apply. The costuming may include elaborate configurations of pleated cloth, and
lacquered and gilt wooden pieces, in addition to sometimes valuable ornaments
and items of jewelry. The make-up room itself (an.iyar
̄
a) accordingly becomes a
locus of the prolonged ritual transformation of the dancer, where empowering
liturgical verses may be sung (an.iyar
̄
a-to ̄r
̄r
̄ams), in addition to those performed
before the main shrine. When the costuming is nearly completed, save for the
316 rich freeman
Figure 14.1: The teyyam dancer reflexively experiences his transformation into the
deity through the mirror-gazing rite