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Chattisgarh

Exploring Ramnami Community: A Journey into Tradition

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Over recent years, my travels across India ignited my fascination with how tattoos hold cultural significance among different Indian communities. In many areas, tattoos serve as symbols tied to tribal customs. One community that particularly intrigued me was the Ramnami of Central India. When I shared this with a friend, she too showed interest in delving deeper into this culture. We eventually connected with a community member who graciously allowed us to visit his village, even inviting us to stay with his family. We happily arranged our visit.

Getting there

We initially flew from Bangalore to Raipur. From there, we caught a local bus to the GPM district. Subsequently, we explored GPM by taxi, which dropped us off at Chandlidih, the Ramnami village. It was raining heavily as we navigated the damaged, flooded roads and finally arrived at the location indicated by Google Maps. We carried our backpacks while crossing a small reservoir wall built over a stream swollen by the monsoon. On the other side was our host’s house. By the time we reached the front yard of the Ramnami family’s modest home, we were covered in mud from puddles stretching from the parking lot to the house.

Portraits of the Ramnamis
Portraits of the Ramnamis

Welcome to the Ramnami home

Our host welcomed us upon arrival and directed us to the guest room to drop off our luggage. The room, an extension of the main house, was built with cob and wood, offering basic amenities such as two beds for resting and a light bulb for illumination at night. We relied on mobile internet throughout our stay. According to tradition, anyone visiting from outside must bathe and cleanse themselves before entering a Ramnami home. The next experience was something my friend and I will both remember for a long time: the bathroom!

It was a simple enclosure with two and a half walls and a roof. Half of the third wall was intentionally built to shoulder height, making it easy to bring in water from outside either with buckets or through a gravity pipe connected to a nearby perennial stream that filled a concrete tank inside the bathroom. The fourth side was left open for easy access, featuring a modest saree stitched into a sliding blind that could be moved to open or close. There was no running water; hot water had to be fetched from an outdoor firewood oven, or one had to make do with the chilly water stored in the tank inside. Our city dwelling bodies were used to a sturdy lockable door for bathing with unlimited hot water from a tap or shower. While the cold-water setup was tolerable for my outdoor spirit, I could not imagine standing unclothed inside a doorless bathroom.

The Ramnami Community
The Ramnami Community

If I were hiking, I could go days without bathing, but here, it was crucial to start our trip by experiencing the Ramnami culture. Hesitantly, I took off my clothes and poured a couple of mugs of water, just as I heard giggles outside. I paused to check if I was imagining things or if it was real. Soon, I saw the shadows of a few kids moving behind the curtain. As I began applying soap, I saw two toddler heads peeking in from the sides of the curtain, giggling again. I panicked, yelled my friend’s name, and hoped she would come to help. She got scared and ran over to see what was wrong. I told her about the curious kids, and she decided to stay at the bathroom entrance until I finished. Later, I returned the favor.

After changing into fresh clothes, my friend and I headed to the porch of their house, where the entire family had been singing hymns of Lord Ram since sunrise, even before we arrived. We greeted them with a coconut and some fresh flowers, which we were asked to bring as part of their tradition of introducing a new guest to the family. Most adults had tattoos reading ‘Ram-Ram’ in Hindi covering their bodies. Some had full-body tattoos, while others had only face, arm, or forehead patches. They all wore pure white clothes handwritten with ‘Ram-Ram’ patterns. Their Dhotis, shawls, and headgear featured the same ‘Ram’ writing in a consistent style. The handmade headgear, unique to the Ramnami, was decorated with peacock feathers. All participants in the Ram bhajan carried strings of small jingling metal bells, each stamped with ‘Ram’ during casting.

We introduced ourselves and joined their Bhajan until lunch was served. I savored a simple Satvik meal made with ingredients from their farm. The faint aroma of firewood used in cooking enhanced the local flavors with a divine touch.

Daily utility items and life of the Ramnamis
Daily utility items and life of the Ramnamis

Exploring the daily life of the Ramnamis

We traveled without a fixed schedule, aiming for a slow, immersive experience of this community’s daily life. After lunch, my friend and I joined members singing Ram Bhajans on the porch to understand what defines the Ramnami. We were transported back to the 1890s to learn about their history. Like the rest of India at that time, casteism barred lower castes from entering shared places of worship. Some rebelled by declaring their bodies as temples dedicated to Ram, tattooing the Ram-Nam (Lord’s Name) with a locally made ink derived from herbs. They formed the Ramnami community. A senior member leads events, whether a baby’s birth or a funeral. Their greetings and farewells are solely marked by singing Ram-Bhajans, even during major life events like marriages. They do not conduct any Brahminical rituals, poojas, or havans as part of their practices.

A portrait of a Ramnami community member
A portrait of a Ramnami community member

With the rain gods commanding the skies and earth, we saw them prepare their shawls, made from woven, stitched white cloth they crafted themselves. These shawls were then covered with Ram-Nam. After carefully observing them write with their native ink for a while, we joined in to write on some of the other pieces. Once finished, they set them aside to dry, initiating a series of procedures to prevent the white cloth from bleeding black.

