March 2022

MARCH 2022 | Vol. 3 | Issue 1

CULTURAL VIBES OF INDIA

STEPWELLS of India Design and engineering marvels from two millenia ago

kalari 3000-year-old martial art form that develops harmony

Indian colours Tracing the evolution of our painters and paintings

is

best savoured

on a laptop or tablet with your

favourite brew.

A taste of diversity

From The

Editor's Desk

We often perceive our own idea of truth as superior to others' idea of it and our path to be better than others. While there is comfort in confirmation bias (a tendency to search for, interpret, favour, and recall information in a way that confirms or supports one's prior beliefs or values), is there merit in genuinely engaging with alternate viewpoints?

We believe so and find our beloved India fertile and seeded with diverse paths and sensibilities. This diversity creates a cerebral challenge where the seeker has to often make space for contradictions. However, only by acknowledging, sometimes fighting for and respecting such diversity, our heart softens and stays steadfastly in resolve to find joy, abundance and all the great things.

The festival of Ugadi/Gudi Padwa which coincides with the launch of this edition also celebrates such diversity. Various dishes are prepared to celebrate this festival, with the Ugadi Pachadi being the most popular dish.

The dish which combines ingredients to give all six flavours of food: sweet, sour, salty, spicy, bitter and astringent, symbolically reminds people that the coming year will bring all kinds of flavours, not just the sweet ones we crave for. It is a reminder that no single event is wholly good or bad and to lead a life in full spirit, with the understanding that every phase is transitory and ephemeral.

Celebrating such diversity, we hope you enjoy reading this edition where we highlight a 3,000-year-old martial arts form from Kerala, 2,000-year-old engineering marvel from Rajasthan, 1,000-year-old paintings, hundreds of years old Hunting games, Indian beverages and so much more. All finding a way to merge with the present and march towards perpetuity to validate human ingenuity, craftsmanship and hope.

Hope you find something diverse that challenges you and then brings you a smile...

In this edition...

STEPWELLS OF INDIA Design and engineering marvels from 2,000 years ago!

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HUNT GAMES

Ancient Indian Games etched on Temple floors and in people's hearts.

KALARIPAYATTU A 3000-year-old martial art form that is holistic and develops harmony.

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KAAPI TO KAHWA

A tour of the captivating tastes and aromas from different places.

KAAVAD TRAVELING STORY-BOXES Exquisite boxes from Rajasthani craftsmen that pack tales from our mythology.

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06

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INDIAN COLOURS FROM MURALS TO THE CANVAS A mosaic of the spectrum of painters and paintings from our history.

THE MIRACLE OF MUSIC A personal account of Indian Classical music's healing prowess.

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Contributors Dilna B. Sreedhar Kalaripayattu & Yoga facilitator, senior disciple of Sree Belraj Gurukkal, PhD in Chemistry from IITB, passionate about movement, culture & folklore. www.kalari-belraj.com

Dr. TLN Swamy Doctor by profession.

Flutist by passion with a zeal for penning and painting. drtlnswamy@gmail.com

Ramya Mudumba Ph.D Student in Cognitive Science. Carnatic music student. Trekker. Poet. http://cloudsofthedusk.wordpress.com

Venu Dorairaj Coffee, Cricket and Carnatic for the good life. #OffTheGrid

Dr. Ram S Sriram Prof Emeritus Georgia State University.

Mridangam disciple of Sangeetha Kalanidhi Sri T. V. Gopalkrishnan.

President of Carnatic Music Association of Georgia (CAMAGA). sriramgsu@gmail.com

Ishan Singhal Ph.D Student in Cognitive Science. Football enthusiast.

Amateur philosopher.

ishansinghal@hotmail.com

Satyameet Singh Amateur Carnatic Violinist.

Loves impact investments, good lyrics and cricket. MBA in Sustainability. instagram.com/bringbackinnocence/

Vinita Sidhartha Founder of Kreeda - a passion project to research and revive traditional games of India. vinita@kreedagames.com

Check page 15 to see how you can contribute to our next edition.

Stunning, symmetrical, stylish and sustainable:

Stepwells of India

By Ishan Singhal

Chand Baori stepwell, Rajasthan

"IMAGINE YOURSELF AS A CITY PLANNER IN ANCIENT INDIA. YOUR JOB IS TO DESIGN A SOLUTION FOR YEAR-ROUND WATER CONSERVATION IN A DRY STATE, TO WITHSTAND DROUGHTS AND KEEP SUMMERS COOL."

AN ARCHITECTURAL FEAT Imagine yourself as a city planner in ancient India.

Your job is to design a solution for year-round water conservation in a dry and arid state, allowing your city to withstand droughts and keep cool during the beatings of the summer. Does your solution include an entirely new field of architectural design and a marvel of engineering?

One that would become widespread across the northwest of India, gaining cultural, societal, and religious significance over the last 2,500 years.

No? Let me introduce you to the marvel of the Indian stepwells.

Stepwells, also called Vav in Gujarati and Baori/Baoli in north-western India, are massive sub-terranean structures. These wells were dug down for several stories, often descending hundreds of feet into the ground, until contact was made with a steady source of groundwater. To allow descent into the well, steps were carved out into the walls of the well. These flights of steps were where the architectural styles excelled.

Repeating symmetrical pattern of masonry lined the walls. The steps not only allowed one to reach

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the well but also offered resting spots for travelers to cool off. Moreover, a stairway to the water allowed for maintenance and cleaning, a solution not offered by traditional wells and tanks at the time.

MARVEL OF DESIGN Many stepwells also had an intricate system of galleries and chambers to keep the wells cool even during peak summers.

