Category Archives: Hindu Festivals

Raksa Bandhan(a)

June 18, 2012 hrodrigues

RAKSA BANDHAN FESTIVAL

The Hindu tradition is marked by several celebratory festivals; some are celebrated throughout all of India, while others are celebrated only regionally. Of the most significant to brothers and sisters is the festival of Raksa Bandhan. The festival is important to Indian families because it re-affirms and strengthens the unique bond between brother and sister. This bond is paramount within Indian family dynamics, chiefly because the relationship between brother and sister is second to the mother and son relationship (Upadhyaya 197). Raksa Bandhan takes place on the first full moon day of Sravana (July –August), the dates of all Hindu festivals correspond directly with the Hindu lunar calendar (Singhal 10). According to some scholars, certain days are thought to have a special mystical connection in which the God or Gods being worshiped are closer than ever to the Hindu world (Hinduism Today 59). Festivals are planned meticulously around astrological inauspicious times [For more in depth explanation of auspiciousness and inauspiciousness see Rodrigues (2006)]. Festivals and rituals are an important part of the Hindu tradition, and can be traced back thousands of years; indeed some of the great Indian epics make reference to festivals still celebrated today.

The term Raksa means “safety” and Bandhan means “bond’, therefore the term Raksa Bandhan means safety bond (Colon 11). In the days leading up to Raksa Bandhan festival, sisters make or buy a rikhi, (a coloured bracelet or thread) that is tied around her brothers right wrist (Hinduism Today 57). In ancient times sisters made silk or cotton bracelets that were dyed with turmeric (Lannom 31). Turmeric has been used for centuries throughout India for medicinal purposes, food preparation and fabric dyeing; it is yellow in color and is indigenous to Asia. Today, rikhi have become more decorative and elaborate with different coloured string, charms, and pompons attached to them. Rikhi can be purchased at the local market place or in speciality shops which only sell rikhi. The day before the festival begins, mothers, grandmothers, aunts, and sisters prepare special foods to be consumed on the day of Raksa Bandhan. Almost more important than the rikhi are the sweet treats the sisters present to their brothers, this is often referred to as “making the mouth sweet” (Lannom 31). On the morning of Raksa Bandhan, brothers and sisters dress in their best clothing and pray to the family deity. Next, a small tray is prepared by the mother of the household with sweets, rice for ceremony purposes, and a red powder made from kumkum (red turmeric powder). Kumkum is used by the sisters to draw a vertical mark on the brother’s forehead, also known as tilak-the mark of auspiciousness (Singhal 10). The highlight of Raksa Bandhan festival is when the sister ties the rikhi around her brother’s right wrist. By accepting the rikhi, brothers vow to always honour and protect their sisters (Bezbaruan 52). The sister in turn prays for protection and good fortune for her brother in the upcoming year. At this time, brothers present their sisters with a special gift of money or jewellery; thus demonstrating their love, appreciation and devotion to their sister.

During Raksa Bandhan, if a sister has no brother, she may use a cousin, relative or close family friend. From that moment on, they will refer to each other as “rikhi brother and rikhi sister” (Lannom 31). The role of a “rikhi brother” is taken with great seriousness; it is considered a bond the brother and sister will share for a lifetime. The bracelet tying ceremony is not limited to age or geographical location; in fact, grownups including grandmothers continue to celebrate Raksa Bandhan with their brothers. Brothers living abroad will receive a rikhi in the mail along with a letter wishing good health, safety, and success for the upcoming year. Often the wife or female relative of the brother will take the place of the sister and tie the rikhi to his wrist (Lannom 31).

The history of Raksa Bandhan can be traced back to ancient times. It is not entirely clear when Raksa Bandhan entered into the Hindu tradition, however scholars will agree it holds an important place in Hindu practice. Evidently, the custom of giving rikhi is foretold in the Great Indian Epic Mahabharata (Lannom 31). According to Klostermaier (2007) legend states, “Indra was saved from the demon Bali through the magical armlet that his wife had tied for him” (Klostermaier 280). This may signify a sister tying a rikhi to her brother’s wrist as protection for her him. Similarly, Bhojpuri folk songs emphasize the sister- brother relationship and their special bond of affection. Yet, the relationship of mother and son remains chief (Upadhyaya 197). Nevertheless, brother and sister relationships are much more unique than brother to brother. First, sisters are taught from a very young age by their elders to always honour and respect their brothers. Second, brothers do not see sisters as a challenge to their authority (Upadhyaya 197). Finally, an important value in Indian society is the duty of men to be leaders. As a result, Indian men take on the role of protector and assume responsibility for the females in their family (Ishwaran 34). By celebrating Raksa Bandhan, brothers renew the responsibly for taking care of their sisters, and sisters offer prayer and well wishes for their brothers.

Raksa Bandhan is an important festival in the Hindu tradition. It signifies the unique bond between brother and sister. It re-affirms the love and devotion between brother and sister, and serves as protection throughout the year. The sister promises to pray for the safety and well-being of her brother throughout the year, while the brother promises to protect and love his sister always. The festival has evolved from a simple tradition, to a great festival celebrated throughout India with rikhi becoming more elaborate and decorative. Raksa Bandhan is an important part of the Hindu tradition.

