Festivals of India: Theyyam

Posted on December 13, 2023 by memoriesandsuch

Rooted in some parts of Karnataka and Northern Kerala’s folklore and traditions, Theyyam is an ancient ritualistic dance form that transcends the boundaries between the divine and the earthly and is performed to honour the heroes and ancestral spirits. Also known as Kaliyattam or Tira, the dance is performed in various places in North Malabar annually between December and April. In Kerala, Theyyam is performed predominantly in the North Malabar region, consisting of present-day Kasargod, Kannur Districts, Mananthavady Taluk of Wayanad and Vadakara and Koyilandy Taluks of Kozhikode. A similar custom known as Bhuta Kola is followed in the Tulunadu region of neighbouring Karnataka. It is also performed each day at the Parassini Kadava Sri Muthappan Temple in Kannur. The people of the region consider Theyyam itself a channel to a god and they thus seek blessings from Theyyam.

Theyyam, believed to have been derived from the word Daivam, meaning God, is based on the belief that immortal spirits enter mortal bodies to perform a ritual dance of divine revelation. Theyyam may have its origins from ancestor worship. It has been observed that a vast majority of the Theyyam deities have their origin from people who were in the backward castes of the Kerala’s caste system. The ancestor worship ritual was later evolved into the elaborate dance ritual that is seen nowadays. Incorporating many other local beliefs. The spectacular varieties of Theyyam performances are possible using elaborate facial make-up, captivating headgear, special costumes, and unique ornaments. Theyyams are staged in various temples of Malabar, usually in front of the village shrine, with regularity each year. As performances are on an open stage, they can also be showcased in traditional Malabar households during festive or special occasions.

One fascinating aspect of Theyyam is its year-round occurrence, with different deities taking center stage during specific seasons. The festival follows a cyclical pattern, aligning with the agricultural calendar and reflecting the symbiotic relationship between nature and culture. This perpetual celebration ensures that the spirit of Theyyam is woven into the fabric of daily life. Theyyam season starts from the tenth day of the Malayalam month of Thulam that usually falls during October, and known as paththaam-udayam and lasts up to seven months till the middle of Edavam month, typically late May and June. The last Kaliyaattam for the season is performed at Madayi Kavu and Kalarivathukkal Bhagavathy Temple, both being the family shrines of the Kolathiri royal family. The performers, known as Theyyam artists or Vellattam, transform into deities, donning elaborate costumes, vibrant makeup, and intricate headgear. Through their mesmerizing movements, the artists channel the spirit of the gods, embodying them for a brief yet profound interaction with the community.

The dance form incorporates dance, music, and mime and is believed to be distinguished into 400 forms, each with its own unique style, make-up, costumes, songs, and choreography. The most prominent Theyyams are the Pottan, Gulikan, Bhagavati, Kari Chamundi, and Raktha Chamundi. The ornamental decorations, size, and appearance of the performers are also worth noticing. The festival dates to the Dravidian age and is said to be part of the ancient tribal culture of Kerala.

There are about 456 types of Theyyams documented. Theyyam is mainly performed by males, except for the Devakkoothu Theyyam; the Devakkoothu is the only Theyyam ritual performed by women. Devakoothu is performed only in the Thekkumbad Kulom temple. In Kasaragod and Kannur districts, this ritual art is mainly performed in the kavus, or temples or ancestral houses, of the Thiyyar, Nambiar, Vaniyar, and Maniyani communities.

The preparation for a Theyyam performance is an elaborate process that involves various rituals and ceremonies. The artists, traditionally belonging to specific communities, undergo a period of purification and isolation before embodying the deity. The ritual begins with the invocation of the divine, accompanied by traditional music and chanting. As the rhythm intensifies, the Theyyam artist enters a trance-like state, connecting with the deity’s spirit. This transformative process is a sacred and highly respected undertaking, emphasizing the spiritual essence of Theyyam. The makeup, a vital aspect of Theyyam, transforms the artists into divine beings. The striking red and black hues, coupled with bold facial expressions, bring the gods to life in a way that captivates the audience and communicates the deity’s energy and character.

