Khajuraho Etched in Stone

Khajuraho—it’s the stuff of Indian travel brochures. You’ve heard and read all about the place, now it’s time to go and see it in all its glory. Situated some 175 km from Jhansi in Madhya Pradesh.  Khajuraho, if not for its celebrated temples, would be another nondescript village in this part of the country. But the temples bestow on the place a heritage that is rich and unique. The Khajuraho Temples, a UNESCO World Heritage Site, are amongst the most beautiful medieval monuments in the world, housing temple art crafted with expert artistry and a fine aesthetic sensibility. 

Originally a group of 85, they are the largest group of Hindu and Jain temples in the world, although only about 25 of them remain today. These magnificent temples were built by the Chandela rulers between AD 900 and 1150, and have withstood years of neglect, still standing testimony to the golden era of a dynasty. 

The temples themselves are perfectly proportioned and the religious carvings evoke awe and wonder. What draws most visitors to Khajuraho, though, are the erotic sculptures that impress with their grace and boldness. As you walk amidst these ancient works of art, you are bound to contemplate that there was a time in India when women were empowered and unfettered and when living and loving were a celebration. 

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A Canvas White

There are places that make your think of the end of the world – or perhaps a new beginning. The Rann of Kutch in Gujarat is a land unlike any: stark and beautiful with a mesmerising dash of colour.

There are 20 of us on the bus. The front rows are cribbing about the journey that I have supposedly dragged them into. Despite the occasional sarcastic remark, I am happy. I’ve done this before, and know what to expect. I’ve told them, “Wait till that road comes up. And you’re surrounded on both sides by nothing.” I know what to expect. I’ve seen this before. Then again, I haven’t. Or maybe my brain has suppressed this memory. Stored it away, slyly showing me glimpses but never the entire truth.

The road from Ahmedabad to Dholavira is straight—the occasional turns and u-turns come mostly as we near the destination. It’s flat. Mostly arid, spotted with the occasional farm and, farther on, salt production units. Marshes being harvested for salt. There are about 30 km left when, suddenly, everything goes white. On both sides of a double laned road, the landscape is unending, blank, reflecting the glare of the sun straight into your eyes. The sun is high in the sky but descending, for it is afternoon. The Rann has finally arrived. There is silence in the bus. Everyone is gazing out, looking at the white. Scarily beautiful. Majestic and unending. Why did the residents of the third oldest Indus Valley Civilisation site (after Harappa and Mohenjo-Daro) put themselves on an island? This was sea then. Leading to nothing. Why would they put themselves so far from land?

Bhim Raoji guides us through the site very meticulously and dutifully. He has been here since the Archaelogical Survey of India (ASI) first started excavating the site, and learnt what he knows from the banter he caught and, later, from the archaelogists themselves. “This big cylinder,” he pats a column-like structure, actually a sphere shaped like an hourglass, “was the base for a massive statue of a man sitting. It is now in Delhi.” Unlike Harappa and Mohenjo-Daro, Dholavira was constructed with a specific architectural plan, he tells us. There was a guided structure, a citadel, a middle town and a lower town. He guides us past several small ‘houses’ in the citadel, a huge reservoir for water, a sewer system that could put to shame Mumbai and several other cities in India, and then shows the coup degráce. Except, there isn’t much to see. He points towards a spot, covered up right now for restoration, where the artefact sat. It was a signboard. The most complex and longest arrangement of the Harappan script found to date. The Harappans had arranged and set pieces of gypsum to form 10 large symbols or letters on a big wooden board. This, too, resides in Delhi.

Dholavira’s beauty isn’t in the site itself. It’s not beautiful, honestly. Most visitors are disappointed. It seems like a pile of rocks, with the occasional recognisable column or wall. A mound of dirt, surrounded by the white sand. There is a corner of the site compound, where the wall is at its highest, marked by trees. Once upon a time, that was perhaps the sighting point for a sentry in the citadel and it provides the best vantage point, even today, of the surrounding Rann. That great white desert, a parched earth, that was water aeons before we ended up there.