REFERENCES AND FURTHER RECOMMENDED READING

Bezbaruan, M.P. (2003) Fairs and Festivals of India.Volume Three. New Delhi: Gyan

Colon, Connie (2006) “It Starts with a Thread.” Skipping Stones.18(5), 10-11.

Holy Festivals. (2007) Hinduism Today, 29(1), 54-59.

Ishwaran, K (1968) Shivapur A South Indian Village. London: Routledge & Kegan Paul Ltd.

Klostermaier, Klaus (2007) A Survey of Hinduism.Albany: New York Press.

Lannom, Gloria (2007) “Honor you Siblings.” Faces. 24(2), 31.

Rodrigues, Hillary (2006) Hinduism: The eBook an online Introduction. Journal of Buddhist Ethics Online Books Ltd.

Singhal, Neelima (2005) “Celebrating Raksha Bandhan.” Highlights for Children. 60(8), 10-11.

Upadhyaya, Hari “Family Structure Depicted in Bhojpuri Folk-Songs.” Folklore 78(2), 197.

RELATED TOPICS FOR FURTHER INVESTIGATION

Sravana

Auspiciousness

Inauspiciousness

Hindu lunar calendar

rikhi

Turmeric

Kumkum

Tilak

Mahabharata

Indra

Bali

Bhojpuri folk songs

Noteworthy Websites Related to the Topic

http://www.raksha-bandhan.com/

http://hinduism.about.com/od/rakhi/a/rakshabandhan.htm

http://www.hinduism.co.za/tilak.htm

Article written by: Jodie Flamand (March 2012) who is solely responsible for its content.

Hindu Festivals, South Indian Festivals

Attukal Pongala (South Indian Festival)

June 23, 2008 hrodrigues

The Attukal Pongala festival is annual event where Pongala, an offering of boiled rice is made to Attukal Amma, which translates as “mother” (Jennett 2005:35). The festival has grown substantially over the years, depicting the profound meaning the festival has to women. The festival is held in Thiruvanthapuram, the capital city of Kerla, India. It is a festival of unique significance, as the devotees are all women, which within the Hindu tradition is not an abundant occurrence as Hinduism is known as a male-dominated religion and until recently there has been little research into the roles women play. This is of great value as women perform complex and intriguing rituals (Gross 68). The festival is noteworthy as women from various classes, communities and religions band together to worship the goddess (referred to as mother but who has numerous names which are used interchangeably, such as Devi, Bhagavati and Bhadrakah which respectively mean goddess, powerful supreme deity and auspicious Kali) [from this point forward the goddess will be referred to as Bhagavati]. The festival serves to bring women together as a whole, not divide them into castes and classes. This dissolving of caste distinction is noteworthy as “fifty years ago the mothers of the women who today offer Pongala could not have drunk from the same well, eaten in the same room, or even walked down the street at the same time; yet today they sit and cook for the Goddess side by side” (Jennett 2005: 43). Now women from all different walks of life perform the rituals together. The only women that are unable to participate in the ritual are those women who are menstruating. These women, as well as women who are not able to attend for other reasons, may ask a friend or family member to prepare an offering of Pongala for them (Jennett 2005:40).

The offering of Pongala to Attukal Amma is a ritual in the non-Sanskritic tradition; therefore, there are no written texts, and instead the text is song and poetry that is orally exchanged through rituals, dances, and dramas (Jennett 2005:36). The festival is held in late February to early March, during the month of Kumbham, which means earthen pot (Jennett 2005:40). The festival has grown from women performing the ritual in the fields to small shrines, to gatherings of hundreds of thousands of people (Jennett 2000:5). Pongala day is the ninth day during the ten day festival, which also coincides with a full moon. On the ninth day, the women wake early, and begin the day by pouring water on their head, in preparation for Attukal Pongala. Before the sun has even risen, the women will set three bricks in the formation of a triangle on which to later set their earthen pots (Jennett 2005:6). Women are dressed in their traditional mundu, which are two lengths of white cotton wrapped over a skirt and blouse. The cotton is preferable in comparison to the polyester variety for safety reasons, as the close quarters (2 feet separate one fire from the next) create a fire hazard (Jennett 2005:42). By the time the sun begins to rise, the streets are full of music and people. The numerous people spread for miles and miles surrounding the Attukal Temple. Many women have arrived many days earlier to ensure they find the most auspicious spots and throughout the entire festival many devotees have set up shrines for Bhagavati (Jennett 2000:7).

Living near the temple is thought to be auspicious and it is believed that the goddess will bring prosperity to those who live in her land. Many people that live within or close to the Attukal Temple kindly open their courtyards to provide family, friends and even strangers a place to cook their Pongala (Jennett 2005:14).

