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: Ganga Sagar Mela

Posted on January 14, 2026 by memoriesandsuch

The Ganga Sagar Mela is one of India’s grandest and most spiritually charged festivals, taking place at the holy confluence of the Ganges River and the Bay of Bengal on Sagar Island, West Bengal. The festival attracts millions of devotees, saints, and tourists who gather to seek purification, find salvation, and celebrate.

The Ganga Sagar Mela is deeply rooted in Hindu mythology and legendary stories that have been passed down over millennia. The saga begins with King Sagar, whose 60,000 sons were cursed and reduced to ashes by Sage Kapil after mistaking him for a thief during their quest for a sacrificial horse. The souls of these princes could not attain moksha or liberation, leading their descendant King Bhagirath to undertake intense penance to bring the river Ganga from the heavens to earth. However, Ganga’s descent was so powerful that it threatened to destroy the earth. Lord Shiva agreed to absorb her mighty force in his matted locks or jata, allowing her to flow gently onto the world. Ganga finally touched earth at Gangotri, but it was at Sagar Island, where her waters merge with the Bay of Bengal, that Bhagirath was able to perform the necessary rites and liberate the souls of his ancestors. This epic tale is the heart of Ganga Sagar’s spiritual significance, and the location itself derives its name from King Sagar. The Ganges River is also called Bhagirathi in honour of King Bhagirath’s perseverance and devotion.

Various stories and beliefs enhance the festival’s allure. Local myth holds that a bath in the Ganga Sagar during Makar Sankranti washes away one’s sins and bestows salvation. It is believed that the Kapil Muni temple marks the exact spot where Sage Kapil meditated and the fateful incident with King Sagar’s sons occurred. The Mahabharata also references the importance of bathing at Ganga Sagar for spiritual merit, further entrenching its sacred reputation.

The Mela is celebrated with vital Hindu rituals, vibrant displays of spirituality, and a remarkable atmosphere of devotion. The central ritual is the holy dip, the Ganga Snan, in the river at sunrise on Makar Sankranti, which usually falls on 14 or 15 January each year. Pilgrims believe that submerging themselves in the sacred waters cleanses their souls and removes accumulated karma, paving the way for moksha. The dip is followed by prayers and offerings to Lord Surya, the Sun God and to the river goddess herself. After the bath, devotees visit the Kapil Muni Temple to offer prayers and seek blessings. Special pujas and arati ceremonies are conducted in the temple, commemorating Sage Kapil’s role in the legend. Other notable rituals include the lighting of diyas or oil lamps and the chanting of Sanskrit hymns at the riverbanks.

The festival attracts an immense number of ascetics, sadhus, and yogis, who set up camps and perform devotional chants, bhajans, and spiritual discourses. The presence of Naga sadhus, ascetic warriors, often draws attention due to their austere practices and distinctive appearance. Ganga Sagar Mela is not just a religious gathering; it’s a vibrant cultural fair with stalls selling offerings, handicrafts, spiritual artefacts, and local cuisine. The fairgrounds are abuzz with devotional songs, dance, and performances, showcasing the cultural heritage of Bengal. Charity and almsgiving, or daan, is considered highly auspicious, and devotees distribute food, clothing, and basic commodities to the needy. The observance of Shraddhas, which are the rituals for ancestors, by priests and devotees are an echo of Bhagirath’s original rites.

In recent years, Ganga Sagar Mela has grown exponentially, now welcoming millions, making it the second-largest Hindu festival after the Kumbh Mela. Local government and organisations facilitate safe logistics, tent accommodation, security, and healthcare for the multitude of pilgrims. Special transport arrangements, temporary shelters, and emergency medical services ensure smoother experiences amid the surge of crowds.

The festival is a magnificent tapestry of faith, unity, and tradition, representing the enduring power of mythology in the modern age. The Ganga Sagar Mela celebrates liberation from the cycle of reincarnation, a fundamental concept in Hindu philosophy. It demonstrates the profound relationship between the spiritual and the physical in Hindu belief: “the act of pilgrimage, communal worship, and the connection to ancient legends come alive every year”. The gathering is also an expression of cultural diversity, as devotees of every background, nationality, and sect converge at Sagar Island.