Soon, an avalanche of schoolchildren floats into the site. There are at least 100 and, true to their teenaged, enthusiatic, exuberant physiology, they keep chattering away among themselves, screaming, shouting, pointing at stuff and creating a din in the middle of nowhere. For a minute you kid yourself and try to put this situation in a time several millennia past, and imagine the din to be that of a buzzing marketplace within the citadel walls. Then, one kid pulls out a selfie stick. The drive back is long. Much longer than the drive in. We aren’t going back. We are off to Bhuj, to the south, for a glimpse of the ‘actual’ Rann. For the Rann Utsav. Two months of festival in the middle of the desert. Accommodation in luxury tents, beautiful sunsets and sunrises and several means of experiencing Kutchi art, craft and culture in between.

We pause to watch the sun set. It is undeniably beautiful, unreplicable in pictures. With or without Photoshop. A travesty if there was one. The sky is a bowl of water, the sun a tablet of paint, throwing colours and patterns which swirl around till they rest at the bottom. There is no order to this. Purple follows pink, follows yellow, follows blue, follows another yellow, and, wait, is that green! Again, this too, is unreplicable. Graphic artist be warned, kitsch is only allowed to nature.

By the time we get to the Rann itself—in Dhordo, where the tent city is pitched for the season—it is past midnight and cold. We rush to our tents and burrow in for the night. Not for too long, though, I promise myself. There is a sunrise to be caught.

There are two things that define the Rann of Kutch for what it is, the great white salt desert, and the Kutchi people, among the most artistic—and colourful—in the world. Someone reminds me that there is also the gadkhar, the wild ass, the symbol of Gujarat that never will be. There is an argument to be made for this, my far more knowledgeable friend tells me. He raves on about how the lion is an inappropriate symbol, and how it signifies only pride and arrogance, but I’ve lost him midway (he keeps it up, and I agree with him eventually), watching the sun rise. 

Some may say that it is the stark whiteness of the Rann that makes the Kutchi people embellish their attire with bright, unapologetic colour. They are right. But, let us, for the sake of romance and the silliness, not throw out the theory that maybe, they don’t design their clothes to stand out on the earth as much as they do to mimic their morning skies. It’s crazy and untrue, but believable. 

This is another specialty of the Rann Utsav. The enormous hit of Kutchi culture it gives you. The utsav is a handicraft haven where you can buy from the artisans themselves. The stalls are full of mirror-worked clothes, handmade footwear and bead jewellery, most of which will not be available elsewhere in Gujarat. 

In the day, we visit Hodka, a small artist village a short drive from the tent city. There are two parts to Hodka. One is the actual village, where the artisans and craftsmen live. There is the cattle, a water reserve, khats strewn about and the occasional resident smiling at you from their homes. 

The second part is the guest village. Visitors can, for a fee (3,5OO a day for a one-room, air-conditioned hut called a bhunga, along with three meals) live in the middle of the community and learn the crafts that sustain their lives. 

Most of the leading craftsmen are craftswomen. Baya Bai, one of the best in the village, has featured in a French newspaper. There is a picture of her at work, accompanying the piece. She is one of the most skilled applique artists in the community. She is also the proud owner of five bhungas. A massive win for women in a community that doesn’t even allow free communication between genders.

 

Another woman opens the door to an innocuous-looking hut for the gathering. The kaleidoscope of handicrafts is enormous: wood carving, pottery, lac-ware, stuffed toys of dancers and camels and turbaned riders on horses, and bells. As we walk into another village later, almost all the huts lay out a spread for us. It seems almost rude to buy from one when they are all equally beautiful. Maybe I could buy a village, I remark to a fellow traveller. Sure, and soon they’ll be dressing their ware in pastels, he says as he walks away. 

I understand his cynicism. You cannot possibly imagine designing or visualising these colours if you aren’t from here.

(Facing page)The ruins of the ancient civilisation of lJholavira; the landscape 

of Kutch is stark and barren, yet evocative and picturesque; (this page) a handc rafted bag on a colourful door in Dhordo 

They do not belong anywhere, but here. When I get back, I look at my purchases from the craft stalls to find a sombre red and grey shawl and an assortment of little mementos in the bright hues of Kutch. They are too crazily-coloured for the city. Too kitschy, too absurd and too surreal for the grey cityscape. My friends happily lap them up. I keep the shawl.

