Dance can be viewed as a simple collection of body movements coupled with music. However, dance is much more than that. It is a form of storytelling. Whether it’s ballet or Kathakali or flamenco, each dance form tells a story, from mythological tales to portraying ideals man should strive for. Dance is a unique form of storytelling, engaging many of our senses to engage, amaze and evoke. Folk dance is one such variant of dance styles that includes informal dance forms amongst certain communities presenting their stories. They depict stories of the communities that perform them in simple and lively manners. The dance of Tappeta Gullu from Andhra Pradesh is one such dance style.
Origins of Tappeta Gullu
Tappeta Gullu has its origins amongst local traditions and religions. In the ancient times, cattle herds performed folk dances to appease and please Gangamma, the local Goddess for fertility. The Goddess is believed by the local people to be the sister of Lord Venkateshwara. Gangamma, according to local tradition, is said to have come to the earth to end the rule of a demon king, under whom the earth suffered drought and suffering. After the Goddess overthrew him, the sky produced rain and the people became prosperous. This is why People turn to her in hopes of healthy children, rains and plentiful crops in the Southern states of Andhra Pradesh, Telangana and Karnataka.
Etymology of Tappeta Gullu
The word ‘Tapetta’ is the name of the drum that the dancers wear on their chest while dancing. ‘Gullu’ means alarm or announcement, in a manner. Hence, Tapetta gullu means ‘drum announcement’, an announcement of the festival celebrating Gangamma.
Tappeta Gullu Performances Today
The dance is performed by the Yadavas or Golla community today during the Gangamma jatara or Gangamma fest, a festival with music, dance, fairs and feasts in the state of Andhra Pradesh and Telangana dedicated to Goddess Gangamma during the Jyeshta masam. Tapetta Gullu is at the core of the festival, being one of the oldest traditions in the festival.
Golla Community
The dance is performed by the Golla community, the Telugu community of cowherds, sheep herds and goat herds. They are a part of the Yadava clan, and claim relations to Lord Krishna, who was said to be a Yadava himself. However, the Gollas worship all Hindu Gods.
Tappeta Gullu Performance
The performance itself is almost ritualistic. Before the dance, a man holding a beautifully decorated pot of water goes around the village. This pot of water represents Gangamma, and the ritual of taking the pot around is symbolic. It means her presence blesses the entire village. Then starts the dance itself. There is either a dedicated vocalist, or the dancers themselves sing the songs sometimes. The dancers are only men, dressed in vibrant, colourful clothing, with matching loincloths and headscarves. They wear the traditional drum or the Tappeta around their neck, and beat the drums in synchronised perfection. They also wear heavy anklets around their ankles, which add to the depth of the music. However, this also means that the dancers have to be perfectly synchronised in their movements, for a delayed or premature movement would disturb the perfect beat of the anklets singing together in rhythm. The artists also perform elaborate stunts and somersaults as a part of the dance, enthralling the audience. It is said that entire villages used to gather around to witness the spectacle of Tappeta Gullu.
Themes of Tappeta Gullu
The themes in Tapetta Gullu revolve around Hindu mythology, with songs praising the greatness of Lord Vishnu, his forms, and Gangamma thalli. The themes also include episodes from the Ramayana, the Mahabharata and other Hindu texts. During the Gangamma Jatara, however, the dance mostly focuses on Goddess Gangamma and the story of her dispelling evil and dispensing prosperity on earth.
Cultural Significance of Tappeta Gullu
The significance of Tappeta Gullu is monumental. It is not just a source of entertainment, but it is also a reflection of the rich cultures and traditions of Andhra Pradesh. Everything from the costumes, the drums, the songs, the beat and the dance itself is representative of the history of the art forms of Andhra Pradesh. It also represents the enduring faith of the people in the traditional religions and traditions of the region. The dance is a scintillating performance and brings together people of all communities who witness the spectacle.
Present State of Tappeta Gullu
The present state of this dance form is not ideal. The dance form is a part of traditional folk cultures, which are on the decline these days. According to a Tappeta Gullu teacher, Appa Rao, of the Debbagudivalasa village in the Vizianagaram district of Andhra Pradesh, there is an increasing tendency to look down upon the folk cultures due to intrinsic inferiority complexes. This is why traditional forms of entertainment are declining today, and this is the same fate that is enveloping Tappeta Gullu. However, of late, there has been a resurgence in the celebration of our traditional practices, sometimes even in popular culture. Tapetta Gullu was featured in the hit Telugu film Rangasthalam, stirring renewed interest in the dance form in the Telugu states.
The artists and dancers who remain today are determined to preserve the dance form despite all challenges. The future of Tappeta Gullu is bright.
Conclusion
Tapetta Gullu is a vibrant folk dance form that represents the culture and traditions of not just Andhra Pradesh, but also India. It is important that we take pride in the vibrant traditional practices of our country to truly retain the essence of India.
Advait, a young sculptor smoothly moves brush on one of his idols in the days leading to the installation.
Cultural practices change as humankind evolves. As technological disruptions shape human society and rapid environmental changes leave clear footprints, the effects become apparent on cultures and traditions. It is art that captures these shifts and changes.
Symbolisms prevalent in Indian culture are followed in different contexts. Amongst these, elephant symbolism is quite significant. Falling in mid-monsoon, the festivities involving the installation of Lord Ganesha testifies this. The event is as much about home-welcoming a god, as it is about venting artistic creativity – though that the art often conveys itself implicitly.
The universal existence of the festival is differentiated by the unique artistic depictions characterized by regional influences, as sculptors use the opportunity to feature contemporary issues.
Red soil idol sculpting is difficult, as sculptors have to follow a series of complex processes. It needs a critical eye to distinguish these idols from PoP idols that are still sold despite bans.
However, sculptors have to work against unforeseen challenges. For instance, for the past two years, the dark cloud of the recurrent pandemic continues to hover, as artists continue to operate in the constant fear of regulations and impositions. While the curbs hold right in the current circumstances, sculptors are having a tough time; at least those who eke out on seasonal artistry.
Sculptors using traditional approaches face competition from Plaster of Paris (PoP) idols. “PoP idols pose a threat not just to traditional sculpting but also to nature,” says Advait Bopche – a young artist from Yavatmal, a town in Central India known for its red soil sculpting. Advait is one of those artists who have been theming their idols to raise awareness on hygiene and sanitation, especially in the wake of the pandemic.
Brought into existence during the political freedom struggle, the festival of Ganeshutsav today stands at the crossroad of devotion, worship, festivities, and ecology and conservation. And nothing is more pleasant than artists themselves trying to adopt eco-friendly ways.
Having traversed more than 100 years of journey, Ganeshutsav has steadily acquired a household character. The emergence of Ganapati as a lineage deity has led to an increasing number of families wanting to have the elephant god installed at their homes. This in turn has increased opportunities and scope for sculptors to earn and showcase their creativity.
Bastar Ganesha sits amidst the lofty peaks, telling tales from the past. – Source: patrika.com
Earning household character, however, hasn’t least affected community worship, as group celebrations take place with the same fervour. The concept of Raja has steadily spread from metropolitans to even small towns. Mammoth idols, majestic and splendid appearance characterize these Rajas. An onlooker is sure to get awe-struck, like the one who hears the tale of Bastar Ganesh.
Located in the lush green valleys of Dantewada district in Chattisgarh, Bastar Ganesh sits as a magnificent idol at a height of 13000 feet. Installed around one thousand years ago by Chindak Nagvanshis, the idol has been a witness to changing social relationships, as some anti-social elements tried to destroy it a few years ago. However, it was successfully restored to its original place, where it sits today. Deeply revered by indigenous tribal communities, Bastar Ganesh is a historical symbol of India’s rich art heritage.
Art lovers, devotees and authorities came together to re-built Bastar Ganesh from fallen pieces, and likewise, environmentalists and artists must collaborate to evolve eco-friendly Ganeshautsav celebrations.
