Festivals of India: Tyagaraja Aradhana

Posted on February 6, 2023 by memoriesandsuch

Though technically not a festival in the way we have come to associate festivals with, the Tyagaraja Aradhana is an annual music festival that glorifies the Telugu saint composer Tyagaraja. The music festival is observed in the states of Andhra Pradesh and Tamil Nadu, primarily in Tiruvaiyaru in the Thanjavur district, where Tyagaraja attained Samadhi. The Aaradhana is observed on Pushya Bahula Panchami day when the saint attained samadhi when musicians render the saint’s Pancharatna Kritis.

A composer and Carnatic music vocalist, Thyagaraja or Kakarla Thyagabrahmam was born on the 4 May 1767, to a Telugu Vaidiki Mulakanadu Brahmin family in Tiruvarur in present-day Tiruvarur District of Tamil Nadu. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar are regarded as the Trinity of Carnatic music. Thyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Lord Rama, many of which remain popular today, the most popular being Nagumomu. Of special mention are five of his compositions called the Pancharatna Kritis or the five gems, which are often sung in programs in his honour, and Utsava Sampradaya Krithis or festive ritual compositions, which are often sung to accompany temple rituals.

Tyagaraja hero-worshipped the celestial sage Narada, a reference to this is Tyagaraja’s krithi Vara Nārada in Vijayaarī raga and in Adi taḷam. Legend has it that a hermit taught him a mantra invoking Narada, and Tyagaraja, meditating on this mantra, received a vision of Narada and was blessed with the book Svarārnavam by the sage. During his last days, Tyagaraja took vows of Sannyasa. Tyagaraja died on a Pushya Bahula Panchami day, or 6 January 1847, at the age of 79. His last composition before his death was Giripai Nelakonna in rāga Sahāna, Ādi tāḷam and was cremated on the banks of the Kaveri river at Thiruvaiyaru.

The Aradhana or ceremony of adoration is held every year on the anniversary of his death which is the fifth day of the waning moon in the Hindu lunar month of Pushya. The Aradhana is conducted by the Sri Thyagabrahma Mahotsava Sabha and is held in the precincts of the samadhi or memorial of the saint located at Thiruvaiyaru village in Thanjavur district. The Aradhana in its present format is less than a century old. A few days before his death in 1847, he formally renounced everything and become a sanyasi. When he passed on, his mortal remains were buried on the banks of the river Kaveri and a small memorial was built at the site. His disciples returned to their respective villages and observed his death anniversary at their own homes. The memorial soon fell into neglect and became quite dilapidated by 1903, when two of the last surviving students to have been taught by Tyagaraja happened to make a nostalgic visit to the site. These were the elderly and eminent musicians Umayalpuram Krishna Bhagavatar and Sundara Bhagavatar who were dismayed by the neglect and dilapidation and had to search for the memorial in the wild foliage of the riverbank. They arranged for the renovation of the samadhi and decided to commemorate the tithi or death anniversary of their guru every year at the Samadhi itself.

In the next year, efforts were made by musical stalwarts to observe the death anniversary regularly at Tiruvayyaru, and to use the occasion as an opportunity for his followers to converge and interact with each other. In 1905, a lavish ceremony, complete with the feeding of the poor and worship at the memorial as per Vedic tenets, was celebrated. Brothers Tillaisthanam Narasimha Bhagavatar and Tillaisthanam Panju Bhagavatar were the main financiers and organisers of the aaradhana. By the next year, the brothers had fallen out with each other and from 1906, each began conducting a parallel Aradhana. Various musicians also aligned themselves with one or the other and two rival factions came into being. The group and Aradhana celebration conducted by Narasimha Bhagavatar came to be called the Periya Katchi or the senior party since he was the elder, and that of Panju Bhat became known as the Chinna Katchi. Gradually, a convention emerged whereby the Chinna Katchi’s celebrations began five days before the Aradhana and concluded on the Aradhana day, while the Periya Katchi’s celebration began on Aradhana day and continued for four days after that. Both groups organised music performances and the feeding of the poor and so the public was the real beneficiary during the nine days. At one point, both groups were united and did not allow women to perform during the Aradhana as in those days, the only women who sang or danced in public were the devadasi or temple performers. Another point in common between the two groups was that they did not permit nadaswaram performances.

In 1921, the aged and childless Bangalore Nagarathnamma, an ardent devotee of Tyaharaja decided to dedicate her life’s earnings to preserving Tyagaraja’s legacy and perpetuating his memory. In 1925, she began the construction of a temple enclosing the memorial and according to some sources, she purchased the land on which the grave stood, whereas according to other sources, her construction was illegal, but tolerated by local residents due to its pious intentions. Nagarathnamma also had an idol of Tyagaraja sculpted and installed in front of the memorial. The consecration of the temple took place in early 1926. The two rival groups, while not interfering with all this, refused to let Nagarathnamma perform her music, or even Harikatha, within the temple which she herself had had constructed. Undeterred, Nagarathnammal began a third front which conducted its music programs at the rear of the shrine. This third event featured many women artists, and perhaps for that very reason, it began eating into the public popularity of the events hosted by the two Katchis. She also filed suits in the local courts demanding the prevention of the Katchis from entering the temple, claiming that it belonged to her by right. She lost the case, but the hours of worship were laid down by the courts, dividing the Aradhana day equally between the two Katchis and her group. Matters continued this way till 1940 when the groups united and it was in 1941 that the Aradhana as we know was first conducted and the choral rendition of the five songs was made an integral feature of the Aradhana. A huge complex is now under construction at Thiruvaiyaru at this site to accommodate the large audience that comes to the concert in ever-increasing numbers every year.

