Some people have magic in their hands. Or shall we say the magic lies in precision, technique and creativity, but finds its execution through the intricate working of the hands. Toda embroidery is a unique and stunning art form that is a perfect example of how hands working in tandem with the mind, heart and social culture can create a beautiful piece of mastery. An art form that has been passed from one generation to another, the women of the Toda tribe have given the country and the world an exquisite artistic embroidery that is distinct and wrapped deeply in its heritage.
The Toda Tribe
The Toda tribe are pastoral, residing in the Nilgiri Hills in Tamil Nadu. From their homes, language, culture to their embroidery, there is a unique distinctiveness that makes them stand apart. They live in semi-circular homes or huts made from bamboo and grass in a community called munds. Language is a close affiliation of Tamil-Malayalam essence and the Toda’s largely trade in dairy and forest products. The Toda embroidery is but an extension of their uniqueness that is also seen in many other aspects of their culture. In fact, the Toda tribe has gotten considerably more attention than other tribes due to its location. Hill stations, such as Ooty in the Nilgiris are major tourist destinations and hence, the Toda tribe is a recognized ethnic community.
Toda embroidery, in the language of the tribe, is called pohor. It is also known as pukhoor and uses red and black threads on a white cotton background. The Toda embroidery is so neat and fine that it is often mistaken to be hand woven into the cloth. Also, the embroidered cloth can be used both ways, another fascinating accomplishment of this art form. There are no threads or knots visible on either side, thus the design, pattern or utility remains the same of a Toda embroidered cloth on both sides. You can flip it anyway!
Listed as a GI tagged product, Toda embroidery is done primarily by the women of the community. The women have passed this art from one generation to another with no formal training as such. It is also a matter of wonder that embroidery designs are not taught, nor do women refer to any patterns or drawings. Usually, after the women finish their household chores, they gather and start embroidering, while chatting or catching up with each other. In their conversations and quietude, they seamlessly blend their embroidery, as almost a mechanical act. Yet, it is not as close as to being mechanical, when it comes to the varying range and exactness of designs that are created in their casual approach. As is said, the designs are embroidered on the minds of the Toda women, who with utmost diligence and creativity etch them on the cloth.
Besides, the Toda embroidery uses thread counts to get its designs. Toda women, who have negligent mathematical or counting literacy, manage to create perfectly designed and proportioned geometric or floral designs without using any equipment, such as scales.
The raw material used for embroidery is mostly a white cotton cloth. The cloth is often hand woven, unbleached and the cotton threads are not tightly woven. This facilitates counting of the embroidery threads while creating designs. The fabric is brought from surrounding areas, such as Tirupur in Tamil Nadu. Embroidery is done using woollen thick threads and a needle.
The design begins from the back of the cloth as the women weave their needles to start off interesting patterns. After a while, the cloth is turned around, and the design is continued on the reverse side of the fabric. One of the most basic and fundamental stitches that the Toda women use is the darning stitch. The continuous back and forth and looping of the threads on either side of the fabric give the embroidery a rich and striking definition. It undoubtedly is a tedious process, but their skill is on full display as they embroider stunning and intricate patterns with geometric precision. The symmetry in design and pattern is clearly marked, as the Toda women with some innate and deep subconscious knowledge churn out different designs with no prior prep work, sketches or references.
The Toda tribe are close to nature. Also, their profession and personal lives are embroidered into their natural surroundings. There is no surprise that they draw inspiration from the natural and local environment in their embroidery designs as well. For instance, different motifs are based on physical features and elements. The Nilgiri Mountains, the sun, moon, stars, animals, flowers all find place in the art. But even the tiny references are made into motifs. For example, the wings of butterflies have inspired the kopaan motif, or the squirrel movements have given rise to the peshk motif. From beehives to wildflowers to bull horns or rabbit ears – Toda embroidery draws its designs and motifs from the little and big things of their geographic and social lives. Also, different motifs are given names from the Toda language. Some of these are huts (zigzag), kinask (heart shaped), esh puhur (arrow), poth puhur (diamond shape), mad puhur (triangle shape) etc.
Moreover, the usage of red and black threads (sometimes blue), in Toda embroidery is a characteristic that is influenced by the cultural symbols, motifs and natural elements of tribal life.
Besides motifs, several Toda designs are also apt at storytelling. The sequence in pattern follows tales from social or cultural rituals and events of the tribe. Toda embroidery hence, also documents their lifestyle and culture in stitches.
The most traditional and heritage use of Toda embroidery is on the thick shawls and cloaks that are worn by both men and women. Called poothkuly, these traditional shawls showcase some of the best designs of the tribe.
Besides shawls, Toda embroidery is used today on many products, such as bags, jackets, handpurses, keychains, mobile pouches, cushion covers and more.
Toda Embroidery achieved its GI tag in 2013. Constructive efforts through several years have played a role in the preservation and recognition of this art form. Government initiatives, as well as involvement of different NGOs, has led to considerable efforts. Various bodies and institutes, such as Todas Handicraft Sale Emporium, Nilgiri Adivasi Welfare Association, Kotagiri Women’s Co-operative Cottage Industrial Society Ltd. AIACA and others have contributed to the wellbeing and progress of the art form.
Collaborating with designers, market diversification, cultural tourism efforts, exchange programs and women empowerment programs can help to further strengthen the growth and sustainability of Toda Embroidery.
Final Thoughts
Toda Embroidery is a classic example of an art that is so woven into the social and cultural life of its people, that it creates and in turn reflects the heritage and traditions of a community. Its simplicity is emphasised by the precision, creativity and skill of artistry. For those outside the tribe, Toda embroidery is an aweing expression of excellence. But for the Toda women, it is an everyday exercise that is an extension of their routine and character. For the natural meandering of this art form that flows through and hence connects other cultural and social aspects of tribal life – Toda Embroidery is truly special.
Located along the western coast of India, besides the Arabian Sea, Goa is a tourist destination suitable for all seasons. Panaji is the capital city while Vasco da Gama is the largest city of the state. Goa exhibits a distinct influence on Portuguese culture. The flourishing natural landscape, exciting lifestyle, and culinary specialities all serve the identity of Goa. Its heritage comprises an amalgamation of all the empires that ruled throughout its history.
Exquisite on its own, Goa is rightly called the “Rome of the East” and sometimes, “The Miami of India”. Below, we delve into the culture of Goa and explore the traditions, and lifestyle of the state.
Located on the western coast, Goa is the smallest state of India. Goa was once a rich trading hub that drew tradespeople, missionaries, and scholars from all parts of the globe. Among its earliest residents were Brahmins, mostly the Saraswats, who have been said to have migrated from North Indian River Saraswati banks. Over the centuries, Goa witnessed the rise and fall of several dynasties.It first came under the Mauryan rule in the 3rd century BCE, later falling into the hands of the Satavahanas from Kolhapur, and eventually, the Chalukyas of Badami extended their influence over the region.
Goa’s first wave of Muslim invasion came by 1312 but was temporary in that they departed by 1370. Fate took a different turn in the year 1510 when the Portuguese came by sea, their intention being to secure control over the spice trade. Goa was a suitable location for their base due to its natural harbors and broad rivers. The Portuguese established firmly and left their mark on the culture and buildings of the region by building iconic churches and forts. Their hold lasted for centuries before they were defeated by the Marathas in the late 1700s. Portuguese rule only ended in 1961 when the Indian Army reclaimed Goa and integrated it into the Indian Union.
Goa achieved statehood on May 30, 1987, as India’s 25th state under the leadership of Prime Minister Rajiv Gandhi. Natural language Goan Konkani was subsequently declared one of India’s 22 official languages. The state currently boasts the country’s highest per capita income with its economy being bolstered by fishing, agriculture, tourism, and mineral mining.
Goa Statehood Day, observed on May 30th, commemorates the moment in 1987 when Goa was officially granted statehood and became the 25th state of India. After more than two decades as a Union Territory following its liberation from Portuguese rule in 1961, the demand for statehood grew stronger, fueled by the region’s distinct language, culture, and identity. The transition marked a significant step in giving Goans greater political voice and administrative control. On this day, the state celebrates its unique blend of coastal charm and cultural richness through various programs and local events. Schools, institutions, and communities come together to reflect on Goa’s progress and aspirations. It’s not just a political milestone—it’s a celebration of what makes Goa proudly Goan. The day serves as a reminder of the region’s journey toward self-determination and cultural preservation.
Architecture in Goa
Chapel Of The Cross Of Miracles by Vinay Lohar from Pixabay
The buildings in Goa are reminiscent of the Portuguese who colonised the land in 1510, and the culture and aesthetics of Europe along with the native Goan architectural style is seen in its architecture. The gradually collapsing bungalow mansion, with its wood-iron balconies, shaded balcãos (spruced porches), oyster shell windows and central saquãos (inner courtyards), around which family life was historically revolving, is probably Goa’s most symbolic architectural type. Most of them were established around the beginning of the 18th century for their services to affluent Goan traders and officers. The buildings were built in a European style, but the components- red laterite stone, wood or terracotta and oyster shells in place of glass windows etc. were all locally sourced.
