Travel and Deal

PUSHKAR CAMEL FAIR

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Md. Masarrath Ali Khan

013 Pushkar - Sadhus singing bhajans - Photo Masarrath
Those are the early hours of a breezy morning and there is a thick fog all around. Armed with cameras, many tourists are silently marching towards the camel grounds. The caravans of camels have majestically ambled their way through the golden sands and converged at the sand dunes.  Their owners – dressed in soiled white attire, capped by bright colorful turbans and sporting big moustache – squat in circles sharing stories and warming over small orange bonfires, while the moon and the stars create a canopy of heavenly illumination above them.

014 Rajasthani Fair - Common sight during the fair 3 - Photo Masarrath

As the morning sun of Prabodhini Ekadashi dusts the sands with gold and thin layers of mist peel away, the landscape undergoes a time warp. Some traders light up a small fire in sand and make tea from camel’s milk in brass vessels, while their womenfolk take the camels to the water tank. The camel-pulled carts surmounted with red, pink and green canopies start moving in a file to the town to fetch tourists for the day.

015 Pushkar - Classical Dance at Old Rangji Temple  during Camel Fair - Photo Masarrath

Far away, two hot air balloons rise in the air, drift over and disappear from sight.  The aroma of fresh roses, the fragrance of incense sticks and the mellifluous sounds of temple bells – all seem to weave magic. You are transported into a different world.

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This is Pushkar Camel Fair that draws huge crowds of tourists from all parts of the world. It has a magnetism of its own that defies description. It is like travelling back a hundred years in time. Though camels are an integral part of the celebrations, the fair is more about the joys of self discovery, rejuvenation and revelling in the small pleasures of life.  You get to see innocent beautiful and radiant smiling faces, all diffused in a romantic burst of colours. Brightly turbaned men with impressive moustaches and womenfolk in vibrantly coloured lehengas and odhnis lend a majestic air to the fair. Village girls in intricately embroidered, swirling skirts, can be seen pulling the ghunghat (veil) spontaneously over their faces at the first sight of a stranger!

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The fair is a rich blend of trading, commercial activities, social gatherings, fun and frolic, music, songs, folk dances, play and amusement, cultural performances, religious rituals and pilgrimage to the temples, all distinct yet thinly overlapping over each other in perfect symphony!

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It all starts 3-4 days after Diwali, with the camel traders arriving and setting up camps at the sand dunes. Lively trading of camels takes place. During the next couple of days, livestock and their traders continue to flock into Pushkar as the sand dunes get overcrowded with animals.

DSC_5794 Traders warming over fire (1)

Matka race, turban tying competition, acrobat shows, tight rope balancing acts by young girls, snake and mongoose fights, draw huge crowds in the morning hours at the fair ground.

Pushkar is one place where man-animal relationship acquires a new meaning. The camels are lovingly sheared, scrubbed, washed and perfumed. Symbolic hair motifs called moondra are carved onto the fur. Tattoos are stamped on their sheared skins using black henna and heated ladles. Then they are bedecked in their best finery, silver bells and silver jewellery for the beauty contest! Tourists also enjoy the camel dance competition to their heart’s content.

DSC_6199_Musical night by Navraj Hans in fairground

The huge area around the fairground transforms into a shopper’s paradise. Traders set up stalls selling virtually everything….. Odhnis, ghagras, leharia fabrics, embroidered shawls, clothes embedded with mirrors, lovely colourful bangles…. the list is endless! And if tourists enjoy going on a shopping spree, can the camels be far behind? There are a series of shops which sell items ranging from saddle straps, saddles, beads, strings and cowries exclusively for decorating the camels!

Colorfully dressed pilgrims, sadhus and saints begin to gather in the many temples and ghats all around and the town gets drenched in a religious flavour.  Just as Brahma performed yagna at the Pushkar Lake from Kartik Shukla Ekadashi to Kartik Purnima, so also millions of pilgrims perform a Kartik Snan in the lake during this period, mainly on the full moon night.  Then they pay a visit to the Brahma Temple. The festival comes to an end after the Kartik Purnima.

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Legend and history

Lord Brahma slew a cruel demon Vajranabha with his weapon – the lotus flower, which fell and struck the earth at three places within a radius of 9 kms, creating three lakes. Brahma named the place Pushkar (=lotus), and the lakes, Jyeshtha (elder), Madhya (central) and Kanishtha (younger) Pushkar. Then Brahma performed yagna at the Pushkar Sarovar from Kartik Shukla Ekadashi to Kartik Purnima. So, an annual festival is celebrated in honour of Brahma. This coincides with the camel fair.

Legend apart, the antiquity of Pushkar and its environs goes back several millennia. The great Hindu epics Mahabharata and Ramayana call it the Adi Tirtha (King of pilgrimages).The Vedas and Puranas, record that Rishi Vyas undertook penance at Pushkar and Shri Balram visited Pushkar more than 5000 years ago. The Harivansha Purana says that Lord Krishna spent some time here. The Ramayana mentions that the sage Vishwamitra performed penance (tapa) here and the celestial enchantress Menaka came to bathe in its serene waters. Kalidasa immortalized Pushkar in his classic Abhijñâna Sâkuntalam. Historical works like Prithviraj Vijay (by Jayanaka); Hammir Mahakavya (by Nayachandra Suri), and Surjan Charitra (by Chandrashekhara), suggest that an ancestor of the Chauhan dynasty Rishiraj Shri Chahaman, was born in Pushkar. The Chauhan queen Rudrani, also known as Atma Prabha used to light 1000 lamps daily before the Shivalinga at Pushkar. One of the first contacts between the Mughal and the British took place in

Pushkar when Sir Thomas Roe met Emperor Jahangir in 1616 AD.

The Pushkar Sarovar (lake)

There are 52 holy ghats (lakefronts) around the holy Sarovar. It is believed that the Nag Kund cures infertility, the Roop Tirth Kund enhances beauty, and the water of Kapil Vyapi Kund cures leprosy while a dip in the Mrikand Muni Kund grants the boon of wisdom!  Brahma Temple is the star attraction of Pushkar.

 

Posted in Celebrating India

Ambubachi Mela: The Tantric Fertility Festival | Shanku Sharma | Photographs: Partha Seal

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“Asato Maa Sad Gamaya
Tamaso Maa Jyotir Gamaya”

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It is true that menstruation or menstrual cycle is mostly considered a taboo as far as religious doings are concerned, and people seldom like to open up about the subject without considerable reluctance. However, lakhs of people throng the famous Kamakhya Temple atop the Nilachal Hills of Guwahati in Assam during the famed Ambubachi Mela (Ambubachi Fair) or Ameti, also known as the Tantric fertility festival which generally falls on the last week of June. It is a ritual, a ceremony which is observed according to Tantric ways. It is a most celebrated belief that Devi Kamakhya, the Goddess of Shakti (Power), undergoes her annual cycle of menstruation. Interestingly, during this fair, the doors of the temple remain shut for three whole days.

It is held that the Goddess remains impure and unclean for these three days. So, any kind of productive works like farming is not exercised during these days. Even worships and other religious activities also remain ceased during the fair. All through these days devotees do not cook, do not perform Puja and do not read holy books. The Kamakhya temple is one of the 51 Shakti Peethas which lies distributed in the Indian sub continent. The doors of the temple are opened only after the completion of three days. Doors will only be opened after the Goddess Kamakhya is bathed and other rituals are carried out.

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It is a ritual of the Tantric cult. It is only on the fourth day when devotees of the Goddess are not stopped from entering the temple for worshipping her. There are several layers of mystery, myth and other-worldliness about Ambubachi Mela. Kamakhya is also called Kamarupa – the form and shape of love, desire and lust. The Goddess is worshipped in both her maternal and erotic roles. In fact, there is no idol of the deity. She is worshipped in the shape and form of a Yoni like black stone from where, quite mysteriously, a natural spring flows.