Artificial ponds have arisen as a great option to give an eco-friendly end to the festival. Source: asianage.com
Environmentalists want water resources to be prevented from contamination. They are keen on protecting marine life and freshwater resources. And sculpting, too, is important, for it channelizes art economics.
Initiatives like artificial pond creation for idol immersion indicate increasing awareness towards protecting and sustaining natural water resources. Some even make small individual ponds at their homes to bid farewell to the deity. But maybe environmentalists and artists have to join hands to find a rational solution for large idols.
At a time when the earth is reeling under the impacts of climate change, worship, art and conservation cannot exist and operate individually. The amicable coexistence of these three elements – as is the need of the day – only holds the sustainable answer.
The dances of Karnataka reflect the state’s rich cultural diversity, encompassing both folk and classical genres that hold popularity in various regions. While many indigenous communities in Karnataka have preserved and nurtured their unique folk dance traditions, the state also boasts a vibrant presence of Indian classical dances. Karnataka’s rural areas serve as repositories of lively folk dances and dance-dramas. One such example is the Dollu Kunitha dance, characterized by its religious essence and connection to the worship of Lord Beereshwara. On the other hand, Yakshagana stands out as a folk theater where performers bring to life epic and mythological stories. Here are a few intriguing folk dances from Karnataka that bring in the vibrancy of regional extravaganza.
Suggested Video: A Visual Journey Through Folk Dances of Karnataka
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List of Flok Dances of Karnataka
Dance Name
Popular in Region
Speciality / Highlight
Dollu Kunitha
North Karnataka, Kuruba Gowda community
High-energy drum dance linked to Lord Beereshwara; performed in circular formations.
Veeragase
Performed during Shravana & Karthika festivals
Martial dance honoring Veerabhadra, with swords, chants, and vigorous movements.
Bhootha Aradhane
Coastal Karnataka
Spirit worship with parades, idols, drumming, fireworks, and ritual magic.
Nagamandala
Southern Karnataka
Night-long serpent worship ritual; symbolic dance over intricate serpent patterns.
Dollu Kunitha is a popular traditional folk dance in Karnataka, known for its high-energy performances during important festivals and celebrations across the state. This traditional dance is closely associated with the worship of Sree Beeralingeshwara, a form of Lord Shiva, and has its origins in the rituals of the Kuruba Gowda community in North Karnataka. The term “Dollu” refers to the drum, symbolically linked to Lord Shiva, who is renowned for his fierce dance, the “bhairava tandava,” performed when he is enraged. Legend has it that Shiva created a drum using the skins of demons he had vanquished. The Kuruba people, devoted followers of Shiva, commemorate the defeat of demons by drumming.
Dollu Kunitha is performed by a group of ten to twelve drummers, and the troupe may consist of both men and women. Due to its high-intensity and loud performance, Dollu Kunitha always captures attention. The drum dance is typically executed in a circular or semi-circular formation, with drummers rhythmically beating their drums while singing and dancing to the music.
Performing Dollu Kunitha demands significant energy and endurance to carry and dance with the heavy drum for extended periods. Initially, only well-built men participated in this dance, but now, smaller and lighter drums are available, making it accessible to a broader range of individuals. Villagers and spectators often join the Dollu Kunitha troupe in the dance, creating an atmosphere of joy and celebration.
Veeragaase is a well-known folk dance that symbolically represents the courage and valor of God ‘Veerabhadra.’ This dance is typically performed during Hindu festivals in the months of Shravana and Karthika. It is a dynamic and intense dance deeply rooted in Hindu mythology, characterized by vigorous and energetic movements.
The dancers adorn themselves in distinctive attire, including white turban-like headgear, kaavi-colored dhotis, Rudrakshamala necklaces, Nagabharanas ornaments, and a wooden plaque featuring the image of Lord Veerabhadra on their chests. They also apply Vibhooti on their foreheads, ears, and eyebrows. Accompanied by the beat of Karadi and chamel drums, the performers engage in a martial dance, wielding an unsheathed sword in their right hand and holding a wooden plaque depicting Veerabhadra in their left. The dance group typically consists of two, four, or six members. Within the group, a lead vocalist narrates the epic tale of “Daksha yajna,” while one of the dancers carries a large ornamental pole called Nandikolu, crowned with an orange flag. Traditional percussion instruments like sambal and dimmu provide melodious accompaniment to the performance.
Veeragaase is a captivating dance that vividly portrays the courageous spirit of Veerabhadra and holds a significant place in Hindu festival celebrations, particularly during the months of Shravana and Karthika.
The worship of spirits is represented by Bhootha Aradhane. This event is an excellent blend of common beliefs, spectacular displays, and ritualistic magic aimed at warding off evil spirits.
Karnataka Bhootha Aradhane is highly visual. It involves a parade that requires significant effort in transporting idols. Traditional idols are painted to depict bhootas or demons, symbolizing their presence. A unique and eerie ambiance is created through the procession. Drums and fireworks accompany the procession, with large crowds pulling the idols to a raised platform where the final rituals of the procession take place.
Variations of serpent worship rituals among Hindus are present in all parts of India, including Nagamandala in Karnataka. This lengthy ceremony lasts throughout the night and involves the ritualistic appeasement of the serpent, particularly in the southern regions of Karnataka. The Nagamandala snake in Karnataka is commonly regarded as a symbol of fertility and life-force.
Male dancers, known as Vaidyas, typically perform Nagamandala in Karnataka. They dress up as Nagakannikas, representing female snakes, and dance over an intricate pattern that symbolizes the serpent’s spirit, serving as the focal point of their worship during the dance. The architecture of Nagamandala is itself an impressive feat, featuring a sophisticated natural color pattern. At some point during the ritual, a Brahmin becomes possessed, signifying the presence of the snake among the worshippers. The serpent’s image is based on traditional and symbolic patterns.
“Yakshagana” is a dramatic composition that is performed in front of rural audiences by trained and amateur actors. It combines elements of dance and drama. The phrase “Yakshagana” literally means “heavenly music.” This dance drama often takes place throughout the night, particularly during winter harvest festivals, captivating the audience with its enchanting songs and vibrant performances.
Yakshagana performances are comprehensive theatrical productions that encompass music, dance, and dramatic elements. The epics of Ramayana, Mahabharata, and the Puranas have a significant influence on the primarily rural audience. The Yakshagana performance typically begins with a Puja (ritual) to Lord Ganesha’s divinity, followed by the introduction of ‘Kodangis’ as comic characters. A narrator delivers the story in a song-like fashion, accompanied by musicians playing traditional instruments such as chandelions, a maddale, and a tala, usually performed by a team of three musicians. The performers act out the narrative in synchronization with the music.
Goravara kunita is a traditional dance dedicated to the worship of Lord Shiva, renowned in both Mysore and North Karnataka. It is a cultural practice that exhibits minor regional differences but remains popular throughout the state. In Karnataka, groups of 10 to 11 men, primarily from the Gorava community, perform Gorava Kunitha. These Goravas are known for their strong devotion to Lord Shiva, making the dance a significant part of their religious and cultural expression.
7. Togalu Gombeyaata
Togalu Gombeyaata is a unique form of shadow puppetry that is exclusive to Karnataka. This age-old art tradition remains vibrant in rural areas of the state, employing leather puppets to narrate stories and depict themes inspired by epic and mythological tales.
8. Joodu Haligi
The Joodu Haligi features a pair of percussion instruments, one of which is the Haligi. Crafted from buffalo skin, this circular drum is played using a small stick. What distinguishes this dance form is the remarkable energy and expressive emotions conveyed by two or three performers. This notable dance is typically performed during the Mysore Dasara festival, rooted in Hindu mythology and observed during the Hindu months of Shravana and Karthika.