As an aftermath of colonial rule, the culture of Goa is a blend of Portuguese and Indian. The state is brimming with the vivacity of joyful spirits, and such is reflected in the people and their lifestyle. An easy preference for tourists to shed away the moulds of grinding metropolitan life, Goa is imbibed with the atmosphere of holiday and freedom.
Goans, a term beloved by the people of the state, practice ‘siesta’, wherein they shut down their shops and give in the afternoon rest, from 1 to 4 pm. The community is inclusive, and the friendly natives come together despite religious differences. Such is evident during celebration and worship. The colourful traditions of the state are portrayed in their folk performances, including music and dance.
Goa is a melting pot of culture, and this discovery is richly resonant in its multilingual heritage. The state welcomes residents from different ethnic groups, each enriching the language fabric. Although the most widely spoken are the Marathi and Konkani dialects, which have a rich resonance in the local subconscious, the linguistic base goes far beyond this.
In addition to these, there is a large segment of the population that also communicates in Hindi, English, and Portuguese directly as a legacy of having been a colony. This multilingualism creates a special environment where communication does not face cultural barriers, and ideas and traditions can be shared freely between residents and visitors.
Religion in Goa
In Goa, religions play a significant component in everyday lives with three major ones being Hinduism, represented by around 60% of the people, Christianity (30%) as well as Islam (10%).
Prior to Goa being colonised by the Portuguese in the 16th century, Hinduism was the state’s main religion, but following the invasion, the Portuguese imposed Roman Catholicism on the citizens. When Goans again had the freedom to select their religion, Christianity had been extensively established throughout the State.
Goa has become a highly religiously tolerant state. The Hindus, the Christians and the Muslims live contentedly together. In fact, from Renaissance architecture in Goan temples to Christian prayers recited in Konkani, they have taken on many similar characteristics. You will certainly observe both religions dwelling happily next to one other while you traverse the state. Next to elaborate temples of Hindu origin and the mosques, Christian churches also tower tall.
The Goan cuisine comprises Portuguese, Hindu, and Islamic styles of cooking. This amalgamation results in a grand variety of rich, delicious dishes. Seafood is a common delight for the people, with its spread of deftly spiced and seasoned dishes.
Vinegar and coconut milk are used a lot in cooking. European spices are often included in Indian curry dishes. Rice and fish curry is a staple meal of the Goans.
Khatkhate is a vegetable stew that is prepared during festivals. It contains fresh coconut, spices of Goa, and at least five vegetables.
Other special dishes include pork preparations like xacuti, Vindaloo, Chorisa, and Sorpotel. Bebinca is a popular egg-based sweet dish that is famous during Christmas celebrations. Alcoholic beverages like the Cashew Feni and the Coconut Feni are popular among the Goans.
The tropical climate of the state makes light cotton clothes to be the most suitable. The Catholic women don dresses and gowns while the Hindus prefer sarees called ‘Nav-vari’. Some of the other significant costumes of the Goan culture include Pano Bhaju, Kashti, and Valkal. Men, on the other hand, usually wear shirts and trousers. Bright coloured shirts with half-pants and bamboo hats are representative of Goa among the tourists. The famous Goa Carnival exhibits the plethora of bright colours and costumes that are found in the state.
The cultural heritage of Goa abounds with folk music that blends harmoniously with influences of Western compositions. The Portuguese methods of incorporating violin, piano, and mandolin are utilized by Goan musicians. Dekhni, Mano, Fugdi, and Corridinho are some prestigious folk dances of Goa. Incredible singers as the likes of Emiliano D’cruz, Prince Jacob, Rosario Rodrigues, Souza Boy, M.Boyer, Tony King Alfred Rose, Kid Boxer, and J. B. Rod hail from Goa.
Goa is filled with a performing arts culture and traditional state-specific skills. The skilled craftsmen develop their skills to create beautiful handicrafts from natural products like sea shells, clay, paper, bamboo, and brass. They are extremely sought after by tourists for their beauty and uniqueness. The most symbolic of them are Azulejos tiles—hand-sewn blue Portuguese-style tiles representing Goa’s colonial past.
Brassware and terracotta, usually found at the renowned Anjuna flea market, are the quintessential examples of Goan workmanship. In addition to crafts, Goa’s cultural vibrancy shines through its folk dances like Fugdi and Dekhni, frequently performed during festive occasions. For those seeking meaningful souvenirs, Mapusa and Panjim markets offer a wide variety of Goan handicrafts perfect for gifts or keepsakes.
Fairs and Festivals of Goa
Image courtasy – onsecrethunt.com
Festivals of Goa are as lively as the state itself, one can experience the blend of Portuguese and local culture. Festivals such as the Shigmo festival, Kalas Utsav, Shri Shanta Durga Jatra, Novidade, Bonderam Festival, and Goa Carnival showcase the spirit of Goan culture with effervescence. The Jatra feasts involve a grand procession of ‘palakhi’ or palanquins where innumerable people participate. The occasions of Christmas and New Year celebrations are great attractions for tourists.
Occupation of Goa
Most Goans are engaged in employment and organisations based on agriculture, fisheries and tourism. Paddy is the main crop. The local farmers work in lush green paddy fields in the monsoons throughout the day. Many farmers also cultivate cash crops such as coconut, cashews, mangoes, areca nuts pineapples, jackfruit and many more tropical crops. Many people in the summers brew the famed Feni tipple. Another important business in Goa is fishing. Fish are the lifeline of the state’s diet, having 66 km of shoreline, 11 inland rivers and 42 tributaries traversing the state.
Tourism has become one of the major players in the state’s economy. Many Goans, therefore, work in tourism-related industries such as guides for tourists, taxi drivers, self-owned tourism companies, and so on. Baking is another Goan custom that gives a job to many Goans. In every community there are traditional bakers from Goan, making of Pao, Polis and other Goan bread.
Adventure in Goa
Two of the most popular sports that people of Goa love and participate in are football and bullfighting. Water sports like rafting, scuba diving, snorkeling, banana boat ride, kayaking, jet ski, speed boating, kite surfing, and Ringo ride are popular attractions of Goa. It is the only state in India where gambling is legal, and thus, conveniently boasts of a flourish of fine casinos.
The nights of Goa come to life in the pulsating beats of a land that never sleeps. The parties and celebrations pose as bright and youthful destinations for people all over the country and even the world. Lights, music, and an environment of no-worries-of-the-world are sought after at such hours of the night.
With its sweeping beachside, enriching folk music, and dance, and the heritage architecture of forts and churches. Goa is an extremely popular tourist attraction among Indians and foreigners alike. It’s perfect for relief from the demands of life and relaxing the spirit. Therefore, tourism in Goa is its primary industry that thrives all year long.
Goa has innumerable places of worship. The Basilica of Bom Jesus, St. Cathedral Church, and Our Lady of Immaculate Conception are some of the prominent churches. Mangueshi Temple of Lord Shiva, Shri Kamakshi temple, and the Mahalasa Temple are renowned among Hindu devotees. Safa Masjid at Ponda and the Jama Masjid are significant mosques.
Besides its religious structures, Goa’s architecture is also reflected in forts such as Reis Magos Fort, Mormugao Fort, Rachol Fort, and Naroa Fort.
Among its attractive beaches, one must visit Candolim Beach. Bambolim beach, Baga Beach, Sinquerim Beach, Vagator Beach, Palolem Beach, Agonda Beach, and Arambol beach are equally good.
Other sites of natural wonders include the Mayem Lake, Dudhsagar Falls, Kesarval Springs, Arvalem Falls, and Kuskem Falls.
Goa also is home to various animals and birds, and its most famous wildlife sanctuaries include Bondla Forest, Bhagwan Mahavir Wildlife Sanctuary, Mollem National Park, and Cotigao Wildlife Sanctuary.
The state of Goa is defined by its vibrant colors and happening life. The people live in harmony and enjoy celebrations together. It’s an amazing place to forget all your worries and experience an excellent getaway.
Goan culture is largely a blend of native Indian traditions and some Portuguese influences, the product of its long history as a colony.
Which languages are generally spoken in Goa?
The most spoken language in Goa is Konkani, followed by Marathi as the second most spoken. Hindi, English, and Portuguese are common as well.
What distinguishes Goan cuisine, and can you provide a few of the popular dishes?
Goan cuisine is a spicy blend of Portuguese, Hindu, and Islamic cooking, which is renowned for seafood, coconut milk, and vinegar use. Some well-known dishes include fish curry and rice, Xacuti, Vindaloo, Sorpotel, and dessert Bebinca.
When is Goa Statehood Day celebrated?
Goa Statehood Day, celebrated on May 30th, commemorates the day Goa attained full statehood in 1987, marking its journey from a Union Territory to the 25th state of India, and is a day for celebrating its progress and identity.
