Diwali is a festival that commemorates the triumph of light over darkness. It is regarded as one of India’s greatest and most spectacular festivities. It is a festival dedicated to happiness, triumph, and harmony. Deepavali, alsp known as Diwali, is a Hindu festival that takes place in October or November. The phrase ‘Deepavali’ is a Hindi word that refers to a variety of lights (‘Deep’ refers to earthen lights, and ‘Avail’ refers to a line or an exhibit).
The festival of Diwali is celebrated in honour of Lord Ramchandra. According to Hindu legend, Lord Rama returned to Ayodhya on this day after 14 years of exile. During this time as an outcast, he faced evil spirits and the devil lord Ravana. When Rama arrived in Ayodhya, the people lit diyas to greet him and congratulate him on his victory. Since then, Diwali has been observed to commemorate the victory of good over evil. During the time of Diwali, people also worship goddess Lakshmi and Lord Ganesh. Master Ganesh is adored for his wisdom and keenness and is known as the Destroyer of Obstacles. Goddess Lakshmi is also worshiDuring the time opped for wealth and success during Diwali.
The preparations for the event begin several days ahead of time. It all starts with a thorough cleaning of homes and businesses. Many people also get rid of all of their old family belongings and finish all of the renovations before the celebration starts.
On Diwali night, it is a long-held belief that Goddess Lakshmi visits people’s houses to bestow blessings. As a result, everyone cleans and decorates their homes with pixie lights, blooms, rangoli, candles and diyas, with other decorations in preparation for the festival.
Here are some wonderful quotes for Diwali wishes to share with your loved ones this Diwali.
May Diwali’s divine light shine brightly in your life, bringing you peace, wealth, happiness, good health, and great success.
Just like the colours of the rangoli, may this Diwali bring new smiles, undiscovered paths, new perspectives, and boundless delight. Have a fantastic Diwali!
This Diwali and throughout the year, may knowledge triumph against ignorance.
Allow the candles’ and the earthen lamp’s flames to cleanse your heart, mind, and soul. As a result, your relationship with the Almighty will be strengthened. Wishing you a joyous Diwali celebration.
Let each diya you light illuminate your soul and bring a smile to your face.
A celebration full of wonderful childhood memories, fireworks in the sky, sweets in the mouth, diyas in the house, and joy in the heart. Wishing you a wonderful Diwali.
May the light from the wick of the candle during Diwali warm the world, removing the coldness brought on by wars, disagreements, and calamities.
This Diwali, let us revel in the glory of goddess Lakshmi and vow to stop all wrongdoings. Wishing everyone a happy Diwali!
Nothing compares to spending a Diwali night with all of your favourite people. Here’s to a wonderful celebration!
Diwali is a festival of light, hope, and knowledge. In a big bonfire of crackers, burn your ignorance and ignite the lamp of hope in your heart, which will guide you successfully through your life – personal, professional, and social.
Diwali’s glow can rekindle your spirits. May this celebration fill your heart with new hope, confidence, and courage, preparing you for a prosperous future.
Diwali’s special feature is the ability to envision a bright future ahead of us. May this Diwali instil optimism in all of us, allowing us to see the bright side of life, ignoring the dark.
May this Diwali be full of new beginnings, delicious ladoos, dazzling Diyas, incredible opportunities, and new paths. Wishing you a joyous, frolic, and never-ending Diwali celebration!
May the vibrant colours of rangoli bring you joy, may the delicious sweets bring you sweetness, and may Goddess Lakshmi grant you all your wishes this Diwali.
May the pages of your life be coloured with peace, joy, and happiness with this divine festival of lights.
Hope you loved the quotes for Diwali wishes and shared a few postcards with your loved ones. Happy Diwali to you all, have a wonderful time with your family.
In 1947, after the Independence, many had the perspective that India will go to ruins and will disintegrate due to its diversification in culture and ethnicity. But what everyone did not know was, this diversity would become the strength of India. Today, India is known for being a state with culture and heritage differing in every region and is praised for having such a strong unity despite these contrasts. On 31st of October, we celebrate this beautiful tapestry of differences, named as National Unity Day.
But one might wonder, why the 31st of October? In 2014, The government of India declared 31st of October as National Unity Day to commemorate the birth anniversary of Sardar Vallabhbhai Patel. Let’s dive further into the topic to know how unity of India is linked with the Iron Man of India.
Sardar Vallabhbhai Patel’s Contribution in Indian Unity
The veteran freedom fighter Sardar Vallabhbhai Patel contributed heavily with his participation in non-cooperation, Satyagraha, and Quit India movement where he also inspired a lot of Indias to participate in the movements and helped India achieve independence. But he also played an indispensable role in shaping the newly independent nation into a united and cohesive entity. After India gained independence in 1947, the country faced the daunting challenge of integrating over 560 princely states, each with varying degrees of autonomy and allegiance. Without a unified approach, these states could have fragmented the nation, leading to disunity, chaos, or even civil war. He believed that the integration of states had to be voluntary to ensure long-term stability.
As the first Deputy Prime Minister and Minister of Home Affairs, he worked tirelessly to bring these states into the fold of the Indian Union. He employed a combination of diplomacy, persuasion, and, where necessary, political pressure to achieve this goal. His ability to negotiate with the princely rulers while appealing to their sense of patriotism was key to the success of this monumental task. Many rulers, including those of large states like Hyderabad, Junagadh, and Jodhpur, were initially hesitant or outright resistant to joining the Indian Union. With his diplomatic acumen, successfully convinced most rulers to accede to India by explaining the benefits of being part of a unified nation. He also offered them personal guarantees, safeguarding their titles and privileges through the Privy Purse.
Even in challenging states like Hyderabad and Junagadh, Sardar Patel was able to annex Hyderabad with operation Polo and Junagadh acceded due to his decisive leadership and strategic moves.
Sardar Vallabhbhai Patel’s Life
Born on 31st of October 1875 in Nadiad, Kheda district, Sardar Vallabhbhai Patel became one of the key leaders of India’s independence movement with his influential leadership in the Bardoli Satyagraha and his efforts in post-independent India. He studied law in England and became a barrister before joining the freedom movement in India. He was one of the senior leaders of the Indian National Congress. He also played a key role in the Quit India Movement and Civil Disobedience Movement. The title ‘Sardar’ meaning chief in Hindi, was given to him by Mahatma Gandhi for his exceptional organisational skills during the Bardoli Satyagraha. He was the first Deputy Prime Minister and Minister of Home Affairs of India.
To revere him and his contribution to India, he was awarded with the Bharat Ratna posthumously in 1991. And in 2018 on 31st October, the Statue of Unity was inaugurated. It stands still as the tallest statue in the world, at 182 metres. Located in Kevadia, Gujarat, it has become a symbol of national pride and unity paying tribute to Sardar Vallabhbhai Patel.
National Unity Day Celebrations
National Unity Day Celebrations are held across India to commemorate the birth anniversary of Sardar Vallabhbhai Patel and to honor his contributions to national integration. The day is marked by a wide range of events, both at the governmental and public levels. The central highlight is the “Run for Unity”, a nationwide marathon organized in cities and towns across India, symbolizing the collective effort toward fostering unity among citizens. Government offices, educational institutions, and various organizations participate in the run, encouraging people from all walks of life to join and reflect on the importance of unity. Additionally, government buildings are illuminated, and tributes are paid to Sardar Patel through speeches, documentaries, and exhibitions detailing his life and work.
Many states also organize ceremonial parades, oath-taking ceremonies, and events promoting national integration. Political leaders, including the Prime Minister, address the nation, emphasizing the importance of maintaining unity and harmony in the face of challenges such as regionalism, communalism, and external threats. National Unity Day serves as a reminder of the values of “unity in diversity”, with the goal of reinforcing the idea that the strength of India lies in its ability to stand united despite its cultural and linguistic diversity. The celebrations not only honor Sardar Patel’s legacy but also inspire future generations to contribute to the continued progress and unity of the nation.
Importance of Unity Day
In a country as vast and diverse as India, unity is crucial for its stability, progress, and growth. National Unity Day serves as an opportunity to reflect on the relevance of national unity in contemporary times when the country faces issues like communalism, regionalism, and separatist movements. By remembering Patel’s legacy, citizens are reminded that the very foundation of the nation’s sovereignty is based on inclusiveness and collective strength.
The day encourages individuals to rise above divisions and work towards social harmony and political integrity, ensuring that national interests take precedence over personal or regional aspirations. And with increasing Communalism, and division on the basis of regions, this concept and celebration becomes even more crucial. It aims to foster a sense of patriotism and encourages citizens to contribute to the nation’s unity in a constructive manner. In schools and colleges, the day becomes a platform to educate the younger generation about the importance of staying united, respecting diversity, and embracing the values of tolerance and cooperation.
Quotes from Sardar Patel
Remembering the man without whose contribution, India would not stand as one on national and international platforms as it does today. Sardar Patel always believed in harmony among the diversities and visioned it as a collective goal. He has strong belief in unity, equality, and the spirit of nation-building, laying the foundation for a united and prosperous India which are reflected in his quotes.
Manpower without unity is not a strength unless it is harmonized and united properly, then it becomes a spiritual power.”
“There is something unique in this soil, which despite many obstacles has always remained the abode of great souls.”
“Every Indian should now forget that he is a Rajput, a Sikh, or a Jat. He must remember that he is an Indian.”
“Take to the path of dharma – the path of truth and justice. Don’t misuse your nation’s freedom.”
“The first duty of a citizen is to maintain the unity of the nation.”
“We have to shed mutual bickering, shed the difference of being high or low, develop the sense of equality, and banish untouchability. We have to live like the children of the same father.”
“It is in my nature to be a friend of the friendless and an enemy of oppressors.”
“Faith is of no avail in the absence of strength. Faith and strength, both are essential to accomplish any great work.”
“Our object should be peace within, and peace without. We want to live in peace with our neighbors and with the world. But it is not possible unless our own homes are in order.”
“Work is undoubtedly worship, but laughter is life. Anyone who takes life too seriously must prepare for a miserable existence.”
FAQs About National Unity Day
Why is National Unity Day celebrated?
National Unity Day, celebrated on 31st of October to commemorate the birth anniversary of Sardar Vallabhbhai Patel.
Who introduced the National Unity Day first?
The National Unity Day was first introduced by the government of India in 2014.
What is the name of Unity Day?
The other name for Unity Day is Rashtriya Ekta Diwas.
Why is Sardar Patel called Iron Man?
Sardar Patel is known as Iron Man of India for his undying and unfaltering commitment to national integration in the newly independent India.
What is Sardar Patel famous for?
Sardar Patel is revered in Indian history for not only his fight for freedom but his successful persuasion of almost 565 self-governing princely states integration in the independent India.