9. Krishna Parijatha
Krishna Parijatha is a traditional folk theatre form from Karnataka that is sometimes considered a hybrid of Yakshagana and Byalatta, and at other times, a regional variation of Yakshagana. It has been described as a blend of Yakshagana and Byalatta, as well as a localized version of Yakshagana. While its open-air performances align it with Byalatta, the use of a single narrator, similar to the ‘Bhagavat’ in Yakshagana, leans more towards the latter. Krishna Parijatha is well-known in Northern Karnataka and is a recognized folk religious theatre style with performances ranging from village squares to outdoor marketplaces.
In Karnataka, Krishna Parijatha incorporates traditional themes from Hindu mythology’s extensive repertoire. Stories from the Ramayana and Mahabharata are frequently featured in Karnataka’s Krishna Parijatha performances. Makeup is commonly applied, and music and dance are intricately woven into the presentation. Both prose and poetry are employed to convey timeless principles. These captivating folk performances typically unfold during the night, led by a single narrator, often assisted by a clown or Vidushaka.
The story is conveyed through the dance form ‘Veerabhadra,’ the divine being (a minor God) born from Rudra’s (Lord Shiva’s) fury, intended to teach his father-in-law Daksha a lesson. This tale unfolds after Dakshayani (Sati), Shiva’s consort, immolates herself in the yagna fire, prompting Rudra’s intervention to disrupt Daksha’s Yagna (fire sacrifice). Bhadrakali, his companion or consort, also emerges from Devi’s anger. Veerabhadra is tasked with going to the yagna site and thwarting the ritual. Consequently, the dance depicts this confrontational scenario. Dancers adorn traditional full-color attire and sport long white hair with facial sculptures on their heads. They sway back and forth, wielding a blade in one hand.
11. Komb-aat (Komb Dance)
Komb-aat is a form of devotional dance frequently observed in temples, traditionally executed by Kodava men. This dance involves the use of deer horns, symbolizing the horns of the Krishna Mruga, a spotted deer in Kodava mythology. The performance is accompanied by rhythmic melodies produced through wind instruments and drums.
Kamsale, also known as Beesu Kamsale, represents an expressive dance form deeply rooted in Kannada culture, seamlessly blending artistic grace with martial prowess. Primarily flourishing in districts such as Mysore, Nanjagud, Kollegal, and Bangalore in Karnataka, Kamsale holds profound religious significance. It serves as a narrative of the divine magnificence of Lord Mahadeswara Shiva, with its practitioners vowing lifelong devotion to the deity. This art form is meticulously passed down through a well-preserved tradition, ensuring the continuity of its heritage from mentor to disciple.
13. Pata Kunitha
Pata Kunitha is a well-loved traditional dance genre in Karnataka, particularly cherished by the residents of the Mysore district. Similar to other Kunithas or ceremonial dance-dramas, Pata Kunitha carries a predominantly religious essence. This spiritual dance is exclusively performed by men, featuring the use of long bamboo poles known as “pata,” adorned with colorful ribbons. Interestingly, there is minimal verbal commentary, with the main focus placed on the rhythm and the skill of the dancers. This captivating display of vibrant enthusiasm enjoys widespread popularity, transcending religious boundaries and appealing to individuals from diverse faiths.
14. Bolak-aat (Bolak Dance)
Bolak-aat is an open-air performance that showcases Kodava men dressed entirely in black attire, illuminated by the warm glow of an oil lantern. This traditional dance involves the dancers holding yak fur, referred to as “chavari,” in one hand and the Kodava short sword, known as “odi kathi,” in the other. The rhythmic accompaniment is provided by the dudi, an hourglass-shaped drum. Bolak-aat is customarily performed to commemorate significant events and festive celebrations.
15. Ummatt-aat
Kodava women, adorned in traditional Kodava attire, including jewelry and the distinctive kumkuma on their foreheads, partake in the ummatt-aat dance. This circular dance is carried out to the sway of a rhythmic beat, with the dancers holding brass cymbals. At the center stands a woman holding a jug of water, symbolizing the Mother of Kaveri. This dance is a heartfelt tribute to the sacred Kaveri River, revered by the Kodava community.
Puja Kunitha is a ceremonial dance dedicated to the worship of Goddess Shakti in all her manifestations, particularly prevalent in the regions of Bangalore and Mandya.
This dance is a captivating spectacle often featured in religious festivals, processions, and fairs celebrating Goddess Shakti. What sets it apart is its emphasis on the visual aspect of the performance rather than relying on auditory narration.
A distinctive feature of Puja Kunitha is the artistic use of bamboo poles, creatively adorned, which the dancers sway in harmony with the music. Additionally, the performers carry Shakti statues atop large wooden structures on their heads.
This dance form is a vibrant expression of devotion and artistry, closely tied to the worship of Goddess Shakti in these regions.
17. Kangadilo Kunitha
Kangadilo kunitha is a traditional Tulu dance genre rooted in Karnataka. This dance form is predominantly performed by men, and their attire is adorned with coconut palm tender leaves and garlands of flowers. The musical accompaniment includes drums and flutes, creating a rhythmic atmosphere. Typically, a group of five to seven dancers executes coordinated movements, led by a primary performer, often an elder with white hair and a white mustache.
Takeaway
Karnataka’s dances not only showcase artistic expressions but also embody the rich cultural heritage of the state. Karnataka is renowned for its diverse languages, arts, crafts, and cultural festivals. Therefore, if you’re planning a trip to Karnataka, make sure to include Karnataka dance performances in your itinerary to experience the essence of its cultural past.
FAQs on Folk Dances of Karnataka
Question: What is the main folk dance of Karnataka?
Answer: Dollu Kunitha is considered the main folk dance of Karnataka. It is a vigorous drum dance performed in groups, closely linked with the worship of Lord Beereshwara.
Question: What is the famous folk dance of Karnataka?
Answer: Apart from Dollu Kunitha, Yakshagana is one of the most famous folk theatre-dance forms of Karnataka, known for its colorful costumes and mythological storytelling.
Question: Which dance is most famous in Karnataka?
Answer: Yakshagana is the most famous traditional performance in Karnataka, blending dance, drama, and music to narrate epics like the Ramayana and Mahabharata.
Question: How many folk dances are there in Karnataka?
Answer: Karnataka has more than 15 unique folk dances, including Dollu Kunitha, Veeragase, Bhootha Aradhane, Kamsale, Togalu Gombeyaata, and many others celebrated regionally.
Question: Is Lavani a popular folk dance of Karnataka?
Answer: No, Lavani is not a folk dance of Karnataka. It is a traditional dance form from Maharashtra. Karnataka has its own rich folk dances like Dollu Kunitha and Veeragase.
“Emerging and Talented Artists Showcase their Abstract Works at Gallery Pradarshak”
Gallery Pradarshak, a prominent art space in Mumbai, is hosting a group exhibition of abstract paintings from 1st to 16th September 2023. The exhibition, titled “A New Tomorrow II”, features the works of 13 emerging and talented artists who explore the diverse and dynamic aspects of abstraction.
Artwork by Venus Sanghvi
Abstract art is a visual language of expressions through forms, colours, lines, shapes and more. It is a non-representational medium that depicts a sense of independence and depth, and invites the viewers to interact with the intangible. The artists in this exhibition showcase their individual styles and perspectives, influenced by their personal experiences, emotions, and inspirations.
Artwork by Anupam Banarase
Some of the artists draw inspiration from the natural elements, such as Dipa Das, who uses geometric compositions and subtle colours to create a third dimensional illusion of the Panchabhuta – the five elements of Earth, Water, Fire, Air and Space. Aniket Deshmukh, on the other hand, explores the secrets of the human psyche and the cosmos through his abstracts.
Artwork by Shruti chawan
Other artists express their identity and journey through their abstracts, such as Karishma Wadhwa, who paints cityscapes inspired by her travels around the world. Shruti Chawan conveys her impressions of stories, feelings and sensations through her paintings.
Other talented artists participating in the exhibition include: Anupam Banarase, Sachin Pakhale, Venus Sanghvi, Smita Srivastav, Smita Marathe, Anand Mali, Ambereen Dharamsey, Siddhesh Rane and Anuja Paturkar.