What are some traditional dances and festivals traditionally celebrated in Goa?
Some of the most famous Goan folk dances are Dekhni, Mano, Fugdi, and Corridinho. Major festivals that are celebrated with great enthusiasm are the Shigmo Festival, Bonderam Festival, and the colorful Goa Carnival.
Few Lines on the Culture of Goa
Goa: A kaleidoscopic tapestry where East and West tango in a dance of cultures.
Its buildings whisper tales of Portuguese grandeur in laterite stone.
Goan food is a spicy, sour, and sweet melody of varied influences.
From Fugdi to Feni, Goan culture is a lively celebration of life.
Religious harmony flourishes, with temples, churches, and mosques standing tall together.
The smallest state with the largest heart for music, dance, and merriment.
Goa Statehood Day commemorates its path to becoming a fully literate, self-sustaining state.
Conclusion
Goa, truly the “Rome of the East” and “Miami of India,” emerges as a captivating kaleidoscope of cultures, harmoniously blending its indigenous heritage with a profound Portuguese influence. From its distinctive architecture echoing colonial grandeur to its flavorful cuisine that tantalizes with a fusion of global spices, and from its lively folk dances and music infused with Western melodies to its effervescent festivals like the famous Carnival, Goa embodies a unique zest for life. The remarkable religious tolerance and inclusive spirit of its people foster an atmosphere of unparalleled warmth and freedom. More than just a tourist destination, Goa offers an immersive experience, inviting all to partake in its vibrant traditions, artistic expressions, and the joyful, laid-back lifestyle that makes it an unforgettable getaway.
The Indian Monsoon is not just a season; it serves as a monumental epic that touches every single aspect of life within the subcontinent. It augments from July to September, marking the end of the summer season and serves as a magical cooling transformation which rejuvenates the rivers, cools the land, and turns dry fields into meadows.
The Parched Oceans and Indian landmass heavily rely on the monsoon system as a catalyst for daily life the same way it determines food availability, festivals, and agriculture. Although it brings extensive joy and an abundance of resources, it can also act unpredictably through floods and droughts which require extreme forecasting and preparation.
The coming of the monsoon is highly anticipated by the farmers, city dwellers, and lovers of nature. The monsoon’s absolute beauty and wonder along with its unpredictability and force act as an encapsulating concept that serves to fascinate the globe.
Therefore, as the first drops of rain make contact with the dusty surface of the earth, let’s delve into the ten breathtaking facts about how this season serves to awe-inspire India every year.
Top 10 Interesting and Intriguing Facts About Indian Monsoon. Look at the following facts which I personally found most fun about Indian Monsoon.
1. It’s Not Just About the Rain! The Name is All About the Wind
Most people assume the term “monsoon” literally refers to a lot of rain. Here is a surprise fact: actually, the term is related to the powerful, yearly reversal of wind directions! In summer, warm air above India heats up and goes up, creating a region of low atmospheric pressure. This draws in the Indian Ocean humid winds, which we term as the southwest monsoon.
The winter season sees the reversing of the winds, bringing the dry terrestrial winds towards the sea. It is referred to as the northeast monsoon, but it is not as wet. Rain is therefore only one aspect of this wild dance of winds!
2. A Gigantic Reach: Half the World Feels Its Impact
It’s incredible what kind of impact the Indian monsoon has. It’s not only for India but also for the surrounding countries of Pakistan, Bangladesh, Sri Lanka, and Nepal. Hard to believe, but this one weather phenomenon impacts roughly half of the world’s people – roughly 3 billion lives!
It is essential in food cultivation, cooling down hot regions, and sustaining life across a wide area. Entire regions would face dire consequences without the ability to support their population. This truly plays a global role in our weather systems.
3. Earthquakes on the Menu? Heavy Rains Can Trigger Tremors
While we appreciate the rain, the monsoon season can also bring a surprise and lethal encounter: earthquakes. The extremely heavy rain causes additional pressure on already stressed rocks. This added weight can make them crack and lead to an earthquake.
Horrific examples are a large earthquake in Hyderabad in 2005 and one in Gujarat in 2017. Both occurred during the rainy season and injured or killed many, pointing to a hidden risk of the rainy season.
4. Underground Giants: How Monsoons Create Hidden Water Reserves
There exists an invisible superpower beneath the monsoons that sharply influences the Earth’s water balance systems. The monsoons, apart from the rain that is released, also create vast water storage regions deep below Earth’s surface. The rainwater filters underground and fills natural lakes known as aquifers. This water becomes crucial in supporting areas that experience low rainfall.
This waterproof reserve is extremely helpful for irrigation purposes in India, where many fields require monsoon rains to irrigate the crops during the dry season. The monks in the hidden caffeinated lands largely depend on this unexploited asset that provides untold relief to vast populations.
5. Tea’s Secret Ingredient? The Monsoon Shapes Its Flavor
Tea lovers, take note! The Indian monsoon significantly alters the taste of your cup of tea. The rainwater penetrating the ground impacts the taste of the water used for tea. This results in the tea tasting a bit earthy or mineral.
The wet and damp climate also leads to some type of mold on tea leaves. And monsoon temperature fluctuations affect how tea leaves age, thus altering the taste. Thus, the monsoon itself imparts a special taste to your tea, and each season’s tea is different.
6. When the Sky Cries Red: The Phenomenon of “Blood Rain.”
Imagine rain that is not clear, but red. Indian monsoon can result in “blood rain,” with the raindrops being filled with small red particles. These small particles may be wind-blown sand or dust, or even small pieces of rock ground small by the violence of the rain.
When the red rain occurs, it stains everything it falls upon. It’s a very startling and sometimes spooky sight, coloring landscapes reddish after a rainstorm.
7. Nature’s Architects: The Monsoon and “Living Bridges”
Perhaps the most incredible fact is how the monsoon aids in the creation of “living bridges.” In parts of India, particularly in Meghalaya, locals painstakingly guide and interweave the roots of trees into one another.
These roots then slowly develop into sturdy, natural bridges spanning rivers. These remarkable bridges, stretching up to 30 meters in length, can support a crowd. They demonstrate what genius man is capable of when collaborating with nature, learning how to manage the heavy monsoon rains and building much more sustainable architecture.
8. It Has Its Own Soundtrack: The Music of the Monsoon
The coming of the monsoon isn’t just about weather; it’s a reason to celebrate, and it even has its own special kind of music! In a state of Maharashtra, this music is known as Sangeet Barve. Monsoon music often uses old instruments like the shehnai and tabla drums.
The songs often talk about the joys and sadness of love, and the hopes and worries that come with the changing seasons. Famous artists like A.R. Rahman have helped share this unique music with people all over the world, adding a cultural layer to this natural phenomenon.
9. The Monsoon’s Mysterious Side: Leading to Disappearances
The monsoon is a blessing for nature, but it can also prove fatal and treacherous for people. This leads to mysterious cases of disappearances in various ways. Severe rainfall giving rise to flash floods can drown both living creatures and great beasts. Flooded regions, mudslides, and avalanches can bury houses alongside their dwellers.
Monsoons paired with thick fogs can handicap vision, making people who venture far from home conveniently lose their way. During such downpours, these conditions can severely limit rescue operations.
10. A Changing Beat: How Climate Change is Altering the Monsoon
The monsoon system is highly vulnerable to climate change. The onset of monsoons is delayed and their withdrawal is accelerated. In addition, there are significant changes in precipitation patterns during the dry periods, heavy rainfall intervals bring about increased flooding.
Most importantly, the centers of precipitation are changing as well. These factors have critical consequences on agriculture, water availability, and flood management in India. In the future, we have to prepare for severe floods and droughts.
FAQs about Indian Monsoons
What exactly does the word “monsoon” mean?
It is an alternating change of wind direction due to the temperature difference, not merely heavy rain but an alternating change.
When does the Indian Monsoon usually begin and end?
It usually arrives around early June in southern India and moves slowly northwards, usually fading away by October.
Why is the monsoon of India so important?
It delivers more than 75% of India’s rainfall in a year, which is quite simply irreplaceable for farming, filling water bodies, and sustaining livelihoods.
Can the monsoon have effects on lands beyond India?
Indeed, it has a significant influence on weather and life in neighboring countries such as Pakistan, Bangladesh, Sri Lanka, and Nepal, sharing its life-supporting and sometimes challenging consequences.
How is the monsoon being impacted by global warming?
It’s causing late onset, early withdrawal, more intense rain events, and shifted positions of heaviest rainfall, resulting in more extreme weather.
Few Lines on Indian Monsoons
About half the world’s population is affected by the monsoon.
Severe monsoon downpours can trigger some earthquakes.
Monsoons can create “blood rain” which is red due to particles.
Monsoons help in the formation of unique living bridges through the roots of trees.
There is a unique genre of music composed for the monsoon season.
Teas from different regions are shaped by the Monsoon in surprising ways.
India’s first ever monsoon forecast was issued in 1886.
