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

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.

———————-

*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

The story of Cinderella is found across many continents albeit with some local variations. This version of Cinderella and sardine man was first collected from Goa, and is based on the Portuguese tale of Pedrosa. The tale was collected from pre-independent Goa by anthropologists Sara Davidson and Eleanor Phelps in 1937.

Pedrosa was a young and exceptionally beautiful girl. But her stepmother was jealous of her beauty and ill-treated her by keeping her hungry and making her do all the household chores. Her stepsisters too made her life miserable by constantly humiliating her. One day Pedrosa’s stepmother ordered her to get sea foam in a glass. As she went to the beach to collect the sea foam, she met a man with a basket full of sardines. Hungry Pedrosa requested the man to give her one sardine, thinking she would feast on roasted fish that night. The man gladly gave her a sardine. The girl was delighted. When she reached home she kept the sardine in a pot near the well and rushed inside the house to complete her household duties. But Pedrosa’s step mother kept her busy whole day. In the evening the girl came to the well and started looking for the sardine. Alas! The sardine had jumped into the well and escaped. She felt so miserable that she began to cry cursing her fate. Hearing her cries, a tall man emerged from the well and asked her why was she crying?. Pedrosa told him about the sardine she wanted to eat. Man consoled her and told her- ‘He’ was the sardine and promised her that if she needed any help she should call him out and he will be there to fulfil her command.

Days went by and the annual ball dance at the palace was announced. All the young girls from the village were excited to attend the ball dance at the royal palace. Pedrosa’s step sisters went shopping for expensive clothes and beautiful gowns and shoes for attending the ball. Pedrosa too wished to attend the dance gala but she neither had good clothes nor any shoes. She remembered the sardine man’s promise. She went to the well and called out for help. At once the sardine man appeared and agreed to sent her to the ball dance gala at the royal palace. As promised Sardine man gave her a beautiful gown and golden shoes and prepared a silver chariot to take her to the gala with a condition that she should return home by the stroke of 12.

When Pedrosa reached the palace, everyone was dazzled by her beauty but no one knew who she was. The Prince danced with her and was mesmerised by her charm. As the clock struck 12, girl hurried back to chariot. The Prince was so smitten by her beauty, he tried to stop her from leaving the dance floor. But Pedrosa slipped away and the Prince was left holding one of her golden shoes that had fallen off her feet. The beautiful girl thus disappeared from everyone’s sight and the Prince was left heartbroken.

Next day the king ordered his guards to look for the girl with a golden shoe, because the prince wanted to marry her. The royal guards began house to house search for the girl. As they reached Pedrosa’s house, step mother ordered her to remain inside the kitchen and presented her ugly daughter to try out the shoe. She knew that shoe would not fit her so she even tried to cut her daughter’s toes to fit the shoe. But shoes was too small for her feet. The Guards asked if there was any other girl in the house and step mother replied “Oh there is only a servant girl and she did not go for the dance gala.” But the royal guards insisted the servant girl also try the shoe. Voila ! It was a perfect fit. The step mother was aghast to see how the golden shoe fitted her step daughter’s feet.

Royal guards took Pedrosa to the palace. Prince at once recognised her and decided to marry her very next day. The girl was happy to live in the palace.She had over come all the hardships in life. Very soon she got pregnant with her first child and step mother told her husband that as per the custom they should bring the girl home during the first pregnancy. Her father went to the palace and requested the prince to send the daughter home. Reluctantly Prince allowed his wife to go home. In due course of time, the girl gave birth to a beautiful healthy baby boy. Prince sent the message that he would soon come to take his wife and son back to his palace.
But the wicked step mother had thatched a plan. She sent Pedrosa to the well to have bath. She had secretly built and platform out of rotten planks. The moment the girl climbed on the platform, rotten planks gave way and the girl fell into the well. Step mother was overjoyed to see the girl fall into the well , she quickly covered the well with with some planks and closed the well mouth.

Meanwhile, she dressed up her daughter like her step daughter, and sent her and the baby boy along to the palace. Prince was surprised to see how his wife had turned so ugly. But the stepsister sobbed bitterly and explained how during pregnancy and the birth of the boy she had lost her beauty and had turned into an ugly woman. Prince, was aghast and started ignoring her.

