Multilingual cities of India.

Multilingual cities of India.

1. Solapur, Belgaum, Bidar, Gulbarga  - Marathi, Kannada and Telugu

2. Medak, Bellary, Chintamani, Hindupur, Pavgada - Telugu and Kannada

3. KGF, Hosur, Kuppam - Kannada, Tamil and Telugu

4. Vellore, Sriharikota, Chennai - Tamil and Telugu

5. Bengaluru - Kannada, Tamil and Telugu

6. Mangalore, Udupi, Kasargod - Tulu, Beary, Konkani, Kannada, Malayalam

7. Karwar, Joida, Ankola, Kumta, Honnavar, Bhatkal - Konkani and kannada

8. Sindhudurg, Ratnagiri - Konkani and Marathi 

9. Bhuj - Kutchi, Sindhi, Gujarati

10. Mumbai - Marathi, Gujarati, Hindi

11. Ambala, Chandigarh, Panchkula - Punjabi, Hindi

12. Hyderabad - Deccani Urdu and Telugu

13. Srikakulam, Vizianagaram - Telugu, Odia

14. Darjeeling, Siliguri - Nepali, Bengali

15. Kodagu - Kodava, Kannada, Malayalam, Tulu

16. Ooty/Nilgiris - Badaga, Toda, Kota, Paniya, Irula, Tamil and kannada

17. Mattur - Sanskrit, Sankethi, Kannada

18. Barak Valley and Hojai  - Sylheti Bengali and Assamese

19. Ganganagar, Hanumangarh - Bagri Rajasthani, Punjabi

20. Karbi Angalong - Kabri and assamese

21. kooch Behar - Rajbhonshi, Bengaloli, Bodo, Assamese.

22. Kanyakumari - Tamil and Malayalam

23. Una - Himachali and Punjabi

24. Araku Valley - Bagatha, Gadhaba, Jathapu, Valmiki, Kolam, Porja, Koya, Konda-Dora, Kotia, Gadaba, Odia, Telugu

25. Bastar - Gond, Bhatra, Muria, Abhuj Maria, Bison Horn Maria, Halbaa, Dhurvaa, 

26. Gangtok - Lepcha, Limbu, Bhutia and Nepali

27. Ullasnagar - Sindhi and Marathi

28. Dhule, Jalgoan, Nasik - Khaneshi(Aihrani), Marathi, Gujarati

29. Palakkad - Malayalam and Tamil.

30. Waynad - Irula, Paniya, Malayalam

31. Dadra and Nagar Haveli - Bhili, bhilodi, Gujarati, Marathi

32. Port blair - Bengali, Tamil, Telugu, Hindi, Nicobarese and other tribal languages

33. Thiruvananthapuram - Malayalam and tamil

34. Brahmapur, Rayagada - Odia & Telugu 

35. Digha - Bengali & Odia 

36. Kharagpur - Bengali, Telugu, odia 

37. Nagpur - Marathi &  Hindi.

38. Delhi - Punjabi , Haryanvi and Hindi 

 39. Kolkata - Bengali, Maithili, Bhojpuri, Nepali, Odia

Kupya Chale - KODAVA Men Dress

The traditional dress of the Kodavas, the Kupya Chale definitely stands apart . A Kupya Chale clad Kodava is as elegant as one can be. It is worn during family celebrations and festivities. It has a history as long as the Kodavas and today, it is worn with a modern touch with a white trouser and a tie.

The traditional dress consists of Kupya, Chale, Mande tuni, Peeche kathi and Odi kathi.

Kupya:

Kupya is a collarless, thick, short-sleeved , knee length coat made of wool or cotton.
There are black and white kupyas each having its own significance and worn in particular occasions.

The knee length black kupya was worn as everyday clothes in the earlier  days, as the thick material protected from the cold and while moving through the thick jungles.

Only a man who is in a position of honour wears a white kupya. During the marriage ceremony the bridegroom always wears a white kupya and in the time of death the kupya is reversed and is worn to the body.

Chale: The chale is a maroon gold-embroidered silk sash which is worn around the waist to secure the Kupya.

Mande tuni: Head dress , a white length of cloth is tied around the head as a turban. A red checkered cloth known as vastra is also used instead of the mande tuni.

Peeche Kathi: Kodavas have a very strong bond with their weapons
and even though the peeche kathi was not part of the traditional dress, they keep this silver dagger tucked in their chale as a part of their culture.

Odi kathi: is the main sword , it is tucked to the chale in the back side.

Dashama Vrat

Dashama Vrat is dedicated to Goddess Dashama and is observed from the first day of Shravan month as per traditional calendar followed in Gujarat. Dashama Vrat 2015 begins on August 15 and ends on August 24. It is a 10-day vrat. Devotees also refer to the festival as ‘Dashama na Naurta’ – Navratri of the Goddess.

 

There are several temples dedicated to Dashama where devotees perform several rituals during the 10-days. 

 

Devotees who are facing an adversity ('dasha' in Gujarati) and want to appease Goddess Dashama to overcome it observe the 10-day vrat.

 

Goddess Dashama is widely worshipped in rural Gujarat and in cities by the lower socio-economic groups.

 

During Dashama Vrat devotees, observe partial fast and install her murti in their homes or public pandals.

 

At the end of the tenth day an all night 'jagran' (staying awake) is observed.

