Dandari-Ghusadi Festival

The Dandari-Ghusadi or Gussadi festival of Telangana is celebrated by the tribal communities of the Raj Gond and Kolam tribes. The Dandari-Ghusadi season is all about a robust dance festival that is celebrated for about 10 days during Deepavli.  The festival ends on Diwali day with the Ghusadi tado taking off their attire ritualistically.

The celebrations usually begin with the tribals visiting the Padmalpuri Khako shrine at Gudirevu village of Dandepalli mandal in Mancherial district, on the banks of the Godavari river. On the occasion, the Adivasis present offerings to the river. They also end the festival at the Padmalpuri Khako as the shrine is of great importance for the people belonging to ethnic groups

It starts on the day we see a crescent moon and end on the dark moon day. We start the festival by performing the Sakshe Akadi and end it on the Devadi day. Once the Sakshe Akadi is performed, the tribals would attain the festive spirits and the entire week would witness the fervour of the fest.

The tribals’ love for music also becomes so evident during the festival time that one, if they visit to one of these villages, can find several instruments — like thudum, pepera, kalikom, dappu, ghumela, dhol, vetti and karra — that are not easily findable in our markets.

During the festive season, the Dandari and Gussadi dance troupes tour the tribal villages, stay there overnight, and perform traditional rituals. 

Adivasis celebrate Gussadi-Dandari dance festival with drums and rituals. They worship Yethmasarpe or god of soul. 

During the 10 days preceding Diwali, every Adivasi village across the four northern most districts of Telangana gets transformed into a festive arena where the Raj Gond and Kolam aboriginal tribes celebrate the exuberant Dandari-Ghusadi dance festival.  

The Dandari-Ghusadi dance festival, is an opportunity for the eligible bachelors to find their life partners and some 100 marriages are finalised in this manner in the Agency villages of Adilabad, Kumram Bheem Asifabad, Mancherial and Nirmal districts, which were part of the undivided Adilabad.

The ethnic dance is an exhilarating visual display of tribal culture through which these ethnic tribes also look to foster marital alliances; it also provides a platform to promote awareness on key contemporary issues faced by the Adivasis.

The first day, we reached the village of Mallapur, where the Bhogi pooja was scheduled to start in the morning. As soon as we reached, the masks, dance sticks, peacock crowns and musical instruments, collectively known as Dandari-pen (pen meaning God in Gondi), were brought in front of the village head’s home and ceremoniously worshiped. After the rituals were complete all the men of the village came together to offer prayers and seek blessings.

Soon after, the women too gathered around the Dandari-pen and performed rituals of lighting lamps, incense sticks and breaking coconuts.

The Ghusadi-thado or Ghusarks, are a personification of the God of Creation and, as per Raj Gond mythology, are said to protect the marriage procession of Yetma, the daughter of the God of Creation. When she marries a Raj Gond, the procession travels through dense forests and hence the Ghusarks accompany her. The Dandar-Ghusadi is a re-enactment of this marriage procession in every Raj Gond/Kolam village in Northern Telangana.

Pittabongaram is another village a little over 5 km away from Mallapur. We were told that the Dandari-Ghusadi troupe from a village called Kannapur were visiting, and were guided to the scene of action. In front of the Dandari-pen, about 8 Ghusadi-thados were having their meal from the same plate. As soon as they were done, the hosts offered prayers to the Dandari-pen, and a Ghusarks donned their peacock crowns. A bugle made of the horns of an Indian bison was sounded, indicating start of the proceedings.

Ghusadi Dance

As the resounding beats of traditional percussion instruments coupled with tunes flowing out of the pepre (a smaller shehnai like wind instrument) waft around, the Ghusarks enter the arena in a line taking simple steps. With live music playing at a fairly even tempo, the dance sequences were characterised by simple repetitive steps with equally simple formations. And an energy had pervaded around leaving the entire audience eagerly waiting the next routine.

Needless to say, the performance was extremely engrossing, with the gentle swaying of the peacock crowns following the footsteps of the dancers, as well as the shadows they made on the ground beneath, all adding up to the audio-visual spectacle.

Later that evening, we revisited Mallapur, where the Ghusadi–thados were getting ready with help from para-poriks. Para-poriks are young adolescent boys who are also part of Dandari-Ghusadi troupe, but dressed in women’s clothing, as they are said to represent Yetma. Madavi Babu Rao, a Ghusark , was busy getting into his elaborate costume. His legs, hands and torso are smeared with ash and designs are also made. At times, Ghusarks also wear false moustaches and beards, but Babu Rao wasn’t going to sport them. Large strings of beads are placed around his neck and bells are tied around his waist as well as feet.

In addition to hundreds of peacock feathers, his extraordinary headgear also had a pair of ram horns, a small mirror and was decorated with colourful shiny flecks all around.

Throwing light on his role during the Dandari-Ghusadi festival, his mother explains, “This ritual is like a deeksha. He leaves home today and will probably return only after five days (at least). He will travel to the designated villages and during this period he must sit or sleep only on the deer-skin and will not even take a bath.”

“The Ghusarks are an embodiment of God and because God is pure and omnipotent, what is the need for a bath” Pusam Anand Rao, an elder reasons out why Ghusarks are not expected to sleep or wash themselves.

The entire village assembled around Durva Shambhu Patel’s home as they reverently wished the Ghusarks and the Dandari troupe the best for their onward journey. As the mood of celebration spread around, a few dances were performed first by the Ghusarks, and later by the women of the village.

The next morning, we headed to Pittabongaram once again, this time the arena shifted as another Ghusadi troupe from the village of Marutiguda was visiting.

The dance moves of the Ghusarks are but an imitation of the movement of the wild animals and cattle, more specifically the deer, peacock, rabbit, nilgai and bison. Having dwelt in the forests and sharing the habitat with wild life as well as domestic animals, these have also become an integral part of their rituals.

After the Ghusadi dance, the stage was cleared, and Mesram Raju and a group walked in to perform a skit. It revolved around a conversation between an elderly Adivasi couple and some officials from the revenue department, peppered with doses of humour that had the audience in splits.

The play was about the impact of the Purification of Land Records, an ongoing programme undertaken by the Telangana government for making necessary correction in records pertaining to agricultural lands. The performers tried to drive home the point that the correction of the land records will reveal the Adivasis as the true owners of the lands which had been encroached upon by non-tribals.

“We hope to get justice through the land record purification. The exercise should reveal the extent to which the lands of our gullible ethnic people is under encroachment,” Raju sounded optimistic. 

Dandari Dance

It was now the turn of Dandaris to take centre stage, as they stand in a large circle with sticks in their hand. The lilting music is dotted intermittently with the dancers tapping each other’s sticks.

The Ghusarks make an inner circle while the Dandaris dance in the outer periphery. When a routine is soon to change, the leader hums “Cha-choi Cha-choi” and the rest of dancers respond by humming “chaah-ve”, in acknowledgement.

It is noteworthy that both the Dandari-Ghusadi troupes (host and visiting) dance together effortlessly as if they had rehearsed sufficiently. No dancer in either troupe misses a step or a beat nor does he move out of a formation.

The Dandari dance offers the eligible bachelors of the visiting troupe an opportunity to impress and draw the attention of the parents of unmarried girls with their dancing skills. A girl watching the courtship dance, which runs for a night and a day, can inform their parents if a boy catches her fancy. After the conclusion of the festival, the families of the girls and boys follow up on the nuptials mutually.

For about ten days before Diwali, the Dandari-Ghusadi troupes in every tribal village make it a point visit as well as host troupes from other villages. The villages they visit are where their sisters or daughters have been given in marriage. All these visits are decided before hand and the troupes from other villages are welcome with great fanfare. The Dandari-Ghusadi festival is a fine example of how the tribal men keep in touch with the women from their family even after she leaves after marriage. These rituals of the forest dwellers help them stay interconnected and also underscores the importance they attached to fostering marital ties and maintaining kinship.

https://floatstheboat.wordpress.com/2017/10/23/dandari-ghusadi-the-dance-of-the-tribals-from-telangana/

Raj Gonds – Reflections in a Peacock Crown

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Bonalu

Bonalu is a folk festival for Mother Goddess, which is very famous and people love to celebrate this festival during rainy season month of Ashada around July/August and goes on usually for twenty-two days. A minimum of twenty days is conceptually required to fulfil the promises given to mother goddess by carrying out pooja on the very first day and last day.

Bonalu derived from Bhojanalu meaning food, which is offered to mother goddess. Bonalu involves the worship of Mother Goddess in regional forms like Gangalamma, Ellamma/Yellamma, Mutyalamma, Mallanna, Maisamma, Peddhamma, Dokkalamma, Ankalamma, Poleramma, Maremma, Nookalamma and Samakka and Pochamma.