Evenings in the Rann are mostly melancholic. A walk is in order, and the tourism department has smartly built a thin, wooden footpath (almost like a galley plank) that leads into the salt marsh itself. The more adventurous step off the plank and walk on the salt. Your first step seems like it’s on snow. A gentle crunch and then it settles. Almost everyone bends down to pick up the crystals, scrutinising them, making sure they aren’t being conned. No, this is salt. It was water years ago. Not anymore. 

It is the opening day of the festival. At one point, just as the sun is setting, the expanse of people almost seems like an exodus. There are camel carts and c/zak/as (motorcycle rickshaws) ferrying people around. A song and dance exhibition is taking place in another corner of the Rann, a few kilometres away. Occasionally, the sound filters through. 

The real utsav, though, is here in the vastness of the Rann, with the moon shining above you, a wind blowing across your face, and an eerie silence despite the huge crowd. You would travel across the world for a few minutes of this.

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On a String and a Song

The puppet traditions of India are richly diverse and historical. Puppetry is an intricate and colorful folk art that has been handed down the generations.

Puppetry takes many forms in the process of animating objects through human agency. As objects deciphering meanings within a narrative structure and as characters brought alive through artistic brilliance, puppets— within a system of language—operate as agencies of revelation. 

The earliest reference to puppetry is found in the Tamil classic, Silappadikaaram, written around the 2nd century BC. In the Buddhist work, Therigatha, there are references to various kinds of puppets as also in the Ramayana and the Mahabharata. ‘Sutradhara’ in classical Indian theater literally means ‘holder of strings’ and refers to the one who introduces and directs the play. Puppet theater has been in existence in India for thousands of years to entertain and teach people about Hindu religious heroes. Archaeologists at Harappa and Mohenjodaro in the Indus Valley discovered parts of clay dolls with holes for strings, supporting the theory that puppet theater existed more than 5,000 years ago.

Perhaps the origins of puppetry can be dated back to the prehistoric period when Man, living in caves, was enamored of the dancing shadows cast on the walls by his cooking fires, perceiving himself and his fellow beings, with all their gestures and attempts at communication, replicated visually upon the cave walls. This seems to be the genesis of Man’s efforts to recreate his own likeness. Images and idols were also used for shamanic rituals, to appease malevolent natural forces.

The religious aspects of puppetry developed especially in South India Tour when shadow puppets performed stories and episodes from the epics and the Bhagavat Purana. Puppets have featured in major religious festivals like Shivratri at the Srisailam Temple of Andhra Pradesh as indigenous entertainment. Tolpava Koothu, a puppet play of Kerala, is performed as part of the annual festival in temples of Bhagavati or Bhadrakali in Palghat, Kerala.

The sense of sacredness of the puppets could be discerned from the fact that they enacted stories and episodes taken from the epics and the Puranas, and also deriving from local beliefs. Disfigured or torn puppets are never kept along with intact puppets. Once the puppets can no longer be presented to audiences due to excessive wear and tear, after appropriate worship they are either consigned to the river or symbolically cremated. In some puppet traditions, the marking of eyes on the puppet, which signifies the infusion of life into it, is observed with sacrifices. The puppets are also worshiped on certain religious occasions.

As a ritual, puppeteers regularly apply Neem or eucalyptus oil on the puppets. This acts as a protective agent against insects and fungus. For the puppeteers, the puppets are not merely theatrical devices to earn a livelihood but revered objects deserving care. In certain puppet traditions of India, the performers fasted before the show and sacrifices were made while putting up posts for the erection of stages. Such proceedings invested the performance of puppets with an aura of mystic ritual. Puppet theater also serves as a means of spreading religious ethos and beliefs through the enactment of plays with religious themes. Apart from providing entertainment, puppet shows disseminate important ethical lessons, especially through the portrayal of conflict between good and evil and the ultimate victory of the former.