Meanwhile , the sardine man had saved Pedrosa from drowning in the well. Pedrosa would often remember her new born baby boy and would start crying longing to see him. One day she requested the sardine man to take her to the boy, so that she could kiss him. Sardine man arranged a visit in the night. But the palace guard noticed her and informed the prince, and when the girl arrived and kissed the boy he captured her . Pedrosa narrated the entire plot of her stepmother and described how she was imprisoned in a well and how the stepsister was sent back in her place.

The Prince was furious and ordered his guards to behead the stepsister at once. Thus Pedrosa and the prince lived happily ever after.
Story collected by : Vidya Kamat
Text source: Folktales from New Goa India, Ed by Sarah Davidson and Elenore ,Phelps 1937, translated by Dr.Pandurang Phaldesai , 2021
Location: Goa
Image copyright: Vidya Kamat

Diwali festival is composed of a cluster of auspicious days. It begins with Vasu Baras a day dedicated to thank and honour the cows for their service to the community, followed by Dhana-trayodashi celebrating the birth of the god of health Dhanvantari. Next comes Narak Chathurthi celebrated as the Deepavali or the festival of lights when Lord Krishna killed the asura Naraka ( also recounted as Ram’s victory over Ravan). Followed by Lakshmi pujan when goddess Lakshmi is invited and worshiped in every home to bring prosperity and wealth. Then comes Bali Pratipada or the Hindu New year or Padva.* Diwali celebrations conclude with Bhaubeej or Bhaidooj a day when a brothers and sisters renew their bond by visiting each other at their home.

Padva or Hindu new year, known as Bali Pratipada is dedicated to King Bali. King Bali was a kind and a righteous king belonging to the Asura or Daitya race, who are the arch-enemy of Devas. Among the literary sources Bali is mentioned in the myth of Vaman avatar, the fifth avatar of lord Vishnu. The popular myth recounts how Vishnu assumed the form of Vaman and tricked King Bali by stepping on his head and thrusting him into Patal or the nether region. Unlike regular stories where hero and villain are clearly marked into good and evil characters, King Bali was no villain and yet he was tricked and subjugated and banished from his kingdom. However, it is believed that King Bali visits earth to meet his subjects once a year and people celebrate his homecoming as the New year. The southern Indian state of Kerala celebrates it as Onam, and in North India it is celebrated as Bali Pratipada.

Who is King Bali?

There are not that many stories about King Bali in the scriptures. However, King Bali has a distinct place in the oral histories and narratives found among the indigenous people and especially agrarian communities in India. In Goa, Bali is a prominent god of Kulmi or Kurmi community who are the indigenous people and the first settlers of the land. They consider Bali as their ancestor or originator who taught them the art of agriculture. It is believed that Bali was the first man whom Ishwar the supreme god gave the knowledge of agriculture.

In the beginning when earth was formed, Ishwar came to earth and created rivers, trees mountains, animals and man. After creating the world he felt thirsty, and looked around for fresh water to drink. Birds and animals fetched him water from different water bodies nearby, but Ishwar wanted water that was not only pure but was untouched by hands and unseen by eyes. No one could fulfil such condition and Ishwar started dying of thirst.

A wise crow who was watching the scene from far, came to King Bali and told him the secret of getting water that is untouched and unseen by humans. He gave him the coconut fruit and asked him to give it to Ishwar. Bali took the coconut fruit to Ishwar and offered it to Ishwar by breaking the coconut and giving him the water inside it, which was untouched and unseen by any living being. Ishwar was pleased by Bali’s gesture and blessed him with the knowledge of agriculture and said all human race particularly farmers, will consider him as their god. Saying thus Ishwar disappeared into the stone pole or linga. In Goa, Bali is still venerated in the form of a pole or Stambha. In every Kulmi homes there used to be erect pole like linga made of wood or stone in the centre of their home. Even today, Kulmi community offers coconut water over the pole/linga during auspicious days recounting the myth of Bali.