The exhibition is centred around the idea of new beginnings, transformation and optimism. It is a continuation of Gallery Pradarshak’s efforts to promote emerging and talented artists and to foster a culture of art appreciation among the public.
Gallery Pradarshak Details
The exhibition is open for viewing from 11 am to 7 pm on all days except Sundays and public holidays at Gallery Pradarshak, Khar West, Mumbai. For more information, visit the gallery’s website www.gallerypradarshak.com or follow them on Instagram @galleryoradarshak
#Didyouknow that Varanasi is believed to be a timeless place? It has been in existence from a time immemorial. It gets its name from the rivers Varuna and Asi, tributaries that flow into the river Ganga at Varanasi. There are many legends surrounding it. There is one legend which says that Goddess Parvati got tired of staying on Mount Kailash and so Lord Shiva founded a city for her which is Varanasi!
Lord Shiva and Parvati on Mount Kailasa, Jaipur, Rajasthan School, circa 1800, British Museum, London. Source: Wikimedia
Varanasi: A religious and cultural city along the Ganges
Varanasi, also called Benaras, a city in Uttar Pradesh, India is full of temples, on the left bank of the river Ganga, and considered by Hindus as their holiest city. Also known as Kashi and the ‘City of Light’. The city is also believed to be a huge ‘yantra’ as well, with the temples placed strategically. The Ganges in Varanasi is believed to have the power to wash away the sins of mortals, and one who dies on the land of Varanasi attains ‘Mukti’ or salvation and escapes the cycle of birth and re-birth. There are many ghats along the Ganges in Varanasi which lead down to the holy river. Technically a ‘ghat’ is defined as ‘a broad flight of steps leading down to a river’. These are steps built for the devotees who go down for a dip. There are over 80 ghats in Varanasi. Some are the Dashashwamedh Ghat, Shivala Ghat, Assi Ghat, Tulsi Ghat, Hanuman Ghat, Ahilyabai Ghat, Tathagath Ghat, Lalita Ghat and Manikarnika Ghat.
Varanasi has an interesting storyline. Mark Twain has said – “Benaras is older than history, older than tradition, older even than legend and looks twice as old as all of them put together”. It is shaped like a half crescent, but not much is known about its ancient boundaries but some Buddhist accounts mention it to be twelve ‘yojanas’. Varanasi is mentioned in the epic Mahabharata. Puranas mention different dimensions but it appears to have been a large space. The history of Varanasi prior to the advent of the Aryans is not very clear. In the 8th century, Adi Shankara established the worship of Shiva as an official sect of Varanasi. Tulsidas wrote his Awadhi language epic, the Ramcharitmanas, a Bhakti movement rendition of the original Sanskrit Ramayana, in Varanasi. Sant Kabir and Guru Ravidas, prominent figures of the Bhakti movement were born in Varanasi.
Varanasi holds significance in Buddhism and Jainism too. Lord Buddha preached his first sermon at Sarnath near Varanasi. Varanasi is believed to be the birthplace of Parsvanatha, the twenty-third Tirthankara. The city is associated with learning, devotion to Gods, arts and crafts, textile tradition for a long time. The Benares Sanskrit College, was founded during East India Company rule in 1791. Later education in Benares was greatly influenced by the rise of Indian nationalism in the late 19th-century. Annie Besant founded the Central Hindu College in 1898. In 1916, she and Madan Mohan Malviya founded the Banaras Hindu University, India’s first modern residential university. Kashi Vidyapith was established in 1921, as a response to Mahatma Gandhi’s Non-cooperation movement. Many exponents of dance and music have come from Varanasi. Indian philosophers, poets, writers, and musicians have been associated with the city. This is where the Benares gharana form of Hindustani classical music was evolved. In the 20th-century the Hindi-Urdu writer Prem Chand, Pandit Ravi Shankar, the renowned Sitar maestro and Ustad Bismillah Khan, the famous Shehnai player who got a Bharat Ratna are all sons of the city. Benares became a princely state in 1911 with Ramnagar as its capital. The religious head, Kashi Naresh, had his headquarters at the Ramnagar Fort since the 18th century, also a repository of the history of the kings of Varanasi, to the east of Varanasi, across the Ganges. Annie Besant, philanthropist founded the Central Hindu College, which later led to the founding of Banaras Hindu University in 1916. Varanasi became part of the Indian Union in 1947, and part of Uttar Pradesh after Indian independence. Vibhuti Narayan Singh ceded his territory into the United Provinces in 1949. Besides the ghats, Varanasi is also well known for its crafts, fine silks and gold and silver brocades and there is a high demand for the same. In addition, Varanasi has fascinated artists from yore and artworks are constantly being made till the present times in the 21st century.
Part of the city of Benaras, William Hodges, drawing, 1781, Yale Center for British Art, U S A. Image: Wikimedia
Ghats of Varanasi – Gift from the gods and royals
The ghats are either mentioned in legend or there is a history in real life wherein we know a royal person has built it. The ethos of the city of Varanasi has physical, metaphysical, spiritual, mythological and even supernatural elements in it. Let us see the origins of a few ghats which will prove the same. Assi Ghat an important ghat of Varanasi whose references are found in Matsya-purana, agni purana, kurma purana, padma purana and kashi khanda. It is believed that Goddess Durga after slaying demon Shumbha- Nishumbha had thrown her sword which resulted in flowing of a big stream known as the Asi River. Ganga Mahal Ghat is named after a palatial building made by Maharaja of Banaras, which has excellent carvings depicting the Rajput and local architectural grandeur of 16th century. The Tulsi Ghat is named after the great poet Tulsidas (1547-1622 A.D.) who wrote Ramcharitmanas. Earlier it was known as Lolark Ghat. In 1941, Baldeo Das Birala made reinforcements to this Ghat associated with the bath to beget sons and ensure their long life and bath to get rid of leprosy. The Mata Anandamai Ghat was known earlier as ‘lmalia Ghat’. in 1944, Mata Anandamai bought this area from British. She made reinforcements to run a Ashrama which performs religious activities. Jain Ghat: Before 1931 Jain ghat was the part of Vaccharaja Ghat. Later Jain community made reinforcements and named it as Jain Ghat. On the southern end, Jain communities take bath and perform their regular activities. Shivala ghat was an important ghat in early times. In mid 19th century, It was converted into a small ghat. But now, there is a huge building constructed by Nepal’s King Sanjay Vikram Shah (19th century) and a Shiva Temple and one Brahmendra Math established by Kashiraj. Only some pilgrims and local people take bath here. Hanuman ghat – Sant Tulsidas has established a Hanuman Temple here during 18th century. A.D. which made it famous as Hanuman ghat. The ancient name of this ghat was Ramesvaram Ghat which is believed to be established by Lord Ram himself. At present it is inside boundary of ‘Juna Akhada’. Many ascetics live in the temples. Karnataka ghat: This ghat was built by the Princely State of Mysore in circa 1910. There is a shrine of Ruru ( the Dog) Bhairava, one of the 8th Bhairavas protecting the city from 8th direction. VijayanagaramGhat: This was improved in circa 1890 by the Vijayanagaram State of South India. At the top of it is Svami Karapatri Ashram. Close by to this building are the shrines of Nilakantha and Nispapesvara. This is the site of Haramapapa Tirtha. At the top exists the temple of Kedaresvara, the patron deity of the southern sacred segment. Kedar Ghat – The attached shrines and sacred sites include – Tarakesvara, Gauri Kunda and Vitanka Narsimha. In late sixteenth century Kumarasvami, a devotee of Dattatreya had made a monastery attached to the Kedaresvara, temple. Caowki Ghat: This ghat is famous for the huge pipala or peepal (Ficus religiosa) tree at the top of the steps which shelters a great array of stone figures of snakes, the nagas. Near this tree is the shrine of Rukmangesvara, and at some distance lies Naga Kupa or ‘Snake Well’. On the occasion of Naga Panchami, during month of Shravan (July–August), these shrines are especially worshipped. This ghat was built in circa 1790. Munsi Ghat: The ghat was built by Sridhara Narayana Munsi a finance minister in the State of Darbhanga, in 1912, as an extended part of Darbhanga Ghat. After his death in 1924 this portion of the ghat was named after him. Ahilyabai Ghat : At the place of an old site of Kevelyagiri Ghat, in circa 1778, queen Ahilyabai Holkar of Indore reinforced this as a stronger ghat. She was also responsible for re-building the Visvesvara temle in 1777 as it exists now. There are other ghats like Chausatthi Ghat, Rana mahala Ghat, Sitala Ghat among many others, each one with its own significance. Let us now look separately at one of the most popular ghats – the Dashashwamedh Ghat.