People observing the Vrat will read the Dashama Vrat Katha

Navadurga: The Nine Forms of Goddess Durga

Navadurga: The Nine Forms of Goddess Durga

Nava – that also means 'new' – denotes 'nine' the number to which sages attach special significance. Hence, we have Nava-ratri (9 nights), Nava-patrika (9 leaves / herbs / plants), Nava-graha (9 planets), and Nava-Durga (9 appellations).

The 9 manifestations of Goddess Durga. Each goddess has a different form and a special significance. Nava Durga, if worshipped with religious fervor duringNavaratri, it is believed, lift the divine spirit in us and fill us with renewed happiness.

All the nine names of goddess are narrated in ‘Devi Kavacha’ of the ‘Chandipatha’ scripture. Learn about the nine goddesses in the following slides that include beautiful watercolor paintings of each appellation.

1.Shailaputri

Shailaputri literally means the daughter (putri) of the mountains (shaila). Variously known as Sati Bhavani, Parvati or Hemavati, the daughter of Hemavana - the king of the Himalayas, she is the first among Navadurgas. Her worship takes place on the first day of Navaratri – the nine divine nights. The embodiment of the power of Brahma, Vishnu and Shiva, she rides a bull and carries a trident and a lotus in her two hands.

2.Bharmacharini

She is worshipped on the second day ofNavaratri and is the second form of Mother Goddess. Bharmacharini means one who practices devout austerity. She enlightens us in the magnificent embodiment of Durga with great powers and divine grace. She holds a rosary in her right hand and a water utensil in her left hand. She is blissful and endows happiness, peace, prosperity and grace upon all devotees who worship her.

Filled with bliss and happiness, she is the way to emancipation - Moksha.

3.Chandra Ghanta

The third facet of Goddess Durga is ‘Chandraghanta’, who is worshipped on the third day of Navaratri, for peace, tranquility and prosperity in life. She has a ‘chandra’ or half moon in her forehead in the shape of a ‘ghanta’ or bell. That is why she is called ‘Chandraghanta’. She is charming, has a golden bright complexion and rides a lion. She has ten hands, three eyes and holds weapons in her hands.

She is the apostle of bravery and possesses great strength to fight in the battle against demons.

4.Kushmanda

Kushmanda is the fourth form of the mother goddess and is worshipped on the fourth day of Navaratri. The meaning of the name ‘Ku-shm-anda’ is as follows: ‘Ku’ = a little; ‘ushma’ = ‘warmth’; ‘anda’ = ‘the cosmic egg’. So she is considered the creator of the universe. The universe was no more than a void full of darkness, until her light spreads in all directions like rays from the sun. Often she is depicted as having eight or ten hands.

She holds weapons, glitter, rosary, etc., in her hands, and she rides a lion.

5.Skanda Mata

The fifth aspect of the Mother Durga is known as ‘Skanda Mata’ - the mother of Skanda or Lord Kartikeya, who was chosen by gods as their commander in chief in the war against the demons. She is worshipped on the fifth day ofNavaratri. She is accompanied by the Lord Skanda in his infant form. Skanda Mata has four arms and three eyes, holds the infant Skanda in her right upper arm and a lotus in her right hand which is slightly raised upwards.

The left arm is in pose to grant boons with grace and in left lower hand which is raised also holds a lotus. She has a bright complexion and often depicted as seated on a lotus.

6.Katyayani

The sixth form of Mother Durga is known as ‘Katyayani’, who is worshipped on the six day ofNavaratri. The legend behind her name goes thus: Once upon a time, there was a great sage called Kata, who had a son named Katya. Kata was very famous and renowned in the lineage of saints. He underwent long austerities and penance in order to receive the grace of the Mother Goddess. He wished to have a daughter in the form of a goddess.

According to his wish and desire the Mother Goddess granted his request. Katyayani was born to Kata as an avatar of Durga.

7.Kaal Ratri

This is the seventh form of Mother Durga and is worshipped on the seventh day of Navaratri. She has a dark complexion, disheveled hair and a fearlessness posture. A necklace flashing lightning adorns her neck. She has three eyes that shine bright and terrible flames emanate from her breath. Her vehicle is the donkey. Her raised right hand always seems to grant boons to all worshippers and all her right lower hand is in the pose of allaying fears.

Her left upper hand holds a thorn-like weapon, made of iron and there is a dragger in the lower left hand. She is black like Goddess Kali and holds a sparkling sword in her right hand battle all evil. Her gesture of protection assures us of freedom from fear and troubles. So she is also known as ‘Shubhamkari’ – one who does good.

8.Maha Gauri

She is worshipped on the eighth day ofNavaratri. Her power is unfailing and instantly fruitful. As a result of her worship, all sins of past, present and future get washed away and devotees get purified in all aspects of life. Maha Gauri is intelligent, peaceful and calm. Due to her long austerities in the deep forests of the Himalayas, she developed a dark complexion. When Lord Shiva cleaned her with the water of the Ganges, her body regained its beauty and she came to be known as Maha Gauri, which mean extremely white.

She wears white clothes, has four arms, and rides on a bull. Her right hand is in the pose of allaying fear and her right lower hand holds a trident. The left upper hand holds a ‘damaru’ (a small rattle drum) and the lower one is in the pose of granting boons to her devotees.