By midmorning the pots will begin to be filled with the necessary ingredients, such as rice, water and jaggery (unrefined sugar cane) (Jennett 2000:7). The fact that the ingredients are very cheap allows nearly any woman to participate. However, even before the barriers of castes began to fall, the upper castes would supply the women of lower castes with the supplies needed (Jennett 2005:38). Songs are continually sung and the song that is retold throughout the festival is the story of Kannaki, a woman who is betrayed by her husband and her king. There are numerous versions of the story but the deeper meaning is found through what Kannaki symbolizes, which is the “capacity of divine power in female form to bring retributive justice to those whom the law fails to protect” (Jennett 2005:44). As this song is again being recounted, the priest will begin to light some of the devotees’ fires. While this is occurring a loud speaker dictates the instructions so a mass of women devotees, who are unable to visually follow the priests actions, are able to follow in step. It is important that the women do the cooking together as it provides a sense of unity and also allows the women to band together and leave their many other daily worries behind. It is a unique day as it is one of the few days where they are not responsible for their children or husbands (Jennett 2005:42) Once the fire is lit, they wait for the water to boil. Once that water is brought to a boil the women will slowly add the rice, ensuring they do not spill and add the rice in an arati motion (circular motion).

At this point some women differ on whether or not it is auspicious to allow their pot of Pongala to boil over; it is crucial for some to allow their pot of rice to boil over, where other women feel that it is critical that it does not flow over as it seems wasteful (Jennett 2005: 45). This in conjunction with the fact that some women use red-rice in the ritual while others use white polished rice signifies how the ritual has been tailored to the various women and their traditions and what the ritual symbolizes to each individual. The objective of performing the ritual naturally varies across the women who perform the ritual. For example some women “ask the Goddess for something and make a vow and if it is granted they will offer Pongala” (Jennett 2005:46). This signifies the mutual relationship between the women and the Goddess. While others feel that by feeding Bhagavati it will provide additional blessings to the community (Jennett 2001:15). Once the rice has finished cooking the women wait for a priest to sprinkle rosewater on the rice in order to bless the goddess. After this women will begin to leave and return their trek back to their homes to share their Pongala with their friends and families (Jennett 2001:16).

References

Jennett, Dianne (2005) “A million shaktis rising: Pongala, a women’s festival in Kerala, India”. Journal of Feminist Studies in Religion, 21(1).

Jennett, Dianne (2000) “Red rice for Bhagavati/cooking for kannaki:An ethnographic/organic inquiry of the pongala ritual at attukal temple, Kerala, south India”. Section A: Humanities and Social Sciences, 61(2).

Gross, Rita (1996) “Feminism and Religion: An introduction”. Boston, MA.: Beacon Press.

Related Topics for further investigation

Kannaki

Devi

Bhagavati

Bhadrakah

The role of women in Hinduism

Kerala

Attukal Temple

Kavu

Dalit

Noteworthy Websites related to the topic

www.onamfestival.org/attukal-pongala-festival.html

www.attukal.org/pongala.htm

www.hindu.com/2006/02/15/stories/2006021523410300.htm

attukalpongala.blogspot.com/

www.hindu-blog.com/2007/11/attukal–pongala-2008.html

pattini.org/

Written by Lindsey Schneider (April 2008) who is solely responsible for its content.

Hindu Festivals, Siva

Mahasivaratri (Great Night of Siva Festival)

June 23, 2008 hrodrigues

Maha Sivaratri is a Hindu festival of devotion to the diety Siva. It is celebrated by Hindus who worship Siva as their primary deity. Maha Sivaratri mans “the Great Night of Siva” and it is the fourteenth lunar night (Chaturdasi) of the dark fortnight of the Hindu month of Phalgun. This typically falls between February and March. There are a number of myths regarding the origin of Sivaratri and most of the stories can be found in the Puranas.

Siva has been worshiped in India since ancient times. He has been worshiped in the form of the Sivalinga or jyorti-linga symbolically representing the jyoti or flame of fire. “Siva is the one of the highest gods of the Hindu pantheon” (Mukherji, 35). Although Siva is known as a destroyer he has numerous other characteristics. His names include Mahadeva, “The Great God” and the name Siva means auspicious God. “Among the Hindu triumvirate, Brahma is the creator, Vishnu is the preserver and Shiva is considered the destroyer (Thakur and Roa, 01).

The date of origin of Mahasivaratri is as anonymous as the origin of the Hinduism. The word Sivaratri appears in the Mahabharata and in certain Puranas such as Garuda, Padma, Skanda and Agni Puranas (Welbon and Glenn, 192).

According to the Shanti Parva of the Mahabharata, which is believed to be apocryphal, the Sivaratri vow was put into the Bhishma’s mouth. “Bhishma was the octogenarian leader of the Kuru forces in the great battle of Kurukshetra.” “According to the legend thus put into the mouth of the dying hero, the fast of Sivaratri was first publicly observed by King Chitra Bhanu” who was the king ruling over the whole of Jambu-Dwipa(ancient name of India) (Mukherji, 39).

