Festivals of India: Karam Festival

Posted on September 16, 2026 by memoriesandsuch

In the eastern stretches of the subcontinent, when the monsoon begins to loosen its grip, but the air still carries the weight of rain, villages gather around a tree branch. The soil is dark and damp. The fields are not yet ready to yield. There is a pause in the agricultural cycle, a moment where nothing is certain, and it is precisely here that Karam takes place.

In Jharkhand’s forested belts, in the agrarian rhythms of Bihar and Odisha, in the quieter rural pockets of West Bengal, and across to parts of Bangladesh, this festival arrives without spectacle. There are no grand processions or towering structures. Instead, there is a clearing, a branch of the Karam tree, and a circle of people marking something less visible but no less essential.

Karam is often described, somewhat too neatly, as a “harvest festival.” The label is not wrong, but it is insufficient. It suggests completion when Karam is about continuity. It suggests yield, when Karam is equally about restraint. It centres on crops, when the festival itself is about relationships between people, generations, and most importantly, between human life and the natural world.

Across regions, details shift, but the structure holds. A branch of the Karam tree is cut with care and brought into the community space. It is planted, decorated, sung to, and kept at the centre of the gathering. Young women, in many communities, take the lead. They fast, prepare the rituals, and sing songs that carry both devotion and memory. There is music, dancing, and storytelling.

The ritual is not performed for an audience. It is lived.

It is important to say this plainly. Many of these practices emerge from Adivasi cultural worlds, where land is not treated as a resource but as something one lives within. Yet when Karam enters mainstream narratives, it is often absorbed into a broad idea of “Indian culture.” The specificity softens. The communities that have sustained these traditions, often with little visibility, are mentioned briefly, if at all.

This is not neutral. It allows appreciation without responsibility.

At its core, Karam is not simply about thanking nature. It reflects an understanding that human life is entangled with the natural world in ways that cannot be controlled. The timing matters. It takes place before harvest, not after. It acknowledges uncertainty. Growth is still underway. Outcomes are not guaranteed.

What we might call ecological intelligence sits quietly within this structure. It is visible in the centrality of the tree, not as a symbol but as a presence. It is visible in collective participation rather than individual display. It is visible in songs that carry knowledge forward without naming it.

And yet, this is where the tension begins.

Modern life has a way of preserving what it erodes. Festivals like Karam are documented, occasionally celebrated, and sometimes showcased. But their function shifts. A living ritual becomes a cultural display. Something rooted in everyday life is repositioned as heritage.

There is also a quieter discomfort. Many urban readers, myself included, encounter Karam from a distance. It does not appear in textbooks or dominant cultural calendars. Unless one belongs to these regions or communities, it is entirely possible to grow up without hearing of them.

When we do encounter it, we admire what we see. The sense of community. The closeness to nature. The simplicity of the ritual. But admiration can slip into romanticisation. We notice what feels different but do not always ask what sustains it or what pressures it faces.

The forests that anchor these practices are under strain. Land use is changing. Economic pressures are reshaping livelihoods. Migration is altering communities. In this context, the continued presence of Karam can suggest continuity, even as the underlying world shifts.

Even the language we use reflects this distance. To call Karam a “harvest festival” is to make it legible within a familiar framework. It allows it to be categorised and compared.

But this convenience comes at a cost.

The term centres outcome over process. It shifts attention to yield rather than the relationship. It fits the festival into an agricultural narrative that prioritises production, even though Karam is rooted in interdependence.

Why does this framing persist? Perhaps because it aligns with how modern systems understand land in terms of output and efficiency. In that sense, the label does not just simplify Karam. It reveals the lens we are accustomed to using.

In Bangladesh, where Karam is observed among certain communities, the patterns feel familiar even when visibility is lower. The rituals adapt, but the logic remains. A branch, a gathering, songs carrying memory across generations.

What stands out is not uniformity, but persistence.

Despite borders, administrative differences, and varying recognition, the relationship between land, season, and community continues to shape the festival. And yet, its relative invisibility raises a question. Which traditions are recorded and amplified, and which continue quietly, sustained only by those who live them?

To write about Karam is to sit with discomfort. The festival continues, but the conditions that sustain it are not guaranteed. Appreciation, on its own, is not enough.

And yet, it would be too simple to end there.

Karam resists reduction. Despite pressures, it continues not as a relic but as a practice. People gather. Songs are sung. The Karam branch is placed at the centre of a shared space and treated with care.

Perhaps what Karam offers is not a model to replicate, but a way of seeing. Relationships with land, community, and time cannot be abstracted. They have to be practised. Celebration is not separate from responsibility. Memory, when held collectively, can still shape how a community moves forward.

In a world that prioritises speed, extraction, and individual achievement, this can feel like an older language.

But it has not disappeared.

It is still there, in the gathering around a tree branch, in songs that carry devotion and memory, and in the quiet understanding that human life does not stand apart from the world that sustains it.

Festivals of India: Pana Sankranti

Posted on April 16, 2025 by memoriesandsuch

Also known as Maha Vishuba Sankranti, Pana Sankranti is a vibrant and culturally significant festival celebrated in Odisha. This auspicious occasion marks the traditional Odia New Year and heralds the arrival of spring, serving as a time for renewal, spiritual reflection, and communal joy. Falling on the first day of the Odia calendar month of Baisakha, typically around mid-April, Pana Sankranti coincides with the solar transit into the Mesha (Aries) Rashi, lending it cultural and astrological importance.

