SAVOURING THE BEST OF KERALA

ONAM: SAVOURING THE BEST OF KERALA

available with graphics at www.ktexplorer.com/onam

God's own country is a tourist’s dream destination. Unlike other tourist destinations, Kerala, does not limit visitors with "seasons". Every season here is tourist season and Kerala offers something worthwhile depending upon, what one is looking for. Awash in green after lavish monsoons, Kerala is at its pristine best in August. This is often marketed as the beginning of the tourist season that stretches well into March, when the summer starts.

Onam, the festival unique to Kerala, normally falls in the August -September period. It is celebrated all over the state with gaiety and colour and showcases local art, culture and traditions. Though its origins are deep rooted in Hindu beliefs, Onam is celebrated by Malayalees all over the world, beyond religions and socio-political divides, making it a truly unifying experience. Though events and traditions associated with Onam may vary from place to place, each one is spectacular in its own right. For an explorer, the difficulty is in making the choice, for there is so much to choose from.

The Legend

According to the legend, Emperor Mahabali ruled Kerala in a manner that Heavens became envious. All the Gods then approached Lord Vishnu to do the needful. One day, as The Emperor finished his prayers, Lord Vishnu appeared as Vamana (Dwarf), and asked for alms. Kindness personified, the ruler permitted the dwarf to ask anything he wanted. Vamana asked just for three feet of land to stand and pray. The Emperor readily agreed. He immediately grew up, big enough to measure the whole universe in two steps and asked for place to keep the third step. The Emperor, true to his word, bowed down and showed his head. Vamana, with his feet drove down the Emperor into the netherworld. However, before he went down, Emperor Mahabali secured the rights to visit his subjects every year. Malayalees irrespective of cast, creed, faith and place they are at, welcome their beloved Emperor, believed to be visiting his empire during Onam.

Onam Activities

Visitors, associate "Sadya" (The feast) and “Vallam Kali” (Boat Race), with Onam. Beyond these, two well-advertised events, there are many traditional events associated with Onam. The prominent ones, to name a few, are "Athachamayam", "Kummattikali", "Ona–Thallu", “Pakida-kali” "Pookkalam", "Puli-Kali", "Thiruvathira Kali", “Thumbi- Thullal" and “Uri-Adi”. Over a period of time, these events have evolved as local and regional competitions, sponsored and funded for commercial gains.

Atha-Chamayam.  "Atha-Chamayam" literally means "decking up-on Atham", Atham being the first of the ten- day onam period. This event formally marks the commencement of onam festivities. Across the state, on Atham day, people create intricate floral arrangements in front of their houses or courtyards to welcome Mahabali. This practice continues for the next ten days. Traditionally, "Oonjaal" (swing) is also installed on Atham. Athachamayam is celebrated on a grand scale at Thripunithara, not very far away from Kochi. The colourful ceremony is a curtain raiser to the ensuing mega celebrations. The origins of this event go back to the times of Kochi Royalty. Those days the King himself, in all his royal pomp, took part in the procession accompanied by the Christian priest of the Karingachira church, the Maulavi from Nettur mosque and the village elder to represent the fisher community. The event has evolved into a cultural feast under the stewardship of the local municipal Council. This is one event that a tourist with interests in traditional art forms must never miss. Almost all forms of traditional folk art are on display during this function. Feast to the eyes, Athachamayam is a window to the rich heritage of the most literate state of India.

"Sadya" (The Feast)

Traditionally, "Sadya" is a two-course vegetarian lunch consisting, normally of about 24 dishes served on a banana leaf. At places, the number could swell to 64. However, all dishes can be clubbed under 3 major heads, “Choru” (Boiled Rice), "Koottan" (Add-ons) and “Madhuram” (Deserts). The first course is an endless supply of boiled rice served along with an amazing range of traditional vegetarian dishes making up the phenomenal numbers to fill the entire banana leaf. These dishes are collectively called "Koottan". “Madhuram” consists of an endless supply of “Payasams”, normally three varieties which could go up to as much as seven.

The traditional sadya is a family affair, where family members sit together on the mats laid on the floor and partake the sumptuous lunch. The lunch is traditionally served first to the males and children of the house, followed by the women folk sitting together to eat. The interesting part of the feast besides the number of items on the banana leaf is a manner in which the banana leaf is laid on the ground and the specific location assigned to each item being served. Interestingly, table salt is also one item of the menu. Though one may use the salt if required, the traditionally intended purpose is to keep the evil eye away from the household. In some households, one leaf with all the ingredients is kept near a lighted lamp. Depending upon the family belief, it could either be for the departed souls, Emperor Mahabali, the unseen guest. Some households also serve it as an offering to Ganapati, the Hindu God. In some houses this offering may be just a pinch of salt on the banana leaf as salt is central to existence and thus symbolising offering everything to God. 