A walk through Ramnami village
A walk through Ramnami village

When the rains stopped, our host guided us through their village. We crossed a stream, carefully walked along the paddy field edges, and eventually made our way along muddy, winding roads. We met several members of the Ramnami community, mostly relatives or neighbors from the same village. We greeted women working in the fields and enjoyed coffee at welcoming houses. Later, we visited JayaStambh, a small monument commemorating the annual Ramnami mela held here a few years prior. Some older community members joined us there at sunset, singing Ram bhajans as a tribute to the setting sun. Afterwards, we visited a small reservoir across the lake. The Ram Bhajans, sung warmly around a bonfire, echoed over the calm water, with the sky changing colors dramatically until nightfall.

The evening prayers at the Ramnami Jayastambh
The evening prayers at the Ramnami Jayastambh

We walked home carefully through the night darkness to avoid slipping on the slush. After a satisfying dinner, we drifted into a peaceful, childlike sleep, concluding a long and exhausting day.

The following morning, we rose early to witness a normal day in the life of the Ramnami. We went to the reservoir with the elder members of our host family, who offered prayers to the sun god and recited blessings before their water dip. After changing into clean clothes, they went back home to continue household tasks such as cleaning, preparing food, and having breakfast.

The morning at the Chandlidih reservoir
The morning at the Chandlidih reservoir

Conclusion

Spending time at a Ramnami home offered a genuine glimpse into a culture that is remarkably different from the rest of India. The younger Ramnami generation might not be eager to follow the traditional paths laid out by their elders. However, this community exemplifies how faith in God can help us overcome great challenges. They defied the odds, forging their path, which they believe will lead them to a divine connection.

After a simple breakfast and Ram Bhajans, we packed our bags for our next destination in Chhattisgarh. Our host assisted us with pillion rides on two motorbikes, skimming over the slushy village roads before reaching the highway, where we caught a local bus to continue our journey.

Bangalore day trips, Festivals of India, Karnataka

Three immersive cultural experiences in Bengaluru

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Despite being a cosmopolitan hub, Bengaluru is a metropolis that still firmly holds onto its cultural essence. There may be several festivals being celebrated year-round and across the city but a few of them transcend beyond any religion and community and are rather synonymous with the city’s name. Through this post, I would like to enumerate three such festivals that must be on any Bengaluru resident or tourist’s list of experiences whilst in the city.

1. Bengaluru Karaga

    This nine-day festival is a reverence to Adishakti Draupadi and a celebration of her annual homecoming to earth from heaven, on the day of Chaitra Poornami as per the Hindu calendar. Although a main festival of the Thigala community living across Karnataka, people of all castes and religions participate in it. The Karaga bearer (the chief person in the festivities) carries the Karaga (the deity) bedecked with jasmine flowers and begins the procession from Shri Dharmaraya Swamy temple in Nagarathpete, in old Bengaluru. The Karaga bearer is accompanied by the gante dhaari (bell bearer) and hundreds of veerakumaras who together traverse across the streets of the Bengaluru Pete area. The Karaga visits all the temples and the Mastan Saheba Dargah that come along the route until they return to the Shri Dharmaraya Swamy temple before dawn break the following morning.

    Though the festival is observed for nine days, the rituals involving the Karaga bearer spans over several months prior to it. One part of the ritual involves the Karaga bearer undergoing his strength and weight training at one of the several Garadi mane (traditional gyms). Hence, these Garadi manes are considered holy places where replicas of the Karaga and placed and worshipped during the festival. Also, several temples located in the Pete area take out floral palanquins of their deities on procession across the streets of Pete. All these things make Bengaluru Karaga, a special experience.

    Similar Karaga festivals are observed in outskirts of Bengaluru like Hoskote, Kolar, Malur etc. But Bengaluru Karaga is one of its kind and experiences.

    2. Ulsoor Poo Pallakki Utsava

    Bangalore’s reputation as a garden city finds a reflection in various traditional festivities of the city. Just as flowers are integral to Karaga, there is another famous festival that has flowers in its very name. The ‘Poo Pallakki Utsava’ is an annual car festival celebrated as part of the Someshwara temple festival in the old locality of Ulsoor. Albeit being a temple festival, it is rather better known as an annual competition between gods and goddesses from temples in and around Ulsoor over which one arrives in the best flower-bedecked palanquin. The car festival is believed to be the wedding day of Someshwara with Kamakshi, and flowers are the theme of all decorations.

    There will be over 80 poo pallakkis from the surrounding temples who attend the wedding celebration of Sri Someshwara Temple with Goddess Kamakshi. The grandest Poo Pallaki is one of the bride, Goddess Kamakshi. Celebrated annually during the Hindu month of Chaitra (around April/May), it is a night long event.

    3. Kadlekai Parishe

    ‘Kadlekai Parishe’ translating to ‘groundnut fair’ in Kannada is an annual coming together of farmers on the last Monday of Karthika Masa (month in Hindu calendar) celebrated since the 16th century. Legend has it that a raging bull used to damage the groundnut crops that were ready for harvest. The farmers prayed to Basava (bull in Kannada) to protect their harvest, by setting up an idol of a Nandi (Basava / Bull) and a temple at that place and offered their first crop to the Lord. This temple is called Basavanagudi (Bull temple) and the area surrounding it eventually came to be known by the name of the temple.