Festivals of India – Jallikattu

Posted on January 16, 2023 by memoriesandsuch

Jallikattu, also known as Eru Thazhuvuthal and Mañcuvirattu, is a traditional event during the Pongal festival in which a bull, of the Pulikulam or Kangayam breeds, is released into a crowd of people, and multiple human participants attempt to grab the large hump on the bull’s back with both arms and hang on to it while the bull attempts to escape. Participants hold the hump for as long as possible, attempting to bring the bull to a stop. In some cases, participants must ride long enough to remove flags on the bull’s horns. Jallikattu is typically practised in the Indian state of Tamil Nadu as a part of Pongal celebrations on Mattu Pongal day, which occurs annually in January. The most popular Jallikattu is the one celebrated at Alanganallur near Madurai.

Ancient Tamil Sangams described the practice as yeru thazhuvuthal or bull embracing. The modern term jallikattu or sallikattu is derived from salli or coins and kattu or package, which refers to a prize of coins that are tied to the bull’s horns and that participants attempt to retrieve. Mancu virattu means bull chasing.

Jallikattu has been known to be practised during the Tamil classical period between 400 and 100 BC. It was common among the Ayar people who lived in the Mullai geographical division of the ancient Tamizh Nadu. Later, it became a platform for the display of bravery, and the prize money was introduced for participation encouragement. A seal from the Indus Valley civilization depicting the practice is preserved in the National Museum in New Delhi. A cave painting in white kaolin discovered near Madurai depicting a lone man trying to control a bull is estimated to be about 1,500 years old.

The popular myth revolving around this festival is about how Lord Shiva asked Basava, his bull, to convey two messages. This bull twisted the words of the messages and expressed them in another way. It is said that the bull was asked to tell the human beings on earth to take an oil bath every day and that food must be consumed only once a month for six months. Instead of this message, the bull conveyed that food must be consumed daily and oil baths must be taken only once a month. This debacle made Lord Shiva angry and he cursed the bull to aid humans in cultivating their land for all eternity.

Some variants of Jallikattu include the Vadi Manjuviratttu, the most common category of Jallikattu. Here, the bull is released from a closed space or Vadi vasal and the contestants attempt to wrap their arms or hands around the hump of the bull and hold on to it to win the award. Only one person is allowed to attempt at a time. This variant is most common in the districts of Madurai, Theni, Thanjavur, and Salem. In Veli Virattu, the approach is slightly different as the bull is directly released into open ground. The rules are the same as that of Vadi Majuvirattu and this is a popular variant in the districts of Sivagangai and Madurai. In the Vatam Manjuvirattu, the bull is tied with a 15 m rope where a vatam means a circle in Tamil. There are no other physical restrictions for the bull and hence it can move freely anywhere. The maximum time given is 30 minutes and a team of seven to nine members can attempt to untie the gift token that is tied to the bull’s horn.

Bulls enter the competition area through a gate called the vadi vasal. Typically, participants must only hold onto the bull’s hump. In some variations, they are disqualified if they hold onto the bull’s neck, horns or tail. There may be several goals to the game depending on the region. In some versions, contestants must either hold the bull’s hump for 30 seconds or 15 m. If the contestant is thrown by the bull or falls, they lose. Some variations only allow for one contestant. If two people grab the hump, then neither person wins. Bulls for Jallikatu are bred specifically and bulls that participate successfully in jallikattu are used as studs for breeding and also fetch higher prices in the markets.

With the introduction of the Regulation of Jallikattu Act, 2009, by the Tamil Nadu legislature, before the event, a written permission is obtained from the respective collectors, thirty days before the event along with the notification of the event location. The arena and the way through which the bulls pass are double-barricaded, to avoid injuries to spectators and bystanders who may be permitted to remain within the barricades. The gallery areas are built up along the double barricades and necessary permissions are obtained from the collector for the participants and the bulls fifteen days prior. Final preparations before the event includes complete testing by the authorities of the Animal Husbandry Department, to ensure that performance-enhancement drugs, liquor or other irritants are not used on the bulls.

Incidents of injury and death associated with the sport, both to participants and animals forced into it, animal rights organisations have called for a ban on the sport, resulting in the court banning it several times over the past years. However, with protests from the people against the ban, a new ordinance was made in 2017 to continue the sport.

Between 2008 and 2020, more than 70 people died and about 10 4 bulls were killed in Jallikattu events. Animal welfare concerns are related to the handling of the bulls before they are released and also during competitors’ attempts to subdue the bull. Practices, before the bull is released, include prodding the bull with sharp sticks or scythes, extreme bending of the tail which can fracture the vertebrae, and biting the bull’s tail. There are also reports of the bulls being forced to drink alcohol to disorient them, or chilli peppers being rubbed in their eyes to aggravate the bull. During attempts to subdue the bull, they are stabbed by various implements such as knives or sticks, punched, jumped on and dragged to the ground. In variants in which the bull is not enclosed, they may run into traffic or other dangerous places, sometimes resulting in broken bones or death. Protestors claim that Jallikattu is promoted as bull taming, however, others suggest it exploits the bull’s natural nervousness by deliberately placing them in a terrifying situation in which they are forced to run away from the competitors which they perceive as predators and the practice effectively involves catching a terrified animal. Along with human injuries and fatalities, bulls themselves sometimes sustain injuries or die, which people may interpret as a bad omen for the village.

Animal welfare organisations such as the Federation of Indian Animal Protection Organisations or FIAPO and PETA India have protested against the practice. The former Indian Minister of Women and Child Development, Maneka Gandhi denied the claim by Jallikattu aficionados that the sport is only to demonstrate the Tamil love for the bull, citing that the Tirukkural does not sanction cruelty to animals.

