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History and Fundamentals of Tantra

Like the Veda, Tantra was primarily the way or means to understand the mysteries of life and universe, somewhat akin to the old Pythagorean concept of “philosophy” which was “contemplation, study and knowledge of nature” (See Bhattacharyya 1). The scope of Tantra is wider than that of Agama as Tantra is varied in character and deals with as many as twenty-five subjects, such as Brahman, The Chakras, Karma, Yoga and the principles of creation [(Basu, 1-2). The term Agama covers only seven of the said twenty-five subjects, especially the revelation side of knowledge]. “Tantra” is derived from the root tan, to spread (Sastri 2). Etymological interpretations of the word Tantra, as found in the ancient texts, clearly and conclusively point out that originally, the term Tantra had no special religious or metaphysical significance (See Bhattacharyya 1). In the Vedic texts the word Tantra occurs in the sense of a loom [Rgveda; X.71.9; Artharveda, X.7.42; Taittiriya Brahmana, II.5.5.3. Panini derived the word tantraka (V.2.70), meaning a cloth taken away from the loom, from Tantra]. Tantra nowadays comes to mean the way of realizing the true nature of Brahman, and is conceived as a moksa-sastra [(Bhattacharyya. 14) Moksa-sastra meaning a scripture meant for liberation from worldly fetters. Not only the followers of Tantra, but those of other quasi-materialistic systems as well-like the Jains, the Sankhyas, the Mimamsakas, the Nyaya-Vaisesikas, etc., which came more or less close to a mechanistic conception of nature-could not free themselves from the influence of this concept of moksa]. It is not known precisely when Tantra originated. It is given the status as sruti in some works and is stated by Harita in Kallukabhatta’s commentary on Manu [(Sastri 7) Srutisca dvividha prokta vaidiki tantriki tatha. Manu (ii. I)]. Tantric concepts can be compared to the Chinese principles of Yin and Yang, symbolizing the positive and negative forces. In the 19th century Western scholars of Indian religious systems regarded Tantra as a degraded form of Hinduism which consisted of the most barbarous, repulsive, and obnoxious elements [H.H. Wilson, Essays and Lectures on the Religion of the Hindus, London 1862, Vol. I, pp. 248-257; M. Monier-Williams, Indian Wisdom, London 1875, pp. 501ff; Brahmanism and Buddhism, London 1891, pp. 191 ff; E.W. Hopkins, Religions of India, Boston 1885, pp 489-492; etc. The use of animal food and spirituous liquors, indulged to in excess, is the rule of these strange ceremonies, in which Sakti is worshipped in the person of a naked woman, and the proceedings terminate with the carnal copulation of the initiated, each couple representing Siva and Devi, and becoming thus for the moment identified with them].

We do not know whether Tantra was imported into India or exported from India to other countries. Tantric influence is clear far beyond the limits of India. China and Tibet are the two most prominent places beyond India which reveal the influence of Tantra. Several Sanskrit Tantras are preserved only in Chinese and Tibetan translations, the original works being lost. Evidences are available that Tantric philosophers and scholars from India visited China and Tibet (See Sastri 67). When considering foreign influence of Tantra, it deserves notice that, according to the Sammoha-tantra, goddess Nila-Sarasvati was worshipped at a place supposed to have been included in Mongolia (See Sastri 77). In Bengal and Orissa, especially, Tantrism exerted a tremendous influence on Vaisnava ideas and practices. The Tantric goddess, Ekanamsa, was able to find her way into the Vaisnava religion as the consort of Krsna. Her image between Krsna and Balarama can be seen in the sanctum of the Ananta-Vasudeva temple at Bhuvaneswar (See Bhattacharyya 253). The origin and development of the Tantras as a special class of literature and as a special mode of sadhana are ultimately connected with the rise of Saivism, and the Pancaratra, the ancient Samkhya-Yoga supplying them with a philosophical background (See Basu 55). The Tantric practice of the offering of blood and flesh by the sadhaka (an aspirant, seeker) out of his own body might have developed from the idea of self-immolation found in sarva-yajna or from the Vedic idea that the sacrificer is to be looked upon as the pasu or animal to be sacrificed (See Sastri 95). Although these Tantric practices cannot be directly traced to the Vedic tradition, they seem to be later developments of some or the other Vedic rites.

Ethically the Tantras are said to be directive principles that help formulate what is good and what is bad in the social context (See Basu 362). So as long as there is a world to live in, and consciousness to know and survive, the Tantras will remain in some form or another. The Tantras believe in the principles of polarity both in its original and derivative forms. (Basu 367) There is a technical term in the Tantras, viz., “sadadhva” which means “six-ways,” and it is said that those who have understood it have realized the secret of the Tantras (Basu 402). The Mother Goddess figurines, scenes on seals and ritual objects, notably large stone lingas, give glimpse of Tantric survivals of magica fertility rites that formed the basis of primitive Tantrism, and of the deities arising out of them (Bhattacharyya 159). The existence of a Male Principle is not inconsistent with the cult of the Female Principle. We find that the Male Principle has some part to play although it is described as “the connotative of static existence and dissociated from Sakti or the Female Principle, and is no better than a corpse [(Bhattacharyya, 159-160)]. According to the Tantric view, the act of creation is due to the union of the Female and Male Principles, the former being the more important functionary (See Bhattacharyya 225). According to the Tantras, there are different grades of consciousness working through the different layers of being. The Tantric concept of unconsciousness covers not only the total range of consciousness but also that which goes beyond the ordinary reach of consciousness (i.e., the super-conscious and the cosmic-conscious) (See Basu 535).

