Traveling through the dense forest of Sattari Taluka of north Goa, you are literally transported to the scared time when the gods might have created this universe . The virgin landscape makes you wonder if lord Brahma created this universe from this very same place.

We went searching for the Brahma temple hidden in this virgin forest land. As you take a turn towards a narrow single lane road tucked within this dark forest, a signboard points an arrow to Nagargaon, a small sleepy village in Valpoi.  Yet another signboard points towards to the temple of Brahma, one of the few temples dedicated to god Brahma in India. Though Brahma is a significant god in the triad of gods Brahma, Vishnu, and Shiva, as the one who created the universe,  who sustained the universe, and who destroys the universe,  he is somewhat relegated to a minor status in latter part of the development of Hindu Pantheon, almost wiping out his presence.

According to a popular lore, when Brahma uttered the lie of finding the tip of Shiva’s linga during the Lingodbhava episode, it infuriated Shiva who then cursed Brahma that he will never have a cult of his own. Since then, the worship of Brahma has faded out from Hindu religious charter. Indeed, one finds very few Brahma temples across India, the most popular one being at Pushkar in Rajasthan. The other few examples of Brahma temples are found in the state of Gujarat, Andhra Pradesh, Uttarakhand , Madhya Pradesh and Goa. However unlike Shiva, Devi, or Vishnu temples, these temples are not popular among the masses. In Goa at Brahma-Karmali there is a unique shrine independently dedicated to god Brahma, while at Kolamb, Parshe and Pedne villages in Goa Brahma idols are part of the parivar devata or ancillary deity.

As you enter the narrow village lane leading towards the shrine, you find the temple of Brahma standing unassumingly by the road side. There is no porch or grand entrance leading towards it. As you climb the few steps to enter the temple, one notices new constructions and renovation work taking place. When we approached the shrine it was empty and a lone pujari was sweeping the floors of the garbhagruha getting ready for the morning puja. There is no pomp or grandeur to this shrine. What strikes you most is the intricately carved idol of the Brahma. Standing six foot tall, the four faced bearded god has four heads. His fourth head is placed at the back . There is a magnificent prabhavali around the deity. By his side there are two female deities Savitri and Gayatri beautifully carved in black stone. One can see dancing attendants along with a pair of swans on either side of the prabhavali, swan being the vahana of Brahma. Of the four hands of the deity, two are visible from the front of and two remaining hands are seen at the back. There is a water-jug ( kamandalu) and aksha-mala, sacrificial instruments such as shruk and sruva and a book or pustaka in his hands.

It was evident there are hardly any visitors to this shrine. The temple consisted of a small garbhagruha and a sabhamandapa with a small stage facing the idol,  the typical Goan style of temple architecture. The idol is probably from the Kadamba period from 12th BCE and it stands apart from other temple idols for the intricacy of the carving.

There is a curious lore attached to this temple about how this idol was brought into this village in 16th C. During Portuguese colonisation of Goa, many Hindu shrines were destroyed, as part of the inquisition. Thus Hindu devotees shifted the idols of the gods to a safer regions where Portuguese rule had not yet established itself. The story of Brahma Karmali idol comes from this period. Originally the idol was stationed at Karmali village near Old Goa. When the locals got the news that the Brahma temple might get destroyed, a brahmin decided to transport the idol of Brahma in a bullock cart to Maharashtra via Belgavi. At sunset he reached Nargarzar village in Sattari district. He decided to make an overnight halt and start his onward journey next day early morning as soon as the day breaks. He kept the idol hidden wrapped in a jute sack and he rested under the Kadamba tree. That night he dreamt of god Brahma telling him that he had liked the village and would like to stay there. The Brahmin ignored the dream and at day break as he got ready for his onwards journey he tried to lift the idol but he could hardly move it. The idol had become so heavy and had got stuck to the ground and would not budge inspite of great effort. Brahmin realised it was not just a dream, but a command from god Brahma. He gathered the villagers and requested them to install the deity in the exact spot, where it was kept on the ground . The villagers agreed and built a small shrine for the god and named the temple Brahma Karmali i.e. Brahma who came from Karmali village.The idol still stands today in the same place where it was installed years ago, although the shrine has undergone through the process of renovation in last 300 years.