According to some experts, all the prominent characteristics of primitive, tribal, and religious worship had widened the stream of Theyyam, where even the followers of Islam are associated with the cult in its functional aspect and made it a deep-rooted folk religion of millions. Besides this, practices like spirit worship, ancestor worship, hero worship, masathi worship, tree worship, animal worship, serpent worship, the worship of the goddesses of disease and the worship of Gramadevata or the village deity, are included in the mainstream of the Theyyam. Along with these gods and goddesses, there exist innumerable folk gods and goddesses. Most of these goddesses are known as Bhagavathy. Theyyam showcases a diverse pantheon of deities, each with its own unique attributes, stories, and rituals. Some of the prominent deities include Vishnumoorthy, Muchilottu Bhagavathi, Raktha Chamundi, and Kari Chamundi, among many others. Each deity represents different aspects of the divine, from benevolence and protection to power and ferocity. Different branches of mainstream Hindu religion, such as Shaktism, Vaishnavism and Shaivism, now dominate Theyyam. However, the forms of propitiation and other rituals are continuations of a very ancient tradition.

Music is an integral part of the Theyyam performance, enhancing the immersive experience for both the artists and the audience. Traditional instruments like Chenda, Elathalam, and Kuzhal contribute to the rhythmic and melodic accompaniment, creating an atmosphere charged with spiritual energy. The beats of the chenda resonate deeply, complementing the dancers’ movements and adding a layer of intensity to the ritual.

Out of devotion, ruling clans established their own shrines and Kavus for Theyyam deities, where non-Sattvic rituals and customs are observed. The goddesses like Rakteshwari, Chamundi, Someshwari, and Kurathi, and the gods like Vishnumoorthi, are propitiated in these household shrines. There, the Theyyam dancers appear during the annual festivals of gods and goddesses. The rituals in such shrines are different from those of the Brahmanical temples. The impact of this cultural fusion could be traced to social organisation based on the caste system and agrarian relations. The invitation of Brahmin Thanthri to consecrate the idols of Kavu is a recent development.

The dance or invocation is generally performed in front of the village shrine. It is also performed in the houses as ancestor-worship with elaborate rites and rituals. There is no stage or curtain or other such arrangements for the performance. The devotees would be standing or some of them would be sitting on a sacred tree in front of the shrine. In short, it is an open theatre. Performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The chief dancer who propitiates the central deity of the shrine must reside in the rituals. After sunset, this dancer would not eat anything for the remainder of that day. His make-up is done by specialists and other dancers.

The first part of the performance is usually known as Vellattam or Thottam. It is performed without proper make-up or any decorative costume. Only a small, red headdress is worn on this occasion. The dancer along with the drummers recites the ritual song, which describes the myths and legends, of the deity of the shrine or the folk deity to be propitiated. This is accompanied by the playing of folk musical instruments. After finishing this primary ritualistic part of the invocation, the dancer returns to the green room. Again, after a short interval, he appears with proper make-up and costumes. There are different patterns of face painting. Some of these patterns are called vairadelam, kattaram, kozhipuspam, kottumpurikam, and prakkezhuthu. Mostly primary and secondary colours are applied with contrast for face painting. The dancer comes in front of the shrine and gradually metamorphoses into the deity of the shrine. The performance signifies the transitional inversion, reversal, and elevation of status denoting the anti-structural homogeneity of Theyyam. He, after observation of certain rituals places the head-dress on his head and starts dancing.

In the background, folk musical instruments like chenda, tudi, kuzhal and veekni are played in a certain rhythm. All the dancers take a shield and kadthala or sword, in their hands as a continuation of the weapons. The dancer then circumambulates the shrine, runs into the courtyard and continues dancing there. The Theyyam dance has different steps known as akalaasamsms. Each Kalasam is repeated systematically from the first to the eighth step of footwork. A performance is a combination of playing of musical instruments, vocal recitations, dance, and peculiar makeup, usually predominantly orange, and costumes. The Kathivanoor Veeran Theyyam is one of the most famous Theyyams in Kerala.

