Art & Culture

Context: The Maha Kumbh Mela 2025 is scheduled to be held between 13 January to 26 February, 2025 at Prayagraj, Uttar Pradesh. This Kumbha is likely to attract 400 million people from across the world.

Relevance of the Topic: Prelims- Key facts about Kumbh, Ardhkumbha and Mahakumbh. 

About Kumbh, Ardhkumbha and Mahakumbh:

• Kumbh Mela is a major pilgrimage and festival in Hinduism or Sanatana tradition. It is a religious pilgrimage that is celebrated four times, over a course of 12 years, at four river-bank pilgrimage sites:
  1. Prayagraj (Ganges-Yamuna-Sarasvati rivers confluence)
  2. Haridwar (Ganges) 
  3. Nashik (Godavari) 
  4. Ujjain (Shipra). All the pilgrims take a holy dip in the river water.

Kumba is held at Prayagraj, Haridwar, Ujjain and Nasik every three years. 

• Ardhkumbha is held at Prayagraj and Haridwar every 6 years. 
• Mahakumbha is the event that takes place after every 144 years, following 12 Purna Kumbh Melas. 

Key facts about Kumbha Mela:

• Kumbh Mela has been included in the UNESCO’s Representative list of Intangible Cultural Heritage of Humanity (2017). The event intrinsically encapsulates the science of astronomy, astrology, spirituality, ritualistic traditions, and socio-cultural customs and practices, making it extremely rich in knowledge.
• Each site’s celebration is based on a distinct set of astrological positions of the Sun, the Moon, and Jupiter. The celebrations occur at the exact moment when these positions are fully occupied, as it is considered to be the holiest time in Hinduism. 
• This congregation, primarily, includes Ascetics, Saints, Sadhus, Sadhvis, Kalpvasis and Pilgrims from all walks of life. The seekers believe that bathing in these rivers is a means to prāyaścitta (atonement, penance, restorative action) for past mistakes, and that it cleanses them of their sins.

Origin of Concept: 

1. Ancient India: 

• Puranas are the oldest source of Magha mela (probably the older name of Kumbh mela). According to these texts, the gods and demons once engaged in a cosmic battle over a kumbha (pot) containing Amrita, the elixir of immortality. This struggle was part of their joint endeavour to churn the milky ocean. During this celestial tug-of-war, drops of amrita fell on four earthly locations: Haridwar, Ujjain, Nashik, and Prayag (now Prayagraj). These sites, sanctified by the divine nectar, later became the venues for the Kumbh Mela​​​.
• Other references: However, the earliest mention of holy bath at Prayag is mentioned in Sanskrit text Rigveda and Pali text Majjhima Nikaya.
• 7th century Buddhist monk Hiuen Tsang, who travelled during the period of King Harsha, mentioned about people gathering to take dip in hold rivers.

2. Medieval India: 

• It was Adi Shankara in the 8th century who formalised the Kumbha Mela. He intended to establish major gatherings for philosophical discourse and debates among the Hindu monastic community. These gatherings were aimed at consolidating and strengthening the philosophical foundations of Hinduism, fostering a sense of unity and shared purpose among its practitioners​​​. 

Context: Recently, hundreds gathered at the Krishna Menon Museum and Art Gallery in Kozhikode, Kerala to witness the Kandakarnan Thira performance.

Relevance of the Topic: Prelims- Kandakarnan Thira Art form, Theyyam

About Kandakarnan Thira:

• It is a ritual dance and a part of the Theyyam art form which is primarily performed in the temples and groves in the Malabar region of Kerala.
  • Theyyam (the dance of God) is a broad ritual dance form and living tradition practiced in Malabar region of Kerala. It involves worshipping deities through dance, drama, music, art and rituals.  
• Kandakarnan Thira is a unique form of Thira dedicated to Kandakarnan, a fierce guardian deity, who is believed to protect humanity from diseases.