Women carrying Bonalu are believed to possess the spirit of Mother Goddess, and when they go towards the temple, people pour water on their feet to pacify the spirit, who is believed to be aggressive. Every group of devotees offer a Thottelu (a small colorful, paper structure supported by sticks), as a mark of respect to the goddess.

According to mythology, Potharaju the brother of the Mother Goddess. His role is played in the procession by a well-built, bare-bodied man, wearing a small tightly draped red dhoti, bells on his ankles, and anointed with turmeric on his body and vermilion on his forehead. He dances to resounding drums in the procession. Potharaju always dances in front of the Palaharam Bandi, i.e., the procession. He is considered the initiator of the festivities and the protector of the community. He leads the female dancers who are under the spell of the Mother Goddess (known as shigam) to the temple, with lashing whips and emerald neem leaves (margosa) tied around their waists, accompanied by trumpets and drums.

A non-vegetarian family feast follows after the great offering. The meat used to prepare the meal is the meat of a goat or a rooster, that has been ceremonially slaughtered, and later partaken as a meal. Peasants take whatever food they can as a display of affection to the earth goddess and eat it later. Toddy (palm wine) workers also offer toddy which they tap for their livelihood. There is no special scriptural mandate on what has to be offered. As per tradition, offerings are made to the goddess which consists of toddy, along with fowls, sheep and goat. Animals killed for community meals are not considered sacrifices.

Rangam (or Performing the Oracle), is held the next morning of the festival. A woman standing atop of an earthen pot invokes Goddess Mahakali onto her and performs the custom. She foretells the year ahead for the devotees asking about the future. This takes place before the procession is started

The prominent temples in the Secunderabad "Lashkar Bonalu" include Sri Ujjaini Mahakali Devasthanam, Sri Gandimaissamma Temple, Sri Devi Pochamma Temple, Sri Muthyalamma Temple, Sri Peddamma Temple, Sri Dokkalamma Temple, Sri Muthyalamma Temple, and Sri Peenugula Mallanna Temple, among others. Out of these temples, Sri Ujjaini Mahakali Temple, and Sri Devi Pochamma Temple are government temples, government officials and legislators also visit and take part in the festivities.

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Kinnera

Kinnera is a two-stringed instrument made using indigenous materials like bamboo, dried outer shell of round bottle gourd, honeycomb, bull horn, beads, mirrors and peacock feathers.

Scholar and poet Jayadhir Thirumala Rao says that the origins of the kinnera can be traced back to “around the 4th century AD, in and around the Deccan plateau”. “The Chenchu tribe [also known as Chenchus or Chenchulu], who were part of the Nallamalla forest, used to play the instrument while singing and narrating ballads or stories of heroes,” said Rao. “The Dakkali tribe of Mahbubnagar district in Telangana [in the area near the Nallamalla forest] was performing it at least from the 12th century. The Dakkalis are a sub-caste of the Madiga caste, once considered outcastes.”

The kinnera has several variations – it comes with seven, nine, 12 or 13 frets. The larger-sized ones have three resonators, while the smaller ones have only two. Much like the Saraswati veena, the instrument is made with organic materials. Its neck is crafted of bamboo, and the resonators from sun-dried and hollowed-out bottle gourds. Pangolin scales are used for the frets, and honey wax for binding. The strings were once fashioned out of women’s hair, horse-tail hair and even animal nerves, but have long been replaced with thin metallic strings.

The ballads accompanying the music are usually drawn from historical incidents, the lives of local heroes, and sometimes songs from the Jamba Puranam. The Jamba Puranam is one of around 40 Puranas in Telugu that differ from the Sanskrit Puranas, in that their content is specific to a local community. The ballads are often interspersed with simple and short, often dramatic, monologues. The tone of voice, facial expressions and body language change with the song’s mood.

Padma Shri Darshanam Mogilaiah (born in 1951) also known as Kinnera Mogulaiah, is an artist from Ausalikunta, Lingal mandal, Nagarkurnool district, Telangana State, India is one among a few surviving performers of a tribal musical instrument known by the name Kinnera. Mogulaiah learned the art of playing kinnera from his father Yellaiah.

He has had not much formal education and has had no steady job with an assured income. He has seen much hardships and his life had been very difficult eking out a living doing odd jobs like a daily wager in construction sites. He had worked as a laborer for 14 years in Adilabad, Karimnagar and Warangal. He had also worked at a construction site in Mumbai.

Mogilaiah's forefathers were pioneers in making and playing kinneras having different numbers of stairs. His father had made a nine-stair kinnera. Mogilaiah was the first person to create a 12-stair kinnera and he is the only artist who makes and plays the 12-step kinnera. In the year 2022, Govt of India honoured him with the Padma Shri award for his contributions as a kinnera musician.

He received the state’s highest honours, the Ugadi Puraskaram, in 2015. There is even a chapter on him in a social studies school textbook. Another member of the Dakkali tribe, Pochayya, who hails from the Mahabubnagar district, was honoured by the University of Hyderabad in 2015.

But such honours and awards have failed to make a difference in the lives of these artists. Their performances are few and far between – at the occasional academic meet or art festivals – and remuneration has been dwindling. Most of them are forced to live off the doles from the Madigas.

Dakkali Balamma, the only woman perfomer of the kinnera, is 95 years old. The only proof of the umbilical connection between the Chenchu tribal. When Balamma was younger, the residents of her village said, she would ride around on a horse, much to the awe of her Dakkali tribe. Her voice, at the time, was more powerful, and her impressive performances with the kinnera in the district’s villages were rewarded with money, food and clothes by the Madigas, the patron class. Fortunes changed with time. By the time Balamma died in December 2018, she was penniless. The villagers had to pool in money for her last rites.

Balamma was among the dozen or so people in India still playing the instrument. The kinnera is a stringed instrument native to the nomadic tribes in the Deccan plateau, such as the Dakkali and the Chenchu. A kinnera performance involves vocals and music, and the ballads are sung primarily in rustic Telugu. But today, it is an all but forgotten practice.

Panduga Sayanna-The Robinhood of Telangana

Even after 125 years, when Dakkali Folk artists narrate the heroic tale of Pandugolla Sayanna still reverberates and echoes in the villages in Wanaparthy and one can visualize Sayanna before them when the Dakkali folk artist narrates the story using a Kinnara instrument.

Panduga Sayanna was a hero of the poor who fought against the feudal society and atrocious rule of the Deshmukhs, Patels and Zamindars, who fleeced the poor and tortured the Dalits and downtrodden classes during the period of Nizam rule between 1980 and 1900.

A few Scholars called Pandugolla Sayanna a Social Bandit. Others called him as Robinhood of Telangana. Few others went to the extent of calling him a Revolutionary Hero.

Common people opined that Pandugolla Sayanna was neither a thief nor a bandit. He was the “Hero” of the poor people. He was a brave and heroic man who saved and reinstated poor people’s health, wealth, and lives. They considered him as their own “blood relative”.

Pandugolla Sayanna was born in a Meruginipalle village in Palamoor (Mahaboobnagar). He was born into a “Tenuga” family. (Tenuga meaning person engaging in maintaining gardens, gardening work, and related works) on Muharram day. His parents could not afford to send him to school due to acute poverty. He was thus engaged in the family occupation.

As per the Dakhali folk artists' narration, it is believed that Sayanna was 6” feet and had a strong build physique. He had a long and sharp nose and a dark bushy mustache that he used to curl and extend to both ears. In due course, Sayanna built up relationships with Telugu Narasamma, a beautiful woman who became his companion too. She fell for his “Pedikadu nadumu” meaning, his waist measured one fist- to say, he had a slender waist and broad built-up shoulders measuring three fists. To say, Pandugolla Sayanna was well-built and handsome.

Just the mention of his name sent cold shivers to Nizam rulers and district officials. In order to capture Pandugolla Sayanna red handed “qufiya police” became shadow followers. Jamindar Venkata Reddy built up enmity with Pandugolla Sayanna and also intended to take revenge for his actions.

However, one fine day Pandugolla Sayanna was captured by Qufiya police with great difficulty with the support of landlords, and other wealthy people who intended Sayana’s captivity and remanded him in an Iron cage. Even after capturing and deploying him in an iron cage, police feared touching or going near Pandugolla Sayanna.

Rani Shankarama (1840-1912) of Vanaparthi Samasthana with soft corner was ready to pay a sum of Rs 10, 000/- (amount equivalent to the looted amount by Sayanna) to the police.

https://scroll.in/magazine/905049/fading-sounds-an-indian-musical-instrument-with-a-rich-history-is-on-the-cusp-of-extinction

https://sphoorthi-theatre.blogspot.com/2012/09/telangana-robin-hood-pandugolla-sayanna.html

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Runza or Runjha or Raunza or Runja

Runza  or Runjha or Raunza or Runja is a percussion musical instrument and a rare folk art from Telangana and it belongs to the Vishwakarma community, who take it as a sacred commitment. 

