Monsoon in Kolkata are an enticing flashback to all of our childhood. As the sky turns from clear bright to a grey, overcast with a thick layer of clouds, one is compelled to be transported back to the childhood years. It reminds us of the days when one used to get drenched in the rain while cycling back home from school or tuition. Young couples would ride bicycles and seek refuge at roadside tea houses, and sip steaming hot masala tea and fritters waiting for the rain to stop. And the old at home will breathe a sigh of relief as the scorching humid climate dwindles to comfort. Thunderstorms roll in like background drums, wrapping Kolkata in a cocoon of sound and silence.
After weeks of blistering sun and suffocating humidity, the first real downpour in Kolkata is like a community-wide breath of fresh air. Usually sweeping in around mid-June, the rain cools the city almost at once and wraps everything in a brisk, promising hug. The dry earth soaks up eagerly, and the air is heavy with the wet, earthy smell of petrichor – a smell firmly implanted in the shared memory of the city. While traffic snarls and waterlogging are inevitable companions, Kolkatans generally embrace the rain. The storm signals relief from summer’s grip, a guarantee of vibrant new leaves, stocked ponds, and milder evenings that ease the daily commute.
With the skies grey and the air thick, the season’s arrival also reshapes what people feel like eating. As humidity grows higher, cravings for crisp, light fritters-and any other warm bite that offers comfort-surge almost instantly.
Pakoras and Telebhaja: When clouds start to pour, stalls burst with crisp pakoras and telebhaja. You’ll find aloo chop, beguni, mocha’r chop, and fish cutlets, each one bubbling in hot oil and begging to nestle beside a brimming cup of fresh cha. The duet of rain drumming on rooftops and these snacks shattering between your teeth sums up a true Calcutta monsoon.
Khichuri: On a soggy afternoon, nothing hits the spot quite like khichuri, a cozy mix of rice, lentils, and whatever vegetables are handy. Pile on some ilish bhaja, dim bhaja, or another beguni, and the steaming bowl wraps the whole family in a warm, edible hug.
Ilish (Hilsa) Season: Monsoon also brings the single most awaited window for ilish, that linchpin fish of Bengal. Cooks leap at the chance to make sorshe ilish, bhapa ilish, and countless other classics, turning every arrival of the silvery catch into a small household festival.
Monsoon and Art, Literature, Music
The monsoon has deeply impacted Bengali art, literature and music so that it has been used as a strong muse through the centuries.
Poetry and Prose: Rabindranath Tagore, the winner of the Nobel Prize, celebrated the monsoon in his numerous poems and songs, expressing all the moods of this storm of a nature: he wrote about its tender rains and violent rains. His prose is given to infusing the romance, sentiment and wistfulness of the rainy days. There are other Bengali writers and poets too who have been overwhelmed by the grandeur of the monsoon by writing tales and composing poetry.
Visual Arts: Rainy streets become the subject of painters who portray droplets of rain and shining trams under the streetlights and contrasting umbrellas with the grey sky. Not only does monsoon provide a different palette and mood that artists in Kolkata often use, the city has an emotional attachment to rain.
Music: Indian classical and folk music use ragas and tunes which remind of the monsoon season as well. An example is the Malhar raga, which historically has a connection with rain and numerous compositions seek to represent the sound and effect of rain.
Monsoon and Festivals
Celebrations at Rath Yatra
Though Durga Puja, the city’s biggest celebration, usually lands at the monsoon end, the wet months still hum with smaller, daily rituals that give the rain a festive feel.
Jhulan Yatra: This festival, mainly celebrated in the month of August, is one in which the idols of Radha and Krishna are swung on beautifully ornamented swings. It is a festive event usually with devotional songs and the slow swings indicate the calm beat of the rain.
Ratha Yatra: Ratha Yatra is normally celebrated during the early monsoon (June-July), but the preparations made and the following celebrations especially of the Ulto Rath (return journey) are usually done in full swing of the monsoon months giving it a special flavour in the rain drenched streets.
Outdoor Activities and Leisure: Kolkatians find a way of enjoying the season despite the rains. Many find the chance in making a slow-moving boating trip on the Hooghly river and enjoy the rain splashing on its surface. A leisurely stroll in the green lung of the city Maidan, which is a sprawling tract of park lands in Kolkata, proves to be a cool experience. Kids play in fields of muddy football and many find it nostalgic.
Although romanticized, the Kolkata monsoon is also a problematic experience. Waterlogging is an enduring issue that causes traffic and daily mobility to be affected. More humidity is not only a health issue but also an infrastructure-related issue. Yet Kolkatans are quite resilient and managing. The essence of the city has been such that these adversities are mostly settled with pragmatic acceptance and individuals learn to adjust to the freight by its own special mixture of humor and determination.
Conclusion
The monsoon of Kolkata is more than a state of the atmosphere. It is rooted strongly in the culture of the city and closely integrated in the food culture, art, and creative activities, festival schedule, and daily life of the city. It arouses a set of emotions, from excited elation of relief to the reflective atmosphere of analysis and it makes the City of Joy come alive in its own unique and rain-washed beauty.
FAQs about Monsoon in Kolkata
Question: When does monsoon usually occur in Kolkata during the year?
Answer: Monsoon normally arrives in Kolkata during mid-June and provides relief from heat during summer.
Question: In what ways does monsoon affect cultural life in Kolkata?
Answer: The monsoon brings life to Kolkata’s cultural landscape. Rabindra Sangeet becomes a backdrop in homes, Adda (informal conversation) bloom in coffee shops, and literary centers like College Street ring with gossip and tales.
Question: What are popular monsoon foods in Kolkata?
Answer: Locals yearn for telebhaja (deep-fried fritters) during rains, beguni khichuri, hot jhalmuri, and steaming masala chai. The comfort foods are a rage throughout the season and relished by people of all ages.
Question: Are there some festivals or events at Kolkata during the monsoon?
Answer: Yes, monsoon more or less coincides with initial preparations of Durga Puja. Also, in vogue at that time are some cultural events, plays, and poetry recitals, mostly indoors because of the climatic conditions.
Question: Where are the best places to admire Kolkata’s monsoon beauty?
Answer: Some of the mythical spots are Victoria Memorial, Princep Ghat on Hooghly, bookstalls on College Street, Kumartuli’s terracotta icon factory, street stalls and tea stalls where the true monsoon magic unfolds.
Seven Lines About Kolkata Monsoons
The first downpour paints Kolkata in fresh green and makes the pavements gleam like wet glass.
Every rain brings back that earthy petrichor, reminding everyone the season’s wheel has finally clicked into place.
No shower feels complete without crunchy telebhaja and steaming cups of sweet masala chai.
The arrival of the monsoon also marks hilsa season, a fish lovers’ cherished reason to celebrate the clouds.
Tagore songs and poems echo the storm’s mood, turning every balcony into an impromptu reading room.
Kolkatans wade through flooded lanes armed with laughter, improvised bamboo sticks, and a healthy dash of patience.
Beyond soggy shoes and delayed trains, the rains drip new life and rhythm into the city’s vibrant culture.
The International Day of Yoga (IDY), observed on June 21 every year, has become a global phenomenon, marking a decade of profound impact on health and well-being worldwide. Once a proposal of India, though it is currently an international phenomenon that has brought millions of people to unite and rediscover the ancient benefits of this old-time practice. It is a testament to the increasing popularity of yoga that spreads not only across the borders of geographical separation but also cultural. It is a measure of how appealing a theme can be on a purely universal scale which appeals to the body as well as to its soul. Each year, the day is a strong reminder of the ability of yoga to promote harmony in the world and peace within us resulting in a healthier and harmonious world society.
Understanding the IDY Logo
The IDY logo is most representative of yoga. Folded hands indicate yoga itself, showing the synthesis of individual consciousness and cosmic consciousness and the ultimate harmony of mind, body, and nature.
Even the colour and symbols used in the logo bear a meaning: brown leaves are symbolic of the Earth; green leaves are symbolic of Nature, blue is symbolic of Water, the shiny parts are symbolic of Fire and the Sun is the source of inspiration and source of energy. The combinations of all these exemplify the message of yoga: peace and harmony to the entire humanity.
A Decade of Distinguished Growth
The history of the International Yoga Day has been phenomenal indeed. Movement participants increased between 2018 from about 9.59 crore (95.9 million) participants to approximately 24.53 crore (245.3 million) around the world in 2024. This remarkable development presents yoga as highly popular and having the potential to boost global well-being.
Yoga for One Earth, One Health: The 2025 Theme
In this 11 th International Day of Yoga, the theme of the international day of yoga is “Yoga for One Earth, One Health.” It is an inspiring topic which reminds everyone about the nexus of nature that reminds us about health, balance of the environment and well being on earth. This is why exactly it aligns with the Indian vision of One Earth, One Family, One Future that was a driving force behind the Indian G20 presidency.
In honour of a decade of transformational power, IDY 2025 has ten special Signature Events, all of which have the aim of spreading the yoga message to all parts of society.
Yoga Sangam: Yoga Sangam, the flagship national event for International Day of Yoga (IDY), will witness synchronized mass yoga sessions at over one lakh locations across India on June 21, 2025. Prime Minister Narendra Modi is set to lead the main celebration from Visakhapatnam. These large-scale gatherings will follow the Common Yoga Protocol (CYP)—a standardized set of practices curated by the Ministry of AYUSH. To ensure inclusivity, the CYP resources are made available in 22 regional languages, the six official UN languages, and nine additional international languages.
Yoga Bandhan: It is a global exchange program that facilitates yoga practice by engaging in partnership with other countries. It involves exchange visits of yoga practitioners and Indian as well as foreign delegates, further facilitating each other’s activities and exchanges.
Yoga Park: A proposal for the upgradation of existing parks in rural and urban areas into exclusive Yoga Parks. The public space will feature daily yoga classes by expert instructors and information boards for self-practice to ensure that everyone, including children and senior citizens, has access to it.
Yoga Samavesh: An initiative to universalize yoga and reach special needs populations. It has standardized yoga protocols for diabetes, hypertension, and bronchial asthma, among others, as well as for age-related groups and problems such as mental health and alcohol and drug abuse.
Yoga Prabhav: A comprehensive research work that has quantified the far-reaching effect of IDY over the decade. Its results will guide the future generation of wellness initiatives and preventive healthcare programs.
Yoga Connect: A global summit organized in a mixed mode, where yoga leaders from across the world convened to work together, exchange culture, and attain wholesome well-being. The findings of Yoga Prabhav were also shared at this event.