    Although the groundnut farms made way to residential and commercial structures, the tradition of the groundnut fair is celebrated with great fervor and enthusiasm even today. Farmers from across the state bring their first yield of ground nuts to offer to the temple and to sell them to others during this festival.

    More recently, a similar event is being organized in Malleswaram, around the Kadu Malleswara temple as well.

      Chattisgarh, Nature & Wildlife, Statewise Travel

      Exploring the untouched gems of GPM district

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      Gaurela-Pendra-Marwahi (GPM) is one of the youngest districts of Chhattisgarh and I recently had an opportunity to explore this region along with a friend. It has a deep-rooted connection with mythological stories and hence, several local tourists come here for pilgrimage. Otherwise, GPM is least explored on a typical tourist circuit and remains to be a hidden gem in the jungle, quite literally. Hence, through my trip to GPM, I wanted to explore, learn and document the adventure and cultural aspects of GPM district. On this journey, we had the guidance of GPM-tourism in arranging our accommodation and getting local experiences in some of the most exquisite places.

      Day 1: Exploring Gaurela region.

      We started from Bilaspur that morning in a taxi to arrive at our first destination- Gaurela. My first encounter of a new religious practice was of the kavadis. Of course, Kavadi itself is not new to me. It is observed in different forms across different regions of South India. But Kavadi of Chhattisgarh was new to me. During the Shravan month, the pilgrims leave their respective houses on a barefooted march all dressed in saffron dhotis, carrying the Kavadi on their shoulders and chanting bhajans and praises for Lord Shiva. Along their way, they are joined by others whose houses fall enroute and the march progresses. The group is large towards the end of their feat when they all arrive at the Amreshwar temple.

      Anyway, after passing this large group of pilgrims, we continued our drive through a very beautiful stretch of Sal forests and paddy fields. Our pre-ordered lunch was ready by the time we arrived at our first destination- Jhojha waterfalls. This region is presided over by the people of the Pando tribal community, whose culture we were unaware of until then. A tiny canteen run by a couple belonging to this community provided us with food cooked fresh and served in the most sustainable way possible. All the fresh and locally grown ingredients (organic veggies) cooked with firewood and served with handmade plates and bowls of Sal leaves. The simplest, yet a sumptuous meal was relished by us before heading out on our short hike into the woods.

      As the rain gods had taken over the skies briefly, we wore our raincoats and tamed our legs towards the trail. There is a biking trail for the biker-heads and then there is the hiking trail for people like me. It is a trail of about 4 kms with moderate difficulty for beginners. As we approached the Jhojha waterfall, believe me as I say that I hadn’t heard or imagined the existence of such an offbeat and majestic waterfall in this part of Chhattisgarh before arriving here. It was beautiful. On a day otherwise, one can go closer to the waterfall or get into the water. But I refrained from it since the monsoon fury wasn’t a safe idea.

      Jogi Gufa was a place close by where we had originally planned to visit the cave and a waterfall. Ghaghra dam is frequented by locals for watersports and Son-kund and Kariam Ashram are popular places of local pilgrimage. All located at a drivable distance from Basti / Jhojha. By the time we returned to the base after the hike, the other members of the Pando community had joined in. Hence, we decided to spend the remaining time at Jhojha itself. It was a good decision as the evening was filled with song and fun giving us a better acquaintance with the tribal culture of the Pando community.

      Mahua liquor is an essential part of Chhattisgarhi culture in general. There are several folk songs and stories composed around Mahua’s significance in the tribal life. The folk who had joined us for the night sang these songs and narrated undocumented stories that had been passed on through generations. Later, we had the supper cooked by the same family and retired at the little mud-cottage / homestay run by them next to the canteen. One of the most serene and silent locations I had ever imagined retiring.

      Day 2: Exploring Pendra region

      We started our day by having breakfast at a local restaurant at Pendra road (Town area). for someone whose taste palette is used to idly, dosa, roti etc., for breakfast, the samosas and jalebis were quite unusual to be consumed as a meal. But that’s how the rest of our day turned out to be- Sweet and Surprising. The untouched landscapes and the unaccounted number of mythological references make a great combination for hodophiles to explore Pendra. As soon as we moved away from the town area, the weather and the landscape took a dramatic change. crowded streets turned green and dry sunny skies began to cry rain.

      This region is predominantly resided by the Baiga tribes and hence, meeting folks from this community and documenting their stories were my focus on this visit. We drove past the mountainous road and flat paddy fields to arrive at our first stop. It was an under-construction nature camp run by the GPM-tourism and managed by a local family of the Baiga tribes. Traditional tribal cottages flanked a serene waterbody and together overlooked by a canopy of trees. Apart from a group of local boys who occasionally dropped by for a game of fishing, it was a paradise in seclusion. The only thought that I had while there was, if I ever felt the urge to run away from the city hustle to a non-Himalayan place filled with silence and solitude, where no known person would find me, it would be this. To simply put- I fell in love with this location. We visited the home of a local Baiga family, took leisurely stroll in their village and farms and shared warm conversations and laughter with their little kids, all even as the rain gods continued to show no mercy on us.

      Traditional jewelry of Baiga tribes in Pendra, Chattisgarh.
      Traditional jewelry of Baiga tribes in Pendra, Chattisgarh.