As with many traditional art forms, Theyyam faces challenges in the modern era. Economic pressures, changing social dynamics, and the impact of globalisation pose threats to the sustainability of this ancient ritual. However, efforts are underway to preserve and promote Theyyam, both within India and on the global stage. Cultural enthusiasts, scholars, and artists collaborate to ensure that Theyyam’s flame continues to burn brightly.

Festivals of India: International Sand Art Festival

Posted on December 4, 2023 by memoriesandsuch

The International Sand Art Festival, held annually from November 24 to December 1, in Odisha, is a testament to the boundless creativity of artists who craft delicate sculptures from the most humble of materials—sand. This unique festival, which takes place on the shores of Chandrabhaga Beach in Konark, has been captivating the hearts of visitors and art enthusiasts from around the world since its inception. This annual event transforms ordinary grains of sand into magnificent masterpieces of creativity and imagination.

The festival is set against a stunning backdrop—Chandrabhaga Beach. Known for its pristine beauty and tranquil ambience, this beach, nestled in the coastal town of Konark with its golden sands, provides the perfect canvas for the artists’ sand sculptures to come to life.

At the heart of the International Sand Art Festival lies the legacy of one man, Sudarsan Pattnaik. A renowned sand artist hailing from Odisha, Pattnaik has not only earned international acclaim for his sand sculptures but has also been a driving force behind the festival’s inception and continued success.

The International Sand Art Festival began as a modest local event in Puri, Odisha, in the early 1990s, primarily showcasing the talents of Sudarsan Pattnaik and his students. Over the years, it grew in stature, attracting sand artists from India and beyond. In 2011, the festival found its current home on Chandrabhaga Beach, offering artists a larger canvas and a stunning coastal backdrop.

Each year, the festival adopts a specific theme, guiding artists to create sculptures that resonate with the chosen motif. Themes have ranged from environmental conservation to cultural heritage, and artists draw inspiration from a wide array of sources.

Artists begin with an empty patch of sand, meticulously sculpting their visions using only sand and water. The delicate nature of the medium demands precision and patience, as sculptors must work quickly before the sand dries. The festival showcases a diverse range of sculptures, from intricate figurines and lifelike portraits to towering structures that seem to defy gravity. The level of detail that artists achieve with grains of sand is nothing short of awe-inspiring. Alongside local talents like Sudarsan Pattnaik, the festival often attracts renowned sand artists from around the world. Their participation adds an international flair to the event, fostering cross-cultural exchange and artistic collaboration.

In 2023, the International Sand Art Festival will embrace the theme of “Celebrating Cultural Heritage.” This theme invites artists to explore and depict the rich tapestry of cultural diversity that defines India and the world. Through their sand sculptures, artists pay homage to the traditions, rituals, and artistic expressions that have shaped our collective heritage.

The theme highlights the importance of preserving and celebrating cultural heritage in a rapidly changing world. It serves as a reminder that our past informs our present and shapes our future. By showcasing the cultural heritage of different regions and communities, the festival encourages dialogue and understanding among people from diverse backgrounds. It fosters an appreciation for the beauty of our shared human heritage. Sand art transcends language barriers, allowing artists to communicate complex cultural narratives through their sculptures. It demonstrates the power of art to convey messages and emotions across cultures. The theme inspires artists and visitors alike to reflect on the significance of their cultural backgrounds and the contributions of diverse cultures to our global society.

The festival plays a pivotal role in promoting art and culture, not only in Odisha but on a global scale. It showcases the immense artistic talent of sand sculptors and fosters an appreciation for the arts. The festival draws tourists from all over the world, benefiting the local economy and supporting tourism-related businesses in Odisha. It serves as a platform for cultural exchange, allowing artists from different parts of India and the world to come together, share their perspectives, and learn from one another. The festival engages the local community in various ways, from providing opportunities for local artisans to showcase their crafts to offering art workshops for children.

The International Sand Art Festival, with its mesmerizing sculptures and cultural celebrations, reminds us of the power of art to bridge divides, celebrate diversity, and inspire generations. In the delicate grains of sand sculpted into intricate forms, we find not only beauty but also a profound message – that creativity knows no bounds and that cultural heritage is a treasure to be cherished and shared.