Tantric cult is quite prevalent and common in the eastern parts of the country. The Tantric Babas who remains in isolation and seclusion for the rest of the year, makes their appearances public only during these four days. One can find some Babas exhibiting their psychic and extrasensory powers like inserting their heads in a pit and standing upright on it and remaining in a standing position on one leg for a long time. It is of importance and interest that the Prasad is distributed in the forms of Angodak and Angabastra. Angodak is the fluid part of the body and Angabastra refers to the piece of red cloth which is used to cover the stone Yoni during these three days.

Pilgrims, lakhs in number, from Sadhus to shareholders, from writers to wrestlers and from ministers to masons visit this temple. Sanyasins, Sadhus, Sadhvis, Aghorasa and even Bauls of West Bengal do not forget to visit this place during Ambubachi Mela. In addition to this, people from aboard also come to seek the Goddess’ blessings. This year the Mela will begin from June 22. Devotees can worship the Goddess on June 26. The police and civil administration of Guwahati makes adequate and ample arrangements for all tourists and the pilgrims. Camps are set up for provision of shelter and accommodation to the visitors. A huge number of volunteers are engaged for making suitable provisions.

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Mythology has it that once Lord Shiva flew through the skies in anger at the death of Sati, his beloved consort. A question that haunts us is whether women in India will ever get safety and security? India is a country where female goddesses and deities are worshipped but living women are tortured, beaten, killed, burnt alive and raped.

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Posted in Celebrating India, Festive India, Local Culture

Hill Station Musical Masti – Kasauli Rhythm & Blues Festival 2017

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Hill Station Musical Masti – Kasauli Rhythm & Blues Festival 2017

April 14-16 at Baikunth Resorts

Kasauli Rhythm and Blues Festival is the flagship event of an amazing charity called The Genesis Foundation. The Festival is set in the gorgeous rolling mountain landscape of popular Hill Station, Kasauli, Himachal Pardesh. The small cantonment town is said to be a hiker’s paradise as most of it is easily accessible by foot. Not only is the town easy to travel to it has a rich history as its development took place during the British rule and it’s famous for its colonial style architecture.

In even more ancient, mythological history the town is even features in the Ramayana! Lord Hanuman is said to have placed foot on the town while in search for herbs to heal the wounded Lakshman. So in addition to this accessible, picturesque landscape, colonial and mythological history – The Genesis Foundation creates its own contemporary mark on this wonderful town.

The Kasauli Rhythm and Blues festival is now in its 6th year running and has been steadily gaining a reputation as one of the most anticipated music festivals in the country.

Dia Mirza at KRBF 2016

(photo courtesy of The Genesis Foundation)

Music festivals have long been considered one of the best ways to enjoy and explore new locations. Like minded souls from far and near, all in one place, all enjoying the same creative vibes. It becomes a wonderful opportunity to make new friends and lasting memories. So why not make this idyllic Hill Station fiesta one of your keepsake memories of 2017?

 

The Kasauli Rhythm and Blues festival is a 3 day event beginning on Friday the 14th of April and ending on Sunday the 16th. Friday features performance from the band Late Too Soon, an Indore based 4 piece influenced by Rock n Roll, blues, Funk and Soul. The Rajeev Raja Combine will also grace the stage with his exciting global fusion band mixing elements of Jazz, Indian Classical and world music. Along with Folk-rock band ‘Natsya’, Delhi based, award winning ‘Swatantra’ rock band ‘Eka’.

 

Saturday brings the Kamakshi Khana Collective, Mumbai-based neo-fusion rock band Neeraj Arya’s Kabir Café, Indo-Canadian singer Jonita Gandhi and our favourite Bollywood hits. And the final day is a fun filled interactive day of drum circle activities and meditation workshops – the perfect way to end the weekend and to refresh you for the trip back to normal life.

 

Passes for the event can be availed at www.genesis-foundation.net

 

All money raised through this Festival go back into funding the charitable work of the Genesis Foundation. This facilitates medical treatment for critically ill under-privileged children suffering with Heart Disorders. The support required in the said critical illness varies from specific surgeries (including neonatal), Cath Lab Interventions along with recovery and recuperation post-surgery.

 

So far, they have supported medical treatment of over 1000 critically ill children. The children supported by the Foundation belong to families with an income of less than Rs10,000 per month and the parents and caregivers are unable to afford treatment of these children who suffer from a serious life-threatening ailment.

 

As well as enjoying the music, sites and atmosphere over the weekend, it’s also your chance to do your bit to help save those little hearts.

GF Team (1)

(Photo courtesy of The Genesis Foundation)

How to Travel to Kasauli

 

The easiest way to reach Kasauli from Delhi is by train. There are numerous trains running daily from Delhi to Shimla and Kalka (Shimla being just 13km away from Kasauli and Kalka 25km)

 

While Delhi is the closest international airport to Kasauli, it is possible to travel via internal flight to Shimla airport, or to Chandigarh airport, then travel to Kasuali by taxi.

(Route map from Shimla Train Station to Baikunth Resort)

(Route map from Shimla Train Station to Baikunth Resort)

Places to stay in Kasauli

It is indeed possible to stay at Luxury holiday getaway Baikunth Resorts for the duration of the festival, however if you’re on a tighter budget a starting price of Rs. 9000 may not be music to your ears. Fear not though because there is no shortage of accommodation available in Kasauli. There are two bedroom private homes available from just RS. 2069 a night, and with websites like www.airbnb.co.in finding affordable accommodation is simpler than ever.

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Posted in Celebrating India, Festive India

From West to East: Travel Interview

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From West to East: Travel Interview

For decades India has been a most sought after holiday destination for westerners.  Since The Beatles made their first pilgrimage to Transcendental Meditation retreat in Riskikesh in 1968, India has been ever popularised and its image imbued with a sense of exotic mystery, spirituality and an essence of the unknown. Indian aesthetics are used throughout western popular culture and fashion, with designers in film, television and the music industry looking to India’s rich and beautiful culture and have woven it into western contemporary culture. To the western mind, India is a land rich with oriental magic, the ultimate escape for those wishing to ditch the overcast cold which plagues the UK most of the year.  Advancements of globalisation mean it is now easier than ever to make these long haul journeys across the world to experience it firsthand.

Travel and Deal interviews Raj Singh Gore, a young British National of Punjabi origin about his recent trip with friend Sophie (also a young British National) as they travel to various destinations in Northern India.

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On the banks of the Ganga (photo credit – Raj Singh Gore)

 

T+D:  So first of all, tell me why you chose India as a holiday destination. What in particular drew you to travel here?

 

RSG:  I traveled to my family home in Punjab earlier last year, in April, to attend the wedding of a family friend. I spent time with my cousin as he showed me around Punjab, and after seeing how amazed I was by the sites and scenes in Punjab said to me “If you think this is good, just wait until you see the rest of India!” and urged me to travel to other areas. I was just so intrigued by how vast India is, and amazed at how such a variety of cultures, landscapes and wildlife can exist within the same country. I mean, you’ve got beaches, snowy mountains, deserts, forests, hill tops and flat lands all in the same country.  And the weather is so different from North to South. I wanted to explore different places in India and experience the rich variety the country has to offer, rather than only going to Punjab.

 

T+D: So as you’ve told me, this isn’t your first time travelling to India. How many times in the past have you visited?

 

Previous to this trip, I have been twice. Once when I was very young, I don’t remember much of that trip, and then again last year. The first two trips were with family, and this time I traveled with my friend Sophie.

 

T+D: As you mentioned before, this was Sophie’s first time travelling to India, and your first time without your family; did you have any concerns about that?

 

RSG: I was very nervous on the flight to India from the UK, but also excited at the same time. As soon as I arrived in India I realized that I had to learn to be independent, and the whole experience definitely has taught me that.

 

T+D: How did you travel once you arrived in India?

 

Our flight departed from Heathrow Airport in London, and our connecting flight was from Bahrain straight to Indira Gandhi International Airport in New Delhi.