Avajamu, Dangaramu, Veeranamu are different synonyms for Ruza. A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater including attached or enclosed beaters or rattles struck, scraped or rubbed by hand or struck against another similar instrument.

Runja is a two-faced drum of the medieval times. It had a uniformly cylindrical body, 13½ inches long. Each face had a diameter of 8 inches, fitted with rings over the edge.

Brass ia also used in the making of Runza. Its height is about 3 or 3 1/2 feet. The upper part is covered with goats skin, eleven holes are made above and below and eleven chord are tightly tied all over so as to make a sling (utter in Telugu). The Runzas bend the instrument slantwise, press it firmly with knee and by pulling the strings with their hands and using slender bamboo sticks, produce musical notes rapidly.

There is a legend about the origin of Runza. According to that, Vishwakamra was requested to provide the drums for the marriage of Parvathi and Parmeshwara. Then Viswakarma killed the giant called Rounjaka, made a Runza out of his skin and produced 32 kinds of melodious notes by playing on it. Vishwakaram Puranam explains that the marriage and Parameshwara was conducted with that Runza only.

Runza troupe usually consists of six members. Two members out of six, play on Thalas (cymbals) and the other two members play on Ruza, the remaining two members play on Sonnai or Kommuburas

Carrying an ancient art form in their hearts and minds are these professional story tellers of Telangana. With the help of scrolls or music instruments, these families narrate tailor-made stories from epics and mythological tales to particular Telugu communities. Faced with starvation and uncertainty amidst the pandemic, these nomadic groups now want to be the last generation to live off telling stories. The art will not be passed on to our children, they will not suffer like we did- they say.

Amar Runja, is one of the handful musicians in the country today who can play this ferocious sounding instrument. He narrates the story of the God, Vishwakarma, who is believed to be the creator of the universe.

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Saleshwaram jatara and waterfalls

Saleshwaram is located 25 km away from Farahabad gate in Amarabad Tiger Reserve in Nallamala Forest, Amarabad Mandal, Nagarkurnool district, Telangana State, India.

The annual Saleshwaram Jatara in the Nallamala forest area which comes under Amrabad Tiger Reserve is celebrated every year on Chiatra Pournami or the Full Moon Day in April and is open to visitors for only 5 days. 

On every Chaitra pouranmi i.e. the full moon day of March/April believed to attain the super natural powers and the wills of the devotees are fullfiled message spread throughout the State hence devotees come in large numbers chanting “Vastunna Lingamayya” .

“Saleshwaram Jathara” also known popularly as “Dakshina (Telangana) Amarnath Yathra”is being conducted every year for three days in the month of April, for the past 30 years. Nearly 5 lakh people from all over the country visit Saleshwaram during the Jathara every year. 

Saleshwaram waterfalls runs throughout the year from a height of 200ft and the source of water remains unknown. This waterfall reaches a Shivalinga revered as “Lingamayya” by the Chenchu tribes. The presence of a perennial waterfall here resembles a long serpent when splashing on the rocks adds to the beauty of this place. 

Breath-taking views of the layered rock formations, deep valleys with spectacular views only found in the most exotic locations of the world. Saleshwaram is located 16 km away from Farhabad forest checkpost and the temple comes under Appapur Gram Panchayat in Lingal mandal in Nagarkurnool district, Telangana, India.

The ancient Sri Ramalingeshwara Swamy temple of 6th century AD, located deep inside Nallamala forest, is about 1,000 feet deep inside a valley. The scene of the temple in moonlight is a treat to the eyes and a blessing to the soul. The temple lies next to a beautiful waterfall, coming down from a height of over 200 metres. The water flows through the temple and the devotees take a holy dip in it before taking a climb into the Garbhagudi. The linga is located in a cave which resides on a huge rock.

Reaching the temple involves a 16-km journey through the core area of the tiger reserve with another six kilometres of trek through the Nallamala hills.

The drive through the deep forest is sure to remain one of the best memories for visitors since they can see many wild animals like spotted deer, nilgai and wild boar.

The devotees have to walk at least three kilometers to reach the temple located down the valley. It is an arduous walk since there are sharp rocks all along the ground.

The devotees need to walk on narrow gorges of valley to reach down the deep valley where they can see waterfall falling from over 1,000 feet.

The devotes take a holy dip in the water and collect water in the bottles for those who could not make it as it is believed that it contains medicinal value.

Nature’s wonder which has been kept intact for thousands of years has once again started mesmerizing the devotees of Lord Shiva, who is devotedly called ‘Lingamaiah’ in this part of the world. The purest form of the nature located away from the mainstream society’s sight has opened its arms welcoming the devotees.

‘Sarveshwaram teertha kshetra,’ which later came to be known as ‘Saileshwaram’ and ‘Saleshwaram locally,’ which is a primitive religious site, located 30-40 kilo metre deep inside the Nallamala forests inside Amrabad Tiger Reserve where the rare Chenchu Adivasis have been living and serving Lord Shiva for ages.

As per local Chenchu mythology, ages ago, a Chenchu named Ravagadu had gone for hunting along with his wild dogs on the New Year’s Eve. When he couldn’t find water to drink anywhere, his dogs led him to a water body located near a cave, where water drops which looked like pearls were falling through the layers of rock formation. There, Bhole Baba had revealed himself to the Chenchu in bright gold and then vanished. That night, Lord Shiva appeared in his dream and asked him to erect a Shiva Linga and serve him.

The water which flows through layers of rock formed some thousands if not millions of years ago, carries with it all the medicinal values through the roots of nature, making it the purest form of water which has the ability to cure any disease. People have been visiting this nature’s wonder for ages and people believe that their sins can be washed-away here.

According to ‘Parvatha Purana,’ if a sinner enters this water body which is called ‘Shankhu Teertha,’ the water here becomes dirty but when a pure human enters, remains crystal clear. No wonder, while the water which comes from the top is crystal clear, once it touches the ground where devotees take bath, it changes colour due to plastic left over by pilgrims.
According to historic evidence, the Shiva Ling at Sarveshwaram had already become famous by 5th or 6th century. The layered rock formation in front of the sanctum sanctorum itself looks like a mammoth cave.

https://www.thehindu.com/news/national/telangana/devotees-make-a-beeline-to-saleshwaram-jatara/article8515715.ece

https://telanganatoday.com/deep-inside-the-nallamala-forests-saileshwaram-mesmerises-devotees

https://allevents.in/hyderabad/saleshwaram-trek-in-srisailam-forest-opened-only-once-a-year/80001403653972

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Devuni Gutta Temple

Devuni Gutta temple is located 2.5 km away from Kothur village, near Jangalapalli of Mulugu mandal in Mulugu district.

It is only when one chats up with the villagers of Kothur that the temple is mentioned. The journey to reach this temple is as interesting as the temple itself.

The temple is on a densely forested hill locally called ‘Devuni Gutta’. One has to walk from the village through a forest. About halfway up, the path becomes a water path — a stream or a rivulet that one can walk through. The watery path runs for a kilometre at least. Even as you enjoy the walk, you also get to see beautiful waterfalls at several places.

Upon reaching the top of the hill, one comes upon this absolutely stunning temple with carvings on all four walls sitting snug within a lush green environ. It looks like it is made of bricks but up close one can see that the blocks are a mixture of sand and stone. Lime mortar was used for plastering. The carvings were made on these square and rectangle shaped blocks. Sages, Buddhist monks, dancers, even some animals can be identified though on the sculpted stone, but a lot of has eroded over time. The sanctum sanctorum also has several such carvings. Historians estimate the age of the temple to be more than 2000 years.

Locals say there used to be a Shiv Linga inside the temple but it was stolen by treasure hunters about 50 years ago. Close to the temple is a pond. “The water in this pond seeps underground and flows down as a stream. This water is useful for us to irrigate our crops. What is not used flows into the Laknavaram Lake. Other-wise, if there’s no rain for 15 days, the pond dries up,” said a villager, Veeram-aneni Ravinder Rao.

If the district administration takes the required steps, this place could be another tourist spot for trekkers and adventurers, feel local tourists. But yes, a little more research would lead to more interesting details about the temple that would also enhance its touristy charm.

Dr Corinna Wessels-Mevissen, a senior art historian from Germany, who saw pictures of the temple, termed it as extremely interesting and said that it could turn out to be a discovery like no other.

"The style that may date to the late Gupta/post-Gupta periods is unknown to me. It may be linked to the early Odishan style of temple art or that of Rajim and Sirpur in Chhattisgarh. The presence of Amaravati-style spoils is of course interesting," she said.

Local historian Sriramoju Haragopal said the work on the temple suggests it could belong to the sixth or seventh century.
 

Source

http://www.deccanchronicle.com/nation/current-affairs/310817/hidden-treasures-of-kothur-await-attention.html

http://www.deccanchronicle.com/nation/current-affairs/040917/telangana-ancient-mulugu-temple-soon-to-become-tourist-attraction.html

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Durajpalli Peddagattu Jatara

Peddagattu Jatara also called as Gollagattu Jatara iis a is the festival done in the name of Lord Lingamanthulu Swamy and Goddess Choudamma every 2 years n Durajpalli, Chivemla Mandal, Suryapet District, Telangana, India.