Festivals of India: Chemrey Wangchok Festival

Posted on November 15, 2023 by memoriesandsuch

Over the weekend, enchanting Ladakh celebrated the festival of Chemrey Wangchok. Often referred to as “Little Tibet”, Ladakh is renowned for its stark yet mesmerizing landscapes, monasteries perched atop rugged mountains, and a culture that seamlessly blends Tibetan Buddhism with the natural beauty of the region.

Also known as the Chemrey Angchok Festival, the Chemrey Wangchok Festival is one of Ladakh’s most cherished cultural events. Held at the Chemrey Monastery, which is perched dramatically on a hilltop overlooking the Indus Valley, this festival offers a window into the spiritual and cultural heart of Ladakh.

The Chemrey Wangchok Festival is celebrated on the 28th and 29th day of the ninth month of the Tibetan lunar calendar, which this year was this weekend, 11 and 12 November. Typically falling in November or December in the Gregorian calendar, the festival marks the victory of good over evil and the ultimate triumph of the Buddhist teachings. Chemrey Monastery’s white-washed walls glisten brilliantly against the clear blue Ladakhi skies, and the aura of serenity envelops this sacred site. It’s a place where time seems to stand still, and every stone whispers stories of devotion.

The festival kicks off with the Cham dance, a traditional masked dance performed by the resident monks. This intricate and colourful performance reenacts ancient Buddhist stories and teachings, inviting the audience to contemplate their deep meanings. Beyond the visual spectacle of the Cham dance, the Chemrey Wangchok Festival provides an opportunity for spiritual teachings and reflections. Monks share wisdom and insights, guiding attendees on a journey of self-discovery and enlightenment.

The air reverberates with the soothing sounds of traditional Ladakhi music and chants. The melodies played on traditional instruments like Tibetan horns and cymbals, add a mystical and enchanting ambience to the festival. The masked performers, adorned in elaborate costumes representing various deities and supernatural beings, are a sight to behold. Each mask tells a story and adds depth to the festival’s spiritual narratives.

Throughout the Chemrey Wangchok Festival, offerings are made to deities, symbolising the reverence and gratitude of the people of Ladakh. These rituals serve as a reminder of the deep connection between the spiritual and everyday lives of the locals.

Chemrey Wangchok is a testament to Ladakh’s commitment to preserving its rich cultural heritage. It serves as a reminder of the importance of passing down traditions and rituals from one generation to the next. The festival offers a moment of pause in our busy lives, inviting us to reflect on the deeper aspects of existence. It encourages introspection, mindfulness, and a connection with the spiritual dimensions of life. For visitors to Ladakh, the Chemrey Wangchok Festival provides a unique opportunity to engage with the local culture and forge meaningful connections with the Ladakhi people. In a world often divided by differences, this festival reminds us of the power of unity and shared values. It transcends barriers of nationality, language, and background, fostering a sense of oneness among those who attend. The colourful Cham dance and the profound spiritual teachings inspire attendees to seek inner peace, wisdom, and enlightenment in their own lives. It serves as a source of motivation and a reminder of life’s deeper purpose.

In a rapidly changing world, festivals like Chemrey Wangchok play an essential role in preserving cultural heritage, fostering spirituality, and celebrating unity. They remind us of the beauty that lies in tradition and the profound wisdom contained within ancient rituals. Festivals like these offer a respite from our often-hectic lives, inviting us to slow down and reflect on the deeper aspects of our existence. In an era of constant distractions, they serve as a sanctuary for inner peace and self-discovery.

This festival, with its Cham dance, spiritual teachings, and cultural richness, is a radiant celebration of Ladakh’s soul. It reminds us that amid the hustle and bustle of modern life, there are places where tradition thrives, where spirituality is woven into the fabric of daily existence, and where unity is celebrated. The Chemrey Wangchok Festival is a testament to the enduring beauty of Ladakh and the timeless wisdom of its people—a legacy that continues to shine brightly against the backdrop of the Himalayas.