Harit yoga: This scheme uses yoga in a bid to preserve nature. Actions such as planting trees and sanitation exercises are put in place, as well as information sessions about climate change and sustainable life.
Yoga Unplugged: It is a program set up to make the youth adopt yoga both by online and offline plans. This would comprise quizzes, essay contests, social media challenges, workshops and establishment of youth festivals with the inclination being the Yoga Fusion, where traditional yoga is incorporated in modern music and movement.
Yoga Mahakumbh: A gigantic performance of yoga in 10 cities with various organizations. These events are theme based like environment, youth, and inclusiveness as other signature events.
Samyoga: This project promotes sharing and discussion the focus on whether yoga would be included into mainstream medicine and other traditional healing modalities of Ayurveda and Homoeopathy. It is focused on developing a list of key yoga activities to be included in public health programs.
Leading up to IDY 2025, the Ministry of AYUSH organized nationwide countdown events:
100-Day Countdown Event: Yoga Mahotsav 2025 in New Delhi officially inaugurated the countdown to the 11th IDY.
75-Day Countdown Event: The event in Bhubaneswar was attended by more than 6,000 participants and inaugurated the Harit Yoga campaign with more than 5,000 medicinal plants being planted.
50-Day Countdown Event: In Maharashtra, more than 6,200 individuals witnessed a large-scale Common Yoga Protocol demonstration, and the registration portal of the Yoga Sangam was launched.
25-Day Countdown Event: Conducted in Pondicherry, it was witnessed by more than 4,000 people.
The PM Yoga Awards 2025 also recognize excellence in promoting and practicing yoga, with four awards (two national and two international) celebrating significant contributions to this ancient practice.
Conclusion
International Day of Yoga 2025 is not the standalone day of celebration. It represents the long-time commitment of India towards the holistic evolution of health and harmonious coexistence with nature and elevation of the entire humankind. Due to the reflective nature of its topic and distinct events in all fronts, IDY continues to attract steadily more efforts on a global scale. It continues as a leader to demonstrate how physical health can be combined with mindfulness of being conscious to enforce a universal message of peace and harmony.
FAQs on International Day of Yoga
Question: On which day International Day of Yoga is celebrated, and why has that date been chosen?
Answer: Yoga Day is a yearly festival which is celebrated on 21 st June. The reason this date has been chosen is that this date symbolizes the Summer Solstice (the longest day of the year in the Northern Hemisphere) and this day symbolizes harmony and balance in other cultures.
Question: What is the main aim of International Day of Yoga?
Answer: The main aim of International Day of Yoga is to develop international awareness of several benefits of yoga practice towards physical, mental, and spiritual, as the means of popularizing the holistic approach to health.
Question: Who has proposed the idea of the International Day of Yoga?
Answer: The idea of an International Day of Yoga was proposed in the speech of India Prime Minister, Narendra Modi, during the 69 th session of the United Nations General Assembly in September 2014.
Question: Why is One Earth, One Health: Yoga an appropriate theme of IDY 2025?
Answer: The IDY 2025 theme, i.e., Yoga for One Earth, One Health will unite India and the world on the vision of oneness of earth, people and our future.
Question: How has International Day of Yoga participation increased in recent years?
Answer: The population celebrating has grown immensely year after year, and approximately 24.53 crore (245.3 million) individuals have taken part in celebrations in 2024, which marks its sheer popularity.
Seven Lines on International Yoga Day
June 21 International Yoga Day brings together millions of individuals across the globe for the practice of well-being.
The word “yoga” in Sanskrit refers to the inner harmony of mind, body, and soul.
India’s move led to the United Nations pronouncing June 21 as a global day of global well-being.
The motto “Yoga for One Earth, One Health” gives personification to world peace and conservation of nature.
From large-scale participation to signature events, IDY promotes an all-around health revolution by health experts.
Yoga provides a doorway to inner harmony, peace, and more harmony with nature.
A decade of IDY has established it as a strong worldwide movement of public health.
AstaGuru’s ‘Collectors Choice’ online auction, taking place on June 26–27, 2025, brings together an eclectic and historically significant selection of works by India’s foremost modern artists. Spanning rare archives, myth-infused canvases, and evocative figuration, the lots reflect a spectrum of styles and sensibilities that defined Indian modernism in the 20th century. These six standout entries offer a compelling glimpse into the auction’s depth:
Rabindranath Tagore
35 handwritten letters and 14 envelopes penned by Rabindranath Tagore
Lot 5 | Medium: Pen & Ink on Paper | Estimate: ₹5–7 Cr This extraordinary archive comprises 35 handwritten letters and 14 envelopes penned by Rabindranath Tagore to sociologist Dhurjati Prasad Mukerji between 1927 and 1936. The correspondence, rich in personal reflection and philosophical insight, reveals Tagore in creative transition—from poet and public figure to visual artist and private seeker. Designated a National Art Treasure, this lot is non-exportable and represents one of the most significant literary holdings to appear in a modern Indian art sale.
M.F. Husain
Mother Teresa and Gandhi by M F Husain
Lot 59 | Medium: Acrylic on Canvas | Estimate: ₹2–3 Cr This large-format painting from around 2000 brings together two towering figures of moral and spiritual influence—Mother Teresa and M K Gandhi—within M.F. Husain’s expressive visual idiom. The faceless representation of Mother Teresa in her distinct nun’s attire and Gandhi with his dhoti and walking stick is characteristic of Husain’s ability to convey identity through silhouette and gesture. Other symbolic elements, such as the chakra and lamp, further embed the work in a distinctly Indian visual and cultural lexicon. Executed in a restrained palette of black, white, brown, and blue, the painting enhances the dark yet deeply emotive quality of the piece.
A. Ramachandran
Visions of Ramdev – Ahalya in Red by A Ramachandran
Lot 66 | Title: Visions of Ramdev – Ahalya in Red | Medium: Oil on Canvas | Estimate: ₹1.2–1.6 Cr Ramachandran’s mythological reinterpretation draws from the tale of Ahalya in the Ramayana, presenting the figure in a moment of awakening. Rich reds, detailed foliage, and architectural forms surround her, invoking both narrative tension and visual abundance. Painted in 2001, the work exemplifies Ramachandran’s ability to integrate classical themes with a contemporary painterly vocabulary steeped in ecological and cultural symbolism.
J.P. Gangooly
Untitled by J P Gangooly
Lot 2 | Medium: Oil on Canvas | Estimate: ₹1–1.5 Cr This circa 1930 landscape by one of Bengal’s early plein air painters captures a winding path flanked by autumnal trees and distant hills. Gangooly’s romantic naturalism and tonal subtlety give the composition a meditative quality that echoes the early stirrings of Indian modernist thought, as it began to absorb and localize Western techniques.
Krishen Khanna
Untitled (Bandwalla) by Krishen Khanna
Lot 17 | Medium: Mixed Media on Canvas | Estimate: ₹40–60 Lakhs Khanna’s recurring subject—the bandwalla—is revisited here with quiet power. The lone trumpeter, painted in mixed media, stands in contemplative stillness, symbolising endurance, anonymity, and performance. Part of a decades-long exploration, the work reflects Khanna’s deep engagement with Indian street life and the visual poetics of sound and procession.
Nandalal Bose
Untitled by Nandalal Bose
Lot 3 | Medium: Watercolour & Ink on Paper | Estimate: ₹25–35 Lakhs Created in 1953, this lyrical composition reflects Bose’s Bengal School roots, combining soft gradations and fluid rhythm with an economy of line. His work, influenced by indigenous folk traditions and contextual modernism, continues to resonate for its quiet formal strength. This National Art Treasure is also non-exportable and offers a significant entry point into the artist’s post-Santiniketan period.
Final Thoughts
The Collectors Choice auction by AstaGuru stands as a thoughtful reflection on the journey of Indian modernism—charting shifts in vision, form, and cultural dialogue. From Tagore’s introspective writings to Husain’s powerful figuration, each artwork encapsulates a unique moment in India’s artistic evolution. As these works come together on June 26–27, 2025, they offer not just a glimpse into the past, but a reminder of how art continues to shape our understanding of identity, history, and creative legacy.
The Bengal School of Art, referred to as the Bengal School of Painting, emerged as a significant art movement and style during British India in the early 20th century, specifically from 1900 to the 1930s. It served as a reaction rooted in nationalism and revivalism against the Western art styles that colonial institutions enforced, and it was crucial in shaping modern Indian art. Under British colonial rule, the influence of Western academic realism overshadowed Indian art education, particularly at institutions such as the Government College of Art in Calcutta. Numerous artists from India received training to replicate Western methods such as oil painting, perspective, anatomy, and chiaroscuro. As a result, traditional Indian art forms like miniature painting, folk art, and murals became marginalized.
Birth of Bengal school of Art: a national awakening
Established in Calcutta by Abanindranath Tagore, who is the nephew of Rabindranath Tagore, the Bengal School arose in response to the impact of Western art on India’s artistic heritage. Drawn from Indian customs and pan-Asian artistic influences, especially those from Japan and China, this movement aimed to bring back native styles. The primary figures associated with this school included Abanindranath Tagore, who initiated the movement and gained fame for works like Bharat Mata and The Passing of Shah Jahan. Gaganendranath Tagore introduced elements of Cubism and abstraction into the realm of Indian art.
Nandalal Bose, a student of Abanindranath, gained recognition for his murals and illustrations. He played a key role in the Haripura posters for Mahatma Gandhi at the session of the Indian National Congress, held in 1938 in Gujarat, presided over by Subhas Chandra Bose. Asit Kumar Haldar combined contemporary styles with themes from Indian mythology. Kshitindranath Majumdar, Jamini Roy (in his initial creations), Mukul Dey, Manishi Dey, and Ramkinker Baij, recognized as the trailblazer of ‘’Modern Indian Sculpture’’, were significant figures in this movement. This school drew crucial inspiration from Mughal and Rajput Miniature Paintings, characterized by fine lines, subdued hues, and spiritual motifs, Ajanta murals, which are the historic Buddhist cave artworks in Maharashtra, and Japanese wash methods, brought to India by Japanese artists Okakura Kakuzō and Yokoyama Taikan.
The individuals linked to this Indo-Far Eastern model were Nandalal Bose, Benode Behari Mukherjee, Vinayak Shivaram Masoji, and B. C. Beohar, Rammanohar Sinha, and later their students and several others. Thinkers such as Sister Nivedita and Swami Vivekananda advanced spiritual and nationalist concepts.