In no time, such stepwells became commonplace for drinking water, bathing, rest stops, and even cultural events.

Allowing for community gatherings made the areas around the stepwells important for societal and religious gatherings.

Many wells from here on were accompanied by temples, pillared corridors, and galleries for performance arts. The exact time period when stepwells were established is still debated in history. But there is agreement that they were around during the MohenjoDaro period (~2,500 years ago) and became commonplace in Indian architecture during the medieval period (~1,800 years ago).

RANI KI VAV One such stepwell also finds itself on the UNESCO’s World Heritage Sites list. Built over 1,200 years ago in the town of Patan (Gujarat) is this Rani Ki Vav (Queen’s Stepwell). This monument fortifies an

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inverted temple that leads to the water. The temple itself celebrates the sanctity of water.

This well stretches across more than 200 feet and is nearly 100 feet deep. More than 1,500 sculptures depicting deities and apsaras surround the temple and the well. From paying homage to Hindu deities, the sculptures also extensively pay tribute to women of the time. Several sculptures depict the beauty, emotions, and styles of women’s everyday life. Rani Ki Vav is possibly the most magnificent exemplar of stepwell architecture in India.

CHAND BAORI Another stellar stepwell is the Chand Baori of Abhaneri in Rajasthan. It is a marvelous architectural feat, considering it is believed to have been constructed more than a thousand years ago. It is possibly the largest and deepest stepwell in the world. A fleet of 3,500 steps surrounds the walls of the well in a perfectly symmetrical fashion, descending close to 100 feet into the ground. The precision of this geometry is found nowhere else on the subcontinent during this time period. Additionally, this well has a prominent Jharoka (viewing gallery) with balconies. The galleries enshrine a collection of sculptures on display and are designed to remain cool via the well's water.

TOWARDS TOMORROW Revisiting these triumphs of engineering and architecture is crucially important in the present day. With a renewed focus on sustainable use and conservation of water, through these structures, we can find solidarity across our culture over the importance of water preservation. Not only are these stepwells a reminder of the innovative architectural practices of ancient India, but also a philosophical connection reminding us of conservation and art. For more than two thousand years, these stepwells have shown us how water consumption can be stunning, symmetrical, stylish, and sustainable.

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HUNT GAMES

By Vinita Sidhartha A fascinating aspect of Indian traditional games is the sheer variety. When we talk about variety, I speak not just of the different kinds of boards or the types of dice and the different rules of the game, but different genres of games where the very thinking, the very ethos of the game, the very philosophy of the game is different. And one such is the hunting game.

Broadly, traditional games can be categorized into: 1. Race games such as Paramapadam. where the winner is the person who gets to end first 2. Games of alignment which require the players to get three or four game pieces in a row 3. Cross and circle games like Chaupad which require the player to circle a board and move all game pieces to safety In some cases, people add strategy games that involve strategic thinking and planning. However, as strategy is a part of almost every game, this section merely gets subdivided again.

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Hunt games are a type of strategy game, and one of the most popular hunt games in India is the Tiger and the Goat game. This game is popularly known by many names such as Bagh aur Bakhri, Puli Meka, Aadu Huli Aata, Aadu Puli Aatam among others. While there are numerous versions of this game played on various boards, the most popular is perhaps the one played on a board that looks like a triangle divided by three parallel lines. This version of the game has three tigers and fifteen goats.

The purpose of the game is for the tigers to kill five goats or the goats to surround the tigers, so they cannot move. What makes this game unique? What makes this game different from other games of strategy? For comparison, let us take a well-known game like chess.

When we look at the game of chess, we notice that both players have the exact same number of game pieces. In Aadu Puli Aatam, like other hunt games, each player has a different number of game pieces, making it what is called an asymmetrical game. However, in spite of the apparent asymmetry, the players are equally matched. If the goats play an intelligent game, it is possible to defeat the seemingly stronger tiger.

The second interesting point is that in chess, every piece one player has is reflected by a corresponding piece with the other player. And the moves of those two pieces are identical. Not so in hunt games.

Here the very movement of the game pieces is different.

A tiger moves one place under normal movements and can hop over or jump over a goat when it wants to kill. The goat, however, cannot hop or jump over any game piece. It can only make a single move in any direction. The different game moves for each player are another aspect of hunt games.

The third aspect is the goal of the players. In chess again, to use the same example, the goal of each player is to capture the king of the other player. In hunt games, the purposes of the players are different. The tiger’s goal is to kill the goats. The goat’s goal is to surround

Aadu Puli Aatam's playing mat from Kreeda.

Kreeda brings ancient Indian games to your living room. You can buy the game here.

the tiger so the tiger cannot move. These three aspects set hunt games apart from other

One wonders about the popularity of these games.

types of strategy games.

Did so many people play at the same time requiring numerous boards? Were there

India has a wide variety of hunt games. Many of

competitions? One may never know, but it is

these can be found etched on the floors of

interesting to speculate.

temples across the country. The popularity of the game is reflected by the fact that you will find

Every version of the board has a different number

numerous game boards within a small area.

of game pieces, and every corner of the country

Take, for example, the Thyagaraja Swamy

has its own favourite version. It is hard sometimes

Temple in Thiruvottiyur, Chennai. In an area of

to specify which game was played on which board

about 10 sqft. there are almost 5 boards of

because our ancestors were creative enough to

games, 3 of them identical, within a foot of each

play multiple games on the same boards. One can

other. The stones look almost identical in grain

only speculate based on the knowledge we have

and colour making it unlikely that they were

and discover the various boards that can be used

moved from elsewhere.

to play hunt games.

