Navrathri and its various hues across India
Many of our festivals are common to all Hindus across India simultaneously albeit with varying degrees of celebration, the legend of most being the slaying of an asura â€" a demon â€" at the hands of one deity or the other, in other words to signify, and more importantly to reinforce the principle, the triumph of good over evil. There are certain exceptions like for instance the Holi that is largely a north Indian festival, and then the harvest festivals â€" the Pongal in TN, and Onam in Kerala â€" are orchestrated in different times of the year depending upon the beginning of the harvesting season in a particular state. Oddly, in the South Diwali marks Lord Krishna slaying of the demon, Narakasura (that also released the 10000-odd maids held captive in the demon’s harem and Krishna had to marry them all, symbolically at least, to save their honour and that also earned him the dubious sobriquet of a lady-killer from his detractors, chiefly Shishupal), while in the North the same event is to celebrate the triumphant return of Ram to Ayodha after slaying Ravan, and ‘Deepavali’ is to welcome him and his entourage with myriad diyas or lamps. And you now know why Mumbai households â€" as elsewhere in the North â€" hang the khandeel or sky lanterns in front of their homes on the eve of Diwali.
In the TN and Kerala Iyer households the chief attraction is the Bomma Golu, a display of an array of arresting figurines of Gods and Goddesses in the steps of a specially-made woodwork frame and the area is tastefully decorated with long strips of gilt and multi-coloured paper, varna kadalaas; few had the ready-made steps, the others would make an improvised arrangement stacking assorted sizes of trunks â€" trankupetties, those rectangular boxes made of thin-gauge tin/mild steel sheets, used to store one’s clothes, jewellery and other knickknacks. Kids, both boys and girls, would pile the pressure on their even not-so-well-off mothers to have the golu every year, and the kids would also enthusiastically help in decorating the golu by cutting the varna kadalaas in to various shapes and size and pasting them at vantages place or hanging them from the side beams.
Usually the arrival of the pheriwalla â€" the touring hawker â€" carrying a basketful of arresting bommais costing from 8 annas to 5 rupees about a week ahead, would herald the Navrathri season in the agraharam.
The rich and famous Iyers in the then Madras city (of the 1960s), however had had a slightly different take: the golu depicted a theme or episode from the tale (it is more like the themes some famous Ganesh mandals use in Mumbai during the 10-day Ganpati festival), and fancy printed invitation cards would be dispatched to those in their friends’ and family circle to attend the event on a particular day.
Each evening, there would be a different pakshanam (dish), sweet or salted and the commonest used to be the shundal made with one of the three varieties of chana (kadalai/Bengal gram), namely the whole chana, chana dal and khabuli chana; the one made with chana dal was the most popular and relished; the sweet payaru made with the smaller variety of vella payaru (lal chowli); and the deep-fried farsan items like ribbon pokkavadam, mixture or thattais Kids, both boys and girls, in the village would visited each and every household in the agraharam to partake of these dishes and female kids, having trained in the fine arts of classical music, would be asked to sing a song. Female adult members visited one another’s homes only on invitation, and they would be given away the special dish prepared in the household on the day â€" in the cities where the Golu is more an exception than a rule the invitees are given away vethila-pakku (betel leaf and nut), coconut along with the dish of the day and also a small gift item as is the current fashion.
Special pujas and bhajans/kirtans to propitiate Goddess Durga would be held in the principal temple of the agraharam irrespective of the deity presiding there; devotees in large numbers would assembled at the designated mandap and reverently sing in chorus. Every night there would be a different prasad sponsored by an affluent family or all the households of one or the other of the streets in the agraharam, the most popular prasad was the sweet payaru followed by the chana dal shundal
.
**
In Mysore the festival is known as Dussehra and the culminating day is celebrated with great pomp, pageant and gaiety with the scions of the yesteryear Wodeyar dynasty in all their resplendent regalia of yore participating in the celebrations, most of them arrive comfortably ensconced in the tastefully-decorated, shimmering golden houdah (I think it is called Ambari in Kerala) installed over a velvet carpet on caparisoned elephants and accompanied by dozens of smartly liveried and suitably turbaned cavalry men from the armed forces, many marching in military formations and some on horseback, too. Dussehra is THE tourist attraction event in Karnataka now.
**
In Mumbai till the mid 1980’s Navarathri used to be a sedate affair: only Gujarati women celebrated the event with a traditional folk garba (it derives its name from the Sanskrit term Garbha for womb and in the initial years in my adopted city I would deride it as a gardhabha â€" donkey â€" dance to infuriate my Gujju colleagues) in several street corners in the suburbs where Gujjus were large in numbers: a colourfully decorated and lighted earthen pot would be placed in the centre and the participants would sing Gujarati folk songs to the beats of dhols, a percussion instrument, as they danced around. The garba is akin to the kaikottikali in Kerala. Babloo, who was an assistant to the then famed Lakshmikant-Pyarelal duo, was the one and only orchestra group that provided music to a garba group in Bandra or Vile Parle.