The roots of Pana Sankranti can be traced back to ancient times, with references found in various scriptures and texts. The festival’s origins are deeply intertwined with the agrarian culture of the region. Marking the beginning of the new agricultural year, the festival highlights its importance in the traditional Odia way of life.

One of the most significant aspects of Pana Sankranti is its association with Lord Jagannath, the presiding deity of the Puri Jagannath Temple. According to legend, Lord Jagannath created the Pana drink to remedy the scorching summer heat. Another mythological tale associated with Pana Sankranti involves Lord Vishnu’s incarnation as Varaha (the boar). It is believed that on this day, Lord Vishnu rescued the Earth from the demon Hiranyaksha, an act of divine intervention that is commemorated through various rituals and prayers during the festival.

Pana Sankranti is celebrated with great enthusiasm and fervour across Odisha, with each region adding its unique cultural flavour to the festivities. At the festival’s heart is the preparation and sharing of Pana, a special drink that gives the festival its name. This refreshing concoction is made from many ingredients, including water, jaggery, fruits, and sometimes milk or yoghurt. The Pana is not only a delicious treat but also serves a symbolic purpose, representing the essence of life and the spirit of sharing. It is offered to deities and distributed among family members, friends, and neighbours, fostering a sense of community and togetherness.

Devotees mark Pana Sankranti by visiting temples dedicated to various deities, with special emphasis on Lord Jagannath, Lord Shiva, and Goddess Tarini. The Tarini Temple near Brahmapur and the Cuttack Chandi are particularly popular pilgrimage sites during this time. One of the most spectacular rituals associated with Pana Sankranti is the Jhaamu Yatra at Sarala Temple, where priests walk across hot coals, demonstrating their devotion and faith. This awe-inspiring display draws many spectators and adds to the festival’s mystical atmosphere.

Pana Sankranti is also a time for vibrant cultural expression. One of the most notable traditions is the Danda Nacha, or Danda Jatra, an ancient dance form dedicated to Goddess Kali. Performed by a group of men known as Danduas, this dance is a testament to physical endurance and spiritual devotion, often involving acrobatic feats and rhythmic movements. In different parts of Odisha, various cultural events mark the occasion. For instance, in Chhatrapada, Bhadrak, the Patua Yatra festival spans from April 14th to April 21st, bringing communities together. Northern Odisha resonates with the festivities of Chadak Parva, while in the south, the Meru Yatra festival marks the culmination of the month-long Danda Nata dance festival.

The festival is a time for strengthening social bonds. In urban areas, Odia families often gather in community halls to celebrate together, while in rural settings, the festival takes on a more traditional flavour with community-wide celebrations. These gatherings often feature feasts where traditional delicacies are shared, further reinforcing the sense of community and shared cultural heritage.

Pana Sankranti holds deep significance in Odia culture, embodying various symbolic meanings and cultural values. As the traditional New Year, Pana Sankranti symbolises new beginnings and fresh starts. It’s a time for people to clean their homes, wear new clothes, and set positive intentions for the year ahead. This reflects the universal desire for renewal and the opportunity to begin anew. Pana Sankranti marks the beginning of the new agricultural year. This connection to the land reminds people of the importance of agriculture in their lives and the need to maintain harmony with nature. The festival provides an opportunity for spiritual reflection and devotion. The various rituals, temple visits, and prayers associated with Pana Sankranti allow people to connect with their spiritual beliefs and seek divine blessings for the coming year.

Several myths and legends are associated with Pana Sankranti, adding depth and richness to the festival’s cultural significance. According to one legend, Pana Sankranti is linked to the story of Lord Vishnu’s incarnation as Lord Jagannath. It is believed that on this day, Lord Jagannath, with his siblings Lord Balabhadra and Devi Subhadra, embarked on their annual journey to the Gundicha Temple in Puri, known as the Ratha Yatra. The legend of Lord Jagannath creating the Pana drink as a remedy for the summer heat explains the origin of this central element of the festival and emphasises the belief in divine intervention in everyday life. The myth of Lord Vishnu, in his Varaha avatar, rescuing the Earth from the demon Hiranyaksha on this day adds a cosmic dimension to the festival. This story symbolises the triumph of good over evil and the restoration of cosmic order, themes that resonate with the idea of new beginnings associated with the New Year.

While Pana Sankranti is primarily celebrated in Odisha, similar festivals marking the solar New Year are observed across South and Southeast Asia. These include Vaisakhi in North and Central India and Nepal, Bohag Bihu in Assam, Pohela Boishakh in Bengal, and Puthandu in Tamil Nadu. Each of these festivals shares common themes of renewal and celebration while incorporating unique regional traditions and customs.

In Odisha, the celebration of Pana Sankranti can vary from region to region, with each area adding its local flavour to the festivities. In the Taratarini Temple area, the festival coincides with the Chaitra Yatra, drawing large crowds of devotees. In Northern Odisha, the Chadak Parva is a significant part of the Pana Sankranti celebrations. The Meru Yatra festival in Southern Odisha marks the end of the month-long Danda Nata dance festival, coinciding with Pana Sankranti. These regional variations highlight the diversity within Odisha’s cultural landscape and demonstrate how a single festival can take on different forms while maintaining its core significance.