The story related in the pages of numerous Tantric works was supposed to be so repugnant that, excepting a few, “most scholars had condemned them avoided the field of study. These scholars had equated Tantra with the degraded forms of Hinduism supposed to be the legacies of uncivilized aboriginal cultures [Bhattacharyya, 27-29)].

Modern Tantra may be divided into practices based on Hinduism and Buddhism. The form of Hindu Tantra popularly practiced in America is said by Hindu Tantra traditionalists “to represent a mutilated and extremely narrow-minded, sensationalist approach encompassing only a misguided thinking about ‘sacred sexuality,’ with little reference to its true practice” (Sastri 517). In traditional pockets of Tantric practice in India, Tantra has retained its true form. Its variance in practice is seen where many Tantrics are known to frequent cremation grounds in attempts to transcend their worldly attachment to life, while others still perform more unacountable acts. But what is common to them all is the intense secrecy in which their rituals are kept and the almost godlike reverence paid to the Guru, who is seen as the pinnacle of Tantra (See Bhattacharyya 382).

BIBLIOGRAPHY AND FURTHER READINGS

Basu, Manoranjan (1986) Fundamentals Of The Philosophy of Tantras. Calcutta: Mira Basu Publishers.

Bhattacharyya, N.N. (1982) History of the Tantric Religion. New Delhi: Manohar Publications

Sastri, Gaurinath (2002) Rituals and Practices of Tantra: Vol 1 and Vol 2. New Delhi: Cosmo Publications.

Fic, Victor M (1922) The Tantra: Its origins, theories, art, and diffusion from India to Nepal, Tibet, Mongolia, China, Japan and Indonesia. New Delhi: Abhinav Publications.

White, David Gordon (2001) Tantra in Practice. 1st Indian Edition. Delhi: Motilal Banarsidass Publishers

Feuerstein, Georg (1998) Tantra: The Path of Ecstasy. Boston: Shambhala, South Asia Editions

Garrison, Omar V (1964) Tantra: The Yoga of Sex. New York: Julian Press

Related Topics for Further Investigation

Brahman

Sruti

Darma Sastras

Sadhana

Samkhya-Yoga

Sadhaka

Chakras

Yajna

Sakti

Kundalini

Durga

Notable Tantra Related Websites

http://www.asiatica.org/publications/ijts/

http://www.tantra.org/basis.html

http://ccat.sas.upenn.edu/george/mandala.html

Article written by Neil Schultz (April 2006), who is solely responsible for its content.

Related Readings (General Studies on Tantra)

Banerji, S. C. (1992) New Light on Tantra. Calcutta: Puthi Pustak.

_____ (1977) Tantra in Bengal: A Study of Its Origin, Development and Influence. Calcutta: Naya Prokash.

Basu, M. (1986) Fundamentals of the Philosophy of Tantras. Calcutta: Mira Basu.

Bharati, Agehananda (L. Fischer) (1965) The Tantric Tradition. London: Rider and Company.

Bhattacharya, B. (1988) The World of Tantra. New Delhi: Munshiram Mahoharlal.

Bhattacharyya, N. N. (1982) History of the Tantric Religion. Delhi: Manohar.

Bose, D. N. (1956) Tantras: Their Philosophy and Occult Secrets. Calcutta: Oriental Publishing Co.

Chakravarti, C. (1963) Tantras: Studies on Their Religion and Literature. Calcutta: Punthi Pustak.

Chattopadhyaya, S. (1978) Reflections on the Tantras. Delhi: Motilal Banarsidass.

Feuerstein, Georg (1998) Tantra: The Path of Ecstasy. Boston: Shambala

Goudriaan, T., and S. Gupta (1981) Hindu Tantric and Sakta Literature. History of Indian Literature 2, fasc. 2. Wiesbaden: Otto Harrassowitz.

Gunther, H. V. (1976) Yugan??dha: The Tantric View of Life. Reprint. Boulder: Shambala.

Gupta, S., D. J. Hoens, and T. Goudriaan (1979) Hindu Tantrism. Handbuch der Orientalistik. B. Spuler (gen. ed.) Leiden: Brill.

Nagaswamy, R. (1982) Tantric Cult of South India. Delhi: Agam Kala Prakashan.

Strickmann, M. (ed.) (1981) Tantric and Taoist Studies in Honor of R. A. Stein. Brussels: Institut Belge des Hautes ??dudes Chinoises.

Urban, Hugh B. (2003) Tantra: Sex, Secrecy, Politics, and Power in the Study of Religion. Berkeley: University of California Press.

White, David Gordon (ed.) (2000) Tantra in Practice. Princeton: Princeton University Press.

_____ (2003) Kiss of the Yogini. Chicago: University of Chicago Press.

Woodroffe, John (Arthur Avalon) (1960) Principles of Tantra. Madras: Ganesh & Co.

_____ (1963) Mahanirvabatantra: The Great Liberation. Madras: Ganesh & Co.

_____ (1963) Introduction to Tantra Sastra. Madras: Ganesh & Co.

Related Readings (On Madhva and Dualism (Dvaita))


Puthiadan, I. (1985) Visnu the Ever Free: A Study of the Madhva Concept of God. Madurai: Dialogue Publications.

Rao, S. S. (trans.) (1936) Vedantasutras with the Commentary of Madhva. Tirupati: Sir Vyasa Press.

Sharma, B. N. K. (1960-61) A History of Dvaita School of Vedanta and its Literature, 2 vols. Bombay: Booksellers Publishing Co.

_____ (1961) Madhva’s Teaching in His Own Words. Bombay: Bhavan’s Book University.

_____ (1962) Philosophy of Sri Madhvacarya. Bombay: Bharatiya Vidya Bhavan.

Related Readings (Ramanuja)

Balasubramanian, R. (1978) Some Problems in the Epistemology and Metaphysics of Ramanuja. Madras: University of Madras.