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Kundrathur Murugan and Thiruvottriyur Temple have Aadu Puli Aatam etched on their floor.

We have versions ranging from 1 tiger and three goats to 5 tigers and 25 goats. While the gameplay variations are enough to set hunt games apart from other strategy games, perhaps the most critical aspect of this difference is the philosophical underpinnings of the game. To understand it better, let us again compare it to chess.

Chess was the game of the zamindars, and kings, as is evident from the beautiful antique chess boards scattered across our museums. There are boards made with stone, beautifully crafted wood, marble, jade, silver and numerous other unique and exquisitely designed pieces. This enabled the game to survive and flourish even today.

Aadu Puli Aatam, on the other hand, is a game of peasants. It is found scratched on the floors of temples and monuments, where the common folk go to gather and sometimes play a game. Often merely drawn on the ground with a stick or a piece of chalk, it is a fleeting board that vanishes when the game is over. Its oral tradition of rules and impermanent bards resulted in it losing popularity and slowly disappearing from the cobwebs of our memories.

The chess game was meant to teach battle strategy, and often, a player would sacrifice a piece to strengthen his game. In contrast, the game of Aadu Puli Aatam is a community model meant to teach people about life and community because for the goats to be able to defeat the tiger, every goat needs to be protected. Losing even one goat weakens the goats’ position.

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In chess, as in the minds of kings and leaders, the good of all is more critical than the individual's good.

In Aadu Puli Aatam, on the other hand, every community member must survive for the player to win and for the community to prosper. Neither philosophy is wrong. They are just two aspects: a community model and a leadership model. There are many lessons we can learn from this.

The concepts of Aadu Puli Aatam are not just about teamwork, as is evidenced in numerous stories we read, where the weak come together to fight against the strong. Aadu Puli Aatam is a lot more. It is about ensuring that each goat flourishes for the community to thrive—an important lesson, perhaps, in today's times.

This strategy game is terrific for building our strategic thinking, planning, and concentration.

Interestingly, there is evidence that Srinivasa Ramanujam, the great Indian Mathematician, played this game with his mother. Our traditional games are vibrant, exciting and fun. They also hold valuable lessons for us, if only we choose to learn.

Kreeda games are created keeping tradition and sustainability in mind.

Manufactured to be environment friendly, the game materials use naturally available materials and avoid plastics.

Read the article on games of alignment Here R . ead the Article on games of chance here.

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Join us as we Celebrate the Sights, Sounds & Stories of India

Send us your article excerpt / idea for consideration for our next edition at

editor.tarang@gmail.com Ideas should reach us by 30th April

KALARIPAYATTU: a Martial Heritage

An indigenous martial system from Kerala where "body become all eyes"

By: Dilna B. Sreedhar ©Belraj Soni, photography: Dilna Sreedhar

The Test of Time Quoting the philosopher Graham Harman ‘There is no such thing as transport without transformation’. Throughout the history of human evolution, we carried over valuable information and knowledge in our journey forward and dismissed those which were not aiding the growth and which could not be incorporated efficiently. Along these lines, we lost many perceptions, and we gained as many. Finding a balance between expanding the knowledge and holding on to the ancient wisdom shaped the human race into the most prominent species walking on the earth. Accessions to existing knowledge made humans invincible. Have you ever wondered how a 3000-year-old martial arts system transcended the test of time? Though it's not apparent how the warfare tactics and weaponry techniques are relevant in the current times, the technical knowledge of the human body, self-defence and healing are in a way complete in Kalaripayattu. This makes it an ever-evolving holistic art form that is still practiced extensively and gaining popularity as more and more people are exploring it.

©Belraj Soni, photography: Mr. Rajan Kuttur

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A HOLISTIC APPROACH Kalaripayattu is an ancient martial cum physical culture practiced in the southern part of India, indigenous to Kerala. The word Kalaripayattu is a combination of two lexicons; Kalari-The practice space and Payattu- the action involved in the practice. According to some historians, the precursor of Kalaripayattu traces to the martial heritage of the great Dravidian culture of Sangam period. The techniques of martial arts are believed to be flourished during the years of battles fought between the three crowned kingsChola, Chera, and Pandya. The Purananuru and Akananuru poems of the Sangam era mention hero workshop (Veerakkal worship), Kalari, and the ancient war goddess Kottavai.

The traditional martial arts have armed and unarmed techniques, with varied applications in combat sports, self-defense, choreography and demonstration forms, physical fitness, meditation, and medicinal practices.

Kalaripayattu aims at the physical, emotional, and spiritual development and well-being of the practitioner working at the micro and macro levels in unison, developing an exceptional level of awareness.

Kalaripayattu is highly ritualistic- there are rituals in everything- construction of the Kalari, entry

©Belraj Soni

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into the space, initiation, moving to higher levels of training, exchanges before a duel practice, ending a practice, and exiting the space (kalari). All these involve elaborate rituals which could be, in fact, designed to avoid fighting itself.

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One cannot talk about Kalari without briefly mentioning the sanctum sanctorum, the central and fundamental assumption in kalari, which is considered as a combination and balance of feminine (Shakti) and masculine (Shiva) energies called as Poothara.

©Belraj Soni Kalari is constructed according to the Vasthu (the architecture science of Kerala) and has divine installations of guardian deities on its corners and has a sanctum sanctorum. Based on the construction, there are Kuzhi (7 feet deep pit), kalaris, and Nilam (ground) kalaris. One cannot talk about Kalari without mentioning the sanctum sanctorum, the central and fundamental assumption in kalari. A combination and balance of feminine (Shakti) and masculine (Shiva) energies is called as Poothara. You can find this balance in the movements practiced as well. Poothara is a sevenstepped structure representing the seven divine mother goddesses (Sapthamathrukkal), Brahmani, Vaishnavi, Maheswari, Koumari, Varahi, Indrani, and Chamundi. Every formal salutation is intended towards Poothara and Guruthara (a platform representing the Adiguru and the lineage of Gurus).