9. Siddhidatri

Siddhidatri is the ninth form of Goddess. She is worshipped on the ninth day of Navaratri. Siddhidatri has supernatural healing powers. She has four arms and she is always in a blissful happy enchanting pose. She rides on the lion as her vehicle. She blesses all Gods, saints, yogis, tantrics and all devotees as a manifestation of the Mother Goddess. In ‘Devi Bhagvata Purana’ it is mentioned that Lord Shiva worshipped her and was blessed with all Siddhis (supernatural powers).

By her blessings his half body became female and other half body male in the avatar of Ardhnarishvara.

TEEJ FESTIVAL

Teej is a monsoon festival celebrated with great spirit by the married women and teenage girls in the Northern Indian states of Rajasthan, Uttar Pradesh, Punjab, Bihar and the Central Indian State of Madyha Pradesh. Nepali Teej Festival is also one of the forms of this very important Hindu festival meant to worship Goddess Parvati for marital bliss. Teej literally means ‘third day,’ and is celebrated on the third day of Shukla Paksha (brighter half of month after which comes full moon day) in the month of Shravan coinciding with the monsoon season. According to the Gregorian calender, Teej is celebrated in July-August. In fact, there are three Teej festivals of same character that are celebrated within a period of two months of Shravan and Bhadrapada of Hindu calender. These are Hariyali Teej; Kajari or Kajli Teej; and Hartalika Teej.

The Hariyali Teej estival this year will be celebrated on 17 August 2015. As is know, there are three Teej festivals of which Hariyali Teej is celebrated first after which falls Kajli teej and the last one is the Haritalika Teej. The dates of all the three Teej festivals in the year 2015 are as follows:

Hariyali Teej – 17 August 2015

Kajjli Teej– 1 September 2015

Haritalika Teej– 16 September 2015

Goddess Parvati who is also referred to as ‘Teej Mata’ is worshipped by girls and married women on the day of Teej and a fast is observed by them to seek the blessings of the Goddess. According to the Teej legend, Goddess Parvati got reunited with her consort Lord Shiva on the pious day of Teej. It is said that Parvati observed rigorous fasting and did ‘tapasya’ (paid penance) for 100 years to be reunited with Lord Shiva. She had to take 108 births to be accepted by Lord Shiva as his wife.  Thus, Teej festival has become an important festival for married women who commemorate the reunion of Lord Shiva and Goddess Parvati. It is believed that the invocation of Parvati’s blessing during the Teej festival ensures marital bliss in one’s life.

As Teej is the festival of women for marital bliss in their lives, the rituals of Teej festival too are related to this concept. The parents of married women send gifts for their daughters and her in-laws which is known as ‘Sindhara’ giving Teej another name, Sindhara Teej. These gifts include clothes, sweets and such things for daughter as bangles, henna, bindi, and other cosmetics. If it is the first Teej after a girl’s marriage, she visits her parental home and celebrates the festival there only and goes to her husband’s house only after Raksha Bandhan to celebrate Badi Teej there. If a girl has been engaged, gifts for her come from the home of her future husband. The girls observe fast to get a husband like Lord Shiva and married women fast with the wish of long life of their husbands and marital bliss in their life.

Shravani Teej as it is called because of being celebrated in the Shravan month of rain- is one of the most awaited festivals for women who get ready on this day in their best clothings, wear many ornaments, decorate their palms and feet with ‘mehndi’ or henna, and do all the make up thought apt for a married woman. All married women and girls observe fast to please Goddess Parvati and seek her blessings for happy married life. Women of all ages get in full spirit this day and sing the Teej songs in chorus and dance with joy. As this is the season of rain and everywhere there is greenery, the festival is also known as ‘Hariyali Teej’ or the ‘Green Teej.’ Swings on the branches of trees with girls and women taking turns is a common sight on the day of Teej and also during the whole monsoon season.

Some special sweets are made not only in homes but are also available in almost all sweet shops these days. These include ‘Ghewar’ and ‘Pheni’ as the most relished sweets on Teej.  There are certain peculiar ways of celebrating Teej in some regions like in Jaipur, Chandigarh of Punjab, Nepal and so on.

Teej refers to the monsoon festivals, observed particularly in western and northern states of India, Nepal, and in some Southern states of India such a Telangana. The festivals celebrate the bounty of nature, arrival of clouds and rain, greenery and birds with social activity, rituals and customs.

The festivals for women, include dancing, singing, getting together with friends and telling stories, dressing up with henna-coloured hands and feet, wearing red, green or orange clothes, sharing festive foods and playing under trees on swings on Haryali Teej.

The festivals are dedicated, in many parts of India and Nepal, to Parvati.

Importance Of Mehndi in Indian Culture

Importance Of Mehndi In Indian Culture

Mehndi holds a lot of cultural significance in Indian traditions. Be it weddings, Karva Chauth or other occasions, mehndi plays an important role in all the ceremonies and festivals of India. In today's era of modernization, the new styles and designs of mehndi are coming up, adding

glamour and fun to it. Weddings being the most important day in one's life, mehndi has become an ornament for the soon to be brides. There is, in fact, one whole

ceremony dedicated to its celebration popularly known as ‘Mehndi Ceremony' or ‘Mehndi Ki Raat'. Besides this, the phrase ‘Haath Peele Karna' as often heard from elders of the family is a rasam of mehndi directly synonymous to marriage. This significance maybe attributed to symbolic meaning of mehndi i.e. fertility.Mehndi Ceremony is among the pre wedding

rituals in Indian weddings performed a day prior to the marriage. Just as Haldi ceremony symbolizes cleanliness, mehndi signifies beautification. Mehndi-Ki-Raat is usually a private affair with close relatives, friends and family members, celebrated amidst lot of dancing and feasting.

