Tag Archives: India

In My Hands Today…

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Whole Numbers and Half Truths – Rukmini S.

How do you see India?

Fuelled by a surge of migration to cities, the country’s growth appears to be defined by urbanisation and by its growing, prosperous middle class. It is also defined by progressive and liberal young Indians who vote beyond the constraints of identity and, paradoxically, by an unchecked population explosion and rising crimes against women. Is it, though?

In 2020, the annual population growth was down to under 1 percent. Only 31 out of 100 Indians live in a city today, and just 5 percent live outside the city of their birth.

As recently as 2016, only 4 percent of young, married respondents in a survey said their spouse belonged to a different caste group. Over 45 percent of voters said in a pre-2014 election survey that it was important to them that a candidate of their own caste win elections in their constituency. A large share of reported sexual assaults across India are actually consensual relationships criminalised by parents. And staggeringly, spending more than Rs 8,500 a month puts you in the top 5 percent of urban India.

In Whole Numbers and Half Truths, data-journalism pioneer Rukmini S. draws on nearly two decades of on-ground reporting experience to piece together a picture that looks nothing like the one you might expect. There is a mountain of data available on India, but it remains opaque, hard to access, and harder yet to read, and it does not inform public conversation. Rukmini marshals this information—some of it never before reported—alongside probing interviews with experts and ordinary citizens to see what the numbers can tell us about India. As she interrogates how data works and how the push and pull of social and political forces affect it, she creates a blueprint to understand the changes of the last few years and the ones to come—a toolkit for India.

This is a timely and wholly original intervention in the conversation on data, and with it, India.

Festivals of India: Chemrey Wangchok Festival

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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.

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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.

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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.

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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.

In My Hands Today…

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Spy Stories: Inside the Secret World of ISI and Raw—Adrian Levy and Cathy Scott-Clark

From 9/11 to 26/11, Burhan Wani to Kulbhushan Jadhav—the India-Pakistan relationship told from the perspective of the R.A.W. and the I.S.I.

With unprecedented access to the R.A.W. and the I.S.I., the world’s most inscrutable spy agencies, Adrian Levy and Cathy Scott-Clark describe the workings of bitter rivals, mapping their complicated history from the 1960s to the present day. From the Parliament attacks to Pulwama, 9/11 to Osama bin Laden’s assassination, the rise of terror’s shadow armies to the fall of Kulbhushan Jadhav, here are some of the key events that have shaped the region, told from the split viewpoints of duelling enemies.

Levy and Scott-Clark also uncover a darker seam—the destructive impact of C.I.A. interference and how the I.S.I. fought for its life against dark forces it once funded, while the R.A.W. created ghost enemies to strengthen its hand.

In My Hands Today…

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Ambedkar’s India – B.R. Ambedkar

Ambedkar’s India is a collection of three of B.R. Ambedkar’s most prominent speeches on caste and the Indian Constitution.

“In the fight for Swaraj, you fight with the whole nation on your side. In fighting caste system, you stand against the whole nation—and that too, your own.”

Annihilation of Caste is one of Ambedkar’s best works in putting together how caste as a system has been eating up the roots of a rich cultural melting pot like India. “Bhakti in religion could lead to salvation. But in politics, Bhakti is a sure road to eventual dictatorship.”

The Grammar of Anarchy reflects Ambedkar’s ideas on how we need to pave the way for Independent India. It reflects his deep love and aspirations for India and its people. “…the sub-divisions [of caste] have lost the open-door character of the class system, and have become self-enclosed units called castes.”

Castes in India: Their Mechanism, Genesis and Development is an in-depth study of how classes went on to become castes and sub-castes to dot the Indian social system. This powerful narrative is a radical eye-opener.

Festivals of India: Mysuru Dasara

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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.

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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.

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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.

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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.

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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.