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THE ROOTS Training starts at an early age of seven, but martial applications are taught much later.

The system works according to the principles rooted in the ancient wisdom of healing, movement, and worship. The movements are executed according to the rhythmic oral commands (Vaythari) given by the Gurukkal. Vaytharis are the technical codifications that are in the Malayalam language. They may not make sense to non-practitioners and are best understood through demonstration. Similar to how a yoga practitioner follows and coordinates postures and movements with their breathing, a Kalaripayattu practitioner follows and coordinates their body and mind with the Vaythari came forth by the Gurukkal. A medicated oil is applied throughout the body, and a 5-8 feet long cotton cloth called Kacha is tied around the waist during the practice to support the spine, hip, internal organs, and naval area.

©Belraj Soni

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©Belraj Soni

The graceful and fluidic movements executed with lightning speed and precision later manifest into deadly blows, kicks and jumps.

The tying of Kacha itself has peculiar movements and steps associated with it. Thus a student learns to stand, sit, walk, jump and leap to gain complete control over the body, developing flexibility, strength, stamina, balance, and agility. More than a fighting system, Kalaripayattu involves a detailed understanding of the human body. A practitioner masters self by understanding what all can be accomplished and executed using the body as a medium. Moving/fighting and healing exist naturally in combination here.

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SAMPRADAYAS What makes the art immensely rich is its many variations through various sampradayas (techniques/styles), where each style has its own techniques and philosophy culminating to that one common point. Exploring each different style can be extensive, but still, it cannot be unmentioned. Geographically, Kalaripayattu can be broadly classified into Thekkan (Southern), Vadakkan (Northern), and Madhya Kerala (central) systems. Within these systems, there are a lot many technical variations like Arappakai, Vattenthirippu, Pillathangi, Odimurisheri, Dronamballi, etc. These sampradayas differ in the basic body positions, use of limbs and weapons, and verbal commands used. For example, in Arappakai, the body control exercise (Meypayattu) is mainly done raising legs in multiple directions, whereas in Pillathangi, a grounded long stance is

©Belraj Soni

A practitioner masters self by understanding what all can be accomplished and executed by using body as a medium. assumed for moving in different directions using hands to aid the movement. Vattenthirippu primarily uses flips and rotations, which also has Kolkali (a dance form with sticks) as a part of it.

A few of these techniques are on the brim of extinction, and many of them have imbibed into each other through the course of time and life.

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extensive training Physical training in Kalaripayattu happens through different levels. It starts with body conditioning (Angasadhukathvam), Meythari (body control exercises), Kolthari (wooden weapons), Angathari (metal weapons), Verum kai (bare hand techniques), and Marma (vital points in the body). Among these, Meythari (mey refers to the body and thari refers to system/practice) comprises body control exercises with unique movement techniques and vocabularies. After the initial body conditioning, a student moves to Meypayattu/Meythari/Meyyirakkam. Meypayattu consists of prechoreographed movement sequences (12-18 sequences) that are considered to be complete in itself codified based on the ancient knowledge of the human body. The body is considered as a single unit here. This level is unique to Kalaripayattu, wherein no other martial system has such an approach to physical training.

In this vigorous level of training, movements are practiced keeping the spine's integrity, following the verbal commands from the Gurukkal, through various stances and postures of the wild animals, jumps, bends, turns, kicks, etc. The movements are systematic and scientific, which helps the student gain complete control over his body and achieve higher consciousness.

A practitioner achieves high level of speed and precision in movements, learns to move in a confined space, ...

... building complete awareness of body & space, learns to be grounded yet supple, achieving feather-like lightness in movements...

©Belraj Soni

A practitioner achieves a high level of speed and precision in movements, learns to move in a confined space, building complete awareness of body and space, learns to be grounded yet supple, achieve feather-like lightness in movements and gain control over the body in all respects through years of constant and repeated practice. Once your body is under your control, you are ready to control a weapon and use it as an extension of your body but not separate from you. The students receive annual body massages (uzhichil) from the Gurukkal to aid their practice and to address any wear and tear.

©Belraj Soni

MEY KANNAKUKA The body conditioning and meythari of Kalarippayattu have influenced other performing and ritualistic art forms of Kerala. Kathakali, Theyyam, Thirakali, Poorakali, Kolkali, and many other performing arts of Kerala either use the regime for their body conditioning and massage or have many weaponry, movements, and techniques inspired by Kalaripayattu. Kalaripayattu is more than a martial art; it helps refine body movements and expressions, build awareness of body and space and explore different dimensions of your body.

The doctrine of Kalaripayattu itself is mey kannakuka- body becomes all eyes.

©Belraj Soni

The doctrine of Kalaripayattu itself is mey kannakukabody becomes all eyes.

Kalaripayattu can be a way of life, a pathway to find answers about self.

Northern Ballads (vadakkan pattukal) of Kerala have songs on Kalaripayattu warrior heroes of the medieval period, which are sung and performed on various occasions.

Kalari Gurukkal is not only a practitioner of martial arts and alternate medicine but an auspicious figure in society who is a commencer of vidya. Basically, Kalaripayattu, Kalari, and Gurukkal have an important role in the social and cultural lives of Kerala even today.