Although almost all hotels and restaurants across Kerala serve sadya during onam,  Home-stays may be a better destination for more authentic sadya. However, if one has a Malayalee friend, an opportunity to be at his or her place on “Thiru-onam” for lunch must never be lost. Besides enjoying the traditional Malayalee hospitality, sitting next to the family elder, one can partake in a lunch of a lifetime.

Vallam Kali (Boat Race)

While boat racing exists all over the world, the ones in Kerala are spectacularly different. Kerala is a land of backwaters, rivers and lakes that host boat races of various kinds. Out of all such races, the ones that have captured international fame are Nehru Trophy at Alleppey, Aranmula , Champakulam and Payippad.

Each of these boat races is associated with a legend that locals hold in great reverence. While some of the races may be linked directly to onam, others are conducted based on the Malayalam calendar. Widely publicised, heavily subscribed, and fiercely contested, these races are unique to Kerala. In fact, beats of countless drums and songs and cheering spectators become part of the crescendo that fuels the contestants. The experience of being part of the spectators’ gallery is itself exhilarating and worth treasuring.

Kummattikali A traditional form of dance, mostly prevalent in the northern districts of Kerala is performed by individuals wearing colourful painted wooden masks and skirts made out of grass and leaves. Performances are based on recitals from Hindu mythology like Ramayana, Mahabharata or even local folklore. Dancers perform to the beats of the “Ona-Villu”, a locally made bow -like instrument, the string of which is strummed upon to make a rhythm. Kummattikali is a free-flowing art form and artists can be seen performing in front of houses or even street corners. Being present in Kerala at the time of onam provides the visitor with a fair chance of seeing this performance more than once.

Thiruvathira Kali (Dance on Thiruvathira Day). This is an elegant form of dance normally performed by ladies. This traditional art form, devoid of "Bhavas and Mudras” inherent to other forms of dance, is characterised by beautiful, gentle harmonious body movements accompanied by claps that set the rhythm for the performance. The graceful performance would normally have participants themselves reciting lyrics that are taken from Hindu mythology, songs in praise of Mahabali or a local folklore. Also known as “Kai-kotti Kali” (“Kai-Kottu”, means claps and “Kali” means Dance), this dance is traditionally staged during onam. Participants are normally attired in the traditional “Mundu” (Dhoti) and “Neriyathu” (The upper piece) with their hair adorned with jasmine flowers. They dance around the “Pookkalam” (Floral Arrangement) at the center of which, is the traditional lamp called “Nila Vilakku”. Pookkalam, is an intricate floral arrangement laid out, afresh every day, either in the courtyard or any other prominent place, to welcome Mahabali. In some places especially North Kerala, there is a custom of keeping a vessel filled with water in the Pookkalam and at the end of the day, as the flowers are removed, the water is poured back into the well. It is believed that on any one out of the thirty days, the water would be divinely transformed into “Amrit”, the nectar of life. Captivating, this is one performance that the tourist must seek out to enjoy

Ona–Thallu

Also known as “Avittam- Thallu” (“Avittam” is a day that follows Onam, and “Thallu” means beating or fighting) and Kayyam kali” (“Kayyam” the word originates from “Kai” means hands and “Kali” means Game), it is a martial game involving physical combat between two individuals. Believed to have originated from the times of Zamorin of Kozhikode, it is played out in commemoration of the numerous battles waged by the Nair Community of Kerala. The event involves two individuals actually grappling, fist fighting and beating up each other till one is pinned down to the ground. Besides the two individuals, the spectators actually take sides and cheer their fighter. Though, in earlier times the winner was respected and given a wide berth in the village, nowadays, it is played out merely as a sporting event. While there may be such games all over the world, Onathallu is unique to Kerala. One who is in Kerala during onam must try and be part of the cheering crowd to enjoy what is truly a traditional martial event

Pakida kali. A combination of chess and dice, this is considered similar to the game of dice mentioned in Mahabharata. The game has a set of columns (cells) in which the Pakida moves as per the fall of the dice. Though the game is played between two teams comprising of two individuals, the involvement of the onlookers who take sides should be seen to be believed. A game mostly patronised in the village areas, an explorer must actually seek to find the venue and realise unwittingly how one becomes a part of the game.