Dashashwamedh Ghat, Benaras, aquatint by Thomas Daniell, 1796. Image: Wwellcomecollection.org
Dashashwamedh Ghat is a main ghat in Varanasi. It is located close to the famous Vishwanath Temple. There are two legends associated with the ghat: one says that Lord Brahma created it to welcome Lord Shiva, another believes, Brahma had sacrificed ten horses during Dasa-Ashwamedh yagna. The present ghat was built by Peshwa Balaji Baji Rao in the year 1748. A few decades later, Ahilyabai Holkar, the Queen of Indore, rebuilt it in the year 1774. Presented here are the images of this important ‘ghat’ through the 18th century to the present times; where the Ganga Aarti is done during sunset daily and also the yearly ‘Dev Deepavali’ is celebrated 15 days after Deepavali when hundreds of diyas (earthen lamps) are set afloat on the river. It is believed that the gods come to take a dip in the river during this time. Artworks and images of this ghat are well liked and being made in the modern times as well.
Thomas Daniell RA (1749 – 1840) was an English landscape painter who painted some Orientalist themes. Accompanied by his nephew William Daniell, he spent seven years in India, published series of aquatints of India. His artwork on the Dashwashamedh Ghat is a serene version of the ghat, few people on the steps of the ghat and a budgerow sailing on the river.
Dashashwamedh Ghat, Benares, lithograph, by James Prinsep, 1834, British Library, London. Image: Wikimedia
James Prinsep, FRS (20 August 1799 – 22 April 1840) was an English scholar, orientalist and antiquary. He was an assay master at the mint in Benares/Varanasi and had an avid interest in architecture of Benares; he painted a series of watercolours of monuments and lithographs on Benares which were sent to London in 1829 and published between 1830 and 1834 as Benares Illustrated – in a series of drawings. The lithograph here captures the hustle-bustle of the ghat given the boats and the people depicted.
Dashashwamedh Ghat, by Edwin Lord weeks, oil on canvas, 1883-85, Brooklyn Museum, U S A. Image: Wikimedia
Edwin Lord Weeks (1849 – 1903) was an American artist, famous for his vibrant and eye-catching Orientalist works. He travelled to South America (1869), Egypt and Persia (1870), Morocco (between 1872 and 1878), and India (1882–83). The painting here seems to be Dashashwamedh Ghat. The oil painting depicts the Ganges, pilgrims and the temples under a sky with floating clouds busy in the ghat.
Dashaswamedh Ghat, Benaras, from the book ‘The Land of Temples’ Or ‘Sketches from Our Indian Empire’ by Mary Hield, 1882, British Library, London. Image: Wikimedia
The image from a book shows the temple steeples, buildings, trees and the pilgrims going about the ghat, also a budgerow boat used during the time.
Dashaswamedh Ghat, Benaras, from the book ‘The Land of Temples’ Or ‘Sketches from Our Indian Empire’ by Mary Hield, 1882, British Library, London.
Raphael Tuck & Sons was a business started by Raphael Tuck and his wife in London in October 1866, selling pictures and greeting cards, and later selling postcards, which was a very successful venture. The image here is a postcard of the Dashashwamedh Ghat, Benares from 1905.During the late 1890s and early 1900s. picture postcards were very popular. These are now called as ‘paper jewels’ by some scholars.
At the Dashashwamedh Ghat, the ‘Ganga Aarti’ a ritual of prayer to the Ganga River is held daily at dusk at Varanasi. Ganga is worshipped as a Goddess. Bhajans are sung and the ‘deepams’ or lamps are moved up and down by priests in synchrony. It is a wonderful sight. Special aartis are held on Tuesdays and on religious festivals. The enchanting ‘Ganga Aarti’ starts after sunset and goes on for 45 minutes. It is very popular and is watched by hundreds of devotees and onlookers. The Aarti is done to be grateful to the almighty god for giving us the five elements (water, air, earth, sky/ether and fire) and connecting to divinity with the outgoing smoke. During ‘Dev Deepavali’ when Gods are said to take a dip in the river Ganga, many lamps are floated on the river. This happens on Kartik Purnima every year, a very auspicious day in the Hindu calender, 15 days after Diwali. A painting of the Ganga Aarti by Paramesh Paul, born 1970, a freelance artist from Mumbai, is showcased here. Paramesh Paul was born in West Bengal. He has made artistic images of Durga and other gods and goddesses. He also paints towns in India like Banaras, Haridwar, Rishikesh, Nabadwip Dham and other important religious places. Others artists have also painted on Varanasi including M.F Husain.
Ganga aarti, Dashaswamedha Ghat, painting by Paramesh Paul, 21st century. Image Courtesy: Studio3india.com
We can understand how an eternal city is a muse for artists eternally with more and more artworks being created which can be seen online and also acquired to call it one’s own, by purchase either in original or if prints are sold, also taken as a souvenir by tourists who are much fascinated by Varanasi.
References and image attribution
Pandeya, Uma (1980) Varanasi, New Delhi: Macmillan Company of India Ltd. (Hindi book)
The autumn season in India marks the arrival of festivities. Navratri, Diwali, Durga Puja and Dussehra are coming soon. And undoubtedly, people across the country are gearing up for the festive season. However, though there are loads of plans to be made, one of the main preparations for any festivity is managing the wardrobe! And the conventional perception that only women are concerned about how they dress up, is surely changing as men and designers are upping their fashion games. So, what are the trending styles for men to try this festive season? What clothing, accessories, shades and hues should they pick in order to look absolutely stunning? Let’s find out!
Festival Vibes
Classic outfits, such as the kurta pajama continue to remain the go-to style clothing for men during the festive season. However, latest trends also feature a wide range of designer menswear, fusion and experimental clothing. Similarly, both bright colors and pastel shades are also increasingly being preferred by the men folk. The look doesn’t have to necessarily be only in blacks or whites, but introducing different shades adds a dash of exuberance and vibrancy that fits in perfectly with the celebrations. Also, since it’s the festive season that we are talking about, ethnic clothing looks both appropriate and stylish. Having said that, combining modern and traditional styles together often results in amazingly dapper appearances.
Here is taking a deep dive into the top 5 trending styles for men to try this festive season!
1. Short Kurtas
Short kurtas are the latest fashion trends that are a great mix of tradition and western wear. It is usually till hip or mid-thigh length and looks wonderfully casual, as well as, chic. A blend of the shirt and kurta, the short kurta comes in different colors and prints and can be both short or long sleeved tops. Besides, one of the greatest conveniences of the short kurta is that it can be paired with dhoti, pajamas, salwar, churidars or even denims and trousers. To notch up the look, you can wear Kolhapuri chappals or mojaris/juttis.
Also, the pattern and prints on the kurta can help in giving a trendy look. Why not try a tie-dyed kurta, Mandala prints, floral prints, small prints or pastel hues?
2. Jackets
Wearing a jacket is one of the easiest and surest ways to boost your fashion and style this festive season. And do not worry, there is a varied range of men jackets to choose from. Nehru jacket, Banarasi jacket, velvet jacket, Bundi jacket – you can try any of these with guaranteed results! The choice of the color and type of jacket hugely depends on what you plan to wear under it. The Bundi jacket along with the Nehru jacket are probably the safest bets to place for they look adorable on everything. Besides, even if you go for lighter shades of kurta pajamas, a vibrant jacket atop is all you need to lift the festive mood. On the other hand, if you prefer quiet elegance, then a black or off-white jacket is perfect.