This ritual is often combined with Sangeet ceremony and so is primarily a women's function. The atmosphere is imbued with dholak beats and singing of traditional songs while mehndi is applied on bride's hands and legs by mehndi experts. The

bride's mehndi interweaves the name of her would be husband and he is expected to find his name in the pattern. The female relatives of the family also apply mehndi on their palms to take part in the celebrations. This ceremony is performed by families of both the Indian bride and the Indian groom.

Even the color of mehndi is given high

importance in Indian culture as the darkness of the color signifies the degree of husband's and mother-in-law's love. It depicts love and affection between the couple as it is believed that the longer it retains, the more auspicious it is. The bride is traditionally not allowed to work in her husband's home until her mehndi's color

fades away completely.

Karwa Chauth (करवा चौथ)

Karwa Chauth

Today, the festival of Karwa Chauth is celebrated enthusiastically in majority of Hindu households in northern and western regions of India.

 Falling nine days before Diwali, Karwa Chauth is a vrat observed by married woman praying for the welfare of their husbands. This one-day festival is celebrated once a year, on the fourth day of the 'Karthik' month according to the Hindu calendar. The term 'Karwa' means earthen pot, which symbolizes peace and prosperity and 'Chauth' refers to 'fourth day'. 

This festival is one of the many beloved occasions in India, where families and friends get together and enjoy. Many pooja rituals are performed on this day and several delicious dishes are prepared too. However, the ritual that forms a significant part of this festival is the fasting ceremony observed by married Hindu women. This sacrifice is performed for the well-being of their husbands and it takes place from sunrise to sunset. The aim behind the celebration of Karwa Chauth is an honorable one, and this has added interesting aspect to Indian culture. Love between the husband and wife and respect among their families, is what Karwa Chauth aims to achieve by the performance of these rituals. The origin of Karwa Chauth is explained in the following lines.  

Karva Chauth History and Origin

For those who celebrate Karwa chauth, this festival is not just another festive occasion, but has a symbolical value to their lives. They believe that their fasting throughout the day will secure fortune, prosperity and long lives for their husbands. This fasting festival has many ancient legends and stores to it. 

During the ancient times in India, girls were married off at young ages and according to tradition, they had to leave their own houses and stay with their in-laws. These girls had no one but their god-sisters, with whom they could speak to. On the bride's wedding day, a small Hindu ceremony would take place, where one woman became their god-sister for eternity. These other women became their sisters for life and they shared a pure and sanctified bond of friendship. Each bride had her own god-sister and they would help each other in times of hardship, sharing their thoughts and problems with one another. Thus, the festival of Karwa Chauth was originally created for those reasons, to celebrate the bond of friendship and sisterhood. 

As years passed, the Karwa Chauth festival evolved and the fasting ritual for the longevity and wealth of husbands became the main part of this festival. However, the husband is always linked to this festival for the reason that, the bride would develop a sisterly bond with the woman who will become their god-sister, only on the day of her marriage. It makes sense that today all the married women, fast and pray together, during the celebration of this festival, as this also symbolizes friendship and sisterhood.

Karwa Chauth fast starts in the morning before sunrise and concludes after sighting the moon in the night. Therefore in most cases the duration of the fast will be certainly more than 12 hours. However, the duration depends on the time of sunrise and moonrise in the given year. The main task involved in Karwa Chauth preparations is to prepare the Karwa Chauth thali.

Two types of thalis are prepared for Karwa Chauth – the Sargi ki thali in the morning to start the fast and the Puja ki thali to perform the puja in the evening and conclude the fast.

Karwa Chauth Sargi Ki Thali is prepared by the Mother-in-law for her daughter in law. The main purpose of this thali is to ensure that the daughter in law eats well before the sunrise so that she is able to fast for the whole day. Therefore the dishes placed in the Sargi Ki Thali are prepared the day before and arranged in the thali. The daughter in law wakes up early in the morning, takes a holy bath, worships gods and receives the blessings of Mother in law before eating the items presented in the Sargi ki thali.

• Pheni or meethi seviyan

• Parathas

• Gobi ki sabzi

• Fruits

• Dahi

• Kaju Katli

• Mathri

Karwa Chauth Puja ki thali includes

• Colorful bangles

• Mehendi

• Jewelry

• Sindhoor

• Cowdung to make the image of Gauri ma

• Strand of red thread

• Karwa (pot with water)

• Some money

• Sieve (to see the moon and husband’s face through it)

• Sweets and fruits

After a day long fasting and preparations for puja  from sunrise  on, the main Karwa Chauth puja is performed in the evening. The women folk gather in a common place wearing bridal sarees and some elaborate costumes. They all hold the Karwa Chauth puja thali in their hands. During this time, an elderly woman narrates the story of karwa Chauth to the gathering. While listening to the story, the women light the lamps in their thali and wait for the moon rise. The reflection of the moon is spotted in the karwa or pot of water kept in the thali or the women view the moon through a sieve or dupatta. After this, the husband’s face is viewed in the same way and after seeking his blessings, they conclude the fast.