©Belraj Soni

It's refreshing to see how the modern world is embracing Kalaripayattu as a physical practice regime. Efforts of many great Gurus to keep this art alive and authentic during and after the British ban cannot be forgotten.

Its immense richness and vast variations are always a topic of discussion in the community. Though the art forms are mostly carried forward on the shoulders of male practitioners, there are many women practitioners and celebrated warriors. Kalaripayattu has a lot to offer to the world of health and movement. It has transcended the test of time and will continue to do so. ©Belraj Soni

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Belraj Soni is a differently accomplished and talented artist/performer/facilitator of Kalaripayattu for more than 37 years.

He has undergone rigorous training in this art from Vallabhatta Kalari Sangham, Chavakkad. under the guidance of Padma Shri Guru C. S. Menon and and had Advanced Kalaripayattu Training in Kalari body massage at Vallabhatta Kalari Academy, Malapuram from Late C. Viswanathan Gurukkal. Currently he is Kalaripayattu instructor at Somaiya Vidyavihar University Vidyavihar, Mumbai. He is the director of India's one for finest and foremost non-profit cultural organisation, Navaneetham Cultural Trust.

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Art

History

Culture

Passionate, diverse and experienced Indians write about these subjects to bring a smile to your face.

Let's keep the smile growing.

Share your email here to not miss the future editions.

Kaapi to Kahwa Tracing India’s Favourite Local Beverage The Nizamuddin Express quietly pulled into the station and came to a jerky stop. Desperately in need of a morning fix, I peered outside the window and before long spotted a scrawny boy with cups in one hand and a large kettle in the other. Hailing him closer, I asked him to pour out two hot cups while I pulled out the money. I took the clay cups and handed one over to my neighbour, whom I had gotten acquainted with during the train journey. Having paid off the boy, we savoured the tea, sip by sip as the train started on its merry way again. Our shared love for the cup bonded us, strangers, further.

As vast as India is, so is its choice for the favourite drink. Here we present a selection of beverages from the length and breadth of our land. I am sure you will find them flavourful, aromatic and rich. Give them a sip, relax and soak in the beauty of our diversity.

By Venu Dorairaj

Wah Taj!

chai

The ubiquitous cuppa is popular across the country - North to South, East to West. A steaming hot cup of the milk tea literally powers the nation. From meetings to marriages, they are served in unlimited quantities to get the conversations going.

Read about the variants of the Chai here

Jigarthanda

Sip them as you eat your samosas or have them during your long charcha with friends. From humble platforms to five-star lounges, they make their presence felt. Next time you are somewhere near a railway station, go for an extra serving of it from the Kulhad! The earthiness adds to the heavenly taste.

The Quirky & Cool

Some like it hot; some like it cold. Some like it differently still. Jigarthanda is a unique mix of milk, almond gum, sarsaparilla root syrup, sugar or Palkova and a dollop of your favourite Ice cream.

If you find yourself in the temple town of Madurai, Tamil Nadu and are looking to do something, head over to the nearest shop and ask them for a serving of Jigarthanda and watch the magic happen. The perfect antidote for the summer heat, Jigarthanda is a local enigma that's sure to cool you down.

Here's a recipe for you to try

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filtered YET pure

Kaapi

You cannot find more hard-core fans than those that swear by the Kaapi, the Southerner's name for Coffee made in the traditional way using a Filter. The brown concoction comes blended with an extra dose of divinity.

Read more about the glory of Kaapi

Lassi

Walk into any roadside shop and order a cup of fresh brew, and you can feel the vitality and energy flowing into your veins directly. No meal is complete without a cup of this elixir for the true connoisseur. For experiencing the authentic way of drinking the kaapi, ensure you go for a place where it is delivered in a shining tumbler - that sight of it further elevates the experience.

wholesome & mighty

The main course after the main course - that is the Lassi for you.

The quintessential Punjabi platter comes with a big serving of the Lassi to the delight of every well-fed gastronome. And how can anyone say no to this?

Salt it or Sugar it, the lassi is going to fill you up with joy and happiness along with a complete sense of contentment. Healthy and wholesome, the Lassi is not for the fainthearted. Depending on how much you can take, it can make a meal by itself, or it can just be an accompaniment. There are enticing varieties like Mango Lassi, ensuring that one can never say no to this great drink.

Can't wait to try? Click here for recipes

spiced & soulful

KAHWA

Heavenly, the Kahwa takes the taste and aroma of the tea to another level with flavourful spices and nuts such as saffron, almonds, safflower, dried apricot mixed in.

More than the Elaichi Tea or the Masala Tea, the Kahwah makes every day delightful and dreamy.

When in Kashmir or wherever you can find it, drink the Kahwa! It may be just what you need to find that muchrequired calmness and serenity that we so badly need to remain sane and centred in the modern-day Mouth watering?

Here's something you can try

Few things bring us as much joy and togetherness as does sharing a cup of one's favourite brew with friends and loved ones. As someone who has enjoyed exploring India - thanks to the generous travel policy extended by the Government to my father and our vast rail network to chug you along to the remotest corners of our country - these are some of the local favourites that I was able to sip, soak in and feel the vibes.

What's your favourite?

remembering the artisans w

who crafted our heritage

Kaavad

Travelling Story-boxes of Rajasthan

Image Source: D'Source, IIT Bombay

By: Ramya Mudumba

THE STORY A 400-year old craft of story-telling, the kaavad is a lesser-known art form that comes from the heart of Rajasthan. The tradition of story-telling is ancient and has been something common across cultures and across different timelines, prevalent even now. What’s unique about kaavad that once captivated people so much?