Conclusion
The Indian Monsoon is way more than a season for rain; it is a natural phenomenon, a source of Culture and Inspiration, and a support system for billions of people. The ability the Monsoon has for shaping the land in various ways, impacting people’s day to day activities, and serving as a source of artworks is astonishing. From developing concealed aquifers or hidden reservoirs to even causing some delayed geological activities, the monsoon serves as a reminder for the delicate balance and interplay of our planet’s systems.
Encountering new challenges because of climate change makes understanding its various dimensions more important than ever. Such understanding is critical not only for the region but for the whole world, deepening the complexity of its interplay with nature.
The long-awaited return of Namma Art Bengaluru is all set to illuminate the city’s cultural landscape once again. From May 28 to June 1, 2025, the legendary Karnataka Chitrakala Parishath (CKP) will be hosting this vibrant, open-to-all art fest that will see participation from more than 150 artists across a wide variety of genres.
With the Department of Tourism’s backing, this national art fair has a bias towards showcasing emerging and established artists as well, presenting a complete experience for all age groups.
A Celebration Beyond Canvas
Unlike conventional exhibitions, Namma Art Bengaluru is a community-centric celebration of creativity. It’s designed not just as a viewing experience but as a platform where dialogue, learning, and inspiration are in constant motion. The CKP campus will transform into a living, breathing art hub — bustling with indoor galleries, outdoor installations, and live demonstrations. The goal? To democratize art by eliminating financial and social barriers that often make such spaces feel exclusive.
According to organizers, this year’s festival will include interactive workshops, lectures, art talks, and performance art that welcome participation and promote artistic literacy. Visitors can expect to interact with artists and witness the creative process first-hand.
Spotlight on New Voices and Regional Flavours
A key highlight of the event is its dedication to early-career and mid-career artists from across eight Indian states. With a stall fee of ₹25,000, over 100 such artists are set to exhibit their work, giving them a rare opportunity to showcase on a national platform.
Notably, there will be a specially curated exhibition by veteran Indian artists like S.G. Vasudev, Rekha Rodwittiya, and K.S. Kulkarni, whose contributions to Indian contemporary art are globally recognized. This sensitive curation of established hands and fresh hands will open up a multi-generational conversation in the art fraternity — a special hallmark of the year’s edition.
B.L. Shankar, President of CKP, emphasized the festival’s mission: “We’re not only presenting art; we’re curating an ecosystem for exchange, visibility, and growth for India’s vibrant visual arts community.”
Beyond Galleries: A Festival for the People
Between 10:30 a.m. and 7:30 p.m., the fair welcomes students, art enthusiasts, tourists, and collectors to experience the new face of Indian art. Entry is absolutely free of charge, and it is one of the most accessible and open cultural events in the nation.
Live painting sessions, rapid art demonstrations, and panel discussions will be providing live art interaction. All of them will try to bridge the gap between artists and viewers by giving them a vision of what works in the minds, skills, and intentions behind each work.
Registration on-site starts on May 27 evening and designated parking spaces will be available at Sevadal Grounds, Kumara Krupa, and Crescent Road.
A Cultural Landmark for Bengaluru
Namma Art Bengaluru is not just a festival; it is a movement towards making visual art a civic experience for all. It puts Bengaluru on the national map of culture by showcasing the city as a city in which tradition blends with innovation.
Art collector Harish Padmanabha, part of the organizing committee, said, “This is not a commercial fair. We’re stressing on value over price, experience over transaction. The focus is on connecting the artist’s vision with the audience’s curiosity.”
Event Details
Where: Karnataka Chitrakala Parishath, Bengaluru When: May 28 – June 1, 2025 Time: 10:30 a.m. – 7:30 p.m. Cost: Free for all Inaugural: May 28, 4:30 p.m. by H.K. Patil, Minister for Law and Parliamentary Affairs, Legislation and Tourism
The term Phulkari is a Punjabi term is obtained from two words: ‘Phul’ and ‘Kari’ meaning ‘flower’ and ‘work’ and so the word Phulkari translates into ‘flower work’ or ‘floral work’. The Phulkari embroidery first began in Punjab in the 15th century by the women of Punjab. It is the rural handmade embroidery tradition of Punjab and is also known as the folk embroidery of Punjab. Even though Phulkari means floral work, the designs in this embroidery comprised not only flowers but also included various motifs and geometrical patterns and shapes. The Phulkari embroidery is overall very bright, vibrant and it brings color to people’s lives. The Phulkari embroidery is very popular worldwide. It was made by women and it celebrates womanhood.
There are several theories about the origin of Phulkari. It was believed that the Phulkari embroidery was prevalent in various parts of the country but it only survived in Punjab. Another theory is that the Phulkari embroidery came from Iran. There it was known as Gulkari, which also means floral work. Nevertheless, it was noted that the Phulkari style of embroidery and the Gulkari style of embroidery is different and distinctive from each other. Some even say that the Jat tribes brought this embroidery to India when they migrated to India and settled in Punjab, Gujarat, and Haryana. On the other hand, the word ‘Phulkari’ has its earliest reference in the 18th century in Punjabi literature.
This is in Waris Shah’s version of Heer Ranjha, a legendary Punjabi tragic romance, where the wedding outfit of Heer, the female protagonist, is discussed and they talk about several items of clothing and outfits with Phulkari embroidery. There is also the reference of Phulkari in the Mahabharata, the Vedas, Guru Granth Sahib, and some Punjabi folk songs. Nonetheless, it is believed that no matter what the origin of this embroidery is, it will always be very different and unique to Punjab.
In ancient times in Punjab, the birth of a girl child in the family was considered very auspicious and so, as soon as a girl was born in a family, the mothers and grandmothers would start embroidering Phulkaris. This is because they believed that the girl child would be the creator for the forthcoming generations and also because these Phulkaris were to be given away at the time of her marriage. This was a tradition that the parents of the girl child, according to their status, would give a dowry of 11 to 101 Baghs and Phulkaris.
Traditionally, Phulkaris was done using real flowers, and Silk and Mulmul fabrics were used because of their purity and durability. It was also believed that the Phulkari was made according to and depending on the morality, righteousness, qualities, and character of a woman. Earlier, the Phulkaris were embroidered by the women for their own and other family member’s use. They were not for sale and the women in Punjab used to wear these Phulkaris in weddings, festivals, celebrations, and occasions. The Phulkari embroidery was a domestic art for the women to show their creativity and also to bring color into their daily life. This folk art offered complete freedom of creativity. The Phulkari is still a very integral and vital part of Punjabi weddings. There is even a Punjabi folk song that celebrates this folk art,
“Ih phulkari meri maan ne kadhi, iss noo ghut ghut japhiyan paawan” – “My dear mother has embroidered his phulkari; I embrace it again and again with affection”.
The Phulkari style of embroidery met with a tragedy and faced some very difficult times. Whereat some point in time, around 52 types of Phulkari existed; there was also a time where this form of embroidery almost disappeared. This happened during the partition of India and Pakistan in 1947. However, it soon launched back up and now almost 70 years later, it is an evergreen style statement. The revival of Phulkari resulted because after the partition in 1947, due to the refugee crisis, the organizations encouraged women to make Phulkaris so that they could earn enough money to survive. Traditionally, Phulkari was embroidered by women using their own hands but now, the Phulkaris are embroidered using machines and modern techniques and materials.
The Phulkari not only includes flowers but also consists of various motifs and geometrical designs, shapes, and patterns. The Phulkari embroidery is done with the use of a darn stitch on the wrong side of coarse cotton cloth known as ‘khaddar’ with colored silken thread. This is the main characteristic of this type of embroidery.
In earlier times, the phulkari style of embroidery was restricted to only shawls and Odhani. But in today’s time, this embroidery is done on large canvases like sarees and chudidaar kameez. In this Phulkari embroidery, the stitch used is the darning stitch which is the most important stitch used here. Other stitches like the herringbone stitch, buttonhole stitch, and running stitch are also used. These stitches were used to create an unusual motif or to border the khaddar. These designs and motifs are generally stitched and embroidered from the back of the cloth and the narrowest the stitch was, the finest the piece became.
The motifs were thread by thread created in a geometric grid and the motifs in Phulkaris were evenly distributed with fine borders embroidered. The long and short darn stitches were used to create horizontal, vertical, and diagonal thread work. The coarse khaddar fabric was woven in widths and the fabric was stitched lengthwise to make the wanted width. The khaddar cloth was thick and coarse and so, to get the delicate silk floss through and forth was an important task. They were very prone to knots and tangles and because of this; the embroidery had to be done very carefully with focus and dedication. The thread used in this embroidery is called ‘pat’ In Punjabi and this floss silk yarn is glossy and gives the embroidery and the whole work a polish. The only tools that are used in this Phulkari embroidery are an embroidery frame and needles.
As the Phulkari embroidery consists of symmetrical designs, the person doing the embroidery has to count the number of stitches on each side and then proceed with the design. Hence, this whole traditional process of making a Phulkari is very long and tedious and it requires a great amount of effort and time. With time, people have moved on to different techniques and different fabrics like chiffon, georgette, silk, and regular cotton to make their Phulkaris.