It is celebrated by the married women of North India. It usually fall nine days before Diwali. The festival marks an auspicious fast observed by married women for long life, well being and prosperity of their husband. The women strictly adhere to the guidelines laid down for the fast and refrain from food and water for one complete day. The festival also provides an opportunity for socializing with family, relatives, friends and in laws. Karwa Chauth (करवा चौथ) is symbolic of unflagging loyalty of a wife towards her husband.

Karwa Chauth (करवा चौथ) is usually observed in the month of October or November. Karwa Chauth (करवा चौथ) is a Hindu festival celebrated by married women. The celebrations follow a number of rituals traditions. One such important ritual is applying henna (mehendi) on hands. Few ladies follow a strict fast where they do not eat or drink anything. Not even a single drop of water. It is said that successful completion of this fast ensures long life and prosperous future for her husband.

The roots of the festival go back into mythology. The katha read during puja tells the tale of Princess Veeravati who gets married to a king. On her first Karva Chauth, she decides to go visit her parents. The rigour of fasting all day renders her weak and she faints. Her seven brothers, who love her immensely, can not bear to see their sister in this state and trick her into thinking that the moon has risen. Just as she breaks her fast, she gets word that her husband, the king is dead. The queen is heartbroken and rushes to her husband’s palace. Enroute, she meets Goddess Parvati and Lord Shiva who tell her that it is a penance and fasting on Karva Chauth will help bring back her husband. The tale ends happily as the king gains consciousness and they live happily ever after.

Sargi tips for women observing Karva Chauth:

1. Include lots of fruits like banana, papaya, pomegranate, berries, apples etc. in the sargi

2. Avoid oily and fried foods like paranthas and pakoras in the morning as these are heavy and may make you dizzy. Eat a heavy meal like multigrain chapatti with vegetables or paneer.

3. Avoid tea or coffee as both of them tend to dehydrate you later in the day. Instead, drink up a glass of fresh juice, milk, buttermilk or a cup of green tea

4. Avoid mithai/ sweets and instead opt for dates, figs or apricots

5. Munch on a few nut like walnuts, almonds and pistachios

Karva Chauth Pooja

The day passes slowly but before you know it, it is evening. The women dress up and gather together to perform the puja. The katha is read aloud as the thali with a sweet, glass of water, a diya and other puja materials is passed around in a circle. All that is left now is to wait for the moon to rise.

Breaking the Fast

Different people break the fast in different ways. The one consistent tradition is to look at your husband through a sieve and then take a sip of water from his hands to break your fast. In recent times, men also choose to fast for their wives, breaking stereotypes. Everybody then enjoys a delicious meal together.

Kaveri Tulasankramana

Kaveri Tulasankramana is celebrated by the people of Kodagu on the 17th/18th of Oct every year. When the sun enters Tula Rasi, thirtha(holy water) springs from the kundika(small pond) and empties itself into a larger pond in Talacauvery.

Kani Pooje: On the following day Thaliyathakki Bolcha( oil lamp placed on top of rice spread on a bell metal plate) a vegetable wrapped in red silk cloth believed to be a symbol of Goddess Kavery and adorned with jewelry and flowers, 3 beetel leaves & 3 are a nuts are placed on the plate. Pooja is done by sprinkling rice on the plate. Everyone then take blessings from their elders for a whole month.

Telangana's Bathukamma

Telangana's Bathukamma: 

When the goddess returns as flowers

In the Telangana region, the festival of what is popular as ‘Dusshera’ or ‘Navaratri’ is celebrated with great pomp and splendor.  There are several ancient temples dedicated to the mother goddess.  Before we reach know about these temples and the goddess, it is important to have a general overview of the region.

The origin of the world ‘Telangana’ could be tracked to medieval times. A distortion of the word ‘Teluganamu’, meaning ‘the country of the Telugus’, ‘Tiling’ was a word used by Muslim historians. When Mohammad-Bin-Tughlaq transferred the capital from Delhi to Devagiri around 1326-1327 AD, the imperial dominions of the Deccan were divided into five provinces. ‘Tiling’ was listed as one of them.

The ‘Maasaalik- Ul-Absaar’ that gives a list of southern provinces mentions ‘Tiling’ twice. The Sultan had split the region into two independent administrative areas in 1335 AD. The eastern division had Warangal as its capital and the western had Bidar. The Tirupati epigraph of the Vijayanagara emperor Krishnadeva Raya dated 1516 AD, one can find references to his conquest of the region, which included Jallipalli, Anantagiri, Urlakonda, Nallagonda, Aruvapalli, Kandikonda and so forth. He is supposed to have performed prayers at various temples dedicated to the goddess in the region. In the Velicharla epigraph of Prataparudra Gajapati dated 1510 AD, he mentions conquering the forts of Telangana and performing rituals at the temples of the goddess. In ‘Vishnu Puranam’, a 17th century text written by Vennalakanti Soorannakavi one finds a mention of Telangana and its various festivals, again.