Trust the Gujjus for finding a gold-mining proposition out of every opportunity and sooner than later they did it. And thus started the Dandiyas mushrooming all over the suburbs in Mumbai.
Raas or Dandiya Raas is the traditional folk dance form of Vrindavan, India, where it is performed depicting scenes of Holy, and lilayen of Krishna and Radha. ..
The main difference between Garba and Dandiya Raas is that Raas is played with Dandiyas (pair of colorfully decorated sticks), while Garba consists of various hand and feet movements. Sometimes instead of sticks, people also use "Swords". The circular movements of Dandiya Raas are much more complex than that of Garba. The Dandiya Raas dance originated as devotional Garba dances, which were performed in Goddess Durga’s honor. This dance form is actually the staging of a mock-fight between Goddess Durga and Mahishasura, the mighty demon-king. This dance is also nicknamed ‘The Sword Dance’. The sticks of the dance represent the sword of Goddess Durga.
The origin of these dances can be traced back to the life of Lord Krishna. Today, Raas is not only an important part of Navarathri in Gujarat but extends itself to other festivals related to harvest and crops as well.
Originating as devotional Garba dances, which were always performed in Durga's honour, this dance form is actually the staging of a mock-fight between the Goddess and Mahishasura, the mighty demon-king, and is nicknamed "The Sword Dance". During the dance, dancers energetically whirl and move their feet and arms in a complicated, choreographed manner to the tune of the music with various rhythms. The dhol is used as well as complementary percussion instruments such as the dholak, tabla and others.
The sticks (dandiyas) of the dance represent the sword of Durga. The women participants wear traditional dresses such as colorful embroidered choli, ghagra and bandhani dupattas (traditional attire) dazzling with mirror work and heavy jewellery. The men wear special turbans and kedias, but this varies regionally.
Garba is performed before Aarti (worshipping ritual) as devotional performances in the honor of the Goddess, while Dandiya is performed after it, as a part of merriment. Men and women join in for Raas Dandiya, and also for the Garba. The circular movements of Dandiya Raas are much more complex than those of Garba. The origin of these dance performances or Raas is Krishna. Today, Raas is not only an important part of Navrathri in Gujarat, but extends itself to other festivals related to harvest and crops as well. The Mers of Saurastra are noted to perform Raas with extreme energy and vigor.
Now the dandiyas are organized by big-time players retaining the services of Event Management Companies, in huge grounds and public places with a make-shift compound and gate, and the season ticket for an individual costs thousands, and vast multitudes from all communities throng them. The ticket sales rake in the moolah in crores. The biggest organizer is the Sankalp group and it holds the dandiya in the massive NSE complex in Goregaon (a Mumbai suburb) and the dandia diva, Falguni Pathak, the undisputed queen, belts out her specially-composed numbers to mass hysteria.. The tunes of all these Dandiyas numbers are mundanely the same. To accommodate the very large number of enthusiastic participants several concentric circles are formed in the arena, each circle in a pair of two, one of the males and the other of the females, the players in each pair move back and forth and forward, too, even as they strike their sticks with one another, with movement picking pace with the beats from the orchestra reaching their crescendo. The better female dandiya players usually offered free entrance passes and the best performers, male as well as female, and also the best and most attractive costumes are also offered large sums in cash prizes sponsored by local bigwigs. All TV channels, the satellite and the local ones, vie with one another to telecast live the dandiyas held in their own localities for the enjoyment of those who are not able to witness them in person.
On the downside there have been few disquieting news of the male and female participants, in their over-excited, passionate state, falling into biologically-induced temptations on their way home at night after the dandiyas get over. To ward of such eventualities, affluent parents are reportedly retaining the services of private detectives to keep an eye on their daughters so that they reach home safe and sound.
The dandiya dance is similar to the Kolattam in Kerala â€" and I think it is kummiadi in TN.
**
In West Bengal the blooming of Kaash, a white flower, resembling a paddy crop with a sweet fragrance is said to be the harbinger of Durga festival.
The pujas get off on the fifth day of Navarathri when a Bodhan Puja is done to welcome the goddess. Installation of a kalash follows. Then there is a puja every morning till Dussehra. The important puja among them is the Sandhi Puja which is performed when the eight day ends and the ninth day begins and when 108 oil lamps are lit. It is believed this is an auspicious moment when a new life began on earth as per mythology.
Bengal believe that Goddess Durga comes maternal home, mike, during the puja and returns to her matrimonial home, sasural, after immersion.
Sarvajanik â€" public â€" Durga pujas are also organized â€" like the Ganapati festival in Mumbai and other cities in Maharashtra - where large sized idols of the deity are installed and worshipped by thousands of devotees.