In another narrative it is said, when earth was being formed and was still not solid, a huge Areca (Areca catechu) nut tree emerged from its centre, that covered all the three worlds of Nether- region( Patal) , Earth( Bhu) and Heavens( swarga). King Bali was placed at its roots ( the region of Patal which was covered by Ocean waters) while gods where perched on its leaves (swarga or heavens). Then Ishwar declared, the one who first sets his foot on earth will own the earth. Soil on the earth had not hardened and was still very soft and viscous. Gods feared that if they set their foot on the soil, it might cave in and they might get sucked into Patal or nether region. But Bali was a brave and courageous man, he cautiously started walking on the earth, and covered the entire landmass. Ishawara declared him to be the first king of the earth or ‘Bhupati’. Thus Bali ruled over Patal,Ocean, and the earth. Soon he learnt the the art of tilling the earth and started cultivating the land. He passed on this knowledge of agriculture to humans and thus prosperity and wealth came to mankind. Farmers till today recognise his contribution by venerating him as the first hero or god.

Fishing communities in Goa too consider King Bali as their ancestor and worship him as their god. Folk myths narrate that Once when King Bali was busy tilling the land, gods killed his son by deceit. When Bali’s wife found their son dead, she came crying to Bali and informed him of the son’s death. Bali realised that gods had killed his son. He remained calm and asked his wife to go back home and cover their son’s body with leaves and cook a sumptuous meal. Bali belonged to asura race and thus Shukracharya was his guru. When he returned home he brought his guru Shukracharya with him for a meal and requested him to bring his son back to life. Shukracharya with his yogic powers, brought Bali’s son back to life. But since his son had visited Patal (land of dead) he could no longer walk on Earth and so Bali sent him to rule the Ocean. Fisher community of Goa believes that they learnt the art of fishing from the son of King Bali. Once in a year they celebrate the homecoming of King Bali by taking a procession around the town.

Bali’s role and contribution as the first agricultural hero gets recognised during the celebration of the new year or Padwa in his name as ‘Bali Pratipada’ marking the dawn of Indian civilisation.

*The order of auspicious dates change according to the Hindu calendar and need not follow the order as suggested.

Story collected by Vidya Kamat
Text Source: Ramayana and Baliraja by Pratapsingh Velip Kankar
Location: Goa
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

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 )

One often gets surprised when a stranger narrates you a story that you long ago heard from your grandma at bedtime, albeit with a twist. Stories travel far and wide. And sometimes they return with new additions. These new additions can transform the meaning of the story that once you knew within a particular context. Here is one such story from my childhood, that I heard later on with a totally different ending. Read on.

Ms. Cockroach had got new clothes stitched from the tailor. The new dress fitted her so well she looked like a bride. Dressed in new clothes she would sit by the window and dream of getting married. I want to marry ‘ a man’ with a sweet voice. She thought. One day while she was sitting by the window, a dog passed by and looking at her dress Dog said,” Oh lady, you are looking so gorgeous today, who are you waiting for ?” “Oh Mr. Doggy, I am waiting to marry some one who can sing for me. Can you sing a song for me? ” Mr. Dog got excited with the prospect of getting married. “Sure! Bow! Bow! Bow” Dog barked. But the sound frightened Ms. Cockroach and she scampered and hid under the window sill until Mr. Dog went away.

Next day she again sat by the window wearing the tailored dress . A duck passed by. The duck asked the cockroach would you marry me if I sing for you? ” Yes . Please Mr. Duck” Ms. Cockroach sat attentively to hear the song.” Quack! Quack!! Quack!!” Duck quacked loudly. ” No! No! I don’t like your grating voice Mr. Duck, I am sorry I can’t marry you”. Disappointed duck left crestfallen.

Then came a big tomcat. He was known as the casanova of the town. ” Ms.Roach, he said blinking his eyes and rubbing his head on the window sill. ” I can serenade you with my song. Marry me.” “Yes Mr. Tom, first sing for me” replied Ms. cockroach” Meow! Meow Meow” Tom cried in a flat gruff tone. “No! No! I don’t like your gruff voice Mr. Tom.” said Ms. Cockroach rejecting tomcat. Finally came a tiny rat, and asked Ms. Cockroach to marry him in a squeaky soft voice. Ms. Cockroach fell in love with his voice and married him.

My grandma’s story would end at this point. By this time we kids would have fallen fast asleep.

Recently I heard the same story with a new ending.