Who performs?

• The dance is performed by artists from the Malaya community, who are also known as "perumalayan".

What does it symbolise?

• The Kandakarnan Thira performance represents the survival of the human race from contagious diseases. 
• The performer wears a headgear (crown) that is about 20 feet tall and has 16 torches attached to their hips. The performer's face also has marks left behind by smallpox.

What are the rituals?

The performance is often accompanied by musicians and takes place at night. The ritual involves invoking deities, walking on red-hot embers, and performing in sacred shrines and ancestral temples.

Context: The Swedish Academy has awarded the Nobel Prize in Literature for 2024 to South Korean poet and novelist Han Kang for her “intense poetic prose that confronts historical traumas and exposes the fragility of human life.”

About Han Kang

• Han Kang is a 53-year-old writer from South Korea who became the first Korean to win the Nobel Prize in Literature. 
• Her career began in 1993 with poems published in literary magazines. However, it was in prose that she truly found her expression, debuting with a short story collection, Love of Yeosu, in 1995. 
• Key themes: Han Kang has developed her unique voice, one that blends poetry with prose and explores the most profound aspects of human existence.
  • Her work is most distinguished by its exploration of historical trauma, human vulnerability, and existential questions. 
  • Her literature is often marked by an intense focus on her characters' physical and psychological experiences. She addresses themes of violence, grief, and loss while also probing deeply into human frailty.
• Her notable literary works:
  • The Vegetarian (2007): The radical story about a woman who gives up eating meat and finds solidarity only in the plant world. She was awarded the International Booker Prize in 2016 for the novel. 
  • Human Acts (2016): The political novel is about the massacre of protesting students and dissenters by the South Korean military in the 1980s, in which souls of the dead are allowed to “witness their annihilation.”
  • The White Book (2017): The novel is centered around grief — where an unnamed narrator talks about grief — the loss of her elder sister, who died just hours after birth.
  • We Do Not Part (2025, to be published): The novel is the story of a friendship between two women in the backdrop of the 1948 massacre in South Korea’s Jeju Island. 

Nobel in literature in previous years:

• 2023: Jon Fosse: For his innovative plays and prose, which give voice to the unsayable.
• 2022: Annie Ernaux: For the courage and clinical acuity, she uncovers the roots, estrangements and collective restraints of personal memory.
• 1913: Rabindranath Tagore for Gitanjali (a collection of poems). 

Context: Nearly 1,500 Kuchipudi dancers from various parts of the country took part in the finals (Brahmanjali) of the International Traditional Dance Congress at MGM Park in Visakhapatnam, Andhra Pradesh.

About Kuchipudi Dance: 

Introduction:

• Originally performed by a group of actors going from village to village, known as Kusselavas, Kuchipudi derives its name from the Andhra village of Kusselavapuri or Kuchelapuram.
• Siddhendra Yogi, in the 17th century, formalized and systematized the tradition. He authored ‘Bhama Kalapam’ and many other plays.
• With the advent of Vaishnavism, the dance form became a monopoly of the male Brahmins and began to be performed at temples.
• Stories of Bhagavat purana became a central theme of the recitals, and the dancers came to be known as Bhagavathalus.
• The dance form gained prominence under the patronage of the Vijayanagar and Golconda rulers.
• Lakshminarayan Shastry, in early 20th century, brought in new practices such as solo recitals and female participation
• It is similar to Bharatnatyam but has its own features.