It is celebrated prior to Maha Shivaratri in Magma masam the second biggest congregation of people after Medaram jatara in Jayashankar Bhupalpally. Atleast 25 lakh people are expected to take part in this event.

The presiding deities, Sri Lingamanthula Swamy, believed an in carnation of Lord Shiva, and his sister – Choudamma, are offered various pujas during the five-day fete.

Though primarily the Yadava community takes part in huge numbers, people from all castes and religions from across Telangana, Andhra Pradesh, Chhattisgarh, Madhya Pradesh, Maharastra, Odisha, Karnataka and Tamil Nadu come to the place located just 5-km. from Suryapet.

According to history, this religious congregation has been celebrated since 16th century. Even it is still been celebrated with the government funds.

In the morning, the religious Deverapetta will be brought to temple premises in a procession from Kesaram village following the traditions.

The religious box ‘Deverapette’ which has the idols of Lord Lingamanthula Swamy- goddess Chowdamma and many other idols, holds the key to the celebration of Durajpalli Jatara. The religious box has an interesting story behind it.

Speaking to The Hindu , Menthaboina Chowadaiah Yadav, elder of the local Yadav community, said that a family in Cheekataipalem village of Thorrur mandal in Warangal district traditionally sends this box to Lingamanthula Swamy and Chowdamma temple, Durajpalli 10 days ahead of the commencement of the bi-annual Peddagattu jatara. This tradition is being followed for centuries, he adds.

Days ahead of the Peddagattu jathara, a ritual called ‘Disti Puja’ is performed at the temple. Then the ‘Deverapette’ will be shifted from Chowadiah Yadav’s home in Kesaram village. In the wee hours of the first day of jathara on Monday, the Deverapette would be brought to the temple in a procession. The Deverapette contains the idols of Pothuraju, Ganga, Yelamanchamma, Akumanchamma, Pothu Lingalu and many other gods, who are worshipped in rural parts of the Telangana. Interestingly, the family of Thanda Pullaiah, who are considered as priests in Yadav community, from Cheekatipalem village located 75 km apart from Durajpalli holds this box.

Since the families Menthaboina-Munna, both belong to Yadava community, and Golla Ganna Reddy, whose families were believed to have spotted the deities on Durajpalli hillock, centuries ago, get the opportunity to keep the box at their house in rotation.

These families which have Menthaboina as surname got the opportunity to keep ‘Deverapette’ at their house this year.

The box was kept at Chowdaiah Yadav’s home, who is the head of this community. On conclusion of five-day celebration of the fete, the ‘Deverapette’ will be kept at Menthaboina family’s home for 18 days, then it will be presented to other Lingamanthula Swamy temples in Nalgonda and Warangal districts.

Sources

http://www.thehindu.com/news/national/telangana/all-set-for-fiveday-gollagattu-jatara/article6870580.ece

https://en.wikipedia.org/wiki/Peddagattu_jathara

http://www.thehindu.com/news/national/telangana/divine-box-holds-key-to-peddagattu-jatara/article6873161.ece

http://nalgonda.info/te/peddagutta-fair-from-today-suryapet-nalgonda/peddagattu-jathara-in-nalgonda1/

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Telangana Step Wells

A grand stepwell at Kichanapally, Sangareddy

Imagine being in an arid, parched part of the youngest State of India. You badly want water, but all  you see is miles of nothingness. And suddenly you find several flights of stairs leading to water.

No, its not a mirage! These are ‘step wells’ - wonderful structures that are now virtually forgotten.

Stepwells in Telangana are found at old forts, temple complexes and on agricultural lands. They have also been political power centres.

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Makar Sankranti Festival

Sankranti means transmigration of the Sun from one Rashi (constellation of the zodiac in Indian astronomy) to the next. Hence, there are 12 Sankrantis in a year.

Why is it called Makar Sankranti?
On Makar Sankranti, the sun enters the sun-sign of Capricorn or Makara (the Indian rashi). Therefore the 'Makar' in the name. Thus, the name of the festival literally means the movement of the sun into Capricorn.

Though extremely popular as Makar Sankranti, the festival is predominantly a harvest festival and is celebrated throughout India, from north to south and east to west. While Makar Sankranti is most popular in West India, down south, the festival is known as Pongal and in the north, it is celebrated as Lohri. Uttarayan, Maghi, Khichdi are some other names of the same festival.

Makar Sankranti Festival is observed every year in the month of January falls on 14th or 15th .

Most Hindu festivals follow the position of the moon and are based on the lunar calendar. Thus, the dates of festivals change every year. But Makar Sankranti is a festival which falls on the same day every year as it follows the solar calendar. 

However, once every eighty years, due to revolution, the day is postponed by one day. Makar Sankranti is celebrated on the 14th of January every year (sometimes on the 15th) for now. 

From 2050, it is predicted that the festival will fall on the 15th January (and occasionally on the 16th).

Tilgul
Makar Sankranti is the festival of til-gul where sesame and jaggery laddoos or chikkis are distributed among all. They are generally accompanied by the saying, "Til-gul ghya ani gud gud bola", which translates to 'eat these sesame seeds and jaggery and speak sweet words'. The festival is one of bonding where every member of society is asked to bury the hatchet with enemies and foes and live in peace. Also, it is a superstition that during the festival, the Sun God forgets his anger on his son Shani and visits him. Thus, by distributing sweets, everyone is asked to spread joy around. Also, since the festival falls in winter, eating of sesame and jaggery is considered beneficial to health as they are warm foods. Thus, it is specifically this sweet that's distributed as it signifies bonding and good health.

In the early hours of sankranti festival “Haridas” the servant of lord Vishnu is seen by singing songs he visits every house and offer blessings.

Kite Flying

On this occasion every city and town seen with the flying-kites and sky seems to be color full, the craziest part is they enjoy by cutting neighbor’s kites, funny right?

There is a very interesting reason behind the kite-flying. Kite-flying in olden days was generally done in the early hours of the morning, when the sun's rays were bright but not too harsh. Also, during kite-flying, the human body was exposed to the sun for long hours. The early morning sun is considered beneficial for the skin and body. Since winter is also the time of a lot of infections and sickness, by basking in the sun, Hindus believed that the bad bacteria on their bodies would be cleared to a certain extent. Creating a fun way of sun basking where no one would even realise they were reaping benefits was through kite flying. Cool, right?

Pilgrimages

It is a 4 days long festival by claiming its own significance's of each day and the days are classified as:

Day 1 – BHOGI
Day 2 – MAKAR SANKRANTI
Day 3 – KANUMA
Day 4 – MUKKANUMA

Day 1 – BHOGI
The preceding day of sankranti is bhogi , on this day people discard the old things as it is a transition into new period . At the dawn, people lit a fire with the solid fuels and wooden furniture that is no longer in use, the sign of this act is sacrifices all the old habits, beliefs and attachments in the presence of god of fire.
In Hindus family the children usually less than 3 years old are showered with Indian fruit “Regi Pandlu “ in Telugu in order to protect the children from evil eye .
Landlords offer gifts to the workers in the form of clothes; money food and sweets are distributed to every one to spread sweet of happiness.

Day 2 – MAKAR SANKRANTI
During this day everyone wakes in the early morning and starts with their holy bath and wear new cloths and perform traditional offerings to ancestors and pray god.the women decorates the house as well as ground (entrance of house) by drawing beautiful patterns (muggu) on the ground “rangoli” in telugu and it is decorated with flowers and a hand pressed piles of cow dung called “gobbemma”.
On this day everyone in the family are reunion to share their happiness with all the members in family especially siblings.

Day 3 – KANUMA
The day after makar sankranti is kanuma this day is specially associated with farmers on this day every farmer pray and showcase their cattle with honour .The women in the family feeds the cattle to share love and affection towards animals .in general this is a Thank giving day to cattle.

Day 4 - MUKKANUMA
Finally , the last day of sankranti is mukkanuma and farmers offer prayers to soil, rain and fire for helping them to harvest and some even offer gifts to goddess ( probably this will be animals).

The celebration of this day is mostly seen in coastal Andhra where all the members of family reunion to have have some fun filled activities, these activities mostly include cock fighting (kodi pandalu ) , bullock/Ox racing , kite flying .

Resources

http://www.indiatimes.com/news/india/7-interesting-facts-you-did-not-know-about-makar-sankranti-229405.html

http://www.makarsankranti2017.com/2016/10/makar-sankranti-festival-information.html

http://www.india.com/buzz/makar-sankranti-2016-importance-significance-story-of-why-makar-sankranti-is-celebrated-860609/

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Bheemalpen Festival

Festival season for Adivasis has begun with ‘Bheemalpen’ festival which is popular as Bheemanna pujalu and they take ‘Devul’ (wooden deities) for bathing at sacred place ‘Demmala rajul’ near Dhammannapet in Utnoor mandal.