The Jallikattu Premier League is a professional league in Tamil Nadu for Jallikattu. The league was announced on 24 February 2018, to be organised in Chennai by the Tamil Nadu Jallikattu Peravai and the Chennai Jallikattu Amaippu. Kabaddi is usually played as a warm-up sport before the players enter the arena for Jallikattu.

Fabrics and Sarees of India Part 2

Posted on November 28, 2022 by memoriesandsuch

In this part, we continue to check out more fabrics and sarees across India.

Karnataka

Ilkal Sarees: Known because it is produced in the town of Ilkal, an ancient weaving centre since the 8^th century, the uniqueness of the Ilkal saree is in the joining of the body warp with the pallu warp with a series of loops locally called the tope teni technique. The border colour is very dominating and is usually red or maroon. The distinctive feature of the Ilkal saree is the use of a form of embroidery called Kasuti. The designs used in Kasuti reflect traditional patterns like palanquins, elephants, and lotuses which are embroidered onto the saree. The main body design is usually made up of squares and rectangles. The Ilkal saris are woven using cotton warp on the body and art silk warp for the border and pallu portion. In some cases instead of art silk, pure silk is also used. The Tope Teni seragu has been regarded as a state symbol and was greatly respected during festival occasions. The sarees that are made for bridal wear are made of a particular colour called Giri Kumukum which is associated with the sindoor worn by the wives of the priests in this region. The weaving of the Ilkal saree is a household enterprise involving the participation of female members. One Ilkal saree takes about seven days to weave and are produced on pit looms.

Mysore Silk: One of Karnataka’s most famous exports, the Mysore silk is synonymous with the city of Mysuru and the silk factory was founded in 1912 by Sri Nalvadi Krishnaraja Wodeyar, the Maharaja of Mysore. Initially, the silk fabrics were manufactured & supplied to meet the requirements of the royal family and ornamental fabrics to their armed forces. After Indian independence, the Mysore State Sericulture Dept took control of the silk weaving factory. The saree zari contains 65% pure silver and 0.65% of gold, which is also the most distinct feature of the saree, along with the use of genuine silk that gives it a natural sheen and rich texture. Karnataka produces almost 45% of the country’s mulberry silk. Mysore silk has also received geographical identification. Mysore Silks are also one of the most expensive silk sarees in India and this has led to the production of duplicate Mysore silk saree production and sales. To avoid these issues, KSIC has implemented a unique ID, hologram-based design, and unique identification barcodes woven on each saree produced.

Kerala

Kasavu Saree: Symbolic of Kerala’s tradition and culture, the traditional Kasavu saree was made by hand from cotton yarn with borders made of golden threads. Believed to have originated in the Buddhist era, the white and gold sarees are unique due to their natural hues, texture and gold border which adds to their elegance. No occasion in Kerala feels complete without the Kasavu saree. The term kasavu refers to the zari or gold thread used in the border of the saree and the name comes from a material used in the weaving and production of these sarees. The origin of the kasavu saree can be traced back to when women would wear a two-piece cloth called settu mundu, more popularly known as the mundum neriyathum. The mundum neriyathum rose in popularity during the Buddhist era, and its design has been inspired by the Greco-Roman attire, Palmyrene, a long piece of unstitched cloth with a coloured border.

The identity of the saree comes from the geographical cluster they are associated with. The Indian government has identified three clusters in Kerala – Balaramapuram, Chendamangalam and Kuthampully – that have been given a Geographical Indication or GI tag and all three clusters produce kasavu sarees. A plain saree with a simple border takes roughly around three to five days. Ones with motifs and heavier work take longer than that. The sarees are priced depending on the time taken on their production, along with the gold used in the zari or kasavu.

Madhya Pradesh

Chanderi: Emerging between the 2^nd and 7^th centuries, Chanderi sarees are produced from three types of fabrics – pure silk, cotton and silk cotton and are synonymous with the town of Chanderi which is on the boundary of Malwa and Bundelkhand. In the 11^th century, the trade locations between Malwa, Medwa, central India and south Gujarat increased the region’s importance. Around 1350, Koshti weavers from Jhansi migrated to Chanderi and settled there and the textile business of Chanderi reached its peak during the Mughal period. Traditional coin, floral art, peacocks and modern geometric designs are woven into different Chanderi patterns. The saris are among the finest in India and are known for their gold and silver brocade or zari, fine silk, and opulent embroidery.

Maheshwari: Originating from the town of Maheshwar, the Maheshwari saree is made of silk and cotton in a variety of designs woven using brocade and zari. Dating to the 18^th century, the sarees were initially made of pure silk, but over time, cotton also came to be used. An interesting story behind the origin of these sarees is that a famous queen had once ordered a large number of artisans and craftsmen from Surat and Malwa to design a unique saree of 9 yards, later termed the Maheshwari saree. These cloth pieces were used as special gifts for the royal guests of the palace. A unique feature of the Maheshwari saree is that each has a specific name of its own, which indicates its distinctness. The sarees may be plain at the centre and have neatly designed borders, or they may have different variations of stripes and checks. The sarees fall under 5 broad categories namely Chandratara, Chandrakala, Beli, Baingani Chandrakala and Parbi. The Baingani Chandrakala and Chandrakala are plain ones, while the Beli, Chandratara, and Parbi come with stripes or checks.