Thus every year on the third day of Margashishya month as per Hindu calendar, the temple celebrates its foundation day.

Story collected by : Vidya Kamat
As narrated by : temple priest- Sandip Kelkar
Location: Nagzar, Valpoi , Goa
Image Copyright: Vidya kamat

Every village in India has its own peculiar rites and rituals connected with their village deity. Such rituals are unique and are intrinsically linked to the identity of the village deity and its people.
Sindhudurga district, known as south Konkan region of Maharastra, has one such peculiar ritual called ‘Gav -palan’ literally meaning “ Running (away) from the village”. Why do people want to run away from the village? And from whom are they running away?

Let us find out.

This unusual practice of ‘gav- palan’ is practiced in Chindar, Achara, and Vaigani villages of Sindhudurg district. No one knows how old is this practice, but during ‘gav- palan” ritual for three days and three nights the whole village moves out of the village (runs away from) and temporarily settles down  outside the village boundary. All the communities belonging to various religious sects take part in this ritual of temporary exodus. Gav-palan ritual takes place every three years. The village elders along with various community heads, chief priest of the shrine and the oracle who is the medium between the man and the god, gather at the shrine of Shri Ravalnath- which is the main deity of Chindar village. Villagers then consult Ravalnath through the oracle for his permission to conduct the ritual of gav-palan’. If the God responds positively through the oracle, the ritual date is fixed by the chief priest of the village. On the day of “gav- palan” a group of men begin drumming a huge drum to announce the time to shift out of the village. People immediately gather all their family members along with their livestock and pets and enough ration and firewood for three days. Locking their homes they place a coconut leaf mat in-front of the main-door indicating the house is now empty and no living beings are inside the house. Thus for three days and three nights the whole village turns into a ghost town with not a living thing in sight. Why would the whole village abandon their homes for three days and three nights with no living creatures left behind?
The village elders explain the origin of this ritual through this tale.

The lore says – long long ago, an evil spirit in the form of a wild boar (varah) started troubling the villagers of Chinder by destroying their plantations and killing people. Tired and frustrated by the wild boar’s evil deeds people left the village. But an old lady who was too old to walk, stayed behind in the village. She lived alone in the Chinder village. One day a man and his nephew who had lost their way in the jungle while hunting landed in Chindar village in the night. When they saw the old lady’s home they approached her for night shelter. The old lady welcomed them and gave them food and shelter. She also told them about the evil spirit- a wild boar, and his evil deeds . The man and his young nephew reassured her that they would eliminate the boar and bring peace to the village. They killed the boar and eventually settled in the village of Chinder. Village also came to be known as “Mama-bhachyache ganv” meaning ‘Village established by the Uncle and his Nephew’ in local parlance. However, the wild boar was the leader of the bhutas and pishachhas or the evil spirits and goblins. The spirits then approached the village god Ravalnath asked him  “Now that our leader is killed, where do you want us to go? We have no place to live?” Ravalnath assured them that the villagers will leave the village for three days and nights when bhutas can occupy the village on those days. Thus the ritual of ‘gav-palan’ was established. It is believed by leaving the village for the ghosts and other spirits for three days, God Ravanath made a pact with the spirits to establish peace in the village.

Interestingly another ritual conducted by the end of the three days period is called as ‘dev-palan” literally meaning “running (towards) the god”. As the three day period comes to an end – the village elders along with priests and the oracle go to the Ravalanath temple. There they consult the god again asking his permission for the villagers to return to their homes. As the god agrees, people start returning to their homes; but then the oracle scoots away to the village boundary. The village head, priests, shamans follow the oracle. This act is called as ‘dev-palan’ running towards the god or seeking the god. For the next three days and three nights. The village head consults the god Ravalnath through the medium of oracle on problems related to village administration. God Ravalnath, thus resolves the issues by speaking through the medium.