As with many traditional festivals, the celebration of Pana Sankranti has evolved, adapting to changing social structures and urban lifestyles. In cities, community halls often become the focal point of celebrations, where Odia families gather to observe the festival. This adaptation allows urban dwellers to maintain cultural connections even in modern settings. The preparation and sharing of Pana remain central to the festival, but the recipe might vary from household to household, with some incorporating modern ingredients or adapting the drink to suit contemporary tastes. However, the spirit of sharing and community bonding remains intact.

Pana Sankranti plays a significant role in preserving and promoting Odia culture. The festival serves as a platform for showcasing traditional art forms, music, and dance, helping to pass these cultural treasures on to younger generations. The Danda Nacha, for instance, not only entertains but also educates people about ancient rituals and beliefs. Economically, the festival boosts local businesses. The demand for traditional foods, new clothes, and items used in rituals increased during this time, benefiting local traders and artisans. Additionally, the influx of visitors to temples and pilgrimage sites during Pana Sankranti contributes to the local tourism industry.

In recent years, there has been a growing awareness of the environmental impact of festivals. While Pana Sankranti is generally an eco-friendly celebration, with its focus on natural ingredients and traditional practices, efforts are being made to make it even more sustainable. For instance, some communities are promoting the use of biodegradable materials for decorations and encouraging the responsible disposal of waste generated during the festivities. The tradition of offering water to the Tulsi plant and the symbolic representation of rain through the Pana-filled earthen pot also serve as reminders of the importance of water conservation, especially relevant as the festival marks the beginning of summer.

Pana Sankranti stands as a testament to the rich cultural heritage of Odisha, blending spiritual devotion, communal harmony, and joyous celebration. This festival, with its deep-rooted traditions and evolving practices, continues to play a vital role in the cultural and social fabric of Odia society. As a celebration of new beginnings, Pana Sankranti offers a moment for reflection, renewal, and community bonding. It serves as a bridge between the past and the present, allowing people to honour their traditions while adapting to the changing world around them.

In an increasingly globalised world, festivals like Pana Sankranti play a crucial role in maintaining cultural distinctiveness while fostering a sense of unity and shared heritage. The enduring popularity and significance of Pana Sankranti demonstrate the power of cultural traditions to adapt and thrive, even in the face of rapid social change. As long as people continue to find meaning and joy in coming together to celebrate new beginnings, share in age-old customs, and reaffirm their cultural identity, Pana Sankranti will continue to be a vibrant and integral part of Odia life for generations to come.

Festivals of India: Jagannath Rath Yatra

Posted on July 8, 2024 by memoriesandsuch

Also known as the Chariot Festival, the Jagannath Rath Yatra is an annual Hindu celebration holding immense cultural and spiritual significance in Odisha and beyond. This grand festival commemorates the annual journey of Lord Jagannath, along with his elder brother Balabhadra and sister Subhadra, from the Jagannath Temple in Puri to the Gundicha Temple, where they reside for nine days before returning to their abode.

The Jagannath Rath Yatra festival has a rich history and deep-rooted origins in Hindu mythology and scriptures. According to the Brahma Purana, Padma Purana, Skanda Purana, and Kapila Samhita, the festival symbolises the fulfilment of a wish made by Subhadra, the sister of Lord Jagannath, to travel to the Gundicha Temple in Puri, believed to be their aunt’s house. To honour her desire, Lord Jagannath and his elder brother Balabhadra embarked on a journey to Puri, accompanied by Subhadra, in chariots, marking the beginning of this grand celebration. This annual pilgrimage of the deities from their home temple to their aunt’s temple is symbolised by the Rath Yatra festival. Historical accounts and inscriptions suggest that the festival was celebrated during the reign of King Purushottama Deva in the 12th century. The Jagannath Temple, where the deities reside, was constructed by Chodaganga Deva of the Ganga Dynasty in the 12th century. The festival’s popularity and significance have transcended geographical boundaries, with the International Society for Krishna Consciousness (ISKCON) spreading the celebrations to over 108 cities worldwide since 1968.

The festival holds immense spiritual significance for the devotees of Lord Jagannath, who is revered as an avatar or incarnation of Lord Vishnu and considered the Lord of the Universe in Hindu scriptures. The Jagannath Temple in Puri, where the deities reside, is one of the four sacred pilgrimage sites or one of the Char Dham sites in India, making it a site of profound reverence for Hindus worldwide.

The Yatra is a nine-day extravaganza filled with vibrant rituals, colourful processions, and an atmosphere of devotion and festivity. The festivities commence on the Shukla Paksha Dwitiya, the second day of the bright fortnight of the Hindu month of Ashadha, which typically falls in June or July according to the Gregorian calendar. This year, it fell on July 7.

The festival’s highlight is the grand chariot procession, where the deities of Lord Jagannath, Balabhadra, and Subhadra are placed on three massive, intricately carved wooden chariots known as raths. These chariots are meticulously constructed by skilled carpenters known as Maharanas over several weeks and have their own name and distinct design. The chariots are then pulled by thousands of devotees using thick ropes, accompanied by the rhythmic chanting of mantras, the beating of drums, and the blowing of conches. The procession moves along the Bada Danda or Grand Avenue in Puri, with the deities going to the Gundicha Temple, where they reside for nine days.