Puli-Kali.  (“Puli”, means Tiger and “Kali” means play) A traditional folk performance specific to Kerala, this is mostly performed on the fourth day of onam. Group of individuals painted like tigers and hunters dance to the beats of local instruments like “Udukku”, “Thukil” or even Chenda, enacting hunting scenes. Believed to have originated from the time of Maharaja Raman Varma Shakthan Thampuran of Kochi, this traditional form of performance has evolved over a period of time. In olden times, individuals actually painted themselves as tigers but in the modern versions one can find both fully painted individuals as well as those with costumes. Thrissur is considered the best place to watch this event since a larger number of troops converge at this place.

Thumbi- Thullal. Literally meaning “Dance of the Butterfly”, there are different versions of this traditional art, depending upon the locality or community organising the event. Irrespective of the version there would be one central player who is considered to be the butterfly who acts, dances and others who either sit and sing or sing and dance around the central player.  The theme and tempo of the event is dictated by the lyrics. The female version is pleasing and sober to the eyes since it is accompanied by melodious recital and graceful movements. In order to enjoy the performance, it is advisable to get hold of the lyrics prior to witnessing the performance.

Uri-Adi. A very interesting game, normally played on the day of the onam under the aegis of the local community organisations, this event can actually rivet spectators for a long time. The game revolves around an individual's effort to break an “Uri” (Earthen pot hung from a rope manipulated by an operator who skillfully lowers, raises and swings the “Uri” so that it is not broken. Many variations of this game exist. In one such variation the player is blindfolded and in another the player is subjected to a continuous barrage of water thrown from different sides by people. Depending upon the patronage prize-money can vary. Irrespective of the variation, it is absorbing fun to watch the game.

Uniqueness of Onam

While onam has Hindu mythology and traditions accompanying its celebration, what makes it truly unifying, interesting and unique is that, people from all walks of life irrespective of their faith, belief and socio-economic conditions, come together to enjoy themselves in an atmosphere of fun frolic and friendship.

KERALA: A WET BEAUTY IN THE MONSOON

KERALA: A WET BEAUTY IN THE MONSOON

www.ktexplorer.com/kerala_wet/

Everything about tourism is perception driven and perceptions influenced by industry needs. Local climactic conditions, play a significant role in deciding the tourist traffic to a place and based on the resultant convenience and comfort levels, that location is assigned “an ideal season”, referred to as "tourist season”. Based on “ideal seasons” tourism Professionals create “tourist calendars” to help people plan visits. Tourist inflow to "The God's own country", accordingly, thins out during the monsoons.

South- West Monsoon normally reaches Kerala shores in the first week of June. This coincides with the middle of the Malayalam month "Edavam" (May-June), Therefore the south-west monsoon is referred to as, "Edava Pathi"(Pathi meaning Half), in Kerala. Edavam" is followed by the months of "Mithunam" (June-July) and then "Karkidakam" (July – August). The beginning of June, brings copious amounts of rains to the shores of Kerala and heavy rains persist till September.  Although, it does not incessantly rain throughout, rains accompanied by thunderstorms, are likely at any time of the day or night. Sun does make its welcome appearance between heavy rains. The combination, of heavy rains and bright sun, gives Kerala, its typical, humid, lush-green tropical conditions. The south-west monsoon, is indeed the "waters of life" and without it, Kerala would be a shadow of the lush green beauty, that it is. Despite the thunderstorms, if one has to experience friendly rains, there is no other place like Kerala to do so.

Though, the industry markets, winter as the best time to visit Kerala, the wet lush green beauty of Kerala, during monsoons, remains unmatched and largely un-visited. Monsoon is the time when nature rejuvenates. Physically, witnessing it and being a part of it, offers an experience that is close to divine. Soaked to its brim, earth brings forth small brooks and rivulets from every possible corner. Wide variety of trees, bushes and shrubs fill the landscape with beautiful greens. When the sun shines on, drops of rain, in love with their leafy hosts, refusing to leave their tips, become sparkling crystals, gifting the canopy a heavenly hue. Monsoon breathes fresh life into the rivers of Kerala and recharged backwaters offer unforgettable house boat experiences. The hills of Kerala, with low hung misty clouds that a visitor can actually touch and feel, attain an ethereal look. A drive or walk in the tea gardens in the “high ranges” or walk along the paddy fields, during this season would certainly rewrite concepts of ecstasy. Holding one's love close, under an umbrella and taking a walk, either in silence or whispering to each other in the rain, on a winding village road, is romance that one can look forward to and treasure. For those interested in a bit of soul searching, monsoon stay at the hill resorts help. Just sitting back on an easy chair, with a cup of steaming cup of “Kapee” and watching the rains or sun break through the thick green blanket, countless birds chirping in accompaniment, is bliss in itself. Resorts, home-stays and hotels have spare capacities in monsoon and costs lesser compared to winter. A monsoon visitor to Kerala, would be spared from perils of overcrowding at tourist destinations. Tourists, interested in getting the best out of Kerala, thus should visit “The Gods Own Country” during monsoons.