While the Ganga Sagar Mela itself is the centrepiece, the surrounding area offers further sites of interest. The Kapil Muni Temple is where pilgrims pay homage to the ancient sage, and many meditate there, seeking spiritual tranquillity. Sagar Lighthouse and Port is a scenic landmark providing views of the confluence and the crowds. The Ramakrishna Mission Ashram is a centre for spiritual study and service while the island’s serene beaches are a haven for reflection and relaxation amid the spiritual fervour.

The Ganga Sagar Mela continues to cement its role as a cornerstone of spiritual unity and celebration in India. The myths and legends surrounding the event infuse the gathering with sacred meaning, while its rituals offer avenues for purification, devotion, and the hope of eternal liberation. Each year, as millions gather at Sagar Island, ancient stories are relived, traditions are renewed, and faith is reaffirmed—making the Ganga Sagar Mela an unforgettable tapestry of myth, ritual, and communal spirit.

Festivals of India: Sindoor Khela

Posted on October 11, 2024 by memoriesandsuch

Sindoor Khela, also known as Sindur Khela or Vermilion Play, is a vibrant and joyous Bengali Hindu tradition that takes place on the final day of Durga Puja, known as Vijayadashami. This colourful ritual is primarily celebrated by married women and is a beautiful expression of feminine energy, marital bliss, and sisterhood. As the grand festivities of Durga Puja come to a close, Sindoor Khela serves as a fitting finale, filled with laughter, camaraderie, and the vibrant red hue of sindoor or vermilion powder.

The exact origins of Sindoor Khela are not precisely documented, but the tradition is believed to have evolved over centuries as part of the broader Durga Puja celebrations in Bengal. Durga Puja itself has a rich history dating back to the late 16th and early 17th centuries, gaining prominence during the Bengal Renaissance of the 18th and 19th centuries.

Sindoor Khela likely emerged as a way for women to come together and celebrate their marital status, fertility, and the divine feminine energy embodied by Goddess Durga. The use of sindoor in Hindu traditions has ancient roots, with references in texts dating back to the Vedic period, around 1500–500 BCE.

In Bengali culture, sindoor holds great significance for married women. It is applied along the parting of their hair, known as sindoor daan, as a visible symbol of their married status. The red color of sindoor is associated with the strength and power of Shakti, the primordial cosmic energy represented by the divine feminine.

The tradition of Sindoor Khela may have originated as a way for women to reaffirm their marital bonds and seek the blessings of Goddess Durga for a long and prosperous married life. Over time, it evolved into a more inclusive celebration, embracing the spirit of sisterhood and female empowerment.

While there isn’t a specific mythological story directly tied to the origin of Sindoor Khela, several legends and beliefs associated with sindoor and Goddess Durga provide context for the ritual’s significance. According to Hindu mythology, Durga Puja celebrates the annual visit of Goddess Durga to her maternal home on Earth. On Vijayadashami, she prepares to return to her abode in Mount Kailash, where her husband Lord Shiva resides. Sindoor Khela is seen as a way for mortal women to bid farewell to the Goddess and seek her blessings before she departs.

In one version of the Sati legend, when Lord Shiva carried the lifeless body of his wife Sati after she immolated herself, parts of her body fell at different locations, creating Shakti Peethas. It is said that at the Kalighat temple in Kolkata, Sati’s right toe fell, and the sindoor from her forehead touched the ground. This story connects the use of sindoor to the divine feminine energy of Shakti. Some folklore suggests that Lord Krishna applied sindoor on Radha’s forehead as a symbol of their eternal love. This tale emphasises the romantic and devotional aspects associated with sindoor. In Hindu tradition, sindoor is considered a symbol of saubhagya or marital bliss and good fortune. It is believed that applying sindoor invokes the blessings of the divine for a long and happy married life.