This unique rituals of ‘Gav-palan’ and ‘Dev palan’ brings people and communities together for three days and nights. Families and friends enjoy it as a family outing playing , singing and cooking special foods.
Story collected by : Vidya kamat
As narrated by : Makarand Kelkar
Location Sindhudurg- Maharashtra
Image Copyright :Vidya kamat

Have you heard of a festival dedicated to thieves?

That’s right ! That is ‘Chorotsava’ or the festival of thieves. This unique festival is held every year in Goa, especially in the villages of Zarame and Caranzol , located in deep forest regions in Valpoi district of North Goa.

The name of the festival was so intriguing that we decided to witness the festival, which takes place every year on the second day after the Holi festival, in Zarme village and a week later at Caranzol. Holi is part of Shigmo festival in Goa and south Konkan. It is a major festival of the region as it coincides with the harvesting season. At Zarame village, Shigmo festivities consists for five days. Holi is celebrated on the first day, second day is celebrated as Chorotsava, then comes Ghodemodani, and Palkhi. On the fourth day phool padne rituals are performed and Shigmo festivities ends with celebrations of karavali *.

Chorotstava takes place on the second day, after the sunset often stretches late into the night. When we approached the village temple it was early evening, and there were hardly any people around. We walked towards the village temple and met some elderly men . “We have come to see Choran jatra ( festival of thieves)” We announced. “ It will take place in front of the temple very soon , hang around.” we are told, while they casually moved around the shrine discussing day to day politics. Soon we see young boys digging holes in the ground and a pandal being erected in front of the Kelbai- Sateri temple which is the chief village deity of Zarme. The temple seem to have been recently renovated with funding provided by the local politician. So does the houses nearby that look newly constructed and painted, with brand new cars parked in the porch. The village looked prosperous with new modern amenities.

There is a narrow space in front of the temple which is called “chavhato” or ‘mand’. It is a sacred open space where all the important religious activities of the village take place. On the day of Holi, the villagers go into a ‘sacred forest’ to fetch the a pole which will be ceremonially planted in front of the temple, for the celebration of holi or bon fire. Under the supervision of the chief shaman or ghadi, a tall tree measuring 15-20 ft tall is chosen from the sacred forest and after offering a prayer and asking its permission to be cut, the tree is felled. Having cut the tree it is brought to the mand area to be planted as a pole before the temple. This is called as ‘Holicho khamb’ or sacred pole. The branches of the tree are cut away leaving only the only the main trunk,  which is then decorated with mango leaves.

Rajaram Bhikaji Gawas age 70, is the main elder (or jaankar) of the village and in charge of conducting Chorotsava. In a very solemn tone he informs us this is the true ‘history of his village’ and not a fictional lore for entertainment. “We enact the incident as it is very important for us as a community to remember our history. It is about justice. It is about our identity. If we forget the tale calamities would strike our community and we will get wiped out ”. Gawas  then revealed the story or itihas (history) as he stated.

Many years ago, a man- a sage from Kashi came into the deep jungles of Zarame, and decided to set up a village so that people can live there and flourish according to the ‘dharma’. The village had only a few inhabitants. One day late in the evening, a group of four men and two boys walked into the village carrying swords in their hands. Villagers mistook the group as thieves and attacked them and eventually killed them by beheading the men, but young boys were killed on a stake. It was a gruesome act and soon the news spread among nearby villages. Meanwhile the parents of the four men and two young boys, came to Zarme village. They identified their sons who were killed by the villagers. Heartbroken and devastated seeing the bodies of their sons, the old parents made a plea to the village head and the deity Kelbai Santeri. “ These are our sons. They are not thieves. They had some business in another village and were just passing through this village. How could you kill them? What about us, the old parents? We are rendered childless? What about their wives who are now widows? We seek justice for our innocent sons. Without justice, there is no salvation” cried the old parents before the council of villagers gathered in front of the temple ‘mand’. After much consultations village heads admitted that they had wrongfully killed four innocent men and two boys. The village headman admitted “ We cannot bring back your dead sons, but as an act of repentance the village of Zarame will always keep them in our memory  generations after generation .”  The headmen promised the old grieving parents. Since then Zarame village celebrates this event as “Chorotsava”or the celebration of thieves. Rajaram Gawas concluded narrating the tale by stating “ It is about Justice.(nyay karun dhakhavala) It is about dharma. Upholding justice is the seen as highest truth in this village/ We live by our principals and that’s why celebrating Chorotsavsa is so important to us”