      A few kilometers away from there is a pilgrimage site, Mai ki Mandap’. It falls on the way for people visiting Amarkantak. Mythology has it that river Narmada was all dressed in her bridal attire, awaiting the arrival of Son Bhadra, the groom and his party but was cheated by her friend. Since then, Narmada has been hiding inside a cave here where an eternal flame has been burning for ages. The river Amravathi ganga cascades down the valley here forming a multi-tiered waterfall, which needs to be crossed by foot to get to the temple dedicated to Narmada. Since it was monsoon time, the currents were quite strong and the river crossing was an adventure.

      This region is dotted with several pilgrimage sites that are inter-connected with each other through mythological stories. Although we drove past most of them, we decided to skip a ‘stop and visit’ to them. Some of them were Durga Dhara waterfalls, Amreshwar temple, and Jaaleshwar Mahadev temple. Achanakmar tiger reserve, Kabir Chabutara and Malaniya dam are few other local hang-out spots in Pendra region which we decided to skip due to lack of time.

      The highlight of this entire trip to GPM was the drive to Rajmergarh hilltop and the best ending for this short stay that I could have asked for. The adventurous people hike up this hill over a couple of days’ time, but we were not in luxury of so many days. Lines of Sal trees and herds of cows grazing on the tabletop grasslands were a treat for the eyes. The drizzly rains and the gusty winds not only caressed my hair and cheeks but also my mind and soul, as I stood on the edge of the green grasslands. We were lucky to get a glimpse of the setting sun even on a cloudy evening. The locals informed us that this hilltop is a favorite haunt of adventure seekers who usually hike up to pitch their camps and wake up for the sunrise over these hills. Such a beautiful place feels wasted without good amenities for the tourists. Outdoor lovers can get their own tents and pitch their own tents here, basic meals and tea can be availed with prior information to the caretaker of this place. But I highly recommend a day visit to this place, especially during the monsoon if you are looking for something more offbeat, less crowded and yet beautiful. The night’s stay was arranged at Gagnai nature camp, a property run by the government.

      Day 3: Exploring Marwahi region.

      The luxury of an additional day’s time would have allowed us to explore the Marwahi region, thus circling around the entire GPM district. ‘Beni Bai’ is an important and rare Jain pilgrimage site which I personally wanted to visit but couldn’t. A full day’s trip could include AdiShakti Mandir, Tara Khara waterfall, Pareva path, Chunha Dai, Shiv ghat, Samundalai kund and Lakhan ghat to complete a circuit before you head back to Bilaspur.

      However, in our case, we started before sunrise because we had an afternoon flight to take from Raipur to Bangalore. Thus ended an offbeat trip to the heart of India, Chhattisgarh!

      Festivals of India

      A Series- Festivals of Kodagu

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      The Kodavas and the other native tribes inhabiting the Kodagu region are primarily nature worshippers. There is no idol worship, and the five elements of nature and the guiding spirits of their ancestors are central to their worship. However, there are several other deities that are associated with the Kodava folklore and the regional culture in general. As per some historians, the worship of Shiva and Parvathi, which is also integral in Kodava folklore, can be attributed to the influences of the Haleri kingdom’s rule.

      “A Mahadeva (Shiva) for each province, Povvadi / Bhadrakali / Bagavathi (Parvathi) for each hometown, Aiyappa for each village, Natha (snake god) for each lane and Puda (indigenous soil lord) for each family,” goes a Kodava saying. In Kodagu, Mahadeva and Bhadrakali are worshipped in temples that are built and managed by the respective villagers. On the other hand, Choundi and Ayyappa are forest dwellers. They mostly live in ‘Devara Kaadu’, the sacred groves.

      Although the chief deities are the same in every province or hometown or village, the way they are worshipped is unique to every temple. The rituals and ceremonies vary depending on the folklore in which its roots are embedded. These stories are compelling and narrate the importance of connections with the motherland and nature worship. Bright colours, earthy music and traditional dances mark these festivals.

      While the main festivals of the community like ‘Kailpodh’, ‘Edamyar’, ‘Puthari’ and Kaveri Sankramana and the older tradition of Nari-Mangala have been well documented through several mediums, it is these indigenous and lesser-known local festivals of Kodagu that I would like to experience and document, one festival at a time.

      I would like to hence, start this series- “Festivals of Kodagu”. The purpose of this series is only for documentation of lesser-known festivals. All the information shared through my series’ posts are based purely on what I could gather by discussing with people who are closely associated with the temple or are natives of each village. My apologies for any wrong representations. Readers are welcome to contribute any information that is deemed important and useful to be shared here.

      1. The abandoned tribes and the abuses- Kunde Habba
      2. The Boad Namme of Chembebellur
      3. The Povvadi Namme of Ibbanivalavadi

      More to come….

      Festivals of India, Karnataka

      The Boad Namme of Chembebellur

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      ‘Boad’ in Kodava language means to beg/ request. ‘Namme’ translates to ‘festival.’ Thus, the ‘Boad Namme’ can be loosely called as the festival in which the people of Kodagu request ‘Goddess Bhagavati’ to grant their wishes.