Throughout the nine-day festival, various rituals and celebrations take place, each holding its significance and adding to the overall grandeur of the event. On the day before the Rath Yatra, the deities are ceremonially bathed with 108 pitchers of water, known as the Snana Yatra or Bathing Ritual, symbolising purification and preparation for the journey. Pahandi Vijay is a ritual that marks the ceremonial transfer of the deities from the Jagannath Temple to the chariots, amidst chanting and devotional music. During the procession, devotees enthusiastically sweep the path ahead of the chariots with water, symbolising purification and devotion. This is known as Chhera Pahara or Sweeping with Water. On the fifth day, or Hera Panchami, the deities are offered a special meal, and devotees observe fasting and seek blessings. After nine days at the Gundicha Temple, the deities embark on their return journey to the Jagannath Temple, the Bahuda Yatra or the Return Journey, marking the culmination of the festival. On the final day, the deities are adorned with exquisite gold jewellery and ornaments, called Sunabesa or Adorning with Gold, symbolising their divine opulence. As the deities return from the Gundicha Temple, they stop at the Mausi Maa Temple or the Aunt’s Abode, where they are offered Poda Pitha, a special type of pancake believed to be Lord Jagannath’s favourite. On the way back from the Gundicha Temple, the chariot of Lord Jagannath pauses near the crematorium of Salabega, a Muslim devotee, to pay tribute to his unwavering devotion.

The Gundicha Temple holds immense significance in the Jagannath Rath Yatra festival. It is considered the Garden House or the aunt’s abode of Lord Jagannath, where the deities reside for nine days during the annual chariot festival. Several important rituals and ceremonies take place at the Gundicha Temple during the nine-day festival. One of the most significant is the Hera Panchami ritual, celebrated on the fifth day, where the deities are offered a special meal. The temple also houses the sacred Ratnavedi, a raised platform made of chlorite stone, where the deities are placed and worshipped during their stay. Gundicha Temple is an architectural masterpiece, built in the Kalinga style of temple architecture. Its intricate carvings, sculptures, and elaborate stonework showcase the finesse of Odisha’s cultural heritage. According to the Bamadev Samhita, witnessing the deities on the Simhasana or the sacred seat of the Gundicha Temple for a week is believed to grant a place in the heavenly abode of Vaikuntha for the devotees and their ancestors.

The three massive chariots used in the procession are engineering marvels, standing over 45 feet tall and weighing several tons. The intricately carved chariots with vibrant colours are meticulously constructed annually by skilled carpenters known as Maharanas. Each of the deities, Lord Jagannath, Lord Balabhadra, and Devi Subhadra have their chariot with their distinct name, size, and colour scheme. Lord Jagannath’s chariot is known as Nandighosa. It stands at an imposing 45 feet high and 45 feet square at the wheel level. It has 16 wheels, each 7 feet in diameter, and is decked with a canopy of red and yellow cloth, signifying Lord Jagannath’s association with Lord Krishna or Pitambara. The chariot of Lord Balabhadra is called Taladhwaja, meaning the one with the palm tree on its flag. It is 44 feet high, with 14 wheels of 7 feet in diameter each, and is covered with red and blue cloth. Devi Subhadra’s chariot is known as Darpadalana, which translates to the trampler of pride. It stands 43 feet high, with 12 wheels of 7 feet in diameter, and is adorned with a covering of red and black cloth, with black symbolising the Mother Goddess and Shakti.

The chariots are not just massive structures but also artistic marvels. Each chariot is adorned with intricate carvings and painted wooden images called Parsva Devatas, representing various deities on the sides. The wheels, charioteers, and horses are also intricately carved and painted with vibrant colours and designs. Each chariot is attached to four horses of different colours – white for Balabhadra, dark for Jagannath, and red for Subhadra. The chariots also have their charioteers or sarathis – Matali for Jagannath, Daruka for Balabhadra, and Arjuna for Subhadra.

The construction of these chariots is a laborious process that begins months before the festival. The wood for the chariots is sourced from the former princely state of Dasapalla and transported to Puri via the Mahanadi River. A team of carpenters with hereditary rights and privileges build the chariots using specified types of wood like Phasi and Dhausa. The grand chariots are vehicles for the deities and symbols of Odisha’s rich cultural heritage and craftsmanship. Their sheer size, intricate designs, and meticulous construction process make them an integral part of the Jagannath Rath Yatra festival’s grandeur and spectacle.

During the Rath Yatra, the Jagannath Temple, which is usually off-limits to non-Hindus, opens its doors to people of all faiths and backgrounds, allowing them to participate in the festivities and seek blessings. The Jagannath Rath Yatra has transcended geographical boundaries and is now celebrated in over 108 cities worldwide, thanks to the efforts of the International Society for Krishna Consciousness or ISKCON. The Jagannath Rath Yatra is a magnificent celebration that seamlessly blends ancient traditions with contemporary cultural expressions. It is a testament to the enduring spiritual and cultural heritage of Odisha and India, attracting millions of devotees and visitors from around the world each year. The festival’s unique rituals, vibrant processions, and the spirit of devotion and inclusivity make it a truly unforgettable experience for all who witness it.

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.

Travel Bucket List: India – Consolidated List of all States

Posted on February 27, 2023 by memoriesandsuch

As I started planning my travel, I started relying on my research for where to go and found it slightly ungainly to search through all the material I have to reach a specific destination. So here’s a consolidated list of all Indian states, in alphabetical order with the cities and towns next to each part which makes it easier to get to the place you are interested in.