As the evening approached an enclosure of cloth was made around the main pole of holiyecho khambh’. Behind the enclosure we could hear digging sounds as pits were being dug. Two wooden stakes were planted little distance away facing the enclosure. Few village men and boys dressed in the traditional attire of white shirt, and a purple dhoti ( called as sovale ,meaning sacred cloth)with orange patakha or headgear appeared behind the cloth enclosure. The enclosed area seemed to be the area where the main act was to take place.

Crowds started swelling as night fell. There were no bright lights besides the tiny LED bulbs that lit the temple and nearby buildings. The ‘ranmale’** performance began in the mand area. The village elder Gawas followed by bunch of young boys dressed up and decorated as monkeys, lions, and foxes carrying the cut branches and leaves entered the mand. They danced around the stakes shouting “Shabei! Shabei!!”

“Move back! Move back. Please make way” the village volunteers started pushing back onlookers, who had inched forward to watch the performance. After the brief Ranmale performance, some of the villagers carried in two young boys wrapped up in rough blankets. They seemed to be in a state of trance. They were made to sit on the stake with folded hands. As the scenario was set, suddenly a loud voice was heard and from the dark alley emerged an old couple crying out for help. Onlookers strained their eyes to catch the sight. The old man was dressed in a soiled shirt and trousers, and ceremonial headgear appeared to be a humble farmer . He was carrying a bow and an arrow, followed by a woman ( actually a man dressed in a woman’s clothing) dressed in a green traditional saree and carrying a bundle over her head walking silently behind her husband. It appeared that the elderly couple were strangers to the village . As the man approached the closed enclosure, he began to appeal in a sing song tune to the villagers. “I am looking for my sons who had gone missing” , he announced. A voice from inside the enclosure was heard responding to the elderly man’s call. For a long time there was an exchange of words between the voice and the elderly couple. The elderly man and his wife kept moving up and down the mand area making appeals to the people while searching for their sons. At one point the cloth covering the enclosure was lifted revealing to the onlookers the ghastly visual of the dismembered bodies of four men. There were four severed bodies, their heads severed from their bodies, lying on the ground. They were carrying swords in their hands . Few men standing besides each body were seen fanning the men. People rushed forward towards enclosure for a close look. In the dimly lit area, the whole spectacle was awesome. But before one could see the full the scenario carefully, the curtains were drawn hiding the whole scene from public view. The elderly man and his wife are heartbroken to see that their children were brutally killed. They entered the enclosure and started encircling the dead men, sometimes sitting besides each of them and grieving. The curtains of the enclosures were raised and brought down few more times for the onlookers to fully grasp the scene.

The villagers, young boys , men and elders entered the mand area beating drums and cymbal reiterating the promise to remember their sacrifice and deliver justice to their souls by keeping the memory alive. As they moved slowly around the the two boys who were planted on the stake, people began to disperse. Boys were taken down from the stake and the festival was officially concluded.

In the wee hours of morning another act is performed called ‘masti’ (mai sati), when the wives of the four men who were killed as thieves perform sati. Thus the sacrifice of the women ( enacted by men dressed as women) is also remembered and revered by the villagers.

As we return back to our homes we are still trying to make sense of the spectacular visuals that we witnessed during the ‘Chorotsava’ performance.

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*Order of the festivities differ in Caranzol village but the activities of celebrations remain the same.