      The Boad namme is observed across Bhagavathi temples located in several villages in the southern part of Kodagu district, in series. The first Boad of the year starts at the temple of Kunda and the last one is observed at Parana village. Kudure (Horse) worship is an integral part of the Boad namme. In this, a young boy belonging to a designated clan from the respective village dresses up in the costumes of a horse and participates in the various ceremonies during the festival. Hence, it is said that ‘Kundath-ra Bott-le nenda Kudure, Parana mani-le ilinja Kudure.’ Translating to ‘the horse which rises at Kunda will only settle at Parana.’

      I will talk about these two Boad festivals in separate posts. Among a series of all other Boad namme that are observed across villages in South Kodagu, I am starting from the middle, at Chembebellur village. The Boad Namme of Chembebellur is among the most popular of them all. It is observed over a period of four days and usually happens around the last week of April of each year.

      Day one is Pattani. People belonging to all the native clans of Chembebellur observe ‘Fast’ on this day.

      Day two is Kudure. Three young boys representing three clans of the three main Keris (areas) of Chembebellur i.e., Ajjinakanda clan of Podakeri, Coluvanda clan of Podakote and Chembanda clan of Nadikeri wear the costumes resembling horses (Kudure) and start from their respective Ain mane (clan’s ancestral home). They are accompanied by men impersonating other local deities of the village like Choundi, Aiyappa and the others during their march towards the Bhadrakali temple where they all assemble and hold the following rituals. Post this, there is a fire set up in front of the temple in which effigies are burnt.

      Kudure at Chembebellur Bhadrakali temple
      Day 2: Kudure at Chembebellur Bhadrakali temple

      The gathering then moves towards the village’s ‘Eshwara temple’ where the rest of the men and boys of all age groups dress up in various costumes. This dressing-up is a form of a vow they make to invoke Goddess Bhadrakali’s blessings. The costumes could range from traditional Bund-kali (Mud-smearing), Pill-Bhoota (Hay man), Puli-vesha (Tiger costume) etc. to more modern forms of cricketers, Llamas, swamijis, seducers etc. These dressed up men folk visit every house of Chembebellur asking/begging’ for alms all night and it is a fun time for all the households who host these men in the houses.

      Day Three is Boad. This part of the festival is the most awaited and the highlight of the four-day celebration. All the dressed men congregate at the Bhadrakali temple in the afternoon. They are accompanied by the men impersonating the local deities as well. They all together circumambulate the temple thrice and go around begging form alms from the thousands of people who gather there to participate in the festivities. The end of the circumambulation marks the end of the Boad where all the men collectively offer all the money collected through begging to the Goddess and seek her blessings.

      Day 3- Boad festival at Chembebellur Bhadrakali temple

      Day four is Choole. Young boys who are yet to reach adolescence, cross-dress in attire of Kodava women and offer their prayers at the Bhadrakali temple. This day marks the end of a fun and yet traditionally rooted festival of Chembebellur, paving way for a Boad namme to start at yet another village of South Kodagu.

      Disclaimer: The purpose of this article is for documentation of lesser known festivals of India. The above information is only based on what I could gather by discussing with people who had gathered at the temple. My apologies for any wrong representation. Readers are welcome to contribute any information that is deemed important and useful to be shared here.

      Time Travel

      I Belong to Everywhere: Kumbaldal

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      This is an attempt to bring back nostalgia. Continued from- “I Belong to Everywhere: Ontiangadi“.

      Kumbaldal is a village in Madikeri taluk, north of Kodagu district. The descendance of my maternal lineage belongs to this village. Currently, my uncle stays here with his family.

      This award-winning wildlife photograph not often but always brings back memories of simply being at Kumbaldal.

      'Lights of Passion’, An award winning photograph of the bioluminiscent fireflies in the Western ghats
      ‘Lights of Passion’ fetched Aishwarya the ‘Highly Commended’ award at the 56th Wildlife Photographer of the Year Awards (2020) under the ‘Behaviour-Invertebrates’ category. | Photo Credit: Aishwarya Sridhar

      If you are there at the right time, then your senses can feast on bioluminescence. Millions of fireflies rest on the ground under the coffee plants all night and it literally feels as if you are standing on the porch of a mud house that is surrounded with a zillion flashlights. No words of mine can justify what I want to express! But, what I now realize is that the experience is not the same anymore. The usage of chemical fertilisers and pesticides have done damage that’s beyond repair to the environment. Going organic would need several decades to fix these glow worms and fireflies back into their normal habitat.

      Every village in Kodagu has its own deity and it is quite an experience to participate in these local festivals. At Kumbaldal, the temple’s Kuli kund (the holy bathing pond) happens to be in our land. Hence, the idol of the presiding deity of the village is brought to our farm for the first ceremonial formalities during the village’s annual festival.

      The annual village festival at Kumbaldal
      The annual village festival at Kumbaldal

      Not until late 2010-ish, that this village house had an electricity connection. The lifestyle was rustic and charming, to say the least. Mud smeared walls, cow dung smeared frontal yard and prayer room, firewood cooked food, kerosene lit lanterns and a perfectly mountain facing portico: Why wouldn’t anyone want a vacation like this! For me, my visits to this village were wholesome experiences.

      The kitchen at the Kumbaldal house
      The kitchen at the Kumbaldal house

      Accessibility being scarce for reaching the commercial areas as and when required, the food and the entertainment at uncle’s house used to be the most traditionally rooted. Even to date, a visit to Kumbaldal is welcomed with a festive spread that largely comprises of the traditional Kodava recipes and prepared with the locally available ingredients as much as possible.