Growth of the school:becoming famous
It is noteworthy that the Bengal School gained fame when E. B. Havell served as the head of the Government School of Art in Calcutta from its founding in 1854, when Western art training began. By 1896, he began to advocate for Indian artistic styles and supported Tagore’s methods. In 1897, Abanindranath Tagore began his teaching career at the school, where he started to create a distinctive Indian art style. It eventually acquired a pan-Indian impact via Santiniketan, which was founded by Rabindranath Tagore in 1919 with the establishment of Kala Bhavana, where Nandalal Bose played a crucial role. His notable creation, Siva Drinking the World’s Poison, was an impressive piece. Even though Rabindranath started painting later in his extensive and fruitful life, his concepts had a significant impact on Indian modernism.
Tagore created small, colored drawings using inks in private, drawing on his unconscious mind for inspiration for his primitivism. Rabindranath Tagore’s vision of honoring traditional values, exemplified by themes like rural communities, particularly the Santhal tribes, materialized in the arts-focused institutions of Viswa-Bharati University located in Santiniketan. Rabindranath’s primitivism in public life can be seen as a form of resistance against colonialism, similar to the efforts of Mahatma Gandhi. Focus on mythology, literature, history, and spirituality of India. A style that is soft, poetic, and filled with symbolism, characterized by smooth lines, soothing colors, and watercolor techniques. Dismissal of materialism and realism; emphasis on personal feelings and cultural identity. The Bengal School began to lose prominence in the 1930s due to the emergence of modernist and progressive movements. The series of Krishna Leela was created by different artists who gained recognition for their beautiful and gentle imagery.
Methods and expression: wash, watercolours and tranquility
The Bengal School is known for its use of watercolors, wash painting, natural dyes, and handmade paper, employing methods such as the wash technique. This involves applying layers of thin watercolor to produce gentle, luminous effects. The palette consisted of subdued, natural colors – gentle greens, browns, soft reds, and yellows. No strong differences. The artwork featured fine, smooth lines with little shading. Inspired by Japanese art and miniatures. The subjects included mythology from India, historical events, spiritual beliefs, stories about the homeland, and ethical narratives. The artworks exuded a tranquil and contemplative atmosphere, showcasing idealism, emotion, and spirituality, rather than being completely realistic. The incorporation of Indian aesthetics into contemporary arts by the school acted as a form of artistic expression for the Nationalist movement.
Bengal School – depictions from Indian mythology and history
The Bengal School of Art often showcases Indian mythology and history, especially in artworks that were inspired by the ‘Swadeshi’ movement during the fight for Independence and the creations of Abanindranath Tagore along with his pupils, such as Nandalal Bose and Asit Kumar Haldar. Inspired by Indian folk art, ancient murals, and Mughal miniatures, these artists developed a distinctive style that fused traditional aspects with a contemporary flair.
The artists of the Bengal School, such as Nandalal Bose and Asit Kumar Haldar, were significantly inspired by the National movement that sought to enhance Indian art and culture. They dismissed the artistic standards of the West and sought inspiration from native art forms and historical Indian art. They created a unique style that blended aspects of Indian folk art, ancient murals (such as those in the Ajanta and Bagh caves), and Mughal miniatures. The outcome was artworks characterized by gentle, fluid lines, subdued hues, and an emphasis on poetic and romantic subjects, frequently illustrating moments from Indian mythology, such as Radha and Krishna.
The Bengal School frequently depicts Hindu mythology including Radha-Krishna in numerous divine and romantic scenarios, highlighting Radha’s deep devotion to Krishna, their playful exchanges, and the essence of their transcendent love. The Hindu mythological and historical paintings from the Bengal School are viewed as important contributions to Indian art. They showcase a distinctive mix of tradition and contemporary elements, playing a key role in the evolution of modern Indian art. The impact of the Bengal school on the Indian art landscape began to diminish as modernist concepts emerged after independence.
Let us now look at a few paintings from Hindu mythology and Indian history from this iconic Bengal School of Art –
Ashoka’s queen
Ashoka’s queen by Abanindranath Tagore – Wikimedia
Abanindranath Tagore (1871-1951) was the pioneer and leading exponent of the Bengal School of Art as already mentioned. He aimed to modernize indigenous Mughal and Rajput traditions in his paintings, countering the Western art influence prevalent in British Raj art schools. His highly influential work became recognized as a national Indian style. This particular print portrays Asoka’s Queen gracefully standing before the railings of the Buddhist monument at Sanchi, built during King Asoka’s reign. This painting captures an important moment in Queen Tissarakshita’s life when she is looking at a wilting Bodhi tree with hanging jewels, thinking that King Ashoka has brought them for other women. She has poisoned the Bodhi plant out of jealousy as it is a favourite of King Ashoka. It is based on an original painting housed in the Royal Collection at Windsor Castle in the United Kingdom.
Paintings by Nandalal Bose
Nandalal Bose (1882-1966) popularly known as the Master Moshai, was a disciple of Abanindranath Tagore. In 1921, Nandalal Bose accepted Rabindranath Tagore’s invitation to become the principal of the art school Kala Bhavan at Visvabharati University in Santiniketan. He also painted a series of posters for the Indian National Congress at Haripura in February 1938 as already mentioned.
In the painting ‘Birth of Krishna’ we see concerned parents, Vasudeva and Devaki as they are trying on a rainy night to relocate their newborn son Krishna to Nanda’s house which is across the Yamuna. The painting captures the seriousness of the situation.
Parvati embarked on her penance at the sacred site of Gangotri, a place where Lord Shiva himself had meditated. She renounced royal comforts, donned simple attire, and began her austere practices. During summer, she meditated surrounded by fire; in the rainy season, she sat exposed to the elements; and in winter, she immersed herself in icy waters. Initially consuming fruits, she gradually gave up all food, surviving solely on air and water, earning her the name ‘Aparna’. faced scorching heat, biting cold, and torrential rains without flinching, her focus unwavering. Parvati’s penance symbolizes the power of devotion and the belief that unwavering faith can overcome all obstacles. Her story is a testament to the strength of determination and the transformative power of love and devotion.
This painting depicts Uma or Parvati as exposing herself to severe weather conditions. She is facing a biting cold as we see her in the river formed by cold water flowing down the mountains.
In the tale of Nala and Damayanti, Damayanti, a princess of Vidarbha, chooses Nala in a swayamvara (a ceremony where a woman chooses her husband). Damayanti had heard about Nala and was captivated by his virtues, even before seeing him. She chose him over the gods, who had disguised themselves as Nala to test her devotion. Nala’s beauty and righteousness impressed Damayanti, leading to their union. The painting here captures the essence of the swayamvara as Damayanti is choosing her husband with a bowed head and a garland, from a group of suitors who all appear to be Nala, however Damayanti chooses Nala, as the disguised Gods reveal themselves on her plea. Nala was known for his beauty, righteousness, and virtue, making him a worthy suitor. His devotion to Damayanti and his willingness to serve the gods further solidified her choice.
Three paintings by Kshitindranath Majumdar
Kshitindranath Majumdar (1891–1975) was a prominent Indian painter and a key figure in the Bengal School of Art, renowned for his devotional and mythological themes. Majumdar was raised in a Vaishnavite household. His early exposure to devotional hymns and local theatre productions, particularly those centered around Krishna Leela, profoundly influenced his artistic sensibilities. Here we see three of his paintings. The first one relates to the divine couple Radha-Krishna – there is a sweetness and romance of this scene, as Radha sits next to Krishna, her gaze filled with love, Krishna plays his flute.
Radha-Krishna by Kshitindranath Majumdar
Radha-Krishna by Kshitindranath Majumdar – Wikimedia
To gaze on Krishna was my greatest wish, Yet seeing him was filled with danger. Gazing has bewitched me, no will remains, I cannot speak or hear. Like monsoon clouds, My eyes pour water. My heart flutters. O friend, why ever did I see him And with such joy deliver him my life?……………………………a translation from ‘Vidyapati’s Love songs’ by Deben Bannerjee
Kaliya damana by Kshitindranath Majumdar
Kaliya damana by Kshitindranath Majumdar – Wikimedia
The story of Kaliya Daman is a popular episode from the childhood of Lord Krishna, narrated in the Bhagavata Purana. Kaliya was a venomous multi-headed serpent who resided in the Yamuna River near Vrindavan. His presence poisoned the river, causing harm to the environment and the people living nearby. The villagers were terrified, and even Garuda, the eagle and enemy of serpents, could not approach due to a curse. One day, Krishna decided to confront Kaliya. He dived into the river and was ensnared by Kaliya’s coils. Undeterred, Krishna expanded his form and began dancing on Kaliya’s heads, causing the serpent to vomit poison and blood. Kaliya’s wives prayed to Krishna for mercy, and he pardoned Kaliya, instructing him to leave the river and return to his home, Ramanaka Island. Krishna assured Kaliya that Garuda would not harm him, as the imprint of Krishna’s feet on Kaliya’s heads would protect him.
This event symbolizes the triumph of good over evil and the restoration of purity to the Yamuna River. The subduing of Kaliya is reflected in this painting with his wives pleading to Krishna to forgive him. The strength of the snake can be made out by his sheer size, whereas Krishna’s gaze and hold on him shows his might as the halo around his head glows softly depicting his divinity.
The birth of Ganga byby Kshitindranath Majumdar
The birth of Ganga by by Kshitindranath Majumdar – Wikimedia
Ganga is believed to be a divine river, the daughter of Lord Brahma, the creator of the universe. When Lord Vishnu took the Vamana (dwarf) avatar to humble King Bali, he pierced the sky with his toe. From this point, the heavenly waters began to flow. These celestial waters became known as Ganga, residing in Brahmaloka (Brahma’s abode). King Bhagiratha, a descendant of King Sagara, performed intense penance to bring Ganga to earth to purify the ashes of his ancestors who were cursed by Sage Kapila. Pleased by his devotion, Brahma allowed Ganga to descend. Since the force of Ganga’s descent would shatter the earth, Lord Shiva agreed to catch her in his matted hair to break her fall. He released her gently, allowing Ganga to flow as a river on earth. Ganga thus descended to Earth and followed Bhagiratha to the ocean, where she purified the ashes of his ancestors, granting them salvation. Ganga represents purity, salvation, and divine grace, and is revered as both a goddess and a river. Bathing in her waters is believed to cleanse one of sins and aid in attaining moksha (liberation).