3. Bandhgala
The Bandhgala though a jacket is a classy addition to your clothing for the festive season. Also known as the Jodhpuri suit, it is an excellent example of Indo-western wear. The Bandhgala can be simple or exquisite when embroidered or embossed with buttons. It is also one of the most versatile outfits as it can be worn on both formal and informal occasions. Pair the bandhgala with trousers or churidars, it will look debonair either way. Also, you can design the bandhgala as a single collared piece or as a jacketed outfit that can be worn on a shirt. Additionally, scarves or cravats with the bandhgala look suave and sophisticated.
4. Full Kurta Set
If mix matching is not your forte, then sticking to a singular ethnic look is a great way to dress for this festive season. This could include a simple two-piece kurta pajama set or a three-piece set that includes a jacket. But the entire get up is of a single color or print, or of similar shades for a sober and uniform look. The kurta and pajama can be styled in different ways using buttons, embroidery, patterns, cuts etc. Though this look may seem old-fashioned and too traditional, all we can say is that old is gold! The most basic ethnic styles actually look the best for the festive season.
Also, not just the long kurtas, but even the bottoms can be styled with traditional designs. Try the Jodhpuri pants, dhoti, different varieties of salwars, churidars or palazzo pajamas to go with the long kurtas.
5. Appropriate Accessories – Stoles, Leather chappals, bags and more
Adding a shawl or stole to your look instantly produces a stylish effect. The stole goes well with ethnic attires, but also looks good on modern and westernized clothing, such as jeans or trousers, shirts and short kurtas. The stole can be a simple designed accessory or one can also opt for embellished, stoned or embroidered shawls.
Footwear is another important dress accessory that adds to the overall appearance. Leather chappals, mojaris, jutis go perfectly with ethnic wear. And they also sync well with jeans or trousers. Similarly, wearing a turban or head gear also can look respectful and stylish at the same time.
Finally, carrying a casual or stylish bag across the shoulder also adds a unique fashion element.
Comfort and style
Dressing up stylishly for the festive season is an integral part of the celebrations. However, comfort always precedes giving way to fashion trends. And hence, this festive season, prioritize your comfort, for if you do so, styling will follow seamlessly. Experiment and explore your fashion sense, but also have fun and confidence with your attires and dressing experiences.
Rakshabandhan is a day to celebrate the auspicious relationship between male and female siblings. It is a relationship characterised by love, care, understanding, support, trivial fights, innocent or naughty pranks and sincere apology. Such is the brother- sister relationship.
Since childhood days I have observed that, on the day of Rakshabandhan, my sister would imprint the fingerprint of her left ring finger by applying tika and then tie rakhi on my right hand. This is followed by rotating aarti thali and then I touch the feet of my sister; she feeds me sweets and then the most awaited moment arrives for my sister – receiving gifts. I always envied her because in return for tying a rakhi, she received gifts not only from me but from my cousins too. At the time, I didn’t understand what my sister gave me in return. But with time I understood that what she gives is more valuable – she gifts me the responsibility to protect her.
Many people misunderstand this and so, in the name of protecting their sister from the evil world, they put restrictions on her. Don’t leave home alone; always have a friend accompany you in college and classes; be with that friend always; come home within 10 minutes after your class is done; don’t go with your friends for movies, go with your brother ; don’t leave home after 8 pm- these are a few restrictions I have heard in the past. I have also seen many brothers spying on their sisters to find out where she goes, whom she meets and why she meets that person. She also faces rapid fire enquiry if she is seen talking to a boy.
But don’t you think this is less protection and more about caging the sister?
My elder sister didn’t know how to ride a moped until I taught her. Earlier I used to take her but one fine day I decided to teach her to ride instead. Now she is independent enough to ride a
two-wheeler to fulfill her responsibilities, even after her marriage. Riding a moped was a problem for her but instead of avoiding the problem I taught her to face the problem.
If you try to protect your sister you can protect her once or twice or even during those times when you are with her but what about the time when you are not with her? So instead of protecting her, teach her to overcome her problems. She will then protect herself when you cannot be there for her. By teaching her to fight a problem, you protect her as many times as problems rise up before her.
A sister is not to be caged; rather she is a bird meant to fly towards her dreams. So, every Rakshabandhan you have to promise to be the support she needs to fly high. Don’t make it a symbol which restricts her. Instead, cast a problem-solving spell by teaching her to fight.
Many times when I face some problem, my sister guides me out of it. In the same way, when she faces a problem, she expects her brother to understand and guide her. She too needs someone to show the right path when she goes wrong.
Usually, when a girl commits a mistake or has some issue, instead of understanding her, everyone just yells at her including her brother. But at that moment a brother needs to understand the sister’s agony and try to rescue her. So on every Rakshabandhan promise her that you will understand her situation even if the whole world is standing against her.
So from now on every Rakshabandhan promise her that you will teach her to face life boldly and to understand her situation when she has a problem and promise her that you will guide her.
Let Rakshabandhan be a day to provide a shield in the form of a brother rather than to tie a harness that restricts her.
Successful binary options trading is a complex blend of keen market insight, tactical strategy, and a resilient mindset. This high-risk, high-reward venture demands more than just an understanding of market trends. It calls for psychological resilience, mental agility, and unwavering discipline, irrespective of where you are trading from, be it one of the Pocket Option available countries or elsewhere.
This article will delve into the significance of these traits in binary options trading. It will also explore how they can be developed to enhance one’s trading performance.
What Is Binary Options Trading?
Binary options are a financial instrument that allows investors to speculate on price fluctuations within global markets. Trading binary options involves predicting whether the price of an asset, such as commodities, stocks, or foreign currencies, will rise or fall within a specific timeframe.
Despite its simplicity, binary options trading is not straightforward. Market volatility, economic events, geopolitical changes, and a myriad of other factors can dramatically impact asset prices, making predictions challenging even for seasoned traders.
The Crucial Role of Discipline in Binary Options Trading
Discipline plays a pivotal role in this type of trading. With outcomes being typically ‘all or nothing’, discipline enables traders to adhere to their strategies and avoid impulsive decisions driven by fear or greed.
Traders need to set clear rules for entering and exiting trades, managing their investment portfolio, and mitigating risks. Sticking to these rules, regardless of short-term market fluctuations, is crucial.
Moreover, discipline encourages traders to maintain a long-term perspective. It helps them resist the temptation of short-term profits or the panic induced by temporary losses. Without discipline, traders risk falling prey to making emotional trades, which often lead to rash decisions and amplified losses.
The Indispensable Importance of Mental Agility
Mental agility refers to the ability to think quickly, adapt to new situations, and make sound decisions under pressure. In the fast-paced world of binary options, the markets can shift dramatically in mere seconds. A sudden news announcement, a change in investor sentiment, or a fluctuation in economic indicators can cause significant price movements.
Traders possessing high mental agility can swiftly analyze these changes, comprehend their potential impact, and modify their strategies accordingly. They can also manage their emotions better, preventing panic selling or over-enthusiastic buying, both of which can lead to substantial financial loss.
Building Psychological Resilience
Psychological resilience is the ability to bounce back from adversity, adapt to change, and keep going in the face of hardship. In binary options trading, losses are inevitable. Even the most experienced traders have lost trades. However, what separates successful traders from others is their ability to recover from these losses, learn from their mistakes, and return stronger.
Building psychological resilience involves developing a positive mindset and focusing on controllable factors. It’s about accepting that losses are part of the trading journey and learning to view them as opportunities for growth and improvement rather than setbacks.
Strategies to Enhance Discipline, Mental Agility, and Resilience
Regular Training and Learning: Discipline and mental agility, like any other skills, can be improved with regular practice. Traders should continuously update their knowledge about market trends and trading strategies. They should also engage in mental exercises like meditation and mindfulness to enhance their focus and decision-making abilities.