Kaavads are traveling wooden temples with several doors nested within one another, orderly hand-painted with stories usually taken from Indian Mythology. These grand pieces traditionally were taken around by kaavadiya bhats(from Marwar), people who used to recite stories by opening the kaavad intricately scene after scene.

Image source: Gaatha

Image source: Nina Sabnani

THE KAAVAD COMMUNITY Kaavad brings together skillful carpenters (Suthar community of Bassi) and artists, and their intersection transforms pieces of wood into an exquisite story-telling device.

Mango/Semal/Sheesham wood is commonly used to make them.

Kaavads differ in size; the larger ones consist of 12-16 wooden panels nested within one another with the help of metal hinges and pivots made of wood.

Kaavads are traditionally painted with red as the base color and taken from one place to another wrapped in a white/yellow cloth.

Image source: D'Source, IIT Bombay

Image source: D'Source, IIT Bombay

Suthar community of carpenters believes that they are children of Viswakarma who, according to Hindu lore, is a divine architect of the universe and also came to be known as the God of craftmanship. Kaavad brought together different communities of carpenters, painters, patrons, and storytellers in Rajasthan and gave them a cultural and professional identity for many years, even now. It’s a shame that this art form is dying in this fast-paced, digital world, and kaavad is becoming an art piece in the showcase.

Image source: D'Source, IIT Bombay

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Contemporarily, kaavad has become more of a decorative piece, a souvenir for tourists with reducing appeal and patrons slimming in numbers. Some people like Nina Sabnani, Ishan Khosla, etc., are researching and giving a contemporary twist to this ancient art form.

Want to know more about Kaavads? Read here: 1, 2

BHARAT BYTES A quaint town 170km away from Jaipur called Mandawa showcases intricate murals and painted havelis from traderoute times.

The second-largest wall in the world (38km long) belongs to the magnificent Kumbhalgarh Fort in the Aravalli Hills where Maharana Pratap was born.

It is also a UNESCO World Heritage Site.

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Mural of Avalokiteśvara/Padmapani in Ajanta Caves, from 5th Century. In Buddhism, Avalokiteśvara is a bodhisattva who embodies the compassion of all Buddhas. He has 108 avatars; one notable avatar being Padmapāṇi, the one who holds the lotus (padma). Source: Wikipedia.

INDIAN COLOURS FROM MURALS TO THE CANVAS An illustration tracing the evolution of Indian Painting.

By Dr. TLN Swamy

Pictures attract more attention than scriptures.

Pictures communicate with everyone alike, with evil and with good, with someone stupid and with a genius.

Pictures have been the primary mode of expression of feelings, transfer of knowledge, tradition and culture across communities around the primitive world, way before script and writing came into existence. Painting pictures has been in practice since the prehistoric times of humanity. Starting from the walls of the caves dwelled by vagabonds, storming into the murals of the prayer halls and palace walls, before settling on the canvases in the community dwellings the passage of painting has been an ever-evolving voyage.

EARLY ROCK PAINTINGS Painting in India dates back to the early rock paintings of ‘Bhimbekta’ rock shelters of central India about ten thousand years ago, depicting the human evolution from hunter-gatherers to agricultural settlers. As the community settlements brought about spiritual thinking and introspection, their artistic expression took the form of murals.

Between the 2nd century BC till 10th century AD, Murals were found in many locations around India, mainly in caves and rock settlements such as Ajanta caves, Bagh, Armamalai caves, Ramgarh, etc. They mostly depicted mythological themes of Buddhist, Jain A man being hunted by a horned boar. Cave painting at Bhimbetka. and Hindu religions.

Image by Bernard Gagnon. Original here.

The first masterpieces started unveiling in the form of Ajanta cave paintings showcasing the Buddhist religion’s art at its highest esteem around the 2nd century BCE and then around the 5th century CE. These caves a UNESCO World Heritage Site are situated in Aurangabad district of Maharashtra and consist of about 30 Rock-cut cave monasteries that were inhabited by Buddhist monks. The paintings artistically depict the past lives and rebirth of Buddha called jataka tales, serving as the finest examples of the masterly art of ancient Indian wall painting.

Though the caves were a prominent centre of activity for Buddhist tourists for more than a millennium they got engulfed by the jungle until they were accidentally discovered by a British colonial officer John Smith who went hunting for a tiger in the area in 1819.

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The Ajanta paintings represent the great glory of the Indian painters’ skills of Shatavahana and Gupta regimes. They were painted on a dry plaster surface colourfully showcasing large scenes with uncompromising beauty and naturalistic style.

As literature started flourishing, many treatises on painting were written, some as part of a larger holistic text of art, like the chapters of ‘Chitra sutras’ in Vishnudharmottara Purana. An exclusive classic on painting was written around the 5th century called ‘Chitra Lakshana,’ making it the oldest text on Indian painting.

MURALS TO MINIATURES From the mural marvels of the caves, Indian paintings moved into miniatures that were often found as illustrations in Jain manuscripts. The earliest miniatures can be seen in the Jainist texts from around the 11th century. By the 15th-century, miniatures could be seen in Hindu scriptures too, illustrating their content and the artform was widely practiced all over India.

Painting of a Bodhisatva in Bagh Caves. Bagh Caves are a group of nine rock-cut monuments in Central India, believed to have been built during the 5-7th century. Original here.

During his return after his exile from Persia, Humayun, the Mughal king, brought in painters who introduced the Persian touch to the Indian style of paintings. As the Mughal era established all over India, so did its art and culture, influencing various existing local painting styles such as the Pahari, Rajput and Deccan styles. This trend seems to have ended during the reign of Aurangazeb, who disapproved and disbanded many cultural art forms, including painting during the 17th century as part of Islamic conservatism.