Kerala, predominantly an agrarian society, was heavily influenced by the annual cycle of rains. Cereals and pulses for consumption, during monsoons, was from, what was stored at home. The third month of an extended rainy season, forced people to scrape the bottom of their food reserves, making Karkidakam, the last of the monsoon months, synonymous with shortages and hardships.  Karkidakam was thus, referred to as "Panja Masam", (“Panjam” means shortages and “Masam” means Month) in other words “Month of shortages”. Things have changed, Panjam, doesn't exist anymore.

In olden days, Karkidakam was particularly tough on the population due to scarcity of food. Reading of Ramayan, spiritually strengthened the natives to tide over hardships. It reminded people of the need to remain steadfast in virtues, during trying times and amidst tribulations. Socially, it helped keep crime levels low and the social fabric intact. Although society has come a long way since then, the traditional practice of reading, Ramayana in the month of Karkidakam, continues with all the devotion and sanctity it deserves. Thus Karkidakam, is known as "Ramayana Masam". Listening to the recitals in a tune unique to this event, emanating from houses in the evening, can be a spiritually uplifting experience. Those interested in traditional religious practices, would be delighted to watch or take part in a ritual called "Karkidaka Vavu Bali". This is a Hindu custom where people offer prayers and offerings to the departed souls. Performed with utmost piety and devotion, this is an event that can have an impact of a different kind.

Karkidakam, is also the month when natives undergo “Karkidaka Chikatsa”, a traditional Ayurvedic treatment, consisting of oil massages, steam baths and diet of selected cereals, pulses and medicinal herbs. Ayurvedic practitioners, believe that human skin, naturally hydrated during monsoons, opens it pores, making it, receptive to application of oil and massages. “Pancha Karma”, a part of “Karkidaka Chikatsa”, involves five different approaches to detoxify the body and correcting stress induced imbalances. It is a very highly individualised treatment prescribed by a qualified Ayurvedic doctor after diagnosis of various “doshas” present in an individual, depending on body constitution, age and immunity levels besides other parameters. The treatment is administered by trained professionals under supervision of the medical practitioner.

In an agrarian society, oil massages were part of the preparations for the season of work in the fields. This is normally done, without having to go to an Ayurvedic doctor. Knowledge and practices integral to families led to an ayurvedic practice called, "Sukha Chikatsa", (Sukha means wellness or comfort and Chikatsa means treatment). Sukha Chikatsa" " is primarily confined to various oil massages and special diet. This traditional practice is now available as, “Kerala Ayurvedic massage” all over the world. Ayurvedic massage parlours are plenty all over the state. Tourists can visit these parlours and indulge themselves in the relaxing and refreshing activity that no other country or place offers.

With so much to offer and nothing as beautifully wet, as Kerala in monsoons, God’s own country beckons.

BEAUTIFUL AMALGAMATION OF HINDU AND CHRISTIAN PRACTICES

KERALITE SYRIAN CHRISTIAN WEDDINGS: BEAUTIFUL AMALGAMATION OF HINDU AND CHRISTIAN PRACTICES 

Christian weddings, to most Indians, are what movies show. What people get to see in Indian movies are, formally attired grooms and brides in flowing gowns, walking down the aisle of ornate churches or the newlyweds and scores of fellow dancers gyrating to pulsating music at a beach resort. Far removed from movie screens Keralite Syrian Christian wedding is a seamless amalgamation of Hindu and Christian customs and traditions in purposeful solemnity. These practices, alien to Western and Eastern Christianity, as also other Christian communities of India, are so integral to Keralite Syrian Christian weddings, its origins and distinctive identities are seldom noticed. Keralite Syrian Christian weddings are, in fact, shining examples of how beautifully native rituals influence religious practices.

Ceremonies, of the wedding day, commences with a prayer before the bride or groom leaves the house. After the prayer, the bride or groom, as a mark of respect and gratitude, gives “Dakshina”, a customary gift, normally, of lemon and a silver coin or cash, placed on a beetle leaf, to parents, selected teachers and elders, who, in turn, blesses the bride or groom. This is how, the mandated Christian commandment, “Honour thy father and mother”, subsumed in the Hindu saying, "Mata Pita, Guru Daivam”, is demonstrably implemented.