      When I think of Kumbaldal, it reminds me of staying rooted to my culture and grounded with a minimalistic lifestyle. if you liked this story, you might also want to give a read to: “The monsoon delicacies of Coorg” for some more nostalgia.

      To be continued as- “I Belong to Everywhere: Sadashivanagar“

      Chattisgarh, Statewise Travel

      Five must have experiences in Jagdalpur

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      Bastar region in Chhattisgarh is very popular for its Dussehra celebrations and people flock from far away to witness its tribal congregation during this time. Noting that Jagdalpur is the biggest city in Bastar, it is likely that it will be the central place for planning one’s stay and travel around this region. But, if one happens to be there for a very short stay and interested in exploring Bastar beyond its festivities, then here are some of my recommendations.

      1. Caving at Madarkonta: There are so many massive limestone caves and cave systems in and around Jagdalpur and just a countable few of them have been promoted by the Chhattisgarh tourism board. Although these are also great places to visit, my caving experience at Madarkonta is one that stands apart. This cave is still inaccessible without a local guide and no tools or digging has been made to accommodate tourists. So, the entire caving experience here is still in its raw form, just the way it was found by the local men, many years ago. You need to duck down and walk barefoot, navigating your way through the hollow limestone chambers with torch light. (Barefoot because the locals believe that some deities reside inside the cave). Watch the entire video below:

      Exploring Madarkonta caves

      2. A boat ride into the Chitrakoot waterfalls: Chhattisgarh is home to over a hundred amazing waterfalls. But the poster boy on all their tourism ads is the Chitrakoot. Also known as the Chitrakote waterfalls, it is referred to as India’s Niagara for a reason… During monsoon, river Indravati plummets down with all her might in a horseshoe shape, making it the widest waterfall in India. A ride in a country boat right into the waterfalls is an exhilarating experience! Watch the entire video below:

      Boat ride at Chitrakote waterfalls

      3. A sunrise visit to the Island temple at Dalpat Sagar lake: Although tourists can take a boat ride in the largest artificial lake of Chhattisgarh state all through the day, an experience that stands out is a ride during sunrise, to the temple located in the middle of this lake. I was told that an underground chamber connects the temple to the royal palace located in the city. This chamber is used by the members of the royal family and VIPs to participate in special ceremonies during Dussehra. On other days, if one is lucky to get access to a country boat for an early morning ride (even better if it is along with the temple priest), they can see the entrance of this chamber illuminated with oil torches while the priest makes his visit to offer the first prayers of the day.

      An early morning view of the Dalpat Sagar lake in Kondagaon

      4. A Gotul visit: I’ve already spoken about the significance about a Gotul in the tribal culture of Bastar in a separate post. This is a great way to get acquainted with the rich tribal culture through its traditions, music, dance and food, all at one common place.

      A tribal ceremony at a Gotul in Bastar

      5. A tour of the artisans villages: Wrought iron crafts, Dokra art, wooden crafts, stone sculpting, pottery, handloom, paintings, jewelry making- the list of indigenous art in this region is long and the region boasts of several artisans of National and International fame. Even a quick day tour of these hamlets is worth every little time of yours, while you are here!

      Making of wrought iron craft at Kondagaon, Bastar

      Do you plan to make Chattisgarh your next destination? Or have you already been there before? What are your recommendations or queries? Let me know!

      Art & Craft

      A Tour of Indian Foundries- Investment Casting

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      In this post today, I like to discuss a technical subject by standing in the shoes of a traveler. During my student life, I have never been in a race to become a top-scorer. However, it was Professor Mukunda’s enthusiastic teaching method, that ‘Material science and Metallurgy’ has been one subject that I topped the department (I like to show-off a bit, with those dark glasses emoticon). With an in-hand admission letter to one of the top universities to pursue a post-graduation in the subject, the lostlander deviated along the way, only to become a professional ‘Metallurgical Failure Mode Analyst’ much later in her career. If not for Prof.Mukunda, a seed of interest in the subject would have never been sown and I wouldn’t be writing about such an unconventional travel post, it seems.

      Metallurgy is a science in which India has mastered from even before the world could imagine. The Vedas have a devoted section to teach these techniques. Prof.Mukunda’s favorite topic was ‘Metal casting with the lost wax technique’. His face beamed in joy every time he mentioned the intricacies that were achieved in the metal art thus created. “No two pieces that are exact replicas of each other can ever be created”, he stressed. We had foundry visits as part of our curriculum but that’s where we could only see sand, centrifugal and other forms of metal casting. Without having easy access, investment casting, also called as the ‘lost wax technique’ of metal casting was only left to our imagination. Many years after my graduation, I have been fortunate that I have been able to visit some of the amazing and traditional foundries in my country that practice the lost wax technique. These places have got them their individual ‘GI’ tags. Here is a walk through my foundry visits which I believe I should share with my fellow readers.