Karavali is celebration of the mother goddess in the her pre-pubertal years and is a symbol of fertility

** Ranmale is a folk performance of Goa

Story collected by Vidya kamat

As narrated by village headman : Rajaram Gawas

Location Zarame, District Valpoi, Goa

Image copyright: Vidya Kamat

According to traditional belief, if you want wealth and prosperity, Goddess Lakshmi has to walk into your home. In Hindu mythology, goddess Lakshmi represents wealth and prosperity. To entice Lakshmi to enter their homes, women decorate their homes with beautiful kolams or rangolis and light a lamp at the doorstep to welcome her. In some homes women imprint tiny footprints showing her the way into their homes. Thus goddess comes walking.

Here is a tale connected with Adi Shankara, a 7th C. B.C.E Hindu saint who walked across India teaching the tenets of Hinduism.

The deity known as Rajarajeswari is worshipped as Saraswati in the morning, Lakshmi in the afternoon and Parvati or Durga in the evening. Thus representing all three forms of Devi in a single deity. Rajarajeswari is the presiding deity of Chottanikkara Bhagavathi temple situated in the suburbs of Kochi. It is one of the popular pilgrim centres in Kerala.

According to the legend, Adi Shankara learned that his beloved deity Saraswati- goddesses of knowledge and arts resides in a temple in Kashmir, which was her main centre of pilgrimage. People came from far and wide to learn various shashtras, music and performing arts at her temple in Kashmir. But how can people from southern India come to such a far away place to learn shashtras? Shankara pondered. He decided to please the goddess with his devotion and requested her to come to south ( Kerala) his native land, where he can establish a temple dedicated to her worship. After much persuasion goddess consented to come to South India on the condition that she would walk behind Shankara. But, as Shankara would lead the way and keep walking he should never turn back to check whether she was walking behind him. Adi Shankara agreed to her condition and they started their walk towards the south.

As she walked, behind Adi Shankara  the sound of trinkets from her leg assured him that she was following him. As they reached Kodachadri hills, Shankara could not hear the tinkling of anklets of the goddess behind him. Shankara waited for few minutes to be certain if the goddess was still following him. But there was only silence, not the sound of anklets. Anxious Acharya turned around to see what had happened. The Goddess was right behind him, standing silently. Shankara had broken the condition of not looking back to check on her. The Goddess refused to move any further. Shankara installed a temple in her name in Kollur district of Karnataka and here the Goddess Saraswati is known as Mookambika.

But Shankara did not give up on getting the goddess to his native place in Kerala. He continued to persuade the goddess to come to his native land of Kerala. After many years of devotion and penance Goddess agreed to come to Kerala and Shankara built her a temple at Chottanikkara near Kochi. It is said- Goddess remains present at the Chottanikkara temple only during morning hours. Thus the doors of the Chottanikkara shrine opens at early hours before Mookambika shrine doors are opened, so that devotees can take the darshan of the goddess before she walks back to Kollur.

———
Story collected by : Sunil Sharma
Source: as narrated by the priest at Chottanikkara temple, Kochi
Location : Kerala

Image copyright: Vidya Kamat

Childhood memories come to you in vivid colours. One of the distinct and colourful memories of my childhood is that of the San Joao feast, pronounced as ‘Sanjao’ in Konkani. San Joao stands for Saint John the Baptist of the Christian faith. The festival falls on the 24th of June every year, when monsoon rains arrive in Goa and the landscape turns lush green. Rivers and wells start filling up with water and dark rain clouds over the sky bring great relief to the lands parched by the summer heat. It is a season of hope and renewal of life.

During the festival groups of young men would visit the local community, singing and dancing, beating make-do drums, shouting “Viva Sanjao!” Dressed in colourful shirts and wearing wreaths of flowers called ‘kopel’ as headgear, they would carry tree branches with flowers in their hands . They would dance their way towards the community well and one of the men would then make a ‘rosar’or  prayer to Saint Baptist, to bring peace and prosperity to the family and the community. Having uttered their prayers, men and boys would jump into the well which would be often brimming with rain waters. They would spend a few minutes singing religious songs while in the well and climb out once the singing is done. An elderly headman of the community would then reciprocate by giving them fruits, coconuts, and a bottle of country liquor in return. The group would then march to the next house singing “Viva Sanjao!” The whole act was considered as a blessing from Saint John.