Festivals of India: Mysuru Dasara

Posted on October 16, 2023 by memoriesandsuch

Karnataka’s state festival or Nadahabba, the Dasara festival in Mysore is a 10-day festival, starting with the nine nights of Navaratri and the last day being Vijayadashami or Dasara. The festival is observed on the tenth day in the Hindu calendar month of Ashvina, which typically falls in the Gregorian months of September and October. The 10-day extravaganza marks the triumph of good over evil and pays homage to the goddess Chamundeshwari, the presiding deity of Mysuru.

Dasara, Navratri and Vijayadashami was the day in Hindu mythology when Goddess Chamundeshwari or Goddess Durga killed the demon Mahishasura, whose slaying by the Goddess gave the city its name of Mysuru. The Mysuru tradition celebrates the warriors and the state fighting for the good during this festival, ritually worshipping and displaying the state sword, weapons, elephants, and horses along with the Hindu Devi goddess in her warrior form, predominantly as well as the Vishnu avatar of Lord Rama. The origins of the Dasara festival can be traced back to ancient Hindu mythology, specifically the great epic, Ramayana. It is believed that Lord Rama, the seventh avatar of Lord Vishnu, worshipped the goddess Durga before embarking on his journey to rescue his wife, Sita, from the demon king Ravana. In commemoration of the divine blessings bestowed upon him, Lord Rama emerged victorious on the day of Vijayadashami, the tenth day of the festival. The ceremonies and a major procession are traditionally presided by the king of Mysuru.

The Dasara festivities began with the Vijayanagar kings as early as the 14th or 15th century and played a historical role in the 14th-century Vijayanagara Empire, where it was called Mahanavami and the festivities are shown in the relief artwork of the outer wall of the Hazara Rama temple of Hampi. The Italian traveller Niccolò de’ Conti described the festival’s intensity and importance as a grandeur religious and martial event with royal support. The event revered Durga as the warrior goddess or Chamundeshwari and hosted athletic competitions, singing and dancing, fireworks, a pageantry military parade and charitable giving to the public.

After the fall of the Vijayanagar to the Deccan Sultanates, these Hindu celebrations came to an end under Muslim rulers. The Wodeyars of Mysore formed a kingdom in Southern parts of the Vijayanagara Empire and continued the Mahanavami or Dasara festival celebration, a tradition started initially by Raja Wodeyar I in mid-September 1610 at Srirangapatna. The city of Mysuru has a long tradition of celebrating the Dasara festival with grandeur and pomp. The Dasara festival in Mysuru completed its 409th anniversary in 2019. Over the centuries, the Dasara festival evolved and assimilated various regional customs and traditions, ultimately becoming an essential part of Mysuru’s cultural identity. The festival showcases the city’s rich heritage and its reverence for its ruling family, the Wadiyars, who have played a pivotal role in preserving and promoting the festival’s grandeur.

The festival is the jewel in the city’s crown and the entire city springs into action. Adorned with colourful lights and decorations, the iconic Mysuru Palace, a masterpiece of Indo-Saracenic architecture, takes centre stage as it is beautifully illuminated with nearly 100,000 light bulbs from 7 to 10 pm on all days of the festival, presenting a breathtaking sight. The Nadahabba is inaugurated with great fanfare at the Mysuru Palace by the current scion of the royal family. Dressed in traditional regal attire, the Wadiyars carry the golden idol of the goddess Chamundeshwari in a magnificent procession, accompanied by traditional music, dance, and the beats of ceremonial drums. The spirit of the festival is infectious as locals and visitors alike gather to witness this majestic spectacle. The intricate floral rangoli, known as Rangoli Patha, adorn the palace grounds, and the aromatic fragrance of flowers fills the air, adding to the festive ambience. Various cultural and religious programs highlighting the dance, music and culture of the State of Karnataka are performed in front of the illuminated Palace.

The heart of Dasara lies in the nine nights of Navaratri, a time to celebrate the various forms of the divine goddess. Mysuru becomes a cultural haven during this period, with vibrant performances of classical music, dance, and folk arts taking place at various venues across the city.