Andaman and Nicobar Islands
Part 1 – Introduction and Overview
Part 2 – Port Blair
Part 3 – Corbyn’s Cove Beach, Wandoor Beach, Viper Island, Ross Island, North Bay Island, Red Skin Island, Middle Andaman Island, Long Island, Baratang Island, Parrot Island, North Passage Island, Guitar Island
Part 4 – Aves Island, North Andaman Island, Diglipur, Stewart Island, Ross & Smith Island, Jolly Buoy Island, Havelock Island
Part 5 – Neil Island, South Andaman Island, Rutland Island, Little Andaman Island, Cinque Island, Barren Island, Narcondom Island, Kathchal Island, Campell Bay & Indira Point
Part 6 – Mahatma Gandhi Marine National Park, Chidiya Tapu, The Chidiya Tapu Biological Park, Mount Harriet National Park, Saddle Peak National Park, Campbell Bay National Park, Galathea National Park, Middle Button Island National Park, North Button Island National Park, South Button Island National Park

Andhra Pradesh
Part 1: Introduction and Overview, Vishakhapatnam
Part 2: Araku Valley, Vizianagaram, Annavaram, Samalkot, Kakinada, Rajahmundry
Part 3: Amaravathi, Vijayawada, Machilipatnam
Part 4: Guntur, Chirala, Nagarjunakonda, Srisailam, Cumbum, Nellore
Part 5: Kurnool, Mantralayam, Gandikota, Tadipatri, Anantapur, Puttaparthi
Part 6: Lepakshi, Horsley Hills, Chittoor, Srikalahasthi, Tirupati

Arunachal Pradesh
Part 1: Introduction and Overview, Itanagar, Bhalukpong
Part 2: Bomdila, Tawang
Part 3: Ziro, Yinkiong, Mechuka, Roing, Tirap
Part 4: Khonsa, Changlang, Miao, Anini, Pasighat, Aalo, Daporijo, Anjaw, Tezu

Assam
Part 1: Introduction and Overview, Guwahati, Dispur
Part 2: Kokrajhar, Bongaigaon, Goalpura, Barpeta, Nalbari, Hajo, Sualkuchi
Part 3: Darrang, Mayong and Morigaon, Nagaon, Tezpur, Jorhat
Part 4: Sivasagar, Majuli, Dhemaji, Dibrugarh, Tinsukia, Digboi
Part 5: Sadiya, Haflong, Jatinga, Diphu, Karimganj, Hailakandi, Silchar
Part 6: Raimona National Park, Manas National Park, Orang National Park, Kaziranga National Park, Nameri National Park, Dibru Saikhowa National Park, Dihing Patkai National Park

Bihar
Part 1: Introduction and Overview
Part 2: Patna
Part 3: Hajipur, Nalanda
Part 4: Rajgir, Sasaram, Kaimur
Part 5: Bodh Gaya, Vaishali
Part 6: Muzzafarpur, Sitamarhi, Madhubani, Lauriya Nandangarh, Bhagalpur, Valmiki National Park Tiger Reserve and Wildlife Sanctuary

Chhattisgarh
Part 1: Introduction and Overview, Raipur, Champaran
Part 2: Bhilai, Durg, Rajnandgaon, Chirmiri, Madku Dweep, Bhoramdeo Temple, Guru Ghasidas National Park
Part 3: Achanakmar Tiger Reserve, Bilaspur, Raigarh, Korba, Ambikapur, Barnawapara Wildlife Sanctuary, Mainpat, Malhar
Part 4: Mahasamund, Sirpur, Rajim, Jagdalpur, Dhamtari, Dhamtari, Dantewada, Kanger Ghati National Park

Photo by Nirmal Rajendharkumar on Unsplash

Dadra and Nagar Haveli and Daman and Diu
Part 1: Introduction and Overview, Daman
Part 2: Diu
Part 3: Dadra and Nagar Haveli

Delhi
Part 1: Introduction and Overview, India Gate, Red Fort, Qutub Minar, Jantar Mantar, Rajghat
Part 2: Iron Pillar, National War Memorial, Rajpath, Rashtrapati Bhavan, Agrasen Ki Baoli, Ghalib Ki Haveli, Alai Darwaza/Minar, Bhool Bhulaiya ka Mahal, Purana Qila,
Part 3: Tughlaqabad Fort. Siri Fort, Feroza Kotla Fort, Swaminarayan Akshardham Temple, ISKON Mandir, Birla Temple, Chhatrapur Temple, Kalkaji Temple, Kali Bari Temple, Yogmaya Temple, Sri Digambar Jain Lal Mandir, Lotus Temple
Part 4: Jama Masjid, Quwwat-ul-Islam Mosque, Fatehpuri Masjid, Jamali Kamali Mosque and Tomb, Nizamuddin Dargah, Humayun’s Tomb, Safdarjung’s Tomb, Isa Khan’s Tomb, Hijron ka Khanqah, Nicholson Cemetery
Part 5: Gurudwara Bangla Sahib, Gurudwara Sis Ganj Sahib, Rakab Ganj Gurdwara, Sunder Nursery, Lodhi Gardens, Garden of Five Senses, National Rose Garden, Mehrauli Archaeological Park, Pradhanmantri Sangrahalaya, National Museum, Nehru Memorial Museum and Library, Rashtrapati Bhavan Museum, Indian War Memorial Museum, National Handicrafts Museum
Part 6: Indira Gandhi Memorial Museum, Sanskriti Museums, Charkha Museum, Sulabh International Museum of Toilets, Shankar’s International Dolls Museum, Museum of Archaeology, National Railway Museum, Museo Camera, National Gallery of Modern Art, Kiran Nadar Museum of Art, Museum of Illusions, National Zoological Park, National Bal Bhavan, Connaught Place, Chandni Chowk, Dilli Haat, Sarojini Market, Lajpat Nagar, Majnu ka Tila, Pragati Maidan