The use of colors was a very important part of the Phulkari. Traditionally, only four colors of khaddar fabrics were used and each color had its significance. The white color was used for old women and widows, the red color was used by young girls and brides-to-be and the blue and black colors were for daily use. Other than this, the red color in phulkari embroidery is very common and it represents youth and excitement. The orange color represents energy and the white color symbolizes purity. The green color epitomizes fertility and the blue color symbolizes tranquillity.
The motifs that the women used in their embroidery were taken from anything. They were anything from their imagination, their surroundings, their environment, nature, gardens, or just a mother and a daughter talking. Using these motifs, women expressed their emotions ad their creativity. Some common motifs used in the Phulkari embroidery are belan (rolling pin), kakri (cucumber), chandrama (moon), and Satranga (7 colors). Other commonly used motifs in this embroidery were taken from immediate surroundings and environment like animals, flowers, trees, birds, etc.
There are many types of Phulkari Embroideries present in India:
Thirma: unique trait of Thirma is its white khaddar. Usually worn by elder women and widows. It is a symbol of purity.
Darshan Dwar: this type of Phulkari is made as an offering to thank god. It is made to give to the Gurudwaras after a wish is fulfilled. Darshan Dwar translates to “the gate to see God”.
Bawan Bagh: Bawan meaning “fifty-two”, this type of Phulkari refers to the 52 different patterns that are made on this phulkari. This phulkari is very rare.
Vari-da-bagh: this is given as a gift to the bride by her in-laws when she enters her new home. A distinctive feature is that it is always made on orange-reddish khaddar fabric and only a single golden or orange-colored pat is used for embroidery. The chief pattern of this phulkari is a group of three or four small concentric diamonds of growing size.
Chope: this Phulkari embroidery is made by the bride’s maternal grandmother (naani) when the bride was born. The Holbein stitch is used in the chope phulkari and so, both the sides of the phulkari contain the same design. Chope is used to wrap the bride after her ritual bath on her wedding day. The chope is embroidered with one color and it is monochrome.
Surajmukhi: the main pattern of this type of Phulkari is a sunflower.
Panchranga Bagh: Panchranga means ‘five colors’ and so, this type of phulkari is decorated with chevrons of five different colors.
Satranga Bagh: Satranga means ‘seven colors’ and so, this bagh is embroidered using seven colors.
Meenakari Bagh: this bagh is usually made with gold and white-colored pat and it is decorated with small multicolored diamonds.
Sainchi: this type of phulkari depicts and narrates the village life of Punjab. This phulkari was done in very few areas like Firozpur and Bhatinda. The motifs were local animals, birds, farmers, wrestlers, weavers, trains, circuses, etc.
Phulkari in Festivals and Rituals
Phulkari occupies a prime position in Punjabi life, religious ceremonies, as well as festivals. Phulkari is encountered in:
Weddings: In-laws present the bride with Vari-da-bagh Phulkari as wedding gift. Phulkari embodies family love, prosperity, and blessings and thus becomes a family treasure.
Lohri and Baisakhi: Phulkari dupattas are used by women while they dance the traditional folk dance, Gidda. The vibrancy of Phulkari provides a sense of happiness and fellowship during these festivals.
Religious Offerings: Darshan Dwar Phulkari is offered in Gurudwaras as an offering of gratitude. It is considered sacred and is used in decorating the holy places.
Harvest Festivals: Phulkari-clad women participate in community functions during Punjab’s harvest period, showcasing their affluent heritage and skills.
These have helped keep the tradition alive, thus incorporating Phulkari as an integral part of Punjabi culture forever.
As with changing fashion trends, Phulkari entered the wardrobe in today’s era in various shapes except the form of a shawl or dupatta. Phulkari work has found place in:
Kurtis, sarees, and lehengas in the spirit of retaining the past but introducing a fusion. Various designers mix pastel hues with modern styles to include Phulkari under any circumstance.
Jumpsuits, jackets, and tote bags lend a fashion ethnic flair. Phulkari-studded accessories lend a pop of color and drama to any article, which become a rage all over the world.
Wall hangings, table mats, and cushion covers for home. The intricate embroidery lends warmth and personality to spaces, giving contemporary homes an ethnic touch.
Footwear and Accessories: Phulkari motifs are being incorporated on juttis, belts, and even ornaments, marrying the old with new trends.
Bridal and Celebratory Wear: Lehengas and dupattas with Phulkari prints are a brides’ delight, thereby becoming an ornate attraction at weddings.
Celebrity designers like Manish Malhotra and Ritu Kumar have adapted Phulkari to their clothing line, so far taking the old technique of embroidery into a global context.
FAQs about Phulkari Embroidery
How does Phulkari differ from Bagh embroidery?
Phulkari has spaced floral and geometrical motifs, while Bagh embroidery covers the entire fabric with no gap at all.
How long is it to finish a piece of Phulkari?
It takes from one to six months for a person to complete a handmade Phulkari dupatta depending on how complex the design is.
What fabrics do Phulkari embroidery use?
Earlier, khaddar (rough cotton) was traditionally done, but today it is also done on silk, georgette, and chiffon.
Can Phulkari be worn for casual occasions?
Yes, modern designs of Phulkari kurtis, dupattas, and jackets make it a great choice for casual and party wear.
Where can I find authentic handmade Phulkari?
You can find authentic handmade Phulkari in local markets of Punjab, heritage stores, and online stores promoting traditional artisans.
Phulkari is “flower work” and reflects the colorful culture of Punjab.
Every stitch in Phulkari is a story of tradition, art, and emotions.
Folk embroidery was initially a home-based craft, not a business.
Phulkari is a symbol of womanhood, love, and festivity.
The red and gold Phulkari is a must-have piece in Punjabi bridal attire.
Modern designers have turned Phulkari into a fashion statement globally.
Phulkari’s revival has empowered rural women by creating employment opportunities.
Conclusion
It is crucial to keep traditional handicrafts alive, but it can be done only if a need exists for them. The solution comes in recreating the embroideries in styles that look current and follow classic processes. Today, this vibrant style has been reborn and used not just on shawls or odhnis, but also by leading designers like Manish Malhotra on Kurtis, jackets, sarees and bandhgalas. From a mere domestic art form, it has earned a place on couture collections of international designers! Interest in the realm of Indian Fashion indicates only that brighter days for phulkari embroidery are around the corner.
Education, which should be a basic right, is unfortunately a luxury for a few. Near a slum in Noida runs a school that functions in a unique way and aims to impart knowledge and teach co-curricular skills to kids of that area.
Students starting from the age of five come to attend classes on weekends. They learn paintings, dances, and co-curricular skills, which are hardly taught in the conventional schools they attend. Every weekend, they learn good habits in a session conducted by a team of volunteers of the organisation. More than 500 such volunteers across India are part of a NGO named Pehchaan that runs 10 such centres across the Delhi-NCR region. The initiative was started by a bunch of college-going students’ way back in 2015 who were into social work and activism.
The Beginning
“When I was in college, I used to do social work, so I started with basic environmental work; it went on to corruption, and there were a lot of other moments. It was after 4-5 years working on the ground that I realised that whatever we are doing, it’s of no use, says Akash Tandon, the co-founder of this initiative.
He says they decided to start this initiative because they believe “the knowledge that will be shared, the knowledge that you share with the students, will always stay. It will only grow with time.”
The purpose of making this centre is not just to teach math, science, and english and other conventional subjects like other schools, but rather to make them learn varied soft skills that would help them stand out in the future.
Recently, the organisation has started physiological classes in all 10 centres for senior students. “We can’t teach them like other schools as all volunteers here are working professionals and college going students.” said Akash.More than 1500 students are part of 10 centres. All these centres run mostly on community centres. These centres are either a temple, a mosque, or even a Gurudwara in one case.
Social Impact
Describing one such incident, Akash explains, “We were running one of their centres near a mosque, and one day a ‘Maulabi’ came and asked to use the mosque. They gave us the whole mosque where we were running the school now.”
The Noida centre runs in a school on weekends. Ruhi (changed name), who comes to the centre to attend classes, expresses her pleasure coming into the school, saying she loves to come to this school as she learns drawing here.
The interesting part is that the whole initiative runs on crowd funding and donations. The NGO more often organises crowdfunding drives.
Akash pointed out that seeking funds from others would mean losing control over the functioning of the schools.
“We never tried to reach out to government organisations; the basic reason is there were no full-time people here who can go to meetings and they can follow. Right now it’s working fine. People who constantly contribute,” Akash says.
Humble Volunteering
As mentioned earlier, the initiative was the brainchild of a bunch of social activists and college students. Leejo, Sam, Monica, and Akash were stunned when they witnessed children swimming in a drain near a slum in the heart of Delhi. The slum was a few kilometres away from the residents of parliamentarians and the headquarters of WHO.