As King Chitra Bhanu was on a holy fast on the day of Sivaratri, one of his sages, Ashta-Bakra came on a visit and questioned his abstaining. He told Ashta-Bakra that in his previous life he was a hunter by the name Suswar. He made his living by hunting and killing animals and selling them in the markets to feed his family. On one occasion as he wandered through the forest, he failed to realize that darkness had rolled around and he was unable to go back home. In order to shelter himself he climbed up the bilva (wood-apple) tree. He had hunted a deer that day but he could not take it home to feed his family. He thought of his hungry family and wept. His tears along with the leaves of the bilva tree landed on the linga (Lord Siva). Lord Siva regarded this as an offering from one of his devotees. The next morning as he returned home he bought some food by selling the deer that he hunted in the previous day. A stranger appeared at his doorstep and begged for food before he could eat any himself. Suswar then fed the stranger before he was going to break his own fast. Unknowingly Suswar accomplished the proper observance that Sivaratri requires, a day of fasting and serving food to a Brahman. Suswar lived many years without any idea of the spiritual gain that he attained by accomplishing the Sivaratri Vrata (Ascetic observance on the Night of Siva). When the afterlife came, he learned that he had been blessed and was rewarded with a grand life. According to the Mahabharata, Suswar lived in Siva loka(realm of Siva) for thousands of years and also lived in Indra loka or (realm of Indra)- the heaven, and Brahma loka or (realm of Brahma) the higher heaven. Finally he was promoted to Vaikunda-the realm of the highest heaven (Mukherji, 43).

In the Puranic accounts, Siva married the golden Parvati and tells her that this day is remarkably valued him. Therefore, those who perform the prescribed ascetic observance on this day will be freed from all sins. According to the myths of the Siva Purana, the gods Vishnu and Brahma wanted to know who between them the superior power was. This let them to fight each other Siva intervened as a jyoti (Flame of fire) to make them realize the futility of their fight (Thakur and Roa, 01).

According to another legend in the Siva Purana, during Samudra Manthan(the churning of the ocean) by the Asuras and the Devas, Halalak (a highly toxic poison) came out from the ocean and it was capable of destroying the entire creation. Visnu advised the Devas and the Asuras to prey to Siva for their lives. Siva drank the poison and it lodged in his throat; thus Lord Siva is known as Nilakantha (the Blue Throated). In order to dissipate the poison Siva had to stay awake the whole night.The Devas and Asuras prayed the whole night in the vigil. Pleased with their devotion, Nilakantha declared that whoever worshiped him on that day would have their wishes fulfilled.

Celebration of Mahasivaratri

The celebration of Sivaratri differs from place to place, and actual practices also differ depending on the circumstances (Welbon and Yocum 203). For example, in Chennai (Madras) people usually limit themselves to fasting, keeping awake, and listening to stories of Mahasivaratri. However in other places such as Kashmir, Himachal Pradesh, and Andhra Pradesh Mahasivaratri is celebrated as their royal family festival and their rites of worship are more elaborate (Thakur and Roa, 04). “In certain parts of India people still drink a concoction called bhang, prepared by pouring water over hemp leaves and adding almonds, rose leaves, opium etc (Welbon and Yocum, 204)”. They believe that this is the favourite beverage of Siva.

On Sivaratri day, devotees awake at sunrise and purify them with a bath in the Ganga River or in the sacred water at their local temple. Purification is not only for their body, but also it involves a mental, moral, and spiritually by cleansing by calming certain qualities within them (Manohar 200). During the day devotees will fast; the types of fasting differ from person to person according to their circumstances. Some devotees will fast the whole day and others will get one light meal (vegetarian food mostly fruits and milk). They may spend their day repeating mantra (japa of Om namo sivaya) and Meditation. At night they conduct a Vigil and rites such as offering bilva (wood apple) leaves, water, and milk. The rituals involved abhiseka (bath to the Sivalinga), and offering of Puspa (flower), dhupa (incense), dipa (flame), naivedya (food). The next day devotees must entertain a stranger or guest with offerings of food and gift. This is said to accomplish the custom of Mahasivaratri and devotees believe they will receive blessing from Siva himself.

Fasting, Vigil, and Puja

Fasting, vigil, and puja (Prayer) are the most important religious observance among the devotees of Sivaratri. In order to achieve the successful outcome of Sivaratri, the devotees must prepare themselves physically, mentally, morally, and spiritually by cultivation of certain merits such as ten set of injunction in the Kalanirnaya of Madhva(Patmury, 1994);

1. Ahimsa (non-violent), it is a rule of conduct that prevent the killing or injuring of living beings. “It is closely connected with the notion that all kinds of violence entail negative karmic consequences (Wikipedia)”.

2. Satya (Truthfulness) which includes refraining from false witness. It is a term of power due to its purity and meaning.

3. Akrodha (freedom from anger) keeping the mind free from feelings of anger, jealous and hatred (Patmury, 1994).

4. Bramacarya (Celibacy) is true love of God, its include being celibacy in mind. Body and mind should wander from though of God (Patmury, 1994).