The Chalukyas of Badami and Kalyani as an extension of their dominions ruled the region. This was the time the famous ‘Nava Brahma Temples’ were built. Archeologists have roughly dated these to be around 6th and 7th centuries CE. By the time the Kakatiyas ruled the place, they made Hanumakonda and Warangal their main capitals. By then, the temples dedicated to the goddess worship were thriving. Across the Telangala region, goddess worship became a major reference point for the growth of the Shakta cults and the Bhakthi movement. She is worshipped as Gnana Saraswati Devi in Basara in Adilabad region, as Jogulamba in the ancient temples of Alampur, as Sammakka and Sarakka in Medaram, as Bhadrakali in Warangal, as Brahamarambika in Sri Sailam, as Kanaka Durga and Maha Lakshmi in Vemulavada in Karimnagar and so forth. Outside of Telangana region, you can find many more holy shrines dedicated to goddess worship.

However, the goddess worshipped as ‘Bathukamma’ has a fascinating set of stories. ‘Bathuku’ and ‘Amma’ literally mean ‘Mother, be alive’, as an expression.  Various folk narratives about the roots of the festival circulate till date. A folk mythology story mentions references to the famous ‘Daksha Yagnam’ episode in the Shiva Puranam. Sati and Shiva arrive unwelcome to Daksha’s penance and are insulted. As a result she sacrifices herself. The women of Telangana believe she returns, year after year, as a blessing from nature in the form of various flowers across the land. Another popular story in the region is that of a king named Dharmangada and his queen Satyavathi. After many sons, who died at war, the couple prayed to the goddess for a daughter. Pleased with their prayers goddess Lakshmi incarnated as their daughter. As a girl she survived many mishaps and was named ‘Bathukamma’. Whatever the various narratives are, it marks another occasion to worship the divine goddess. She is prayed to as another Avataar of nature, as a bestower of good health and prosperity and as a giver of strength and courage to the women folk.

The festival is exclusive to the Telangana region and is celebrated for all the nine days of Dusshera. On the moonless night of the Mahalaya Amavasya, ladies gather to make flower arrangements. Very specific flowers, with exceptional medication qualities as prescribed in Ayurveda and other ancient health manuals like Charaka Samhita, are picked and meticulously arranged on large plates made of wood or bamboo frames in an order. The main flowers used are ‘Gunugu’, ‘Thangedu’, ‘Banthi’ or marigolds, ‘Chaamanthi’ or chrysanthemums, ‘Taamara’ or the lotus, ‘Gummadi’ or Pumpkin flowers, ‘Dosakaya Puvvu’, ‘Gaddi Puvvu’ and ‘Vaama Puvvu’. These flowers are arranged in layers with a wide base, to make large pyramids or floral mountains. In ancient times, we have references to how these pyramids were made keeping certain prevalent esoteric practices of the devout Shakta cult in mind. They were simpler forms of Yantras dedicated to the goddess.

Bathukamma

The flower pyramids are called ‘Bathukamma’. She is now revered as an embodiment of the divine goddess. Once several pyramids are made, they are placed on a fresh Rangoli that the earth is decorated with. Lamps are lit around Bathukamma. Prayers are chanted, coconuts are broken and ritual fires are lit to sanctify the air around the ‘Bathukamma’. Amidst the fragrance of these flowers and incense, ladies dance around circumambulating these pyramids singing songs. “Bathukamma Bathukamma Uyyala, Bangaru Bathukamma Uyyala”, goes a famous song that roughly means “Swing to and fro with blessings, into our lives, oh golden mother goddess, in the form of Bathukamma”. 

These songs are sung from sunset till the early hours of the night. Then ‘Bathukamma’ is taken in a procession, mostly carried by women on their heads, to a nearby water body. She is immersed into the water with prayers. This ritual is followed for nine days of Dusshera. Special foods made from local agricultural produce of corn, jaggery, sesame seeds, cashew nuts, grams are prepared and offered to the goddess before partaking them among the ladies and devout. This rich festival, filled with fun, music and much celebration is one of the signature festivals of the Telangana region.

Under the Nizams of Deccan, the rulers always made sure this festival was celebrated with much communal harmony. Till date, the Bhagya Lakshmi temple at the foot of the famous Charminar in Hyderabad celebrates this festival. In times of flood with the Musa river overflowed causing much pandemonium in Hyderabad, the Nizam is said to have prayed to the goddess and floated a ‘Bathukamma’ into the river, after which is subsided to its normal course. This rich syncretic tradition of Ganga-Jamni Tehzeeb was followed for many decades.  There are numerous stories of a rich syncretic culture that the Telangana landscape is proud of. Several famous 20th century painters from the region like Sajid Bin Mohammad,Thota Vaikuntham, Kapu Rajaiah and Md Rustum have been inspired by this festival and featured it in their works. Next time you are around the Telangana region during Dusshera, take time out to witness a Bathukamma celebration when the goddess returns as flowers, to bless her devotees.

Nose Rings and Studs of India - Region wise

Nose Rings of India

In India, depending on the region and ethnicity of the women, nose piercing is done on the right, left, or even both sides of the nose. Traditionally, the Indian women wear either “phul” (nose studs) or "nath" (nose rings).

Telugu and Tamilian are the only linguistic groups who wear nose studs on right side and rest of India wears on left. Tamilians even wear on the both sides.

In Southern India Kannnadigas, Tuluvas, Badagas wear the nose studs on left and Malayalis and Kodavas doesn't have custom of nose studs or rings.

In Northern, western and Eastern India Nose rings are common and again in North eastern India nose piercing culture is not there. 