Bharadwaj, Krishna Datta (1958) The Philosophy of Ramanuja. New Delhi: Sir Sankar Lall Charitable Trust Society.

van Buitenen, J. A. B. (1965) Ramanuja on the Bhagavadgita. Delhi: Motilal Banarsidass.

Carman, John B. (1974) The Theology of Ramanuja: An Essay in Interreligious Understanding. New Haven: Yale University Press.

Govindacharya, Alkondavilli (1906) The Life of Ramanuja. Madras: C. N. Press.

Sharma, A. (1978) Visistadvaita Ved??nta: A Study. New Delhi: Heritage Press.

Thibault, George (trans.) (1904) Vedantasutras with Ramanuja’s Commentary. In Sacred Books of the East (SBE), F. Max Müller (gen. ed.), vol 48.

Yamunacarya, M. (1963) Ramanuja’s Teachings in His Own Words. Bombay: Bharatiya Vidya Bhavan.

Related Reading (General Works on Vedanta)

Arapura, J. G. (1986) Hermeneutical Essays on Vedantic Topics. Delhi: Motilal Banarsidass.

Atreya, B. L. (1936) The Philosophy of Yogavasistha. Adyar: Adyar Library.

Bhattacharya, K. C. (1909) Studies in Vedantism. Calcutta: University of Calcutta.

Devanandan, P. D. (1954) The Concept of Maya. Calcutta: YMCA Publishing House.

Granoff, P. (1978) Philosophy and Argument in Late Vedanta. Boston: Reidel.

Radhakrishnan, S. (1961) The Brahmasutra. London: Allen & Unwin.

Bharat Natyam: India’s Classical Dance

Religion in India has influenced many aspects of its culture throughout history. It has played a particularly significant role in shaping the arts in numerous ways. An example of religious inspirations within art can be seen in the dance tradition known as Bharat Natyam. Originally known as Dasi Attam, this dance was performed in temples and royal courts by devadasis. The devadasis were women who received extensive training in the dance form, which began in their youth (Gaston 26-60). This paper will examine Bharat Natyam in practice and theory from its origin as Dasi Attam to contemporary times. It will also explore the devadasi tradition and their roles in society. Finally it will examine the presence and significance of Hindu religious gods and goddesses within Bharat Natyam.

The term Bharat Natyam was introduced by E. Krishna Iyer in the nineteen thirties. Prior to this time, the dance was known as Dasi Attam and was associated with a long-standing tradition of extensively trained female dancers (Devi 49). These were the devadasis. Initially they were servants of the temple who were required to become well versed in Sanskrit and the art of Dasi Attam. Being dedicated or “married” to a temple well before puberty, the women led lives of celibacy and devotion to their religion. The purpose of the dance was to honour the gods and temples. Local kings invited devadasis to dance in royal courts; this gave birth to the rajadasi, a dancer who would perform for the purpose of entertainment (Kersenboom 90-111). As the devadasi surrendered to gods, the rajadasi would surrender to kings. After the eleventh century AD the devadasi tradition disappeared as many temples were invaded and destroyed. The fall of the tradition forced many devadasis into poverty and often prostitution (Gaston 38-44).

The colonial era brought about social movements relating to the devadasis. The Reformists and Abolitionists regarded the tradition as evil and every devadasi as a prostitute. Under the influence of Christian values, these movements urged the abolition of the entire practice. The Revivalists favored the ancient view of the devadasi as a sacred, chaste devotee and set out to revive the dance form of Dasi Attam as Bharat Natyam (Devi 45,58). This revival allowed a girl or woman to practice the art form without necessarily being involved in the historical cultural practices of the devadasi.

The myths of the initial arrival of dance in Indian religion involve the great gods of the cosmos. In one such myth, the ancient gods and goddesses pleaded with Lord Brahma to create a fifth Veda. This Veda would be one that would appeal to the common man. In response Brahma created the Natya Veda. He took words (pathya) from the Rg Veda, communicative movements (abhinaya) from the Yajur Veda, song (Gita) from them Sama Veda and sentiment (rasa) from the Atharva Veda to form the Natya Veda. He then commissioned the sage Bharatha to write it down as the Natya Shastra and perform it to Lord Siva. Bharatha then propagated the dance on earth (Gaston 206-220). From the spreading of the dance on earth, emerged many forms of dance that are still practiced in contemporary India such as, Odissi, Kathak, Kathakali, Kuchipudi, Mohini attam, and Bharat Natyam.

Another proposed mythical origin of the dance involves the Goddess Parvati and her daughter. It is said that Parvati taught the dance to Usha, her daughter with the demon Banasura. Usha then want on to teach the art of dance to the gopikas of the city in which Lord Krsna was born [The gopikas were milkmaids in Hindu mythology. They were young women who were enamored with Krsna and vied for his affection; Krsna often had romantic affairs with the gopikas.]. This version of the legend acknowledges Lord Siva as the Supreme Dancer, the universe being his divine dance. He dances with Parvati and together they teach the other gods and goddesses the art (Kramrisch 78). The heavenly dance gradually passed through into the human world and resulted in the forms of dance practiced in India today. Bharat Natyam, which originated in the Southern Indian State of Tamil Nadu is one such form.

Just as the tradition of the devadasi underwent gradual change, so did the tradition of Bharat Natyam. Originally practiced in temples as a sacred form of devotion it is now a form of entertainment for many in India as well as other parts of the world. Many people study the dance as a hobby and some adopt it as a lifestyle and become professional dancers or teachers. Dancers devote a substantial amount of time studying purpose and theory of Bharat Natyam. There are several fundamental components of the dance that remain unchanged. These components usually include those involving facial and physical movements as well as their purpose. Divine figures such as gods and demons are still present in the dances just as they were in centuries past.