Many of our festivals are common to all Hindus across India simultaneously albeit with varying degrees of celebration, the legend of most being the slaying of an asura â€" a demon â€" at the hands of one deity or the other, in other words to signify, and more importantly to reinforce the principle, the triumph of good over evil. There are certain exceptions like for instance the Holi that is largely a north Indian festival, and then the harvest festivals â€" the Pongal in TN, and Onam in Kerala â€" are orchestrated in different times of the year depending upon the beginning of the harvesting season in a particular state. Oddly, in the South Diwali marks Lord Krishna slaying of the demon, Narakasura (that also released the 10000-odd maids held captive in the demon’s harem and Krishna had to marry them all, symbolically at least, to save their honour and that also earned him the dubious sobriquet of a lady-killer from his detractors, chiefly Shishupal), while in the North the same event is to celebrate the triumphant return of Ram to Ayodha after slaying Ravan, and ‘Deepavali’ is to welcome him and his entourage with myriad diyas or lamps. And you now know why Mumbai households â€" as elsewhere in the North â€" hang the khandeel or sky lanterns in front of their homes on the eve of Diwali.
In the TN and Kerala Iyer households the chief attraction is the Bomma Golu, a display of an array of arresting figurines of Gods and Goddesses in the steps of a specially-made woodwork frame and the area is tastefully decorated with long strips of gilt and multi-coloured paper, varna kadalaas; few had the ready-made steps, the others would make an improvised arrangement stacking assorted sizes of trunks â€" trankupetties, those rectangular boxes made of thin-gauge tin/mild steel sheets, used to store one’s clothes, jewellery and other knickknacks. Kids, both boys and girls, would pile the pressure on their even not-so-well-off mothers to have the golu every year, and the kids would also enthusiastically help in decorating the golu by cutting the varna kadalaas in to various shapes and size and pasting them at vantages place or hanging them from the side beams.
Usually the arrival of the pheriwalla â€" the touring hawker â€" carrying a basketful of arresting bommais costing from 8 annas to 5 rupees about a week ahead, would herald the Navrathri season in the agraharam.
The rich and famous Iyers in the then Madras city (of the 1960s), however had had a slightly different take: the golu depicted a theme or episode from the tale (it is more like the themes some famous Ganesh mandals use in Mumbai during the 10-day Ganpati festival), and fancy printed invitation cards would be dispatched to those in their friends’ and family circle to attend the event on a particular day.
Each evening, there would be a different pakshanam (dish), sweet or salted and the commonest used to be the shundal made with one of the three varieties of chana (kadalai/Bengal gram), namely the whole chana, chana dal and khabuli chana; the one made with chana dal was the most popular and relished; the sweet payaru made with the smaller variety of vella payaru (lal chowli); and the deep-fried farsan items like ribbon pokkavadam, mixture or thattais Kids, both boys and girls, in the village would visited each and every household in the agraharam to partake of these dishes and female kids, having trained in the fine arts of classical music, would be asked to sing a song. Female adult members visited one another’s homes only on invitation, and they would be given away the special dish prepared in the household on the day â€" in the cities where the Golu is more an exception than a rule the invitees are given away vethila-pakku (betel leaf and nut), coconut along with the dish of the day and also a small gift item as is the current fashion.
Special pujas and bhajans/kirtans to propitiate Goddess Durga would be held in the principal temple of the agraharam irrespective of the deity presiding there; devotees in large numbers would assembled at the designated mandap and reverently sing in chorus. Every night there would be a different prasad sponsored by an affluent family or all the households of one or the other of the streets in the agraharam, the most popular prasad was the sweet payaru followed by the chana dal shundal
.
**
In Mysore the festival is known as Dussehra and the culminating day is celebrated with great pomp, pageant and gaiety with the scions of the yesteryear Wodeyar dynasty in all their resplendent regalia of yore participating in the celebrations, most of them arrive comfortably ensconced in the tastefully-decorated, shimmering golden houdah (I think it is called Ambari in Kerala) installed over a velvet carpet on caparisoned elephants and accompanied by dozens of smartly liveried and suitably turbaned cavalry men from the armed forces, many marching in military formations and some on horseback, too. Dussehra is THE tourist attraction event in Karnataka now.
**
In Mumbai till the mid 1980’s Navarathri used to be a sedate affair: only Gujarati women celebrated the event with a traditional folk garba (it derives its name from the Sanskrit term Garbha for womb and in the initial years in my adopted city I would deride it as a gardhabha â€" donkey â€" dance to infuriate my Gujju colleagues) in several street corners in the suburbs where Gujjus were large in numbers: a colourfully decorated and lighted earthen pot would be placed in the centre and the participants would sing Gujarati folk songs to the beats of dhols, a percussion instrument, as they danced around. The garba is akin to the kaikottikali in Kerala. Babloo, who was an assistant to the then famed Lakshmikant-Pyarelal duo, was the one and only orchestra group that provided music to a garba group in Bandra or Vile Parle.