Few Lines on National Unity Day
National Unity Day, observed on October 31st, honours Sardar Vallabhbhai Patel’s efforts in uniting India post-independence.
Also known as the “Iron Man of India,” he played a pivotal role in integrating over 500 princely states into the Indian Union.
The day celebrates India’s unity in diversity, emphasizing the importance of cohesion amidst cultural and linguistic differences.
Events like the Run for Unity and public programs inspire patriotism and promote national integration.
National Unity Day highlights the ongoing need for harmony in India’s social, political, and economic spheres.
The celebrations reflect the spirit of togetherness, urging citizens to overcome communalism and regionalism.
By fostering national pride, the day encourages all Indians to uphold values of unity for the nation’s progress.
Conclusion
Ultimately, National Unity Day is not just a tribute to Sardar Patel but also a call to action for every Indian to commit to preserving the territorial and cultural unity of the country, ensuring India’s progress and peace. It stands as a powerful reminder of the crucial role unity plays in the progress and stability of India. By commemorating Sardar Vallabhbhai Patel’s monumental efforts in integrating the nation, the day not only honors his legacy but also reinforces the timeless value of “unity in diversity” in modern India. It encourages citizens to reflect on their responsibility in fostering national integration, promoting social harmony, and overcoming divisions. As India continues to grow and face new challenges, the message of National Unity Day serves as a call to action for every citizen to uphold the principles of tolerance, inclusiveness, and collective strength, ensuring the nation’s continued success and peaceful coexistence.
Goa is the beautiful state of India on the Southwestern coast of India within the Konkan region. As refreshing is the ambience of Goa, so is the cuisine of this state laid beside the Arabian Sea. The Goan cuisine finds its roots from Konkan, but influenced by the 451 years of Portuguese rule, and the Sultanate rule, the hints stay in their food culture. Rice, seafood, coconut, vegetables, meat, bread, pork and local spices are some of the main ingredients in Goan cuisine. Use of kokum and vinegar is another distinct feature. Though the cuisine is mostly sea-food based with their staple food being rice and fish, there are other varieties as well. So, let’s not wait further and dive deep into the Vibrant Goan cuisine.
Goan Fish Curry is the heart of Goan cuisine. This dish features a flavorful coconut milk base combined with spices like coriander, turmeric, and red chilies, giving it a fiery red color. Tamarind or kokum is used to add a tangy flavor, which complements the freshness of the fish, often pomfret or kingfish. It is usually served with steamed rice, making it a complete and balanced meal.
It is one of the most iconic dishes from Goa, influenced by the Portuguese dish “Carne de Vinha d’Alhos.” It is known for its fiery and tangy flavor, achieved by marinating pork in vinegar and garlic, then cooking it with a blend of spices such as red chilies, cinnamon, cloves, and cumin. The dish is spicy and slightly sweet due to the vinegar and sometimes a touch of sugar. It is often served with Goan rice or traditional Goan bread like poee or sannas (steamed rice cakes).
Sannas are soft, fluffy steamed rice cakes that are typically eaten with savory dishes like curries or as a snack. They are made from fermented rice and coconut, giving them a slightly sweet taste. Sannas are often served during Goan festivals and special occasions, particularly along with Pork Vindaloo or Sorpotel. It is paired with curries or used as a base for Goan desserts.
Bebinca is Goa’s most famous dessert, a layered pudding made from eggs, coconut milk, sugar, and flour. Each layer is individually baked, making it a labor-intensive but deliciously indulgent dish. It has a soft and rich texture, with the flavor of coconut and caramelized sugar blending together beautifully. It is often enjoyed as a dessert during festive occasions, especially Christmas.
Sorpotel is another traditional Goan pork dish with strong Portuguese roots. It is made by cooking small chunks of pork and pork offal in a spicy, tangy sauce made from vinegar, garlic, and a variety of spices. The dish is typically left to mature for a few days, allowing the flavors to intensify. It is typically served with sannas or rice.
6. Prawn Balchão
Prawn Balchão is a spicy Goan dish with Portuguese influences, often likened to a pickle due to its tangy and spicy flavor. The prawns are cooked in a rich tomato-based sauce with vinegar, red chilies, and spices. The dish is fiery and sour, making it a distinctive Goan specialty. It is served with rice or Goan bread.
Goan Prawn Curry is a milder version of the classic fish curry, but it still packs a punch of flavor. Prawns are simmered in a coconut milk base along with tamarind, curry leaves, and a blend of Goan spices. The curry is creamy, tangy, and aromatic. It is best served with steamed rice or flatbread.
8. Feijoada
Feijoada is a bean stew that has its roots in Portuguese cuisine but has been adapted to Goan tastes. It’s made with black beans and pork, including sausages and bacon, and is slow-cooked with onions, garlic, and spices. The dish is hearty and flavorful, offering a perfect balance between the smokiness of the pork and the earthiness of the beans. It is served with rice, it makes for a wholesome meal.
Chicken Cafreal is a Goan specialty that originated from Mozambique, introduced by the Portuguese. It involves marinating chicken in a blend of fresh cilantro, green chilies, ginger, garlic, and lime juice, then frying or grilling it. The result is a spicy, herbaceous dish with a smoky char. It is typically served with Goan bread or rice.
Chicken or mutton Xacuti is a dish known for its complex flavors, achieved by roasting and grinding a mixture of spices such as poppy seeds, coconut, and dried red chilies. The dish has a rich and creamy gravy, which is slightly spicy and aromatic. It is served with rice or Goan bread.
11. Foni (Foogath)
Foni, also known as Foogath, is a simple yet flavorful Goan vegetarian dish made with cabbage, coconut, and mustard seeds. It is sautéed with onions and green chilies, making it a light and healthy side dish often served with rice and curry. It is often eaten as a side dish with rice and curry.
12. Alsanyache Tonak
It is black eyed beans cooked in Tonak Masala recipe, is a Goan dish made from a legume and potatoes. The gravy of the dish is made from red cow peas. The Tonak masala spice mix in this dish is a unique blend of whole spices such as coriander seeds, cinnamon, red chillies, peppercorns, star anise, cloves, cumin and cinnamon.
Originating from Saraswat cuisine, a cuisine originated in the Saraswat Brahmin community of Coastal regions of Karnataka, Goa and Maharashtra, this cuisine is mild with a use of tamarind and kokum for souring and jaggery for sweetening. It also uses spices like, asafoetida, fenugreek, curry leaves, mustard and urad dal. Cooked in coconut oil, it includes vegetables such as, lentils, pumpkins, gourds, bamboo shoots and roots. Though the list is long, some of the famous dishes of Goan Hindu cuisine are;
Kalputi, a dish normally prepared from the head of a large fish, with onions and coconut.
Fish Suke or Dhabdhabit, dry spicy preparation of fish, served as a side dish.
Kismur, a type of side dish normally consisting of dried fish (mostly mackerel or shrimp), onions, and coconut
Varan, A lentil preparation often made with coconut milk tempered with mustard, curry leaves, and chilies, served as an accompaniment to rice for the Naivedya, prepared during all Hindu festivals, and an integral part of wedding feasts
Fresh coconut, coconut milk, and coconut oil are staples in Goan cooking, giving the dishes their creamy and rich texture. Spices such as red chilies, turmeric, coriander, cumin, cloves, and cinnamon are heavily used in Goan cuisine to create its signature spicy and aromatic flavors. Fish, prawns, crabs, and other seafood are central to Goan cuisine, reflecting its coastal geography. Introduced by the Portuguese, vinegar is an essential ingredient in many Goan dishes, particularly Pork Vindaloo and Balchão, lending a tangy flavor.
Goa, with its significant Christian population, celebrates Christmas with great enthusiasm. Food during Christmas reflects the deep Portuguese influence, featuring a variety of sweets, savory dishes, and meat preparations.
Bebinca is one of the most iconic Christmas desserts, it is a multi-layered cake made from coconut milk, eggs, sugar, and flour. Each layer is cooked individually, creating a rich, caramelized texture. A sticky, sweet dessert made from coconut milk, jaggery, and rice flour, Dodol is another traditional Christmas delicacy. Its smooth, fudge-like consistency and deep caramel flavor make it a festive favorite. Another delicacy, Neureos, are sweet dumplings filled with grated coconut, sugar, and dry fruits, similar to the Maharashtrian gujiya. The dough is made from flour and deep-fried, resulting in a crispy exterior with a sweet filling.
Baath Cake is a moist coconut cake made from semolina and freshly grated coconut, Baath Cake is a simple yet flavorful dessert often baked during the Christmas season. It has a dense texture due to the use of semolina, and the coconut gives it a rich, tropical flavor. A Goan version of idlis, Sannas are steamed rice cakes made with fermented coconut and rice batter. Pork Sorpotel is a tangy, spicy pork dish that originated in Portugal. Made from diced pork, including liver and other offal, it’s cooked in vinegar, garlic, and spices. The dish improves in flavor over time and is often prepared days in advance of Christmas to allow the flavors to mature. And lastly, a quintessential Goan dish during Christmas, Pork Vindaloo is made with a fiery blend of spices, vinegar, and garlic. The dish has its roots in Portuguese cuisine and is typically served with sannas or Goan rice.
Ganesh Chaturthi is one of the most important Hindu festivals in Goa, celebrated with grandeur. During this festival, Patoleo, a steamed sweet made by spreading rice paste on turmeric leaves, filled with a mixture of jaggery and grated coconut is prepared. The leaves are folded and steamed, infusing the sweet with a unique flavor. It is prepared as an offering to Lord Ganesha and is symbolic of the coastal traditions of Goa. Chana Ros, a popular dish made from white chickpeas (chana) cooked in a mildly spiced coconut curry. It is typically served with puris or rice during Ganesh Chaturthi. The use of fresh coconut milk imparts a rich and creamy texture to the dish. Vonn is a traditional Goan kheer made with split Bengal gram, rice, jaggery, and coconut milk. It is served as a dessert during Ganesh Chaturthi and other Hindu festivals. Another dish Mooga Gathi is a sprouted moong (green gram) curry made with coconut, spices, and sometimes tamarind. It is a simple and nutritious dish, often served during Ganesh Chaturthi as a part of the festive vegetarian meal.
Diwali, another important festival of Hindus, is celebrated in Goa. During this time, Goan households prepare an array of sweet and savory items. Fov, or beaten rice, is central to Goan Diwali festivities. Different variations of fov are made, such as, Doodanche Fov, made with beaten rice, milk, sugar, and cardamom. Batata Fov, a savory version made with beaten rice, potatoes, mustard seeds, and green chilies. And Kaleyle Fov: Beaten rice mixed with jaggery and coconut. Other than Fov, Karanji (Neureos) Similar to the Christmas version, is also made. Karanji is a sweet pastry filled with coconut, sugar, and dry fruits. It is a must-have sweet during Diwali, along with other fried delicacies. Various types of laddoos are prepared during Diwali in Goa. Besan (gram flour) laddoo, coconut laddoo, and rava (semolina) laddoo are some of the most common. These sweets are often distributed among family and friends during the festival.