The nose stud or the nose ring has been an essential and integral part of the Indian culture and religion. The religious practice is an age-old tradition that heads back centuries and has significance even today. In the Hindu religion, wearing a Nath is not restricted. Nose rings are positively associated with the Hindu religion itself as they are worn by Hindu women more than by women of any other faith in India. The religion is a non-theistic faith that draws people who see tattoos, piercings and other physical alterations as ways of experiencing the divine.

Many girls at an early age, are mandated to get a nose piercing to sought and maintain their cultural identity by respecting and implementing traditions of the women before them 

Usually a young woman in a Hindu family would get a nose pierce upon her physical maturity as an indication that she is now eligible for marriage. It is also a way in which the elders of the household bestow worldly goods, including other pieces of jewellery, on the young girl as their daughters are the Laxmi (Goddess of Prosperity) and the lights of the homes.

Therefore, it’s not only limited to married women as in the case of a Mangal sutra. Although, many Indian women, particularly Hindus, have their noses pierced at an early age around the age of 12, which was traditionally the marriageable age. Piercings in India, including nose piercings, are one-way Hindus honour Parvathi, the goddess of marriage.

Nose piercing in Hindu tradition is not only for a fashion statement, but it also signifies more than that. It shows and pays respect for their culture, religion and ancestral practices.

Tehri Nath / Nathuli of Garhwali, Kumauni and Himachali:

Nathuli is the traditional nose ring of Uttarakhand. It is basically native to the Tehri district of Garwhal and is celebrated for its great artistic value. The big gold ring is decorated with multiple precious rubies and pearls. The size and weight of the ring as well as the number of pearls in it can vary widely, which actually signifies the status of the family of the woman wearing it. Nathuli is considered auspicious and a cherished possession of married women in that region.

Maharashtrian Nath / Guchhedar Nath:

We have seen our B-town divas many times to sport this exclusive guchhedar nath in order to complement their authentic Maharashtrian looks. Needless to say, it is the signature jewelry of the state and one of the most eminent Indian styles you can opt for. From the large cashew nut shape to the pearls, stones and beads embedded in it, each and everything contributes to its unique beauty.

Punjabi Nath :

When it comes to the most popular Indian bridal nose rings, Punjabi nath always tops the chart. The elegance and charm of the huge golden ring as well as the chain connecting it to the hair will make you fall in love with the ornament easily. The hoop may come in a variety of sizes, motifs and colors. Moreover, it is adorned with small dazzling pendants that go even all along the connecting chain

 Nathni:

Nathni is basically a lighter version of the sparkling shikarpuri nath and it is mainly popular among the women of western India, in particular Rajasthan and Gujarat. It also consists of a big golden hoop and a long delicate chain connected with it. But, the presence of pendants or gemstones in a nathni is rare.

Nathuri - Rajasthani / Gujarati :

While nathni is considered as a glorious choice for Rajasthani brides, women in that state are also found to wear another kind of nose ring called ‘nathuri’ as an everyday jewelry. The tiny ornament is made of gold or silver and embellished with a single or 2 to 3 precious or semi-precious gemstones. The design is quite simple and graceful.

Laung:

Laung is a cute petite nose stud, which has immense popularity across the whole northern region of India. The name of the jewlery has come from its shape, which resembles the common aromatic spice clove. It is mainly made of gold, while a pearl or any other precious or semi-precious gemstone is embedded in it.

Latkan : UP and MP Region

This is another distinctive nose ring concept in which the chain connecting the nose stud or pin with the hair gets more priority. It is completely a North Indian choice. The whole set of latkan comprises of a simple metallic nose pin or stud with no significant adornment and a pretty ornamental connecting chain almost identical with a charm bracelet.

Bulaq / Bullaq :

Bulaq or bullaq is a bridal nose ring style followed by women in North India. It is absolutely different from regular naths that are worn on the nostrils. Rather, it needs to be put on the central lower section of the septum or partition of our nose. The ring comes in a small pendant form of various shapes and generally, does not contain any external embellishment.

Muggutti : 

Unlike north Indian women, the women in the southern part of India prefer simplicity over vivacity when it comes to nose rings. In Karnataka, the traditional nath is named as ‘mukuthi’ or ‘mukkhutti’, which is basically a tiny light-weight nose pin designed like a lotus or swan. It is usually studded with topaz or diamond. South Indian brides are sometimes even found to wear double nose studs on both nostrils too.

Pullaku :

Pullaku is the southern version of bulaq or bullaq, which is quite common in Tamil Nadu. It is also a central nose ring that suspends freely from the division of the nose i.e. septum. However, it can also be worn along with the mukuthi, which completes the authentic South Indian bridal look.

Palakka :

Palakka jewelry is regarded as a time-honored style by women of  South India . The nose studs belonging to the palakka pattern look bright and gorgeous with beautiful red stones and precise enamel designs. It is sure to give you a chic, versatile appearance all the time

Piercing nose and adorning it with a gleaming pin, stud or ring is not only an age-old tradition in India. Rather, it has immense significance in the lifestyle of a woman. And these days, it has even become a true fashion statement. The shapes, sizes, patterns, motifs and materials of naths or nose rings vary widely based on the cultural demands of various regions of the country.

