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There exists an elaborate ritualistic ceremony called Pampinthullal (serpent dance) conducted for propitiating the serpent gods. This ceremony takes place during the Malayalam months of Kanni, Thulam, Kumbham and Medam. The Ayilyam (the Aslesha star) on which falls the birthday of serpents is held auspicious for the serpent dance ceremony. The monsoon months are avoided for the ceremony since the serpents would refuse to come out of their subterranean abodes during this season.

Pampinthullal is conducted in the temporary sheds attached to the serpent grove or constructed in front of the courtyard of the house. A thatched shed with its floor plastered with cow dung and elaborate floral decorations around is made. Kalams of the serpent gods are drawn on the floor using powders of different colours. Bronze oil lamps are lighted in the Kalam with offerings of coconut and rice placed before the lamp. Pampinthullal is made to propitiate all five varieties of serpent gods - Nagaraja (the king serpent), Nagayakshi (the queen serpent), Karinagam (black serpent), Paranagam (flying serpent) and the Anchilamaninagam (five-hooded and jewel-carrying serpent). Pampinthullal usually lasts for five days, with one of the varieties propitiated on each day. The process of the ritual starts with the whole village participating in the festivities, the Mannan plucking the flower, bunches from the areca and the veluthedan (washer man) bringing the mattu (washed clothes). The Pulluvan is the chief priest who officiates at the ceremony and sings about the serpents in chorus to the accompaniment of instruments played by males and females. The ceremony starts in the morning with songs in praise of Ganapathy at the place where the Kalam is to be made. By noon the images of serpents would have been completed on the floor. The musical score in front of the Kalam ensues when the Paniyal (the representative of the family on whom the effects of the rituals are concentrated) is seated. There may be more than one Paniyal known as 'Kappum Kanyavum' (one boy and one girl) sitting, each with a petal of the areca flower as recipients of the blessings of the serpents. They get possessed and dance with the flower in hand to the accompaniment of the music of the Pullavas, the tempo of which goes in arithmetical progression, reaching the maximum pace. The Paniyal enters the Kalam and rubs the figure of the nagas with the flower bunch. In case the Paniyal does not get possessed or in fury, tries to destroy the decorations, the devotees take it as an indication that the rituals have not brought the desired result. The whole ceremony will then have to be repeated.

Velakali, a dance evolve from the martial culture, is performed in some temples as a spectacle  during festivals in which the whole village participates. This dance originated in Ambalapuzha which gained importance in the16th century AD as a coastal principality ruled by a Brahmin Raja having the family name 'Devanarayana'. Most of these Rajas were great patrons of art  and learning. One Devanarayana who lived in the18^th century had encouraged many poets and artists in his royal court. During the 17-18^th centuries, the coastal principality of Ambalpuzha had commercial contacts with the Portuguese and Dutch. Several wars were fought in the sea with these powers by the raja and his predecessors. Velakali was conceived as a reminiscence of these armed conflicts, a re-enactment  of those wars waged in the sea and land. The dance  form assumed the shape of an earlier art  called Naikkan Tullal.

Velakali is basically a group dance held in the open air  as an exhibition of the martial feats in front of the raja of Ambalapuzha, who wanted to see how his soldiers had waged the battles. This show meant to be witnessed by the deity of the temple which is taken out in procession to the courtyard of the temple on a caparisoned  elephant. The play consist of a procession in the beginning in which, the dancers walk in line through the village road holding the sword made of rattan in the right-hand  and a shield in the left. They move elegantly keeping their pace to  the rhythm followed by a hilarious group of villagers encouraging the dancers by jumping and singing and waving small colourful flags. By dusk 'Kulathil vela' or the play on the bank of the tank commences. The dancers take their position on the bank of the temple tank and with weapons in their  hands start the play moving their  bodies. Their movements get reflected in the water probably reminding one of the war in the sea or lakes. On the other side of the tank the caparisoned elephant  with the deity takes position. The dancers do not change their position but exhibit only the swaying of their bodies to the rhythm of Velappara, the main percussion instrument. Then the dancers disperse to assemble again in the southern quadrangle of the temple to start the regular exhibition of the feats. There the deity appears on the elephant. By about 8.p.m 'Tirumunpil vela' or the play before the divine presence of the deity, start. All the numbers in the repertoire of Velakali, consisting of solo, dual and group performances of the Payattu (fight) are shown in detail.

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