Shigmo, Goa’s version of Holi. The cuisine during this festival is mostly vegetarian, with an emphasis on sweets and snacks. Khede are boiled chickpeas, often seasoned with salt and served as a snack during Shigmo. This simple dish is offered as prasadam (offering) to the deities during the festival. Sakharbhat is a sweet rice dish made with jaggery, cardamom, ghee, and coconut. It is a festive treat, offered during Shigmo celebrations and enjoyed by families. Khaje is a traditional Goan sweet made with chickpea flour, jaggery, and sesame seeds. It is crispy and sweet, and is a popular snack during Shigmo.
Easter is another major Christian festival in Goa, marking the resurrection of Jesus Christ. During Lent, Goan Catholics follow a period of fasting and abstain from meat, which leads to the preparation of specific vegetarian and seafood dishes. A popular sweet pancake made with coconut and jaggery filling, Alle Belle is enjoyed as a snack or dessert during Lent and Easter. Manna Polle are small rice pancakes made from fermented batter, served with sweetened coconut milk or jaggery.
During Lent, seafood plays a central role in Goan cuisine. Prawn Balchão, a spicy, tangy dish made with prawns, vinegar, and red chilies, is a popular choice. Though traditionally fiery, it can be moderated for those fasting. On Good Friday, the meal is usually vegetarian or includes seafood. Dishes like Goan Fish Curry and Sannas are commonly served, along with simpler preparations like boiled rice and vegetable stews.
FAQs About Traditional Food of Goa
What is the staple food of Goa?
The staple food of Goa is rice and fish curry, locally known as Xitt Kodi. Goans consume rice with a variety of seafood curries daily.
Which ingredients are commonly used in Goan cuisine?
Common ingredients in Goan cuisine include coconut, rice, fish, spices like red chilies and turmeric, and vinegar—a legacy of Portuguese influence.
What is Bebinca?
Bebinca is a traditional Goan dessert, a layered cake made with coconut milk, eggs, sugar, and flour. It is a popular dish during festive occasions like Christmas.
What is Pork Vindaloo?
Pork Vindaloo is a spicy Goan dish made with pork, vinegar, garlic, and a blend of spices. It has Portuguese origins and is known for its tangy and fiery taste.
What are Sannas?
Sannas are soft, steamed rice cakes made with fermented rice and coconut. They are often served with curries like Pork Sorpotel or eaten as a snack during festivals.
Few Lines on Traditional Food of Goa
Goan cuisine blends Portuguese, Konkani, and Indian influences, rich in coconut, rice, and seafood.
Fish Curry (Xitt Kodi) is the staple dish, served daily with rice across Goan households.
Pork Vindaloo and Sorpotel are iconic spicy, tangy dishes with Portuguese origins.
Sannas, fluffy rice cakes, are a festive accompaniment to curries, especially during celebrations.
Traditional Goan desserts like Bebinca and Dodol are sweet staples during Christmas and other festivals.
Vegetarian dishes like Patoleo and Mooga Gathi are popular during Hindu festivals like Ganesh Chaturthi.
Goan festival cuisine highlights diverse flavors with spices, vinegar, coconut, and local seafood at its core.
Conclusion
Goan food is a rich blend of local ingredients and Portuguese influences, reflecting the region’s coastal geography and vibrant history. Coconut, rice, seafood, and spices like red chilies, tamarind, and turmeric form the base of many dishes. Iconic preparations like Pork Vindaloo, with its tangy, spicy flavors, and the creamy, aromatic Goan Fish Curry, showcase this unique fusion of flavors.
What sets Goan cuisine apart is its balance of bold flavors, the spiciness of curries, the richness of coconut milk, and the sweetness of traditional desserts. Each dish reflects Goa’s cultural diversity and local produce, offering a culinary experience that’s both distinctive and unforgettable.
‘A stitch in time saves nine’, goes a popular saying. But what if a stitch also saves the cultural heritage of generations, showcases the skills of a particular region, and beautifies garments across the nation? Yes, we are talking about some of the finest finest embroideries and stitches that have withstood the test of time and emerged as local fashion icons. Most of these continue to be in use and are often flaunted at fashion shows and adopted by leading Indian designers.
Due to the vastness that comprises India, the regional and traditional specializations are also seen in embroideries, as much as they are seen in other social and cultural aspects, such as, language, festivals, cuisine, and local ingredients.
Most regions or states have their particular style and craft of popular embroideries. The skilled laborers who are masters of embroidery art usually have this art form passed on from generations. The fact that these artisans are common people who are usually always away from the limelight is no new news. Unlike celebrity artists in various fields, the craftsmen who embroider are rarely known. They are usually the nameless and faceless assets that create the priceless wear adorned on various occasions by people.
There are many specific embroideries of India, such as the Chinkankari, Kantha, Aari, Gota, Kutch, Phulkari, Shisha work, Zardosi, and many more. Here is taking a look at some of the most popular embroideries of different states and regions.
From the land of Lucknow, this form of embroidery is said to have been introduced by Nur Jehan, the wife of Jahangir. It is the usage of white thread over the fabric which is block printed for patterns. The petite and elegant look of the design is used on kurtas and other garments.
Punjab is known for this amazing embroidery pattern of flowers on their fabrics. Stitches are embroidered on the back of cloth as the design unfolds in front. Bright colors are usually used over lighter fabrics and this form of Phulkari embroidery has been practiced primarily by the women of the community.
3. Kantha: The Bengal and Odisha Art
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Practiced in West Bengal and Odisha by its rural women, this is a running stitch done along with the patterns. The simplicity of the work gives the garments an exclusive look. Also, it is often known as dorukha because there is no front or backside, the design looks the same on both sides. Kantha embroidery is not only used on garments but quilts, napkins, and so on.
Hailing from Rajasthan, particularly in Jaipur, the Gota designs look similar to zardozi. Zari ribbons or gold threads are used to create patterns. The designs are of human figures, animal figures, or various shapes which are cut and then stitched on the material making it an applique with the usage of gold threads. Karchobi is another form of embroidery in Rajasthan that uses metallic zari threads.
From the breathtaking land of Kashmir is Kashida, an equally beautiful Kashida embroidery that uses bright colors and myriad motifs. Found on shawls, bed sheets, sarees, Kurtis, and many more, the designs vary from animals, fruits, flowers, and so on. The Raffugiri embroidery is a branch of the Kashida and looks the same on both sides of the cloth.
The region of Kutch is home to some of the best handicrafts and embroideries. The different types of embroideries of Kutch include the Sindhi stitch which is geometric, as well as the Aribharat where a hooked needle is used for creating the chain stitches. Some other embroideries which are from Gujarat and the Kutch region include the banni, rabari, and Kathi.
7. Shisha or Mirror work
This embroidery cuts across state lines and is practiced in Gujarat, Rajasthan, and Haryana. Little pieces of mirrors are embroidered on the fabric to give the cloth a unique look. Mirror work is also usually found on cushion covers, wall hangings, bags, and other accessories.
Aari work involves the usage of usually silk threads to create loops and patterns outside or on the edge of the material. Practiced in Kashmir and the Kutch region this is an arduous technique that gives amazing results. Aari works are done by using a special long needle and a loop and hook method that requires skill and practice to master.
The Kasuti embroidery is popular in Karnataka but is also found in the Kanchipuram saree designs. The patterns include animals, lamps, palanquins where the stitching is done by counting each thread. The process is tedious and the embroidery is without knots giving the same look on both sides of the cloth.
10. Zardozi: The Royal Embroidery
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Perhaps the best known and most luxurious embroidery of India is the zardozi. Earlier real gold and silver threads were used on silk and velvet fabrics to make the garments fit for royalty. Nowadays, the zardozi thread is made of metal wires and is still considered one of the richest and elegant looking embroideries.
Parsi Gara is an even more refined form of silk embroidery with impact from Persia, China, and India. It is carried out on the sarees of Parsi women, known as ‘Gara’. Parsi Gara began during the trade route between India and China when Parsi traders took Chinese embroidery skills to India.
Parsi Gara embroidery is rich in motifs of birds, flowers, and mythical creatures like dragons and phoenixes along with Indian elements like peacocks and lotuses. The background is dark, either black or maroon, but good contrast is created by the stitched silken threads.
The embroidery itself is a tribal craft of the Toda community in Tamil Nadu located in the Nilgiri hills, and this art form has distinctive and ornamental usage of red and black threads upon a white background. Geometric in pattern and woven to the eye, the technique employed creates loose thread loops to bring about a design.
Traditionally, Toda women used to embroider these designs on shawls known as ‘puthukuli,’ worn during special ceremonies. The motifs are mostly a reflection of nature, animals, flowers, and celestial beings, and thus symbolic of the community’s deep connection with nature.
13. Rabari Embroidery: Folk Tradition from Gujarat
Rabari embroidery is a considerable style of Gujarat and is practiced by Rabari people. The Rabari embroidery is normally rich in stitchwork and mirror detailing but often hints at stories in motifs. Motifs of Rabari embroidery are mostly inspired by everyday activities, nature, and beliefs associated with religion; thus these themes are usually embroidered on clothes and household items. Therefore, these folk art pieces act as proof of the community’s traditional storytelling practice.
Rabari embroidery uses bright contrasting threads against dark backgrounds in very striking visual patterns. The embroidery is deeply rooted in the Rabari way of life, where the motifs represent their pastoral lifestyle and spiritual beliefs. It is most frequently used in dowry items, bridal attire, and ceremonial textiles. Traditional Embroideries of India, such as Rabari, reflect the beauty and importance of this culture, artistic expression, and rich heritage of the region.
Conclusion
Traditional embroideries of India are more than just an aesthetic fashion in art, they symbolize the multidimensional cultural landscape of the country and the creativity of the artisans involved. These embroidery techniques, covering from royal courts to humble homes, encompass the skill, creativity, and pride of being Indian by the artisans. Today, the embroidery stitches continue to remain relevant with this emerging demand of modern fashion while continuing the traditional craft of embroidery.
FAQs About Traditional Embroideries of India
Which are the most famous types of Indian embroidery?
There are hundreds of highly famous embroidery styles in India, such as zardozi, chikankari, phulkari, kantha, kutch, and kasuti, reflecting regional cultural heritage.
What is the relevance of mirror work in Indian embroidery?
Mirror work, or ‘abhla,’ is characteristic of Kutch and Saurashtra embroidery from Gujarat. It is believed to be evil spirit-repelling, though the fabric takes on an excellent sparkling effect from the mirrors which throw back a perfect reflection of light.