Other parts of India :

Odisha

                                                                       Kutch

Himachali / Pahari / Pahadi Language and dialects

Himachali Pahadi Scrit

The Takri alphabet is a Brahmic alphabet related to the Sharada, Landa and Gurmukhi alphabets, descended from the Devāśeṣa alphabet, which developed from the Sharada alphabet in the 14th century. The Takri alphabet emerged as a distinct script during the 16th century.

Takri was as an official script in parts of north and northwest India from the 17th century until the mid-20th century. A version of Takri was the official script of Chamba State, which is now part of Himachal Pradesh, and was used to write Chambeali. In Jammu and Kashmir a version of Takri known as Dogra Akkhar was used to write Dogri. It was offically adopted in the 1860s, and was replaced by Devanagari in 1944.

Takri was also used on postage stamps and postmarks; for translations of Sanskrit texts into Dogri; for official records, letters and decrees; in inscriptions; for translations of Christian religous texts into Chambeali; on Pahari paintings. It has also been used to write the Gaddi, Jaunsari, Kashtwari, Kulvi and Mandeali Dialects

Other names for Takri include Takari, Takkari Tankri and Ṭākarī. The origins of the name are uncertain: one theory is that it is derived from ‘ṭaṅkā (coin). Another theory suggests that the name is connected to ṭakka, the old landed class of Punjab, or that it is the alphabet of the Ṭakkas.

Since Takri fell out of use, efforts have been made to revive it for Dogri Kishtwari and Kulvi in the states of Jammu, Kashmir and Himachal Pradesh, where the local government has set up a programme to train Takri specialists in association with the Indira Gandhi National Open University.

There is considerable regional variation in the Takri alphabet with each state or region have its own version. The version below is are mainly Chambeali versions.

Himachali is dying :

Pahari. Pahari dialect is widely spoken in Himachal. In Himachal, the dialect changes every few miles.The Pahari spoken in one area can be different from other. Pahari languages were mostly written in Tankri script. This script differs slightly from area to area like Bushahr ,Chamba,Kangra,Mandi,Kullu etc all have their own style of grammar. Today there are very few people who can read and write Tankri. This is one of the dying scripts in India. Most of the ancient Himalayan literature ,technology and sciences were written in this language.

young generation in Himachal is not very much interested in Pahari Dialect. Please pardon me I am generalizing this for the whole state but I can say this is almost true about Shimla and upper Himachal area. When I was in school I was also discouraged from speaking Pahari as it was considered as the symbol of people living in villages. We were encouraged to speak Hindi and English instead of Pahari. Learning and speaking English has become status symbol these days.Most of my friends today don’t speak Pahari at home (myself included). Our dining table conversations are in English or Hindi and not our local dialects.English has become the primary language in all private schools across the state. Today I see most parents encouraging their children to speak either in English or Hindi rather than Pahari. I have seen kids having inferiority complex speaking Pahari.Do you think our future generations will enjoy the essence of Pahari if the same trend continues ?

One of the major reasons why a dialect dies is simply because people stop speaking it.When a language becomes extinct, it takes with itself an entire culture. Himachal is known for its rich culture and Heritage and I think Pahari language has major contribution in its unique culture and traditions.A language is a culture’s pride and we should teach the same to our children.

We should encourage use of Pahari at home. We should encourage our children to listen to Pahari folk songs , dance , cultural activities. Above all we should tell our children to feel proud of their native language.

Langauge : Himachali / Pahari

Branch : Saursheni Apabransh

Lipi / Script  : Tankri

Dialects of Himachali : 

Chamba District :

Dialect : Chambeali

Sub Dialects :

Bhateali – Bhattiyat

Churahi – Churah

Pangwali – Pangi

Gaddi/Bharmauri  -  Bharmour

Mandi district :

Mandeali - Mandi

Dialects :
Suketi- Sundarnagar
Bhalidi, - Baldwara
Sarkaghati - Sarkaghat

Kullu District :

Dialect : Kullui

Sub dialects :
Siraji
Seji

Kangra district :

Dialect : Kangri

Palampuri – Palampur
Shivalik

Sirmaur District :

Dialect : Sirmauri

Sub Dialect :
Dharthi(Giriwari)
Vishvahi(Giripari)

Solan District :

Dialect : Mahasuvi

Sub Dialect :
Handuri/Hinduri, 
Baghati,
Kayotali

Shimla District :

Dialects :

Kochi

Barari

Mahasui

Kayotali

Una District

Dialects : Kangri

Hamripur District

Dialects – Kangri

Bilaspur District

Dialects : Kahluri/Bhilaspuri

Kinnaur district:

Language : Kinnauri

It is spoken in Badhal Rampur Bushahr to Sangla and north along Satluj river to Morang. 

Mainly the kinnauri spreaking area is located in lower parts of district Kinnaur district

Sub Dialect :

Chitkuli - Baspa river area of the Sangla valley in Nichar subdivision in Chitkul and Rakchham villages

Sunami

Omeskand

Sangnur

Shumgo

Shumcho - Puh tahsil in Kanam, Labrang, Spilo, Shyaso, Taling, and Rushkaling villages

Jangshung -  Morang tahsil in Jangi, Lippa, and Asrang villages

Lahaul – Spiti  District

Languages : Lahuli  

Spoken in Lahaul and Timpati – Spiti

Sub Dialect :
Chagsa
Gara
Rangloi
Manchati
Gehvi

Other Major Languages of Himachal:
Hindi
Punjabi
Dogri
Gurjari
Kashmiri