While in Delhi we took the metro to travel around the city, which was absolutely amazing! The Delhi metro system is even better than the London Underground! It is much easier to use and more efficient.

We originally planned to stay at a hotel in Paharganj, but our hotel wasn’t as nice as it seemed on the website and we wanted to escape the hectic atmosphere of Delhi. So we found a tourist information center and booked a tourist taxi straight to Jaipur, Rajasthan. Once in Jaipur we used a mixture of public transport like trains, buses and rickshaws, and also walked wherever we could. I was lucky as a few of our rickshaw drivers spoke Punjabi, so language was less of an issue.

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T+D: What did you do first once you arrived in Jaipur?

 

We only spent two days in Jaipur, and in that time we tried to see as many of the frequented tourist attractions as possible. First we visited Amber Fort in Amer, we were captured by the beautiful architecture of the building and the gardens. After visiting Amber fort we went to the famous Galta Ji ‘Monkey Temple’.

 

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(The pink city – photo credit Raj Singh Gore)

However our favorite site during our time in Rajasthan was Pushkar. We explored the whole of Pushkar including the famous Jagatpita Brahma Mandir and were stunned by the vast rolling desert landscapes. Pushkar really stood out as my favorite place in Rajasthan, the atmosphere there was just so peaceful. I have seen a lot of the congested, chaotic side of India, particularly in Delhi which is known for its intense traffic and constant hustle. Pushkar was like an oasis of calm for me. There was just something about the place, something completely tranquil. It was refreshing to see places of worship of so many different religions all on one place; there were Gurdwara, Jain temples, Hindu Mandirs all in the same vicinity. You could really sense that this was a spiritual place; there was an almost holy presence there. I would definitely recommend going. Just hop on the train and go!

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(Pushkar -Photo credit – Raj Singh Gore)

T+D: And after Rajasthan, what was next?

 

RSG: We went from Rajasthan to Varanasi by train.

 

It was just out of this world. I don’t even know how to explain how amazing it was! Soon after arriving there, we just sat on the bank of the Ganga River, not even doing much; we just sat there for hours on end. And what’s best is that we got to spend Diwali there! The fireworks were breathtaking, and we must have been out until 2 am joining in with the festivities.

 

One of my best memories of my entire trip to India was going to the Ganga Aarti in Varanasi, which was absolutely magical. It’s difficult to convey in words how brilliant it was. You just have to be there to really understand it.

 

T+D: How did the reality of India differ from your preconceptions of how it would be? And this goes for Sophie as well, what was her perception of seeing India for the first time as a UK national.

RSG: I really love India, I have been twice previously and already had an idea of what to expect, and this trip has only led me to appreciate it more. But I think Sophie found it a little more difficult to adjust. She found it very hectic, and the food didn’t agree with her. She found certain things shocking, for example the living conditions of the poorest in society, which is visible in the majority of places you go in India, and also the stray dogs and the condition many of them were in.

16832983_10208033190177586_1162109195_o(Photo credits – Raj Singh Gore)

T+D: What did you find to be the most different culturally?

RSG: Definitely the driving! And the fact that people seem much friendlier in India. I think that was mainly due to the fact people knew we were tourists from the UK, but we found everyone to be so helpful.

T+D: Has your recent trip to India influenced where you would travel next?

RSG: Yes of course. It’s made me realize the possibilities of travelling alone, without family. So I am going to travel more of India, and hopefully more of the world! I think my next trip will be to South India.

 

 

 

Posted in Celebrating India, Connecting To The World, Destination of The Month, The Traveller, Travel

THE OOTY LIT FEST – of traditions , culture and history wrapped in literature. – Hema Iyer Ramani

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“Literature, real literature, must not be gulped down like some potion which may be good for the heart or good for the brain — the brain, that stomach of the soul. Literature must be taken and broken to bits, pulled apart, squashed — then its lovely reek will be smelt in the hollow of the palm, it will be munched and rolled upon the tongue with relish; then, and only then, its rare flavor will be appreciated at its true worth and the broken and crushed parts will again come together in your mind and disclose the beauty of a unity to which you have contributed something of your own blood.”
― Vladimir Nabokov, Lectures on Russian Literaturec

DSC_0582These words  of Nabokov came uppermost into my mind after I had attended the Lit Fest at Ooty, when I began to ruminate over all that I had listened and absorbed in my two day feast at Ooty. Reading is a personal journey , and an intimate one at that. It was this intimacy that was perceived at the Ooty Lit Fest, the first of its kind at the historic heritage building, The Nilgiris District Library in Ooty.  Says trustee Geetha Srinivasan, “ the Nilgiris library is an amalgamation of British architecture and  traditional building methods. This is one of  the largest  Heritage reading rooms in the country with  massive windows providing  light throughout the day.” Sitting in the beautiful building with arched windows that dwarfed its occupants, it seemed the perfect setting for us to be in.  Stating that Ooty was no longer  the same  “paradise that Lord Lytton saw and wrote  about in the nineteenth century, the Nilgiris  Library( one of the oldest heritage libraries in the country) is still one of the best preserved examples of  Victorian architecture”. The motto of the library is Abeunt Studia (Mores), which roughly translated means ‘studies pass into habits’- in this day of  computer usage, I couldn’t but agree with Geetha. But then, climatically Ooty provides the perfect excuse to sit by the fireside or curl up in bed with a book as the perfect companion!

DSC_0480The Nilgiris region is proud of not only  its abundance in terms of flora, but also in terms of its rich heritage and culture. The team spear-headed by Yash Muthanna flagged off the fest as she declared it open , but only after the audience had a taste of the music and dance of the Todas, dressed beautifully in embroidered costumes and locks of hair coiled to seem spring-like ! It was a moment which stayed on and their continued presence was felt even in the manner in which they had taken care to honour delegates with shawls embroidered by them. Why, every member of the audience also proudly wore a small badge that was hand embroidered- it was importance to little details like these that made the fest more intimate and charming. It also reiterated the statement made by one of the organizers- “ The Todas and the Kothas are the true hosts of the Nilgiris” !

The two-day Lit Fest at Ooty, the first of its kind thus started off with six sessions on each day.  Every  session was made an interactive one, with the moderator of course using the discretion to allow the question being addressed mainly to keep  track of time.  Each of the moderators conducted the sessions with a sense of  dignity and a keen interest in the subject.

In order to perhaps bring out a sense of uniformity , the organizers had placed plastic-moulded  chairs to the panellists and audience alike. But, they soon realized the discomfort faced by some elderly panellists , and quickly set it right by giving them more comfortable wooden armchairs that must have been a tad too comfortable because the sessions got longer with the participation from enthusiastic audience as well. The fest was the first of its kind and the organizers were keen to improve at every step. Though time was not given primary importance, it must be admitted that it certainly was a very interesting and informative fest.  The fest was also different in the manner in which the audience participated- intelligently and enthusiastically !

DSC_0396The first session ,Telling It Like It Is had C.V.Ranganathan moderating the panel consisting of good speakers- Mansoor Khan, Sheela Nambiar, Mark Tully and Theodore Bhaskaran. It had Mansoor  Khan talking about growth, its excesses and the dangers of falling into the trap of  seeking growth in an unorganic manner. While growth itself cannot be stopped,  its excesses that he likened to “cancerous growth” can be halted, he opined. This finds resonance in the vernacular : Adhikum aayal, amritamum vesham (  Taken in excess, even nectar can be poisonous). Growth is the largest religion of this planet  , and growth for the sake of growth is the ideology of a cancer cell, he said. SirMark Tully spoke about his journey along his career as a journalist and as writer, pointing out that ‘writing fiction was harder than writing facts’, stressing that facts cold be stated after collecting it from sources, but fiction had to be scanned in the mind even before one could progress into writing. Film Historian and Conservationist Theodore Bhaskaran  extolled about   writing on cinema- reviews as well as scripts for cinema. Dr. Sheela Nambiar spoke about the benefits of fitness and also drawing attention to the fact that several “fitness fads have come to exist that have come to confuse the mind of the people”. She urged on the need to follow fitness without succumbing to fancy myths, but discovering its purpose and thereby understanding that its advantages far outweigh its  simple task of adhering to ‘routine’. The doctor of the future does not treat, but prescribes prevention, she advised. By adhering to a simple lifestyle and a little discipline, it can change the lifestyle she argued. The moderator was quick to remark that Sheela was someone people would  certainly pay heed to, by taking note of how well she had paid attention to her own fitness- a point the audience immediately were ready to notice  – “ Oh Doctor, do preach!”