Maharashtra

Karvati: Hailing from the Vidarbha region, Karvati silks are made from Tussar with a grainy, textural feel. What is unique about the silk used in Karvati saris is that it is exclusive to this specific region that is rich in high-quality silk cocoons, straight from the wild. The tribes hailing from this area assume the responsibility of protecting the silk cocoons until they are ready to be harvested. The Tussar is unlike any other silk; it has a unique shade of deep yellow-brown.

The word karvat is a Marathi term that refers to a saw-tooth pattern. Karvati is the name lent to the style of the border rather than the fabric itself. What is different about the saree is the technique and the mixed usage of yarn. The border is woven out of mercerized cotton yarns with traditional temple motifs of various sizes, using an extra warp while the rest of the sari is woven using pure, hand-reeled Tussar silk which provides a texture that has irregular stubs all over. The saree is woven using a three-shuttle, tapestry style of weaving with a pit loom mounted with a wooden lattice dobby in the Nagpur style on the top of the loom. This means that it uses three different styles of weaving at the same time.

Paithani: Dating to the Satvahana Dynasty that ruled between the second century BC and the second century AD, Paithani sarees are fine silk handloom sarees get their name from the town in which they originated, Paithan in Aurangabad. Available in both six and nine yards, the most interesting part about the Paithani handloom is that both sides of the saree look the same, including the border and the pallu. This feature is the telltale sign of a handloom Paithani. As Paithani sarees are woven from naturally dyed threads, they can usually be found only in basic colours. Each saree usually has two dominating colours, one on the saree and the other on the border and pallu. The Paithani is characterised by borders of an oblique square design, and a pallu with a peacock design. Among other varieties, single-coloured and kaleidoscope-coloured designs are also popular. The kaleidoscopic effect is achieved by using one colour for weaving lengthwise and another for weaving width-wise.

The Paithani is a sari made of silk and zari with a plain weave, with weft figuring designs according to the principles of the tapestry. Traditionally, Paithanis had coloured, cotton muslin fields that often contained considerable supplementary zari patterning. However, in the 19^th century, silk fields were also woven. Due to its proximity to the Ajanta caves, the influence of Buddhist paintings can be seen in the woven Paithani motifs. These sarees are made of silk in which there is no extra weft forming figures. Weaving could take between 18 and 24 months, depending upon the complexity of the design. In the days of Peshwas, the borders and the pallu were made of pure gold mixed with copper to give it strength spun into a fine wire called the zari. In recent times, zari is made of silver, coated with gold plating. In the border woven with a zari, ground-coloured silk patterns are added as supplementary weft inlay against the zari usually in the form of a flower or a creeping vine.

Odisha

Bomkai: Also known as the Sonepuri Saree, the Bomkai Saree is a handloom saree from the Bomkai village and has a GI tag. Usually made of cotton, these sarees are also made of silk for special occasions. During the time of Ramai Dev the then ruler of Patna, it was introduced in Sonepur. The borders and pallus are usually designed with fishes as it is believed to be a sign of success and affluence. The sari is normally dyed in red, black and white.

Khandua: A traditional bandha or ikat saree, Khandua is also known as Maniabandi or Kataki and is worn during weddings with a special type of fabric worn by Lord Jagannath which contain texts of the Geeta Govinda on them. The word Khandua in Odia translates to the cloth worn in the lower half of the body. Traditionally Kentuli Khandua is offered to Jagannath as lower cloth. The weaver communities of Maniabandha and Nuapatana of Cuttack traditionally wove this kind of fabric and during the rule of the Gajapatis, the sarees were made and transported to the Jagannath Temple. Nilakantha Deva, the King of Badakhemundi was offered khandua sari made of one piece of khandua silk called caukandika. Khandua is traditionally red or orange in colour with the red colour prepared naturally from the sal tree. The design motif has an auspicious elephant that represents Buddha surrounded by a trailing vine with peacocks in it, a large many-petaled flower, an animal unique to Orissa known as Nabagunjara. The elephant in Khandua ikat from Nuapatana usually varies from elephant motives in ikat from the Sambalpuri saree as well as the ikat from other parts of Orissa. The Khandua has plain borders contrary to borders with motifs in the case of the other ikats from the state.

Pasapali: Also known as the Saktapar, the Pasapali saree is a bandha or Ikat handloom sari woven mainly in the Bargarh district. The name Pasapali is derived from pasa or gambling games using a chess board and these sarees have intricate check patterns of contrasting colours resembling the chess boards which gives it its name.

Sambalpuri: A traditional handwoven ikat where the warp and the weft are tie-dyed before weaving, the Sambalpuri saree is known for its incorporation of traditional motifs, all of which have deep symbolism in red, black and white that represent Odia culture. The high point of these sarees is the traditional craftsmanship of the Bandhakala, or the tie-dye art reflected in their intricate weaves, also known as Sambalpuri Ikkat. In this technique, the threads are first tie-dyed and later woven into a fabric, with the entire process taking many weeks. These sarees also have a Geographical Indication or GI tag associated with them. Traditionally, craftsmen created the ikats with images of flora or fauna or with geometrical patterns, but recently the ikats depict portraits and landscapes are also being designed. The unique feature of this form of designing is that the designs are reflected almost identically on both sides of the fabric. Once the fabric is dyed it can never be bleached into another colour. It is believed that this art migrated to western Odisha along with the Bhulia community who fled north India in 1192 after the fall of the Chouhan empire at the hands of the Mughals.

