"A pandal (booth) supported by four poles driven into the ground is put up for the purpose, and the tops of the poles are connected with a network of strings, over which a silk or red cloth is spread to form a canopy. The pandal is well decorated, and the floor below it is slightly raised and smoothed. A hideous figure of the size of a big serpent is drawn in rice-flour, turmeric (Curcuma longa), kuvva(Curcuma angustifolia), powdered charcoal, and a green powder. These five powders are essential, for their colours are visible on the necks of serpents. Some rice is scattered on the floor and on the sides, and ripe and green cocoanuts are placed on a small quantity of rice and paddy (unhusked rice) on each side. A puja for Ganapathi (the elephant god) is performed, to see that the whole ceremony terminates well. A good deal of frankincense is burned, and a lamp is placed on a plate, to add to the purity, sanctity, and solemnity of the occasion. The members of the house go round the pandal as a token of reverence, and take their seats close by. It often happens that the members of several neighbouring families take part in the ceremony. The women, from whom devils have to be cast out, bathe and take their seats on the western side, each with a flower-pod of the areca palm. The Pulluvan, with his wife or daughter, begins his shrill musical tunes (on serpents), vocal and instrumental alternately. As they sing, the young female members appear to be influenced by the modulation of the tunes and the smell of the perfumes. They gradually move their heads in a circle, which soon quickens, and the long locks of hair are soon let loose. These movements appear to keep time with the Pulluvan's music. In their unconscious state, they beat upon the floor, and wipe off the figure drawn. As soon as this is done, they go to a serpent grove close by, where there may be a few stone images of serpents, before which they prostrate themselves. They now recover their consciousness, and take milk, water of the green cocoanut, and plantain fruits, and the ceremony is over."
In connection with the Pamban Tullal, Mr Gopal Panikkar writes [150] that "sometimes the gods appear in the bodies of all these females, and sometimes only in those of a select few, or none at all. The refusal of the gods to enter into such persons is symbolical of some want of cleanliness in them; which contingency is looked upon as a source of anxiety to the individual. It may also suggest the displeasure of these gods towards the family, in respect of which the ceremony is performed. In either case, such refusal on the part of the gods is an index of their ill-will or dissatisfaction. In cases where the gods refuse to appear in any one of those seated for the purpose, the ceremony is prolonged until the gods are so propitiated as to constrain them to manifest themselves. Then, after the lapse of the number of days fixed for the ceremony, and, after the will of the serpent gods is duly expressed, the ceremonies close."