DSC_0393The second session was a brilliant session  The Bhima of Malayalam Literature, M.T. Vasudevan Nair was presented by V.K. Karthika of Harper Collins, India. MT  sat in the audience with most in the audience having only heard of him, not seen him- his simple  unassuming manner  touched the hearts of everyone in the audience.  When there was no provision for the standing mike initially, he refused to ‘allow another person to hold the mike for him’. That spoke of his respect for human dignity, a fact that didn’t go unnoticed by anyone. When he spoke,   however haltingly , he walked into the hearts of all- he spoke of his journey as a writer, how it was Providence that had chosen to lead him on, directing his every course. He very simply said that MT was no God, and he didn’t wish to be put on to a pedestal- he did not wish to be deified, a  truth I found so becoming of a great man, especially in an age where most humans seek to be deified- it was a lesson in trying to be human in the only way we can. . The ability to accept criticism and be self-critical is the only way forward is a truism and this was reinforced as the way when the organizers conferred upon  MT the honour of the Lifetime achievement award, which carries a cash award, citation and a memento.He spoke about the roles of a writer and a script writer for films- being a writer meant being a Raja and a Praja, he said.The characters in the films were made by him, and it was always a fine balance between what would work better for the film than the book.   Karthika with her perfect understanding of the man and the subject handled the session so beautifully that it continued to stay on with me for a long time- there were no patronizing statements, no artificiality, just simple fresh honesty that was refreshing and so grand. MT also said that he had faith in the crop of new writers, and promised that writing would continue after MT too, when someone asked about  ‘what after MT?’ For me, however the perfect moment was when MT said : “ Every writer must have the courage to reject his/her own work”. I couldn’t but agree with what MT had to say- in fact I wished at that moment that MT would make every artist/writer understand this simple truth that man is fallible- every concert or writing,or artwork need not turn out to be a masterpiece all the time ! This is also the reason why they get very defensive about their creations that they are not able to accept criticism or another viewpoint.About his works being translated he said, my translators do for the love of it, and I trust them.

The third session, Working Your Way Through had Ambai( C.S. Lakshmi) and Vinod Bhaskar talking about their writing  experiences and with Madhavi Ravindranath as the moderator. The magic was unleashed with quick wit from both panellists  and was laced with information, way of life, and a good measure of humour .  Ambai explored her views on love, relationship, feminism and being able to hold ahead and strongly in a society that was/is so patriarchal.

Arundathi Subramaniam moderated on the session that discussed the issues of translation ( The Wrong Side of The Carpet). Sajai Jose and Vijay Nambisan spoke about how important it was to translate, and how essential a part it played in carrying across the language and culture to distant lands, yet how they could also lose out on translation when some  sayings made sense only in the vernacular, and how some could get lost in translations. Yet it was a feast for poetry lovers to have a fest of a goo poetry session complete with some beautiful reading.

Writing For The Add Generation  had panellists Shobha Viswanath as moderator  with writers Anushka Ravishankar and Kavery Nambisan  speaking about the need to have good writers for children’s books.There was more poetry that followed with the next session titled Words That Make Music thathad meenakshi  Venkatraman moderating , and poets Arundathi, Vijay Nambisan and Tanya Mendosa ha the audience inspired as they had a play of words an rhyme.

The second day had the publishers together – How To Get Published had publishers V.K. Karthika, Anushka Ravishankar and Shobha Viswanath on the panel moderated by Indu Mallah. They spoke about the difficulties  on both sides- the writers as well as the publisher’s sides. Shobha spoke about the need to have good writers especially for children. The person who had my attention was V. K. Karthika  who spoke about it clearly and with a clear understanding of both sides. She was very honest when she said it was hugely impossible for publishers to read every work that would reach their table. She went on to speak about different issues- discovering new writers, the commercial viability, the role of ‘celebrity writers’ and her varied experiences from a corporate point of view. She also went on to speak of the role played by  agents of writers ,who would try  to promote their clients into important fests- in their order of importance- the importance of being seen at all the ‘right’ places – and finally ,the problem of some  good writers being overshadowed by celebrity writers, and the task of being unable to look into the works of every new writer. In the 400th year of Shakespeare, to me it seems so ironic when I recall  what he wrote: “What’s in a name?” – Everything, don’t you agree?

The next session No Full-Stops For Mr.Tully was another personal favourite of mine.  The synergy and the easy camaraderie that Gillian Wright and Mark Tully shared was again very special. She said she had shouted at him several times, but never  once interviewed him . Though it was a first of sorts, it turned out to be an amazing session, as Gillian kept  Mark on the track having followed his career for several years, prodding him and encouraging him to share stories that led to the birth of the many books that happened. So touching was it when Mark said: . “India still suffers from a colonial hangover” , he remarked , which instantly received approval from a majority in the audience.  “Secularist fundamentalism is just as dangerous as communal fundamentalism, for anyone who speaks in favour of Hinduism cannot be branded as Hindutva by Secularists”, he opined.  “There is something special for me in India”, he said , and it did come through in the free flowing conversation that happened between the two.

It was then time for Storytellers Anonymous with Sheela Nambiar moderating as story tellers- Kavery Nambisan, Sangeeta Shinde, Aroon Raman and Yasmeen Premji  wove their  tales of how they spun their tales, what inspired them and so on. One of them even remarked: She started out writing out of boredom first.

The following session had Ambai and Arundati  Menon discussing about C.S. Lakshmi  being not just a writer of merit, but also one who is the founder of one of the largest archives of women’s writings and creativity, and her organization called the Sparrow.

M.R. Srinivasan took Theodore Bhaskaran , Tarun Chhabra and Meenakshi Venkatraman through ecological concerns in the session titled The Green Writer. And  finally, the session was wrapped with all the local writers, the Pride of the Nilgiris being toasted in a fitting finale , where Tarun Chhabra, who has committed himself to the cause of the Todas, writing in depth about their ways and culture,Sangeetha Shinde and Susan Daniel were presented by Aroon Raman. So culture keepers interspersed with story tellers.

The Ooty Fest thus came to a grand finish. Culture was woven with history and  literature. Tradition was kept alive and inspiring, with local history woven into modern- the Todas were truly the hosts as the shawls woven by  them were given as gifts to the speakers. In order that the audience need to carry not just an abstract memory of the fest , they were also given beautifully woven badges. For the first time, the audience merged with the speakers symbolically and literally- it could truly be stated that the Ooty Lit Fest was truly inclusive in every way. It was beautiful to watch handsome young men and women walking with trays holding the mementos out  to the speakers. More than anything, the Fest was not filled with just people who wished to ‘be seen’, but rather with people who also wished to truly ‘participate.’ It was also a beautiful tapestry of local talents forming motifs on the literature map of the grand Ooty Lit Fest- certainly, an August Fest in September !