Sindoor Khela typically takes place on the afternoon of Vijayadashami, after the formal rituals of Durga Puja have concluded. The celebration unfolds in several stages – married women gather at the Durga Puja pandal, a temporary structure housing the Durga idol dressed in traditional Bengali attire, usually white sarees with red borders. The women first offer prayers to Goddess Durga, seeking her blessings and expressing gratitude for the festivities. As part of the ritual, women apply sindoor to the feet and forehead of the Durga idol, symbolically preparing her for her journey back to Mount Kailash. The main event begins as women start applying sindoor to each other’s foreheads and along the parting of their hair. This is done with great enthusiasm, often resulting in faces, necks, and parts of the saree being covered in the red powder. Women exchange sweets and bless each other, wishing for happiness, prosperity, and longevity in their married lives. The ritual often culminates in dancing and singing, with women forming circles and enjoying the festive atmosphere. While traditionally limited to married women, in many communities, Sindoor Khela has become more inclusive, allowing widows, divorced women, and even unmarried women to participate in the spirit of sisterhood and celebration.

Sindoor Khela holds deep significance in Bengali culture and Hindu traditions. The ritual celebrates the power and beauty of womanhood, emphasising the strength and grace embodied by Goddess Durga. For married women, it’s a way to reaffirm their marital status and seek blessings for a happy married life. The communal nature of the celebration fosters a sense of sisterhood and unity among women. The red colour of sindoor is associated with fertility and prosperity, symbolizing the life-giving power of women. During Sindoor Khela, social barriers often dissolve as women from different backgrounds come together in celebration. The ritual is an important marker of Bengali cultural identity, preserving traditions and passing them on to future generations. For many women, Sindoor Khela provides a rare opportunity for uninhibited joy and expression, offering emotional release and bonding.

While Sindoor Khela is primarily associated with Bengali Hindu culture, similar traditions can be found in other parts of India, albeit with regional variations. In Odisha, a similar ritual called “Aparajita” is performed during Kumar Purnima, where women play with powdered rice and flowers. During Gudi Padwa celebrations, Maharashtrian women participate in “Haldi Kumkum,” exchanging turmeric and vermilion as symbols of auspiciousness. In some North Indian communities, women exchange sindoor during Karva Chauth festivities.

As society evolves, so does the celebration of Sindoor Khela. Many communities now welcome women of all marital statuses to participate, promoting a more inclusive celebration of womanhood. With growing environmental awareness, some groups are opting for eco-friendly, organic sindoor or even using flower petals as a colorful alternative. Bengali communities worldwide now celebrate Sindoor Khela, adapting the tradition to local contexts while preserving its essence. The vibrant visuals of Sindoor Khela have made it popular on social media platforms, increasing awareness and appreciation of the tradition globally. Contemporary artists and photographers often capture the essence of Sindoor Khela, creating powerful imagery that celebrates feminine energy and cultural heritage.

While Sindoor Khela is largely celebrated as a joyous tradition, it has faced some criticism and controversy in recent years. The traditional focus on married women has been criticized for excluding other women, though many communities are now becoming more inclusive. Some argue that the emphasis on marital status perpetuates patriarchal norms and reduces women’s identity to their marital roles. The use of synthetic sindoor, which may contain harmful chemicals, has raised health and environmental concerns, prompting a shift towards natural alternatives. Like many traditional festivals, Sindoor Khela has seen increased commercialisation, which some feel dilutes its spiritual and cultural significance. As the tradition gains global attention, there are concerns about potential cultural appropriation and misrepresentation. Despite these critiques, many participants and cultural experts argue that the essence of Sindoor Khela lies in its celebration of feminine energy, community bonding, and cultural heritage, which transcends its association with marital status.

Sindoor Khela stands as a vibrant testament to the enduring power of cultural traditions and their ability to adapt to changing times. This colorful celebration encapsulates the joy, strength, and unity of women, while also serving as a bridge between ancient customs and modern sensibilities. Rooted in the rich tapestry of Bengali Hindu culture, Sindoor Khela has grown from a ritual celebrating marital status to a more inclusive festival of womanhood and sisterhood. Its evolution reflects broader societal changes, demonstrating how traditions can remain relevant by embracing new interpretations while preserving their core essence.