While anyone can move a puppet, it needs a skilled puppeteer to lend life to it. In India, puppetry is a living tradition and 18 different forms of puppetry exist, belonging to 11 states. There are mainly four genres of puppetry commonly found—shadow puppets, rod puppets, string puppets and glove puppets. Shadow puppets are one- dimensional—flat cut-outs of paper or leather that are projected against a tightly stretched white cloth screen so that the audience sees the shadow of the puppet on this screen. Shadow puppets are found in Andhra Pradesh, Karnataka, Kerala, Maharashtra, Odisha and Tamil Nadu. Glove puppets are also known as hand puppets. In this form, the puppeteer wears the puppet like a glove and fits his fingers into the hollow head of the puppet and controls its movements. This form of puppetry is found commonly in Kerala, Uttar Pradesh, Odisha and West Bengal. The rod puppets, often larger than glove puppets, are supported and controlled by rods of various types and sizes. Rod puppets are commonly found in Jharkhand, Odisha and West Bengal. String puppets are also known as marionettes, where the body parts of the puppets are connected through strings which are used to control their movement. This form of puppetry is prevalent in Andhra Pradesh, Assam, Manipur, Karnataka, Maharashtra, Rajasthan, Odisha, Tamil Nadu and West Bengal. While Rajasthani puppets—Kathputli—seem to be omnipresent, other forms are equally colorful!

Kathputli-Rajasthani String Puppets 

According to an Indian legend, the origin of puppetry is attributed to Brahma (the deity who was assigned the function of creating the universe and is the first of the Hindu Trinity). It is said that, for the entertainment of his consort, Saraswati, Brahma created and gave life to the Adi, the first nat or puppeteer. He then created another figure for the Adi to manipulate and thereby entertain the goddess. However, Brahma was not very pleased with his efforts and he banished the puppeteer to Earth. Hence the birth of the first bhat. It is conjectured that this legend might have originated in Rajasthan Tours since the nat bhats are the caste of puppeteers belonging to the region.

Kathputlis are like large wooden dolls—carved from a single piece and dressed rather colorfully. Their large eyes, arched eyebrows and well-defined lips give these puppets a life-like appearance. The garments are inspired by the traditional colorful attire of medieval Rajasthan that is popular even today. The Kathputlis are made to ‘dance’ with two to five strings that are tied to a puppeteer’s fingers, which he moves to make the puppets dance animatedly. The stories performed by the natbhats range from tales based on reworkings of the epics to legends espousing the heroism and valour of the local heroes. The narratives of Amar Singh Rathore, Prithviraj Chauhan and Dhola-Maru are popular folk legends interpreted through puppetry.

Bahulya—Maharashtra’s string puppets Bahuli means a doll and its plural is bahulya. Most bahulyakars or puppeteers usually belong to nomadic tribes and are always on the move, taking their puppets and theater equipment with them wherever they go. The puppets are made of clay or carved from the light wood of the pangara or coral tree. According to the character represented, the height varies from 20 to 45 cm. Each figure is divided into two sections. Leather puppets are called Chamadyachya Bahulya or Chamadi Chitre and string puppets are called Kalasutri Bahulya. The performances usually start with an invocation to Lord Ganesh and Saraswati. In bahulya, stories are mostly narratives centered around the elephant-headed god, Ganesh, and his exploits though legends of Chhatrapati Shivaji also abound. Stories from the Ramayana are an all-time favorite. This is one form of puppetry that needs a desperate boost as it is on the verge of dying out.

Pavakathakali—Kerala Glove Puppets 

In Kerala, the traditional glove puppet play is called Pavakoothu or Pavakathakali. This form, that came into Besides its artistic side, puppetry also has cultural significance, especially in South India, where shadow puppets are used to enact stories from the epics existence during the 18th century is believed to be heavily influenced by Kathakali, the classical dance-drama of Kerala. The height of Pavakathakali puppets varies from one to two feet. The head and the arms are carved of wood and joined together with thick cloth, cut and stitched into a small bag. Legends from the Ramayana and the Mahabharata constitute the more popular narratives.

Ravanachhaya—Oriya Shadow Puppets 

Ravanachhaya is one of the most dramatic forms of puppetry since it relies on the interplay of light and shadows. The puppets are joint-less and are made in one whole piece out of deerskin leather. They are not colored, hence they throw opaque shadows on the screen. Apart from human and animal characters, many props such as trees, mountains, chariots and so on are also used. Although Ravanachhaya puppets are smaller in size, the largest not more than two feet, since they have no-joint limbs they throw very sensitive and lyrical shadows.

Tholu Bommalata—Andhra Pradesh 

Andhra Pradesh’s shadow theater has a rich and strong tradition. These shadow puppets differ from Odisha’s shadow puppets in that they are not only colored on both sides but also have joints at the waist, shoulders, elbows and knees. Being coloured, they throw colored shadows on the screen. The themes derive from the Puranas, Ramayana and Mahabharata and the music is influenced by the classical music of the region. The manipulators of these shadow puppets in Andhra Pradesh are known as Pulavars—meaning scholars or poets—emphasizing the respect accorded to them.