5. Daya (compassion) is being sympathy. It means ‘suffering in the suffering of all beings’

6. Ksama (forbearance) is being patience, forgiveness or quietude.

7. Santatman (calmness of mind) is being peacefulness and surrender to the God. Accepting happy and pain equally or accepting victory and defeat equally.

8. Krodhahina (Devoid of fits of passion) mind and thoughts completely focuses on God.

9. Tapas (Austerities) fasting, wakefulness, and concentration (Patmury, 1994).

10. “Drohahina (free from malice) destroying all corrupting influences (Patmury, 1994)”.

According to Sivapurana (a legend of Siva), Upavasa (fasting the whole day) is the most important worship of deity Siva, and there is a special significance of the six essential items are used in the worship of Siva in the festival of Sivaratri puja.

1. Ritual bathing of Sivalinga with water, milk, honey, and bilva (wood apple) leaves.

2. The vermilion paste applied on the Sivalinga

3. Offering of fruits symbolizes long life and indulgence of desires.

4. Burning of incents sticks surrender the wealth.

5. The lighting of the lamp symbolizes attainment of knowledge

6. Offering of betel leaves marks satisfaction with worldly pleasures.

“The fasting and keeping vigilare symbolic of the control of the senses so that they may be restrained from wandering in search of deluding objects (Patmury, 1994)”. Keeping vigil also means waiting for the self-revelation of the Lord. It is also means that awaken from the darkness. Awake from the darkness is believed to be the attainment of self- realization (Atman).

Conclusion

Mahasivaratri unifies the many different life and experience in the life of Hindus, not only in the community but also in the relationship between God and worshippers. As we know, in the Hindu tradition, Brahmin worships the God representing the entire community of worshipers. Though, in the festival of Sivaratri all men and women gain permission to perform the ritual rites from the brahmins regardless of their class or caste system. It symbolizes that all human being are equal. Further, by undergoing preliminary purification rites of physical and spiritual purification with “holy water” and “sacred mantras” the relationship between god and devotees even become closer. Man became a giver and God become a receiver of devotees’ offerings, which open up the channels of power and mutual relatedness between God and Men. The channel between God and men blocked the selfish desire and false notation. Finally, the miserable forces of sin and guilt are destroyed by the production of auspicious forces.

The festival of Sivaratri begins with the grave vow and accomplishes with the prayers, request for compassion and thanks giving. Devotees of Siva believe that pure love of God is a way of achieving moksa (self-realization).

According to J.H.M. Yinger’s definition of religion, “Religion, then, can be defined as a system of beliefs and practices by means of which a group of people struggles with these ultimate problems of human life. It expresses their refusal to capitulate to death, to give up in the face of frustration, to allow hostility to tear apart their human association… the quality of view implies two things: first a belief that evil, pain, bewilderment and injustice are fundamental factors of existence; and second, a conviction that man can ultimately be saved from these facts (Patmury, 1994)”.

According to the Hindus believe, as a destroyer, deity Siva destroys the bad sins, and provide welfare for the worshipers who accomplish the vow of the Sivaratri; thus, devotees live more peaceful, more loving with giving and sharing. Therefore, celebrating the festival of Mahasivaratri helps human lives become more peaceful and joyful, and it leads to have a healthful life, which means festivals are not only the believes of particular society, they are the way of life to being part of the world.

REFERENCES AND FURTHER RECOMMENDED READING

Welbon, Guy and Yocum, Glenn (1982) Studies on Religion in South India and Sri Lanka, Volume 1: Religious festivals in South India and Sri Lanka. lucknow: Perm Printing Press.

Mukherji, A.C (1989) Hindu Fasts and feasts .New Dhelhi: India. Efficient offset Printers.

Thakur, Anita and Rao, Nalini (2000) Maha Sivaratri: A Study in South Asian Woman’s forum

Vanlaltlani, T and Patmury, Joseph (1994) Sivaratri: An Indian festival of Repentance. Doing theology with the festivals and customs of Asia, Singapore. pp 59-68

WEBSITES RELATED TO THE TOPIC

http://www.rudraksha-ratna.com/mahasivaratri.html

http://hinduismhome.com.shop/index.php?main_page=index&cPath=61

http://www.baps.org/festivals/Shivaratri/index.htm

http://www.dlshq.org/religions/shivaratri.htm

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

http://www.mahashivratri.org/mahashivratri-festival.html

http://www.4to40.com/festivals/index.asp?id=71&celebrate=Linga_Purana

Written by Saga Perinpasivam (Spring 2008) who is solely responsible for its content.

Hindu Festivals

The Festival of Holi

April 15, 2008 hrodrigues

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.

Hindu Festivals, Rama

Ramlilas

April 15, 2008 hrodrigues

The city of Banaras is considered to be the holiest city in the Hindu tradition. Millions of people make pilgrimages to the holy city every year in hopes of fulfilling their spiritual desires. The religious importance of the city is not only recognized by the people of India but also by scholars, anthropologists, sociologists and the likes from all over the world. Many come to study the city while others come to bask in its spiritual and cultural offerings (Kapur 209). The city itself is actually considered by believers to be the dwelling place of all Hindu deities (Hertel and Humes 1). For pious Hindus this grants enormous importance to many of the city’s major festivals. It can be said that Banaras is most proclaimed for its festivals and traditions, one of the most notable of which is the Ramnagar Ramlila. The Ramlila at Ramnagar is an event that takes place every year and is the celebrated victory of Ram over Ravana, from the epic Ramayana.