Adivasis celebrate Bheemalpen festival in the month of ‘Margashira’ every year. Adivasis are busy in celebrating their traditional festivals these days in the district.

Adivasis of Asifabad take their Devul to ‘Khariyar’ and Kerameri to ‘Patteda’, Tiryani to Danthanpalli ganga, Narnoor to Gundala ganga, Indravelli to ‘Pulikakchar’ and Adivasis of Neredigonda bathe their wooden deities in the Kuntala waterfalls. Most of the Adivasi jataras will follow their festivals in the Adilabad district.

Adivasis do their cooking with the new crops or beans like ‘chikkudu’, ‘Anapa’, pulses like redgram, rice only after performing special puja called Satti to the Bheemalpen.

Adivasis festivals continue with Jangubai to be held from January 11- February8 in the dense forests near Parandholi in Keremeri mandal on the borders of Maharashtra.

Mesram Mothirao of Gangapur village in Utnoor mandal who led a group of Adivasis to the Demmalrajul, said they have started their journey by walk and they returned to their village three days later after performing pujas to Bheemalpen. Bheemalpen festival is the first one in their festival season and they perform puja with devotion’, he said.

The wooden deities called ‘Devul’ (gods) are bathed (Gangasnan) and taken to their village and to be installed in the sacred place as usual. The Kolam and Gond Adivasis will perform special puja to the Bhemalpen in this season.

These rituals reflect the Adivasis’ sacred bond with the nature and crops they cultivate and sacredness attached to the food grains they consume.

Gondi Dharma Pracharak Sedmaki Seetharam said ‘Bheemaldev festival has much importance in the festival calendar of the Adivasis and they cannot avoid the Bheemalpen festival’.

He said Adivasis will be busy in their festivals Jangubai and Jallidevara (Persapen) which are important for the Adivasis and the popular Adivasi jataras will follow their festivals.

The popular Adivasis jataras are
Jagadamba jatara in Lingapur in Sirpur( U),
Kamdev in Narnoor
Keslapur in Indravelli
Budumdev in Shyampur in Utnoor
Mahadev in Sirpur (U)
Balaji in Kerameri
Bhadi jatara in Bela mandals


Source
http://srinivasjournalism.blogspot.com/2016/01/adivasis-welcome-season-of-festivals.html

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Dokra or Dhokra Metal Craft

Dokra Metal craft is quite popular in the tribal regions of Telangana. Dhokra or Dokra also known as bell metal craft is a tribal metal craft widely seen in Jainoor Mandal, Adilabad District of Telangana.

Dhokra is an ancient bell metal craft practiced by the Ojha metal-smiths of Jharkhand, Odisha, Chhattisgarh, West Bengal and Telangana – the style and workmanship of the artisan community being different in different states.

In Telangana, the Ojha artisans are also known as Wojaris or Ojjis who create brass metal art objects using the tedious but perfect lost wax technique while casting the metal.

The Dokra artifacts are made in brass and are unique in that the pieces do not have any joints. The method is by combining metallurgical skills with wax techniques employing the lost wax technique, a unique form where mould is used only once and broken, making this art the only one-of-its-kind in the world. 

The 100 Ojha families, a sub tribe of the Raj Gond Adivasis found in Keslaguda, Ushegaon and Jamgaon of Kumram Bheem Asifabad district and Tamsi mandal of Adilabad district, manufacture brass metal items using the lost wax technique since centuries. The artisans traditionally manufacture only items like lamps and bells of different sizes used by the Raj Gonds and Kolam tribe in agriculture and religious activity. 

A minor resurgence of Adivasi culture witnessed in the old undivided Adilabad district has provided scope for the traditional Ojha artisans to indulge in creativity. Due to the phenomenon ensuring good sales during the Dandari-Ghusadi festival gone by and also holding out the promise of the trend to continue in the religious season ahead, the Dhokra brass metal artisans are making artifacts which they had discontinued to produce since about three decades.

The artisans make bronze and brass objects using the casting technique called dhokra,where a clay model is the core,over which,wax threads are wrapped around to form a layer.This is again covered with yet another layer of clay which has an opening. Molten bronze or brass is poured into this opening, which melts the wax completely, replacing it with brass or bronze. The cast object needs the outer mould to be broken each time.

In Adilabad district, places like Ushegaon and Chittalbori are the main contributors of this art. What catches your eye in this beautiful craft is that each piece is different from the other.

The craft produces objects like figurines, tribal gods, etc.

This work has good demand both in the domestic and international market due to its aesthetic look and primitive simplicity. The work consists of folk motifs, peacocks, elephants, horses, measuring bowl, lamp caskets and other simple art forms and traditional designs.

There are many families in Adilabad district dedicated to this ancestral craft, which is a labor-intensive work.

Very often, the artisans take up only order based work with an advance. The purchase of raw materials would require an initial expenditure beyond their means, more so if the end products do not sell. Dhokra is a very labour intensive as making of a simple piece could consume 4-5 days while more complicated designs could take upto 2-3 weeks. The designs are usually traditional, though they are known to make contemporary designs on demand. The characteristic pieces include slender and elongated metal figurines, folk motifs, elephants, peacocks, horses and household articles like measuring bowls and lamps The unique feature of a dhokra artefact is that the pieces do not have any joints. The entire object is handcrafted with the final product that has a distinct texture depending on the wax strips used in its design.

Things have recently started looking up for the Ojhas of Adilabad as they have tapped into their local markets comprising of the Gond tribal homes and their seasonal jatras or fairs. The idols of local deities – Jangubai, Bheemalpen and Persapen are most popular as are other items used in worship. The study of their return to local markets is unique in the lives of all artisan communities.

Typically dhokra objects cost between Rs.300 -500.

Contact:
Bhujang Rao Ojha: +91 94-92-428293 [Keslaguda, Kerameri mandal]
Indrajeet Ojha: +91 9652950224 [Belsari Rampur village in Tamsi mandal]


Sources
http://www.telanganatourism.gov.in/partials/about/arts-crafts/dokra-metal-crafts.html
https://floatstheboat.wordpress.com/2016/05/18/adilabad-dhokra/

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Khamdev Temple & Jathara

Kamdev or Khamdev temple is located in Narnoor village and mandal, Adilabad District, Telangana State, India.

This temple is dedicated to Khamdev and the tribal Jathara which starts in January every year attracts the Thodasam tribe from all villages across the district.

The Thodasam clan honours Lord Khamdev as their personal God. The clan has a custom where one of the paternal sisters must consume a lot of handmade sesame oil over the course of three years at the yearly festival.

Adivasis believe that this ritual helps fulfil their dreams and brings about positive changes in their lives, which is why it is performed once every three years. They believe that carrying forward the tradition will provide good produce to farmers and will bring happiness and harmony to the community. According to them, the tradition began way back in 1961. Since then, as many as 20 paternal sisters of the clan have fulfilled the tradition successfully.

The five-day-long annual festival is held on the day of the full moon day in the month of Pushya, a sacred month of the Hindu calendar year. Jatara begins with tribals making their offerings to the deity. Pilgrims, both girijans and non-tribals, from Telangana, Andhra Pradesh besides Maharashtra make a beeline to the event which paves way for get together of relatives once a year.

As part of customs, members of the community keep away from consuming liquor and visit temples to offer prayers without wearing any footwear.

Adivasis from Gond, Kolam, Thoti, and Pardhan communities, as well as those from neighbouring States such as Maharashtra, Chhattisgarh and Madhya Pradesh, visit the district to offer prayers. Those who are unable to attend the celebrations in person celebrate in their own villages with their community. They indulge in affectionate chats with dear ones and share food. 

Dec 24, 2017 : Khamdev jatara of the Thodasam clan of Raj Gond Adivasis will now be a five-day affair instead of the customary 15 days.

http://www.thehansindia.com/posts/index/Khammam-Tab/2017-01-14/Kamdev-temple-Jatara-begins-/273607
By: Madavi Manik Rao

http://daily.bhaskar.com/news/JM-9-shocking-facts-of-kamdev-no-one-knows-4448128-PHO.html?seq=10

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Jangubai Temple Pilgrimage

The sparsely populated hilly confines of Kota-Parandoli gram panchayat on the Telangana-Maharashtra border in Kerameri mandal of Kumram Bheem Asifabad district will come alive on December 31 when the sacred month-long Jangubai pilgrimage of Adivasis gets underway. Thousands of aboriginal Gonds, Kolams and Pardhans of Adilabad and neighbouring districts will visit the ancient cave temple of the most revered Goddess Jangubai situated in picturesque locale of a hillock by the side of a hill stream.

Despite the onslaught of modern times, nothing much has changed in these parts and one gets a feeling of being transported back in time when approaching the sacred cave.