Baner Putul, West Bengal 

Puppetry has a rich tradition in Bengal that thrives not only on epic stories, but also Bengali literature and now even contemporary issues such as AIDS awareness, female infanticide and so on. Baner Putul, or dolls of commercial people, is a form of puppetry most popular in southern West Bengal. The puppeteers characteristically belong to the scheduled caste of Kahar, the palanquin-bearers of yore. The puppets are nearly two feet high, with terracotta heads and wooden arms. The puppeteers sing songs during the show and play small drums called domru to attract crowds. The puppets have anklets fixed on the arms, which are used to keep rhythm by clapping. There are pairs of male and female puppets manipulated by the puppeteers with both hands. The themes are based on social events such as linguistic differences, escapades of lovers, and even family planning. The puppeteer begins his career early in life and roams from fair to fair, charging money for each song.

Bommalattam—String Puppets of Tamil Nadu 

Bommalattam, the puppet theater of Tamil Nadu, combines the techniques of both rod and string puppets. They are made of wood and the strings for manipulation are tied to an iron ring which the puppeteer wears like a crown on his head. A few puppets have joint arms and hands, which are manipulated by rods. The Bommalattam puppets are the largest, heaviest and most articulate of all traditional Indian marionettes. Bommalattam performances are given in villages and temples to ensure rain as well as to placate the gods to prevent outbreak of disease. The puppeteers perform ritualistic sacrifices before fashioning the puppets and also once they are complete. While making characters like Ravana, Kali and the like, fowls are sacrificed and the puppets are given a black tinge as the final touch.

Bommalattam theater has elaborate preliminaries which are divided into four parts—Vinayak puja, Komali, Amanattam and Pusenkanattam. 

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Panchgani Call of the Monuments

There’s a reason why the British chose Panchgani as a favourite summer resort. Make that many reasons. The name means five hills and the beautiful mountains make this the perfect getaway from Mumbai when you want respite from the noise, heat and pace of the city. The mountain air is pure and Panchgani enjoys mild weather through the year. As winter creeps up, it turns colder, adding to its charms. So, pull on your warm clothes and head for the higher climes of Panchgani, where you can take quiet walks amidst woods where the silver oak stands. At this time of year, the poinsettia begins to bloom as well, brightening the hillside with its hues.

While slowing down and watching the mist roll across the mountains is most people’s idea of a break in Panchgani, there’s plenty to do and see as well. Sydney Point, situated on a hillock facing the Krishna Valley, is a perfect spot from which to take in views of the Dhom Dam and Pandavgad. Visit also Table Land, an imposing expanse of laterite rock, considered the second longest mountain plateau in Asia. Stop for scenic views at Parsi Point en route Mahabaleshwar. Devil’s Kitchen, at the southern end of Table Land, is wrapped in myth and worth taking a look at. It is believed that the Pandavas made the place their home for a while and also created the Pandavgad caves nearby. 

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The Country's Southern Trip

The southern-most tip of the Indian subcontinent is known for the Virgin Goddess who presides over it, with her gaze upon the ocean and beyond. While it’s been known mainly as a pilgrimage spot, there is much else to see and do here. Begin, of course, with the graceful oceanside temple—believed to be over 3,000 years old, mentioned in the Puranas and the epics. It’s also revered as one of the powerful Shakti Peeths established by the sage, Parashurama.

Given Kanyakumari’s scenic location, it’s a great place for catching both spectacular sunrises and sunsets. For a few hours of tranquility, head to the Vivekananda Memorial that sits on a rock mid-sea. The meditation hall here is a secular space, where you should spend some quiet time. Its stillness and spiritual vibe are bound to create a sense of calm.

There are several monuments to see here— the Gandhi Memorial, dedicated to the Father of the Nation, the mammoth statue of Thiruvalluvar, the Tamil poet-sage, and a more recent construction, the Tsunami Memorial Park built in the memory of those who lost their lives in the natural disaster. Not far from Kanyakumari is the scenic, unspoiled Muttom beach, which has featured in several films. It makes for an excellent getaway for enjoying some surf and sand.