But why did these men jump into wells and rivers? The legend says, Mary the mother of Jesus, was pregnant when she came to meet her sister Elizabeth, who at that time was pregnant with St. John. When two sisters embraced, baby Jesus ‘jumped’ with joy in his mother’s womb greeting baby St.John. This was a great moment for the two young mothers, predicting the divine births that were going to occur. Jumping into wells during the San Joao festival is explained as an enactment of this mythic event.

Sanjao festival is also known as ‘Maodeche fest’ or simply “Zanvoyamche Parab’ literally meaning, ‘feast of in-laws’. It is said that during this time the son-in-law would visit his wife’s parental home and would be treated like a royal guest. Traditionally he would be given a hot oil bath and a set of new clothes. A special flower wreath was placed over his head called ‘kopel’. The family would then attend the mass of St. Baptist at the village church. After the sermon, all the men from the village would gather at the village square to perform the act of ‘jumping in the well’. They would go from house to house jumping into the community wells or rivers or canals in the village. The in-laws would arrange a special feast for their son-in-law on this day with the best of delicacies prepared specially for him. At the end of the day as the son in law returned home after the celebrations, he was gifted with a basket full of fruits, mostly from their own orchard called as ‘dali’ in Konkani, new clothes and ‘kopels’ or flower wreaths. The basket would be filled with seasonal fruits like mangoes , jackfruits, pineapples, sweets and rice cakes. The christian community of Goa believes that the feast of Sanjao comes with the message of new hope. Priests often preach to the new generation to “Let go of bad habits and embrace good deeds”. In ancient times, this festival was prominently celebrated in North Goa, especially in Siolim village, observes Dr. Pandurang Phaldesai, a noted folklorist from Goa. But in recent times San Joao festival is celebrated all over Goa.

During the same time when the San Joao festival is being celebrated, the Hindu community of Goa celebrates a festival called ‘Parab’. Parab means celebration. With the coming of rains, people celebrate new life and regeneration of earth. The Parab festival could be one of the ancient fertility festivals of Goa celebrating the onset of the monsoon season.

Story Collected by : Vidya Kamat
Source: Sanjao by Gopinath Vishnu Gavas
Location : Goa
Image copyright: Vidya Kamat

There are some shrines or places in India well known for certain traditions.
For instance, at Tirupathi temple devotees offer their hair to god Balaji, an aspect of Lord Vishnu also known as Srinivas. According to popular belief, people make a wish to the god and vow to offer their hair if the wish gets fulfilled. Scores of devotees thus visit the temple and offer their hair, or tonsure their head as an act of gratitude for the realisation of their wish.

But why offer hair?

In the Venkatachalam Mahatmya there is a story that explains the reason for the tradition of offering hair to god Srinivas at Tirupati.

Once Vishnu and Mahalakshmi had an argument, and Mahalakshmi in a fit of anger left Vaikunth, the abode of Vishnu. Saddened and depressed as he could not bear the loneliness of being in Vaikuntha all by himself, Vishnu came down to the Venktachalam mountains. As he could not find any temple or shrine in the area to rest, he hid in an anthill. A local cowherd used to bring his flock of cows everyday to graze on the Venkatachalam mountain. One of the cows recognised Vishnu hiding in the anthill, and she would come to the anthill and squirt her milk on top of the anthill. Meanwhile the cowherd had noticed that one of the cows was giving less milk. He was convinced that someone was stealing the milk of his cow. One day he decided to follow the cow and saw her releasing her milk on top of the anthill. Thinking that someone was hiding under the anthill cowherd hit the anthill hard with the stick. The stick hit Srinivas who was hiding in the anthill on his head and created a deep wound.

Bakulamati, a devotee of Vishnu recognised Srinivas and immediately prepared a medicinal paste of tree leaves and applied it on his head which was bleeding profusely. The wound eventually healed but Srinivas’s hair did not grow back. From then on, whenever devotees visit Tirupati- Srinivas, they offer their hair to the god in return for his gift of wish-fulfilment.