Setting Clear Trading Rules: Having a well-defined plan and sticking to it fosters discipline. The plan should outline the trader’s financial goals, risk tolerance levels, and specific criteria for entering and exiting trades.
Emotional Management: Emotions can significantly influence trading decisions. Traders should learn to manage their emotions and prevent them from dictating their trading choices. Techniques like stress management, cognitive restructuring, and emotional regulation can be highly beneficial.
Self-Reflection: Regular self-reflection can help traders identify their strengths and weaknesses, providing an opportunity for growth. It can also offer valuable insights into their trading habits and patterns, enabling them to make necessary adjustments to their strategies.
Peer Learning and Mentorship: Learning from experienced traders or mentors can provide invaluable insights and practical tips. It also offers an opportunity to learn from their mistakes and successes.
In conclusion, psychological resilience, discipline, and mental agility are as important as technical skills in advanced binary options trading. By cultivating these traits, traders can navigate the volatile world of binary options with confidence, improving their chances of success.
Remember, in the realm of trading, a calm mind and a disciplined approach often trump even the most sophisticated strategies. So, invest time in nurturing these traits, and you may find yourself navigating the tumultuous seas of binary options trading with newfound ease and success.
For centuries, gifting has held a special place in Indian culture. Obviously, the traditions turned new leaves over time. But the basics remain the same. The act of giving and receiving gifts relies on the emotional, social, and cultural implications. The old Indian tradition of gifting plays a pivotal role in strengthening bonds and conveying sentiments. In fact, it is now proven by psychological studies as well. From festivals to weddings, from religious ceremonies to personal celebrations, gifting has been an ancient Indian custom that was adopted by the West long ago. Here’s everything about gifting and the rich significance of gifting in Indian culture.
India has been following the gifting tradition on every personal, professional, national, and traditional occasion. Although, the two major gifting festivals are Raksha Bandhan and Diwali. Talking about the former one, on this day, sisters tie a holy thread called Rakhi on their brother’s wrist. However, if the siblings live far away from each other, sisters send rakhi online to their brother’s doorstep, preserving the essence of the festival. In return, the brother surprises his sister with a present. On the other hand, on Diwali, friends, family, neighbors, and relatives exchange and wish for each other’s health, prosperity, and wellness.
Gifts Based on Occasions
In gifting culture, choosing the right gift on different occasions is necessary. Gifting in India is a tangible expression of emotions, often a way to communicate feelings that words might not fully express. Be it a parent’s affection, a friend’s appreciation, or a spouse’s love, gifts are tokens of these sentiments. Therefore, it’s essential to pick the appropriate present on any occasion.
Festivals and celebrations: Giving food items in India is the supreme token of love. That’s exactly what we do for religious ceremonies and festivals. Whatever snacks you decide to give, it is considered auspicious to pair them up with some sweets and dry fruits. For instance, people give a box of cookies and snackables to their friends and relatives on Diwali. But there’s always a sweet delicacy and dry fruits to wish for a healthy life. On Rakhi, the brother presents a rakhi gift for sister along with a box of chocolates or mithaai.
Birthdays and Anniversaries: On birthdays and anniversaries, items such as clothing, jewelry, handlooms, and other useable things are considered as a token of good wishes. Needless to say, gifts for birthdays depend upon the age of the person. For instance, you can give a baby care kit or silver spoon to a toddler. Whereas, the same won’t work for a teenager or adult.
Wedding Gifts: Wedding gifts are often hyped in India. The people who are close to the couple often give them expensive gifts such as gold or other home essentials. While the family treats them with items like furniture, appliances, or even an automobile. It is believed that gifting strengthens the sense of kinship between immediate family members, extended relatives, and friends.
Additionals: Well, gifting in India is not limited to occasions. In fact, it holds a degree of social etiquette. People often take gifts while visiting someone’s home or meeting someone after a long time. On such special moments, people take some fruits, food, beverages, or a gift pack from the market. Also, while leaving, the elders give shagun to the younger ones in the family. These gestures signify respect and gratitude, enhancing social harmony.
Return Gifts: Gifting is often seen as an opportunity to give back to society or our loved ones. Upon receiving gifts on any occasion or ceremony, the receiver also presents everyone with return gifts. For instance, return gifts on birthdays are home essentials like bedsheets or showpieces. At weddings, the family of the couple thank everyone for their blessings with a fruit basket, and so on.
The Extra One Rupee!
There’s one more tradition of gifting in India. Often gifts are accompanied by an amount of money that serves as a token of prosperity. This amount is always increased by 1 rupee to denote abundance. That one rupee is believed to be a part of Goddess Lakshmi as it is made of metal and metal comes from earth. By giving them that rupee, we wish more wealth and fortune for our loved ones. No matter how much big amount you give, that coin is the symbol of continuous blessing and financial growth.
Conclusion
In a nutshell, gifting in Indian culture transcends the material realm. Gifting in India is not based on showing off luxury but on expressing love and emotions. Furthermore, it emphasizes the values of compassion and empathy. This is why many cultural and religious practices involve donating gifts to the underprivileged and less fortunate. Besides, it promotes relationships, and values, and uplifts connections that bind individuals, families, and communities. The act of giving is deeply rooted in a desire to celebrate, appreciate, and share, making it an integral part of the cultural ethics that continues to thrive in India.
Odisha, one of the oldest states, is a region of temples with a long history. It boasts a rich culture and is one of the country’s oldest civilizations. It is also mentioned in Indian epics such as the Ramayana and the Mahabharata and is notable for being the location where King Ashoka began to practise and preach Buddhism. Odisha is also thought to be the first state where our Aryan forefathers lived and were known as Odras, after whom the state was named.
With its historical monuments, archaeological sites, indigenous arts, sculpture, dance, and music, the region is a cultural treasure trove. Odisha has attracted a great number of intellectuals, artists, and visitors from the beginning of time. It is a land of skill, craftsmanship, and local folklore, to name a few things. The streets are a riot of colour. Whether it’s Bhubaneswar’s street art or the art created by tribals in front of their brightly coloured homes, there’s something for everyone. As one of India’s most popular tourist destinations, Odisha’s craft and art forms are among the most popular things to see and do.
Explore the vibrant world of folk art forms of Odisha through our insightful blog. Immerse yourself in the intricate details and cultural richness of these traditional expressions, from Pattachitra to Gotipua dance. Discover the heart and soul of Odisha’s artistic heritage in our latest article.
Pattachitra is an ancient and popular art form in Odisha. Pattachitra is a combination of the words ‘Patta’ (cloth/canvas) and ‘Chitra’ (image), as the name suggests. This kind of Orissan art, which combines naturally extracted vivid colors, has a deep connection to Puri’s temple traditions. The craftspeople, known as ‘Chitrakars,’ are mostly from Raghurajpur, one of Puri’s smaller villages. The Pattachitra Chitrakars’ most popular artwork topics focus around numerous Hindu Gods and legends. Lord Jagannath and Lord Ganesha appear in many different forms.
Have you ever heard of manuscripts being written on palm leaves? ‘Taali Oolas,’ or palm-leaf manuscripts, have been a part of Indian tradition since the dawn of time. Another contemporary art form in Orissa is binding palm leaves together and carving out various epics from Indian mythology. Tala Patra, a variant of Pattachitra, is a fascinating storytelling technique utilized by Orissa’s ‘Chitrakars.’ This is something that artisans in Raghurajpur village, Puri, do as well. These artists craft a universe of tales on palm leaves, from elaborate wall hangings to charming bookmarks.
Odisha’s handlooms have ushered in magnificent textiles that are spectacular in their own right. They are, nevertheless, long-lasting and cost-effective. In tassar silk, the expertise of the weavers has reached sylvan heights. In truth, the tassar cooperatives make the highest quality yarn, whose brightness, shine, and texture attest to its appeal.