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Miniature showing Mahavira, Founder of the Jain religion, preaching to the Universe from a Prakrit manuscript dating from 1503. Original here.

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Along with the Mughal painting style, many regional Indian styles flourished across India simultaneously imposing subtle influences upon each other coexisting styles during the 15th to 19 century. Notable painting styles include:

DECCAN PAINTING

Pahari PAINTING

The Deccan painting, which is more of an

Pahari painting flourished around Himalayan India

extension of Mughal painting style, evolved

predominantly distributed into the Jammu Dogra

into its unique form by incorporating

school and the Basohli Kangra school with stark

characteristics like brilliance in colours and

variations in the forms and portrayal between them,

sophistication in composition. Ragamala

the bold and intense Dogra style and the delicate

paintings evoking the moods of various

lyrical Kangra style.

musical ragas appear to have been innovated from the Deccan style.

In this Pahari painting, Sudama bows at the glimpse of Krishna's golden palace in Dwarka. ca 1775-1790.

Original here.

RAJPUT PAINTING Rajput painting from the Marwar and Malwa regions have developed their unique style of depicting the corporal features of figures such as portraying the Emperor Jahangir visiting the ascetic Jadrup, c. 1616–20. Original here. Painted

by Govardhan (fl. 1595–1640)[1] a noted Hindu Indian painter of the Mughal school of painting.

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eyes and hips larger than real. Persian influences can be found in the usage of gold foils and imported dyes like ultramarine blue. The themes were centred around events from the Hindu epics.

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Mysore PAINTING Mysore paintings are probably the most elegant of all the Indian painting styles from Mysore in South India, which developed its unique method of painting on a gesso pasted paper on a wooden platform and using gold foil protruded application of colours bringing about the raised effect of carving.

Tanjore painting Tanjore painting is another important form of classical South Indian painting from Tanjore of Tamil Nadu. It has its origins as early as 9th century Chola rule depicting Hindu mythological events and images.

Tanjore paintings are famed for their beauty, with bright colours applied over a pasted cloth over a wooden base and making use of many decorative materials like gold foils and semi-precious stones. Thus they are much sought after souvenirs amongst the connoisseurs of painting.

THE PATTACHITRA

19th Century Mysore Painting of Goddess Saraswati by Durgada Krishnappa.

Original here.

Pattachitra means paintings on cloth. Originated in and traditional to West Bengal and Odisha of eastern India, the images primarily imagine Hindu Gods popular to the region, such as Kali and Krishna. The painters painstakingly prepare their own dyes using indigenous materials and natural ingredients. Even the painting brushes are prepared using the hairs of domestic animals tied to the end of a bamboo stick.

It is astonishing to find the astounding effect they bring about in their end products using such primitive age-old techniques.

A Paatachitra, depicting a parade of Lord Ganesha. Original here.

MADHUBANI, KALAMKARI, NIRMAL Madhubani painting is another painting style from the region of Bihar characterized by ostentatious decorations of ornaments and flowers depicting Indian mythology. Many more such regional styles evolved all around India, picturizing the local practices and culture in their unique manner according to the availability and accessibility of materials and techniques as exemplified in the ‘Kalamkari’ painting on cloth and ‘Nirmal’ paintings of the Telugu region.

THE COMPANY STYLE By the 18th century, with the advent of British rule, a new era of ‘Company’ painting style started taking roots. The style still maintained traditional Indian elements from Rajput and Mughal paintings in the ways people were depicted while following modern Western trends emphasizing the realistic picturization of lifelike images importing equal importance to nature and other non-human life forms in the background. These paintings were usually commissioned by the British colonial officers and Royal patrons of princely states of India, mainly comprising their portraits, family pictures, and capturing festivities on canvas or paper.

THE MENACE OF MODERNISM By the 20th century, modernism crept into Indian art, getting caught in the storm of modern art movements sweeping through the western world and the European masters, making its initial realism paving the way for surrealism. Let’s catch up with the transformation of trends in contemporary Indian art starting from the classical times of the Raja Ravivarmas to the modern eras of the MF Hussains in the next edition…

BHARAT BYTES

Located 45 kilometres southeast of Bhopal, Madhya Pradesh, Bhimbetka rock shelters is an enrapturing site in central India.

Exhibiting the earliest traces of human life in India and evidence of the Stone Age, the site consists of seven hills and over 750 rock shelters spread over 10 km. Some of the shelters had been inhabited more than 100,000 years ago. Providing a rare glimpse into early Indian settlements and cultural evolution from hunter-gatherers to agriculture, this UNESCO World Heritage

A rock shelter cave at Bhimbetka. Source: Solarisgirl.

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site will leave visitors mesmerized.

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The

Miracle of Music a personal experience

By Dr. Ram S Sriram

"Music is the harmony of the universe in a microcosm, for this harmony is life itself. In man, a microcosm of the universe, chords, and discords are found in his pulse, heartbeat, and vibration of his rhythm and tone. His health or sickness, joy or displeasure, shows whether his life has music or not."

Hazrat Inayat Khan, Sufi Poet and Scholar.

MUSIC AND HEALING In recent years, physiologists and medical researchers have been focusing more intently on the healing powers of music systems. Closer home, medical and musical experts have pondered over the effect of certain Carnatic ragas on patients' physical and mental health.

Researchers have identified that listening to or performing complex music has shown a significant impact on the physiological and psychological attributes of the participant. These positive changes in one's physiology, in turn, also appear to help patients recover from physical or mental ailments. In his book 'Music and the Mind,'' the renowned neuro-physician Dr. Oliver Sacks says, "The power of music is very remarkable. For example, one sees Parkinsonian patients unable to walk but can dance perfectly well or patients almost unable to talk, who can sing perfectly well"."

