In My Hands Today…

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…

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

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

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.