Ms. Cockroach wanted to celebrate their marriage so she cooked a meat dish and went in search of bread and wine so that she and Mr. Rat could raise the toast. She told Mr.Rat to wait till she returned with the wine. But Mr.Rat got greedy and started eating the food in a great haste and he fell inside the cooking pot and got burned to death. When Ms. Cockroach retuned with bread and wine, she could not find her husband. She looked everywhere and finally found him dead in the pot. She cried and cried and decided never to marry again.

I wonder if my grandma deliberately avoided the sad ending of the tale, or the tragic ending of the tale a later addition? The story continues.

Story Collected by : Vidya Kamat
Source: Mrs. Sitabai Panandiker( grandmother) also see Folk tales from New Goa India by Sara Davidson and Eleanor Phelphs. Translated into konkani by Dr. Pandurang Phaldesai
Location: Goa
Image copyright: Vidya Kamat

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 .

No one knows from where they came or how they ended up in Goa, but the priest of Lairai temple narrates the following tale about the Seven sisters. Seven sisters and their younger brother came from Karnataka region riding an elephant. They first stopped over at Mayem village in Bicholim Taluka of north Goa. As soon as they arrived, Mhamai the eldest of the seven sisters, sent the brother Khetalo to fetch fire from near by market. She wanted to set up a stove to cook food for all of them. Young Khetalo went in search of fire to the nearby market and got lost in the hustle bustle of the market. Mhamai then asked Lairai and Kelbai to go find out why Khetalo was taking such a long time to fetch fire. The two sisters found Khetalo engrossed in watching children playing games, having forgotten his errand to fetch fire. Lairai got furious and kicked him hard. Kelbai watched without intervening while Khetalo was being kicked. Lairai kicked Khetalo so hard that he got a permanent bent in his waist. Lairai repented her action and vowed to atone her sin by walking through fire. Kelbai too felt ashamed and guilty for standing silently and watching her brother being kicked. She too vowed that she would walk carrying fire on her head. Eventually the seven sisters and their brother dispersed among the various villages of Goa.

Son in laws occupy a special position in Indian house holds. He is always welcomed as an important and special guest of the family and offered with choicest gifts, clothes, and food delicacies, whenever he visits his wife’s parental home.  He addressed as Jamai in Hindi or Javai or pahuna literally meaning guest in rural Maharashtra in Marathi and Zavuim in Konkani.  However, he is also a target of ridicule and the butt of many jokes . In Goa, a tiny state in western India there are many folktales dedicated to the Son-in law presenting him as foolish, greedy, outright ignorant, and even as a dullard and therefore a target of mockery.

Here is a story that gives an idea of the social jibes meted out to the son in law, subtly humiliating his position and unwarranted pride.

The son in law had arrived during lunch time and mother in law hurried to the kitchen to set up a menu. It happened to be a Monday, and the family followed the routine of a strictly vegetarian lunch on Monday’s . Since it was a vegetarian meal, the mother in law had cooked few additional dishes to satiate the palate of the son in law. The table was loaded with local varieties of traditional delicacies. Vegetarian dishes like Khatkhatem ( mixed vegetable stew), tambadi bhaji  vegetable made of amaranth stalks freshly cut from the backyard garden, potato, lentils soups, raw mango curry, and pilau made out of best variety of basamati rice, along with side dishes in the form of chutneys, pickles, and salads were on the table along with the customary Sol kadhi  or  coconut milk curry. The son in law feasted on each and every dish lovingly served on to his plate. There was hardly any space left in his bulging tummy but his greed did not allow him to stop. And when he was about to belch, the mother in law came with a pot full of vermicelli payasam. “Try this son. Even gods can’t resist this sweet dish” she said trying to pour the sweet milky white porridge on to his plate.

Now the son in law had never seen or tasted vermicelli payasam before. He was repelled to see vermicelli that appeared like  worms in the milk and shouted “ NO! I don’t like it Mother in law. Please excuse me.” blocking his hands over the plate . Confused and disappointed mother in law stopped midway, and quietly walked back to kitchen after serving others in the family. Son in law looked around and saw every one was happily relishing the dish served on their plates. “What is so special about this dish that even gods love it” he thought to himself.

Then he saw few drops of milk syrup had dripped on his palm. He looked around and quickly licked the syrup from his palm. “ Hmmm… this really tastes divine. He thought to himself as the taste lingered in his mouth. He thought regretfully “I should have listened to mother in law and eaten that sweet”. But it was too late.