There are many Ramlilas in Banaras. Ramlilas (play) are a way in which a Hindu tales are recreated for audiences in the city. The during the Ramila season there can be up to sixty neighbourhoods that participate by hosting the play on their block (Parkhill 104). The importance of these plays is immense because it sets out to recreate the “epic story of Lord Rama” (Eck 269). Rama is a highly regarded figure in Hinduism. He is considered to be the reincarnation of the deity Visnu. Visnu is one of the highly regarded deities and is widely worshipped across Hindi speaking northern India. This makes the Ramlilas an important and integral element of the city. Many of the roles in the Ramlilas are played by children (specifically boys). This also has an underlying spiritual connection because when the children are playing the role of Rama, or his wife Sita or Hanuman his devotee [For more information on Hindu deities, see Hertel (1998)], they are said to become temporary residence for the deities, during the presentation of the Ramlila (Parkhill 104). During this time there are many pilgrims who also come to the city hoping for a chance to view a Ramlila. Their visits add to the reputation of Banaras as a site of pilgrimage, which already attracts many because of its large number of deities and their temples.

The grandest Ramlila is the one that takes place at Ramnagar. It is a thirty one day theatrical event that attracts hundreds of people from all across the country (Schechner 20). The immensity of this Ramlila is greater than any other in terms of the crowds is attracts and its longevity. Despite its popularity the Ramlila is not strictly meant for entertainment purposes, as we in the west might go and see a theatrical event. It has significant spiritual importance that is not compromised, because all Ramlilas especially those of Ramnagar are “celebratory performances tracing the footsteps of Vishnu” (Schechner 20). The Ramlilas typically enact how Rama suffered when Ravana the demon kidnapped his wife Sita and took her away in hopes of wooing her into marriage. The Ramlilas use ritual and drama to demonstrate how Rama rid the world of Ravana and finally returned to Ayodhya [The city or kingdom to which Ram returns after his victory. See Schechner (1998) for more information] in triumphant victory (Schechner 41). The significance of the story and victory is displayed not only by its performers but also by the spectators who take part in their own rituals that they deem an important part of the Ramlilas. For example, some spectators will not walk on the ground where the Ramlilas are being held in their shoes, because they consider those sites to be like temples, and one would not walk into a temple with shoes on (Schechner 32). The Ramlilas therefore are not merely plays put on by the town people simply for entertainment. They have a strong religious significance for most Hindus. Particularly because Rama, who is regarded as an incarnation of Visnu, is held in high regard. As one scholar remarked, the Ramlilas are “carefully crafted enactments of a narrative transmitting information and values concerning sacred history and geography, social hierarchy, ethics and the personalities of god, heroes, and demons” (Schechner 22).

The epic story and the Ramlilas are significant because of their importance in the Hindu tradition. However they have also been significant in the shaping of Indian life and culture. The Ramnagar Ramlila has been shaped by many years of influence from the Maharajas [Maharajas were the ruling royalty in India until its Independence in 1947; they still exist but have no ruling power. See Schechner (1998)] of Banaras who gathered scholars, poets and theatre practitioners and guided the Ramlila (Schechner 24). The first of these was Maharaja Balwant Singh who ruled in the seventeenth century. Later on Maharaja Ishavari Prasad Narain Singh who ruled in the eighteenth century also played a significant role (Schechner 24). The present Maharaja of Banaras has had no political power in India since its independence in 1947. However he is highly active in his role and participation in the Ramnagar Ramlila because it has been such a tradition for previous kings that his royal identity is now dependent on his involvement in the festival drama (Schechner 37).

Since the kings’ roles in the Ramlila have evolved, it raises the question of how the Ramlila itself has evolved through the ages? Of course the text from which the Ramlilas’ performance is derived has been mostly unchanged for centuries. However, there are some significant changes that have occurred in India culturally and structurally. For one, the power and grandeur of the Maharaja has declined which has led to far less glamorous shows, with only half the materials once used in previous Ramlilas (Schechner 51). There are also some more obvious changes that have occurred as well. The most significant of these is the growth in population of India. This has limited the theatre space available for the Ramnagar Ramlila; in an area where there were once trees and grass, there are now vast amounts of housing and people. Another shift has been in some of the innovative advances that have been introduced in staging the drama. Circumstances now allow production officials to use electrical lighting and other technical innovations (Parkhill 108). However, this creates a spilt between those who want to keep the Ramlila traditional and those interested in using modern innovations. The issue is emotionally charged; many consider the innovations improvements while others see them as tools for corruption (Parkhill 111). Still some feel that the message and value is in the rituals and practice themselves and not the aesthetics of the presentation.