Bharat Natyam encompasses three elements. Nritta are repetitive rhythmical aspects; Natya is the combination of gestures and poses, which forms the dramatic element; Nritya is the combination of the two. Throughout training, a dancer is taught various body movements involving the feet, legs, arms, hands, fingers, torso and neck. They are also taught several facial expressions and dramatic gestures (Bhagyalekshmi 7,8). The combination of all of these elements creates the many traditional dances that one performs. While some dances are performed in devotion to the gods others are stories depicting the gods themselves in which dancers characterize the gods.

The first dance learned by a student is Pushpanjali or Alarippu. These dances are based on pure rhythm. They incorporate movements of each and every body part. Dancers often regard them as efficient warm up dances. Traditionally, they were performed in order to greet the gods in the temples and later on to greet the audiences in recitals. The next dance is known as the Jatiswaram, which involves a complex set of dance steps. The Shabda is a dance that is performed in praise of the Lord Krsna. It is in this dance that Abhinaya or Drama is introduced; the dancer depicts the childhood and adolescence of Krsna. The presence of Krsna is quite significant in the dances along with his relationships with Radha and gopikas of the city. The next two items, Varnam and Padam are pieces involving an abundance of dramatic art. The dances typically employ themes of betrayal, love and heroism. The item that is the main devotional piece to Lord Krsna is the Ashtapadi. The dance is performed in twelve cantons, which contain twenty-four songs sung by Krsna or his lover Radha; the songs are derived from famous poetry compositions. The final two dances are the most complicated with respect to physical movement as well as dramatic ability. They are known as the Devaranama and Tillana. The final traditional piece studied by a student of Bharat Natyam is the Mangala; it involves a salutation to the gods, gurus and the audience (Massey 11-16).

The appearance of divine characters in dance pieces is quite apparent. Many dances depict stories of Krsna, Radha, Rama, Sita, Visnu and Brahma among others. Perhaps one of the most significant figures in Bharat Natyam is Lord Siva. It is said that Siva assumed the form of Nataraja (Lord of the Dance), one of his many images and danced the Tandava. In the legend, Siva noticed that the sages had grown corrupt and indulgent so he set out to humble them. The sages responded violently and vainly attempted to destroy Siva. It was then that he began the Tandava, crushing his challengers beneath his feet. The purpose of his dance was to lift the illusory veil from the sages’ perception (Gaston 134-135, 315-319).

Bharat Natyam can be seen as involving three distinct components that are observable to an audience. These are footwork (adavus), hand gestures (hasthas) and facial gestures (abhinaya). Footwork typically follows a set rhythm that may change several times during a dance (Kothari 52). The musical element of the dance usually rests in the dancers foot movement. Hand gestures are the main feature responsible for the story telling component; the gestures are reinforced with facial expressions, which increases dramatic effect. Each of the twenty-eight hand gestures is representational of characters and events in the mythical stories told in the dance pieces. The gestures may depict animals or elements of nature associated with specific gods such as the tortoise, fish or serpent. Other symbolic gestures include the Siva linga, which is a phallic symbol associated with Siva or the trisula, the trident which is also exemplifies Siva (Kramrisch 36).

Religion inspires many areas of life. From daily schedules to annual celebrations to education and art. Art is an outlet for religious myth to be portrayed to a vast audience. Forms of this art are seen in the dance and drama. Bharat Natyam combines the two in a manner that results in elaborate and intricate pieces if dance that convey religious myth for the purpose of entertainment. This was not always its purpose; as an ancient form of dance known as Dasi Attam, it was an art form that allowed individuals to devote themselves to their religion and values. Regardless of its evolution from temples to royal courts and eventually to theaters, it has remained the oldest extant form of dance in the world today (Gaston 345-350).

REFERENCES

Bhagyalekshmi, S (1992) Approach to Bharat Natyam. Trivandrum: CBH Publications.

Bhavnani, Eakshi (1965) The Dance in India. Bombay: D.B. Taraporevala.

Bose, Mandakranta (1970) Classical Indian Dancing, a Glossary. Calcutta: General Printers and Publishers.

Bowers, Faubion (1953) The Dance in India. New-York: Columbia University Press.

Coomaraswamy, Ananda (1956) The Dance of Shiva. Bombay: Asia Publishing House.

Devi, Ragini (1990) Dance Dialects of India. Delhi: Motilal Banarsidass.

Gaston, Anne-Marie (1996) Bharata Natyam: From Temple to Theater. New

Delhi: Manohar Publishers & Distributers.

Kersenboom, Saskia C (1987) Nityasumangali: Devadasi Tradition in South India. Delhi:

Motilal Banarsidass.

Khokar, Mohan (1979) Traditions of Indian Classical Dance. New Delhi: London Clarion Books.

Krishna, Lalita Rama (2003) Musical Heritage of India.

Kothari, Sunil (1997) Bharat Natyam. Bombay: Marg Publications.

Massey, Reginald and Massey, Jamila (1989) The Dances of India: A General Survey

and Dancers’ Guide. London: Tricolour Books.

Pesch, Ludwig (1999) The Illustrated Companion to South Indian Classical Music.

Delhi: Oxford University Press.

Shulman, D.D. (1980) Tamil Temple Myths. Princeton University Press.

Varapande, M.L. (1983) Religion and Theatre. New Delhi: Abhinav Publications.

Venkataram, Leela and Pasricha, Avinash (2002) Indian Classical Dance: Tradition to

Transition. New Delhi: Lustre Press.