The fabrics have their own distinct personality. They include bold and exotic designs, a colorful yet delicate color palette, unique tie and dye effects, and a luxurious feel. The state is known for its silk ikat weaves, which are produced on the loom using a complicated method (bandha) in which wrap and weft threads are first connected and then dyed to make the intended pattern.
Rows of birds, animals, fish, seashells, rudraksh beads, and temple spires are common design themes. The saree is Odisha’s most famous and well-known tie and dye cloth. Khanduas, Saktapada, Tarabali, and Bichitrapuri, to mention a few, are traditional Odisha sarees composed of cotton and silk. Other goods woven by the weavers include bed coverings, clothing materials, handkerchiefs, lungis, and gamuchhas (towel).
Textiles of various colours utilising vegetable dyes are also a specialty of the State’s indigenous people.
Sambalpur, known for its Sambalpuri sarees, is one of the most well-known handloom centres in Odisha. This renowned weave is centred on the villages of Bargarh, Sonepur, and Kendpalli. In addition, the roads are bordered with the homes of expert artisans who are indifferent to the noise and bustle of everyday life.
Berhampur is also well-known for their Berhampur Patta sarees. The craftsmanship on these silk sarees is stunning, yet they are also quite comfortable to wear. The city’s Ganesh Nagar alleys are home to some of BerhampuriPatta’s most famous weavers.
Koraput — It’s impossible to discuss Odisha without discussing its tribal population. Odisha’s tribes have made incalculable contributions to the state’s cultural legacy. Dongari & Ikat sarees are the most popular handloom from Koraput, capturing the curiosity and interest of handloom enthusiasts all over the world.
All fashion designers are familiar with the term “appliqué.” It’s simply a process of weaving colourful and appealing designs cut from one material onto another. Isn’t there something fashionable in our industry right now? But, believe it or not, appliqué works have long been a component of Orissan art styles. Initially, for the ‘Ratha Yatra’ at Jagannath Temple in Puri, to paint chariots. At Pipli, a small village near Bhubaneswar, talented artisans practise this temple art that has been passed down through generations. They produce a wide range of utilitarian and decorative objects in addition to supplying temples. Wall hangings, clutches, lampshades, and even handbags are examples.
Metal crafts were first introduced in Orissa during the Ganga Dynasty, in the 11th century, and have since grown and prospered with several improvements. Balakati village is located in the Puri region of Orissa and is known for producing high-quality brass, bell metal kitchenware, and temple goods. This craft is supposed to have started around 1400 AD and has grown since then. The utensils are made entirely of ancient metals such as brass and bell metal. When you go into this settlement, you’ll hear metals banging and craftspeople shouting and hammering with glee.
These metals are non ferrous in nature and have beneficial qualities, making them more attractive. Nonferrous metals are lower in weight, have superior electrical conductivity, and are non-magnetic. In most Indian families, they are utilised on auspicious occasions. The majority of the artists are members of a traditional group known as Kansari, which traditions and customs related to brass and bell metal production. They operate in a workshop known as Sala, or shed, which is conveniently located next to their residence.
Sand art is a type of sculpture that originated in Orissa, however its exact origins are unknown. Nonetheless, the location of where to go for this work and its creators is clear. If you’re looking for sand sculptures, Puri Beach is the place to go. If you’re unlucky and can’t find any sand sculptures on the beach, don’t worry; there’s a sand art museum on the way to Konark from Puri.
Every year, from the 1st to the 5th of December, Odisha hosts the Sand Art Festival. Odisha Tourism organises this festival every year. This tournament attracts sand painters from all around India as well as other nations. The finest sand artist will receive a cash reward of Rs 100,000. Sand painters are mostly from Mexico, Spain, Singapore, France, Norway, Germany, the Netherlands, and the United States. Sudarsan Pattnaik, a well-known Odia sand artist, has been named the brand ambassador for the Odisha Tourism’s International Sand Art Festival.
Orissan culture continues to value stone sculpture. It is Orissa’s most famous handcraft. The Sun Temples of Konark, Udayagiri, and Ratnagiri, as well as the temples of Jagannath, Lingaraj, and Mukteshwar, are examples of Odisha stone carving.
Stone carving dates back to the 13th century A.D. in Orissa. D. One of the outstanding instances of artistry is the world-famous Sun Temple. This custom has been passed down from generation to generation since then. Even now, stone carving is a well-known art form in Odisha. Many families now rely on this labour as their primary source of income.
Stone carving is mostly done with sandstone, soapstone, Serpentinite, Makrana marble, and granite. The soft stones employed by expert craftspeople are white soapstone, Khadipathara, or somewhat harder greenish chlorite, Kochilapathara. Stone carving is usually done with pinkish Kandolite, Sahanapathara or Baulapathara, and the hardest of all, black granite and Muguni Pathara.
Stones are also used to make useful things such as candle stands, pen stands, paperweights, bookends, lamp bases, and stoneware kitchenware. Stone is used to creating stunning polished plates, containers, cups, glasses, and Kunda. These items are utilised for Pujas, ritual worship, and daily dining.
Another popular art form, or to put it another way, a souvenir to add to your collection, is paper mache. Craftspeople from all around Odisha employ the Papier Mache technique. For strength and termite prevention, paper, waste cloth, and various types of natural fibres are soaked and hammered into a pulp, then combined with a variety of seeds and gums. For body and reinforcement, special clays and bio-wastes are used. The entire process produces a material that is so pliable that it can be shaped into a variety of shapes with minimal effort. Despite its flexibility, though, this craft has been overlooked.
Papier Mache literally translates to “paper pulp craft.” Masks, lampshades, ornamental objects, and animals, to mention a few, are among the things available.
The lost-wax process is used in Dhokra metal casting, and it is one of the oldest and most advanced methods of metal casting known to human civilization. Collectors prize Dhokra because of its unbroken lineage and the art form’s inherent starkness and energy. The Dhokra crafts people live in a large area in the mineral-rich central Indian tribal belt (the regions of Odisha, Jharkhand, Chhattisgarh, and parts of Andhra Pradesh). Indigenous folk culture influenced the Dhokra themes. There’s a basic simplicity about it, as well as creative use of pattern and design. The craftsman’s artistic aptitude is inherently inventive, having been untrained in recognised institutions. Thousands of years have passed before intuitive invention began.
The waxwork for the preparation is done with great care using beeswax wires. After that, it’s covered with a thick layer of clay with a hole on top. The wax layer is subsequently replaced with molten metal, which is poured into the mould. Following the removal of the cast, decorative finishing touches are done. In Odisha, the socio-cultural ties to Dhokra are still strong. Brides from the countryside are given a dowry of brass and bell metal household items. Daily necessities include betel nut packs and a circular deep dish for regional rice specialties. Brass or bell metal is used to create temple deities and accompanying ceremonial artefacts (such as bells and thalis). Tinkling bell metal anklets decorate the ankles of the classical Odissi dancer.
The Saura tribals of Odisha, India, are known for their Saura painting style of wall murals. These murals, also known as ikons (or ekons), have religious importance for the Saurus, India’s oldest tribe. Saura art is typically created on the red or brown clay walls of villagers’ dwellings, using natural colours made from rice, white stone, flower and leaf extracts, and a soft bamboo brush. The paintings are usually devoted to the Sauras’ deity, Idital, and are created for major occasions such as harvest, childbirth, marriage, and other occasions during which they are also revered.
Odisha’s Silver Filigree Crafts have been practiced since the 15th century, and each one has its own intricate design and craftsmanship. Only about 2000 artists in Cuttack and the surrounding areas continue the legacy of this superb trade. Silver filigree is a centuries-old craft. Silver is
beaten into fine threads and foils, which are then put together to produce infinitely beautiful jewellery and decorative work. The delicate artistry, beautiful craftsmanship, and superb polish have earned the products widespread acclaim.
During the ancient and mediaeval periods, Odisha was known as Utkala. The word Utkala translates to “land of excellence in art and workmanship.” The art forms are visual manifestations of a rich cultural heritage of Odisha and reflect on a tradition that still lives in the creative imagination and skill of her craftsmen.