Punjab

Phulkari: Punjab’s folk embroidery, Phulkari which means floral work also includes motifs and geometrical shapes. In Punjabi, Phul means flower and Akari means the shape and so Phulkari means the shape and the direction of flowers which symbolise life. The main characteristics of Phulkari embroidery are the use of darn stitch on the wrong side of coarse cotton cloth with coloured silken thread. The traditional varieties of Phulkaris are large items of cloth and include Chope, Tilpatr, Neelak and Bagh. Sometimes, the Bagh is given separate categorisation of its own as on other varieties of a Phulkari, parts of the cloth are visible, whereas, in a Bagh, the embroidery covers the entire garment so that the base cloth is not visible. Today, in contemporary designs, the simple and sparsely embroidered dupattas and shawls made for everyday use, are referred to as phulkari, while clothing items that cover the entire body, made for special and ceremonial occasions such as weddings are called baghs or large gardens. The Phulkari continues to be an integral part of Punjabi weddings to the present day.

In the past, as soon as a girl was born, mothers and grandmothers would start embroidering Baghs and Phulkaris, which were to be given away at the time of her marriage. Depending on the status of the family, the parents would give a dowry of 11 to 101 Baghs and Phulkaris which were also passed from one generation to the next as heirlooms. The hallmark of Phulkari is making innumerable patterns by using long and short darn stitches. There were no pattern books and embroidery was worked entirely from the reverse of the fabric and the designs were not traced. Techniques and patterns were not documented but transmitted from word of mouth and each regional group was identified with the style of embroidery or design. The most favoured colour was red and its shades. Animals and birds represented success, beauty, pride, and goodwill and different fruits symbolised wealth, prosperity, and fertility. Wheat and barley stalks with ears were also common motifs. Silk and mulmul or soft cotton muslin fabrics were used because of their purity and longevity and it was believed that the virtue and character of a woman gave shape to the Phulkari.

There are different theories about the origin of Phulkari. One such belief is that this embroidery was prevalent in different parts of the country as far back as the 7^th century, but survived only in Punjab. Motifs similar to the ones found in Phulkari are also found in Kashida of Bihar and some of the embroideries of Rajasthan. Another thought is that this style of embroidery came from Iran where it was called Gulkari, also meaning floral work.

Rajasthan

Gota Patti: Gota patti or gota work is a type of Indian embroidery that originated in Rajasthan. Small pieces of zari ribbon are applied onto the fabric with the edges sewn down to create elaborate patterns. Gota embroidery is used extensively in South Asian weddings and formal clothes. Originally real gold and silver metals were used to embroider, but these were eventually replaced by copper coated with silver as it would become very expensive and today, even more, inexpensive options are available.

Kota Doriya: A handloom fabric, Kota Doriya is woven on a traditional pit loom in such a way that it produces square checks pattern on the fabric. The delicately wrought checks are locally known as khats. Onion juice and rice paste are smeared onto the yarn making it so strong that no additional finishing is needed. Kota Doriya sarees are made of pure cotton and silk and have square-like patterns known as khats on them. The chequered weave of a Kota sari is very popular with a very fine weave and weighs very little.

It is said that Jhala Zalim Singh of Kotah brought weavers from Mysore, in the mid-17^th century, as they wove a characteristic small squared lightweight cotton fabric that looked like graph paper and was suitable for turbans. Since the weavers had come from Mysore, the fabric produced was called Kota Masuriya and was woven on narrow 8-inch looms to make the traditional paags or turbans and later on, broader looms were used for gossamer-light saris. Silk was added to the cotton in a 20:80 ratio approximately to give the sari strength. Nowadays hand woven silk Kota Doriya saris have also become popular. At first, the design known as a buti was small and regular but larger designs are now made according to fashion and taste. A very ornate saree can take one month to make and is an heirloom piece to be treasured. A genuine Kota Doriya sari will contain the GI mark woven in one corner indicating that it has been hand woven using real silver and gold thread.

Leheriya: Leheriya is a traditional style of tie and dye practised in Rajasthan which is bright in colour, with a distinctive pattern. The word Leheriya comes from the word leher, meaning wave and the tie-dye technique results in diagonal stripes, which look like waves on the fabric. To create diagonal stripes, the craftsmen use a special method of resist-dyeing, where the material, is rolled up diagonally length-wise and then tied tightly at intervals before the actual dyeing process begins. Delicate, light fabrics such as thin cotton voile, fine silk and chiffon are preferred, as they allow the colour to penetrate through the rolled cloth. The fabric is wrapped around a wooden pole, usually while it is still wet or in a semi-dry state. The thread that ties up the fabric acts as a resist, yielding a pattern of diagonal stripes after dyeing. The thickness of the thread and the distance between the ties may be varied to obtain stripes of different widths.

An astounding variety of Leheriya fabrics are produced using this simple process. A panchranga or five-colour design is the most auspicious since the number five is considered special in Hindu scriptures. Another beautiful pattern is the satranga, flaunting the seven colours of the rainbow.

Tamil Nadu

Kanjeevaram: A silk saree which is worn on special occasions, the Kanjeevaram or Kanchipuram is made in the Kanchipuram region. This saree has also been recognised and given the Geographical Indication tag by the Indian government. The sarees are distinguished by their wide contrast borders with temple borders, checks, stripes and floral patterns as traditional designs. The patterns and designs in the Kancheepuram sarees are inspired by the images and scriptures in South Indian temples or natural features like leaves, birds and animals and have rich woven pallus showing the paintings of Raja Ravi Varma and the epics of Mahabharata and Ramayana. As of 2008, an estimated 5,000 families were involved in sari production with 25 silk and cotton yarn industries and 60 dyeing units in the region.