Goa
Part 1: Introduction and Overview
Part 2: North Goa, Vagator Beach, Anjuna Beach, Calangute Beach, Sinquerim Beach, Candolim Beach, Arambol Beach, Mandrem Beach, Morjim Beach, Miramar Beach, Siridao Beach, Bogdeshwara Temple, Mangeshi Temple, Mahalaxmi Temple, Fort Aguada, Chapora Fort, Reis Magos Fort, Basilica of Bom Jesus, Church of Our Lady of Immaculate Conception, Chapel of St. Catherine, Church of Mae De Deus, Goa State Museum, Houses of Goa Museum, Museum of Christian Art, Casino Palms, Chorao Island, Harvalem Waterfalls
Part 3: South Goa, Butterfly Beach, Betalbatim Beach, Agonda Beach, Mobor Beach, Hollant Beach, Palolem Beach, Cansaulim Beach, Colva Beach, Talpona Beach, Kakolem Beach, Benaulim Beach, Our Lady of Remedios Church, Saviour of the World Church, St. Alex Church, Shantadurga Temple, Tambdi Surla Mahadev Temple, Chandreshwar Bhoothnath Temple, Naval Aviation Museum, Goa Chitra Museum, Big Foot Museum, The Grande Island, Pequeno Island, Bhagwan Mahaveer Wildlife Sanctuary, Netravali Wildlife Sanctuary, Cotigao Wildlife Sanctuary, Dudhsagar Falls, Bamanbudo Waterfalls, Netravali Bubbling Lake, Cabo de Rama Fort, Chandor

Gujarat
Part 1: Introduction and Overview
Part 2: Surat, Vapi, Udvada, Valsad, Bilimora, Navsari, Bharuch, Saputara
Part 3: Ahmedabad, Lothal, Vadodara, Anand
Part 4: Gandhinagar, Patan, Mehsana, Palanpur
Part 5: Rajkot, Jamnagar, Dwarka, Porbandar, Junagadh, Bhavnagar, Palitana,
Part 6: Kutch, Bhuj, Mandvi, Rann of Kutch, Anjar

Haryana
Part 1: Introduction and Overview, Gurugram, Manesar, Sohna
Part 2: Faridabad, Nuh, Murthal, Rohtak, Meham
Part 3: Hisar, Panipat, Karnal
Part 4: Kurukshetra, Ambala
Part 5: Panchkula, Morni Hills, Narnaul

Himachal Pradesh
Part 1: Introduction and Overview, Shimla, Kufri, Fagu, Theog, Hatkoti Valley, Chanshal Valley
Part 2: Chail, Solan, Barog, Nahan, Sirmour, Paonta Sahib, Shoghi, Kasauli, Arki, Nalagarh, Dadasiba, Bilaspur, Dalhousie,
Part 3: Kangra, Khajjiar, Bharmour, Chamba, Tattapani, Jalori Pass, Jibhi, Mandi
Part 4: Trithan Valley, Bhuntar, Sainj Valley, Barot, Bir Billing, Palampur, Kasol, Nagar, Manikaran Sahib, Tosh, Parvati Valley
Part 5: Kullu, Manali, Dharamsala, McLeodganj
Part 6: Keylong, Pin Valley National Park, Spiti Valley, Narkanda, Mashroba, Kinnaur, Sarahan, Sangla Valley, Kalpa, Pangi Valley, Nako

Jammu & Kashmir and Ladakh
Part 1: Introduction and Overview, Kashmir, Srinagar, Gulmarg, Sonmarg, Pahalgam, Amarnath, Pulwama, Kupwara, Poonch, Anantnag, Baramulla, Dachigam National Park
Part 2: Jammu, Patnitop, Rajouri, Udhampur, Kathua, Katra, Vaishno Devi, Kishtwar
Part 3: Ladakh, Leh, Leh Palace, Thiksey Gompa, Pangong Lake, Magnetic Hill, Nubra Valley and Khardung La Pass, Kargil, Drass, Hemis High Altitude Wildlife Sanctuary, Lamayuru, Lake Tso Moriri

Jharkhand
Part 1: Introduction and Overview, Ranchi
Part 2: Hazaribagh, Bokaro Steel City
Part 3: Jamshedpur, Neterhat
Part 4: Dhanbad, Shikarji, Deoghar, Dumka

Photo by Srusti Valakamadinni on Unsplash

Karnataka
Part 1: Introduction and Overview
Part 2: Bengaluru
Part 3: Mysuru, Mangalore, Belgaum
Part 4: Hubli-Dharwad, Gulbarga, Bidar, Badami, Bijapur, Hassan, Shimoga, Hampi, Sharavathi Valley Wildlife Sanctuary, Bhadra Wildlife Sanctuary, Brahmagiri Wildlife Sanctuary, Nagarhole National Park, Bandipur National Park, Ranganathittu Bird Sanctuary, Jog Falls, Shivanasamudra Falls, Kodasalli Backwater
Part 5: Coorg, Chikmagalur, Sakleshpur, Kudremukh, Kemmanagundi, Kotagiri, Masinagudi, Devarayanadurga, Karwar, Devbagh, Kumta, Netrani Island, Murudeshwar, Maravanthe, St. Mary’s Island, Udipi
Part 6: Udipi, Kollur, Sringeri, Dharmasthala, Horanadu, Talakadu, Belur, Shravanbelagola, Gokarna, Murudeshwar, Koodli, Srirangapatna, Pattadakal, Aihole, Kalasa