Important features:

• Includes difficult foot movements, and is generally a team performance.
• Most of the Kuchipudi recitals are based on stories of Bhagwata purana but also have a secular theme.
• There is a predominance of Shringaara rasa.
• Each principal character introduces itself on the stage with a ‘daaru’, which is a small composition of dance and song, specifically choreographed for the revelation of each character.
• The dance involves all three components of classical dances: Nritta, Nritya and Natya.
• The performance has:
  • Sollakath or Patakshara: The Nritta part, where movement of the body is made. 
  • Kavutvams: The Nritya part which involves extensive acrobatics. It may also be performed as Nritta(pure dance). 
• In a Kuchipudi recital, the dancer may combine the role of a singer into himself/herself as well. Hence, it becomes a dance-drama performance.
• Both Lasya and Tandava elements are important in the Kuchipudi dance form.
• Apart from group performances, there are popular solo elements as well in Kuchipudi:
  • Manduk Shabdam: Tells the story of a frog.
  • Balgopala Tarangam: The dancer performs with his/her feet on the edges of a brass plate and balancing a pot of water on the head or a set of diyas.
  • Jala Chitra Nrityam: In this item, the dancer draws pictures on the floor with his or her toes while dancing.
• Performance is generally accompanied with Carnatic music. 
• Violin and Mridangam are the principal musical instruments and the recital of the performance is in Telugu language. 

Context: The Union Cabinet approved classical language status to Marathi, Bengali, Assamese, Pali, and Prakrit. 

India has had six classical languages till now: Tamil, Telugu, Malayalam, Kannada, Sanskrit, and Odia.

Tamil was the first language to be given classical status in 2004 followed by Sanskrit in 2005.

With the new additions, 11 languages in India have Classical Language status. 

Classical Language Status: 

• The term ‘Indian classical languages,’ or Shastriya Bhasha, encompasses languages in India with a rich history, significant antiquity, and a distinct literary heritage.
• In October 2004, the Centre decided to create a new category of languages as ‘Classical Languages.’
• In November 2004, a Linguistic Experts Committee (LEC) was constituted by the Ministry of Culture under the Sahitya Akademi to examine the eligibility of the languages proposed to be accorded classical language status. 
  • The Linguistics Expert Committee comprises representatives of the Union Ministries of Home, Culture, and four or five linguistic experts at any given time.
  • It is chaired by the President of the Sahitya Akademi.
• The criteria for conferring the status of a ‘Classical Language,’ was brought which was implemented by the Ministry of Culture in collaboration with the Linguistic Experts' Committee. This committee, formed by the government, evaluates requests for classifying languages as Classical Languages.
• According to the Union Culture Ministry, the criteria for bestowing classical status was revised by the Linguistics Experts Committee, in July, 2024. 
• 9 classical languages are listed in the Eighth Schedule of the Constitution.
  • The Eighth Schedule consists of 22 languages.
  • These are: (1) Assamese, (2) Bengali, (3) Gujarati, (4) Hindi, (5) Kannada, (6) Kashmiri, (7) Konkani, (8) Malayalam, (9) Manipuri, (10) Marathi, (11) Nepali, (12) Oriya, (13) Punjabi, (14) Sanskrit, (15) Sindhi, (16) Tamil, (17) Telugu, (18) Urdu (19) Bodo, (20) Santhali, (21) Maithili and (22) Dogri.

To be recognized as a ‘Classical Language,’ a language must satisfy the following criteria:

Criteria (November, 2005)

• Demonstrated high antiquity of its early texts or a recorded history spanning 1500–2000 years.
• Possession of a body of ancient literature or texts considered valuable heritage by successive generations of speakers.
• Originality of the literary tradition, not borrowed from another speech community.
• Distinctiveness between the classical language and literature from its modern counterparts, potentially involving a discontinuity.

Revised Criteria (July, 2024): 

• High antiquity of (its) is early texts/recorded history over a period of 1500- 2000 years.
• A body of ancient literature/texts, which is considered a heritage by generations of speakers
• Knowledge texts, especially prose texts in addition to poetry, epigraphical and inscriptional evidence.
• The Classical Languages and literature could be distinct from its current form or could be discontinuous with later forms of its offshoots.