      Idols of Swamimalai:

      Swamimalai translates to the ‘Hill of the Lord’ that is named after an important temple in Tamil culture dedicated to Lord Murugan. This little town is famous beyond just this holy abode. One doesn’t need explanation at the mention of the bronze idols of the Cholas era. Apart from several of these antiques being prized possessions at museums across the globe, these treasures are among the highly traded commodities in the black market. These are ALL brought to form in Swamimalai. It is believed that the artisans of Swamimalai are a group of skilled men called as the Stapathis who have passed on their heritage of metal idol making, since the 12th century. The precision of composition and the measurements of these metal idols, mostly bronze are followed as per the ‘Agama Shastras’. This holy land of the alchemists was a part of my weeklong backpacking with my brother, back in Year-2015.

      Work-in-progress at a foundry that makes Aranmula Kannadi
      Clockwise from top left: 1. Raw material for mould making with the furnace and blower 2. The mould 3. Furnace 4. Metal sheet after moulding ready to be polished

      Aranmula Kannadi:

      An extremely important part of malayalee culture, this handcrafted mirror is a quintessential part of Kerala. I was told that on the day of ‘Vishu’ festival, after waking up in the morning- he/she should first see themselves in an Aranmula Kannadi placed alongside the ‘Canacona flowers and a lit oil lamp’ before anything else. ‘What is it about a mirror?’ a person unknown to the traditions of this land might ask. ‘These mirrors are not glass!’ These mirrors are super-polished metal surfaces that are capable of reflecting real images. A glass always reflects a secondary image (you can notice that there is a distance from the reflecting surface to the image formed) whereas, the metal surface reflects primary images (There is no additional distance between the object and the image).

      Two images that give the comparison of reflection in a glass and a metal mirror (Aranmula kannadi)
      Top: The secondary reflection in a glass mirror; Below: The primary reflection in a metal ‘Aranmula Kannadi’ mirror

      These manually polished mirrors are created through investment casting whose composition remains to be a secret that is passed down through generations of just 1 family. The small group of these master craftsmen who are protecting their secret recipe of the Malayalee culture all reside around the Aranmula Parthasarthy temple in the state of Pathanamthitta. I had the esteemed opportunity of visiting one of these foundries when I sneaked out after working hours on one of my business trips in Year-2019.

      Video of my visit to the mirror making foundry at Aranmula

      Dokra art of Bastar:

      This non-ferrous metal art is created by the forest dwelling tribes of Chhattisgarh. Historians believe that this art has evolved from what was used by the primitive tribes to create figurines of their local deities for worship and for jewellery purposes. The metals used were earlier collected directly from earth in the mineral rich area of Bastar, then smelted to separate the desired elements and mixed in intended proportions to form the final material for casting. This is an undocumented tribal technique that has been passed down through several centuries. Today, it is widely used for commercial purposes of decoration and gifting. It is now revered as a part of the tribal culture that represents the state of Chhattisgarh. I had an opportunity to visit one of these foundries and observed keenly the lifeless metal take form into art during my family’s five states’ road trip in Year-2020.

      Work-in-progress at a foundry that makes Dokra art in Bastar
      Dokra art at various stages of metal casting

      Kola masks of Karkala:

      Talking about all these foundries, I cannot be leaving my homestate behind. Although the folk art of metal mask making is slowly dying, these masks are an extremely important part of the culture of the Tulunad region. These bell metal masks are used in the spiritual performance of the ‘Bhoota Kola‘. Today, the art is used beyond mask making and can be seen in idols, lamps, bowls, utensils among other things used and sold extensively in Udupi district of Karnataka.

      The lamps and idols of Nagamangala:

      The contribution of the Hoysalas to the art and heritage of Karnataka cannot be justified with any number of words. Their intricacies and detailing in their work can be seen not only in the stone sculptures of their temples but also in their metal crafts. A few of the practitioners of the Hoysala style of metal casting have saved and passed on their knowledge to a few artisans who have made the town of Nagamangala their home. This thriving art can be seen in the traditional bronze lamps widely used across Karnataka and in the idols of various deities in this region. Although bronze is believed to be a godly material, other metals like tin, copper etc. too are cast into various articles using this technique.

      This post is my small attempt towards promoting local art. I look forward to influence at least a few of my readers to learn more about the rich heritage of India and encourage local artisans in various ways possible. Do share your thoughts with me through the comments below.

      Chattisgarh

      Visiting a Gotul- A Bastar experience

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      For someone visiting Chhattisgarh, experiencing the tribal culture and enjoying the rawness of the natural landscape in Bastar would undeniably be the priority. If you are lucky, then you might get the opportunity to visit a tribal Ghotul. A Ghotul is a structure that accommodates people. It is either an open arena with earthen floors, without walls and with roofs laid with wood and hay or it is a completely closed structure built with earthen walls decorated with various murals. ‘But what is so ho about it?’, one may ask.

      The Muriya girls with a Ghotul in the backdrop

      The primary purpose of a Ghotul is what makes it important in the regional culture of Bastar in Chhattisgarh. It is a socializing club for the unmarried youth of the Muriya and the Gond tribes which also in some parts, serve as a dormitory for the registered members. Young boys and girls register themselves with a Ghotul of a particular village or area when they hit adolescence and the functioning of this traditional club is presided over by a head boy and a head girl from the respective tribe. Here, every evening, the members gather and learn the essentials of taking up a new life ahead of them. Reaching adolescence means that they have become eligible to get married and take upon the responsibilities of running a family. So, they are taught all the required life skills like managing a house and a family, folk traditions, music, cooking, religion, cleanliness, discipline, sympathy and everything else. The whole idea is to pass on and contain the traditions within the tribe.