The festival’s growing popularity and adaptations across different communities highlight its universal appeal. The images of women laughing, dancing, and covered in vibrant red sindoor have become powerful symbols of joy, freedom, and female bonding, transcending cultural and geographical boundaries. As we look to the future, Sindoor Khela has the potential to play an important role in cultural preservation, women’s empowerment, and community building. Ultimately, Sindoor Khela reminds us of the importance of celebrating life, honoring traditions, and coming together in joyous harmony. As it continues to evolve, this beautiful tradition will undoubtedly remain a cherished part of cultural heritage, spreading its message of love, unity, and feminine power for generations to come.

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

Fabrics and Sarees of India Part 3

Posted on November 30, 2022 by memoriesandsuch

This last part showcases some more fabrics and sarees plus the different drapes to wear them.

Telangana

Gadwal: The Gadwal saree is a handcrafted woven sari style in Gadwal of the Jogulamba Gadwal district and has been registered as one of the Geographical indicators of Telangana. The sarees, which consist of a cotton body with a silk pallu are most notable for the zari which is also given a new name as Sico saris. The weave is so light that the saree can be packed in a matchbox. The Brahmotsavas at the Tirupati temple begin with the deity’s idol being adorned with Gadwal Saree.

Mythology tells us that Gadwal weavers are the direct descendants of Jiveshwar Maharaj – the first weaver of Hindu Gods and Goddesses. The sarees were originally popular as festive and religious wear, worn during pujas and other functions. The weavers of the sari were sent to Benares so that they could perfect the art of weaving but retained no influence from Uttar Pradesh, and instead relies on South Indian aesthetics. These sarees are woven traditionally according to the interlocked-weft technique or the Kuppadam or Tippadam or Kotakomma, also called Kumbam in terms of the border designs. Therefore, these are also known as Kotakomma or Kumbam saris. The most noteworthy feature remains the gold and silver zari work on the border of the sari, which is always made of silk.

Narayanpet: Dating to the 17^th century when the Maratha King Shivaji visited the town of Narayanpet, it is believed some weavers came with the king and settled down here and continued the traditions of this saree, which is influenced by both Maharashtra and Telangana. Narayanpet sarees are made from cotton as well by mixing silk with cotton. Their borders and pallus are very traditional and come in contrasting colours with special pallus and simple borders. Regarded as the garment of the gods, Narayanpet saris have been used to drape the idols of deities and were worn exclusively by aristocrats.

A unique process is employed for the manufacture, where eight saris are made at one go on a loom. Hence, instead of seven yards of fabric being mounted on the loom, 56 yards of silk are mounted on the loom at a single time. One Narayanpet cotton sari takes a day or two to be made, while silks take longer depending upon the complexity of the design.

Pochampally: Created in the Bhoodan Pochampally, the Pochampally saree has traditional geometric patterns in the Paagadu Bandhu or Ikat style of dyeing. Pochampally Ikat’s uniqueness lies in the transfer of intricate design and colouring onto warp and weft threads first and then weaving them together globally known as double ikat textiles. The fabric is cotton, silk and sico, a mix of silk and cotton. Increasingly, the colours themselves are from natural sources and their blends. India’s flag carrier, Air India has its cabin crew wear specially designed Pochampally silk sarees. Pochampally fabrics has found a place in UNESCO’s tentative list of world heritage sites as part of the iconic saree weaving clusters of India.

One of the most telling signs of a Pochampally silk saree is the intricate geometric design over the fabric. Another characteristic of Ikat textiles is an apparent blurriness to the design, a result of the extreme difficulty the weaver has in lining up the dyed yarns so that the pattern comes out perfectly in the finished cloth and is a feature that is almost prized by textile collectors. A standard saree takes a weaver family of four around ten days to make. The saree received the GI tag in 2005.