Keralite Hindu wedding ceremony culminates in “Thali Kettu” where, the groom ties the sacred “Thali” or “Mangal Sutra” around the bride’s neck. “Mangal”, drawn from the word, “Mangalam”, in the context of wedding, means “auspicious” or “happiness” whereas “Sutra” means “discourse”, and at a practical level means “strings” (thread), that holds things together. “Mangal Sutra”, is a gold pendant, that resembles a “Banyan Leaf”, signifying longevity of relationship. The “Thali”, is strung on sacred thread and subjected to chanting of shlokas by the pundit before being given to the groom. After tying the “Mangal Sutra”, groom and bride take “seven rounds” around the “Sacred Fire” to complete the seven wedding vows. “Mangal Sutra”, is believed to bind the groom and his bride to a relationship of marital bliss that will last “seven births”.

The Syrian Christian Groom ties a pendant, called “Minnu” also shaped like a banyan leaf, with a Cross in it. The “Minnu” is, held in place by “seven threads” drawn from the "Mantra Kodi". The seven threads with the “Minnu” represents, one each for the bride, groom, one each for the two sets of parents and the seventh for the Church or society. There is a school of thought which considers the seven threads, as substitute for the “seven rounds” around the holy fire undertaken by the Hindu couple. The Minnu is blessed by all the priests present in the church for the wedding ceremony.

One significant ritual, of a Keralite Hindu wedding, is the event where the groom gifts the bride with a dress. Through "Pudava Koduckal”, ("Pudava" means dress and “Koduckal” means “give), the groom assures the bride and declares to the society at large, that he, from then on, shall be the provider and protector of the bride. Keralite Syrian Christian grooms, likewise gift their brides with the "Mantra Kodi”. "Mantra", has its origins in Hinduism and denotes “chanting” and “Kodi”, means dress. Though in different formats, “Pudava” or “Kodi” is given during the wedding ceremony, in both, Hindu and Syrian Christian weddings. In the Christian wedding, the "Mantra Kodi” is kept in the designated place throughout the ceremony, blessed by the priests and then given to the bride. As soon as the function at the church finishes, the bride changes into the "Mantra Kodi", proudly declaring that from then on, the groom is her protector and provider.

A very poignant part of the Hindu wedding, is “Kanya Daanam” where, the bride’s father gives her hand to the groom, formally “entrusting” the bride to the groom.  In a Keralite Syrian Christian wedding, the presiding priest, on behalf of the society and church, does the honours. It is common to see the bride’s father and mother reach for their kerchiefs at that moment.

Lighting of the “traditional lamp”, by the groom and his bride, together, is an important event in the Keralite Syrian Christian wedding feast. Fire for the lamp, is given by the groom's parents symbolising continuity of the rich family traditions through the newlyweds. Syrian Christians, however, have incorporated the western practice of “Cutting the Wedding Cake” and “Proposing Toasts” as part of the event.

Entry of the bride into the groom's house for the first time, is a very important part of the ceremonies associated with a Keralite wedding. The bride on arrival at the groom’s house, is received by the groom's mother with a lighted lamp. In some houses, the traditional measure called "Para" filled with paddy and a bunch of coconut flowers is kept at the main door signifying abundance in the groom’s house. The mother-in-law, hands over the lamp to the bride, who then steps into the house, right foot first, signifying her assuming the role as the “light of the house”. Although there could be variations of how this ritual is conducted, from place to place, both Hindu and Syrian Christian households follow it in one form or another.

Hindus, in general, take care to ensure that important functions are conducted only during “auspicious” periods. Thus, setting out from the house for wedding will always be outside “Rahu Kaalam”. Though discreetly done, most Keralite Syrian Christians, generally plan and ensure that, the time to leave the house, “Minnu Kettu” and the brides entry into the groom’s house are kept out of “Rahu Kaalam”.

“Minnu Kettu”, "Mantra Kodi" and “Kanya Daanam”, not being part of the Christian liturgy, are performed in the church after conclusion of the pure Christian rites. “Dakshina”, “Mangal Sutra”, “Pudava Koduckal”, “Kanya Daanam”, “Lighting of Lamp”, and “Welcoming with Lamp” are distinctively Hindu customs and alien to Western and Eastern Christianity. Keralite Syrian Christians, adopted local customs, rooted, in Hinduism and elegantly incorporated them into their wedding rituals making it unique.

Rituals integral to Keralite Syrian Christian weddings vary in practise, as one travels from the North to South. But, invariably all these are rooted, predominantly to native Hindu customs and rituals, blended to suit requirements of religion. Religion do influence the manner in which local customs and traditions are practised and the resultant diversity is what makes each place uniquely vibrant. A Keralite Syrian Christian wedding, with all its attendant solemnness, gaiety and splendour, is an excellent gateway to understanding synergic evolution of local customs, traditions and rituals.