Where does Chikankari embroidery originate?
Chikankari embroidery originates from Lucknow, Uttar Pradesh. The embroidered designs stitched by hand on loose-weave fabrics like cotton and muslin have begun to garner immense popularity.
What is the difference between Kantha embroidery and Phulkari?
Kantha embroidery of Bengal and Odisha draws lovely designs using simple running stitches, but Phulkari of Punjab is upon floral motifs created with different colors of silk threads.
What are the motifs in Kasuti embroidery?
Kasuti embroidery of Karnataka makes use of motifs taken from temples, chariots, animals, birds, and floral designs, often geometrically patterned.
Seven Short Paragraphs on Indian Traditional Embroidery
Indian embroidery contains the cultural diversity and the traditions that reflect this nation.
Zardozi was once an art only used in royal garments and décor.
Phulkari of Punjab is one particular form that excels in floral motifs that are canvassed through colorful shawls and dupattas.
Kantha embroidery is the craft through which the old handlooms are converted into fantastic works of beauty by Bengal.
Lucknow’s Chikankari is white-on-white prints done very minutely.
Kutch embroidery has glorious mirror work and colors.
Kasuti from Karnataka is a labor-oriented craft, giving the viewer a very typical geometrical design.
The richness of Indian textiles is reflected in the handloom products, which comprise the largest cottage industry of the country. Millions of looms are engaged in weaving cotton, silk, and other natural fibres across the country. The state of Odisha has one of the richest and oldest handloom traditions in India. The age old tribal weave “Kotpad” created by the Mirgan community of Kotpad village in the Koraput district of Odisha, has retained a distinct native identity.
Origin of Kotpad Weave
Now the textile industry is moving towards sustainability and eco-friendly technology, therefore Kotpad has occupied a prominent place in the handloom industry. Kotpad is a unique weaving tradition that is preserved by the Mirgan community. There is not much known about the origin of this weave, but it is passed down to several generations. Panika weavers (Mirgan) engaged in Kotpad weaving probably since the 3rd century. Kotpad weave stands out because of the reflection of ancient tradition, and a special bond with nature. Kotpad Textiles have been made in Koraput in Odisha and neighbouring Bastar in Chhattisgarh for many centuries. The Kotpad region is historically the home of tribes like Bhatra, Munia, Gond, Munda, oraon, Santhal, Kandha and Bonda, and earlier this textile was worn by these communities. Men wear it as a shoulder cloth or as a head cloth. Women use two pieces of generally 3.5 meters long and almost a meter wide each. They wrap one piece as a skirt, and another piece is draped around the body and tied on one side of the shoulder. “Kotpad” textile is one of the rarest of Indian weaves and received a GI tag in 2005.
Yarn: Earlier, unprocessed thick, rough cotton locally known as “kachasuta” was used to weave the cloth. But now cotton and Tussar yarn in the form of rolls (locally called muda) are purchased from Jagdalpur, Rayagada, and Sambalpur. The cotton of 14s and 20s count is generally woven, hence the fabric is coarse and thick.
Aal (Morinda citrifolia /Indian mulberry/madder) Dye: Morinda citrifolia also known as Indian Mulberry, is a straight, tall tree with broad, elliptical, bright green leaves and white flowers, grown mainly in the forests of Kalahandi and Malkangiri forests of Odisha. Today, madder trees are cultivated. The roots of these trees’ are dug out, and the root bark is used for the natural dye. The thinner roots of the 3-4 year old plants give intense colour therefore, roots thicker than 1.3 cm are considered useless and discarded. The bark is separated from the roots, washed, and dried in the sun. Today the dried bark is taken to the mill to be ground to a fine powder and then stored in an earthen pot to use as the natural dye. The dyers purchase the dried root bark of Morinda citrifolia from the weekly markets or haat from the Muria, Parjas, and Gadvas tribes.
Ferrous sulphate (kumahar pathar): Ferrous Sulphate is required to dye the yarn in blackish/bluish red. This is known as kumahar pathar and locally available from the blacksmith. Kumahar pathar is crushed and pound into powder in a dhenki (wooden grinder operated by foot).
Castor oil: Castor oil is ricin oleic acid and used to make the yarn saturated and soft.
Cow Dung: Cow dung acts as a bleaching agent and is used when dyeing the cotton yarn.
Starch: Starch is made with water and flour. Starch is applied to the yarn before setting it on the pit loom. Starch helps to provide strength to the yarn and also protects the yarn from tangling and breaking.
Alkaline solution (Kharapani): It is a solution of water and wood ash or Niger seed husk (Ramtil/kalatil) or gingili/sesam stalk (safedtil).
Reetha and shikakai: once the weaving is completed, the fabric is washed with natural soap, reetha and shikakai to make the colour permanent and strong.
The most interesting part of this weave is that only the women, the wives of the weavers of the Panika Community, are involved in the dying process. Dyeing of the yarns is done normally during the winter season, and it required a minimum one month to dye the unbleached cotton. They dyed yarn for their own weavers in Kotpad and also for the weavers in the neighbouring state of Chhattisgarh.The dyeing process is manually intensive, tedious, time consuming, and lengthy. Aal dying process is spread over various stages, and the girls help their mother at a very young age. The peculiarity of dyeing with aal is that the yarn is going through the treatment of castor oil, cow dung, and alkaline water before dying because aal has no direct affinity for the yarn.
(i) Treatment with castor oil: normally one bundle of yarn is about 5 kilograms. First these hunks of yarn are thoroughly washed with cold water, and after squeezing excess water, they are spread on a chatai (wooden plank). These washed hanks of yarn were either dipped in a solution of castor oil and water or applied by hand to the yarn. Appling the solution by hand is more effective as it spreads the oil evenly. Then the yarn is rubbed with the palm and kneaded with feet for some time for better penetration of the castor oil. This process is repeated few times till the yarn becomes saturated and soft.
(ii) Treatment with cow dung: next step is to apply cow dung, which is used as a bleaching agent, and ensure that the dye is properly absorbed by the yarn and it becomes off-white in colour. The enzyme present in the cow dung helps castor oil to form soap and partial bleaching of the yarn. Fresh cow dung is mixed with water to make a thick paste and rubbed on the castor oil treated yarn. The extra solution is squeezed out and spread on bamboo rods for drying in the sunlight. This process is repeated for darker shades.
(iii) Treatment with alkaline solution: in an earthen pot, ash of brunt wood or Niger seed husk (ramtil/kalatil) or gingili/sesam stack is mixed with water and kept overnight to allow the ash to settle on the bottom of the container. The clear water from the top is transferred to another earthen pot and heated at a temperature of 50 0Cto 60 0C. The castor oil and cow dung coated dried yarn spread evenly on a chatai (wooden plank). The alkaline solution is sprinkled on the yarns till these yarns are completely drenched and then kneaded by hand and feet. This process is repeated for 2 to 3 times a day and continued till the yarns start oozing foam. This indicates the yarns are ready to react with the dye. Now the yarn is washed thoroughly in clean water and is kept in the sun for drying. After washing, the yarn looks dull yellowish brown. The local ash wood has alumina, which ensures proper dyeing of rich, deep, and intense red colour.
(iv) Dyeing Process with Aal Powder: Aal root powder and water are mixed to get a good dyeing solution in a wide mouthed earthen pot. Pre-treated yarns are then immersed in the solution and rubbed with hands to spread the dye evenly. Aal powder is sprinkled over the hunks and kneaded for 15 to 20 minutes. The yarn is then again put back into the earthen pot with aal solution and is kept in the bright sun for one day. Next morning the pot is put on fire and boiled till the solution evaporates completely. The yarns are stirred with the help of a wooden stick, washed, and dried in the sun. The Same process is repeated if they want a darker shade of red colour. Now the dried yarn called Achi is ready for weaving.
Dyeing for darker shade; Iron sulphate is used to get the blackish red and coffee colours. Iron sulphate (iron fillings) mixed with jaggery and water and kept for fermentation in an earthen pot for 3 to 4 days till the solution turns black. This fermented liquor is mixed with Aal dye, and the same dyeing process continues.
It takes 25 to 30 days to complete one cycle of dyeing. Five shades of red and brown are obtained from this natural dye, namely “dull brick red” (jyotilancha), “bright brick red” (kariyaancha), “maroon” (jotilgahir), “blackish maroon”(kariyagahir), “black”(kala) and the white unbleached yarn is locally known as “kora”. The main requirement of dyeing is sunlight and without which the dyeing process cannot be completed, so the best period to dye the yarn is between November and March.
The men of the Mirgan community are weavers, and they weave on pit looms. Starch is applied to the yarn before it is set on the loom to provide strength and prevent it from breaking and tangling. The fabric is woven with three shuttle weaving techniques for the solid temple border, and extra weft for motifs is inserted whenever required. Tools used for the weaving are Bharni, Tossar, Pawan (Warping Board), Purni, Kangi (Comb), Nathi (Spindle), Chipana, Dongi (Shuttle). Now the minute and detailed work is in demand. So the weavers weave finer motifs, comparatively finer counts, and fabric of different widths, to suit the demand of the market. Once the weaving is completed, the fabric is washed with natural soap, Reetha and Shikakai to make the colour permanent and strong.
Like any other form of weave, the motives of kotpad handloom are passed down from generation to generation. The panikars are inspired by nature and the world around them. Leaves, animals, rivers, farms, flowers, cheeta (leopard), snake, axes, conch, boat, temple, fish, pot, birds, trees, and hut are the traditional motifs, and non-traditional motifs like umbrellas and airplanes are the parts of kotpad fabric. The designs have changed over the period due to the changing market conditions and also as per the demand for the product. These tribal motifs are fascinating and have some symbolic connotation also. Lotus (Padma) is associated with the goddess of wealth Laxmi, the fish symbolises prosperity, the peacock symbolize beauty and strength, the swan (hansa) is associated with the (vahana) goddess of learning, Saraswati, the lion (singha), signifies bravery, authority, and is also associated with the goddess Durga.
Challenges
Like other traditional crafts the “kotpad handloom” has its challenges.
Madder tree (Indian mulberry/Aal tree) is under threat. Though the roots of the madder tree are used as dyeing substances, it may affect the life of these trees in the future.
Since the processes of dyeing and weaving are time -consuming and tedious, the younger generation finds the craft labour intensive, repetitive, and less lucrative and moves towards other professions. There has been a decline in the number of artisans over the number of years.
Kotpad natural dye handloom fabric are labour-intensive and time consuming, so the products are relatively expensive, and considered as niche and luxury products.
Lack of awareness among the consumers about the tedious process of making the products and the beauty of the materials would not share the sentiment and value of the products.
Facing competition from cheap, more colourful and easy –to- maintain chemical dyeing and power loom products.