In Hinduism, Jainism and Buddhism tonsuring of one’s hair symbolises  ‘death and rebirth’ and performed during diksha or upanayan sanskar suggestive of new life.

Story collected by Vidya Kamat
Source: as narrated by Pranav Gokhale
Location Andhra Pradesh

Every year during Paush month of the Hindu calendar ( December- January) on a new moon day, villagers of Adulshi, Durbhat and Talavali villages in Ponda Taluka of North Goa, gather in their farms, with mud, eggs, sticks and shells to sculpt a crocodile out of clay. The rite called as Manage Thapane– literally meaning ‘sculpting a crocodile’ is performed to mark the beginning of the farming season.

Having created a crocodile replica out of clay, villagers then pour eggs on the replica (suggestive of infusing life ), and attach stones, shells, sticks and other thorny material to complete the rough skin texture of the crocodile’s body. A puja is offered to the mud crocodile by applying vermillion, and offering coconut and puffed rice with a prayer to protect their farm lands from calamities. Why worship a crocodile at the start of farming season?

In Goa fish farms are called Khazan. Regular fields are converted into fish farming shallows by trapping sea water from the creek. Traditionally mud bunds were built to trap sea water for fish farming. Locals explain that since bunds of the khazans are build with mud, sometimes these bunds break due to the force of water, gushing into the farms lands and washing away the fish. At times crocodiles would get washed into the farms and end up eating the fish, and even harming humans and their livestock. Thus to avoid any conflict between crocodiles and humans the rite was established.

Man-Animal conflicts have been part of the evolutionary history of mankind. However, the stories of ancestral wisdom tell us how our ancestors have tried to resolve such conflicts and find solutions for co-existence. Manage Thapane rite in Goa , demonstrates one such rite, where elders have tried to establish peace and harmony between man and animal in conflict zones and bring about ecological balance.

What is so unique about this ancient tradition of manage thapane rite is that it offers a glimpse into Goa’s social history and farming practices of the indigenous land tillers. Locals of Adulshi village, attribute khazan farming to goddess Navadurga and thus it is called as devakator, a religious act dedicated to the goddess. From ancient times the rights for fish farming is awarded to twenty-four families who were first settlers of the land. During the manage thapane ritual, it is expected that all the representatives of the twenty-four families would be present during the rite. If any family representative is absent during the ritual or they did not cultivate the farm the previous year then they have to pay a fine to the goddess by offering a meal of sweets to whole village  called godshe utsav.

Since people did not know how to read and write in ancient times, the practice of taking the head count was performed by the knotting of a red thread. The chief presiding member of the ritual would call out the name of the family representative for whom the fish farming is allocated. If he is absent then the thread is knotted in his name. Thus the total number of absentee farmers have to pay the fine by serving the goddess during the festival. Interestingly, the tradition of knotting the thread is continued till today, throwing light on the ancient practice of collective farming in Goa. The locals believe the tradition goes back to the ancient times when the land was reclaimed from the sea by building bunds.

Although, the ritual of sculpting mud crocodile seem to be an indigenous rite belonging to the farming community of Goa, a lore from Ramayana was later attributed to the rite to justify its sanctity. It is said, when Hanuman went to Lanka in search of Sita, Ravan’s son Meghnad captured him and presented him before Ravana. In the court Hanuman insulted Ravana. Enraged Ravana ordered Hanuman to be set on fire. Thus, Ravana’s guards set Hanuman’s tail on fire. Hanuman leaped into the sea to dowse the fire. Due to the intense heat, Hanuman began to sweat and a few drops of sweat fell into the sea. A crocodile swallowed the sweat and eventually got pregnant. She gave birth to a brave and fearless son by name Makardhvaja. Impressed by the child’s bravery and courage, Ahiravan appointed him as the gatekeeper of the nether region. Therefore the crocodile is worshiped in Goa as a gatekeeper and protectors of the farmers.