The saris are woven from pure mulberry silk thread, which along with the zari or gold thread comes from South India. To weave a Kanjeevaram saree. three shuttles are used. While the weaver works on the right side, his aide works on the left side shuttle. The border colour and design are usually quite different from the body. If the pallu has to be woven in a different shade, it is first separately woven and then delicately joined to the saree and the part where the body meets the pallu is often denoted by a zigzag line. In a genuine Kajeevaram silk saree, the body and the border are woven separately and then interlocked together. The joint is woven so strongly that even if the saree tears, the border will not detach and this differentiates the Kanjeevaram silk saree from the others. The sarees vary widely in price depending on the intricacy of work, colours, patterns, craftsmanship and materials used.

Koorainaadu: A traditional handloom weaving centre, Koorainadu sarees are by their checks and stripes pattern for which plain looms are used. It is made with pure silk and fine-twisted mercerized cotton yarn, in both warp and weft, in the ratio of 2:1, giving every Koorainadu saree a silk look. A peculiar characteristic of this saree is the formation of cotton checks by the interlacing of warp and weft during weaving which can be woven only by an experienced weaver. The sarees are hence stiffer and easier to hold the pleats which make them easier to wear. Koorainadu sarees are mostly worn by the womenfolk of the Hindu community green and yellow colours are used to make it auspicious and so it is often worn by married women wishing for long-lasting wedlock. The nine-yard Koorainadu saris are made with cotton or cotton and silk, in checks or striped patterns with a contrasting border in yellow. Saris with wide borders are called temple saris because they are offered to the deities in the temple.

Sungudi: Traditional cotton sarees from the Madurai area, Sungudi sarees are defined by the pattern of block prints and tie and dye designs. The origins of Sungudi can be traced back to the Sourashtrians who brought the art with them when they migrated to South India under the patronage of King Thirumalai Naicker in the 17^th century. In Saurashtra, the word sungudi relates to the Sanskrit word sunnam meaning round, representing the circular dots that are printed on the fabric as a prominent and special motif.

The dots in the saris are said to be inspired by the cosmos which is why most Sungudi sarees remind one of a starry night. Tying the knots of the sari demands a great amount of precision from the craftsman. Ideally, a three-inch gap between the body and the zari border and also with the pallu lends a neat and symmetrical look to the crude dots. The designs are sometimes marked with a pencil on the fabric for ease in the process. The Sungudi art has seven basic designs that can be modified with different permutations and combinations to provide variety and highlight the creativity of the craftsman. The smaller the dot the better the expertise and this comes only with extensive practice and time. In the early days people used rudimentary methods like tying the knots with mustard or peppercorn seeds. Although this seems like a rural and unpolished method, its success lay in its simplicity. Authentic Sungudi is more than just tying knots. There is a lot of meticulousness that goes into producing a piece that looks effortless. Once the knots are tied in the desired pattern, the sari is clamped which involves pleating, twisting, folding and wrapping it tightly before dyeing it for around two hours. Then the sari is subjected to two rounds of washing with cold water with an organic fixing agent followed by drying and ironing. The resultant fabric is a beautiful sheet like stars in the sky. In 2005 the art of Sungudi tie and dye got the GI recognition tag.

In the next part, the last one, we will do the last few states and also learn about some interesting saree drapes.

Festivals of India: Aadi Perukku

Posted on August 3, 2022 by memoriesandsuch

Today is Aadi Perukku or Aadi 18, a little-known festival celebrated in the state of Tamil Nadu. Also known as Aadi 18, Aadi Perukku is the monsoon festival celebrated in the month Aadi monsoon festival and celebrated on the 18th day of the Tamil month of Adi, which should be sometime between mid-July to mid-August. The festival pays tribute to water’s life-sustaining properties. Nature worship in the form of Amman deities is organised to shower Nature’s bountiful grace on human beings and to bless mankind with peace, prosperity and happiness.

Aadi is a month of fervour and observances dedicated to the Goddesses related to water and other natural forces where prayers and pujas are offered to propitiate the powerful goddess to seek their protection from the inauspicious aspects that are often associated with the month. No weddings or other similar functions are celebrated during this month. It is during this time that the monsoon peaks on the west coast and the rivers of Tamil Nadu, shrunken in the summer heat, get replenished, often to near full levels. The month of Aadi is the fourth month of the year with the first day of the month, usually falling on 16 July, celebrated as Aadi Pandigai or Aadi Perukku, and an important festival to most Tamils, especially newly-weds.

In India the rivers Ganga and Yamuna, Cauvery, Narmada and Godavari are considered sacred. Just like the earth gives us food, water is considered a sacred necessity to meet the needs of individuals. People began to worship water in the form of wells, tanks and rivers. It is common among people to throw fruits, flowers and saffron cloths when the rivers and lakes are in spate purely based on the belief that these rivers are the species of female deities. Similarly, every temple has sacred wells and tanks, and the water in these resources is considered pure.

Aadi Perukku is a unique South Indian and especially a Tamil festival celebrated on the 18th day of the Tamil month of Adi. The festival coincides with the annual freshness of rivers and pays tribute to water’s life-sustaining properties. It is celebrated near river basins, water tanks, lakes and wells of Tamil Nadu when the water level rises significantly heralding the onset of the monsoon.

Aadi Perukku, also called Padinettam Perukku where Padinettu signifies eighteen, and Perukku denotes rising is a unique occasion dedicated to all the perennial river basins of Tamil Nadu and major lakes water source areas and is intended to celebrate the water rising levels due to the onset of monsoon, which is expected to occur invariably on the 18th day of the solar month, Aadi which corresponds to the 2 or 3 August every year. This festival is observed predominately by women in Tamil Nadu as a water ritual, to honour nature.