The entire dyeing process is lengthy, and the dyeing is made between November and March, so there is a mismatch between the demand and supply.
In the absence of local markets the weavers sell their produce to the designers in cities.
Lack of basic infrastructure in general, such as electricity and internet connectivity.
Simplicity in design. (Source: Biswanath Rath)
Initiatives taken
An encouraging step of plantation of Aal tree in the Thenguda village of the Kotpad block in the Koraput district by the government of Odisha in 2019.
From 1985, Panikaras began to get exposure to a wider market by the state government, central government, and designers.Government exhibitions and fairs helped to provide these eye-catching, sophisticated, and outstanding textiles an identity in domestic markets, and weavers started getting orders from Delhi, Hyderabad, Chennai, Bhubaneswar etc.
Under the “Kalinga Vastra Programme” of the Government of Odisha, the Panikar weavers are trained and encouraged by the designers to weave full length saris (6 m).
With the intervention of freelance designers, the weaver also expanded the product range to full length saris, dress materials, home furnishing, dupattas, stoles, kurtas etc.
For product development, training programme for weavers with designers of NIFT Bhubaneswar, NIFT Delhi, and connection with the designers to encourage the use of Kotpad fabric.
Technology advancements (e-commerce) enable weavers to sell directly to the consumers and eliminate the layers of middlemen to a certain extent.
Conclusion
The real beauty of Kotpad handloom is that each piece is unique and so special in the traditions of the tribes of this region. Soft cotton fabric woven delicately into black, white, and different shades of red yarns, defines the identity of Kotpad village in Koraput district. These limited but mysterious colours and motifs drawn from nature transform the threads into an art piece that one can wear. For the survival of one of the very few natural dyeing techniques in the country, procedural inefficiencies should be removed, the younger generation should be motivated to weave, the customer base should increase, and a strategic knowledge- driven support system should be implemented.
Image: peepul tree
Few Lines about Kotpad Textiles
The fabric is organic, eco-friendly and non-toxic.
Natural dyes are non-allergic, and non-toxic, so not harmful to the skin.
Fabrics dyed with Aal (Morinda citrifolia), gives cooling effect and hence men wear it as a shoulder cloth or as a head cloth.
Aal tree becoming extinct, so plantation of these trees in large scale is required. (The mirgan weavers claim that, harvesting the root is not harmful to the tree. This claim is based on their traditional ecological knowledge acquired with their intimate involvement with the nature, which cannot be totally ignored.)
Growing demand for this eco-friendly, organic products.
Motifs are mostly inspired by nature, have symbolic meaning, and in spite of being coarse and thick, this fabric is simple and elegant.
References
singheeDeepali “Sustaining the future of the traditionally woven textiles of Koraput”, Journal of the Textile Association · August 2021
Sahoo Manas Ranjan“Effectiveness of Development Schemes for Handloom Weavers: A Way to Achive the Sustainable Development Goals” SKYLINES OF ANTHROPOLOGY, Vol. 2, No. 2, 2022, pp. 119-133.
Dhingra Sudha“Dyeing withMorinda citrifolia: In Pursuit of Sustainable future”, Textile Society of America Symposium Proceedings Textile Society of America ,2016
Chaudhury C, the dyers of Kotpad,https://www.livemint.com
Dr. Bhowmik Manas Ranjan and Baidya Shantanu, “Technology and Handloom Weaving Industry: Mechanization, ICT and AI’’JETIR Volume 11, Issue 8 August 2024.
Interview with master craftsmen,craftmark, hand made in India.
The Red Thread: “Tale of of Kotpad Weaving in Odisha (https:/www.orissapost.com)august, 8th 2018.
Govt of India ministry of skill development and entrepreneurship. Human resource and skill requirements in the handlooms and handicrafts sector,(2013-17, 2017-22)
Tarai Santosh, Entrepreneurial Development in Handloom Sector through Effective Strategy Formulation: An Empirical Study in Odisha, state of India. J textile Eng Fashion techno.2020-6:
The heritage of culture that the state of Tamil Nadu is replenished with has its essence in cities and towns as well as the remote corners of villages. As diverse, colourful and ornate as the whole of India, the art forms of Tamil Nadu, that owe their roots to ancient times, are practised and performed even today with enthusiasm and devotion. Here we present some of the art forms that serve as excellent representations of Tamilian history and culture.
Bharatanatyam, considered to be the oldest classical dance form of India, was initiated in the Hindu temples of Tamil Nadu and eventually flourished in South India. The theoretical base of this dance form, which is also referred to as Sadir, traces back to Bharata Muni’s Sanskrit text on the performing arts called ‘Natya Shastra’. In Bharatnatyam, anecdotes and stories of Hindu religious themes and spiritual ideas are illustrated by the dancers with gorgeous footwork and impressive gestures. Its performance repertoire includes the three primary aspects of performing arts, namely: the pure dance of Nritta, the slower and dramatic Nritya, and the play or Natya. Adding abundantly to the whole performance, the accompanists include the guru, a vocalist or ‘nattuvanar’ who usually conducts the whole performance, music composed by instruments like cymbals, a long pipe-horn called ‘nadaswaram’, a drum called ‘mridangam’, the string instrument ‘veena’ and flute.
The Bharatanatyam costume worn by the performers resembles that of a Tamilian bride. A sari is well-complemented with traditional jewellery that includes the ornamental belt worn around the waist and the ‘ghungroo’ bells around the ankles. The eyes are especially highlighted in the prominent face make-up, and the feet and fingers are often brightened with henna colour so that the expressions and gestures can be viewed and perceived clearly by the audience.
A group dance performed by young men, Puli Attam embodies the grace and ferocity of the predatory tiger. With attentive details, the local artists paint the dancers’ bodies in yellow, with black stripes or dots, sometimes with darker shades to resemble the eerie presence of the panther. The performers wear headgears with ears, fangs and tongue, paws tipped with claws and even a long tail as part of the costume. Exuberant and bombastic music played on drums and other traditional instruments, add to the glory of the performance which portrays the fearful and tenacious nature of the tiger.
Inspired and derived from the Puranas, the Mahabharata and the Ramayana, the street theatre of Theru Koothu is mainly performed in the villages of Tamil Nadu. The narrative and dialogues are considerably improvised and songs and music prevail through most of the performance. The play is led by a Sutradhara or director called ‘kattiakaram’ and includes the ‘komali’ who entertains the audience with his buffoonery. Most of the melodies are based on Carnatic Ragas, played across an orchestra of instruments including drums, pipes and cymbals. The costumes and makeup of the actors are flamboyant and extravagant, with vivid colours used to paint the faces of some of the characters, and ornamental designs flourishing the headgear, jacket and lower garments. The classical ‘lokadharmi’ mime is incorporated for the acting technique and the scenes often include enactment of gore and violence.
Originated in the southern region of Tamil Nadu, Oyilattam is a folk dance performed during festivities and important occasions. Initially only performed by men, Oyilattam requires the performers, with colourful kerchiefs or flags held in their hands and bells tied around ankles, to move to the rhythm and melody of the percussion instrument Thavil. The dance boasts of powerful and intricate leg movements and its rich heritage brings royal patronage as imperative support. Performed with enthusiasm and beauty, the primary themes of the dance is derived from the ancient epics of Mahabharata and Ramayana and divulges knowledge and wisdom that are passed on to the audience.
The Bommalattam puppet show of Tamil Nadu is one of the oldest forms of story-telling and is associated with religious festivities, auspicious ceremonies as well as the welfare of the community. In the earlier days, it was used to narrate religious stories depicting ethical and moralistic values. During the freedom struggle, the puppet show served as an effective vehicle that spread the zeal of nationalism. The Bommalattam show is manipulated by strings and iron rods that are tied to the limbs of the puppets. The puppets on their stage are seen through an opening roughly about four metres in height. They are manoeuvred by skilled players who have the other end of the strings or wires tied around their fingers and stand behind the stage, away from the eyes of the audience. The performances usually last for a little more than a week, often continuing overnight. The large, heavy Bommalattam puppets are the most articulate of all traditional Indian marionettes and are usually made of cloth, leather or wood, among other materials.
Based on the dexterous use of weapons and Indian martial arts technique, training for Silambattam begins with honing the physical agility and strength of the performer. The body must be conditioned to endurance and stamina and focus is given upon improving requirements for battle like flexibility, hand-eye coordination, kinesthetic awareness, balance and speed. The primary weapon used is the bamboo staff, whose length is devised based on the height of the performer. Other important weapons used in Silambattam include the Maru for thrusting, the sickle called Aruval, the whip or Savuku, the sword Vaal, the knife or Katti, and the cudgel or Sedikuchi. The graceful and combative Silambattam dance form infuses subtle teachings of discipline, presence of mind and comradeship among other spiritual upliftments.
The elaborate dance-drama of Bhagavata Mela has evolved in modern times to incorporate the forms of both Kuchipudi and Bharatnatyam, like sophisticated gestures, painstakingly intricate leg movements and the elegance and grace of expression to communicate a story by abhinaya. The Bhagavata Mela comprises the three primary aspects of performing arts, Nritta, Nritya, and Natya, as stated in the ‘Natya Shastra’. The gestures and expressions of Bhagavata Mela, symbolic and moving in sync with the Carnatic style of music, convey the sentiment and emotion or ras, and the psychological state or bhava of the underlying story, which is generally derived from the great epics and the Puranas. The ensemble of instruments to aid the repertoire includes the mridangam, cymbals, flute, the string instruments and the harmonium.
A dance of joy and merriment sounded with the jingles of ankle-bells or silambu, the Kai Silambu Attam is performed during the Amman festivals and Navratri. The dance expresses reverence to all female deities, especially the fierce warriors like Kali and Durga.
9. Devarattam
Photo – Rekha Vijayashankar
Devarattam, believed to be the ‘rendition of God’, was performed in the courtyards of ancient kings and soldiers when they returned home after a glorious battle. Now it is performed during religious and cultural ceremonies, along with the musical accompaniment of the Urmi Melam, the Thappu Melam and the flute. In their vividly coloured clothes and with their handkerchiefs for props, the dancers embody intricacy and dexterity in their fluid, enthusiastic movements and bring excitement and joy to the occasion.
The performers of Mayilattam, or the peacock dance, dress in costumes from head to toe that are replete with movable beaks and elegant plumes, to pay tribute to Lord Subrahmanya’s most sincere attendant, the peacock. Mayilattam is an extremely difficult form of art that requires unfaltering focus and exquisite skill. The dancers attach a piece of wood to each of their feet and execute the gliding movements of the bird, imitating its graceful style. This artistic dance is usually performed in Murugan temples.