Photo by Nature Photographer on Unsplash

Kerala
Part 1: Introduction and Overview
Part 2: Kasaragod, Kannur, Kozhikode
Part 3: Wayanad, Mallapuram, Palakkad
Part 4: Thrissur, Ernakulam, Alappuzha
Part 5: Kottayam, Idukki, Patanamthitta
Part 6: Kollam, Tiruvanathapuram

Lakshadweep Islands
Part 1: Introduction and Overview
Part 2: Aminidivi, Cora Divh, Sesostris Bank, Bassas de Pedro, Cherbaniani Reef, North Islet, Byramgore Reef, Chetlat Island, Bitra Par, Kilthan Island, Kadmat Island, Kadmat Beach, Elikalpeni Bank, Perumal Par, Amini Island
Part 3: Laccadive, Amindivi, Agatti Island, Bangaram, Pakshipitti, Andrott Island, Kavaratti, Kalpeni, Suheli Par
Part 4: Minicoy, Maliku Atoll, Investigator Bank, Viringili

Madhya Pradesh
Part 1: Introduction and Overview
Part 2: Bhopal
Part 3: Indore, Ujjain, Alampur
Part 4: Maheshwar, Omkareshwar, Mandu, Burhanpur
Part 5: Chanderi, Shivpuri, Orchha, Khajurao
Part 6: Gwalior, Jabalpur, Bhedaghat, Panchmarhi, Amarkantak, Bandhavgarh National Park, Kanha National Park, Pench National Park

Maharashtra
Part 1: Introduction and Overview, Mumbai
Part 2: Pune
Part 3: Matheran, Lonavala, Khandala, Rajmachi, Lavasa, Kamshet, Mahabaleshwar, Panchgani, Kaas Plateau, Maval, Bhandardara, Chikhaldara, Bhimashankar
Part 4: Amravati, Aurangabad, Ajanta and Ellora Caves, Lonar, Chiplun, Kolhapur, Nagpur, Nanded, Nashik, Triambakeshwar, Shirdi, Shani Shinganapur, Raigad, Ratnagiri, Satara
Part 5: Dahanu, Alibaug, Kashid, Diveagar, Harihareshwar, Murud, Karade, Ganpatipule, Tarkarli, Vengurla, Tadoba National Park, Bhamragarh Wildlife Sanctuary, Chandoli National Park, Gugumal National Park, Navegaon National Park, Malvan Marine Sanctuary, Rehekuri Blackbuck Sanctuary

Manipur
Part 1: Introduction and Overview, Imphal
Part 2: Moirang, Tamenglong, Thoubal
Part 3: Chandel, Tengnoupal, Moreh, Kaina, Ukhrul, Mount Koubru, Baruni Hill, Thangjing Hill, Sadu Chiru Waterfall

Meghalaya
Part 1: Introduction and Overview
Part 2: Shillong
Part 3: Mawphlang, Cherrapunji, Nongpoh, Mawsynram
Part 4: Jowai, Mawlynnong, Dawki, Balpakram National Park, Williamnagar, Baghmara, Tura
Part 5: Khasi Hills, Jaintia Hills, Garo Hills

Mizoram
Part 1: Introduction and Overview, Aizwal, Falkawn Village
Part 2: Reiek, Hmuifang, Kolasib, Tamdil or Tam Lake, Mamit, Vantawng Falls, Serchhip
Part 3: Dampa Tiger Reserve, Lunglei, Champhai
Part 4: Murlen National Park, Phawngpui, Phawngpui National Park, Saiha,

Nagaland
Part 1: Introduction and Overview, Dimapur
Part 2: Kohima
Part 3: Mokokchung, Tuensang, Phek, Mon, Pfutsero

Odisha
Part 1: Introduction and Overview, Bhubaneshwar, Dhauli
Part 2: Cuttack, Rayagada, Daringbadi, Berhampur, Jeypore
Part 3: Puri, Baripada, Sambalpur, Rourkela
Part 4: Konark, Paradeep, Gopalpur, Chandipur
Part 5: Lake Chilika, Tikarpada Wildlife Sanctuary, Satkosia Tiger Reserve, Bhitarkanika National Park & Wildlife Sanctuary, Simlipal National Park, Duduma Waterfalls, Chandaka Forest, Kotgarh Elephant Reserve, Karlapat Wildlife Sanctuary

Puducherry
Part 1: Introduction and Overview, Puducherry
Part 2: Karaikal, Mahé, Yanam

Punjab
Part 1: Introduction and Overview
Part 2: Chandigarh, Sirhind
Part 3: Rupnagar, Patiala
Part 4: Ludhiana, Bhatinda
Part 5: Jalandhar, Kapurthala
Part 6: Pathankot, Amritsar

Rajasthan
Part 1: Introduction and Overview, Jaipur, Udaipur
Part 2: Jodhpur, Jaisalmer, Sawai Madhopur, Pushkar