Uttar Pradesh

Banarasi: Known for their intricate artwork inspired by the Mughals with intertwining florals and foliate motifs, the Banarasi saree is synonymous with the city of Benaras or Varanasi. The sarees are among the finest in India and are known for their gold or silver brocade or zari, fine silk and opulent embroidery. The weaving process involves three people – the weaver, the person who revolves the ring to create bundles and the motif artist. It takes between two weeks to a month and even longer 15 days to six months to weave a Banarasi sari depending upon the complexity of the design and pattern. There is historical evidence of the existence of these fabrics since the Rig Vedic period which is between 1750 and 500 BCE and these fabrics are said to have gained immense popularity during the Mughal era.

In 2009, the Banarasi saree secured the Geographical Indication or GI rights for the Banaras Brocades and sarees. There are four main varieties of Banarasi saree, which include pure silk or Katan, Organza or Kora with zari and silk; Georgette, and Shattir, and according to the design process, they are divided into categories like Jangla, Tanchoi, Vaskat, Cutwork, Tissue and Butidar. Primary colours and bright jewel tones form the typical colour palette of this craft. With a focus on environmental sustainability, a new generation of Benarasi brocade weavers are starting to use vegetable-dyed yarn to attain the same effect.

Chikankari: Chikankari is an ancient form of white floral embroidery, intricately worked with needle and raw thread. Translated, the word means embroidery or thread or wire and the embroidery is done on cotton, organdy, voile, silk, cambric, georgette, and terry cotton. The origins of Chikankari are shrouded in mystery and legend. Some historians say that it is a Persian craft, brought to the Mughal Court of Emperor Jahangir by his consort Mehrunissa or Noorjahan. Today, this delicate traditional craft is practised in and around the city of Lucknow. Chikankari has six basic stitches and over thirty-five other traditional stitches used in various combinations. The embroidery is Mughal-inspired and the motifs show a strong influence from the screens present in the Taj Mahal. The base fabric is usually in pastel colours and is lightweight which highlights the embroidery. Chikan began as a type of white-on-white or whitework embroidery. White thread is embroidered on cool, pastel shades of light muslin and cotton garments though today chikan embroidery is also done with coloured and silk threads in colours to meet fashion trends. The piece begins with one or more pattern blocks that are used to block-print a pattern on the ground fabric. The embroiderer stitches the pattern, and the finished piece is carefully washed to remove all traces of the printed pattern. Chikankari received the Geographical Indication status in December 2008.

West Bengal

Baluchari: A fabric worn by women in West Bengal and Bangladesh, Baluchari is known for its depictions of mythological scenes from the Mahabharata and the Ramayana on the pallu of the saree. During the Mughal and British eras, they had a square design in the pallu with paisley motifs in them and depicted scenes from the lives of the Nawab of Bengal. During the Mughal and British eras, they had a square design in the pallu with paisley motifs and depicted scenes from the lives of the Nawab of Bengal. The main material used is silk and the sari is polished after weaving. It used to be produced in Murshidabad but presently Bishnupur and its surrounding areas of West Bengal are the only places where authentic Baluchari sarees are produced. It takes approximately one week to produce one such sari. In 2011, the Baluchari saree was granted the status of Geographical Indication for West Bengal.

Two hundred years ago Baluchari was produced in a small village called Baluchar in Murshidabad district, from where it got its name. In the 18^th century, Murshidkuli Khan, the Nawab of Bengal patronised its rich weaving tradition and brought the craft of making this sari from Dhaka to the Baluchar village in Murshidabad and encouraged the industry to flourish. After a flood of the Ganges River and the subsequent submerging of the village, the industry moved to Bishnupur village. The Baluchari saree is made of tussar silk but started dying during the British colonial rule as most of the weavers were compelled to give up the profession. In the first half of the 20^th century, the rich tradition of the Baluchari craft was revived. The colours used in Baluchari sarees are bright and cheerful.