The painting here by Kshitindranath Majumdar depicts Lord Shiva catching the forceful Ganga in his locks and then allowing her to flow through his lightly upturned hands. His closed eyes depict his willingness to carry out this deep, sacred and benevolent action for earth.
Paintings by Asit Kumar Halder
Asit Kumar Haldar, who was Rabindranath Tagore’s grand-nephew, started his painting journey early in life after being born in 1890. Later, he received training at the Government School of Art in Calcutta. Between 1909 and 1911, he traveled to Ajanta on an expedition alongside Lady Harringham and collaborated with two other Bengali artists to record the murals found there. Between 1911 and 1915, he served as a teacher at Shantiniketan and held the position of Principal at Kala Bhavan School until 1923, where he supported Tagore in cultural and artistic endeavors.
Ramdas and Shivaji by Asit Kumar Halder
Ramdas and Shivaji by Asit Kumar Halder – Wikimedia
In this painting Chhatrapati Shivaji Maharaj, the founder of the Maratha Empire, and Samarth Ramdas Swami, a prominent saint and philosopher, are often associated as a guru-disciple duo. While they did not have a formal mentor-disciple relationship, their lives and philosophies are often intertwined, with some claiming Ramdas Swami played a significant role in Shivaji’s development. Asit Kumar Haldar portrays the Maratha leader Shivaji barefoot in a sombre mood, returning after meeting Ramdas who can be seen seated; which is vividly felt through the rich warmth of the colours. Haldar’s artwork, created in oil, tempera, or watercolors, draws inspiration from the deep stories of Indian mythology and sometimes history as well.
Paintings by Jamini Roy
Jamini Roy, who lived from April 11, 1887, to April 24, 1972, was a painter from India. He is widely recognized as one of the most notable students of Abanindranath Tagore, E. B. Havell. The impact of E.B. Havell and the lectures by Rabindranath Tagore led him to understand that he should seek inspiration from his own cultural heritage instead of Western traditions; thus, he turned to the vibrant folk and tribal art for motivation. The ‘Kalighat Pat’, known for its bold sweeping brush strokes, had a significant impact on him. He shifted from his previous work in impressionist landscapes and portraits, and during the years 1921 to 1924, he initiated his first phase of experimentation using the ‘Santhal’ (a tribe) dance as his foundation.
Rama-Sita and Lakshmana with a golden deer by Jamini Roy
Rama-Sita and Lakshmana with a golden deer by Jamini Roy – Wikimedia
His later paintings are not typical of the Bengal style but a composition in Pat idiom painted in his iconic style is depicted here. Lord Rama, his wife Sita and brother Lakshmana are looking at a golden hued deer which has captured the attention of Sita devi.
Radha-Krishna in Kalighat paintings
Kalighat paintings do not belong to the Bengal school, although they originate from Bengal and is a standalone from influencing artists like Jamini Roy. In the early 19th century, the Kalighat Temple located in the southern area of Kolkata, formerly known as Calcutta, drew many pilgrims and some foreign tourists, in addition to the local residents. The temple grounds offered an ideal chance for artisans and craftsmen to market their products. Included in this group were the patuas, talented artists originating from rural Bengal, particularly from the regions of Midnapore and the 24 Parganas. Traditionally, these artists depicted extensive narrative tales on scrolls made of cloth or hand-crafted paper, with lengths that frequently exceeded 20 meters. This art form was referred to as patachitra, with each part called a pat, which is why the creators were called patuas. Confronted with the need to increase their production speed and inspired by various surrounding art styles, these artists replaced their typical extended narrative approach with individual frames of chouko (square) pat, showcasing one or two figures. Travelers from foreign lands, colonial rulers, and Europeans who visited the city during this era brought back these artworks, described as “perfect” and “portable” for their concise designs, as ‘oriental’ or ‘exotic’ keepsakes. This style features wide, sweeping brush strokes, vibrant colors, and a simplification of shapes.
We can see here a Radha-Krishna done in pat style. Krishna is playing on his flute and Radha stands next to him listening to the music holding the covering of her head.
Radha-Krishna, Kalighat painting, 19th/20th century
Thus, we see that the Bengal school was not only unique during its halcyon days but remains iconic even today with the paintings made during the time, being sold as prints and retrospectives of every major artist being held regularly in India and abroad. They are now preserved in private collections, collections of major Indian and world museums including art galleries.
Suggi Kunitha is a traditional and folk dance form that originated in the rural areas of Karnataka, a state in southern India. It is a traditional folk dance form that is performed during the harvest season to celebrate the abundance of crops and dedicated to the goddess of crops, “Suggi”. The word “Suggi” means “harvest” and the word “Kunitha” means “dance” in Kannada, which is the local language of Karnataka. The dance is usually performed during the festival of Suggi, which marks the onset of spring and the harvest season. It is a vibrant and energetic dance that showcases the rich cultural heritage of Karnataka and it remains to be an important part of it.
The people of the Halakki Vokkaligas community living in the coastal parts of the Uttarakannada region of Karnataka perform the Suggi Kunitha dance. They are devotees of Lord Shiva and have a very enriched past which includes their culture, folk and traditions. A few days before the festival of Holi, this harvest dance begins and the dancers go all around the village from one house to another house to perform the dance. This is because as soon as the festival of Holi approaches, harvest season and celebrations begin. They believe that by going from house to house and performing, the problems faced by the people will be solved and they will be protected from any diseases or illnesses. The uniqueness and specialty of this dance is that the dancers wearing their entire outfits with sandalwood on their forehead leave their houses, dancing to music and songs, attracting everyone’s attention, cannot return to their houses until seven days after the harvest dance. Overtime, this became an important aspect of their cultural identity and is often referred to as the dance of the farmers.
The costumes and props used in Suggi Kunitha are an important part of the performance. The traditional dress of the dancers in Suggi Kunitha includes tying a colorful turai turban on the head and wearing a pagade costume. The vibrant and colorful costumes are adorned and decorated with intricate embroidery, mirror work and ornaments. The men wear a dhoti and a shirt while the women, on the other hand, wear a saree and a blouse. The dancers also wear jewellery and flowers including feathers of a peacock. Red, green, yellow and white colors are usually used in the turbans and the overall outfits are very bright and vibrant. The props used in the dance include musical instruments such as dhol, cymbals and flute. The dancers also use colorful sticks, which are also known as Kunitha sticks or ‘Kuri Patta’. These are an essential part of the dance and are used to create rhythmic beats.
Suggi Kunitha Performance
Suggi Kunitha is typically performed by a group of men and women, who come together in a circle around a decorated idol of goddess Suggi. The idol of the goddess is usually made out of clay or mud and is decorated with flowers, leaves and other natural items. Suggi Kunitha dance movements are very lively and energetic which involves a lot of jumps, twirls and coordinated steps. The dancers also sing folk songs in praise of the goddess. The dance is characterized by fast-paced movements, intricate footwork and acrobatic jumps and spins. The dancers use their hands as well as fingers to create intricate patterns in the air. The dance performance is accompanied by lively and vibrant music and songs in their local language, Kannada.
Suggi Kunitha Music
The music for Suggi Kunitha is usually performed and played on traditional folk music instruments such as mridangam, dholak and harmonium that is native to the state of Karnataka in India. The songs are sung in Kannada and are usually about goddess Suggi and her powers to bring good harvests. It is played on wind and percussion instruments and is known for its upbeat and lively rhythms. The songs sung typically praise the gods and goddesses and celebrate the harvest season. Overall, the music is also an important aspect of the dance form and adds to the festive atmosphere of the performance.
Suggi Kunitha Themes and Symbolism
This dance form is deeply rooted in the agricultural traditions of Karnataka. It is performed to express gratitude and thankfulness to gods and goddesses for a bountiful and abundant harvest. They also seek their blessings for a prosperous future. The themes of Suggi Kunitha revolve around the cycle of nature, the changing seasons and the relationship shared between the human beings and the environment and nature. It also incorporates elements of mythology and folklore. Most of the movements and gestures are symbolic in nature. Some of the movements of the dancers in Suggi Kunitha represent sowing, planting and harvesting of crops. The Kunitha sticks symbolize the plough used in agriculture.
Significance ofSuggi Kunitha
Suggi Kunitha is not merely for the sake of entertainment purposes, but it is also a way of cultural expression and expressing gratitude to the goddess. This dance form has a strong cultural and religious significance in Karnataka. It is often performed during festivals and other auspicious occasions. It is an important part of the cultural heritage of Karnataka and is a symbol of the state’s rich cultural diversity and heritage. It represents the close relationship between humans and nature and reflects the values and traditions of the community and the people who perform Suggi Kunitha. The dance brings together people from different walks of life and fosters a sense of community, brotherhood and belonging.
Key Takeaways
Suggi Kunitha is not just a form of entertainment or dance, but it is a way of expressing gratitude and thankfulness to the goddess for a bountiful and abundant harvest. This dance form is an important part of Karnataka’s cultural heritage and is still performed in many rural parts of the state with great enthusiasm and zeal. Suggi Kunitha has gained a lot of recognition outside of Karnataka in the recent years and has been performed at several cultural events and festivals across India and all around the world.
FAQs About Suggi Kunitha
Question: What is Suggi Kunitha?
Answer: Suggi Kunitha is a traditional folk dance of Karnataka. It takes place during harvest seasons. In essence, it’s a fun celebration while showing gratitude towards nature and begging it for crops to be a success. Essentially, the celebration speaks of richness, fertility, and people on land.
Question: Where is Suggi Kunitha performed?
Answer: Suggi Kunitha is mainly performed in villages in Karnataka during festivals like Ugadi and Makara Sankranti. The dance brings people together in village squares, creating a sense of community. It’s also part of many cultural festivals across Karnataka.
Question: What instruments are used in Suggi Kunitha?
Answer: Instruments like the dhol, nagari, and cymbals are played to add rhythm to the dance. The live music fills the air with energetic beats that get everyone moving and help bring the community together in celebration.
Question: Why are Suggi Kunitha costumes important?
Answer: The costumes in Suggi Kunitha are colorful and symbolic. The bright clothes represent nature’s fertility and abundance. Props like sickles or earthen pots also have meanings related to farming and harvest, adding cultural depth to the performance.
Question: How can we preserve Suggi Kunitha?
Answer: We can keep Suggi Kunitha alive by teaching it in schools, supporting it through government funding, and sharing performances online. It’s important to document the dance and involve local communities to ensure it stays relevant for future generations.