( A  former lecturer of Political Science  at Mount  Carmel  College,Bangalore , Chennai-based writer Hemalatha Ramani contributes to newspapers,magazines and blogs.She is the author of a travel book, Soulscapes:Travels and Conversations in India.  She  writes under the name  of Hema Iyer Ramani. )

“Everybody does have a book in them, but in most cases that’s where it should stay.”
― Christopher Hitchens

Posted in Celebrating India, Festive India

OOTY – Of ground nuts, steaming tea, long walks, chats and chocolates, and some reading – By Hema Iyer Ramani

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“What is this life if, full of care,
We have no time to stand and stare.
No time to stand beneath the boughs
And stare as long as sheep or cows.
No time to see, when woods we pass,
Where squirrels hide their nuts in grass….”
W.H.Davies ( Leisure, Songs of Joy and others)

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Situated at an altitude of 2,240 m above sea level, Ooty is indeed a haven for anyone who wants to escape the heat. As one begins to climb along the winding roads , the air gets cooler and cooler, and the layers of clothing on our bodies increase too. There is a certain paradox that is at work between the landscape and humans- the cold air brings people closer to feel the body warmth, and the warmer the place, the more you need to physically distance yourself from human bonding !The drive is beautiful either by road or by rail. The toy train that runs from Mettupalayam to Ooty or the shorter trips from Coonoor to Ooty are surely enjoyable. The Metupalayam trains(heritage) are rather unpredictable because they depend on the favourable weather conditions and also get frequently delayed owing to the animals that cross the tracks. So the train chugs slowly but surely, and  one is immediately transported to an era where we had all the time to ‘stand and stare’.

As one begins the climb up, one notices coffee plantations at the lower levels even as the winding roads go uphill . The higher altitudes have acres of tea plantations and spices too. Coonoor , we discover is a Planter’s town. As Captain Ravi, our host drove us across the town, we came across a remarkable feature so distinct in these hill towns- when drivers spotted another vehicle chugging uphill or sliding downhill, they generously allowed the oncoming vehicle to pass- this gesture was extended by almost all the drivers , and said Ravi: “ You can be very sure it is not a local if he/she does not adhere to this simple gesture.”Small towns have a lot to teach big cities in terms of etiquette and culture, I realized.

Though a  tourist would notice a lot of cosmetic changes that have happened , yet Ooty has not lost its charm . There are many things that cater to the tourists specially, but when you remove the top layers of ‘tourist indulgence’, you are charmed by the generosity and the genuine warmth that the hill town has to offer. Just outside the beautiful Lawley Institute on Garden road, near Charing Cross in Ooty stands a peanut-seller called Gopalakrishnan with his charming wife, Visalakshi.  More than fifty years back, Providence brought him to Ooty when he had to face unpleasant family issues in his hometown of Trichur. It was his brother who introduced him to the town, and says the man, “there has been no looking back since”.  The Assembly Rooms Theatre which is more than a century old is situated across the Lawley Institute , and Gopalakrishnan decided to set up his little mobile shop there. Every afternoon at 1 P.M, he would set his cart, start roasting peanuts on a broad pan filled with rock salt. A small  oil lamp provided the necessary light. The cool climate in Ooty provided the perfect excuse to cinema-goers to step out of the hall to dive into packets of roasted peanuts that were really hot ! Irrespective of the weather, the old man and his wife stood outside and having the small hill town literally eating out of his hands.  Prakash, a long Ooty-ite and owner of Marlborough Homestays says of Gopalakrishnan: “ He has been here for several years catering to the needs of cinema-goers initially, but what brings back his loyal clients is that you cannot come across a single bad peanut.” That is truly a lot to say, and it was a fact that was reiterated by several others. It is not how important an office you hold, but how importantly you think of your job is what people like Gopalakrishnan have to share, and though he sells them at very reasonable rates, he still has the largeness of heart to share some warm roasted peanuts for the road, even though you don’t ask for them.

The Botanical Gardens are definitely worth visiting to anyone who loves gardens.  But to me, the entire hill town with its quaint cottages (and some not so beautiful structures) with its lovely small flower gardens across patches on the hillside seemed like a garden town by itself.  Poof(flower)nila(moon) who sold the wares of her community from a shop in the Gardens ,representative of a traditional Toda hut proudly spoke about her tribe, about how long they took to embroider the shawls and how close they stayed as a community. Some of these Toda huts can be found on the hills above the Botanical Gardens, where they still dwell.Today she says, “not many of these traditional homes can be found because most of our children have become educated, and we have also moved into homes with concrete roofs”. Yet, 16 self-help groups of their tribe live in peace supporting each other. The tribes are known to not only make beautiful shawls, but they also bottle forest honey that they gather, and of course the sweet smelling oils and perfumes that are now so popular.

A hot drink is welcome anytime of the day in this hill-town, and localites recommend High-grown orthodox tea, the Orange Pekoe, which is the highest quality of Tea, because here the buds are hand-picked with fingertips ! The grades of tea depend on the number of adjacent leaves that are found by the bud. Of course, fannings and dust would be at the lowest in the hierarchy. Another big favourite with the locals is the home-made chocolates, which is a speciality of Ooty. Long-time resident of Ooty, Thesingh vouches for the chocolates sold in the old shop , Modern stores, since 1951.

Boarding schools are quite prominent  and a well known feature since the days of the British Raj. As you drive around, six kilometres away from Ooty  is the beautiful Lawrence School, where the magical Head boys and Head Girls from Enid Blyton’s description seem to come alive. As you drive further up, you come to the Doddabetta( Big mountain), where the temperature suddenly drops low, and the mist covers the man and mountains with its large blanket. Small farmers and vendors sell fresh vegetables and fruits across the way, but the weather tempts you to eat the less hygienic masala peanuts tossed in vegetables and lime !

The weather in Ooty makes it conducive for young and old alike to curl up in a comfortable large chair by the fireside  with a pile of books and a steaming cup of tea. The Nilgiris District Library facilitates such reading by throwing open its membership to its local readers.  A majestic building , it stands proud with its beautiful tall arches and long windows, an amalgamation of British architecture and traditional expertise.

Of course  a visit to Ooty remains incomplete without a visit to the beautiful lakes and the waterfalls , or even a drive into the forested regions of the famous Mudumalai, which has the distinction of being one of the few elephant resorts. Driving from Ooty , my young friend Rithika Madira organized for us to stay in a beautiful cozy resort aptly called Wildnerness ! Located amidst coffee  and pepper estates , Wilderness provided us with the most tranquil nights under the starlit skies. The rooms were spacious and comfortable, but it was the homely food that was so generously served that we enjoyed the most. Large imprints were telling signs that an elephant had visited our cottage maybe a few hours before we had occupied the room !

The Moyar river originates from a small town by the same name along the Masinagudy-Ooty road, and the flowing river separates the forests of Bandipur from Mudumalai. There are forest vehicles that take you on a conducted tour inside the forest, and you are suitably excited when you hear the stories that are told: “ We just spotted a leopard at close quarters today”. So we think we are going to be the lucky ones too , but you realize each time after you return having spotted the elephants, bisons, peacocks, spotted deer, that you are not going to spot the tigers or the leopards because they shy away from the human noise ! But the dream of probably getting lucky is so strong that you are willing to get ‘taken for a ride’ !

We had to wait for a while to watch the elephants being fed. So my children decided to go on a walk instead of just waiting. When they returned, my friend remarked, “ I caught your son watching Kamakshi having a bath”. I however didn’t bat an eyelid. Having spent all my holidays in the land  which boasted of so many elephants, I knew what it was all about.  Kerala abounds in stories of elephants- their gentleness, their strength, their wisdom and their anger too.  It is so therapeutical  to watch the large animals as they are being  fed.

At the resort, Ramesh took us on a quiet walk to the river- the stillness of the surroundings with just the sound of the birds, and the rustle of the leaves  brings an immediate sense of peace. As the walk  through the narrow winding path comes to an end, we hear the gushing sound of water. The river is covered by rocks, and we see some plantation workers deftly walk on the wet rocks as they make their way into the woods, where they go in each day to work on the plantations nestled in the midst of the forests. We look at them in admiration knowing the uncertainties that await them in the woods, but they promise us that it is less dangerous in the woods than the civilized jungles outside.