Related Topics for Further Investigations

Devadasi Tradition

Kathak

Kathakali

Mohini Attam

Kuchipudi

Odissi

Manipudi

Indian Folk Dance

Indian Theater

Bhangra

Bihu

Nataraja

Siva in Dance

Krsna in Dance

Noteworthy Websites Related to the Topic

www.nadanam.com

www.bharatnatyam.com

www.nrityagram.org

www.natyarpana.com

www.indoclassical.com

www.sitagita.com

www.culuralindia.net

Article written by Jessica Sita Naidu (April 2006) who is solely responsible for its content.

Birth Rituals in Hinduism

Hindu culture is full of rituals, traditions, and daily routines that seek to enhance and create the best circumstances for an individual while alive. These rituals are very orderly, taking place to move the individual from one stage of life to another. This personal movement, known as samskara, is ultimately to help the individual obtain liberation (moksa), and become free from the birth, death, and re-birth cycle. It is no surprise that birth would have many rituals surrounding it, as parents, extended family, and those involved with a new born would want to provide the best possible conditions for a baby to progress in life and achieve moksa. From the time of pregnancy until the child (if a boy) is ‘born again’ by the performance of the upanayana ritual, people near the new born perform many rituals and rites for the benefit the infant since it is not able to do so for itself. It is the purpose of this paper to describe some of these rituals that are preformed from the beginning of pregnancy until the delivery, as observance to these rituals plays a key part in an individuals life.

Women in Hindu society are complex as they have a duality in their roles. On one hand they are viewed as fertile, compassionate caregivers, yet on the other hand, they can be viewed as hostile, malicious destroyers (Wadley 113).An examination of Hindu women in the context of caregiver shows that along with caring for herself, her primary role is to care for her husband and children; this is why we see such concern surrounding childbearing. When a women suspects she is pregnant, it is not announced immediately, but rather the women leaves it to those around her to notice that, “she has not observed the usual monthly pollution period, is sometimes nauseous, or is widening at the waist”(Jacobson and Wadley 143). Once a women’s pregnancy is known, it is common that her brothers will take her to her parents home for the pregnancy (Tewari 259), however this is not always the case. No matter where the mother is located, she is treated and cared for in a special way to prepare for the coming child. Attention is paid to protect her and her unborn child from coming into contact with evil spirits, even to the point of abstaining from foods that could harm the baby (Jacobson and Wadley 143). The pregnant women, or jacca, is not to be our after dark, is not supposed to walk past pipal, or babul trees (since they are supposed to house evil spirits), and should always keep a piece of iron with her to ward off any spirits (Tewari 258).Upon learing of the pregnancy, one of the first rituals preformed for the jacca is called arathi. Arathi serves the purpose of removing the evil eye, and is similar to a western baby shower, since it primarily centers on the jacca receiving gifts of good fortune, as well as special foods to eat (Dhruvarajan 88).

When the jacca enters into the seventh month of pregnancy, arathi is again preformed, and further attention is given to prepare for the coming of the child. Other rituals such as rit, and kanji may also be preformed, which are very similar in the gift giving nature of arathi. In preparation for the delivery, a special birth-chamber, or sovar, is set up for the jacca and her baby. The sovar is a room that is separate from the rest of the house, preferably without windows, as the delivery should be completely private and away from the public. Much care is taken in the placement of the bed, making sure that it is not placed under the main beam of the house, and that it is not facing south, as these are believed to have a bad effect on the jacca (Stevenson 2).

When the time of delivery has arrives, the jacca enters the birth-chamber accompanied by her midwife (dai), and separates herself from everyone else in the household. This is because labor is a highly polluting experience, so polluting that the jacca is now referred to as a jachcha, or one in “a highly polluted and polluting state, similar to that of the lowest untouchable castes”(Jacobson, 144). Because of the highly polluting nature of delivery, the dai usually lives in a nearby low caste village, and travels to the home of the jacca at the time of delivery (Jacobson and Wadley, 144). If complications arise during delivery, a wide range of action may be taken, from breaking open the mouth of the great grain jar, to putting a lotus flower in water, hoping that as its petals expand, the mouth of the womb will also expand (Stevenson 2). While such traditional methods are preferred, if the jachcha faces complicated problems the dai may turn the pregnancy over to professional medical treatment.

Once the baby has been delivered, attention is given to what time the birth took place, as this will determine an accurate horoscope for the child, which, to a certain extent, will determine when other samskara rituals are preformed. On the day of birth itself, the family Brahmin priest typically holds a small ceremony for the new mother, in which he ritually brews an herbal tea in the company of the women of the extended family (Jacobson and Wadley 146). During the time following the delivery, the mother and child continue to be separated from the rest of the household (as mother and child are still regarded as being in a highly polluted state). It is believed that nine months worth of polluted menstrual blood is discharged at the time of birth, and therefore the mother and child must be purified before the return to the household. The main actions taken during this purification process called sor, are a series of baths and oil massages preformed by the dai, each progressively removing more pollution (Jacobson and Wadley 147). When the mother and child are believed to have been sufficiently cleansed, the dai, “breaks the mother’s old glass bangles…[and] rubs the mother with an ointment of turmeric, wheat flower, oil, and water to cleanse her skin” (Jacobson and Wadley 147). The baby itself is similarly cleansed by being rubbed with a ball of turmeric and dough, and receives an oil message. The mother and child are then changed into clean clothes, with the dirty, polluted clothes and bedding being thrown away. The birth-chamber itself also undergoes a purification by the dai, who “[applies] cow-dung slip to the floor and up onto the base of the walls.”

Upon the completion of sor, the mother and newborn are returned into their household and further rituals are planned, depending largely on the gender of the baby. In the case of a boy being born family and friends are invited to celebrate with the family, however in some instances the birth of a girl has limited celebration, or none at all (Tewari 260). This is based on the fact that a boy is seen as being able to perpetuate the family line and be a provider, where the girl’s role is traditionally less dominant. However while further life rituals are conditional, the birth rituals observed are unconditional as they seek to provide the best conditions for the baby to born into.