Pata Kunitha is probably one of the most effervescent and visually vibrant folk dances of Karnataka, deeply rooted in its rural tradition and spirituality. In their traditional use of decorated bamboo poles with well-coordinated moves, they portray a very vibrant form of devotion, storytelling, and communal unity. Their traces date back to hundreds of years linked mainly to temple festivals, processions, and all other forms of celebratory events. Pata Kunitha is the epitome of Karnataka’s cultural essence-a synthesis of mythology and music and movement in a coherent spectacle.
Historical Background and Development
Pata Kunitha is closely related to Karnataka’s agriculturist and religious traditions. It was originally performed as a rite to appease local gods and seek good harvests. Over the ages, it evolved from a sacred ritual to an art form that was practiced publically in times of festival, and made it accessible to a more expansive audience. Adding layers of narration to the dance, it allowed the artists to make scenes of all epic stories-the Ramayana and Mahabharata .
Elements of the Performance
Several unique traits contribute to the signature style of Pata Kunitha, including:
Bamboo Poles: These are long bamboo poles which often carry along some brightly colored fabrics, flowers, and small bells at times. Bamboo poles represent more than ornaments; they signify deep symbolic meanings characterized by spiritual connections and identity with culture.
Costumes and Accents: The artists wear traditional dresses. These are mostly brightly coloured and intricately patterned dresses that epitomise cultural motifs of Karnataka. Jewellery and head gears give an aesthetic look to them.
Choreography and Movements: The dance has a lot of lyrical and acrobatic movements, spins, and quickfoot dances where none of them are out of time with the rhythms of the traditional drums. The poles are swung, lifted, and balanced within the performance so that the dexterity of the artist is portrayed.
Rhythmic Accompaniment: The pulse instruments, dhols and chendas accompanying this rhythm, create a melodic layer as the wind instruments join. As the music speed in the dance performance is often increased, enthusiasm boils.
Cultural and Religious Significance
The Pata Kunitha is as much a show as it is an appeasement ritual. It takes place in temple courtyards during annual fairs for gods like Mariamman and Draupadi. The performance served as a community obligation for the people who could go there and watch and participate in the devotional ceremonies. The staves represent unity connecting heaven and earth, symbolizing the sacrosanctity of the occasion.
In addition, the dance promotes bonding towards community. More artists perform in groups since the aspect is expressed within the basic tenets of cooperation and unity engraved in the way of life among the villagers; hence, the choreography will be collaborative.
Relevance to Modern Society and Conservation Efforts
Initiatives towards the preservation of Pata Kunitha have been taken due to the process of urbanization and changes in lifestyle. This folk dance is very much included in the agendas of schools and cultural groups, making sure that the message about preserving Pata Kunitha goes alive in the young minds. The Government of Karnataka and other NGOs sponsor festivals and competitions through which Pata Kunitha performances receive a show.
This dance has been seen outside the state in national and international cultural festivals. Probably, it is this reason that has made it so famous internationally outside the borders of this style of folk art. Documenting and teaching efforts toward the dance and its modification to fit the current audience have prevented the dance from becoming antique.
Pata Kunitha and Its Storytelling Tradition
This dance also allows the performance through gestures of stories from mythologies, making it a fun and educative exercise. These storylines, as told through gestures of hands and symbolic movement, assist in keeping such oral traditions alive as well as infusing olden days into public memory.
Conclusion
Hence, Pata Kunitha is an excellent vibrant thread that continues to run in the fabric of Karnataka culture. It is such performances, deep symbolism, and historical importance that make this such a treasured tradition to relish. Through devotionalism, story-telling, and beauty, Pata Kunitha brings together deep connections to the heritage of Karnataka so it continues to inspire and fascinate different generations and geographies.
FAQs About Pata Kunitha
Question: What is Pata Kunitha and which part of the land does it belong to?
Answer: Pata Kunitha is folk dance that originates from the state of Karnataka. In fact it was born from the ritual performance during the festivals of gods.
Question: What props are used in Pata Kunitha?
Answer: The dance uses the extensive bamboo poles, beautiful pieces enhanced with colorful pieces of fabrics, flowers, and bells choreographed into it, but at the same time, these pole pieces function as symbols in bigger scenarios.
Question: Why is Pata Kunitha performed?
Answer: Formerly, it was a ritual way of presenting offerings to deities and seeking their benediction. Now, it is more of an homage to the heritage of artistry of the state that it is performed during festivals and other cultural functions.
Question: How is Pata Kunitha kept alive in the present world?
Answer: Cultural organizations, schools, and the Government of Karnataka are working their way to keep it alive through workshops, performances, and festivals.
Question: How is Pata Kunitha distinct from other folk dances of India?
Answer: Ornamented posts, Strong choreography and the ability to narrate story through postures were some of the distinguishing features of Pata Kunitha against other folk dances.
Seven Lines on Pata Kunitha
Pata Kunitha, is a traditional folk dance of Karnataka based on decorated bamboo poles.
It encompasses rhythmic movements, bright costumes, and riveting music.
This has been developed as a part of the ritual to please local deities during festivals.
The long bamboo poles used are a symbol to perform with, signifying spiritual connection and cultural pride.
Pata Kunitha exploits Karnataka’s heritage of stories through movement.
Pata Kunitha is a vibrant part of Mysuru Dasara and other festivals.
Restoration of Pata Kunitha ensures their continuity in the socio-cultural heritage of Karnataka.
Situated in the Southern part of India, Karnataka is one of the most popular and highly sought after tourist destinations of the country. It is bordered by the five states of Kerala, Andra Pradesh, Telangana, Tamil Nadu, and Goa, the state is known for its diverse and rich cultural heritage. Blessed with fascinating beauty and majestic grandeur, the state of Karnataka has secured itself a unique place in India. From the mesmerizing and enchanting scenic beauty of Coorg (also known as the “Scotland of India”) to the urban city of Banglore (termed as the “Silicon Valley of India”).
From the grandeur of many majestic historical sites such as Hampi, to the capital of the ancient Vijayanagara Empire. The state has something to offer everyone from any sphere of life. The art, culture, and music of Karnataka have an essential role to play. They precisely portray the diversity and traditions which are prevalent in the state. The people of the state speak several languages, including Tulu, Kannada, Konkani, Kodava, Byari, and Urdu.
Karnataka Culture and Traditions
Image Courtesy – Sohani Kamat from Pexels
As a land that keeps alive its own cultural and traditional heritage across generations, the state is quite popular among tourists. They get to experience a whole new and enchanting world here. The state is known for its soothing classical Carnatic and Hindustani music, which shows the state in all its glory. The state is known for its distinct and culturally relevant art forms. The art forms of the state serve as a means to bring the communities closer. Each aspect of the state is quite significant and contributes to the beauty of the state.
Traditional Dresses of Karnataka Men
The traditional dresses of the people of Karnataka rightly depict the elegance and simplicity of the costumes worn in south India. The state of Karnataka is home to many diverse communities, who have their style of dressing. The women of Karnataka usually dress in sarees, while men usually prefer to wear the dhoti and Kurta.
The principal Traditional Dress of the men in Karnataka is ‘Panche’ which is worn underneath the waistline accompanied by a shirt on top. It is otherwise called Lungi, Dhoti or Veshti and so forth. An ‘angavastram’ which is a silk or cotton muffler is set on the neck covering the shoulder. Lately, just the rural men of Karnataka stick to Panche, as their regular ensemble. Mysore Peta is the customary hat in Karnataka for men. The majority of the men utilize modern wear for every day reason.
People of the Kodagu have a distinctive way of dressing as well as accessorizing. Women of the locale wear sari in a unique manner. The pleats are tied at the back and the pallu is set over the shoulder. A conventional Kodagu saree is made with both silk and cotton. The themes created on these sarees are lively and address the way of life in Karnataka. The body of the saree is embellished with prints, stripes or floral work.
The men enhance their outfits with decorative sashes, swords, and daggers. The whole look is supplemented with dark robes or tunics, giving it an imperial look. Men likewise wear gold-trimmed turbans with their outfits for celebrations, weddings, and various events.
Traditional Dresses of Karnataka Women
Karnataka women wear sarees as their main attire and teenage girls prefer silk skirts with tops as their traditional attire. Karnataka women wear a verity of silk sarees ranging from Mysore silk to Kanchipuram silk Sarees.
Karnataka is a place where there is rich legacy, culture and customs. The unbelievable silk sarees of Karnataka Silks have become a fundamental piece of Karnataka’s and India’s custom. These silks are one of a kind and exquisite in each aspect. It has a scope of stiff Tangails, flowy silks, rich chiffons and weighty brocades which can be effortlessly incorporated in any style. Bangalore and Mysore are world acclaimed and reputed for their glimmering silks.
Mysore Silk Sarees
The Mysore Silk is inseparable from the wonder and magnificence. Mysore silk has been enlisted as Geographical Indicator under Intellectual Property Rights. Karnataka is the country of Mysore Silk. Karnataka sericulture has a background marked by over 215 years. In 1785, the Tiger of Mysore Tippu Sultan setup sericulture in Mysore realm.
The Mysore crepe silk is worn mostly for office or work environments, more on account of its light-weight, and simpler upkeep. It is a flexible hazy crepe silk supplemented with zari edges. These saris are colored in splendid tones after the finish of the weaving. It is utilized for both everyday and occasional reasons. In current days, Mysore crepe salwars and Karnataka handloom’s cotton additionally frames part of ladies’ clothing of Karnataka.
Arani Silks, Valkalams, Kora Silks, Patola Sarees, Crepe Silk Sarees, Chiffon Sarees and Raw Silk sarees are also different assortments of womens’ attire in Karnataka. The Ilkal and the Molakalmuru sarees remain as the ethnic motifs of Karnataka. Kornadu sarees are a combination of cotton and silk. The saris are woven in a blue cotton yarn along with a silk yarn in other various shades. The themes in every sari is different and the body is either presented with checks or stripes. These sarees are utilized as day by day comfort wear.
Usually worn during festivals and special occasions, Kanchipuram sarees of Karnataka are very popular throughout the country. It comes in several colours with exquisite designs. The saris are woven from pure mulberry silk threads and Zari from South India. The design and hue of the border are normally very unique in contrast to the body. If the pallu (the draping end of the sari) is requested in a different shade, it is first independently woven and then gently joined to the Sari. In an authentic Kanchipuram Silk Sari, body and border are woven independently and afterward interlocked together. The joint is woven firmly to such an extent that even if the saris tears, the border won’t come off. That separates the kanchivaram silk saris from the others.