“We did the whole set up, and we started teaching. Within the next 6 months we have more than 150 students there, because all the children came to know that there were groups of Didi and Bhaiya who came every weekend and taught us free.” Akash explained about his experience establishing the first centre.
The initiative, which started with a group of didi and bhaiyas, is soon going to complete its decadal journey with its wings spread across India. The students who were once part of the initiative have now entered into reputed colleges; even a few have joined the professional workforce.
Akash says that the parents have developed a sense of faith that their children will succeed from here. “These students have learnt from the years and developed a faith that if this student can do this by associating with the institution, then we can also do it.”
Final Thoughts
Volunteers are the source of energy behind running this initiative. One such volunteer, Bhaskar, who joined 6 months ago, says, “The motivation to come here is children. I come here for children. They gave me the power to come on the weekends. We had a lot of fun. We did a lot of activities.”
These centres are bringing a much-needed change among the kids of slums, to inspire them to take the path of knowledge and education.
For the first time in Kannada literary history, 77-year-old lawyer, social worker, and pioneering writer Banu Mushtaq from Karnataka has won the 2025 International Booker Prize for her gripping collection of short stories Heart Lamp. Translated into English from Kannada by Deepa Bhasthi, it is the first collection of short stories and the first Kannada novel in history to have won the coveted prize.
Mushtaq’s Heart Lamp is a set of 12 richly personal and politically provocative short stories, each revealing the lives of common Muslim women in South India. Written over three decades between 1990-2023, the stories bear witness to underground rebellions, internal agonies, and voiceless resistance of women enduring patriarchal burdens, religious conservatism, and socio-political exclusion.
“No Story Is Ever Small”
Gracing the occasion with her presence at London’s Tate Modern, Mushtaq, dresses in a red sari, delivered a passionate acceptance speech:
“This book was born from the belief that no story is ever small; that in the tapestry of human experience, every thread holds the weight of the whole.”
She added, “In a world that often tries to divide us, literature remains one of the last sacred spaces where we can live inside each other’s minds, if only for a few pages.”
A Voice from the Margins
Mushtaq’s own journey to literary glory is as engaging as her own writing. She was born in 1948 in Hassan, Karnataka, and studied the Quran in Urdu until her father enrolled her in a convent school, where she first encountered the Kannada language that would serve as the medium of her social criticism and revolt.
As a member of the Bandaya Sahitya movement—a post-Emergency wave of protest literature—Mushtaq infused her writing with the raw urgency of grassroots activism. A practising lawyer since 1990 and a former reporter for the now-defunct Lankesh Patrike, she has long spoken truth to power, even surviving a violent attack in 2002 for defending Muslim women’s right to enter mosques.
Her son, Taher, recounted: “She never minced her words. The truth is the truth—and she always said and did what is right.”
A Radical Translation
The Booker judges praised Heart Lamp for its literary courage. Chair Max Porter described it as a “radical translation” that expands our understanding of the form.
“These beautiful, busy, life-affirming stories rise from Kannada, interspersed with the extraordinary socio-political richness of other languages and dialects.”
Deepa Bhasthi, a co-recipient of the prize along with her translator’s award, is the first Indian translator to win the International Booker. Her method of working was intuitive but rigorous:
“With Banu’s stories, I read all her fiction before selecting the ones in Heart Lamp. I had a free hand, and Banu trusted my chaotic method.”
Bhasthi has previously translated Kota Shivarama Karanth and Kodagina Gouramma’s books and won the English Translate PEN Award in 2024 for Heart Lamp.
From Hassan to the World
Mushtaq’s stories are not just fiction; they are reflections of her lived experience and the world around her. Her inspiration struck during a depressive episode in 1981, when her husband brought home newspapers and books. One of them—Lankesh Patrike—changed her life. From there, she plunged into Dalit movements, Kisan rallies, and feminist collectives, shaping a literary career defined by empathy and rebellion.
“I do not engage in extensive research,” she once said. “My heart itself is my field of study.”
Heart Lamp has ignited more than a literary milestone—it has become a beacon for women’s voices, regional languages, and untold truths.
As the world celebrates Banu Mushtaq’s triumph, it also confronts a vital question: Whose stories have we been ignoring, and what does it cost us to continue doing so?
National Anti-Terrorism Day 2025, celebrated on Wednesday, May 21, marks the 34th death anniversary of the former Prime Minister Rajiv Gandhi, who was brutally assassinated in a suicide blast at Sriperumbudur, Tamil Nadu, in 1991. The suicide blast perpetrated by a terrorist of the Sri Lankan terror group Liberation Tigers of Tamil Eelam (LTTE) killed not only one of the youngest Prime Ministers of India but also jolted the nation’s conscience.
In response to this disastrous incident, the Indian Government, in the leadership of then Prime Minister V.P. Singh officially declared May 21st as National Anti-Terrorism Day to raise public awareness against terrorism and promote national harmony.
Significance of the National Anti-Terrorism Day Campaign
Spread awareness of the ramifications of terrorism to citizens, especially to the youth and encourage the promotion of peace, non-violence, and humanitarian actions towards fellow humans. The day marks progress towards and strength in strategies used by terrorist groups. The elevation in technology combined with radical ideologies fosters an environment where teenagers can become easy targets for cyber terrorism.
The day also honors the attacks perpetrated by terrorists on our security personnel, civilians, and patriots who died serving our great nation. It marks a day to express how India is united against all violence and terror.
National Anti-Terrorism Day 2025: Brief Details
Particulars
Details
Name of Observance
National Anti-Terrorism Day 2025
Date
21st May 2025
Day
Wednesday
First Observed
1991
Historical Significance
Assassination of Rajiv Gandhi
Purpose
To raise awareness about terrorism and promote peace
Activities
Pledge ceremonies, debates, awareness drives
Observed By
Government institutions, schools, private organisations
Associated Laws
UAPA, NIA Act, AFSPA, PMLA, IPC, IT Act
A National Call to Action: Activities and Celebrations
As part of Anti-terrorism Day observance, the Indian citizens participate in various campaigns and activities organized from grassroots to national level.
Pledge Ceremonies: National and state government offices open their doors each day with a dedication to anti-terrorism professionally pledging and committing to respect human life and national integrity.
Educational Events: Schools and colleges conduct seminars, debates, and essays competitions to get students to actively participate in contemplating the effects of terrorism.
Civic Engagement: Social media conveys a united message of peace as the Non-Government Organizations, community groups, and volunteer citizens rally and organize peace marches.
Tribute Events: Floral tributes and memorial services are held in honour of Rajiv Gandhi and all those who have lost their lives in terror-related violence.
The Ministry of Home Affairs (MHA) also urges states and organisations to carry out innovative digital campaigns, using videos, posters, and social media storytelling to raise awareness across age groups.
Legal Backbone: India’s Anti-Terrorism Framework
In a bid to counter terrorism, India has put in place a meticulous integrated legal and investigative system as well as other supporting frameworks. Some of these important laws and constitutions include:
Gives the government authority to prescribe organisations and people dealing with terrorist activities, arrest individuals suspected of terror, and take property pertaining to terror funding.
2. National Investigation Agency (NIA) Act, 2008
Set up the NIA as a top-notch counter terrorism task force that is the principal agency to investigate crimes of terrorism in India. NIA is mandated to investigate crime within the country and even abroad under specified conditions.
3. Armed Forces (Special Powers) Act (AFSPA) 1958
Gives special powers to armed forces in areas which are termed as disturbed for quick intervention in volatile areas that are highly prone to terrorism like Jammu & Kashmir and some part of Northeast region.
4. Prevention Of Money Laundering Act (PMLA) 2002
Targets the funding aspect by monitoring suspicious transactions and restraining properties obtained through terrorism.
5. Information Technology Act, 2000
Section 66F of the IT Act pertains to cyber terrorism which is an advancing area of concern involving digital propaganda, digital hacking, social media, and data stealing.
Alongside other provisions of the IPC and the Code of Criminal Procedure (CrPC), these laws provide a multi-dimensional approach for addressing terrorism –whether it be physical, virtual, ideological, or financial.
Themes and Anticipations for 2025
Until now, the officially selected theme has not yet been made public. However, in previous years, we have seen a focus on “United Against Terror.” “Peace is the Path Forward,” and “Say No to Violence” are some examples. The primary direction of the themes revolves around unity, watchfulness, and proactive efforts against extremism.
Due to ongoing clashes around the world, cyberattacks, and increasing polarization, it can be expected that the theme for 2025 will resonate with contemporary issues and encourage participation from the youth.
Reasons Why This Day is More Important than Ever
Terrorism has evolved beyond physical violence—it now takes the form of ideological manipulation, cyber-terrorism, and economic sabotage. Events like the 26/11 Mumbai Attacks, Pulwama bombing, and global terror incidents highlight that no country is immune.
As the world becomes more interconnected, so do the threats. That is why India’s stance on terrorism must be firm, collective, and founded on values that prioritize human life and national harmony above anything else.