Languages granted Classical Language status:

• Tamil: Recognized as a classical language in 2004
• Sanskrit: Officially recognized as a classical language on January 26, 2005
• Telugu: Achieved official recognition as a classical language in India in 2008
• Kannada: Officially recognized as a classical language in India in 2008
• Malayalam: Recognized as a classical language in 2013
• Odia: Officially recognized as a classical language on February 20, 2014
• Marathi; Assamese; Bengali; Pali and Prakrit: 2024

Benefits of Classical Status: 

• The Ministry of Education takes steps to promote classical languages.
• Three central universities were established in 2020 through an Act of Parliament for promotion of Sanskrit language.
• The Central Institute of Classical Tamil was set up to facilitate the translation of ancient Tamil texts, and offer courses in Tamil.
• To enhance the study and preservation of classical languages, the Centres for Excellence for studies in Kannada, Telugu, Malayalam, and Odia were also set up.
• Two major international awards annually for distinguished scholars in Classical Indian Languages.
• Requesting the University Grants Commission to initiate, initially in Central Universities, a designated number of Professional Chairs for Classical Languages for eminent scholars in Classical Indian Languages. 

Context: Cholliyattom is an informal collective of young Koodiyattam artists in Kerala, launched during the COVID-19 pandemic. This platform aims to bring together artistes from various schools of Koodiyattom to collaborate, preserve the art form, and learn the nuances of different styles.

Preserving different Koodiyattam traditions:

• Cholliyattom plays a critical role in preserving various styles of Koodiyattom, which include the Kalamandalam or Painkulam style, Ammannur style, and Mani Gurukulam style.
• By creating a space for intergenerational knowledge transfer, Cholliyattom ensures that these styles are kept alive and continuously practiced.
• Nuances of Koodiyattom:
  • Koodiyattom is known for its complexity, with intricate sign languages, acting styles, and specific techniques that vary between traditions.
  • While the costumes across different styles may appear similar, there are slight differences in gestures and performances, which can be challenging for audiences unfamiliar with the art's technical vocabulary.
• Expanding Koodiyattom beyond temple premises:
  • Historically, Koodiyattom performances were confined to temple premises in Kerala, limiting its audience and outreach.
  • However, Cholliyattom aims to bring this ancient Sanskrit theatre tradition to a broader audience by encouraging participation from artistes of diverse social backgrounds.
  • The collective not only promotes collaboration among artistes but also strives to make the art more accessible to younger generations, ensuring its continuity and evolution.

About Koodiyattam:

Introduction:

• Koodiyattam, a theatre tradition practiced for over two thousand years in Kerala, gained international recognition when UNESCO proclaimed it a ‘Masterpiece of Oral and Intangible Heritage of Humanity’ in 2001.
• It was later inscribed on the Representative List of the Intangible Cultural Heritage of Humanity in 2008.
• Koodiyattom, derived from the Malayalam word ‘koodiyattam’ meaning ‘combined act,’ is a unique fusion of ancient Sanskrit theatre with elements of Koothu, an ancient performing art from the Sangam era.

• Koothu, also known as Therukoothu, is a traditional folk art from Tamil Nadu, where artists combine music, dance, and storytelling to narrate epic tales.
• The performances are conducted in Tamil, and this art form dates back to the early Tamil country.
• Koothu reached its zenith centuries ago, with mentions in Sangam literature, which also documents the development of Tamil literature (iyal), music (isai), and drama (natagam).
• Koothu performances usually draw from scenes in ancient epics like the Ramayana, Mahabharata, and Tamil classical epics.
• Notably, there is no spoken dialogue in the performances-only songs are used to convey the narrative.