Sikkim
Part 1: Introduction and Overview
Part 2: Gangtok
Part 3: Tinkitam Rayong, Namchi, Barsey Rhododendron Sanctuary, Kabi Longstok, Tendong Hill, Aritar, Zuluk, Pangolakha Wildlife Sanctuary, Pelling, Yuksom, Ravangla
Part 4: Maenam Wildlife Sanctuary, Geyzing, Yangtey, Borong, Mangan, Chopta Valley, Lachung, Lachen, Yumthang Valley, Thangu Valley, Gurudongmar Lake, Cholamu Lake, Shingba Rhododendron Sanctuary, Khangchendzonga National Park, Fambong Lho Wildlife Sanctuary, Goecha La

Photo by Ramakrishnan Nataraj on Unsplash

Tamil Nadu
Part 1: Introduction and Overview, Chennai
Part 2: Coimbatore, Tiruchirappalli, Tiruppur, Tirunelveli
Part 3: Ooty, Kodaikanal, Yercaud, Coonoor, Yelagiri, Bellikkal
Part 4: Kanchipuram, Tiruvannamalai, Chidambaram, Vaitheeshwaran Kovil,
Part 5: Kumbakonam, Thanjavur, Swamimalai, Rameshwaram, Madurai
Part 6: Mahabalipuram, Kanyakumari, Mudumalai Wildlife Sanctuary, Hogenakkal Falls, Kutralam Falls

Telangana
Part 1: Introduction and Overview, Hyderabad Part 1
Part 2: Hyderabad Part 2
Part 3: Secunderabad
Part 4: Warangal, Nizamabad
Part 5: Khammam, Karimnagar, Adilabad, Mahbubnagar, Medak
Part 6: Nalgonda, Bhadrachalam, Koti Linga, Somasila, Vemulawada

Tripura
Part 1: Introduction and Overview
Part 2: Agartala
Part 3: Kailashahar, Unakoti, Udaipur, Ambassa, Pilak Archaeological Sites, Chabimura, Mahamuni Pagoda, Manubankul, Buddhist Stupa, Boxanagar
Part 4: Baramura Eco Park, Kalapania Nature Park, Tepania Eco Park, Khumulwang Eco Park, Jampui Hills, Dumboor Lake, Dhalai, Rudrasagar Lake, Sepahijala Wildlife Sanctuary & Clouded Leopard National Park, Trishna Wildlife Sanctuary, Rajbari National Park, Rowa Wildlife Sanctuary, Gomati Wildlife Sanctuary

Uttar Pradesh
Part 1: Introduction and Overview, Noida, Loni, Ghaziabad, Meerut, Muzzafarnagar
Part 2: Hastinapur, Vrindavan, Mathura
Part 3: Fatehpur Sikri, Agra, Garhmukteshwar
Part 4: Aligarh, Firozabad, Jhansi, Piilbhit, Bithoor, Naimisharanya
Part 5: Kanpur, Lucknow
Part 6: Ayodhya, Sravasti, Prayagraj
Part 7: Chitrakoot, Vindhyachal, Varanasi, Sarnath, Kushinagar

Uttarakhand
Part 1: Introduction and Overview, Dehradun
Part 2: Mussoorie, Dhanaulti
Part 3: Auli, Joshimath, Chopta, Tungnath, Ukhimath, Lansdowne, Nainital
Part 4: Sattal, Bhimtal, Naukuchiatal, Kausani, Ranikhet, Almora, Binsar, Jalna, Kasar Devi, Jageshwar, Champawat, Munsiyari, Pithorgarh
Part 5: Bageshwar, Chamoli, Mana, Badrinath, Pandukeshwar, Hemkund Sahib, Kedarnath, Gomukh, Madhyamaheshwar, Gangotri, Gauri Kund, Yamunotri
Part 6: Rudranath, Guptakashi, Nandprayag, Rudraprayag, Devprayag, Rishikesh, Haridwar, Roopkund Lake, Nelong Valley, Gangotri National Park, Kedarnath Wild Life Sanctuary, Valley of Flowers, Nanda Devi National Park, Govind Pashu Vihar Wildlife Sanctuary, Rajaji National Park, Jim Corbett National Park

West Bengal
Part 1: Introduction and Overview, Kolkata
Part 2: Howrah, Barrackpore, Chandan Nagar, Chinsurah, Bardhaman, Haldia, Midnapore
Part 3: Shantiniketan, Durgapur, Jhargram, Asansol, Murshidabad, Mukutmanipur, Malda, Siliguri, Jalpaiguri, Cooch Behar, Bagdogra
Part 4: Kurseong, Mirik, Darjeeling, Tinchuley, Dooars, Kalimpong
Part 5: Rishyap, Lava and Lolegaon, Buxa Tiger Reserve, Rajabhatkawa, Jaldapara National Park, Jaldhaka, Chapramari Wildlife Sanctuary, Gorumara National Park, Neora Valley National Park, Lataguri, Purulia, Sonajhuri Forest, Deulti, Sundarbans, Mayapur, Nabadwipa, Bakreswar
Part 6: Bankura, Bishnupur, Jayrambati, Kamarpukur, Tarapith, Falta, Raichak, Taki, Piyali Island, Machranga Dwip, Kakdwip, Mousuni Island, Bakkhali, Junput, Mandarmani, Tajpur, Shankarpur

Memories and Such

Memories of a very ordinary life

Tag Archives: Odisha