The grand finale of the Dasara festival is the Vijayadashami procession, a regal pageantry that captivates all. The streets of Mysuru come alive with an unending sea of spectators, eagerly awaiting the arrival of the adorned elephant carrying the idol of goddess Chamundeshwari. The traditional Dasara procession, locally known as Jumboo Savari is held on the streets of Mysuru. The main attraction of this procession is the idol of the Goddess Chamundeshwari which is placed on a golden mantapa, made out of 750 kg of gold on the top of a decorated elephant. This idol is worshipped by the royal couple and other invitees before it is taken around in the procession. Colourful tableaux, dance groups, music bands, decorated elephants, horses and camels form a part of the procession which starts from the Mysore Palace and culminates at a place called Bannimantap where the Banni tree or Prosopis spicigera is worshipped.

According to a legend from the Mahabharata, the banni tree was used by the Pandavas to hide their weapons during their one-year period of Agnatavasa where they had to live incognito. Before undertaking any warfare, the kings traditionally worshipped this tree to help them emerge victorious in war. The Dasara festivities would culminate on the night of Vijayadashami with an event held on the grounds at Bannimantap called Panjina Kavayatthu or the torch-light parade.

The procession features beautifully decorated tableaux showcasing the city’s rich history and mythological stories. Folk dancers, performers, and cultural troupes from across the state add a vibrant touch to the procession, reiterating Karnataka’s diverse cultural heritage. The procession culminates with a breathtaking display of traditional music and fireworks, illuminating the night sky and leaving spectators in awe. After the Jamboo Savari, a torchlight parade takes place in the evening at the Bannimantap Parade Grounds.

The famous Mysuru Dasara Exhibition, held in the exhibition grounds opposite the Mysore Palace is a major highlight, where a carnival-like atmosphere enthrals visitors with thrilling rides, games, and mouthwatering street food. Local artisans and craftsmen showcase their talents in the exhibition, adding a touch of traditional artistry to the festivities. The exhibition was started by the Maharaja of Mysore, Chamaraja Wodeyar X in 1880 with the sole aim of introducing timely developments to the people of Mysore. The task of holding the exhibition is now entrusted to the Karnataka Exhibition Authority or KEA. This exhibition starts during Dasara and goes on till December. A play area containing attractions like a Ferris wheel is also present to provide entertainment and various Governmental agencies set up stalls to signify the achievements and projects that they have undertaken.

The Dasara Sports Meet, reminiscent of the days of the Maharajas, draws enthusiastic participants and spectators alike. The traditional sport of Kusti or wrestling and other indigenous games and races bring back the nostalgic charm of a bygone era and attract wrestlers from all around India. On all the 10 days of Dasara, various music and dance concerts are held in auditoriums around Mysore city. Musicians and dance groups from all over India are invited to perform on this occasion.

The Dasara procession has faced increasing pressure from activists and campaigners to end its controversial use of elephants. Procession elephants, as well as their handlers known as mahouts, have died from several shocking incidents over the years. In 2018, leaked footage from the elephants’ training ground showed an elephant swaying in distress. International press labelled the video heartbreaking and reported on how the elephants must undergo two months of rigorous training to perform in the procession.

Dasara in Mysuru is not just a festival; it is a testament to the city’s deep-rooted heritage and the enduring spirit of its people. It is festivals like this, that help us to cherish and preserve our cultural legacies for generations to come.

Festivals of India: Tarnetar Mela

Posted on September 18, 2023 by memoriesandsuch

One of the best things about India is that there are so many colourful festivals one can witness and be a part of. several colourful and grand festivities. One of the many vibrant, but relatively unknown festivals is the annual Tarnetar Mela which takes place in Sundernagar in the western state of Gujarat. A tiny village about 56 km from Sundernagar, about 76 km from Rajkot and about 176 km from Ahmedabad, the village comes alive during the festival.

Being Saurashtra’s most important fair, the Tarnetar Mela is attended by more than 50,000 people, including the Kolis, Rabaris, Bharwads, Khants, Kanbis, Kathis, Charans, Harijans and the Desh-rabaris. The festival has its roots in the epic Mahabharata, specifically Draupadi’s swayamvar. Swayamvar is a type of marriage mentioned in Hindu history where a woman chose a man as her husband from a group of suitors. The word comes from Sanskrit where Svayam means self and vara means groom. At Draupadi’s swayamvar, the Pandava prince Arjun performed the difficult task of piercing the eye of a rotating fish with an arrow, by only looking at its reflection in the water, after which he won the heart and hand of Draupadi.