The association of this ritual with fertility, sex and reproduction is both natural and human. This water ritual practice is performed on the banks of Rivers, which is described as a rice-cultivation tract. The history of this ritual practice dates back to the ancient period and was patronised by the Kings and royal households. Aadi is the month for sowing, rooting and planting of seeds and vegetation since it is peak monsoon time when rain is showered in abundance.

Apart from people flocking to waterfalls for pre-monsoon and monsoon festivals, people living on the banks of rivers and other water sources offer pujas to the water goddess and river gods so that when nurseries are raised in the fields subsequently and sustained by the northeast monsoon, the crops will be ready for harvest during the Thai Pongal celebration in 5 months in mid-January.

The most visible manifestations of the month of Aadi are the huge kolams or rangolis that are painstakingly patterned early each morning in front of houses. They are usually bordered with red and across the front doorway at the top are strung mango leaves. The first of the month is marked with a special puja, followed by a feast with payasam prepared with coconut milk, boli and vadai.

Aadi Perukku is a day of offerings and prayers to these rivers, which mean so much to the lives and prosperity of the people. The day is an occasion for rejoicing particularly for those living on the banks of all the main rivers, their branches and tributaries. The festival of Aadi Perukku is mainly observed by families living on the banks of the Cauvery River. On this auspicious day, relatives and friends collectively pray for the intermittent supply of water that would ultimately result in a good harvest. The devotees take a dip in the holy water. After the bath, they wear new clothes and perform some rituals at the bathing ghats along the Cauvery River. This is followed by abhishekham or the bathing of the Goddess Kaveri or Kaveri Amman.

A special lamp is prepared using jaggery and rice flour. The lamp is placed on the mango leaves, to which a yellow thread, turmeric and flowers are also added. The lamp is lit by the women and together with its accompaniments is floated in the river. Different forms of rice dishes are prepared and offered to the Goddess. Some of the commonly prepared rice dishes that vary in ingredients, colours or flavours include coconut rice, sweet Pongal, curd rice, lemon rice and tamarind rice. The devotees also worship the sacred river Mother Cauvery with rice offerings, Akshata and flowers. After completing the puja, the devotees eat the feast along the banks of the river with their families. The entire event turns out to be like a picnic on the banks of the Cauvery River.

Young girls observe this auspicious puja together with married women. It is a popular belief that maiden girls who make the offerings of Kaapparisi, a sweet dish made from jaggery and hand-crushed rice, Karugamani which are black coloured beads and Kaadholai which are earrings carved out of palm leaves shall be rewarded with good husbands. Young women play and dance to the tunes of folk songs on the occasion of Aadi Perukku. In some Tamil communities, the sons-in-law are invited on the day of Aadi Perukku and gifted new clothes. There is also a ritual in some districts of Tamil Nadu, wherein the newlyweds spend a month before Aadi Perukku at their parents’ home. Then on the day of Aadi Perukku, a gold coin is added to their Thali or Mangalsutra and they return with their husbands.

Mulaipari or the sprouting or germination of nine grains or navadhanyam in baskets or clay mud pots is a very important ritual which takes place at almost every village Goddess celebration. In its most original form, it is an exclusively women’s ritual and is of great importance to the whole village. The participants of the processions carry earthen pots with grown grains from nine different types of grains inside on their heads and walk towards a river where the contents are dissolved. Before the procession starts, special songs and dances like Kummi Pattu and Kummi are performed. The original meaning of the ritual performance is a request to the village Goddess for rain and the fertility of the land, to secure a rich harvest. The women are involved in large groups significantly implying the fertility of women also ensures the continuity of the human race with peace and harmony through empowered women.

All the year’s major festivals are packed into the six months that follow, culminating with Thai Pongal in mid- January, giving meaning to the Tamil saying, Aadi Azhaikkum, Thai Thudaikkum which means

Festivals of India: Karthigai Deepam

Posted on November 30, 2020 by memoriesandsuch

Celebrated on the full moon day or the Purnima in the month of Karttikai or Kartik, the festival of Kartigai Deepam or Kartik Purnima is a pan Indian festival, but celebrated slightly differently and on a different day across north and south India. But commonly it is a festival of lights and is also known as Dev Diwali, the Diwali of the Gods. The festival was celebrated yesterday in South India and Kartik Purnima will be celebrated today in north India.

In south India, it is called Karthika Deepam, Karthikai Vilakkidu or Thrikarthika is a festival of lights that is observed by Hindus of Tamil Nadu, Sri Lanka and Kerala. It falls in the month of Kārttikai, which falls from mid-November to mid-December as per Tamil calendar and the full moon day of this month is called Karthigai Pournami. In Kerala, this festival is known as Thrikkarthika, which is celebrated to welcome Goddess Shakti. In other parts of India, a related festival called Kartik Purnima is celebrated in a different date. It is celebrated in the name of ‘Lakshabba’ in the Nilgiris district of Tamil Nadu. Karthikai Deepam is also known as Kartikeya, or Muruga’s birthday.

There are many legends that have grown around the Karthigai star. The six stars are considered in Indian mythology as the six celestial nymphs who reared the six babies in the Saravana tank which later were joined together to form the six faced Muruga. They are Dula, Nitatni, Abhrayanti, Varshayanti, Meghayanti and Chipunika. He is therefore called Karthikeya, the incarnation of Lord Shiva as his second son after Lord Ganesha. It is believed that Lord Shiva created Muruga from his 3rd eye and is believed that the six forms made into six children and each of them brought up by the six Karthigai nymphs, who were later merged into one by his mother Parvati. While merging Lord Karthikeya also formed into a six faced or Arumugam and twelve handed god. Lord Murugan is also portrayed with his six faces and worshiped with six names. As the six nymphs helped in growing and nurturing the child, Lord Shiva blessed them immortality as stars on the sky. Any worship performed to these six stars is equal to worshiping Lord Muruga himself. The stars are worshiped by lighting up rows of oil lamps or Deepam in the evening of the festival day around the houses and streets.