Even with such changes over the centuries in the Ramnagar Ramlila, the sheer magnitude and importance it enjoys today has still not diminished. The story of Rama and Sita is one that has been told for centuries by Brahmins [Brahmins are the priestly caste in Hindu society. See Parkhill (1998)], scholars, and parents to children and will certainly continue. The Ramnagar Ramlila is an event that can only grow in stature. No matter what elements are introduced to enhance its performance the ritual enactments will continue as they have for centuries. As one scholar notes the “Ramlila is not reducible to single meanings or experiences” (Schechner 48). Rather it is an event that can offer something to everybody, from the performers to spectators and even the poor of the city who benefit from offerings by the Maharaja.

REFERENCES

Eck, D. L (1982) Banaras the City of Lights. Princeton: Princeton University Press.

Hertel, R. Bradley., and Humes, Ann Cynthia (eds.) (1998) Introduction. Albany: State University of New York Press.

Kapur, Anuranha (1990) Actors, Pilgrims, Kins and Gods: The Ramlila at Ramnagar. Calcutta: Seagull Books.

Parkhill, Thomas (1998) Whats Taking Place: Neighborhood Ramlilas in Banaras. Eds. Bradley R. Hertel and Cynthia Ann Humes. Albany: State University of New York Press.

Schechner, Richard (1998) Crossing the Water: Pilgrimage, Movement, and Environmental Scenography of the Ramlila of Ramnagar. Eds. Bradley R. Hertel and Cynthia Ann Humes. Albany: State University of New York Press.

Related Topics

Gods and Goddess:

Sita

Rama

Vishnu

Ravana

Hanuman

Devi

Krsna

Ganesa

Surya

Texts:

Ramayana

The Vedas

The Bhagavad-Gita

Upanishads

Mahabharata

Rg Vedas

Dharma Sastras

Dharma Sutras

Manu

The Aranyakas

Related Websites

http://www.gkindia.com/worldreligions/hindusm.htm

http://www.stthomasu.ca/~parkhill/lila.htm

http://www.unesco.org/culture/intangible-heritage/16apa_uk.htm

http://www.up-tourism.com/fair/ramlila.htm

http://www.sacredsites.com/asia/india/banaras.html

http://www.4to40.com/discoverindia/places/index.asp?article=discoverindia_places_banaras

Written by Osman Shah (Spring 2006), who is solely responsible for its content.

Hindu Festivals

Divali

April 15, 2008 hrodrigues

Divali, known as the Festival of Lights or Lamps “is one of the most prominent and widely celebrated Hindu festivals” (Schomer 8), and “…in the most limited sense refers to the illuminations made on the [festivals] new-moon night…” (Schomer 13). There are several variations in the Divali festival, its name, rituals, and celebratory meaning. Hence, it is not a festival easily defined or described. Much like any celebration its significance and ritual practice has evolved to meet an individual’s perception of what it should be. The variances in Divali exist locally, regionally, and globally, based on its historical significance, tradition, and individual interpretation. Schomer states that “certain variations in the stories and rituals related to Divali can be traced to regional historical events” (13), thus supporting the realization that Divali is a complex festival. Schomer also explains that there are six principal stories connected to Divali: Bali story, Story of King Hema’s son, Narakasura story, Govardhan story, Shiva-Parvati story, and Yama-Yamuna story, which are all closely related (28) and may share common rituals. Other factors complicating our understanding of the festival are its globalization and evolution. The global movement of Hindus, Jains and Sikhs allow festivals such as Divali to be shared, directly or indirectly, with new cultures resulting in an increased popularity. It is believed that Sikh’s originally celebrated Divali to honour their sixth Guru or the establishment of the Golden Temple in Amritsar (Schomer 25). Jains are said to celebrate Divali to mark the death of Mahavira and that the lighting of lamps compensate for the darkness left after his passing (Schomer 25).

Diwali, Dipavali (dip = lamp, avali = row), Dipotsavi, Deepavali and Dipapratipad are alternative names or titles for Divali, mainly dependant upon what region of India or the world the festival is being celebrated. Variations in the festival’s duration are also observed based on the location of the festival, and can range from one to five days. Divali is celebrated for five days and in accordance with lunar calendars. It begins in late Asvina (August – September) and ends in early Karttika (October – November). The festival begins on Dhan Teras, the 13^th day of the dark half of Asvina, and ends on Yama Dvitiya, the 2^nd day of the light half of Karttika, each day marking a day of celebration for one of the six principle stories in which Divali is linked (please refer to Chart 3 for details). Divali is sometimes viewed as a cluster of holidays, earmarked for the worship of all three principal goddesses: Laksmi (Goddess of Wealth), Kali (Goddess of Destruction), and Saraswati (Goddess of Learning) (Bezbaruah 21). Divali is also seen a festival to mark the change of seasons, the end of harvest, the end of monsoon season, a new business year and a new calendar year (Bezbaruah 15, Schomer 10). It is believed that Divali is most important to the farmers and merchants (the vaisya class); however, according to Bezbaruah, Divali “is celebrated in full force in Delhi” and “is a universal festival” (20).

