, often performed by communities historically from tribal and subaltern backgrounds. Beyond Kerala, their echoes can even be found in Karnataka’s Bhuthagala traditions.
In today’s world, when many folk arts risk fading, both figures are witnessing a revival. “Thanks to social media, younger generations are picking them up again,” Neelakantan points out. “Even practices like pookkalam (flower carpets), once at risk of disappearing, are now celebrated with competitive zeal. These performances are Instagram-friendly, yes, but they also survive because they continue to touch something timeless.”
These performances peel back the layers of Onam to reveal a living tradition that thrives far from sanitised tourist stages. Onapottan’s silent journey and Pootham’s electric display are deeply rooted in folklore, social history, and spiritual expression. These figures serve as both mythic reminders, like Mahabali’s reign of equality, and as embodiments of ancestral memory in motion.
Witnessing Onapottan’s quiet grace or Pootham’s ancestral energy in a village courtyard is more than a performance—it can be a deeply immersive encounter. For many, it becomes a call to pause, respect, and reconnect with an older rhythm of community and hospitality.
Yet, for those arriving in Kerala during Onam, author Anand Neelakantan offers a gentle reminder: approach these rituals with respect. “Onapottan and Pootham are not meant as tourist entertainment,” he says firmly. “They carry the weight of thousands of years of tradition. They come to homes as rituals, not spectacles. Keep a respectful distance, don’t reduce them to selfies. Instead, see them as living fragments of history.”
Silent, striking, and deeply symbolic, Onapottan and Pootham carry centuries of folk memory and ritual into the present.
1. What are the lesser-known traditions of Onam in Kerala?
Beyond flower carpets, sadhya feasts, and boat races, Onam in north Kerala features unique folk rituals like Onapottan and Pootham. These ritual performers embody mythology, ancestral memory, and community spirit, turning village courtyards into living stages of Kerala’s cultural heritage.
2. Who is Onapottan and what is his role during Onam?
Onapottan is a Theyyam-inspired ritual figure symbolising King Mahabali. Silent and regal, he visits homes in North Kerala on Uthradam and Thiruvonam. Dressed in red robes with a palm-leaf umbrella, he blesses families with prosperity while reminding them of Onam’s values of equality and harmony.
3. What is the significance of Pootham in Onam celebrations?
Pootham is a vibrant folk performance in North Kerala linked to ancestral and temple rituals. Performers wear colourful masks, ornaments, and dramatic headgear, dancing to drum beats that rise into a crescendo. The ritual is believed to ward off negativity, channel divine energy, and bring blessings.
4. Where can travelers see Onapottan and Pootham during Onam 2025?
Travelers can experience Onapottan and Pootham mainly in the Malabar region of North Kerala. These rituals take place in villages and temple courtyards, often performed by traditional communities. Unlike staged tourist shows, they remain authentic cultural experiences deeply rooted in Kerala’s ritual heritage.
5. How do Onapottan and Pootham differ from other Onam celebrations?
While most Onam celebrations focus on food, flowers, and races, Onapottan and Pootham are living rituals. Onapottan embodies silence and Mahabali’s blessings, while Pootham is energetic, playful, and ancestral. Together, they represent Kerala’s folk spirituality, offering a rare cultural glimpse beyond mainstream festivities.