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Keslapur Nagoba Jatara

Keslapur Nagoba Jatara  is a tribal festival held in Keslapur village, Inderavelly Mandal Adilabad district, Telangana, India.

It is the second biggest tribal carnival and celebrated by Mesaram clan of Gond tribes for 10 days.

Tribal people from Maharashtra, Chhattisgarh, Orissa and Madhya Pradesh belonging to the Mesram clan offer prayers at the festival.

The Nagoba Jatara starts in pushya masam in every year according to English to the English months December to January.

Every year, in the winter months of December/January, the Mesram clan of Raj Gonds and Pardhan Adivasis in the North of Telangana State make preparations for their most important religious and cultural festival, the Keslapur-Nagoba Jatara. The event is unique as it serves as a link between the present and the past, where customs and traditions that centuries old survive even today, underscoring the importance of solidarity within their community.

15 days before gond people bring Godavari river water to jatara to worship the god.

The adivasi Gond and Pardhans of Mesram clan come to Keslapur for the annual pilgrimage, Nagoba jatara, which will begin after a ritualistic puja at the Nagoba temple in Adilabad.

Thousands of aboriginal people come here from Maharashtra, Madhya Pradesh, Chhattisgarh and different parts of the district to participate in the week-long event that showcases the high points of the adivasi culture still alive in these parts of the country.

The pilgrims who arrive in bullock carts even from far off places are camping under the holy banyan tree and will together move into the temple premises on Sunday to perform various religious activities over the next five days. Women will participate mainly in the rituals associated with invoking of the serpent god which is the Mesrams’ clan god.

They will fetch water in sacred pots from an old well near the village and mix it with the sacred water from Godavari and purify the sanctum sanctorum of Nagoba temple. The puja will be performed at about 11 p.m. followed by one of the most interesting rituals called ‘Bheting’.

This is a ritualistic introduction of the new brides in the clan during the previous year by way of marriage. The white clad brides are brought to the temple in a solemn procession to be introduced to Nagoba which will render them eligible to pray to the clan god.

The Gonds also perform ‘Toom’, in remembrance of the departed people in the clan. This year, abut 70 ‘Tooms’ will be performed, means 70 persons of Mesram clan died during the last 12 months since the last jatara.

On the third day of the jatara, the tribal darbar will be held where in all the arms of the administration are made available to look into the grievances of the Adivasis. The trend was started in 1946 by famous Austrian Anthropologist Christopher von Furer-Haimendorf in an effort to strengthen the Gond panchayat system of which the Mokashi or Raja was at the head.

The Betal puja and Mandagajiling are the two events scheduled for the last day of the jatara. These are meant to recall the Gonds’ antecedents as warriors and to bid adieu to them.

Very little has changed in the ritualistic aspects of this festival for centuries as pilgrims still walk barefoot through the hilly forest countryside to fetch holy water from a river bank and arrive at Keslapur in bullock carts carrying food and essentials for the duration of the 5 day event.

Just before the start of the sacred lunar month of poos (Pushya masam) which coincides with the calendar months of December or January, a handful of Mesram elders deliberate on the schedule for the month long fest, at the quaint and nondescript village of Keslapur in Indervelli mandal of Adilabad district. The discussions take place at the Pen thana (the resting place of the God) revolve mainly around the dates of important rituals and rites to be performed.

Nagoba, the serpent god Sheshnag, also known as Sri Shek is the clan-god of the Buiguita branch of the Mesram Raj Gonds and Pardhans. He is considered to be the mul-purush or progenitor of the clan. Mesram Manohar, a Pardhan elder who has been visiting Nagoba festival every year since 1976 when he was only nine explains, “The Nagoba festival ensures that all the Mesram clan members are at Keslapur at least once every year which strengthens the ties within the community”. Around 2,500 Mesram families attend the jatara every year, with some of them coming from across the borders with the neighbouring state of Maharashtra.

Legend has it that Nagoba had come down to Keslapur, to punish king Padiyor for his misdemeanours, but was appeased after the Mesram Raj Gonds offered him naivedyam of seven varieties. The annual festival of Nagoba Jatara revolves around this fable with rituals involving prayers to and pacification of the serpent God.

Once the schedule is fixed, a two member team comprising of Mesram Hanmanth Rao, the clan katoda (chief priest) and the chief of Pardhans (bards), Mesram Tukdoji, set out on a 10 day journey covering villages within a radius of 25 to 30 km of Keslapur. The journey in a two seater bullock cart called chakda first takes them to Sirikonda where they place an order for 120 earthen pots and lamps that are to be used during various rituals of the festival. The Guggilla potter family has been making the earthenware for the Mesrams since centuries. The duo later visit the 22 families in the clan, which have a major role to play in organising the jatara, and inform them about the schedule. Despite the availability of modern-day conveniences like motorised vehicles and cellphones, they diligently follow the traditional rituals by travelling on a bullock cart and personally invite families for the festival

Once the elders return, another meeting takes place to discuss the stopovers during the 15 day barefoot journey of the pilgrims who will set out to fetch gangajal (holy water) from river Godavari. Also, the names of those who wish to undertake this journey to Hastinamadugu near Kalamadugu village in Jannaram mandal, now in Mancherial distirct, are registered.

The 90 km route, takes pilgrims clad in white, walking in a line through jungles across hillocks and valleys, to the sacred spot at the river bed since this ritualistic event originated. The sacred brass vessel to hold gangajalcalled jhari, said to be 1,400 years old, was carried by the Hanmanth Rao (in 2018) while the pilgrims were led by Tukdoji in their walkathon.

About walking in a single file, Mesram Tirupathi, the kotwal for the festival explains thus, “We walk in a single line, trailing through forests and difficult paths mimicking the movement of a snake. We also ensure no man or animal crosses our path as it could prove inauspicious for our Patels (village heads). In the legend, the Pardhan (bard) is mainly responsible for pacifying Nagoba and hence he always leads us.”

On Jan 8th 2018, the devotees reached Hastinamadugu at daybreak, and after quickly brushing with a daatun(neem twig) huddled together to take a dip in the cold waters of Godavari while chanting in chorus “Jai Nagoba! Jai Nagoba!” A community lunch was prepared from the offerings of food grains like jowar, lentils and rice flour that each of the devotees had brought. The pilgrims began their return journey the same day and head to Gowri Gonduguda, the native village of Hanmanth Rao.

While most pilgrims dispersed, Hanmanth Rao was joined by his family and a few devotees as they proceeded to Indrai temple at Indervelli. After performing pooja here, they made their way to Bhourmachua or the sacred banyan tree outside Keslapur to camp there until the day of mahapuja (on Jan 16th 2018). All this while, due care is taken to sling the jhari from branches of trees when the pilgrims are resting as keeping it on the ground is an anathema.

The following night the Patels (village elders) arrive under the banyan tree to a ceremonial welcome by Pardhan musicians. The Patels light the sacred torches of the torch-bearers and these remain lit during the entire course of the Nagoba jatara. The flickering light from the torches illuminate their path through the darkness and is a part of all the rituals. Only after the Patels have set up their camps, ordinary Mesram families from various corners of the tribal heartland start joining them under the banyan tree.

The camp under Bhourmachua consists of temporary dwellings hinging around the carts around which all items necessary for the four day stay are arranged. The women set aside groups of sacred baskets containingnaivedyam in a separate area. The days are filled with children’s fun and frolic, women busy preparing meals or carrying water, while the men discuss important matters relevant to the community.

The nights, however are reserved for recitals of Nagoba Bhidi, the legend of the serpent god, by Pardhan bards as their audiences gather around camp fires, and flickering flames offering them much needed warmth, all together creating a mystical aura.

On the morning of Jan 16th 2018, the Mesram men dressed in spotless white and women covering their heads with a white cotton scarf made their way into the Nagoba temple in a ceremonial procession. The head priest carried the sacred jhari into the temple and slung it from a branch of a small tree close to the where the earthen pots were arranged.

While all rituals and ceremonies pertaining to the preparation of the Nagoba jatara involved men so far, the women gain prominence and participate actively from the day of the mahapuja. Traditionally, most alliances of Raj Gond bachelors are fixed during post-harvest Dandari-Ghusadi festival, and the nuptials take place between March and May. For the Mesram Raj Gonds and Pardhans, the gamut of weddings is complete only after the bheting ritual, which is held on the first day of the jatara and entails introduction of brides to the serpent god and thereby into the clan. This ritual is most significant part of the Keslapur-Nagoba jatara.

On the day of mahapuja, the pots that were made specifically for the festival, are consecrated soon after the arrival of the priests and others to the temple in the morning. The Patels line up beside the pots while Mesram Tirupathi, the kotwal, calls the names of women to whom the pots would be handed over.

The women who come in pairs are daughters of Mesram families but have been married into other clans. They are handed over a pot which is meant for fetching water from a well near Bhourmachua (banyan tree).