Garad Silk: Woven in the Mushirabad district, Garad or Gorod means white refers to undyed silk. The silk is pure, very light and paper-like. Garad silk sarees are thus, characterised by a plain white or off-white body, an unornamental coloured border and a striped pallu. The most traditional of Garad sarees have a white body and red border and pallu. They are also called Garad – Korial Sarees where korial also means plain, which are white or off-white plain sarees. The whiteness and blankness represents purity and these sarees are generally worn during festivals. For example, during Durga puja, Bengali women can be seen offering their prayers to the Goddess draped in one of them.

Kantha: Originating from Bolpur in the Birhum district, Kantha is an embroidery style which was traditionally used in adorning quilts, but today is popular on sarees and other fabrics. Sarees with Kantha embroidery are typically made of pure silk, tussar silk or cotton. Each saree takes weeks or sometimes even months to prepare.

Also spelt Kanta, and Qanta, the Kantha embroidery is practised in Bangladesh and eastern regions of India, particularly West Bengal, Tripura and Odisha and is often practised by rural women. Kantha embroidery derives its name from the same word with two different meanings. Kantha means rag in Sanskrit, which reflects the fact that Kantha embroidery is made up of discarded garments. The word also means throat and was named due to its association with Shiva. The traditional form of Kantha embroidery was done with soft dhotis and saris, with a simple running stitch along the edges. Depending on the use of the finished product they were known as Lepkantha or Sujni Kantha.

The motifs traditionally designed on clothes and bedspreads were of birds, animals, fish, folk scenes and imagery that depicted different livelihoods in Bengal.

Tant: A traditional Bengali saree, the typical Tant saree is characterised by a thick border and a decorative pallu, woven using a variety of floral, paisley, and other artistic motifs. The traditional art of weaving jamdani, considered the best variety of tant, has been showcased by UNESCO as an intangible cultural heritage of humanity. Tant sarees are woven from cotton threads and distinguished by their lightness and transparency.

Tant and especially Jamdani and Muslin became famous in and around Dacca, now Dhaka in Bangladesh and Murshidabad in West Bengal during the Mughal era. The British colonial government tried to destroy this art to protect the textile industry of Manchester, but the tant culture managed to survive. With the division of the Bengal province during the partition of 1947, some of the weavers migrated to West Bengal and continued their craftsmanship there. Thus the tant weavers are now seen in both parts of Bengal.

The process of weaving Tant saris is elaborate and requires planning. First, the cotton threads are washed, bleached, re-washed, sun-dried and then dyed to achieve the desired colour. They are then starched and processed to make the yarns finer. To weave it, the patterns of the border, pallu and body are sketched out on cardboard and perforated to suspend from the loom to guide the weaving process. A few years before India’s independence, the jacquard loom was introduced into the Bangalar Tant technique and was so well-accepted that it is preferred even today.

Jamdani: Originally known as Dhakai or Daccai, an ancient textile weaving centre, after the city of Dhaka in Bangladesh today, Jamdani is a Persian term that came into popular usage during the Mughal rule of Bengal. An early reference to the Indian origins of muslin is found in the book of Periplus of the Erythraean Sea and the accounts of Arab, Chinese and Italian travellers and traders. The name Jamdani, is of Persian origin and comes from the word jam which means flower and dani meaning vase. The name is suggestive of the beautiful floral motifs on these saris. Jamdani is a hand loom woven fabric made of cotton, which was historically referred to as muslin. The Jamdani weaving tradition is one of the most time and labour-intensive forms of handloom weaving and is considered one of the finest varieties of muslin. Traditionally woven around Dhaka and created on the loom brocade, jamdani is rich in motifs.

Whether figured or flowered, jamdani is a woven fabric in cotton. This is a supplementary weft technique of weaving, where the artistic motifs are produced by a non-structural weft, in addition to the standard weft that holds the warp threads together. The standard weft creates a fine, sheer fabric while the supplementary weft with thicker threads adds intricate patterns to it. Each supplementary weft motif is added separately by hand by interlacing the weft threads into the warp with fine bamboo sticks using individual spools of thread. The result is a complex mix of different patterns that appear to float on a shimmering surface. The pattern is not sketched or outlined on the fabric but is drawn on graph paper and placed underneath the warp. Decorative motifs are typically in grey and white and often a mixture of cotton and gold thread was used. Patterns are usually of geometric, plant, and floral designs.