Performed to revere and praise the rain goddess Mariamman, the dancers in Karakattam balance pots on their head and move to the rhythms of folk Carnatic music to portray the greatness of the goddess. Two types of the Karakattam are widely recognised, the Aatta Karakam, embodying joy and happiness and performed as cultural entertainment, and the Sakthi Karakam, which is a performance of worship and spiritual offering.
This traditional dance form (also called ‘The Burden Dance’) is a special form of sacrifice or offering dedicated to Lord Murugan, the Hindu God of War. Performed solely by men, the dancers are expected to carry Kavadi or burden which can even be a pot of milk on the end of a pole, through the pilgrimage. The roots of this dance form go centuries back when the Tamilians would embark on long pilgrimages. To fight monotony, they began writing songs and dances which eventually culminated into Kavadi Attam.
13. Kolattam
This ‘stick dance’ is performed by women during festivals and weddings. This unique dance entails a group of women holding two sticks in both hands accompanied by rhythmic sounds. Originally this dance form was performed by women, however, over the years men too have joined in and participated. Also performed in Andra Pradesh, this folk dance is a perfect combination of entertainment and precision.
Emerging from the Telugu word ‘Kommai’, which translates to dancing with clapping of hand, Kummi is an age-old practiced dance form prevalent in the villages of Tamil Nadu. It is performed without any music and relies solely on the clapping of the hand as a substitute for musical instruments (there are vocalists). This folk dance is usually performed by women moving in slow circles. The slow speed of the dance is meant to symbolize the harvest period. Kummi is a joyful dance that is done at festivals, during harvests and reunions.
Prominent in Vellore district, this art form is performed by dancers who use long wooden sticks tied to their legs resembling the Crane bird, known as Kokku. Hence, the name Kokku Kattaiyattam. This dance is associated with Gangai Amman Temple festival and is performed by the devotees of Gangai Amman. It is usually performed in temples, but is performed during public and social functions. This art form is performed by male dancers only with the number of performers restricted to even numbers. The Artistes also observe fasting during their performance.Thappu, Chatty, Dolak (Dole) are the musical instruments used in this art form.
16. Servai Attam
Also known as Kurumbarattam, Servaikoothu and Kurumba Koothu as it is performed by Kurumbars, this art form is performed with the help of a musical instrument called Servai. Apart from Servai, musical instruments such as Flute, Jalra, Kilu Kiluppai are also used for the performance of this art form. Only male artistes perform this art form. There is no age restriction for the Artistes. Six to twelve artistes participate in the performance of this art form.
There are a lot of dance forms in Tamil Nadu like Bharatanatyam, Puliyattam, Theru Koothu, Kai Silambu Attam, etc.
Where did Bharatanatyam originate?
Bharatanatyam is a classical dance which originated in Tamil Nadu,
What are the main features of Tamil Nadu’s traditional folk art?
Tamil Nadu is a bouquet of folk art, with each having its own meaning and importance, the main features which are associated with them are colorful costumes, lively music, and dance, often performed during festivals.
What is Puliyattam, and how is it performed?
Puliyattam, or the Tiger Dance, is a folk dance where performers paint their bodies to resemble tigers and perform energetic movements. It is typically performed during festivals to entertain crowds.
What is the tradition of Bommalattam in Tamil Nadu?
Bommalattam is a traditional puppet show performed with wooden or cloth puppets. The puppeteers narrate mythological and historical stories, blending elements of music, dance, and drama to entertain and educate the audience.
Tamil Nadu boasts a diverse range of art forms, deeply rooted in its ancient cultural and religious traditions.
Bharatanatyam, one of India’s oldest classical dance forms, originated here, known for its precision, grace, and storytelling through expressions and mudras.
Folk dances like Karakattam, Kummi, and Puliyattam reflect the state’s rural vibrancy, performed during festivals and community events.
Therukoothu and Villu Paatu are popular forms of street theater and folk music, which narrate mythological and historical tales to the masses.
Kolam, a traditional form of decorative floor art made with rice flour, symbolizes prosperity and is an integral part of daily life.
Bommalattam, or puppet shows, is a cherished form of entertainment where skilled puppeteers depict epic stories using wooden or cloth puppets.
Tamil Nadu expresses its cultural richness through vibrant art forms showcasing artistic brilliance, emotional depth, and spiritual storytelling.
Conclusion
As seen above, Tamil Nadu has numerous note-worthy and mesmerizing dances which form an integral part of their culture and traditions. The significance of dance in their lives is evident from the fact that they have varied ways of expressing their interests in the form of dance. Indeed, such fascinating traditions give us a lot to learn from and a lot to think about.
Mold is more than just an unsightly problem. If the mold is left untreated it will cause damage to your house as well as be a dangerous health risk to those living in it. If you’ve noticed mold in your home, it’s important to take action as soon as you notice the issue, and to get rid of it properly. First, you will need to know how to identify, remove, and prevent mold growth, to make sure you have a safe living environment.
Step 1: Identify the Source of Mold
Mold thrives in dark, damp, humid conditions. The most common areas tend to be bathrooms, basements, kitchens, and laundry rooms due to the level of moisture. Common signs of mold include:
Musty odors
Discoloration on walls, ceilings, or floors (green, black, or white spots)
Water damage (leaking pipes or roofs)
In order to remove the mold all the way, you must first figure out where the source of the moisture is coming from. Fix leaks, improve ventilation, and make sure your home is properly insulated to prevent mold from reappearing.
Step 2: Gather Necessary Equipment
Before you start, make sure you have all the right tools and gear such as:
Gloves and safety goggles to protect yourself from spores
Face mask or N95 respirator to avoid inhaling mold spores
Scrub brushes or sponges
Non-ammonia soap or detergent
Distilled white vinegar, hydrogen peroxide, or a commercial mold remover
Plastic sheeting to isolate the area and prevent the spread of spores
Vacuum with a HEPA filter to clean up loose spores
Step 3: Remove the Mold
For Small Areas
If you’re dealing with a small patch of mold (less than 10 square feet), you can tackle the problem yourself.
Ventilate the area by opening windows and using fans.
Spray the affected area with a cleaning solution. Vinegar, hydrogen peroxide, or a commercial mold remover works well. Avoid using bleach, as it doesn’t effectively kill mold on porous surfaces like drywall.
Scrub the surface thoroughly with a brush or sponge.
Wipe down the surface with a clean, damp cloth.
Let it dry completely to ensure no moisture remains.
For Larger Areas
If mold has spread across a larger area, or if it has penetrated deep into walls, insulation, or flooring, you will need professional help from a certified Idaho Falls Mold Remediation Company. Large-scale mold infestations can lead to structural damage and persistent health issues.
Step 4: Proper Disposal
Once you’ve fully cleaned the moldy area, throw out any contaminated materials like sponges, rags, or drywall. Double-bag them in plastic and seal the bags tightly before placing them in an outdoor trash bin.
Step 5: Prevent Future Mold Growth
The best way to deal with mold is to prevent it from growing in the first place. Here are some tips to keep your home mold-free:
Control humidity levels: Keep indoor humidity below 50%. Use dehumidifiers in damp areas like basements.
Improve ventilation: Use exhaust fans in bathrooms and kitchens, especially after cooking or showering.
Fix leaks immediately: Address water leaks from roofs, pipes, or windows as soon as possible.
Monitor moisture-prone areas: Regularly check areas like basements, attics, and around windows for signs of dampness.
Use mold-resistant materials: When renovating or building, opt for mold-resistant drywall, paint, and insulation.
When to Call in Professionals
If the mold problem in your home is extensive or if you’re unsure how to handle it safely, it’s best to contact a professional mold remediation service. Professionals have the experience and specialized equipment, like HEPA vacuums and air scrubbers, to thoroughly remove mold and prevent it from returning.
Mold is a persistent and potentially hazardous problem that requires swift action. By identifying the source of moisture, using the right cleaning techniques, and taking preventive measures, you can protect your home and health. If you’re unsure about the extent of the mold or need assistance, don’t hesitate to seek professional help.
The Natya Shastra is the earliest and pioneer documentation on drama and performance art. Bharata Muni wrote the Natya Shastra somewhere around 500 BCE and 500 CE. However, it remains the most authentic dissertation, the foundational bedrock on which all the Indian Classical dances, drams and music, are based. The entire encyclopaedic treatise has 36 chapters with around 6000 poetic verses that describe the performing arts. There are many parts and elements to the Natya Shastra, however, one of its most important components is the Rasa theory.
About Natya Shastra
Natya Shastra comes from two Sanskrit words, ‘Natya’ meaning an ‘act’ and ‘Shastra’ meaning a manual or rules. It is the oldest surviving document on performing arts and has survived the ravages of time to still continue to be relevant. It has manuscripts and as per historians has been edited too along the ages. It is estimated that the first 12000 verses were originally written and different chapters are dedicated to different aspects of the arts.
Chapters 6 and 7 explain the Rasa theory, and chapters 8 to 13 are about the skill of acting, which also include dance movements, stage instruments, customs, etc. Chapters 14 to 20 talk about the plot and language of expression. Chapters 17 and 18 are attributed to poetry and the delivery of the speech and so on. The final chapters are dedicated to the different characters, teamwork, the workings of a troupe, etc.
The Rasa Theory in Natya Shastra
There is an amazing amount of information and knowledge that is held in the folds of the Natya Shastra. However, we are going to try and concentrate on one of its most unique and magnificent discourses – The Rasa Theory.
The Rasa Theory is explained in chapters 6 and 7 and is one of the most important parts of Natya Shastra. This is because it in essence explains the purpose of the art. It propagates the aesthetic significance of the visual or musical art that in turn touches the deepest human emotions.
Rasa comes from the Sanskrit word meaning ‘nectar or taste or flavor.’ However, artistically it essentially means the emotions and feelings that we go through when we experience any art form. And hence it means the taste or essence of the artwork that an audience derives out of watching it. According to Bharata Muni, composition or art of any kind cannot proceed without rasa. A vital task of the performer is to entice and inspire emotions in the viewer. Thus, rasa is the sentiment that arouses an audience and this feeling goes on to connect the performer and viewer with divinity. Realising divinity can be achieved by the performer through the performance of the art, and for the viewer by the observation of the art.
Bhava and rasa are both important aspects of performance and are interrelated to each other. Bhava is the state of the mind, a mental disposition or attitude of the mind. The bhavas of the performer are responsible for the rasa of the audience.
The Sthayi Bhava is referred to as the permanent or dominant emotion. But when the Sthayibhava along with the other three bhavas – Vibhav, Anubhav, and Vyabhikaribhava unite together, the resultant effect is the attainment of Rasa.
Vibhavas are the motivation that includes the storyline, the actors, and the stage, that awake the sthayi bhava. Anubhavas are the manifestations of the actors’ feelings and the vyabhikaribhavas are the transient sentiments. The Sattivc bhava is the involuntary emotions or expressions that are accompanied while experiencing the performance.