The saris are recognized by their wide contrasting borders. Temple borders, checks, stripes and florals (buttas) are common designs found on a Kanchipuram sari. The patterns and motifs in kanchipuram saris were influenced by pictures and scriptures in South Indian temples or natural aspects like leaves, birds and animals. These saris with rich woven pallu show the compositions of Raja Ravi Varma and legends of Mahabharata and Ramayana.
Ilkal Sarees
Ilkal Saree
The Ilkal sarees are mostly traditionally worn by the women of rural areas. These sarees are quite popular in the country owing to the unique method employed in weaving it. The Ilkal sarees are named after the town of Ilkal situated in the Bagalkot district of Karnataka. These special sarees are woven uniquely by employing a loop technique called Tope Teni. The fundamental body of the Ilkal saree comprises simple patterns and an exquisite pallu with complimenting motifs, for example, temple towers, palanquins, elephants, and lotuses.
The main charm of an Ilkal saree is the border, which is around 4 to 6 inches broad. Both base and pallu of the saree contain captivating borders that give an unbelievable look to the saree. The tones that are normally utilized in the saree are pomegranate red, peacock green, and parrot green.
The saree is handwoven by the weaver with utmost attention and patience. Hence these sarees are of high demand both locally as well as nationally.
Kasuti is a traditional type of folk embroidery practiced in the state of Karnataka. Kasuti work which is complex at times includes putting up to 5,000 stitches by hand and is generally made on dresswear like Ilkal sarees, Ravike and Angi or Kurta.
Kasuti embroidery work includes embroidering complex motifs like gopura, chariot, palanquins and conch shells. Locally accessible materials are utilized for Kasuti. The example to be weaved is first set apart with charcoal or pencil and then proper needles and threads are chosen. The work is challenging and includes checking of each string on the material. Different assortments of stitches are utilized to get the ideal pattern. Some types used are Gavanthi, Murgi, Negi and Menthi.
Guledgudda Khana
A balance of extravagant and rustic, Guledgudda Khana appears to be obscure, yet is saturated with history.
Hailing from Guledagudda town in the Bagalkot area of North Karnataka, this eponymous weave overwhelmingly finds patronage in select locales of its home state. The fabric is frequently altogether known as Guledgudda Khana, with “khana” being a blouse textile of the state. It was widely esteemed in the earlier times and was worn by almost every woman.
The customary drape of Guledgudda Khana involves a rich blend of hand-spun and handwoven silk and cotton, with intricate vivid motifs celebrating cultural and religious symbols, for example, tulsi pan (the leaf of tulsi plant), theru (a chariot), Suranarayana Mukta (the Sun God) and ane hejje(elephant strides) among numerous others.
Known as the half-sari from Karnataka, the Langa Davani is a traditional two piece sari that was initially worn in South India generally by young ladies. It is frequently given as a blessing in coming of age functions by the families of the girls. The davani sari takes after the usual one in looks but is more like a ghagra choli in plan. It comprises a skirt secured with a drawstring around the abdomen and a fine fabric around 2 to 2.4 meters in length called the “davani”, joined to the skirt and tossed over the shoulder like a pallu.
Davani sarees are a lot simpler to wear than a saree and this is their principle advantage. In spite of the fact that you get the saree look, you just need to slip on the pieces and pin them set up without messing with hanging, creasing, etc.
Traditional Langa Davani patterns are more on the simpler side, with the shading range not wandering past the normal shades of green, yellow or red. The main ornamentation would be the boundaries, which were gold printed or with little motifs of religious and natural themes. For less significant celebrations, cotton and coarser silk textures were utilized instead of the dressier silk
Along with their unique attire, the women of Karnataka also adorn themselves with distinct and beautiful ornaments. The ornaments worn by the women include the Netri Chutti. It is worn on the forehead. The Mavinakayi Addigai, a necklace usually made of gold with green and red stones embedded in it.
The Mavinakayi Addigai is one of the most significant ornaments which is also worn by the bride. The Laxmi Sara worn by women is a beautiful golden chain made up of small golden coins attached to it. The Vyaghra Nakhas, is a golden pendant worn mostly by children. It is said to represent the courage of a tiger and is believed to ward off every evil spirit. The Kadagas are the traditional bangles which are widely worn by the women of Karnataka.
The state of Karnataka has undoubtedly kept its traditions and rituals intact amidst the fast-moving world. The rich cultural heritage and traditions of Karnataka indeed express themselves in the traditional dressing styles. While many people continue to dress traditionally, changes to this can also be observed in urban cities. as. In Bangalore modern dresses are mostly preferred.
FAQs About Traditional Dresses of Karnataka
Question: What are the traditional dresses of Karnataka?
Answer: The traditional dresses of Karnataka include the saree for women, especially the Ilkal and Mysore silk sarees, often worn with traditional jewelry. Men typically wear a dhoti or panche, along with a kurta or shirt, and sometimes a traditional turban called peta during special occasions.
Question: What is the traditional dress of Karnataka for men?
Answer: Some traditional dresses worn by men include the Panche, also known as Lungi, Dhoti, or Veshti, which is worn below the belt with a shirt. An angavastram is draped half over the belly and across the shoulders.
Question: How is the Mysore Peta worn and what is its cultural significance?
Answer: The Mysore Peta is a headgear worn on the head, esteemed as a symbol of pride and honor. It holds significant societal relevance, as it is used during weddings, festivals, and other ceremonial activities.
Question: What are the distinctive features of Kanchipuram sarees?
Answer: Kanchipuram sarees are crafted from luxurious pure mulberry silk and Zari, showcasing broad borders adorned with temple arches, stripes, or intricate floral designs. Notably, the pallu was originally a separate entity, expertly sewn onto the saree to enhance its durability and overall sturdiness.
Question: What is Kasuti embroidery and what type of stitches are used in it?
Answer: Kasuti is a centuries-old craft of embroidery or hand stitching unique to Karnataka. Key stitches used in Kasuti include Gavanthi, Murgi, Negi, and Menthi, which are employed to create intricate shapes and designs on garments.
Question: How does the Ilkal saree reflect Karnataka’s fabric heritage?
Answer: Ilkal sarees come with the handwoven tag and fall under the Tope Teni style, which has plain borders and desirable patterns on the body, whereas the pallu features dense zari work. They are appreciated for their workmanship and the beautiful colors associated with them.
Question: What are Guledgudda Khana’s saris unique characteristics?
Answer: Guledgudda Khana is the typical blouse material of Bagalkot, famous for its bright colors and motifs such as tulsi plants, chariots, and elephants. This material is a blend of silk and cotton and is used to showcase the cultural features of Karnataka.
Question: What is the traditional attire for young girls in Karnataka?
Answer: The traditional attire for young girls is the Langa Davani, which includes a drawstring skirt, blouse and duppatta known as the Davani, draped over the shoulder.
Question: How does Langa Davani and Mysore Silk are associated with cultural identity of Karnataka?
Answer: Karnataka’s cultural representation through Langa Davani and Mysore Silk can be viewed in terms of their style, their historical and cultural preliminaries, and their making. They are used in occasions such as festivals, weddings, birthdays and other events that are deemed culturally significant.
Question: Which kind of ornaments are traditionally used by Karnataka women?
Traditional ornaments include brittle battu (forehead piece), Mavinakayi Addigai (gold necklace), Laxmi Sara (gold chain with coins), Kadagas (bangles) and Vyaghra Nakhas (tiger claw pendant for children). All these ornaments are meant to bring protection and good luck.
Seven Lines on Traditional Dresses of Karnataka
Traditional dress of Karnataka women is unique by its elegance and simplicity that is inherent for South Indian clothing.
Karnataka men have over time been known to wear a ‘Panche’ or ‘Dhoti’ with a shirt or any vestige of clothing and an ‘angavastram’ worn across the shoulder.
Mysore Peta is a traditional form of headgear which is used by men in Karnataka for special occasions.
In Karnataka, most women prefer sarees and dress materials, the specialty sarees include Mysore silk sarees and Kanjivaram silk sarees.
The sarees from Karnataka specially the Ilkal sarees have a special way of weaving and also have beautiful borders. In the year 2007 Ilkal sarees received GI Tag.
Kasuti is an embroidery art form of Karnataka, in which very small detailed patterns are stitched by hand.
The Langa Davani which is in fact a half-sari, is an easier fashion than the work of draping and is mostly worn by young girls in Karnataka.
For most children in the world, the first day of school marks a special occasion. It’s a unique day filled with a whirl of emotions like butterflies in the stomach, a glimmer of anticipation, a hint of timidity, and, at times m, missing parents. In fact, it is these very emotions that make this day special. For most children, the first day at school feels like opening the door to a whole new world filled with adventure. It’s a significant shift from the cozy environment of home to a new place brimming with possibilities.
First Day at School
You might wonder about your new teacher or who you’ll sit next to. The entire school, its sounds, people, corridors, and classrooms all feel new and thrilling. Now, just think how much better this is, knowing that there are gonna be years full of education, developing new friendships, and growth that helps you identify everything about yourself and even the things you don’t think are possible.
Key Points to Remember When Writing An Essay On My First Day At School
Writing an essay about the first day of school is a straightforward way to capture all the special moments that take place in real life and even in dreams. You can use the tips given below to write the best essay:
Begin with an Introduction: Write the introduction with the world around school, explaining what it is and how it feels for a child to begin something new.
Describe How You Prepared: Detail the elements of preparation done at home, such as putting on a fresh set of clothes or packing your bag.
What You Noticed At The School: Detail the school premises, the playground, or whatever else captured your attention upon getting to the school for the very first time.
Stepping Into The Classroom: Discuss the feelings you experienced when you entered your own classroom and what there was to see.
Class Activities: Discuss all the exciting activities you participated in, such as playing, singing, or drawing.
First Impression of The Teacher: Discuss the description given of the teacher and the impact they had on you.
Any Other Special Events: Capture other events that stood out one way or the other to make them special.
When The Day Ends Feelings: State the feelings experienced when the school day came to an end.
Restate why you find School Important: Wrap up by restating the role and importance of school in your life and what you hope to achieve.