After the distribution of the pots, the head Pardhan Mesram Tukdoji takes a seat and begins to tune his 200 year old bow-string instrument called kingri for another recital of Nagoba Bhidi in the temple premises. The Pardhans or bards are said to have preserved the myths and stories of Gonds in the oral tradition over centuries. Tukdoji has been singing the Nagoba katha for over 50 years, and has taken a family member under his wing to train him and eventually pass on the baton.

Once again, strains of pipri and dhol begin to waft in the air, as women carrying the earthen pots on head begin to line up. Everybody steps aside to make way for them and they begin walking at a uniform pace, the pots balanced on their head, leaving behind a trail of the afternoon shadows that follow rhythmically.

At the stepwell, each woman waits for her turn to fill her pot with water. After filling the pots with water at the well, the women return to the temple in a similar fashion. The water in these holy pots is used by women in the ritual of creating small mounds of clay also called boula (anthills). On a nostalgic note, Mesram Manohar reminisces, “Prior to early 1980s, all the rituals were performed at the boula. After the temple was constructed and a brass deity of Nagoba was installed, the prayers are offered only at the sanctum.”

At twilight all occupants under the banyan tree pack up and move with their belongings and bullock carts to set up camps around the temple. A circular open air structure called govad is made specifically for women and the “bheti koriad” – the daughters-in-law who wait to be introduced.

Inside the govad, at around 2:00 am women huddle in small groups huddle around bonfires, to keep warm while the light from the torcher-bearers casts a soft glow on the bheti koriad. The girls get busy donning on their white sarees to participate in the bheting ceremony. Two young girls who will soon lead the procession to the temple, are seated – one a daughter-in-law of priest while the other is new bride in a Patel’s family, wait as the koriad gets ready.

Mesram Jayanthi, a mother-in-law camped at the govad explains the bheting ritual, “We make our brides wear white clothes, take them to the Sathi temple, and pray for their prosperity and progeny. With their heads covered, the koriad are taken in a procession to the temple led by musicians. They take the blessings of Sathi Devi before being formally introduced to our clan God Nagoba.”

“If a family member has passed away recently or the bride is unwell, she cannot participate in the ritual and will have to wait for another year to be ceremoniously introduced into the clan and become eligible to offer prayers at the Nagoba temple. This is why the bheti koriad ensure that they make it to the ritual at any cost.”

Barring the banyan tree and the temple compound, the surrounding environs wear the look of a carnival; filled with tea shacks, make-shift restaurants, amusement arena with giant wheels and many vendors selling household articles and appliances. Most hawkers hope to attract business from newly-weds setting up a new home. Mesram Manohar was quick to point out, “All these facilities and conveniences are a much later addition, but the rituals remain the same and have retained their traditional zeal.”

At night, the Nagoba Jatara provides a stage to many rural folk theatre troupes who perform Gondi Ramayan and Mahabharat, so named as the shows are performed in Gondi dialect. These performances are a major draw and have the audiences riveted till the early hours next morning.

During the Nizam’s rule, eminent anthropologist Christoph von Furer-Haimendorf had conducted ethnographic studies on the tribes of Adilabad. In the year 1944 he had introduced the phenomenon of Darbar on the third day of the Jatara wherein the aboriginals could voice their grievances and concerns to the representatives of the government. Till date, it is an event the Adivasis look forward to and take an active participation. This year, despite a cloud of uncertainty looming over the Darbar on January 19 in wake of the recent Adivasi-Lambada conflict, the event was peaceful.

Source

https://floatstheboat.wordpress.com/2019/01/23/keslapur-nagoba-jatara-1-2-the-prelude/

https://en.wikipedia.org/wiki/Nagoba_Jatara

http://www.thehindu.com/news/national/telangana/nagoba-jatara-adivasis-stream-into-keslapur/article8205052.ece

by S.Harpal Singh

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Bathukamma Festival

Bathukamma is a colourful and vibrant festival of Telangana and celebrated by women, with flowers that grow exclusively in each region. This festival is a symbol of Telangana’s cultural identity.

Bathukamma comes during the latter half of monsoon, before the onset of winter. The monsoon rains usually brings plenty of water into the fresh water ponds of Telangana and it is also the time when wild flowers bloom in various vibrant colors all across the uncultivated and barren plains of the region. The most abundant of these are the ‘gunuka poolu’ and ‘tangedu poolu’. There are other flowers too like the banti, chemanti, nandi-vardhanam etc. Bathukamma is celebrated by the women folk of Telangana, heralding the beauty of nature in vibrant colors of multitudinous flowers

Bathukamma festival is celebrated during Durga Navratri. Bathukamma festival begins on the day of Mahalaya Amavasya and the festival continues till nine days, ending on the day of Durgashtami.

Bathukamma means 'Mother Goddess come alive' and the festival represents the cultural spirit of Telangana, symbolizing the patron Goddess of womanhood. The festival is also regarded as the Spring Festival of Goddess Gauri. Bathukamma festival is a floral festival and during the festival, a beautiful flower stack is arranged in a unique style in shape of a temple, which usually consists of seasonal flowers, having medicinal values.

During the first five days, women clean their courtyard. The cow dung is then mixed with water and spread throughout as the ground-base. Then it is further decorated with a rangoli which is made of rice flour.

The men collect the flowers of vibrant colours and types for the preparations. There flowers are mainly; Celosia, Senna, Marigold, Lotus, Cucurbita, Cucumis etc. The preparations and decorating the rangoli and other things is folk art and generally, the preparations begin from afternoon. 

The list of names of each day as it is celebrated:
Day 1: Engili pula Bathukamma
Day 2: Atkula Bathukamma
Day 3: Muddapappu Bathukamma
Day 4: Nanabiyyam Bathukamma
Day 5: Atla Bathukamma
Day 6: Aligina Bathukamma
Day 7: Vepakayala Bathukamma
Day 8: Vennamuddala Bathukamma
Day 9: Saddula Bathukamma

Day 1: Engili Puvvula Bathukamma
It is celebrated on the Pethara Amasa (Mahalaya Amavasya – Bhadrapada Amavasya).

Naivedyam, Palaharam for Engili Puvvula Bathukamma is any recipe made with nuvvulu (til / sesame), rice flour or Nookalu or just the mixture of sesame seeds and wet rice.

Day 2: Atukula Bathukamma
It falls on the first day of Ashwayuja Masam (Navaratri Kalasha Sthapana)

Naivedyam, Palaharam for Atukula Bathukamma is any recipe made with Atukulu, Sappadi Pappu, bellam (jaggery), etc..

Day 3: Muddhapappu Bathukamma
It is observed on second day of Ashwayuja Masam (Preethi Vidiya)

Naivedyam, Palaharam for Muddhapappu Bathukamma is any recipe made with Muddhapappu (dal), paalu (milk) or bellam (jaggery).

Day 4: Nanbiyyam Bathukamma
It falls on the third day of Navaratri festival. (Sindhura Thadiya Gauri)

Naivedyam, Palaharam for Nanabiyyam Bathukamma is any recipe made with Nanabiyyam (wet rice), milk and jaggery.

Day 5: Atla Bathukamma
It is celebrated on fourth day of Navratri utsavams.

Naivedyam, Palaharam for Atla Bathukamma is any recipe made with uppudu biyyam, dosha, atlu, etc.

Day 6: Aligina Bathukamma (Alaka Bathukamma)
It falls on the fifth day of Navaratri which is also celebrated as Lalita Panchami. Bathukamma is not prepared on this and not offered

No Naivedyam, Palaharam for Aligina Bathukamma. Women do not prepare Bathukamma but playBathukamma. But they do not offer any palaharam to bathukamma on this day.

Day 7: Vepakayala Bathukamma
This Bathukamma falls on sixth day of Navaratri (Durga Shashti day)

Naivedyam, Palaharam for Vepakayala Bathukamma is recipe made with sakinala pindi in the form of vepakayalu (Neem fruits – Azadirachta indica).

Day 8: Vennamuddhala Bathukamma
It falls on the seventh day of Durga Navaratri (Durga Saptami / Maha Saptami)

Naivedyam, Palaharam for Vennamuddhala Bathukamma is recipe made with venna (butter), neyyi (ghee), nuvvulu (til / sesame), jaggery, etc..

Day 9: Saddhula Bathukamma
Final Day of Bathukamma festival is Saddhula Bathukamma. The Bathukammas prepared in big sizes than regular days and are immersed in water (Bathukamma Nimajjanam). It falls on Durga Ashtami day and in some instances it falls on Mahanavami day.

Naivedyam, Palaharam for Saddula Bathukamma is five fried rice varieties that are the special of Telangana dishes –
Perugu saddhi (Perugannam saddhi – Curd rice)
Chinthapandu Pulihora saddhi (Tamarind rice)
Nimmakaya saddhi (lemon rice)
Kobbari saddhi (coconut rice)
Nuvvula saddhi (sesame rice). 