Relation Between Bhava And Rasa
Let us try and understand the interrelation between bhava and rasa through a few examples. If a beautiful girl comes up on stage the bhava that is emoted is vibhava. Her gestures, glances and moments lead to anubhavas. Now if the main mood of the performance is love, then joy and happiness are the transient emotions or vyabhikaribhavas. If the story is about separation then the vyabhikaribhavas is pain and anguish. The sattvic bhavas are involuntary expressions, such as blushes or perspiration. Because of all these bhavas, the sthyaibhava of the viewer changes into rasa.
Types of Rasa
There are many types of Rasas. Most historians agree that Bharata Muni’s Natya Shastra had eight types of rasa. The ninth rasa was added by Abhinavgupta. Each rasa has a color and a deity attributed to it. Here is taking a look at the nine different types of rasa.
1. Shringara Rasa
This rasa deals with romance, attractiveness, sexual desire and erotica. Here the sthayibhava is love. The sentiment of passion and love, the shringara rasa is affiliated with Lord Vishnu and has the color dark blue or green. The main idea is the portrayal of love between a man and a woman. However, the metaphor often transcends to the relationship between the individual and the divine. Most Classical dancers call the shringara rasa the ‘mother of all rasas.’Through this rasa, there is scope to express a plethora of emotions, including compassion, anger, jealousy and physical closeness.
2. Hasya Rasa
Hasya rasa refers to the feeling of laughter, comedy and joy. The color of this rasa is white and the deity associated with it is Pramatha or Shiva. This rasa usually arises from the shringara rasa. It is performed through comic dressing, ornaments, etc.
3. Karuna Rasa
This rasa signifies sympathy, grief, and mercy. Its color is Grey and the deity it associates with is Yama. A character experiences pain or grief due to the passing away of a loved one or because of an undesirable event. The performer portrays the emotion through a dejected face and actions which lead the audience to experience the karuna rasa.
4. Raudra Rasa
Raudra or Rudra rasa manifests rage, anger and wrath. It is associated with the color red and the God Rudra. The performance could range from topics on rape, jealousy, threats, abuse and more. The redness in the eyes and face, biting of lips, and restlessness are all vyabhikaribhavas.
5. Veera Rasa
Veera rasa is the emotion of bravery and heroism. Yellow or saffron is its color and the rasa associates itself with Lord Indra. Veera rasa is all about determination, energy and self-confidence. It is expressed with the widening of eyes and expansion of nostrils. There are three types of veera rasa – the dana veera (for the person who is a veer after donating gifts), daya veera (for the person who is sympathetic to all creeds and classes) and yudha veera (for the person who is courageous and brave.)
6. Bhayanaka Rasa
This rasa expresses fear. Its color is black and the deity it associates with is Kala, the God of Time. Bhayanaka rasa is the feeling of panic that can be brought about by danger or the anticipation of danger. To express this emotion performers raise their eyebrows, quiver their eyes, look from side to side, flare their nostrils, etc.
7. Bhibhatsa Rasa
Bhibhatsa rasa manifests the emotions of hatred and disgust. The color blue and the God Mahakala are associated with it. It is expressed on stage by squeezing limbs, rolling the eyes, spitting, or expressing disgust in other ways.
8. Abdhuta Rasa
This rasa means feeling wonder and marvel. It is associated with the color gold and the deity Gandharva. The rasa depicts the awe and wonderment that one feels when in contact with beauty or the divine. It is further categorized into Divya Abdhuta Rasa (expressed when seeing the divine) and Anand Abdhuta Rasa (expression of joy).
9. Shantha Rasa
The ninth and final rasa is the Shantha rasa, which most scholars agree was added by Abhinavgupta. This rasa manifests the feeling of serenity, peace and joy. The color Jasmine and Lord Narayana are associated with it. The Shantha or Santam rasa refers to the ultimate emotion of joy and bliss that is often attained on self-realization.
Rasas are the heart and soul of Indian classical performing arts, especially for dances such as Bharatanatyam, Kathak, and Odissi, and in classical music and drama. For instance, a dancer performing a love scene in Bharatanatyam will have to enact a Shringara Rasa, which evokes love in the viewer’s heart.
In Indian classical music, Rasas govern the mood of a composition. Specific ragas are tied with individual Rasas, and so music becomes an emotional experience for the listener. Thus, Yaman raga is often used to depict Shringara (love), while Bhairavi sets out to evoke Karuna (compassion).
Rasas in Modern Performances
Rasas originally originated in the ancient context of Indian performing arts, however, they are still used in present times. The use of Rasas allows the artists in Bollywood films and Indian theater, or even in performed dances, to emotionally connect with their viewers. Their ability to evoke Rasas ensures that the performances are not only engaging and emotive but also universally relatable.
The Rasas have also echoed outside India. Western playwrights and directors have adapted equivalent strategies of emotional evocation but the codified idea of Rasas is a special characteristic of an Indian art form.
FAQs About Bharata Muni’s Natya Shastra
According to Natya Shastra of Bharata Muni, what are the nine Rasas?
There are nine Rasas: Shringara (love), Hasya (humor), Karuna (compassion), Raudra (anger), Veera (heroism), Bhayanaka (fear), Bhibhatsa (disgust), Adbhuta (wonder), and Santha (peace).
Why does Rasa play a crucial role in Indian classical arts?
Rasas are important because they are the emotional relatability of a performance between a performer and his audience. They make sure that the art evokes the intended experience.
How are Bhavas and Rasas differentiated?
Bhavas are the emotions enacted by the characters or performers whereas Rasas refers to the pertinent emotions evoked by the audience. Bhavas act as a tool by which Rasas are instigated.
How are Rasas used in modern Indian cinema?
Rasas are fused into contemporary Indian cinema to let depth into the emotions of a character and story portraying love, comedy, or fear among the audience.
What is Rasa Shantha?
Rasa Shantha refers to peace, serenity, and calmness as it gives full spiritual fulfillment to the soul and the mind.
Few Lines About Rasas in Natya Shastra
Rasas are the emotional essences experienced by the audience.
There are nine Rasas, which symbolize different emotions.
Bharata Muni formulated Rasas in the age-old text Natya Shastra.
Rasas dictate the mood of Indian classical music and dance.
Shringara or love is the most predominant Rasa in art.
Raudra is the Rasa that depicts anger and is mainly used in scenes during a war.
Bhavas are the way of communicating Rasas.
In Conclusion
The Rasa theory is a fundamental cornerstone of the Natya Shastra. It is also the academic theorization, as well as the manifested execution. One can call it the soul of the performance because it is the rasa that connects the viewer with the performer. And the bond that strikes between the two, elevates the performance to the spiritual realm.
Dating back to almost 5000 years ago, the legend says, a blind potter once dreamed of Lord Dharmaraja, who instructed him to dig clay at a certain location and create his sculpture out of it. Next morning, he created God’s image to fulfill the promise he made in his dreams. Later on, the craft was taken up by the future generations passing it on to the offsprings like a culture. Molela clay work or Molela Terracotta has its roots in Molela village of Rajsamand district of Rajasthan. Molela village is popular for its indulgence in creating delicate and enticing artwork with terracotta.
Originally, the clay work included creation of standing idols of native deities and idols from Hindu pantheon, like that of Vishnu, Kali, Ganesh and Durga with complete handmade molela clay work art. However, now, the figures are mounted on tiles or plaques and are decorated on the walls of temples and houses. The main purpose of these terracotta plaques were crafted for tribal worship, where the locals installed these plaques in the village shrines. The locals had a firm belief that these plaques had the ability to cure illnesses and bring good fortune.
Molela clay work crucially depends on the material. The material determines the quality, durability, and aesthetic appeal of the terracotta plaques. The clay is sourced from a local river. It is the key component of Molela clay work which is sourced from the Banas River and other local water bodies in Rajasthan. The clay from these regions is known for its fine texture and malleability, which makes it ideal for detailed work. Before the usage, the clay is thoroughly cleaned to remove impurities like stones, grass, or other debris that might weaken the structure or interfere with the fine detailing.
The primary colors used in Molela clay work are red, yellow, black, white, and green. These colors are often made from natural pigments like, Red Ochre, Yellow Ochre Black is made using soot or ash and is used for outlines and accents, White is traditionally created from lime or chalk, Natural green pigments come from sources like ground minerals. Each color also contains a symbolic meaning with it in Rajasthani culture, like the red represents fertility and power, yellow symbolizes happiness and prosperity, and green reflects nature and growth.
Other materials used are water and sand. Water is a fundamental component in the clay preparation process. It is mixed with the clay to form a smooth, malleable paste. While sand is added to the clay in small amounts to improve its durability and reduce the likelihood of cracking during the drying process.
Some artisans also mix organic materials like dung or straw into the clay mixture to enhance its strength and flexibility. These additives help bind the clay, providing better cohesion during the shaping and firing processes.
For crafting the work, simple tools are used by the artisans. These tools include, Wooden sticks, combs, and needles. They are used to carve out the detailed figures and intricate patterns on the clay plaques. Handcrafted tools made from bamboo or wood are also used which help in smoothing and detailing.
By using natural and locally available materials, the artisans of Molela ensure that their work remains true to its cultural roots, with an emphasis on sustainability and tradition. This careful selection of materials contributes to the timeless beauty and authenticity of the Molela terracotta plaques.
The crafting process of Molela clay work is a meticulous, multi-step procedure that requires patience, skill, and a deep understanding of traditional techniques. After the clay is prepared, shaping the Plaques is the next step. The prepared clay is first flattened into slabs or plaques, which form the base for the designs. These slabs can vary in size depending on the specific plaque being crafted. In some cases, artisans shape the clay into a rough form by hand, without the use of molds, to create more unique or custom designs. Using simple tools like wooden sticks, metal combs, and needles, artisans begin the detailed work of sculpting figures onto the plaque.
Once the designs are complete, the plaques are laid out in the sun to dry naturally. This process can take several days, depending on the weather conditions and the thickness of the plaque. Drying the clay slowly is crucial to prevent cracking or warping.
Once fully dried, the plaques are fired in a kiln to harden them. Firing typically takes place in traditional open-air kilns fueled by wood, cow dung, or other organic materials. After the plaques are fired, they are coated with a thin layer of white or light-colored clay (often mixed with water) to prepare the surface for painting.
Traditional Molela plaques are painted with natural pigments in earthy tones like red, yellow, black, and green. The use of bright colors is one of the distinctive features of Molela terracotta work. Artisans apply these pigments using fine brushes or natural tools.
Once painted, artisans may add finishing touches using natural varnishes or wax to give the plaques a slight sheen and protect the pigments. The final step involves a thorough inspection to ensure that the plaques are free from defects like cracks or chips. Any minor imperfections are corrected at this stage. In some cases, artisans may lightly polish the surface to enhance the colors and give the plaque a smooth finish. However, most Molela plaques retain a matte, earthy texture, reflecting their traditional, rustic appeal.