Music therapy researchers have found that patients suffering from depression become less depressed, more relaxed, rested, and helped develop motor skills. Findings also claim that music therapy helps patients impaired by strokes or seizures to articulate their feelings and emotions better; patients seem to overcome subliminal fears or negative feelings. For patients who are proficient in music, it seems to help them with articulation, rhythm, and breath control.

Specifically, in the case of stroke victims or intellectually impaired patients, musical lyrics help them organize the lyrics, remember them, and coordinate them.

While the ability of Indian classical music to engage us with its powerful ragas and lyrics is unquestionable, what about its power to heal?

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A Personal Story This is the story about my father, Mr. Srinivasan, a learned musician, who, after suffering a cerebral seizure, lost some of his mental faculties; for example, after the seizure, he was no longer able to coherently speak, remember the names of people he knew well, even the name of his wife to whom he was married for over fifty years, or communicate basic needs such as, I am thirsty.

Mr. Srinivasan was a disciple of a Sangeetha Kalanidhi Sri G N Balasubramaniam. Although he did not choose music as a profession, Mr. Srinivasan was a concert performer and an artist who performed for the AIR and the Doordarshan for several decades.

The year is 2000; my mother called me from India and informed me that my father, Mr. Sreenivasan, recently had a cerebral seizure. He was discharged from the hospital a couple of days ago since the doctors believed there was not much to improve his condition. I rushed to Chennai to be with him. The following day when I entered his bedroom. I noticed that he was sitting on the bed, staring at the roof with a blank look. He showed no signs of even recognizing me; he appeared lost. That is not the father I had known in my life; he was always very cheerful and pleasant. It was heartbreaking to see him in that condition.

I silently sat next to his cot, holding his hand. Fifteen minutes later, Vani, a well-known vocalist (name changed to protect her privacy), whom my father had known since her childhood, walked in. Once again, my father showed no signs of recognizing her. Finally, after about ten minutes of agonizing silence in the room, Vani felt she should change the cheerless mood. She said, “Uncle, may I request you to sing a few of your favourite krithis (songs), please? If you prefer, I can join you in singing". Vani assumed that encouraging him to sing might release him from the mental shell he appeared to be locked in. My father, however, just sat staring at her without any response.

After more wait and unbearable silence, Vani decided to start singing even if Mr. Srinivasan would not. While Vani was singing, my father, as before, was sitting impassively. Seeing him, we could not even discern whether he listened to the music. But, after Vani had sung a few songs, Mr. Srinivasan started to clear his throat as if he was about to sing. Then, with his eyes closed and impervious to the presence of anyone in the room, Mr. Srinivasan began to sing. Once he started singing, he did not stop and continued singing for thirty to forty minutes. His pitch was perfect; he did not miss a note, did not forget the lyrics, and flawlessly brought out the bhava or the emotions associated with each Kriti. Finally, after singing several songs, he stopped and lay down because he was physically tired.

It is baffling how someone who appeared mentally lost just a few minutes ago suddenly displayed such energy and spirit? How could Mr. Srinivasan, who could not even recollect the

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name of his wife of fifty years, recall the lyrics of several compositions with absolute ease? The incident illustrates the power of music and how the music could, inexplicably and subliminally, influence an individual's physiological and psychological (and perhaps, even a spiritual) realm.

Of course, I am not claiming that the phenomenon Vani and I observed was a miracle. But it does defy logic and rational explanations.

While I am cautious not to interpret the event as proof, it does seem to bring greater credence to some of the research findings relating to the powers of music to heal, even if they may sound impossible to the rational mind in all of us. There is no doubt that Carnatic Music, Indian Classical Music in general, gives a deeper purpose and connection to those who could appreciate the music or even perform. Perhaps its power to heal the body and the mind is much greater than what we are aware of. Maybe we should keep an open mind, and an open ear, to the healing powers of this music that we have come to inherit.

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Articles in Read about Ancient Indian

Read about Temple of

Education System here.

Music here.

are curated with love to spread the warmth of our civilization and culture that has stood the test of time.

We are sure they will leave you inspired, intrigued and interested for more.

Read about an Indian painter

Read the musings of a

painting his silence on the

World-class Odissi

canvas here.

dancer here.

Discover your Indian'ness' through the silence that reading offers.

Read our interview with the beloved author and social activist Mrs. Sudha Murty here.

The End? Not really...

As we leave you for another quarter before we return to fill the Tarang-shaped hole in your heart, how about you keep the celebration spirit going meanwhile?

While we drum up and design our exciting next edition, you can check out our Reddit page, aptly titled CelebratingIndia. where we compile and curate articles from across the internet that are similar to what we feel at Tarang. They shine, sparkle, soothe and surprise you with facets of India that you may have not known.

Go on, give it a click. We know you will never look back. And till we see you again in June, happy summer and keep the smile on!

r/CelebratingIndia/

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About Us Founded in 2005 by Guru Violin Vasu and friends, the mission of Sanskriti Foundation is to promote Indian art, culture, and values by conducting trainings, workshops and an annual Tyagaraja Aradhana music festival. Foundation members benefit from meeting like minded people, attending cultural seminars and attending bi-monthly concerts.

If you would like to learn more and become a member, you can reach us here: http://www.sanskritifoundation.in.

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Editorial Team Ramya Mudumba Satyameet Singh Venu Dorairaj Dr. TLN Swamy (Advisor) Dr. DVK Vasudevan (Advisor)

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