History

According to the Hindu religious scholars and pundits, once upon a time there was a King named Dharmangada who belonged to the Chola Dynasty. This particular king largely ruled over South India. His wife gave birth to a girl child after many years of rituals and prayer. She was named as Princess Lakshmi.

During Baby Lakshmi brought up she survived many unforeseen accidents and incidents in life. The parents felt life and death while bring up their only child. Later they named their daughter as Bathukamma. According to the Telugu language, Bathuku means life and Amma means a female names and mother.

The main purpose of this particular festival is to pray with devotion to the Goddess in the strong belief that all young girls would get their beloved husbands as per their desire and wish soon.

On the other hand, married women along with their household friends and relatives celebrate this festival in order to pray to the Goddess for prosperity and good health of their family. This particular festival is primarily celebrated by unmarried young girls who are in the marriageable age. On the other hand men folks along with their wife’s and other family members, relatives and friends help in the gathering of flowers and floral arrangement of a beautiful flower stack during the festival season.

This festival is plays a vital role in the culture and tradition of Telangana. Every year, Bathukamma festival is eagerly looked forward by the Hindu religious people.

http://www.telanganatourism.gov.in/bathukamma/about-bathukamma.html

http://indiatoday.intoday.in/education/story/bathukamma-festival/1/497520.html

http://timesofhindu.com/history-of-bathukamma-festival/

http://www.yadtek.com/nine-9-days-celebrations-of-bathukamma-telangana-floral-festival/

http://www.telangananewspaper.com/floral-festival-of-telangana-bathukamma/

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Perini Shivatandavam

Perini Shivatandavam (Perini Sivatandavam) or Perini Thandavam is an ancient dance form originated and prospered in Telangana during the Kakatiya dynasty.Perini is performed by males and it is believed that in ancient times this was performed before the soldiers set to war.

Nataraja Ramakrishna was the person who revived this art form recently. Perini Dance form was developed at the time of Ganapathi deva, the king of Kakatiya Empire.The Perini Thandavam is a dance form usually performed by males. It is called 'Dance of Warriors'. Warriors before leaving to the battlefield enact this dance before the idol of Lord Śiva (Shiva). The dance form, Perini, reached its pinnacle during the rule of the 'Kakatiyas' who established their dynasty at Warangal and ruled for almost two centuries.

The Perini Thandavam, Telangana It is believed that this dance form invokes 'Prerana' (inspiration) and is dedicated to supreme dancer, Lord Siva. One can find evidence of this dance in the sculptures near Garbha Gudi(Sanctum Sanctorum)of the Ramappa Temple at Warangal.

Perini is a vigorous dance done to the resounding beats of drums. Dancers drive themselves to a state of mental abstraction where they feel the power of Siva in their body. While dancing they invoke Siva to come into him and dance through him. The Perini Thandavam is indeed believed to be the most invigorating and intoxicating male dance form.

Perini dance form almost disappeared after the decline of the Kakatiya dynasty but Padmasri Dr. Nataraja Ramakrishna brought renaissance in Perini dance, which was on verge of extinction.

https://en.wikipedia.org/wiki/Perini_Shivatandavam

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Samakka Saralamma or Medaram Jathara

Samakka Sarakka Jathara or Medaram Jathara, a little festival of tribal origin in Telangana has become a major pilgrimage. The Samakka festival is held every two years at in Medaram Village of Tadvai Mandal deep in the heart of the thick forests of Mulugu district. The population of the little forest village at Medaram in normal times never exceeds 300. Suddenly, during the month of February it rises to over 3500000! Millions of devotees come from all over Telangana and neighbouring states like Andhra Pradesh, Orissa, Maharashtra and Madhya Pradesh. This festival is held in memory of a Koya tribal queen called Samakka who fought against the medieval dynasty of the Kakatiyas who ruled from Warangal between 1000 A.D.-1380 A.D. approximately. The Telangana region over the centuries has come to be identified as a symbol of defiance and dissent, thanks to the legacy of Sammakka and Sarakka who defied the mighty Kakatiya rulers. It served as a source of inspiration for many people's movements and struggles in the region -- revolt against the tyrannical Razakars of Nizam's forces, armed struggles of farmers and agricultural labourers and People's War. Sammakka and Sarakka, who had laid their lives defending the innocent tribals in Medaram, a subsidiary of then Kakatiya kingdom, are being revered as goddesses by tribals in the region and those in the neighbouring states as well. Lakhs of tribals and non-tribals gather at Medaram village, located 100 km away in deep forest from the district headquarters to recall the heroic struggle of their great ancestors. Inspired by their bravery, many people, irrespective of caste and creed, name their children after that valiant warriors -- Sammakka, Sarakka and Jampanna.  According to the legend, moved by the bravery of the tribal women, the nature showered bounties on the kingdom. Ever since, tribals in the region reap good harvest and revere Sammakka and Sarakka for their sacrifices. Among the traditional deities of the Koyas and other forest tribes is the Tiger Goddess of whom there is an interesting legend. As the story goes a band of Koyas walking through the thick forest came upon a little girl playing with full grown tigers. They retrieved the infant and the headman adopted her. She was named Samakka. She grew up into fine young woman and married the headman of a neighbouring village. Among her children was a daughter named Saralama. Both mother and daughter were reputed for their kind and helpful nature. The legend has it that as part of extending the empire, the Pratapa Rudra-II of Kakatiya dynasty conquers the Polavasa (now in Karimangar) and neighbouring regions. The ruler of Polavasa- Medaraju, who gives his only daughter in marriage to the tribal king Pagididdaraju of Medaram flees to Medaram after losing his kingdom to Kakatiyas. Following continued drought and famine, Pagididda Raju expresses his inability to pay taxes to Pratapa Rudra-II. The messenger of Kakatiya's while returning spots Medaraju. After returning, the messenger complains to Pratapa Rudra that Medaraju was instigating tribals in the region against payment of taxes. Angered over it, Pratapa Rudra wages a war against tribals. The troops discovering the Koyas had hardly enough to eat themselves returned empty-handed reporting that there were no taxes to be collected. This angered the king further. He sent a large force and they committed all sorts of atrocities. The Koyas had no option but to resist. Finally the minister of the king decided to take a look. By then most of the Koya chiefs had fallen in battle. The minister proposed peace and offered Samakka a place in the king’s harem as chief queen. Samakka turned down the offer saying she had no faith in the promises of kings. Besides so many Koyas had been killed and she resolved to continue the fight. Again the battle raged and Samakka received a spear wound. “Now we will capture the heroic Samakka,” thought the king’s forces. They never captured her. She fled into the deep forest solemnly calling the elements saying “If the Koyas are blameless, may the dynasty of Warangal perish.” The grieving Koyas searched for their queen al they found were a red ochre box, bangles … and the pug marks of a huge full grown tigress. The Warangal dynasty was extinguished very soon. While escaping Samakka had also told here people “So long as you remember me, I shall be there with you always.” The Koyas and Waddaras regularly hold festivals in memory of Samakka. Every two years Koya a priest ceremonially bring the ochre box and standards of Samakka and place them at the food of a tree symbolizing Saralama, her daughter besides other Koyas warriors. It is said that during the festival a huge tiger prowls around peacefully. The mammoth crowd that descends on Medaram pitch their makeshift tents under the trees. Colourful bedsheets and sarees serve as tent cloth. The crowd treks to a nearby rivulet called Jampana Vaagu, named after a son of Samakka, to take a dip in the waters. Among the pilgrims are childless women. They are put through a ritual conducted by elderly women. On the banks of the river one sees several children getting their first ceremonial haircut. Apparently some pilgrims have had prayers answered. While the festival has tribal roots, today the bulk of the pilgrims are non-tribals. There are elements of very ancient rites reminiscent of old matriarchal societies. Some men dress in women’s garb for the duration of the festival. Some women behave as though they are ‘possessed’. The official Koya oracle forecasts the general future of the people. Going by the ever-increasing patronage to the tribal festival, the Government has declared it as a `State festival' and has been sanctioning a huge amount for organising it. More than five lakh pilgrims, mostly tribals from Chattisgarh, Orissa, Maharasthra and Madhya Pradesh, Andhra Pradesh and different corners of Telangana are expected to attend the festival this year. The trees signifying the Koya martyrs are in an enclosure where pilgrims file past. When the priests bring out the ochre box and other relics from a hidden forest location, there is great tumult with frenzied beating of drums, blowing of trumpets and full throated yells. Earlier cocks and sheep were ritually slaughtered. Now offerings are coconuts and jaggery. They are piled at the foot of the trees. By nightfall, the exodus starts. In two days Medaram is deserted. The crowd vanishes as suddenly as it arrived. The long line of buses raise clouds of red dust. Medaram goes to sleep for the next two years. http://medaram.org/index.html http://www.thehindu.com/2004/02/01/stories/2004020107530300.htm

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