Story by : Durgashree Sardeshpande
Source: As witnessed and heard from locals during the performance of ManageThapane ritual
Location: Goa.
Image Copyright: Vidya Kamat. (Illustration is not representative of manage thapane ritual )

You can’t miss noticing the temple of Ravalnath in villages of Konkan or Goa. Ravalnath’s distinctive presence makes it obvious that he is the principal guardian deity and an important gramdevata of the region.

But who is this god that goes by the name Ravalnath?
Besides the Konkan region and Goa, Ravalnath is rarely visible within the Indian religious landscape. Shrines of Ravalnath are mainly found between Kudal in the Sindhudurg district of Maharashtra, and Goa, and in Belgaon and some parts of Uttar Kannada in Karnataka. There are as many as 49 shrines in Goa. and more than 211 shrines in Sindhudurg District of Maharashtra.

Considering the number of shrines dedicated to Ravalnath in Konkan and Goa, it can be said he is a god of the masses. Ravalnath is primarily a deity associated with the dispensation of justice. The three major shrines of Ravalnath are in Pedne ( Goa) , Chandgadh ( Kolhapur) and Otavane ( Sawantwadi). It is believed that these three shrines work in tandem to dispense justice to their devotees. These three Ravalnaths work like a bench of judges in a court. The belief is, at a time only two Ravalnath-s can dispense justice and give verdict to settle the dispute of its devotees. The third Ravalnath remains silent or rests, so to speak, in local parlance during this period. Once the deity gives the verdict, people follow it with utmost reverence and faith as they fear the deity’s wrath and the destruction that would follow if they disobey. The bond between god Ravanath and the people of Konkan Goa is that of affection but at the same time there is fear and reverence .

The second Sunday of the month of May is celebrated globally as International mother’s day. Anna Jarvis an American activist in the early 20th century was instrumental in proposing the idea of a world mother’s day as recognition of the invaluable role played by mothers across the world in nurturing and bringing up the children of this world.

However, the UN-sanctioned mother’s day celebration is often scoffed at as a western imposition by many in India. Is there a mother’s day in India that is part and parcel of the country’s culture? According to Dr Ashok Rana, the celebration of ‘Jivati Amavasya’ in rural India can be considered India’s own mother’s day.

Jivati is a goddess who is said to protect a newborn child and is worshipped as Jivati or Jivantika in Maharashtra. In rural Maharashtra women observe a ‘vrat’ or a penance rite on every Friday of the Hindu lunar Shravan month where they draw a picture of deity Jivati on the wall with sandalwood and worship her. Along with this rite, there is the tradition of inviting a married woman with their children for lunch. The menu would include ‘puran poli’ and various other Maharashtrian delicacies. The mother of the household would perform this pooja for the long and healthy life of her children. At the conclusion of the rite, women would narrate the story of Jivati.

The following story is part of the ‘Jivantika vrata’.

Who can forget the iconic image of Hanuman gracefully flying across the skies holding up a mountain in one hand while cradling his favourite weapon mace with the other? In the Yuddhakand of Ramayana, Valmiki describes the episode in detail. During the battle of Lanka, Lakshman was grievously wounded by Indrajit, son of Ravana. Seeing Lakshman was close to death, Jambavan the leader of bears commanded Hanuman to fetch immediately ‘Sanjivani booti’, a powerful medicinal herb that has the power to revive the dead found only on the Mahodaya or Dronagiri mountain. Hanuman leapt up and soared through the skies across a great distance to Dronagiri to fetch the life-saving herb. But having reached Dronagiri mountain Hanuman could not identify the plant Sanjivani. As he could not afford to waste time searching for the herb, he quickly tore up the whole mountain and flew back with it to Lanka.

However, there are two sides to this story that highlights how some villages adore Hanuman for bestowing gifts to them in the form of rare plants; while others fault Hanuman for ripping off their natural wealth.

There are many assumptions about the location and identity of the Dronagiri mountain in India. Some identify it as the present-day Dhauladhar range extension of Himalayas in Himachal Pradesh, near Kasauli & Dharamshala. The villagers of of the tiny hamlet of Dronagiri in Uttarakhand, identify the nearby mountain worshipped by locals to be the mythical Dronagiri mountain mentioned in the Ramayana.