Conclusion
National Anti-Terrorism Day 2025 is not simply a celebration; it is a call to awareness and a united effort throughout the nation to respond and show fortitude. The day not only wishes to remember Rajiv Gandhi, but also all victims of terrorism.
Above all, it states that every citizen must remember that the war against terror shouldn’t just be fought on battlegrounds or in the legal system– it starts from schools, neighborhoods, and interactions.
Did you know that long before the Bengal School of Art became well known as a new movement in Indian Art history, there existed a school of miniature painting of illustrating religious manuscripts under the Pala kings of Bengal more than 1000 years ago? This school flourished during the 11th/12th century, mostly illustrating religious texts. Pala (ruled 8th to 12th century) style paintings are often found in the form of illustrations within Buddhist palm-leaf manuscripts. The Pala empire extended to Nepal, Bihar and Bangladesh and manuscript writing with paintings happened there too which now are housed across many museums in the world. Let us see some Prajnaparamaita manuscripts especially Aṣṭasahasrika Prajnapāramita and understand this unique forgotten school of painting.
Prajnaparamita – A way of seeing
Prajnaparamita represents an elevated understanding of the nature of reality and also refers to a specific set of Mahayana Buddhist scriptures known as the Prajnaparamita sutras, which include important texts like the Heart Sutra and the Diamond Sutra. The term is derived from the Sanskrit words prajna, meaning ‘wisdom’ or ‘knowledge,’ and paramita, which conveys ‘excellence,’ ‘perfection,’ or ‘noble character quality,’ as well as the idea of having transcended or reached a higher state. This concept is central to Mahayana Buddhism and is often associated with ideas such as emptiness (shunyata), the lack of inherent essence (svabhava), the illusory nature of existence (maya), and the description of all phenomena as ‘non-arising’ (anutpada) or unborn, as explained in Nagarjuna’s Madhyamaka philosophy. Understanding and engaging with Prajnaparamita is deemed crucial for those on the Bodhisattva path.
Prajnaparamita Sutras – A perfection of wisdom
According to Edward Conze, the Prajnaparamita Sutras are “a collection of about forty texts … composed somewhere on the Indian subcontinent between approximately 100 BC and AD 600.” Some Prajnaparamita sutras are thought to be among the earliest Mahayana sutras.
The Prajnaparamita Sutras are a compilation of texts rather than the work of a single author, with origins tracing back to around 100 BCE. They are recognized as some of the earliest Mahayana Sutras. Although certain commentaries and translations are linked to individual scholars and monks, the original texts remain anonymous. The foundational sutra known as ‘The Perfection of Wisdom in Eight Thousand Lines’ (Aṣṭasahasrika Prajnaparamita) developed over a span of approximately two centuries, from the first century BCE to the first century CE. This sutra, part of the Prajnaparamita genre within Mahayana Buddhist literature, has manuscript evidence dating from around 184 BCE to 46 BCE, making it one of the oldest known Buddhist manuscripts. It plays a crucial role in the development of Prajnaparamita literature, addressing various themes, particularly the conduct of a bodhisattva, the realization of the Perfection of Wisdom as one of the Six Perfections, the comprehension of thusness (tathata), the achievement of irreversibility on the path to buddha-hood (avaivartika), along with concepts of non-conceptualization and renunciation.
Where Bodhisattvas stand
He does not stand in form, perception or in feeling,
In will or consciousness, in any skandhas whatsoever.
In Dharmas true nature alone he is standing.
Then that is his practice of wisdom, the highest perfection.
Change and no change, suffering and ease, the self and not-self,
The lovely and repulsive — just one Suchness in this Emptiness they are.
And so he takes not his stand on the fruit which he won, which is threefold—
That of an Arhat, a Single Buddha,
a Buddha fully enlightened…..…translated from the Aṣṭasāhasrikā Prajñāpāramitā.
Painted wooden cover with bodhisattvas from the manuscript containing Prajñāpāramitāstotra, Aṣṭasāhasrikā Prajñāpāramitā and Vajradhvajapariṇāmanā. palm-leaf, written by scribe Sujatabhadra, 1015 CE in Hlaṃ vihara, Nepal, collection of Cambridge University Library, U K. Image: Wikimedia
Aṣṭasahasrika Prajnaparamita – An illustrated text
The Aṣṭasāhasrika Prajñāpāramitā was a prominent Buddhist manuscript richly illustrated between the eleventh and thirteenth centuries in South Asia. It underwent multiple translations from the first to the tenth centuries, reflecting the evolving practices of Buddhism in the area. Most surviving illustrated manuscripts of the Ashtasahasrika Prajnaparamita were produced in Bihar and Bengal, now part of India, during the Pala period, as well as in regions of present-day Nepal. These manuscripts were created by scribes and artists, including monks from major Buddhist monastic centers such as Nalanda, Uddandapura, known today as Odantapuri and Vikramshila in Bihar, India. The manuscripts were crafted from palm leaves, bound with wooden or ivory covers, and secured with strings threaded through holes in the folios. Each folio featured one or more panels for illustrations, with decorative bands along the edges showcasing motifs like stupas, floral patterns, or images of yogis and deities. The inner covers were also intricately illustrated. While the manuscripts did not credit the artists, the names of some scribes were noted in the colophon. These works were commissioned by both lay donors and monks, with the act of copying, illustrating, and venerating the manuscript seen as a means of accruing religious merit, as suggested in the text. The philosophical themes of the Ashtasahasrika Prajnaparamita meant that its iconographic elements were largely independent of the manuscript’s textual content.
Painted covers and single folio –
Painted covers and single folio from the Aṣṭasahasrika Prajnaparamita, manuscript from Nepal, dated 1511, Royal Library, Denmark. Image: Wikimedia
This manuscript’s covers are illustrated with scenes of the life of the Buddha. The artist has included Prince Siddhartha’s departure from the palace, the cutting of his hair, and the offering of food by the maiden Sujata.
Nothing real is meant by the word ‘Bodhisattva.’ Because a Bodhisattva trains oneself in non-attachment to all dharmas. For the Bodhisattva, the ‘great being’, awakes in non-attachment to full enlightenment in the sense that one understands all dharmas. Because one has enlightenment as his aim, an ‘enlightenment-being’’ [Bodhisattva], a great being’, is so called…………………………..translated from the Aṣṭasahasrika Prajnaparamita.
Padmapani – Symbol of purity and compassion
Bodhisattva Padmapani, also known as Avalokiteshvara, is a significant figure in Buddhism, particularly in the Mahayana tradition. He is revered as the embodiment of compassion and is often depicted with a lotus flower in one hand, symbolizing purity. The verse associated with Padmapani, a Bodhisattva in Mahayana Buddhism, is “Om Mani Padme Hum”. This six-syllable mantra is widely chanted and is understood to represent compassion, wisdom, and the path to enlightenment.
Bodhisattva Padmapani, leaf from a dispersed Ashtasahasrika Prajnaparamita manuscript, Bihar or Bengal, 12th century, The MET, New York, U S A. Image: Wikimedia
Prajnaparamita Devi, known as the ‘Goddess of the Perfection of Wisdom’, represents the embodiment of Prajnaparamita, which signifies the ultimate form of transcendent wisdom. This wisdom is regarded as the pinnacle in Mahayana and Vajrayana traditions, guiding practitioners towards Buddhahood and serving as its inherent source. From the 9th to the 12th centuries, Prajnaparamita Devi was prominently featured in Indian Buddhist art, especially during the Pala Empire period. Her image is also prevalent in Buddhist art across various regions, including Java, Cambodia, Tibet, and the Himalayas. In Himalayan and Tibetan artistic representations, she may be portrayed as either a bodhisattva or a Buddha. The painting shown here illustrates her seated in padmasana with a halo, performing the dharmachakra mudra, surrounded by white lotuses and devotees seeking her guidance for enlightenment and wisdom.
Prajnaparamita personified as devi or goddess. Astasahasrika Prajnaparamita Sutra Sanskrit manuscript, circa 700-1100 CE, from Nalanda, Bihar, India, Asia Society Museum, Houston, U S A. Image: Wikimedia
Avalokiteswara on his throne – imparting wisdom
The seated Avalokiteshvara, a bodhisattva symbolizing compassion, is depicted wearing a crown and jewels, flanked by two white lotus flowers, within a temple shrine featuring the bhadra-style superstructure typical of the Pala tradition. His hands are arranged in the double vitarkamudra as he shares the Perfection of Wisdom sutra with a lady devotee, who looks up at him with admiration. He represents compassion, kindness, and the potential for spiritual development, even in difficult situations. This scene expresses a deep humanist sentiment, mirroring the psychological principles found in texts that guide devotees on how to engage with the deity. The essence of the Buddha, dhatu is represented by a stupa, symbolizing the presence of both the Buddha’s relics and teachings.