One of the earliest references to the festival is found in the Aganaanooru, a book of poems, which dates back to the Sangam Age which was between 200 BC to 300 AD. The Aganaanooru clearly states that Karthigai is celebrated on the full moon day or Pournami of the month of Karthigai, as per the South Indian calendar. It was one of the most important festivals of the ancient Tamils, including what is now the areas of modern Kerala. Avaiyyar, the renowned poet of those times, refers to the festival in her songs and Karthikai Deepam is one of the oldest festivals celebrated by Tamil people. The festival finds reference in Sangam literature like Akanaṉūṟu and the poems of Auvaiyar and is referred in Sangam literature as Peruvizha.

In Hindu mythology, Lord Shiva appeared as an endless flame of light before Lord Vishnu and Lord Brahma, who each considered himself supreme and said that the matter could be tested if the two could search for Lord Shiva’s Head and feet. Lord Vishnu took the form of a boar which in Sanskrit means Varaha and Varaham in Tamil and delved deep into the earth. Lord Brahma took the form of a swan which in (Sanskrit means Hansa and Annam in Tamil and flew towards the skies. Lord Vishnu failed in his search and returned, but Lord Brahma, chancing upon a piece of Thazhambu, a flower which is a species of screwpine and learnt from it that it had been floating down for thirty thousand years from Lord Shiva’s head. He seized upon this and claimed to Lord Shiva that he had seen his head. Lord Siva realised that Lord Brahma has uttered a falsehood and pronounced that there would never be a temple for Lord Brahma in this world. He also prohibited the use of the flower Thazhambu in his worship. The day this incident took place was on the full moon of Karthigai month and it is believed that Lord Shiva appeared as a hill at Thiruvannamalai, Tamilnadu. Since Lord Shiva appeared as a flame, this day is called Karthikai Maha Deepam.

On the day and the eve of Karthigai, rows of Agal vilakkus or clay oil lamps are lit in every house. The lighted lamp is considered an auspicious symbol and is believed to ward off evil forces and usher in prosperity and joy. While the lighted lamp is important for all Hindu rituals and festivals, it is indispensable for Karthigai. We usually light the lamps and place it in every corner of the house to dispel all darkness. I love this festival and even as a child, would love to help my mother light the lamps and place them all over the house. Some people light lamps outside their homes throughout the month of Karthigai and this is something my mother started recently and one that I have also started doing from this year onwards. Children also burst any crackers left over from Diwali (or which their parents may have hidden from them because I believe no child will ever have leftover crackers) and in communities where the Tamil population is dense, this festival is literally like another festival of lights. Growing up in a secular community which comprised of people from different communities, but with a large Tambram diaspora, we grew up loving this festival which was just as important to us as Diwali. Traditional sweets for the festival are laddus made from various kinds of popped rice sweetened with jaggery.

This festival is also celebrated to commemorate the bonding between brothers and sisters in South India, somewhat similar to how Raksha Bandhan and Bhai Dhooj are celebrated elsewhere in India. Sisters pray for the prosperity and success of their brothers and light lamps, specifically an elephant lamp or Gajalakshmi Vilakku to mark the occasion as a sign of prosperity and wealth. There is a story behind lighting the elephant lamp. Once upon a time there lived a King and he had only one daughter. She loved an elephant which grew with her and she considered the elephant as her own brother. After her marriage she missed her brother, the elephant very much and so on every Karthigai Deepam, she would light an elephant lamp and prepare tender coconut as well as elephant leg size offerings for him which is still continued today to honour the bond between the princess and her elephant brother.

In the holy temple of Thiruvannamalai, the Thiruvannamalai Maha Deepam gets lit at around 6 pm at the top of 2668 ft high holy mountain. The entire Mountain is said to be a Shiva Linga and the Maha Deepam is lit using nearly 3500 kg of ghee with Sri Arthanareeshwara blessing devotees in the temple at the time of lighting the Maha Deepam. The Maha Deepam is visible around the Holy Mountain in a radius of 35 km and hundreds of thousands of devotees perform the 16 km Girivalam or circumambulation of the holy mountain. The moist black ash that remains after the lighting of the ghee & cotton wick gets distributed as prasadam or holy offerings to devotees on the Marghazhi Arudra Darisanam day, which falls between mid December to mid-January.

This festival is also famous in the Koneshwaram temple in Trincomalee, Sri Lanka where it is celebrated for three days. The first day is called Appa Karthigai, the second Vadai Karthigai and the final day is called Thiru Karthigai, widely considered as the Karthigai day, when the main pooja is performed. On Karthigai day, a huge fire lamp is lit up on the hill and is visible for several kilometers around. The fire is called Mahadeepam and Hindu devotees visit the place to pray and make offerings to lord Shiva.

For followers of the Sikh faith, this day is celebrated as Guru Nanak Dev Ji Gurpurab and Guru Nanak Dev Ji Jayanti, which celebrates the birth of the first Sikh guru, Guru Nanak. This is one of the most sacred festivals in Sikhism. Guru Nanak, the founder of Sikhism, was born on Puranmashi of Kattak in 1469, according to the Bikrami calendar in Rai-Bhoi-di Talwandi in the present Shekhupura district of Pakistan, now known as Nankana Sahib.

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Memories of a very ordinary life

Tag Archives: Tamil Nadu