The festival’s tradition is believed to have begun about 200 or 250 years ago and is held on the grounds of the temple of Triniteshwar Mahadev, which means the three-eyed God. The old temple that used to stand in Tarnetar is now in ruins, but a new one was built by the Gaekwads of Vadodara in the 19th century during the Solanki era and is now the focal point of the festival. It stands on the bank of a rivulet and opens into a beautiful kund or pond. Inside the temple, there is a Brahma Kund, a Shiva Kund, and a Vishnu Kund and it is believed that taking a plunge in these three water reservoirs is equivalent to taking a dip in the waters of the holy Ganges.

Fast forwarding to today, the three-day festival falls in the Bhadarva Sud or during August and September. This year the festival will take place between 18 to 20 September. The festival is a celebration of tribal Gujarat’s folk dance, music, costume and arts and is centred around young tribal men and women seeking marriage partners.

The Tarnetar Mela covers a large part of the Tarnetar village with a huge number of stalls put up to sell beautiful local handicrafts unavailable elsewhere, along with ethnic jewellery, statues of deities and traditional attire with tiny mirrors embroidered into the clothing. There are also merry-go-round rides, photography stalls, magic shows and tattoo artists who attract a large variety of visitors.

Rabari women from Zalawad, which is close to Tarnetar perform the famous circular folk dance called rahado. Their marital status is indicated clearly by their costumes; a black zimi or skirt means she is married. But if a woman is wearing a red zimi, it means she has not yet tied the knot and is probably seeking a husband. The potential husbands seeking brides are elegantly dressed in colourful dhotis, artistically designed waistcoats and a head-cloth twisted at an angle, moving about the fairground at Tarnetar with striking umbrellas, advertising the bachelorhood they are keen to relinquish.

The Kolis of Saurashtra initiated the custom of embroidering umbrellas, which are exquisitely elaborate in terms of embellishments. The embroidery of each is unique and rises from the edges to the top, with beadwork and patchwork in the design as well. Small colourful handkerchiefs are attached all around the edge, to attract further attention. These men spend over a year embroidering their umbrellas. They intend to entice the girls with their art, clothes, and headgear and impress them so that they can propose to them for marriage. It is not surprising that, before the fair is over, they usually meet the lady of their choice.

At the heart of the Tarnetar Mela lies a unique and heartwarming tradition — the swayamvar. This ancient matchmaking ritual allows young, unmarried women to choose their life partners from a group of eligible bachelors. Eligible men from various communities gather, each hoping to find their soulmate among the bevvy of beautiful women. It’s a sight to behold as the women circulate among the men, engaging in cheerful banter and trying to find a connection that transcends words. As modern influences blend seamlessly with tradition, young participants have the freedom to exchange phone numbers, engage in conversations, and even meet their potential life partners accompanied by their families.

As the dancers surge in waves of circular movement, the incessant throbbing of the drums keeps them moving in unison, and the drum beats continue throughout the day even as the dancers change from one group to the next. Many kinds of folk dances are performed; by far the most popular is the raas, in which dancers hold sticks to clack against those of other dancers. As many as one to two hundred women perform rasadas in a single circle, to the beats of four drums at a time and the tunes ofjodia pavas or the double flutes. One can also see people break out into a spontaneous hudo. Amidst the festivities, the Tarnetar Mela also champions essential social causes. Various NGOs and organisations set up stalls to raise awareness about health, education, and women’s empowerment.

There is music in the air with many bhajan mandalis or music groups and sadhus or holy men singing religious songs, accompanied by folk instruments. But even for those not interested in finding a spouse, the romance and excitement in the air are captivating, and every year the fair seems only to grow in popularity, attracting visitors and tourists from Gujarat, elsewhere in India, and even abroad. At the fair, the many colourful costumes, glittering ornaments and free-spirited movements of folk dances, all combine to create a memorable scene. This is the vibrancy of India that mesmerises visitors and makes them come back.

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