Avalokiteswara on his throne, Sanskrit Astasahasrika Prajnaparamita Sutra manuscript written in the Ranjana script. India, early 12th century, The Met, New York, U S A. Image: Wikimedia
Maitreya – The future Buddha
Maitreya is an esteemed bodhisattva in Buddhism, regarded as the future Buddha of our world. It is anticipated that he will be reborn in the future to impart the dharma when the teachings of the present Buddha, Shakyamuni, have been lost. Maitreya is expected to eventually come to Earth, be born as a human, and attain enlightenment. The name Maitreya originates from the Sanskrit term ‘maitrī,’ which translates to loving-kindness or friendliness.
Bodhisattva Maitreya, Folio from a dispersed Ashtasahasrika Prajnaparamita (Perfection of Wisdom) Manuscript – India (Bengal) or Bangladesh India (Bengal) or Bangladesh, early 12th century, The Met, U S A. Image: Wikimedia
Green Tara – A compassionate deity
Green Tara is a benevolent figure who facilitates freedom by eliminating barriers that hinder devotees from achieving their aspirations. In this aspect, she is regarded as a protector within the Buddhist tradition. A revered representation of Green Tara features her with a pendant leg and a blue lotus, accompanied by two female attendants—one wielding a vajra and the other, Mahakali, holding a flaying knife and a skull-cup or kapala.
Enshrined image of Green Tara, Mahavihara Master, early 12th century. Image – The MET, New York, U S A
Mara – A demon against enlightenment
Mara represents not merely a singular being, but a manifestation of the collective forces that resist enlightenment. Associated with life’s transience and the dread of mortality, Mara complicates the process of detaching from earthly attachments. Employing various tactics, Mara entices individuals with worldly pleasures, fame, power, and material wealth, diverting them from their spiritual journeys. The ultimate aim of Mara is to obstruct individuals from pursuing enlightenment by generating distractions and impeding their spiritual advancement. In Buddhist tradition, Mara is depicted as a malevolent celestial Asura king who attempted to prevent Prince Siddhartha from achieving ‘Awakening’ by alluring him with his celestial army and visions of enchanting women, often referred to as Mara’s daughters in various legends. In this artwork, he is portrayed alongside his demonic forces.
Mara’s Retinue, Folio from an Astasahasrika Prajnaparamita (The Perfection of Wisdom in 8,000 Verses), 11th century Book/manuscript, Nepal, Himalayas. LACMA, Los Angeles, U S A. Image: Wikimedia
Gautama Buddha – Descent from the Trayastrimsa Heaven
The descent of Gautama Buddha from the Trayastrimsa Heaven, also referred to as Tavatimsa or the Heaven of the Thirty-Three Gods, holds great significance in Buddhist tradition. After imparting teachings to his mother, Mayadevi, and the deities residing there, Buddha returned to earth at Sankisa. This event is illustrated in various forms of art and literature, showcasing a celestial staircase with Brahma and Indra aiding his return. Buddha ascended to Trayastrimsa Heaven to deliver the Abhidharma teachings to his mother, who had passed away shortly after his birth. Legend states that a three-tiered staircase made of precious materials—gold, silver, and jewels—manifested to assist in his descent. Artistic representations of Buddha’s descent from heaven can be found at Sanchi, Bharhut, Sankisa, and other locations, often depicting him with Brahma and Indra positioned on either side.
Gautama Buddha descends from Trayatrimsa Heaven, attended by devas, Brahma and Indra. Sanskrit Astasahasrika Prajnaparamita Sutra manuscript written in the Ranjana script, Nalanda, Bihar, India. Circa 700-1100 CE, Asia Society Museum, Houston, U S A. Image: Wikimedia
Buddha’s supernatural powers – Miracle at Shravasti
The Miracle at Shravasti, also known as the Twin Miracle, is an important occurrence in Buddhist tradition where the Buddha showcased his extraordinary powers in the historic city of Shravasti. He performed feats such as levitation, producing fire and water from his body, and creating multiple images of himself. This event was a reaction to a challenge posed by six non-believers and served to illustrate the Buddha’s miraculous capabilities to both his followers and sceptics. The accompanying illustration depicts the Buddha as he multiplies into numerous images.
Gautama Buddha descends from Trayatrimsa Heaven, attended by devas, Brahma and Indra. Sanskrit Astasahasrika Prajnaparamita Sutra manuscript written in the Ranjana script, Nalanda, Bihar, India. Circa 700-1100 CE, Asia Society Museum, Houston, U S A. Image: Wikimedia
International Museum Day is a call to celebrate as India presents the world with a new cultural wonder: the Abhay Prabhavana Museum, the globe’s largest private museum and Knowledge Centre devoted to India’s spiritual and philosophical heritage. Unveiled in November 2024, the museum is more than an amalgamation of culture. It is a living, breathing testament to India’s Shraman and Jain traditions, inspired by visionary philanthropist Dr. Abhay Firodia.
A Vision Rooted in Cultural Revival
We all know Abhay Firodia for so many reasons- industrialist, leader, innovator, defender of culture. Now he is also the mind behind the Abhay Prabhavana Museum, which attempts to frame an ancient Indian heritage for the contemporary world. Overall rooted in Jain values of compassion, non-violence, and peace, the museum is not simply a collection of the bygone days. It is a space filled with knowledge that fosters deep thinking, learning, and international dialogue.
This International Museum Day, the museum stands as a tribute to timeless ideals and a bridge between ancient wisdom and the digital age. As Dr. Firodia shared, “India’s legacy cannot live in textbooks alone. It must be experienced, questioned, internalized — and that’s what Abhay Prabhavana aims to do.”
Architecture That Inspires Awe and Inquiry
The Abhay Prabhavana Museum is strategically located on the banks of Indrayani River, which runs parallel to the Pune-Mumbai Highway. Its expansive campus houses:
30 Thematic Digital Galleries which has more than 350 unique commissioned artworks, narrative installations, and digital storytelling areas.
Digital Jainism which includes virtual reality rooms, touch screen tables, and interactive Jain Philosophy artifacts.
Thoughtfully designed landmarks such as:
Rishabhdev Statue: A 13.2-meter Art-Deco style depiction of the first Tirthankar, surrounded by murals that trace the civilizational backbone of India.
Manstambh: A 30.5-meter tower carved in marble celebrating enlightened human conduct.
Plaza of Equanimity: A four-facing temple designed for introspection and spiritual calm
A Museum Unlike Any Other
What makes Abhay Prabhavana unique is its departure from conventional museum experiences. There are no antiques on display because the museum doesn’t romanticize the past. Instead, it focuses on the scientific rationality and ethical considerations of ancient Jain values in the contemporary world.
Every exhibit narrates a chapter not only of religions but also of human history depicting advancement through Jain values like nonviolence, ethical politics, ecology, and even self-regulation. Tourists do not just observe; they are engaged in a lively cultural discussion, sensing themselves at the hub of international conversations.
Educational Excellence and Intellectual Rigor
As a Knowledge Centre, this museum fulfills its identity by directly supporting scholarly work through primary research, education and intellectual exploration with:
Taxila Library: It holds precious Jain manuscripts, scholarly works from the world’s peripheries, and digitized treasures.
Kundanmal Firodia Auditorium: It is a 170-seat multipurpose auditorium, used for seminars, lectures, and community functions.
Baijabai and Jamnabai Firodia Galleries: These include national and international touring exhibitions and exhibitions of private collectors.
Child museum, play area, and amphitheater designs are underway, making the museum desirable to every generation — from curious young minds to seasoned researchers.
A Beacon of Cultural Tourism and Global Engagement
Abhay Prabhavana not only serves as an educational facility, but also functions as a cultural tourism center. This museum is culturally further enriched by its proximity to the ancient Jain caves, which are over 2,200 years old and were important landmarks along trade routes. The museum is ready to:
Welcome international scholars, students, and tourists.
Represent and project India’s spiritual and intellectual heritage to the world.
Develop sustainable tourism and economic opportunities in the city of Pune.
With India in the midst of a Museum Renaissance, it is the Abhay Prabhavana Museum that spearheads this shift by transforming how history is kept and showcased. It is part of a new wave of next-gen museums which incorporate technology, traditions, and community activities in unprecedented ways.
Sustainability and Innovation at its Core
Innovation is deeply embedded in Abhay Prabhavana’s blueprint. The infrastructure follows LEED certification standards, making it one of the few green museums in the world. Its use of digital storytelling tools and virtual spaces optimizes the availability of spiritual knowledge to modern audiences.
Each gallery is designed to question, provoke emotional reactions, and stimulate intellectual curiosity, providing a 10-minute window of immersion into philosophical concepts presented in contemporary formats.
Conclusion
The Abhay Prabhavana Museum glows as a beacon of hope, not just for India, but for the world in a life that is starved of moral paradigms and spiritual direction. It encourages introspection, creates curiosity, and rekindles a sense of pride in a heritage that is not just old, but deeply human.
As we celebrate International Museum Day, Abhay Prabhavana reminds us that museums are no longer silent halls of memory — they are vibrant platforms for education, transformation, and legacy-building.