The most common or mainstream interpretation of the Divali festival is that it is in honour of the Goddess Laksmi, the Goddess of Wealth & Prosperity. After the monsoons people clean, white-wash, and decorate their homes in order to receive Laksmi into their home during the festival. Her visit brings the hope of prosperity for the new year. Lights and rangoli are used to decorate homes and welcome Laksmi [(http://en.wikipedia.org/wiki/Rangoli) “Rangoli is one of the most popular art forms in India. It is a form of decoration that uses finely ground white powder and colours, and is used commonly outside homes in India. Rangoli can be wall art as well as floor art. The term rangoli is derived from words rang (colour) and aavalli (‘coloured creepers’ or ‘row of colours’)”]. Each day a new rangoli design is drawn, and in addition to lamps inviting Laksmi into homes lamps are also lit and set afloat on the Ganga or other nearby rivers. The floating lamps are seen as indicators of prosperity in the new year, meaning if they float a long distance and remain lit then prosperity will greet the individual and his/her family in the upcoming year. In addition to lamp lighting some people prepare sweets and other delicacies, others clear debts and close accounts and open new ones in the New Year hoping that Laksmi will bless them with prosperity and others purchase new clothing and jewellery. Divali rituals vary between people based on what they can afford, what region of the world they live, and what the significance of the festival represents to them.

Globalization of Divali has led various groups and individuals to compare the festival to other existing festivals and celebrations such as the Anglo-pagan Halloween. The comparison of Halloween to Divali is in part due to certain beliefs that “the lighting of lamps at the Divali festival is intended to scare away evil spirits” (O’Malley 133), and Hospital supports this view of commonality between Divali and Halloween through this statement:

“It is intriguing that in both Europe and India this period of transition is linked with the dead, that at both Hallowe’en and Divali (that is, immediately preceding New Year Day) evil and inauspicious forces on one hand, and the dead on the other, were thought to be let loose. Such similarities, of course, again raise the question of a possible common historical background to these practices (Hospital 249).

Although there may be some commonality between Divali and other festivals (local or global), differences exist because of history, translation, and significance.

Divali Stories As Charters For Ritual (Schomer 29)

Time: Dhan Teras (13^th of dark half of Asvina)

Ritual: lighting rows of lamps

Story: Yama’s boon to his emissaries

Time: Narak chaudas (14^th of dark half of Asvina)

Ritual: ceremonial baths

Story: Krishna’s boon to Narakasura

Time: Bari Divali (15^th of dark half of Asvina)

Ritual: cleaning homes/Laksmi Puja

Story: Lakshmi freed from Bali’s jail

Time: All three days of the “triplet” (13^th-15^th of dark half of Āśvina)

Ritual: lighting rows of lamps

Story: Vishnu’s boon to Bali

Time: Govardhan (1^st of bright half of Karttika)

Ritual: worship of Govardhan

Story: Krishna’s starts Govardhan worship

Ritual: saving the land

Story: gambling Parvati’s boon to Shiva

Time: Yama Dvitīya (2^nd of bright half of Karttika)

Ritual: sisters entertaining brothers

Story: Yama’s boon to Yamuna

REFERENCES AND FURTHER RECOMMENDED READING

Babb, Lawrence A. (1975) The Divine Hierarchy: Popular Hinduism in Central India. New York: Columbia University Press.

Bezbauah, M.P. (2003) Fairs and Festivals of India Vol. III. New Delhi: Gyan Publishing House.

Devagupta, Rama; Klaus, M. (Illustrator) (May 2001) The slaying of Narakasura. Parabola 26 no 2, May 2001, p 80-81.

Dhal, Upendra Nath (1978) Goddess Laksmi: Origin and Development. New Delhi: Oriental

Publishers.

Dogra, R.C., Dogra, U. (2000) Hindu and Sikh Wedding Ceremonies: with salient features of Hindu and Sikh rituals. New Delhi: Star Publications Pvt. Ltd.

Fuller, C.J. (1992) The Camphor Flame: popular Hinduism and society in India. New Jersey: Princeton University Press.

Gregory, Ruth W. (1975) Anniversaries and Holidays Third Edition. Chicago: The American Library Association.

Havell, E.B. (2000) Benares, the Sacred City: sketches of Hindu life & religion. New Delhi: Book Faith India.

O’Malley, L.S.S. (1970) Popular Hinduism: The Religion of the Masses. New York: Johnson Reprint Corporation. (Original print 1935 at Cambridge University Press).

Pattanaik, Devdutt (2003, c2002) Laksmi, the goddess of wealth and fortune: an introduction.

Mumbai: Vakils, Feffer & Simons.

Schomer, Karine (Spring 1999) Divali: The Study of a Hindu Festival. Journal of Vaisnava Studies.

Vineeth, Vadakethala F. (1987) Religio-cultural festival of India. Journal of Dharma.

http://en.wikipedia.org/wiki/Rangoli April 9, 2006.

Related Topics for Further Investigation

Laksmi

Kali

Saraswati

Bali

Narakasura

Yama Yamana