Molela plaques hold immense religious and cultural importance, especially in the tribal regions of Rajasthan. During specific festivals or auspicious events, people from nearby villages travel to Molela to purchase these clay idols and plaques to place in their homes and shrines.
Especially in Maag session, coinciding with the harvest festival, tribes from Mewar region, Gujarat region and region near the Madhya Pradesh border visit the place. Even during the winter season, at the time of rice harvest, the place becomes the busiest. The tribes are accompanied with their community priests called Bhopa who help them purchase the plaque or idol. The tribes carry their idols on their heads while heading home as a sign of respect for the votive plaque. Once reached their native places, the idols are taken to all the houses of the village to bless the residents before being installed in the semi-open shrine or Devra.
While the traditional method of crafting Molela plaques has remained largely unchanged, modern artisans have begun experimenting with different sizes, forms, and motifs to cater to contemporary tastes. Many adaptations have surfaced in the modern tradition. Such are wall hangings and murals. Modern pieces are often designed for home décor, with plaques shaped as wall hangings or decorative panels. Another alteration in the clay work is the depiction of abstract designs, contemporary art, or cultural symbols besides religious motifs, to appeal to a broader audience.
Recognition and Preservation
Molela clay work is a part of India’s rich cultural heritage. There have been many efforts put into promoting the craft through various art fairs, workshops and exhibitions. Governmental initiatives and NGOs have also worked to train artisans and improve market access for their products.
While modern adaptations have brought more attention to Molela clay work, preserving the traditional methods and designs remains essential for keeping the craft’s cultural significance intact. The crafting process of Molela clay work is a blend of traditional techniques, artistic creativity, and cultural heritage. Each step is carried out with precision, resulting in intricately designed plaques that reflect the rich history and spirituality of Rajasthan.
Conclusion
Molela clay work is the testament of India’s rich cultural heritage. It is a remarkable blend of art, tradition, and cultural heritage, reflecting the rich spiritual and rural life of Rajasthan. This ancient craft, passed down through generations, continues to thrive due to the skill and dedication of local artisans. With its intricate designs, symbolic motifs, and vibrant natural pigments, Molela terracotta has transcended its traditional religious purpose to become a widely appreciated art form. As modern adaptations evolve, the craft’s deep-rooted connection to its origins ensures that Molela clay work remains an enduring symbol of India’s artistic and cultural diversity.
FAQs on Molela Clay Work
What is Molela Famous for?
Molela is known for its brightly painted terracotta plaques and figurines of local deities and gods.
How do they make Molela terracotta?
Clay is derived from the local rivers of Molela which is mixed with sand, and sometimes with dung and straws. Water is added to it to make it a malleable paste.
What is terracotta craft in Rajasthan?
Molela craft known for its vibrant storytelling through terracotta plaques is the terracotta craft of Rajasthan.
Is terracotta natural or man made?
Terracotta is 100% natural as the base material to it is clay procured from nature.
Few Lines on Molela Clay Work
Molela clay work is a centuries-old terracotta craft from Rajasthan, known for its intricate depiction of deities and folklore on clay plaques.
Crafted by hand, Molela clay plaques are made from locally sourced river clay and are sun-dried and kiln-fired for durability.
Artisans use simple tools to create detailed, low-relief sculptures of gods, goddesses, and scenes from rural life.
Traditionally used in village shrines, Molela plaques are now popular as decorative art in homes and public spaces.
The clay plaques are painted using natural pigments in earthy tones like red, yellow, and green, symbolizing prosperity and nature.
Molela’s terracotta craft is deeply tied to Rajasthan’s religious and cultural traditions, with each plaque carrying symbolic significance.
Despite modern adaptations, the craft preserves its traditional roots, continuing the legacy of rural artisanship.
Goa is the state on the Southwestern coast of India within the Konkan region. This enchanting place has tons of visitors, for its mesmerizing beaches like Baga beach, Candolim beach, Palolem Beach, Marijim Beach, etc. But Goa is not just about beaches and its historical sites. The state has more magic to unravel, it’s beautiful festivals. There are numerous festivals held around the year in Goa which are a moment to live in. Let’s dive into the beauty of Goa’s festivals together!
The Goa Carnival is a vibrant and colorful festival that marks the onset of Lent in the Christian calendar. The festival dates back to the Portuguese colonial period. It is celebrated with grand parades, which have floats, beautiful dancers and musicians in decorative costumes, street performances, and lively music. The key feature is the procession led by “King Momo,” a symbolic figure who declares the beginning of celebrations. The event also features live music performances and traditional Goan folk dances like Fugdi and Dekhni. Street food like Vindaloo and Bebinca are savored by the attendees. The streets of Goa come alive with parties, dancing, and extravagant costumes.
2. Feast of St. Francis Xavier
Held on December 3, this religious festival honors St. Francis Xavier, the patron saint of Goa, whose relics are enshrined at the Basilica of Bom Jesus in Old Goa. Devotees from around the world gather for prayers, processions, and to attend masses. Every ten years, the saint’s relics are displayed for public veneration, attracting thousands of pilgrims. The Novenas begin on 25th November and include masses at various times throughout the day. The streets are decorated and a public fair with games, food and drinks make the festival a sweet memory.
Celebrated on Divar Island, Bonderam is a traditional festival that reenacts historical disputes over property boundaries. The festival is marked by a colorful parade with floats and participants dressed in traditional attire. The use of mock “flags” symbolizes the ancient boundary disputes, and the event is accompanied by music, dances, and local food. It is celebrated in August (last Saturday).
São João is a festival that celebrates the nativity of St. John the Baptist. It is famous for its unique tradition of people jumping into wells, ponds, or rivers to mimic St. John’s act of leaping with joy in his mother’s womb. The festival also includes colorful boat parades, feni (local liquor) drinking, singing, and traditional Goan food. A popular custom during the fest is wearing floral crowns. People also follow a tradition, Kopel-making, where the villagers craft headgears using flowers and leaves, with prizes for the best Kopel.
5. Epiphany Festival
Also known as “The Feast of the Three Kings,” this Christian festival celebrates the visitation of the Magi to the infant Jesus. In Goa, Epiphany is observed with processions, particularly in the village of Cansaulim, where three young boys dressed as the Magi ride on horseback to the chapel, symbolizing the three kings. The day is marked with prayers and feasting.
This festival showcases the diverse culinary heritage of Goa. It features food stalls from top hotels, restaurants, and local Goan chefs, offering traditional Goan dishes, seafood, and international cuisine. There are also cultural performances, live music, and entertainment, making it a fusion of food and culture.
Shigmo is a spring festival celebrated by Goa’s Hindu community. It is akin to Holi and marks the arrival of spring and the harvest season. Celebrations include vibrant street parades, traditional folk dances like the Romtamel and Dhakto Shigmo, with participants dressed in colorful costumes. The festival also features the application of gulal (colored powders). Folk musical instruments like the Zanjs, Samel and Ghumat are used during the performances.
Goa’s premier wine festival, Grape Escapade, is a celebration of wine, food, and entertainment. The festival showcases the best wines from local and international vineyards, accompanied by gourmet cuisine. It brings together wine connoisseurs from all over the world to savor the delectable flavors of the wines from India and outside. People enjoy wine-tasting sessions, grape stomping competitions, and live music performances. The key highlight of this 4-day festival of Goa is the crowning of the “Great Escapade Queen.”
This festival celebrates two of Goa’s important agricultural products: cashews and coconuts. It features cooking competitions, cashew- and coconut-based product displays, and workshops. One of the main attractions is the demonstration of feni distillation, a popular Goan spirit made from cashew or coconut. Being the fun festival of Goa it includes activities like climbing the coconut tree, a bowling alley with coconuts and boozing rings sewing coconuts.
Celebrated by the fishing community, Sangodd is a boat festival that honors St. Peter, the patron saint of fishermen. During the festival, two or more fishing boats are tied together to form rafts, which are then decorated with flowers and banners. The boats sail down the rivers with devotees singing hymns and traditional songs, reflecting Goan maritime culture.
Saptah is a week-long festival celebrated in the town of Vasco-da-Gama. It is dedicated to Lord Damodar, an incarnation of Lord Shiva. The festival involves temple rituals, cultural programs, and fairs. The main event is the procession of the deity’s idol through the streets, which is attended by hundreds of devotees.
“The Goa” is not a specific festival. It may refer to Goa in general, its unique lifestyle, or simply be an error in the list. If you meant a particular event or festival, feel free to clarify for more details.
Each of these festivals showcases Goa’s rich cultural and religious diversity, blending Portuguese influences with local traditions, making Goa a vibrant and colorful destination year-round.
Conclusion
Goa’s festivals beautifully reflect its rich cultural heritage, blending Portuguese and local traditions. From the vibrant Goa Carnival and spiritual Feast of St. Francis Xavier to the traditional Shigmo and unique festivals like São João, each celebration showcases Goa’s diverse history and community spirit. These festivals not only attract global visitors but also highlight Goa’s cuisine, agriculture, and maritime heritage. Together, they create a vibrant cultural landscape, making Goa a lively and unique destination year-round.
FAQs about Festivals of Goa
What are the famous festivals of Goa?
The Goa Carnival is the most famous festival. It is known for its parades, music, dance, and street performances, celebrated just before Lent.
When is the Feast of St. Francis Xavier celebrated in Goa?
The Feast of St. Francis Xavier is celebrated annually on December 3rd at the Basilica of Bom Jesus in Old Goa.
What is Shigmo Festival in Goa?
Shigmo is a traditional spring festival in Goa, celebrated with colorful parades, folk dances, and music, marking the arrival of spring and the end of the harvest season.
What is Sao Joao Festival in Goa?
Sao Joao, celebrated in June, is a monsoon festival where people jump into wells, rivers, and ponds to commemorate the feast of St. John the Baptist.
What is the significance of the Bonderam Festival in Goa?
This festival is celebrated on Divar Island to commemorate old disputes over land boundaries, featuring colorful parades, mock battles, and lively music.
Few Lines about Festivals of Goa
Goa’s festivals reflect a rich blend of Portuguese and local traditions and it unites locals and visitors, preserving cultural heritage and community spirit.
The Goa Carnival is a vibrant celebration before the Christian Lent.
The Feast of St. Francis Xavier honors Goa’s patron saint with grand religious ceremonies.
Bonderam and São João highlight the island’s unique history and joyful customs.
Shigmo Festival marks the arrival of spring with colorful parades and dances.
Grape Escapade is a premier wine festival with tastings and entertainment.
Sangodd is a traditional boat festival celebrated by Goa’s fishing community.