Getting back after a holiday to mundane existence of a city life can be painful- the noise of the blaring horns, the traffic line running for a few kilometres because someone felt the need to break the queue thereby causing an unnecessary jam awakens you in an instant about the madness of the so-called city-bred life. And the madness continues until I travel again, soon enough perhaps!

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( A  former lecturer of Political Science  at Mount  Carmel  College,Bangalore , Chennai-based writer Hemalatha Ramani contributes to newspapers,magazines and blogs.She is the author of a travel book, Soulscapes:Travels and Conversations in India)  She  writes under the name  of Hema Iyer Ramani.

Posted in Celebrating India

Chennai Center stage

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Chennai  Center stage -  by  V.V.Ramani

A monthly feature on art events in Chennai – previews and reviews for Art & Deal

Meera  -  The Soul  Divine

Meera  the poet princess is an epitome of bhakti and total surrender, and her life story that is so strongly embedded  in the minds of Indians , has been a popular theme recurring time and again in Indian folklore ,classical and folk performing arts and visual arts. Swami  Dayanandha Saraswathi  had a strong desire to throw light on Meerabai  during  the centenary year celebrations of M.S.Subbhulakshmi  ,the great  carnatic musician who immortalised the story and music of Meera on celluloid. He was keen that the carnatic vocalist Bombay Jaishri Ramnath  design the musical score for a new dance production. Chitra Visweswaran ,the bharatnatyam exponent  was then entrusted with the task  of giving a visual design by choreographing  a dance production.  Funded by Aim For Seva, the two artists worked together to present a dance production ‘Meera—The Soul  Divine ‘ which was premiered  in Chennai  recently and has embarked on a tour of U.K and U.S.A.

The nostalgia of M.S’s music is so strongly embedded in the viewers mind , that Jaishri  had to work on a musical score which could hold  attention .’’The deep thoughts  that are embedded in these lyrical gems was great inspiration for me to compose ‘’says   Jaishri , who created a melodic score retaining the Bhakthi bhava  of the songs with a fine blend of Carnatic and Hindustani ragas ,and her music reached exalted heights in the final segment where Meera unites with her lord Krishna. Chitra ,left with  the task of  encapsulating  the story  and  the bhakthi element of meera into a short performance duration  ,choreographed the narrative to flow smoothly touching upon the salient points .Cleverly ,using four different dancers as Meera ,the transformation from the child ,to the young,then middle aged to the final mature state of total surrender ,the facets of varied stages was portrayed convincingly by the dancers Sahasra,Sruthi Rammohan,Uma Namboodaripad and Chitra Visweswaran ,respectively .The largely narrative style of choreography that was danced by her students culminated with a focus on abhinaya  extolling bhakthi bhava danced by Chitra herself .

The lighting design  conceptualised by Chitra and  handled  by Murugan enhanced the mood of the sequences .The costumes that captured the flavour of Rajasthan in its colours could have had a better impact ,had it followed the stylistic patterns of the region , rather than the Bharatnatyam costume style in its design .This production not only highlighted the bhakthi  element but also looked at Meera as an inspiring role model , to women who choose the path of their lives.

Simhanandini – the Dancing Lion  

A notable aspect of the artistic traditions of India, is the fact that each form of art moves beyond its boundaries , getting  inspired or inspiring  another art form ,each being enriched by the other. One such art that encompasses visual art and performing art ,is the dancing of ‘Simhanandini  ’a dance feature, a unique gem from the archives  of the temple traditions  in the  Kuchipudi dance style , where  the dancer sketches the picture of a lion with her feet while dancing on coloured powder .Part of a ritualistic tradition ,this was traditionally  performed on Vijayadashami  day of the Navarathri festival ,when goddess Kanakadurga is  taken on a chariot .The devadasis would sing and dance in praise of  Mahishasuramardhini  and then draw the picture of a lion to the beat of the Simhanandana tala, the thirthy-seventh tala[and longest  one]of the 108 tala system.

Lasya Mavillapalli ,the daughter and disciple of Narasimhacharis, learnt this dance from her mother Vasanthalskshmi and premeired  it in Chennai  as a tribute to her father Narasimhachari  on his first death anniversary .Lasya beginning the performance with a mishra  chapu tala composition ‘Narasimham Bhajeham’ composed and choreographed by Vasanthalakshmi  in a lively manner,impressed with her depiction of the navarasa ,before proceeding with  the dancing lion .Even as her mother was demonstrating the complicated tala pattern ,Lasya stepped on to a white screen stretched on a frame placed over coloured powder.Within one avartana of the Simhanandana tala lasting nearly two minutes ,she was able to sketch with graceful movements ,a picture of the lion with ease .

Vasanthalakshmi ,who had learnt this art from guru C.R.Acharya ,and performed it widely ,felt that this art  form needed to be documented and also shared ,so that young dancers and  academicians could benefit  from it. She re-invented this treasure with guidance from scholars and texts and worked on the music ,tala and choreography to produce a DVD of this dance . This  video covers various aspects  ranging from its origin and history,codification of talas,a verse on devi ,jathi in simhanandana tala, preparation of a screen used in proscenium stage for the dancer to dance and sketch the lion ,to a final section of a full performance of this dance. Produced by swati soft solutions Sanskriti series ,this DVD priced Rs 650 is a collector’s item for dance enthusiasts. A part of the proceeds from the sale of this DVD will go towards IMPFA[institute of mouth and foot painting artists].

Krishna Bharatham –The Natyarangam Festival .

The problems faced by a multitude of dancers to find a platform for dance ,led to the birth of Natyarangam  a dance wing of Naradha Gana Sabha. A group of dedicated committee members with the aim of providing a platform talented young dancers and also to create an enlightened audience base by initiating art appreciation lectures . Besides presenting young talents in their monthly programmes and lectures on related subjects by experts, they have conceptualised an annual dance festival held in august  /September which provides  young dancers an opportunity to hone their creative skills .

Every year a specific theme is given to the dancers and with an aim to bring in an interdisciplinary approach ,brings together dancers, scholars ,musicians, artists, composers ,poets ,writers and theatre professionals as resource persons to guide .This festival which has become a major event in Chennai’s cultural calendar has successfully completed  20 years, and recently they  had their 21st festival titled ‘Krishna Bharatham’ .Krishna ,the darling child was thechosen theme and the dancers explored the various poets and composers of India ,ranging from Alwars to Jayadeva .

The festival honoured Saroja Vaidhyanathan,Bharatnatyam exponent and guru,M.Balachander ,Mridangam artist,Praveen Kumar ,senior Bharatnatyam dancer and Medha Hari ,young Bharatnatyam dancer  for  promotion of talent .The success of this festival is largely due to the tireless efforts of the committee members Sujatha Vijayaraghavan,K.S.Subramanian,S.Janaki,S.Viswanathan [Charukesi]S,Kannan,Hon.Secrataries,Mohan Sreenivas and K.Harishankar and associates Hyma ,P.C.Ramakrishna and ‘’Aanmajoti’’K.S.Natarajan whose passion for the arts have driven them to continue this honorary work for so many years .

Maniosai – A Musical Opera

Ilango Kumanan,Muralidharan and Anand Krishnan,three enterprising entrepreneurs  in the field of outdoor publicity and advertising ,ventured onto the arena  of performing arts in April 2012, wanting  to promote and nurture talented artistes across all genres   and also present  star performers  in new experimental  explorations and creative collaborations to a wider audience base . From classical music and dance, folk arts, western music, fusion music, film music and theatrical shows their company SS International Live  ,in a short span of four years  have successfully completed their hundredth show ,recently .

Maniosai  a musical opera  featuring a galaxy of front ranking musicians enacting roles in a play was their hundredth presentation.

Charukesi  a writer had worked extensively on tracing the life and musical journey of a genius – Mridangam  maestro  Palghat  Mani Iyer ,interviewing his family members and musicians to come out with a book on this legend. Written in simple tamil this book gives us a complete insight on this artiste.