Tangail: A light superfine and beautiful fabric and saree from the Tangail district, today in Bangladesh, the Tangail saree is also known as Begum Bahar, a name suggestive of royalty and spring. Tangail is a weavers’ village in Bangladesh famous for its handloom industry and its trademark Tangail sarees. This thousand-year culture has been passed on from generation to generation and has evolved into an income-generating cottage industry today. Tangail weavers are direct descendants of the famous Muslin weaver community. So naturally, the fine art of their weaving is inimitable and unique. During the partition of Bengal in 1942, a dozen families of the Basak community from Nowakhali and Tangail came and settled in and around the Bardhaman or Burdwan district in West Bengal. With them, came their looms and their specialised weaving of Tangail sarees with finer counts of yarn.

A Tangail saree was originally woven on a pit loom and shuttle with a silk warp and cotton-weft or fillers. It was light, soft, and comfortable. The silk was later replaced by local cotton yarn owing to the scarcity of silk yarn and the infamous partition. The early weaving process was very complicated where the yarn was spun with a takli or spindle instead of a spinning wheel. Over time, new-age techniques, processes, and materials have evolved and today, pure cotton, khadi cotton, linen, tussar silk, matka silk, resham silk, rayon, blended silk, and zari are used to weave a Tangail saree. The Tangail saree is woven in two styles: Jacquard and Nokhshi Buti. For the Jacquard, the desired pattern is fed in the loom itself. When the entire yardage is ready, the loose threads are cut off to give it a smooth and clean finish. As opposed to this, in Nokshi Buti, everything including the fabric, motifs, and the border is worked on entirely by hand. That is why no two sarees come out the same.

The Tangail is a close cousin of the Jamdani and shares its technique of drawing and weaving wherein an extra weft is woven in for patterns. The only difference is two plain picks for the Tangail instead of one for the Jamdani are inserted after each extra weft. A sizing mixture or Kali which is made with rice and lime is applied by hand during the weaving process. As soon as a meter of cloth is woven, this mixture is rubbed on by hand to give the fabric a bit of body and crispness. This is repeated meter after meter till the entire saree is coated and becomes stiff like paper. It is then folded in a particular manner and tied with a piece of cloth.

Saree Draping Styles

There are more than 80 recorded ways to wear a saree, with the most common style being where the saree is wrapped around the waist, with the loose end of the drape worn over the left shoulder, baring the midriff. However, the sarei can be draped in several different styles, though some styles do require a sari of a particular length or form. Ṛta Kapur Chishti, a sari historian and recognised textile scholar, has documented 108 ways of wearing a sari in her book, ‘Saris: Tradition and Beyond’ which documents the saree drapes across the fourteen states of Gujarat, Maharashtra, Goa, Karnataka, Kerala, Tamil Nadu, Andhra Pradesh, Odisha, West Bengal, Jharkhand, Bihar, Chhattisgarh, Madhya Pradesh, and Uttar Pradesh. The French cultural anthropologist and saree researcher Chantal Boulanger categorised sari drapes in the following families:

Nivi Style: This style was originally worn in Deccan region and besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into at the back. This allows free movement while covering the legs.

Bihar, Uttar Pradesh, Gujarati, Rajasthani Styles: In these states, the saree is worn similar to the nivi style but with the loose end of saree pallu placed in the front, therefore this style is known as sidha anchal or sidha pallu. After tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back. This style is also worn by Punjabi and Sindhi Hindus.

Bengali and Odia Style: In this style, the saree is worn with a single box-pleat. Traditionally the Bengali style is worn with a single box pleat where the sari is wrapped around in an anti-clockwise direction around the waist and then a second time from the other direction. The loose end is a lot longer and goes around the body over the left shoulder. There is enough cloth left to cover the head as well.