Essay on My First Day at School (100 Words)
The first step into my school was on a cloudy day. I was carrying a new backpack loaded with notebooks, which made it a little heavy, but I was highly ecstatic about this new journey. My classroom was down the corridor, and when I entered, my teacher happily smiled and received me. Fun activities such as reading and solving problems in groups were done. Little by little, sharing lunch with new classmates began to make me feel included. While the whole day was a mix of emotions, it certainly was exciting. When the school bell rang, I instantly thought that a new world of opportunities was at my doorstep.
Essay on My First Day at School (200 Words)
With a new and beautiful bag on my back, I entered the school gate, grinning like a Cheshire cat. My first day of school was filled with excitement as well as nervousness. Everything felt enormous- the school building and the playground. My mind was racing as I tried to comprehend different things at once when a new world opened up in front of me. Alongside other students, I could hear indistinct chatter in the hallways and after entering my class. I was greeted by my teacher and classmates with friendly states, which immediately put me at ease. Following the introduction and some fun warm-up exercises, I tried to make sense of the fact that the strangers around me could, quite possibly, be friends.
During lunch, I witnessed an utterly new side of the school. The cafeteria was alive with students having fun, and there was a mouthwatering smell wafting from the kitchen. It took me some time to muster the courage to walk up to the friendly group, but soon, I was telling stories and laughing with people I had thought would remain strangers. After the bell rang, I excitedly left the classroom, brimming with enthusiasm and ready for more explorations in my new academic home for the second day.
Essay on My First Day at School (300 Words)
The first day gave me feelings of eagerness because I was ready to board the school bus. I remember that I was accompanied by heart-pumping levels of adrenaline as I stepped onto the bus. The new chapter in my life was ready to set forth, and I was equipped with a new bag full of books. Driving through the city meant that I was headed towards the school’s Gate. Walking into the classroom made me realize that it comes with a new set of faces, which oddly excited me. With my unacquainted belongings settled at the seat, I sat next to someone who was a complete stranger but ended up being my best friend. The warm look I received from the marking of my class teacher was more than enough to put me at ease.
At lunchtime, I got acquainted with so many new friends and no longer felt like a stranger. Understanding that my shyness would never make me accepted, I accepted that I would talk slowly, resulting in my befriending others. It didn’t take long for me to ditch my “stranger” title, and by the end of lunch, I made plenty of friends. Fun chatting with friends and returning to class meant that courses like mathematics, science, and English became fresh topics. Everything that I have learned till now suddenly felt nothing like that, but life-changing.
By the end of the day, we all went to the playground, where we had a great time on the swings. While there, I encountered other new children at the school, like myself. On my way home, I reflected that my first day was not simply about learning new subjects but rather something deeper: I had developed friendships and colorful classrooms and absorbed my role as a student. The unsure morning transformed into thrilling explorations and limitless opportunities. Armed with these experiences, I anticipate the generous world of education with wonder, knowing there’s so much more to learn and grow.
Conclusion: A Day to Cherish
The first day at school is absolutely unforgettable for most of us. It marks the beginning of a significant journey filled with knowledge, friendships, and life-changing experiences waiting to unfold. It carves out an irreplaceable memory that we wish to linger forever, setting us on a path of continuous learning and deep personal growth. It is a day that teaches us the importance of embracing new experiences while the warmth of newfound friends wraps around us with comfort.
The initial nervousness slowly fades, giving way to a sense of belonging and the excitement of what lies ahead. Every child’s first day is unique, yet the emotion of stepping into a world full of possibilities and beginning our journey of growth is something we all share. It remains a lasting memory—one that reminds us how education and new experiences fuel us for the journey ahead.
Frequently Asked Questions (FAQs)
1. What to write for the first day of school in English?
Write about how you feel on your first day—excited, nervous, or curious. Mention what you look forward to, like new friends, teachers, or learning something fun.
2. How do kids feel on their first day of school?
Most children feel a mix of excitement, nervousness, shyness, and light homesickness.
3. Why do you think the first day of school matters?
The first day is significant for a child as it reveals a new step into different places, formal responsibilities, and the overall system of school education.
4. What are the activities you anticipate on your first day at school?
Most classes take part in icebreaking lessons and get to know their teachers and each other on the first day. They also get tours around the school, learn lessons, and much more.
5. What can a child do to enjoy the first day?
If you smile and are willing to talk to the people around you, then the first day will be more enjoyable for sure.
6. What is the initial reaction parents have upon their child’s first day?
They are generally overwhelmed with feelings of pride and happiness, along with a hint of concern regarding how their child will adjust.
Five Lines About My First Day At School
I can still remember how my first day at school signified a thrilling life journey.
Those were the times when I experienced bubbly excitement alongside nervous jitters.
Most definitely, my new uniform changed my perception of everything.
I recall the smile of my teacher’s glowing smile, making everything warm and welcoming.
My first school friend is someone I met during my first playtime.
It depicted to me a new frontier when I was learning the alphabet.
This was a day that remains unforgettable even today.
There is no Planet B. We all have heard or read this statement over the years and are aware of the environmental concerns that are a reality of our times today. Fortunately, the voices propagating the importance of preserving our resources, reducing pollution and being cognizant of the effects of irrational urbanization are becoming louder and coherent. Environmentalists and activists across the globe, along with research and studies are making it clear that we need to act in the right direction for the conservation of our planet. However, in the 1970s when environmental issues were still shoved away as unnecessary concerns, a movement took up the mantle of putting the environment first. The Chipko Movement in India is a landmark event that brought social and environmental concerns right in the forefront of a nation that was ramping up its developmental and economic strides.
Let us learn a bit more about his historic movement and what it meant for generations to come. Also, the Chipko Movement is a fitting analogy to celebrating World Environment Day. Read on to see how!
World Environment Day
To raise awareness 5th June every year has been celebrated as the World Environment Day since 1973. On this day each year, the United Nations addresses a particular theme to encourage consciousness and understanding of the different reasons and ways to protect the environment. This year 2023, the theme undertaken by the UN under UNEP (United Nations Environment Program) is finding solutions to plastic pollution.
Chipko Movement
It is interesting to see that both the Chipko Movement and the endorsing of World Environment Day began in the 1970s. And hence, when we think of sustainability and environmental protection, we have to begin by acknowledging the impact that the Chipko Movement had on both the Indian and international community.
What is the Chipko Movement?
The Chipko Movement was a non-violent forest conservation movement. Today many scholars also call it an ecofeminism movement because women formed the foundational support and executioners of the Chipko Andolan. The name ‘chipko’ means to embrace and was used because the women villagers hugged the trees in order to save them from being cut.
The movement started out in Chamoli district Uttar Pradesh (now in Uttarakhand). Due to the high influx of the national and foreign logging industries massive deforestation was underway in the Garhwal Himalayas. This led to the destructive Alakananda River floods in 1970 which resulted in the washing away of homes, bridges and in fact, several villages. Due to deforestation, landslides and floods became a common occurrence in the region.
Also, the government policy forbade the local villagers to fell trees for fodder, fuel etc. On the other hand, big companies were allowed to cut the trees in the forest for their manufacturing needs. These economic, social and environmental causes laid the grounds for protests and the Chipko Movement.
The TimeLine of Events
The first event took place in 1973 when activist Chandi Prasad Bhatt founder of Dasholi Gram Swarajya Sangh along with the villagers of Mandal tried to prevent the sports goods company Symonds from cutting trees. When their protests were unheard, he led the villagers into the forest who embraced the trees to stop the feeling. After days of agitation the government canceled the company’s permit. This set off the start of the Chipko Movement which spread to other parts of northern India soon. In 1974, the forest department allowed the felling of trees in the Peng Mrenda Forest. The women villagers of the nearby Reni village drove the contractors away and this became another iconic incident, as women for the first time, without men, took up initiative of the cause.
Though the government set up institutions and committees, such as the Van Nigam, the movement continued to spread. Again in 1974 there was a struggle between the contractors and the villagers near Vyali Forest. In Kumaon, the Chipko Movement gained momentum in 1977 after the devastating landslides at Tawaghat. Sunderlal Bahuguna led the villagers in 1977 to stop the felling of the trees in Henwal Valley. It was here that the protestors including women were arrested for opposing the forest auction. And hence the movement now was no longer just a fight for economic survival but for conservation too.
Similarly, Chipko Movement protests were seen in many parts of the Himalayan region in the next few years. In 1977-78 women from Pulna stopped cutting the trees in Bhyundar Valley. In 1980 and until 85 such protests continued in the Doongri-Paintoli region.
The movement reached its climax when activist Sunderlal Bahuguna went on an indefinite fast demanding a ban on deforestation in the Himalayan regions above 1000m. Prime Minister Indira Gandhi set up a committee to look into the matter who then put a 15-year-old moratorium on commercial felling of trees in Uttarakhand Himalaya.
However, the Chipko Movement spread over a few years, making sure that their protests and demands raised a national consciousness on environment and conservation issues.
Impact of the Chipko Movement
There is no doubt that the Chipko Movement immensely contributed in giving importance to ecological issues and movements. Many scholars believe the Forest Conversational Act in 1980, as well as, setting up of a separate environment ministry were due to the awareness spread by the Chipko Movement.
The movement also brought to the fore several social and environmental understandings. It reminded people that there needed to be a scientific and calculated approach to balance the scales of economy and environment. It also generated the concept of ecofeminism, highlighting the role women play in environmental conversation.
Moreover, it aided in understanding that the locals do not wish to destroy their ecological environment. In fact, working alongside villagers is the best way forward to sustainable growth. But what the Chipko Movement perhaps left the maximum impact on was the acceptance of valuing the environment as much as human life. The idea of hugging the tree meant sending out the message of daring to cut it down over another’s body. And hence, when women hugged the trees, their unspoken words said that the life of the ecology matters as much as any other human life.
The Road Ahead
After decades of the movement, has life really changed for the villagers of the Himalayan regions? Is the Forest Conservation Act and government doing enough to ensure that both social and environmental injustice is wiped away? There is much to debate, especially considering the ground situation today. Though reserves have been marked, the economic and social plight of the local villagers is still far from over. Bureaucracy, corruption and poverty continue to hamper real growth and progress that the movement and its activists perhaps envisioned. Also, like any other major movement, the Chipko Movement too had its little fall outs. But overall, it still continues to stand to remain one of the most significant movements in Indian environmental history. And that has also been seen in the environmental protest over the years. As its main activists both Bhatt and Bahuguna say, various other protests in the region have been inspired by the Chipko Movement. These include campaigns against the Tehri Dam and the extension of the Vishnuprayag Hydroelectric Plant in Bhyundar Valley. Or more recently in 2018 the women of Balarampur Village resorted to hugging trees in the Jhinkargadi Forest to keep the timber mafia away.