References and Further Recommended Reading

Dhruvarajan, V. (1989) Hindu Women and the Power of Ideology. Granby, Massachusetts: Bergin & Garvery Publishers Inc.

Jacobson, D., & Wadley, S. (1977) Women in India . Daryaganj, New Delhi: Manohar.

Jamison, Stephanie (1996) Sacrificed/ Wife Sacrificer’s Wife: Women, Ritual, and Hospitality in Ancient India. New York: Oxford University Press.

Leslie, Julia (1991) Roles and Rituals for Hindu Women. Rutherford: Fairleigh Dickinson University Press.

Rose, H.A. “Hindu Pregnancy Observances in the Punjab.” The Journal of the Anthropological Institute of Great Britian and Ireland Jul-Dec 1905: 271-278.

Stevenson, S. (1971) The Rites of the Twice-Born. New Dehli: Oriental Books Corporation.

Tewari, Laxmi. “’Sohar’: Childbirth Songs of Joy.” Asian Folklore Studies 1988: 257-276.

Vats, S., & Mudgal, S. (1998) Development of Women in Modern India. Faridabad: OM Publications.

Wadley, Susan. “Women and Symbolic Systems: Women and the Hindu Tradition.” Signs Autumn 1977: 113-125.

Related Topics for Further Investigation

Samskara

Moksa

Dharma

Jacca

Jachcha

Sor

Arathi

Dai

Sovar

Upanayana

Vivaha

Antyesti

Purusartha

Asrama

Noteworthy Websites Related to the Topic

http://www.deekaypages.com/samskara/default.htm

http://asms.k12.ar.us/classes/humanities/worldstud/97-98/religion/hinduism/Rituals.htm

http://atheism.about.com/od/hindusandhinduism/a/IndiaRituals.htm

http://hinduism.about.com/od/basics/a/rites_rituals_3.htm

http://www.hindugateway.com/library/rituals/

http://en.wikipedia.org/wiki/Samskara

Article written by: Ken Baker (April 2006) who is solely responsible for its content.

The Festival of Holi

Hindus celebrate a tremendous number of religious festivals; they are frequent and usually joyous. Hindus are known to have the longest calendar of holidays (Walker 351). Great festivals can be seen as times of general worship and are recognized by the provincial government as public holidays (O’Malley 121). Festivals are celebrated for important days, famous incidents in mythology, moon phases, purification, remission of sins, or worship of a certain god or goddess (Walker 352). Festivals may be celebrated by fasting, vigils, bathing, fairs, chanting, lighting of lamps, games, drinking, and gift offering (Walker 352).

One of the most popular of Hindu celebration is the festival of Holi (O’Malley 123). It is a harvest rite to welcome the return of spring (Prior 41). Holi begins about ten days before the full moon in the month of Phalguna (February-March), but it is usually only observed on the last three days (Kapoor 696). It was once a fertility festival, but now it is seen as a time of hilarity and horseplay (O’Malley 123). It is celebrated after the harvest so that everyone is able to freely enjoy themselves (Prior 41). The festival begins with a bonfire celebrating the cremation of the Holika (Marriott 201). Holika was the sister of the evil King Hiranyakasipu, and together they plotted to kill his son Prahlada, a devotee of Visnu. King Hiranyakasipu had tried many times to kill his son; he threw him into a pit of poisonous snakes, and had elephants trample him while he was sleeping, but Vishnu always saved him (Gateshill and Kadodwala 19). Holika was supposedly fireproof so she brought Prahlada into a fire with her. However Visnu came to the rescue, saved Prahlada, and Holika was burned to death. (Sivananda 19). Another legend is that Holika was a child-eating cannibal who was destroyed by Krsna (Sivanada 19). Whichever myth is believed, ultimately they are both stories of good conquering evil. The burning of the Holika image is symbolically a burning all evils. Devotees start collecting wood early so the bonfire is always huge and in some villages it is a rule that everyone must contributed something to the fire (Marriott 201). The fire is usually lit by a Brahmin and holy water is poured onto the wood (Gateshill and Kadodwala 18). Worshippers dance and mothers carry their babies around the bonfire in a clockwise direction to ask Agni, the god of fire, to bless them (Mayled 15). New corn is cooked in the fire and eaten to celebrate the harvest (Mayled 15). Coconuts, popcorn, dates, and lentil are also roasted in the fire and eaten (Mayled 15). People sometimes will take embers from the fire home to rekindle their own fire.

During the next day, normally forbidden behaviour is allowed (Pastva 79) and barriers of caste and rank are forgotten (Bahree 30). Women beat men with stout canes “just as the milkmaids loved Lord Krsna” (Marriott 205), and washmen, tailors and Brahman priests sing together (Marriott 211). In the past throwing mud, refuse, and even excreta at others was not uncommon (Walker 354), but today coloured powers (gulal) and liquids are playfully thrown at others (Prior 21). People run through the streets and water is thrown either directly from a pot or squirted from plastic containers or balloons sold especially for the festival (Vickery 221). Powders of different hues are also thrown on each other. This is why the festival is referred to as the festival of colors. Parties of boys and men dance in the street impersonating Krsna and people can be heard singing lewd songs and shouting obscenities; this is supposed to drive away devils or evil spirits. The street celebrations and practical joking may remind a Westerner of Mardi Gras (Pastva 79).