      The celebration dance by the Muriya tribes for hunting a game

      This also promotes inter-tribe or inter-Ghotul weddings so that a member of a particular tribe doesn’t leave the community and the strength of the community is sustained. While pre-marital sex is considered as a taboo elsewhere in India, this culture encourages the youth to indulge in sexual activities to find the most compatible life partner. It is said that if a member of a Ghotul gets pregnant and doesn’t know who the father of the baby is, the village will adopt the baby and nurtures it as everyone’s own child.

      Due to the rich ideology of conservation of the culture, people from across the globe come to study and understand the functioning of these Ghotuls. The Muriyas indulge in celebration of the little things from their daily lives. For example, after a successful hunt in the wild, a birth in the community, a betrothal, etc. They have about 12-15 different types of dances that they perform to celebrate these everyday joys. There are rituals and a sequential procedure on how the members need to conduct themselves in the course of visiting a Ghotul like getting ready, dressing up, assembly and starting the evening at the Ghotul.

      I got an opportunity to visit one such Ghotul and here is a video of a dance they performed for us.

      the Muriyas celebrating a game hunt at a Ghotul

      As a small introduction to the video above: In this dance, you can see two hunters dancing around and in between the other members, while musicians are standing in the middle and playing the traditional instruments. There are also a couple of men wearing head gears that look like chital / spotted-deer which indicates that this celebration is after a game was shot-down by the hunters and brought to the Ghotul for a feast.

      What are your thoughts and views about the Ghotul system? Share them with me through the comments below.

      Chattisgarh

      Strange structures you will find in Bastar

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      If you have your own vehicle and planning to do a bit of rural and tribal tourism in Bastar, then you might come across several structures that are endemic to the region. Some are integral to the local culture and a few are modern additions but unique to Bastar. Here are a few such structures that may spike the curiosity of any new person noticing them around.

      • Mata Mandir: One might be surprised to see random wooden structures lying around by the roadsides or in the middle of some farmlands. No two are similar in appearance. Some maybe fixed structures and some may have wheels like pushcarts. These are temples or places of worship are usually dedicated to Bheema Dev & Godandi Dev, deities of the Muriya Tribes. A godman from the tribe is believed to possess the spirits of the deities and walks with these wooden tools or push carts. If you have a closer look at one of these structures, you will notice that it has been designed to place his legs and walk with it. You will however, come across concrete structures that are influenced by modern construction materials.
      Various Mata-Mandirs in Bastar
      • Gudi: These are the lesser known wonders of India, also called as the ‘deceased pillars or column of the dead’ in modern terminologies. The dead persons from the Maria and Muriya tribes believe on sending a person happily after his death. Hence, the tradition is that they bury the body in a vertical/ standing position and erect a flat stone slab or a wide pillar at the grave site. These stones are then painted with artistic patterns and nice verses are written about the deceased on these slabs (This is something similar to the of placing a headstone in the burial of some mainstream religious culture).
      Muriya Gudi enroute Barsoor
      • Gotul: These are traditional centers of socializing and learning for the youth of the Madiya and Muriya tribes. These are spaces either with mud walls or open wooden floored spaces with wood and hay roofs. Unmarried girls and boys congregate every evening at a Gotul where they socialize, indulge in various celebrations and merry making, learn the basic skills of leading a life and managing a family. This is also where they indulge in choosing their own life partners. The basic ideology of a Gotul system is teaching the youth of life and cultural lessons and building and containing the traditions within the community.
      • Termite hill: If you ever take a drive around the villages of Bastar, you will notice that their houses are unique. They have mud walls, hay roofs and floor and a large front yard neatly smeared with cow dung. I got an opportunity to go inside and take a look at the interiors. That’s when I realized that these tribal houses may even have large termite-hills inside their houses or perhaps in their bedrooms. These tribes are nature worshippers and believe that these termites are gods that have chosen their homes to take shelter. Hence, termite hills are auspicious and cannot be destroyed. Further, after worshipping this anthill all year, there is a specific day in a year when the family prays the almighty, seeks his permission and then removes these dwellings and releases the mud/ clay into a nearby water source. Same is the case before any tree is cut in a Bastar village. The tribes invoke their deities to get permission before axing them.
      • Gau-Mata chowk: This is a modern addition with a cultural significance that can be found at the entrance of every village in Bastar. ‘Kamdhenu’ the holy cow feeding a calf is a popular representation in Indian culture. Similarly, this image has been a large part of the Bastar culture. You can see it even in their art and crafts. Coming to the Gau-Mata chowk, these are concrete structures around which the cattle of the entire village is assembled together, twice a day. From here, one person or one household from the village takes the responsibility each day to take the assembly of cattle out for grazing and return to the Gau-Mata chowk. From here, the cattle assembly disperses every evening and are then taken back to their respective sheds.
      • Atal chowk: This is another modern structure named after the former prime-Minister of India, Sri.Atal Bihari Vajpayee. This is just a concrete pillar erected at the entrance of every village in the Kondagaon / Bastar region.

      Do you know any other unique structures from Bastar that you think that I have missed out? Do drop in your comments and share the information with me.