History:

• Koodiyattom, traditionally performed in temple theatres known as koothambalams, is the only surviving art form that incorporates drama from ancient Sanskrit theatre.
• The art form evolved from Koothu, which has been mentioned in Sangam literature and temple inscriptions of the Pallava, Pandiyan, Chera, and Chola periods.
• These performances, considered integral to worship, were conducted alongside devotional singing of hymns like Tevaram and Prabandam.
• Notably, kings of the ancient period, including a Pallava king named Rajasimha, contributed by authoring works like Kailasodharanam that were performed as part of these sacred services.
• Reformation by Kulasekhara Varma:
  • Kulasekhara Varma, a medieval king from the Chera Perumal dynasty, is credited with reforming Koodiyattom.
  • He introduced the local language for the Vidusaka role and restructured the presentation into well-defined units.
  • He also authored two plays, Subhadradhananjayam and Tapatisamvarana, which are still performed today.
• Other classical plays traditionally performed in Koodiyattom include Kalyanasaugandhika by Nilakantha, Nagananda by Harsha, and several plays by Bhasa, such as Abhiseka and Pratima.

Instruments and performance traditions:

• Traditionally, the main musical instruments used in koodiyattam are the mizhavu, kuzhitalam, edakka, kurumkuzhal, and sankhu.
• The mizhavu, the most prominent of these, is a percussion instrument that is played by a person of the Ambalavas Nambiar caste, accompanied by Nangyaramma playing the kuzhithalam (a type of cymbal).
  • Percussion instruments are musical instruments that produce sound by being struck, shaken, or scraped. Examples-Drums, cymbals etc.
• Traditionally, koodiyattam has been performed by Chakyars (a subcaste of Kerala Hindus) and by Nangyaramma (women of the Ambalavasi Nambiar caste).
• The main actor is a Chakyar who performs the ritualistic koothu and koodiyattam inside the temple or in the koothambalam.
• Chakyar women, Illotammas, are not allowed to participate. Instead, the female roles are played by Nangyaramma.
• Koodiyattom performances are divided into three main parts:
  • Purappadu: The actor performs a verse with the nritta aspect of dance.
  • Nirvahanam: Through abhinaya (expressive gestures), the actor depicts the emotions and character of the play's protagonist.
  • Koodiyattom: The final part, where the actual play begins, involving multiple actors performing in rhythm with the beats of the mizhavu drummers.

Modern revival:

• In 1962, under the guidance of art and Sanskrit scholar V. Raghavan, Guru Mani Madhava Chakyar performed Koodiyattom outside Kerala for the first time at Sanskrit Ranga in Chennai.
• This marked a significant moment in the evolution of the art form as it expanded beyond its traditional boundaries.

Decline:

• Historically, Koodiyattom was an exclusive art form performed within Hindu temples and restricted to caste Hindus.
• The art form, often requiring forty days to complete a performance, faced a significant decline with the collapse of the feudal order in Kerala during the 19th century, leading to a loss of patronage and financial difficulties for artists.
• Despite a revival in the early 20th century, Koodiyattom once again struggles due to a lack of funding and institutional support.

Context: Artists in Thrissur, Kerala, performed Pulikali, the traditional tiger dance, marking the grand conclusion of the Onam festivities. 

About the Pulikali dance:

Introduction: 

• Pulikali, a vibrant recreational folk art from Kerala, is an integral part of the state's cultural heritage.
• This captivating performance is held annually during the Onam festival, which is Kerala's largest and most significant harvest celebration.
• On the fourth day of Onam, also known as Naalaam Onam or Chathayam, trained artists perform Pulikali to entertain the masses.
• The performance is marked by artists painted as tigers and leopards, dancing to the rhythmic beats of traditional instruments such as the Chenda, Chengila, Udukku, and Thakil.
• Usually, men and children perform this art form. For the first time, 3 women among a 51-member team participated in the Pulikali at Thrissur in 2016.
• The theme of the dance revolves around tiger hunting, which is symbolized by the performers' costumes and movements.

Significance of Pulikali in Thrissur:

• Pulikali is predominantly performed in Kerala's Thrissur district, where it enjoys a 200-year-old tradition.
• This region is considered the heart of the art form, with thousands of people gathering each year to witness the spectacle.
• Although Pulikali is also performed in other regions, such as the outskirts of Thiruvananthapuram and Kollam, the Thrissur Pulikali remains the most popular and classical of all variations.