Some powder is also smeared on the faces of the deities, especially Krsna and Radha. Youthful Krsna is remembered during this time since he is known for playing tricks. Many worshippers say it is Krsna who taught them how to celebrate the festival of Holi (Marriott 207). The colored water and powders are associated with Krsna and the story about him, Radha and the other gopis (milkmaids) walking by the river on a nice spring day. Krsna threw colored power on Radha and she threw some back on him; pretty soon the milkmaids and the cowherd were all dancing together to Krsnas flute, while they threw red powder all over one another (Mayled 15). To some this may seem like a weird reason to celebrate, but it has a deeper meaning; it shows that Krsna, who is God, wants a special, close relationship with those who worship him (Gateshill and Kadodwala 17).

At noon time, there is a state of truce and every one goes home to bathe and put on fresh clothes (Marriott 203). In the evening, people visit with each other and exchange sweets (Bahree 30). Friends embrace each other three times to wish one another good luck. Devotees are found indulging in all sorts of vices in the name of the Holi festival. Some drink intoxicating liquor, like the festival drink, a sweet and mild, thick, green liquid made up of almonds, sugar, curds of milk, anise, and half a cup of bhnag (juice from the hemp leaf) (Marriott 205), and others bet money and gamble (Sivananda 19). Holi is more popularly celebrated in Northern India. In the South India, Holi celebrations include dolayatra (swing ritual), where images of a deity are placed on decorated swings and swung back and forth by devotees.

Holi is known as the festival of love, as well as the festival of colors. It is a time where two stories are remembered: one about Prahlada and the other about Krsna. Both stories promote the worship of Visnu; Prahlada is a devotee of Visnu and Krsna is one of Visnu’s avataras. Prahlada’s tale shows good winning over evil and Krsna’s story is the basis for the fun and frolic observed during Holi. It is a great festival where every one of all ages and castes participates and “for a moment may experience the role of his opposite” (Marriott 212).


REFERENCES AND FURTHER RECOMMENDED READINGS

Bahree, Patricia (1985) The Hindu World. New York: Silver Burdett Company.

Freed, Stanley A., and Ruth S. Freed (1998) Hindu Festivals in a North Indian Village. Seattle: University of Washington Press.

Gateshill, Paul and Dilip Kadodwala (1997) Celebrate Hindu Festivals. Illinois: Reed Heinemann Library.

Kapoor, Suboah (2000) The Hindus Encyclopedia of Hinduism. New Delhi: Cosmo Publications.

Marriott, McKim (1966) “The Feast of Love.” From Milton Singer ed., Krishna: Myths,Rites and Attitudes. Honolulu: East-West Press, 200-212.

Mayled, John (1987) Religious Festivals. England: Wayward Publishers Limited.

O’Malley, L.S.S. (1970) Popular Hinduism: The Religion of the Masses. New York: Cambridge University Press.

Pastva, Loretta (1986) Great Religions of the World. Minnesota: Saint Mary’s Press.

Prior, Katherine (1999) World Religions Hinduism. New York: Franklin Watts.

Sivananda, Sri Swami (1997) Hindu Fasts and Festivals. Himalayas: The Divine Life Society.

Vickery, Roy A. (1974) “Holi Celebrations in Kathmandu.” Folklore, Vol 87, No. 2 .pp.220-222

Walker, Benjamin (1983) Hindu World. New Delhi: Munshiram Manoharlal Publisher Pvt. Ltd.

Related Topics For Further Investigation

Dolayatra

Diwali

Gopis

Holika

Krsna

Prahlada

Radha

Visnu

Noteworthy Websites Related to the Topic

http://www.colorsofindia.com/holi/aboholi.htm

http://hinduism.about.com/library/weekly/aa030401a.htm

http://www.indiaexpress.com/rangoli/holi.html

http://www.religionfacts.com/hinduism/holidays/holi.htm

Article written by Whitney Walsh (April 2006), who is solely responsible for its content.

Kumbha Mela

The Kumbha Mela is a pilgrimage festival in contemporary India, which attracts millions of Hindus to various sites to bathe in scarred waters. Hindus believe the Kumbha Mela (or Kumbh Mela) is a time when all forces of creation are collected into one vessel (Kumbha) and celebration (Mela) ensues. It has been estimated that up to 70 million people attended the last Kumbh Mela in Prayaga. The mythological beginnings of the Kumbh mela are a central focus of the pilgrimage and festival in contemporary India, though economic and political factors also influence the religious festival.

The Kumbh Mela has textual, mythical, and historical roots. It is believed that at the beginning of creation the gods were under a curse that made them weak. Brahma the creator god, advised them to churn the oceans in search of the nectar of immortality (amrta) from the primordial ocean of milk (Ksira sagara) and share the nectar equally. The gods sought help from the demons, and together churned the primordial ocean to bring up the nectar. However when the nectar was gathered up in the Kumbh (pot, vessel) the demons ran away with it, and the gods chased them. The battle for the nectar lasted twelve days and nights (the equivalent of twelve earth years). Drops of the nectar fell to earth during the battle in four locations Prayag, Haridwar, Ujjain, and Nashik (Hebner, 1990:viii).

Historically the origins of the festival are difficult to identify. Rivers such as the Ganges have long been considered givers of life, often seen as bridges between the imortal heavens and mortal humans. Evidence exists of the Kumbh Mela dating back as far as the sixth century but its date of orgin is inconclusive. The Kumbha is mentioned in the Vedas although no specific reference to the event itself, as well in the Ramayana (see Rai Subhas chapter two) .

The Kumbh Mela is celebrated every three years, rotating between the four sacred places completing a cycle every twelve years. The central focus is a tale of mythological life arising from the ocean. This life, once born, needed help to grow which was provided by both the Devas and Asuras. It is believed that bathing in these spots will cleanse your soul and help a person reach immortality.