Based on  this book Nityashri Mahadevan, eminent carnatic vocalist and granddaughter of Mani iyer, conceived the idea of giving it a visual dimension in the form of a play .Since the story revolved around  many great musicians he had accompanied spanning  nearly 70 years of his life ,musicians from the current generation were brought in to enact the varied roles. The singers besides enacting other musicians ,also sang imitating them. With Nityashri donning the role of a Sutradhar-Narrating the story ,the musicians enacted the sequences.

The play worked well in bringing to us an entire lifetime of creative artistes of the past century ,in an encapsulated form in a span of three hours. It is truly commendable that leading musicians came forward to take part in this effort. Some of the artistes got into the skin of the characters with ease , while the others were projecting their own individuality rather than the characters. Audio ,so important for a musical show was below the mark.A lot more care taken in presentation  , with attention to aesthetics in costumes , sets and lighting could have added value to a visualization of a great artiste’s life.

Posted in Celebrating India

Stop whining , Start wining

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C360_2016-06-06-19-51-37-674It has been truly a cosmetic transformation for Bangalore , now Bengaluru-  langas and chaddis to lehengas and shorts ,rava idlis and masala dosas  to pastas and pizzas, by-two coffees to one pint beer – garden city to pub city! And, interestingly, the charm of the old remains somewhere within the new too.

Bengaluru has something to offer for the varying tastes of the tourist- heritage walks around the avenues where the stately buildings proudly stand in their magnificence, beautiful parks, botanical gardens, temples, palaces, and monuments, hotels, big and small. But what is unique to the metro is the concept of micro-breweries and vineyards, where wine tours are conducted.

During my recent visit to the city, I was whisked away to a micro-brewery located in Indiranagar. I was amused by the name of the place- Toit.  Micro breweries as the name suggests are breweries where limited quantities of beer are produced, typically for consumption on their own premises.  Traditionally, big breweries took decisions over the flavour and the taste of the beer, and had a common pale coloured beer bottled up to be consumed. But as taste buds got more adventurous, and ideas floated around, small breweries slowly began to figure on the map catering to the tastes of their loyal clients so much so that micro breweries seem to encourage a signature style- like artists with their own loyal clients. Micro breweries made ‘bottled’ beer seem less fashionable, because here, beer would be brewed fresh, and each of the breweries prided on making their beer with natural ingredients and using unique and exotic flavours- rice, fruits wheat, or spices.

A quaint looking place with a wooden look about it, and as you walked in, you had to adjust your eyes to the semi-darkness of the place. Dim lights, comfortable sofas that you could lounge in and find it difficult to get up later, either because they were either too low, or you had one drink too many! Not so narrow stairs transported you to two floors of the pub that can seat 400-500 guests. Weekends of course were  the  most crowded. We realized we had arrived at the perfect time because we managed to get the last of the comfortable seaters, rather than being stuck with a high bar stool, which could well land you hard on the ground if you got a little too high!

C360_2016-06-06-21-21-27-633 The place had a Western look about it and one expected a cowboy to suddenly turn up. Long benches, stools shared the floor space with tall copper boilers which were used to brew the beer every day. I had difficulty reading from the menu (thanks to the dim lighting), and so I was assisted by my friends. Since I was a first timer, it was suggested that I try their sample tray, consisting of 6 different flavours-from light to strong, each with its own distinct aroma and flavour. Their food was good too: though the onion rings left much to be desired, the paneer marinated in spices was soft and delicious. The pizza and pasta were great for our taste buds too. The coasters had the most beautifully crafted beery messages!

C360_2016-06-06-20-40-32-053Toit not only had a beautiful ambience, but made it an educative experience too. At the entrance were framed posters that enlightened us about beer making-“It takes four to tango-malt, hops, yeast and water.”And then the process of brewing (mashing, fermentation and so on) was explained in detail for anyone who wanted to know, besides just wanting to get high on beer! Besides the dim lighting, there was loud music, and layers of voices drifting from across tables from all sides and levels. Posters made from works of great Masters, Mona Lisa and the Scream were among the works that adorned the place. It was definitely aimed at drawing the younger crowd, but when you love beer, what has age to do with it? After a few rounds of beer, the loud music didn’t seem so loud after all, and each of the guests were totally oblivious of the decibel level from the neighbouring tables. We savoured the aroma, and breathed in the fragrance that invaded down our senses prompting us to pamper our throats.

C360_2016-06-06-20-05-23-290Toit was the perfect place to unwind. All through the week, sometimes we are left feeling like a coil highly strung…too wound up. The minute you take the glass to your lips, the nostrils dictate the next move. Slowly and magically, you are ready to savour the journey, and the beer feels ever so refreshing, calming the nerves and I began to feel light headed too. The noise no longer bothered and I was already savouring every moment of it.  It was pouring away as we hailed an auto, but even the weather couldn’t dampen our spirits and the magic that we had just experienced.

We really didn’t keep track of time, and we glided down the stairs with ease as we walked out of Toit.  The Collins English Dictionary :   Toit  – ‘to walk or move in an unsteady manner (as from old age).’ It seemed to me then that it was the perfect name .

Hema Iyer Ramani

Posted in Celebrating India, Travel & Deal

Kang Chingba (Rath Yatra) IN MANIPUR

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Rajkumari Barbina is an Archaeologist, pursuing PhD from Deccan College Pune. She shares her experiences of the RathYatra carried out from Shree ShreeGovindajee Temple, Imphal. Manipur is all set for this year’s RathYatra to be held on 18th July, 2015.

Introduction

The population of the northeastern state of Manipur (lat 23° 50’ and 25° 30’ N, and long 93°10’ and 94°30’ E) consists mainly of the Meiteis, the Nagas, and the Kuki-Chins. The Meiteis were a group of seven (originally nine) yeks or clans, which later came under the more dominant Meitei Ningthoujayek (clan of the Meitei royal family). The Meiteis have their own divinities (lai), and Sanamahi (the supreme deity of the Meiteis which every household worships) is the important deity. In the 18th century, a wave of a new religion (i.e. Hinduism) entered Manipur. It influenced King Charairongba (CE 1697-1709), and his family, into the Vaishnavite fold of Hinduism in CE 1704 (Parrat 2005). The later rulers of Manipur were the great exponents of the religion, and so, the people of the state gradually patronized the religion. During the reign of King Garibaniwaz (CE 1709- 48), the son of Charairongba, it became the state religion. It was during his reign that the Bhakti cult of Vaishnavism coming from Bengalwas given importance (Singh 1993).

RajshriBhagyachandra (CE 1759-60 and CE 1764- 98) was also a great follower of the Vaishnavite sect, and carved wooden images of Krishna, Radha, Madanmohan, and Nityananda (Singh 1993). Brahmins started to come from the west, and settled in Manipur. They were called Nongchup-haram (people from the west). These were the people who again furthered the Vaishnava movement. They built temples and installed images of various Hindu deities, along with Vaishnavite images.

The Jagannath cult gained its importance in Manipur during the reign of GambhirSingh (CE 1825-34). Wooden sculptures of Lord Jagannath, Balabhadra, and Subhadra, were carved and installed for the first time in Manipur during his reign. The festival of Kang or RathYatra took place for the first time in CE 1832.

Various temples of the Vaishnava sect were built by the Meitei rulers, and Shree ShreeGovindajee temple at Imphal is the biggest of its kind in Manipur. Since the installation, Shree ShreeGovindajee became the deity of the royal house. This temple is by far the most important temple in Manipur, and is visited by large number of devotees every day.

 

Kang or the RathYatra

After the advent of Hinduism, the Vaishnavite fold became more popular in Manipur. The Jagannath cult came into prominence, and the RathYatra came to be celebrated. Kang or RathYatra is one of the biggest festivals of Manipur. The festival starts from the second day of Ingel (Manipuri month during June-July), and is continued till the tenth day of the same month.