Himalayan Style: The Kulluvi Pattu is the traditional form of woollen saree worn in Himachal Pradesh, a similar variation is also worn in Uttarakhand.

Nepali: Nepal has many different varieties of draping the saree, today the most common is the Nivi drape. The traditional Newari sari drape is, folding the sari till it is below knee length and then wearing it like a nivi sari but the pallu is not worn across the chest and instead is tied around the waist and leaving it so it drops from waist to the knee, instead the pallu or a shawl is tied across the chest, by wrapping it from the right hip and back and is thrown over the shoulders. Saris are worn with blouses that are thicker and are tied several times across the front. The Bhojpuri and Awadhi-speaking community wears the sari sedha pallu like the Gujrati drape. The Mithila community has its traditional Maithili drapes like the Madhubani and Purnia drapes but today those are rare and most saree is worn with the pallu in the front or the nivi style. The women of the Rajbanshi communities traditionally wear their sari with no choli and tied below the neck like a towel but today only old women wear it in that style and the nivi and the Bengali drapes are more popular today. The Nivi drape was popularized in Nepal by the Shah royals and the Ranas.

Nauvari: This drape is very similar to that of the male Maharashtrian dhoti, though there are many regional and societal variations. The style worn by Brahmin women differs from that of the Marathas. The style also differs from community to community. This style is popular in Maharashtra and Goa. Nowadays this style has become very famous in Indian cinema and is trending in Maharashtrian weddings.

Madisar: This drape is typical of the Iyengar and Iyer Brahmin ladies from Tamil Nadu. The traditional Madisar is worn using 9 yards saree. The saree and the tying style date back to ancient India, at least as far back as the period between 2^nd century BC to 1^st century AD when the antariya and uttariya garments were merged to make a single garment. Tamil Brahmin women are required to use this style after their marriage. The Iyer and Iyengar styles are slightly different and today this style is hardly worn, except on festive occasions, weddings and religious ceremonies.

Kodagu Style: This drape is confined to ladies hailing from the Kodagu district of Karnataka. In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder and is pinned to the rest of the sari.

Karnataka Styles: In Karnataka, apart from traditional Nivi sari, the saree is also worn in the Karnataka Kacche drape, which shows the nivi drape in front and kacche at the back, there are four Kacche styles, Hora Kacche, Melgacche, Vala Kacche or Olagacche and Hale Kacche.

Kerala Style: The two-piece sari, or Mundum Neryathum is worn in Kerala. Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders.

Kunbi or Denthli Style: The Goan Kunbis and Gauda, use this way of draping sari or kappad. This form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fastened on the back.

Riha-Mekhela, Kokalmora, Chador/Murot and Mora Gamusa Style: This style worn in Assam is a wrap-around style cloth similar to other wrap-around from other parts of Southeast Asia and is very different in origin from the mainland Indian saree. It is originally a four-set of separate garments and quite dissimilar to the saree as it is a single cloth known Riha-Mekhela, Kokalmora, Chador/Murot Mora Gamusa. The bottom portion draped from the waist downwards is called Mekhela. The Riha or Methoni is wrapped and often secured by tying them firmly across the chest, covering the breasts originally but now it is sometimes replaced by the influence of immigrant mainland Indian styles which is traditionally incorrect. The Kokalmora was used originally to tie the Mekhela around the waist and keep it firm.

Innaphi and Phanek Style: This style of clothing worn in Manipur is also worn with a three-set garment known as Innaphi Viel, Phanek which is the lower wrap and a long-sleeved blouse. It is somewhat similar to the style of clothing worn in Assam.

Jainsem Style: A Khasi style of clothing worn in Meghalaya is made up of several pieces of cloth, giving the body a cylindrical shape.

The Sari Series, a non-profit project created in 2017 by Border&Fall is a digital anthology documenting India’s regional sari drapes providing over 80 short films on how to drape the various styles. The series was created with two objectives, the first to create an accessible and comprehensive cultural documentation of India’s saree drapes through short films and the second to address a needed perception shift of the garment.

Memories and Such

Memories of a very ordinary life

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