Pratyangira Kali alankaram. We followed it almost all day. The difference between this and other alankaras is twofold: this is a Kali alankaram to announce Ashtami, and the evening deeparadhanai was accompanied by no less than Kailaya Vadyam which makes it quite the dramatic spectacle; and the “build” was with kalimannu or clay gathered from riverbanks and ponds usually, where it has become fine and wet and malleable. So the priests use kalimannu for the Kaali alankara, to give the largeness of the face some stability. The fearsome face emerges almost effortlessly, though Sivavijay takes his time to finesse and perfect. A blue maravalli kizhangu or tapioca flour paste is applied over top. Teeth added, eye sockets filled with bulging balls, lined red, flames painted around the face, hair spread over her shoulders. Her body is bedecked and full of all the usual allure, but the face–well the face makes you think twice, the absence of her usual lion mount notwithstanding.
Arun’s mother came for the evening Deeparadhanai.