History: 

• Pulikali traces its origins back to the reign of Maharaja Rama Varma Sakthan Thampuran, the ruler of Cochin over 200 years ago.
• The Maharaja introduced Pulikali as a form of entertainment for the local populace, where dancers would put on tiger costumes and mimic the movements of a tiger in a performance called 'Pulikkettikali.'
• Over time, the event gained popularity and became a central feature of Thrissur’s Onam celebrations, held in memory of this historic tradition.

Performance: 

• It is also known as Kaduvakali in some regions and the dancers are called Pulikalikkar. 
• The elaborate body paint, in shades of yellow, red, and black, plays a crucial role in the performance.
• The stripes, ranging from simple ‘patta vara’ to intricate ‘zebra vara’ designs, are applied with great care to achieve the authentic look of a tiger.
• The tune used for Pulikali Onam dance has a unique rhythm and is popularly known as pulimelam.
• The special rhythm, composed by Thottungal Ramankutty Asan 70 years ago, is unique to Thrissur’s Pulikali.
• Each Pulikkali team comprises 50 dancers.

Rituals and preparation: 

• The preparation for Pulikali is not just physical but also spiritual.
• Performers observe a 41-day fasting period starting from the first day of the Malayalam month Karkidakam.
• During this period, they purify their bodies and prepare mentally for the dance. The ritual of getting into costume begins the night before the event.

While Pulikali remains a significant part of Onam celebrations, it is also performed during other festive occasions in Kerala. Today, Pulikali is not only a folk art but also a major cultural spectacle that draws thousands to Thrissur, preserving its legacy for future generations. 

Note: 

• Rama Varma Kunji Pillai Thampuran (1751–1805), also known as Sakthan Thampuran Sakthan means powerful), was the ruler of the Kingdom of Cochin.
• Sakthan Thampuran was born at Vellarapally Palace to Anujan Namboodiripad of the Chennamangalam Mana and Ambika Thampuratti of the Cochin Royal Family.
• The present-day city of Kochi in southern India was once part of this princely state. 
• He is credited with shaping the city of Thrissur, and it was under his patronage that the renowned Thrissur Pooram festival was initiated.
• Sakthan Thampuran shifted his capital from Thrippunithura to Thrissur, laying the foundation for the city.

Context: September 12 marks the 127th anniversary of the Battle of Saragarhi, regarded today as one of the finest last stands in global military history.

About Battle of Saragarhi

• Saragarhi was the communication tower between Fort Lockhart and Fort Gulistan. The two forts in the rugged North West Frontier Province (NWFP), now in Pakistan, were built by Maharaja Ranjit Singh but renamed by the British. 
• Though Saragarhi was usually manned by a platoon of 40 soldiers, on that fateful day, it was being held by only 21 soldiers from the 36th Sikh regiment (now 4 Sikh) of the British Indian Army and a non-combatant called Daad, a Pashtun who did odd jobs for the troops. The post was led by Havildar Ishar Singh.
• The purpose of the this post was to maintain communication between the two forts using heliograph, a signalling device that used flashes of sunlight to transmit messages.
• On 12 September 1897, a massive force of around 10,000 Afghan Afridi and Orakzai tribals attacked Saragarhi, trying to cut communication between the forts. 
• Despite being heavily outnumbered, the 21 Sikh soldiers decided to fight rather than surrender.
• Havildar Ishar Singh and his men held their ground for several hours, engaging in fierce combat, fought till their last breath, killing 200 tribals and injuring 600. 
• In 2017, the Punjab government declared 12th September a public holiday to commemorate Saragarhi Day. 
• To this day, the Khyber Scouts regiment of the Pakistani army continues to honour the Saragarhi memorial near Fort Lockhart with a guard and salute.