The Kumbh Mela at Prayag (Allahabad) is the most holy of the four fairs, and takes place every twelfth year. Three sacred rivers converge at Allahabad: the Ganges, the Yamuna and the mythological Saraswati. The Ganges and the Yamuna both have physical origins in the Himalayan Mountains, while the Saraswati is a mythic river that does not exist in a physical form, but is said to join the Yamuna and the Ganges at Prayag. Bathing at any of the sites where the nectar was dropped is believed to have purifying effects. This place where the three rivers join is regarded as particularly beneficial. Purification is increased one hundred times, and when bathing during the Kumbh Mela purification is thought increased one thousand times. Bathing here is thought to be an act of great absolution of ones sins.

An ascetic smeared with ashes awaits the crucial bathing period at the Kumbha Mela in Nasik, India
An ascetic smeared with ashes awaits the crucial bathing period at the Kumbha Mela in Nasik, India

The Kumbh Mela begins on Makar Sankranti, an auspicious day when the moon and sun enters Capricorn and Jupiter enters Aries. Astrology plays a role in the festival as it is said that during this time the passage from earth to higher planets is open allowing earthly souls to enter the celestial world. According to Subhas Rai, the cosmic alignments associated with the festival are chosen so as to increase the efficacy of the pilgrims’ bathing. The combined power of river Ganges and the auspicious planetary positions creates a unique purifying power ( see Rai Subhas 1-2 )

During the Kumbha Mela, the Hindu Sastras ordain particular bathing norms to pilgrims. Observance of these rituals and baths are greatly eulogized are said to aid in the liberation from the cycle of life and death as well as earn praise from the gods. Akharas have exclusive rights to the most holy bathing areas, and the procession of royal baths are known as Shahi Snans. Akharas are sects or religious orders, however in the instance of the kumbh Akhara refers to the great congregation of sadhus, and members of mostly celibate religious communities. Each Akhara will have a large compound with many tents to hold thousands of members. The Akharas hold weapons and banners symbolizing royal authority, and are highly scripted. Before 1800 the bathing order reflected the individual’s status in relation to one another (Lochtefeld 103-126). Shanhi-Snan is the royal bath, in which members of various akharas are given priority access in a prearranged order for bathing. When Akharas are bathing ordinary pilgrims are not allowed to bathe. The procession of the Akharas is an elaborate ritual and one of the most colorful events of the Kumbh Mela. After the eulogies and first rights to bathe in the Ganges, the crowds of millions are allowed to walk in and perform the sacred ritual bath.

A temporary city is erected as a result of the crowds. Often during the Kumbh Mela tents are erected as hospitals for the pilgrims, offering free health care which is not offered in India normally. State governments have implemented sanitary arrangements, roads, and food shops. In the main festival area a wide variety of entertainment is available, and Indian culture and history is put on display. Images from the Ramayana and Mahabharata can be seen, traditional plays and songs are performed, and elaborate paintings are sold. The gathering of a vast amount of people provides an opportunity for merchants to capitalize on tourism and religious fervor.

The magnitude of the gathering also provides an opportunity to gain exposure and prestige for political organizations, activists and religious teachers. Economic and political pressures alter the tone of Kumbh Mela, Because of these pressures the Kumbh Mela at times becomes a stage for military power and government control, and a footing for economic and social change. In recent years the government has used the Mela to promote its own agenda such as family planning and environmental concerns, tourism and economic development. At times the festival also becomes a center in which a nationalistic identity is expressed through religious festival on an international stage (Lochtefeld 103-126).

The crowds of the festival can also have disastrous results when many families get separated, and children are often lost. Stories tell of families that were caring for a member of the family, such as an elderly person, who being a burden was left at the festival. Political tensions if high have sometimes boiled over with deadly results, and anxious rushes of pilgrims to the river have resulted in people being trampled. Despite these tragic stories we must keep in mind that the festival centers on purification and liberation. Although there are small pockets of tragedy and uprising the majority of the people come for a beautiful religious experience. Holy men are on every corner giving inspiration, people give of themselves to help strangers, and a culture is being celebrated through joyous festivities.

Bathing during the time of Kumbh mela is thought by Hindus to be of immeasurable significance. It also becomes a time in which people of different sects resolve their differences to bathe in holy waters, to resolve sins that all share in. Millions of people gather in the world’s largest pilgrimage during an astrologically auspicious time to absolve their sins. Mythology, literature and history become one as a culture and a religion is celebrated. Class and caste although carefully defined come together in a world renowned event. This can become a stage in which politics and economics is acted out, which in turn redefines the Kumbh mela.

BIBLIOGRAPHY

Govind, Swarup (2003) Nashik Kumbha Mela : a spiritual sojourn. India Book House.

Ghosh, Ashim (2001) Kumbh Mela. Rupa & Co

Hebner, Jack (1990) Kumbha Mela: The world’s largest act of faith. Ganesh Editions

Lochtefeld, James G (Oct 2004) The construction of the kumbh mela. Vol.2 Issue 2, p103-126

Nandan, Jiwesh (2002) Mahakumbha: a spiritual journy. Rupa & co.

Rai, Subas. (1994) Kumbha Mela: History and religion, astronomy and cosmology Rupa & Co.

Related Topics

Vedas and astrology

Hindu caste system

Saraswati

Audio-visual

Maurizio Benazzo Nick Day (2004), Shortcut to Nirvana.

Nadeem Uddin (2001) Kumbh mela: Songs of the river.

Related Websites

Hebner, Jack and Osborn, David. (04/10/2006) Kumbha Mela the world’s most massive act of faith, http://www.archaeologyonline.net/artifacts/kumbha-mela.html

The experience of a life time begins here http://www.divinerevelation.org/KumbhMela.html

Brown, Doug Kumbh Mela 2001 http://www.asianart.com/exhibitions/dbrown/index.html

Written by Lori Van Sevenant (Spring 2006), who is solely responsible for its content.