The Kang Chingba (pulling of the cart) is held only on the first and last day (Kanglen). On these days, the Kang or cart with the wooden sculptures of Lord Jaganath, his brother Balabhadra, and sister Subhadra placed in it, is pulled by devotees from the gate of Shree ShreeGovindajee temple with much fanfare, after proper ceremonies. Brahmin households of each locality organize the Kang Chingba in the valley areas of Manipur. The process of the locality Kang can start only after the Kang Chingba of Shree ShreeGovindajee.

The Kang of Shree ShreeGovindajee temple is drawn from the temple gate till the Sanathong (palace gate), and is taken back along the same route. The idols of the three siblings are then brought back to the temple.

The cart drawn by devotees is attended by Brahmins, and a team of musicians with conch, mridanga, and cymbals. Two young girls holding fly whisks act as dwarapaala (door guards). Devotees make offerings of fruits, flowers, incense sticks, and barti, wherever the cart stops. After the arti, fruits are distributed, and the smoke emitted from the half burnt bartis is waved towards the devotees. People believe that getting an opportunity to hold the ropes, and pulling the cart with the idols will wash away all the sorrows. With this belief, people from all walks of life, far and near, throng the route along which the cart with the idols will be drawn.

Every evening for nine days, there is a performance of Jayadev (singing praises of Lord) and KhubakIsei (devotional dance and music) at the mandap of the locality Brahmin, which is followed by distribution of Khechri (rice cooked with pulses), and various side dishes as prasad. Here, the prasad is served in the lotus leaf, which enhances its taste. There is a local belief behind the serving of khechri as prasad. It is believed that Subhadra was asked by her brothers to cook food while they wentout. Frightened by the sound of the sea waves she hurriedly mixed and cooked both rice and pulses in the same pot which turn out to be Khechri. Upon such belief, khechri has become an integral part of the Kang festivities in Manipur.

The twelfth day of Ingel is called HariShayan (the day Hari sleeps according to a legend), and the festivities are completed on that day.
Various seasonal fruits and flowers like pineapple, pear, plum, lotus seeds, lotus flowers, lotus leaves, and garlands of soaked dried peas and paddy grains, are known to be associated with the festival of Kang.

 

Conclusion

With the advent of Hinduism and the popularity of the Jagannath cult, the RathYatra festival gained momentum among the Vaishnavite communities of Manipur. Kang is considered to be one of the important festivals of the state. The festival is similar with the RathYatra of Puri with a tinge of local influence. Seasonal fruits and flowers adorn the Pujathaali. Both old and young, come out in the streets and takes part in the festivities.

 

Acknowledgments

I thank Nirjen Sharma, AribamDayanand Sharma, Onel Shambanduram, Deepak Ayekpam, Dennis Elangbam, Dinendra Hijam, and the Manipur Photography Club, for providing me the photographs, and extending help at very short notice.

 

References

Parrat, S.N.A. 1980. The Religion of Manipur.Guwahati, Delhi: Spectrum Publications.
Parrat, S.N.A. 2005. The Court Chronicle of the Kings of Manipur: The CheitharonKumpapa.
Vol.1. London and New York: Routledge Taylor & Francis Group.
Singh, E. N. 1993. Fragments of Manipuri Culture. New Delhi: Omsons Publications.
Singh, G.P. 2012. Hinduism in Manipur. New Delhi: Gyan Publishing House.
Singh Jhalajit,R.K. 2005. Legends and Festivals, Discovery of North-East India VI (SK
Sharma and Usha Sharma Ed.) New Delhi: Mittal Publications
pp.351-357.

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“The Street, A Cat and a Graveyard”

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Venkatesh K N. experienced and shares a reel like ghostly experience; a lonely street with no sign of anyone except a black cat crossing and the strange silence staring at you as you make your way through a graveyard.

Some days ago I was travelling in the night alone along the footpaths of Frazer town in Bangalore, however many do. There was no special importance for this travel apart from the point that I was going late, home of which I was getting used to these days. That day, obscured from my memory of calendar, is because I experienced a haunting experience of which I did not want to remember again. Most of the streets of Bangalore have street lights, but this particular road in Frazer Town running along the huge expanse of Christian cemetery is a road less travelled during night. I deliberately wanted to travel through this space because I was told this was such a haunting space and wanted to experience how was that feeling below my skin to experience of being hunted by ghost of which I did not believe in.

The darkness that occupied this particular road was so dark that even my shadow stopped following me. A surreal feeling preoccupied my mind. My shadow, projected by my presence in an oblique angle to me some times bigger and many times even smaller than me, had grown and conquered the whole space surrounding me, encapsulating its source-myself. I almost felt like a drug travelling inside capsule of infinite length, since I could not see any source of light anywhere. Apparently my mobile was also switched off.  I could not do anything.

But all this was tolerable as they were created in my mind, I could have thought of any other surreal metaphor. The scary part was when everything went out of control. My mind failed to control what was happening outside of it. There was a sudden breeze, a whistling sound screamed around me, as if I was on top of some mountain. This was not an appropriate space for this sound. The leaves that were lying lifelessly on ground of which I was not even aware off started to hit my face one by one, with this came the dust.  My knowledge about ghosts almost made me expect something in white to appear and haunt me. To my surprise this stereotype failed, it did not work. I had to walk for about a minute in the windy street of which I knew nothing because of my fear. Anything could happen here. An absurd Kafkaesque situation might be revealed in front of my blind eyes in such a network forsaken condition. There was no nostalgia here, everything was immediate, but the fear that I was coming to terms with would have been same even twenty to thirty years before. If this street is so deserted today it would have been even worse before. There would have been many people who would have faced similar fear. The fear that I was facing is new to me because I have not experienced this before, perhaps there were such spaces in Bangalore before it became ‘garden city’, ‘silicon city’ and other iconicity that it has gained now, where people feared to traverse.  There were many spaces near my house which was believed to be haunted during my father’s generation but now they have turned into residential layouts with families who find salvation by working in corporate companies.

What brings us back to the haunted street encapsulated by my shadow of which we had diverted from towards the dwindling haunted spaces, is the sudden sound of a tree branches brushing with each other that embraced my ears. I almost sensed that this sound was coming from by back. I just turned back to see the spectacle, I lost the sense of direction for a moment I did not know from where I turned. How much angle should I turn to come back to the same position? All my rationality was shattered at this moment. If someone would have walked in a white sari, I could have easily believed in ghost.  But still I sensed ghost in what was happening to my senses. Suddenly the sound of branches grew big and I heard a tree falling down.  I could not understand any social necessity from this tree fall. How can a tree fall? Can I be surrounded by a group of gundas who will hit any minute? Are they looking for my rationality to go null? Am I the guinea pig towards addition of a new ghost to the city?

I was scared I just could not walk a bit further, my legs started to shiver. I suddenly saw an arch kind of an entrance of which I was very glad and rushed to save myself from my fears and hid behind a bench. The tree was still falling, I never saw it, it was only the sound that narrated its existence. By listening to the sound I was calculating how the tree was collapsing- The transformation of life to death.

To my happiness a light lit in front of my eyes, a cat was playing with a torch. I took the torch and glanced at the place to get to know where I was. To glorify my horrific situation I was in graveyard. The first thing I saw was R.I.P. Everything just went up my nerves. I was so happy that I did not see my name below R.I.P. Some graves also had images of person buried.  Getting to know that I was somewhere in the graveyard, it became easy for me to fight the haunted location.  I took the torch and searched for the watchman’s house. I knocked the door opened in the most normal way possible. The watchman after recognizing my face not matching any of his familiarity he started shouting at me for disturbing his sleep. I just could not think why I had come here. Was I searching for a human presence? I could not grasp my actions. Any way I begged him to allow me to charge my cell phone for fifteen minutes. After my job was done I left the place. I called one of my friends to pick me up which he did. I returned to the place the day after it, everything was normal; there was no sign of a tree being felled. The watchman in the graveyard greeted me.

 

Posted in Celebrating India