Deforestation and world environment
Remembering the Chipko Movement in India as the World Environment Day draws closer is a fitting tribute to the movement, its leaders and the people who participated in it. Even when one looks at the statistics of deforestation across the world, it is evident that cutting of trees has been a fundamental concern and a root cause for environmental degradation. According to Global Forest Watch, in 2021 we lost 25.3 million hectares of tree cover. Deforestation leads to a complete breakdown of the surrounding ecology. Cutting trees impacts animals, soil, climate, as well as human beings. Each of them is connected in various ways to the forest.
The key is to maintain a balance that allows for sustainable living. Afforestation is a good way to counter the loss of tree cover. Also, an understanding of socio-economic and cultural facets can help to make important environmental decisions. The Chipko Movement has taught the world how mismanagement of forest resources can lead to natural and social disasters. Governments and policy makers must use the movement’s developmental graph to draft and implement policies that impact the environment and the lives of the people living in it.
Final Thoughts
Finally, the Chipko Movement is an iconic landmark campaign that can be touted as one of the earliest organized movements held post-Independence for environmental concerns. Undoubtedly, the social and economic causes of the movement are undeniable. But the movement definitely led the world into thinking about reckless destruction of natural resources.
No matter how far apart each of us would have spent our childhood days, it can be said with certainty that many of us would have similar memories of our school days. The incidents etched in our memory might differ from one another, but the basic things we did in school, would undoubtedly be the same for each of us.
Need of Unique Schools
The school was that one place where we went half-heartedly, where the nightmares of mathematics teachers and homework reigned supreme. But for most of us, looking back at those times would prompt us to thank our parents and teachers for providing us with the education to succeed in life. Every time we receive the paycheck, we would inadvertently thank all those who helped us reach our goal.
Most of us would have undoubtedly known only of the conventional school, with desks and benches, homework and detention. Having been through this circle, there would not be one among us, who wouldn’t have wished for a change in the conventional mode of education. Here is a list of ten most unique schools in India, which stand apart from the ordinary schools through their extraordinary and exceptional take on a new mode of education.
Manipur is perhaps one of the most enchanting and fascinating states of India. Blessed with majestic hills and mesmerizing scenic beauty, Manipur is undoubtedly the personification of heaven on earth. Loktak, the largest freshwater lake in the country, known as the “Lifeline of Manipur,” is also home to India’s first floating school. The school provides education to high school dropout students and children of fisherfolk who are unable to send their children to school. The school is situated in Langolsabi Leikai of Champu Khangpok village, which is 50 km away from Imphal, the capital of Manipur. Children reach the school by boats. With the establishment of this unique school, many families were able to send their children to school at low cost, and hence this school plays a pivotal role in providing education to the several children in the state. The school has been granted with modern amenities. For many children in the state, the school is nothing short of a dream come true.
Located in the Simayal village of Nainital district in Uttarakhand, Chirag school is a unique educational institution, situated in the lap of the Himalayas. Founded by Kanai Lal, the school was begun with a vision to provide the kids with an all-round education. The school does not merely evaluate the student’s academic capability but also pays attention to their personality development.
Not every child is blessed with the privilege to attend school. There are still countless kids in India and around the world who cannot go to school, though they ardently want to. The platform school in Bihar is an example of such a school where the orphan children who are forced to work for their livelihood come to learn. Apart from academics, the school also teaches life skills, such as medical aid, and provides counselling to the kids. The initiative has been a success and has succeeded in providing education to a number of kids who would have otherwise never been able to afford it.
The yellow train school in Tamil Nadu is perhaps every child’s dream school. The students are provided with the opportunity to spend time in the lap of nature as they learn about gardening and farming, and allow you to practice skills such as pottery. Music, nature, and joy are always prevalent on the campus of this school. Protected from the hustle and bustle of everyday life, this school aims to be one with nature and focuses more on the personal development of a child rather than focus entirely on academics.
A school where all textbooks and notebooks have been replaced with tablets and computers, this school is truly one of a kind. The venture to turn this Zilla Parishad school into a smart school that utilizes modern amenities was undertaken by Sandip Gund and has since been a model of inspiration to about five hundred other schools in the state. Everything from submitting assignments to being understanding concepts, the school utilizes the digital medium.
A school without a classroom, where students are encouraged to think out of the box and discuss their ideas and interpretation of classics, the Level field school in West Bengal is a model to every other school. Situated in Bengal, the students of the school gather in open-air land and discuss their lessons with one another rather than just learn them by heart. Ths school would encourage the child to think freely with an open mind and learn to respect different perspectives on the same topic, all the while being comfortably seated in the lap of nature.
A school where every single student is ambidextrous and are taught six different languages; Veena Vadini school is truly one of a kind. The students are trained from a very early age to write with both hands, thus making the school an extraordinary one.
Ladakh is the beautiful and awe-inspiring land covered with snow and magical in appearance. The state is perhaps one of the most beautiful places in the world. The Students’ Educational and Cultural Movement Of Ladakh (SECMOL) is both different and exceptional when compared to other conventional schools. The school focuses more on practical knowledge and life values, all while giving the students ample freedom to make decisions on their own.
Situated in the “Silicon Valley of India”, Bangalore, Aurinko Academy is an unconventional and extraordinary school. Here the students are given education on widely different subjects to enable the student to select and identify his area of interest and to enable them to pursue it.
Founded by Dr. Shashi Rao, Ananya was an initiative to provide education to the underprivileged children. Ananya was born out of the vision that every child was entitled to education and has been instrumental in providing the education to many children, who would otherwise have had no means to learn. Apart from academics, Ananya also focuses on teaching the kids essential life lessons and values to help them through life.
The Northstar School, founded by Harvard alumnus Mohit Patel, redefines the face of education with its emphasis on curiosity-driven and experiential learning, adopting a globally informed approach. Steering clear of cramming, their philosophy views education as an experiential process that fosters independent learning through creative programs such as the Integrated Exploratory Learning Continuum and Horticulture Program. Balancing round-the-year feedback with the year-end examination, the school promotes innovation and self-development. Their only collaboration with Haute École Pedagogique, Switzerland, for trainer training, is to make Northstar’s study programs affordable nationwide, offering a highly individualized learning format with a 1:7 teacher-student ratio.
Located in the peaceful Damodar Gardens of the Theosophical Society in Chennai, The School KFI redefines education with a new holistic viewpoint. Students are encouraged to discover their strengths and mature into their full potential, fostering a healthy rapport between students and teachers that extends beyond the classroom. Active involvement in campus cleanliness instills a sense of community responsibility, while field trips across the nation become learning experiences and opportunities to serve local communities. The curriculum features high levels of interconnection, resulting in subjects that overlap, leading to an integrated and holistic learning process.
Parvarish: The Museum School, an OASiS project in Madhya Pradesh, has a truly visionary city schooling model. Noticing the disparity in access, OASiS deliberately repositioned existing museums as dynamic learning environments for out-of-school children from slums. By overlapping museum exhibitions with multiple class curricula, the initiative avoided gatekeeping for children who might not be able to read or write, thereby turning cultural centers into dynamic classrooms. In addition to B.Ed colleges, Parvarish fulfills the teaching demand as well by introducing a new platform for practice teaching that presents an innovative and inclusive education model.
Located in a peaceful and beautiful natural setting, Rishi Valley School, a boarding school, is greatly influenced by the intellectual ideas of J. Krishnamurti. The school’s primary emphasis is on developing self-aware human beings through an authentically holistic learning process that is committed not only to intellectual achievement but also to the emotional and spiritual growth of its students. One of the distinguishing features of its innovative curriculum is the priority given to developing an affinity for nature, fostering a profound respect for the natural world and empathy for its role within it.
Located in the foothills of the peaceful Velliangiri Mountains, Isha Home School, founded by Sadhguru Jaggi Vasudev, is a pioneering homeschooling system that seeks to blend the homely instincts of ‘home’ with the disciplined learning of ‘school.’ This boarding model creates a dynamic, multi-age community where children learn naturally from one another, supported by committed house parents and teachers. The school focuses on inner happiness, deep self-awareness, and nature-based holistic development strategies to create a milieu where academic progress, as well as transformation, is fostered.
FAQs About Unique Schools in India
1. Are these unique schools affordable for everyone?
Most unique schools, particularly those serving disadvantaged populations (such as The Platform School or Ananya School), are either free or offer low-cost tuition. In contrast, others, such as private alternative schools (like Yellow Train or Rishi Valley), may be more expensive.
2. Are these schools affiliated to any particular board, such as CBSE or ICSE?
A few of the unique schools may be affiliated with a recognized board. In contrast, others develop their holistic curriculum, sometimes drawing inspiration from other educational ideologies, such as Waldorf or Krishnamurti’s.
3. How do such schools prepare students for university life?
Despite unconventional practices, most of these alternative schools prepare students with problem-solving abilities, critical thinking, and a solid foundation, which enables them to succeed in university and excel in various areas.
4. Are there special schools in every region of India?
While some are region-specific (such as Loktak Floating School in Manipur or SECMOL in Ladakh), the philosophy of special education is spreading to various corners of the country.
5. What is the key difference between a traditional school and a unique school?
Traditional schools tend to emphasize standardized curricula and exams, while unique schools value integrated development, experiential learning, and personalized attention and sometimes incorporate specific philosophies or community involvement.
Few Lines about Unique Schools of India
India’s unique schools redefine education, demonstrating that learning can flourish outside conventional classrooms.
From floating on lakes to running on railway platforms, innovation characterizes these learning havens.
Holistic development, critical thinking, and experiential skills lie at the core of their visions.
They believe in striking a balance between nature and technology and recognize more than one learning style to foster a rich educational experience.
They’re creating world-ready citizens with a clear sense of purpose and a strong sense of community.
Each school is a model of creative solutions to access and quality education.
They demonstrate that the “best” school need not be the biggest but rather the most inspiring and capable.
Conclusion
Indian education is much richer and more varied than conventional schooling makes us believe. The innovative schools highlighted here are a testament to a revolutionary philosophy, one that goes beyond the application of rote learning, encompassing all-around development, environmental awareness, vocational training, and learner-centric learning pathways. From floating schools to schools on the rail tracks or integrating art, nature, and technology, these schools not only develop minds but also well-rounded children who can contribute constructively to society. They are a clear indication of innovation in education, teaching us that learning can indeed thrive in infinite innovative and productive manners.