Kanyakumari is also a good base from which to explore the Kerala border. The Pechiparai dam, Thirparappu Falls and ancient Suchindram temple are all in the region and well worth making day trips to. The state tourism department runs circular bus services to these popular spots.

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The Divine Re - Birth

Be at Pun for NabakaIebar—a distinctive festival of Lord Shree Jagannath, which sees millions of devotees come together to mark the occasion.

Majority of the ten million plus domestic tourists and close to hundred thousand foreigners visit Odisha every year to enjoy its amazing tourism destinations. The state offers temples and monuments, art and architecture, music and dance, handloom and handicrafts fairs and festivals and a host of other tourism products. However, the holy town of Puri on the coast of Bay of Bengal attracts maximum number of tourists. ShreeKhetra—as the town is religiously cited—is one of the four cardinal centres (Chaar Dhaams) for devout Hindus. It is believed that a Hindu must visit this sacred place at least once in his/her lifetime to attain moksha.

It is in Puri that you find the magnificent 12th century shrine of Shree Jagannath Temple, where the idols of deities, namely, Shree Jagannatha, Lord Balabhadra, Devi Subhadra and Lord Sudarsana are dragged on huge chariots by millions of devotees during the Ratha Yatra (Car Festival). In fact, amongst all the fairs and festivals associated with the Lord, devotees and visitors wait for this ten days long celebration to have a glimpse of the Lord of the Universe in the Bada-danda (Grand road) outside the shrine.

This year’s Ratha Yatra in July is going to be a spectacular event, because the Chaturdha Murti (four idols) in the Jagannath Temple at Puri will take on new bodies in a very unique ritual called Nabakalebara. The term Nabakalebara is derived from the Sanskrit words, naba meaning new and kalebara meaning body. Unlike many other Hindu shrines, the idols in Puri temple are made of the holy neem (Azadirachta indica) wood. The deities are also known as ‘DaruBrahma’, meaning Brahma (Divine life force) contained in Daru (holy tree/wood).

As per an elaborate religious practice, they are changed at periodic intervals (usually once in 12-19 years). Nabakalebara in 2015 will be the first in the 21st century, while it has been celebrated in 1912,1931, 1950, 1969, 1977 & 1996 in the last century. Nabakalebara takes place when two lunar months of Asadha (with an adhikamasa or intercalary month of Asadha) fall in a year of the Hindu almanac. In an age with hyped media and over-circulating digital content, this year’s ceremony has generated lot of interest amongst the devotees and enthusiasts alike.

The state government is expecting a footfall of 5 million during this Nabakalebara festival and leaving no stone unturned to make it the grandest of all to draw attention of the whole world.

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Lava - West Bengal

Sitting at the entrance to the Neora Valley National Park, Lava is a tiny hamlet located to the east of Kalimpong in Darjeeling district. But what makes Lava unusual is the fact that it is not only unspoilt but is among the very few places that receive snowfall in West Bengal.

Located at an altitude of 7,016 ft, predictably, the route to Lava is scenic with a gradual change in vegetation. As the plains give way to the hills, the vegetation changes from tropical deciduous to alpine trees such as pine, fir and birch. The change is quite dramatic and the beautiful forested areas are ideal for picnics or long, leisurely walks. For more strenuous adventure, try trekking as well. The thick forests are also home to an incredible number of winged creatures, so be sure to pack your binoculars and go birdwatching at dawn to see such birds as the common hill partridge, tragopan and peacock-pheasants. For the most fantastic views of the peaks, walk along a pretty pathway to Rishyap, about four km away, from where the mighty Himalaya are visible in all their glory or head to Changey to gaze at a scenic waterfall.

For nature and wildlife enthusiasts, there are plenty of animals in the forests, including endemic species such as the Himalayan black bear and barking deer.

In town, don’t miss the quaint watch tower. For a change of scene, head to the beautiful and serene Jamgyond Kongtul Buddhist monastery which is set against breathtaking scenery and induces a sense of peace and calm. 

Lava is not all that popular but there are many small guesthouses and lodges where guests can experience local hospitality and food.  These include rustic log houses and small huts built in the midst of the forest which can be rented. Some of these are located at strategic points and offer spectacular views of sunrise.

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