Trust the Gujjus for finding a gold-mining proposition out of every opportunity and sooner than later they did it. And thus started the Dandiyas mushrooming all over the suburbs in Mumbai.
Raas or Dandiya Raas is the traditional folk dance form of Vrindavan, India, where it is performed depicting scenes of Holy, and lilayen of Krishna and Radha. ..
The main difference between Garba and Dandiya Raas is that Raas is played with Dandiyas (pair of colorfully decorated sticks), while Garba consists of various hand and feet movements. Sometimes instead of sticks, people also use "Swords". The circular movements of Dandiya Raas are much more complex than that of Garba. The Dandiya Raas dance originated as devotional Garba dances, which were performed in Goddess Durga’s honor. This dance form is actually the staging of a mock-fight between Goddess Durga and Mahishasura, the mighty demon-king. This dance is also nicknamed ‘The Sword Dance’. The sticks of the dance represent the sword of Goddess Durga.
The origin of these dances can be traced back to the life of Lord Krishna. Today, Raas is not only an important part of Navarathri in Gujarat but extends itself to other festivals related to harvest and crops as well.
Originating as devotional Garba dances, which were always performed in Durga's honour, this dance form is actually the staging of a mock-fight between the Goddess and Mahishasura, the mighty demon-king, and is nicknamed "The Sword Dance". During the dance, dancers energetically whirl and move their feet and arms in a complicated, choreographed manner to the tune of the music with various rhythms. The dhol is used as well as complementary percussion instruments such as the dholak, tabla and others.
The sticks (dandiyas) of the dance represent the sword of Durga. The women participants wear traditional dresses such as colorful embroidered choli, ghagra and bandhani dupattas (traditional attire) dazzling with mirror work and heavy jewellery. The men wear special turbans and kedias, but this varies regionally.
Garba is performed before Aarti (worshipping ritual) as devotional performances in the honor of the Goddess, while Dandiya is performed after it, as a part of merriment. Men and women join in for Raas Dandiya, and also for the Garba. The circular movements of Dandiya Raas are much more complex than those of Garba. The origin of these dance performances or Raas is Krishna. Today, Raas is not only an important part of Navrathri in Gujarat, but extends itself to other festivals related to harvest and crops as well. The Mers of Saurastra are noted to perform Raas with extreme energy and vigor.
Now the dandiyas are organized by big-time players retaining the services of Event Management Companies, in huge grounds and public places with a make-shift compound and gate, and the season ticket for an individual costs thousands, and vast multitudes from all communities throng them. The ticket sales rake in the moolah in crores. The biggest organizer is the Sankalp group and it holds the dandiya in the massive NSE complex in Goregaon (a Mumbai suburb) and the dandia diva, Falguni Pathak, the undisputed queen, belts out her specially-composed numbers to mass hysteria.. The tunes of all these Dandiyas numbers are mundanely the same. To accommodate the very large number of enthusiastic participants several concentric circles are formed in the arena, each circle in a pair of two, one of the males and the other of the females, the players in each pair move back and forth and forward, too, even as they strike their sticks with one another, with movement picking pace with the beats from the orchestra reaching their crescendo. The better female dandiya players usually offered free entrance passes and the best performers, male as well as female, and also the best and most attractive costumes are also offered large sums in cash prizes sponsored by local bigwigs. All TV channels, the satellite and the local ones, vie with one another to telecast live the dandiyas held in their own localities for the enjoyment of those who are not able to witness them in person.
On the downside there have been few disquieting news of the male and female participants, in their over-excited, passionate state, falling into biologically-induced temptations on their way home at night after the dandiyas get over. To ward of such eventualities, affluent parents are reportedly retaining the services of private detectives to keep an eye on their daughters so that they reach home safe and sound.
The dandiya dance is similar to the Kolattam in Kerala â€" and I think it is kummiadi in TN.
**
In West Bengal the blooming of Kaash, a white flower, resembling a paddy crop with a sweet fragrance is said to be the harbinger of Durga festival.
The pujas get off on the fifth day of Navarathri when a Bodhan Puja is done to welcome the goddess. Installation of a kalash follows. Then there is a puja every morning till Dussehra. The important puja among them is the Sandhi Puja which is performed when the eight day ends and the ninth day begins and when 108 oil lamps are lit. It is believed this is an auspicious moment when a new life began on earth as per mythology.
Bengal believe that Goddess Durga comes maternal home, mike, during the puja and returns to her matrimonial home, sasural, after immersion.
Sarvajanik â€" public â€" Durga pujas are also organized â€" like the Ganapati festival in Mumbai and other cities in Maharashtra - where large sized idols of the deity are installed and worshipped by thousands of devotees.
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