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Goa goes traditional on Ganeshutsav

Far from Mumbai’s raucous Ganpati celebration, many devout Hindu families in Goa celebrate the festival with dignity and quiet faith.
by Gajanan Khergamker and Sriddhi | gajanan@draftcraft.in, www.draftcraft.in

Ganeshutsav is Maharashtra’s most prized…and Mumbai’s landmark festival. In sharp contrast to the psychedelic ‘lighting’, the colossal ‘mandaps’ and endless sea of crazed dancers accompanying the ‘visarjan’, lies the festival’s traditional, family-centric avatar in India’s smallest state, Goa. The idols here are all made of mud and clay as a rule.

So, however far and wide a family’s members move beyond their ancestral homes in Goa, come Ganeshutsav, they make a beeline for their roots. Reliving the joint family saga, almost all Hindu families across Goa bring the God of Knowledge home for at least five days. The ‘hall’ is decorated with multi-hued plastic ribbons forming a play of patterns on the ceiling leading to the murti usually bought from the Maharashtra-Goa border at Sawantwadi.

In a modest house at a quaint Arambol in North Goa, Sarika Naik rushes to complete her daily chores and pre-pooja formalities before the pundit arrives. Work doesn’t stop for Sarika but there is a spring in her step as she hurries about offering tea to guests, getting the pooja samagri in place and attend to her in-laws visiting for the five-day fiesta.

Ganeshutsav is the Goan Hindu’s most cherished festival. It binds families together during this period. Unlike Mumbaikars, Goans prefer celebrating Ganeshutsav in the most traditional manner. An idol of Lord Ganesha is established in the ancestral home and all members of the family and the extended family come together to live in the house for the entire duration of the festival. A daily pooja takes place in the presence of a pundit and traditional meals, which include puri–bhaji and neori (known as karanja in Maharashtra) and modak.

In contrast, in Maharashtra, particularly Mumbai, Ganeshutsav is perceived as an opportunity to display stark commercialism and vulgar show of pomp and wealth. Often, Sarvajanik Ganeshutsavs are organised to extort monies from local businesses who pay up more for fear of reprisal rather than devotion. The money involved in even creating a Mumbai Ganesha Mandap complete with decorations and security is phenomenal.

And opposed to the pack-and-go kind of Ganeshutsavs celebrated by families in Mumbai for a series of reasons that include lack of space, dearth of time and a shift in values systems, most Goan families have been celebrating Ganesha Chaturthi for generations together.

Putting profit on the back-burner, Goa shuts shop during Ganeshutsav. Bars down their shutters, hotels operate at bare minimum for local needs and markets open up just for a bit for essentials during this period. “It’s a holiday for a full 11 days during Ganeshutsav in the whole of Goa,” says Francis Fernandes, a resident.

It was Lokmanya Tilak who had initiated the public celebration of the festival which went on to be known as the Sarvajanik Ganesh Utsav. Over the years, families started installing the idol at home for shorter periods of time. And, today almost every Hindu family in Goa has its own Ganesha idol during the festival. The Ganeshutsav celebrations in Goa are predominantly traditional and family driven as opposed to the commercial extravaganza in Mumbai.

The mostly fish-eating families do not cook any fish or meat, even abstain from the use of onion or garlic during the five days they house the Lord. Alcohol, a tax-exempted commodity consumed widely in Goa, is strictly prohibited during this period. After installation of the idol, the next most important day is that of visarjan. Once again, unlike Mumbai where the idols are carted along public roads amid fanfare and cacophony, in Goa, families of an area get together and meet at a pre-determined place where all the idols are placed in a tempo or small truck and transported to a local water body which may be a lake or a nearby river side where they are collectively immersed.

In Mumbai, the installation and immersion is an ear-splitting public affair. Few families manage to get the Lord home for a range of reasons. The families here are nuclear in nature and with the constraints of time and lifestyle, Ganeshutsav too assumes urban proportions. It is a social festival in Mumbai, where even traditional aartis are mixed with bhangra beats.

In contrast, at Goa, it’s a family affair with daily poojas, ethnic food, local bhajans and traditional aartis. It is not that there aren’t any Sarvajanik Ganesha Mandals in Goa: every village in the State has at least one, like Mandrem’s Sarvajanik Ganeshutsav Mandal which keeps an 11-day socially-driven celebration so that Goan families from the area can participate after the five-day immersion of their own Ganesha. The celebrations include regional songs and dance, folk songs, bhajans, ghumat arti, kirtan, drama, etc. Local ‘heroes and performers’ are felicitated and lectures are organised to inspire and motivate the youth.

Sarvajanik in the true sense as it aims to achieve public good.

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Amalfi Coast: A little piece of heaven

Mumbai girl Beverley Lewis visits the Italian site for the rich and famous on a budget. This is her story.

If you’re tired of dragging your feet around museums and ancient ruins in Italy, it’s time to take and breather and head down to the Amalfi Coast for a bit of R&R. The Amalfi Coast, with its cobalt blue waters and green foliage, is perhaps one of the most beautiful places on earth. The Amalfi coast, along with the surrounding coastal towns of Sorrento, Ravello, Positano and Capri, comes alive in the summer with the buzz of vacationers, from all over the world, most of who look like they’ve stepped off the runways of Milan.

So how do you get to the Amalfi Coast at an affordable price? Well, the key is to book hotels and flights in advance. If you are a budget traveller, then the best time to visit the Amalfi Coast and its surrounding towns is in the month of May. Chances are air fares and hotels will be cheaper, and it will also be less crowded.

Amalfi CoastMy base was Sorrento, which is much cheaper compared to other towns along with coast. Also, due to its convenient location, I was able to take day trips to nearby Capri, and Ana Capri, using a local guided tour operator. Lined with designer stores on both sides, the stunning island of Capri is best left to the super-rich. The rest of us will just have to be satisfied with the breath taking views and delicious local Caprese cuisine along with a glass (depending on how many sorrows you wish to drown) or bottle of wine made from the delicious Falanghina grape.

The next costal town I visited was the quaint Positano, which has pastel-coloured buildings and long-winding, steep narrow lanes. Positano is an affordable town, where a budget traveller can afford to stay in a fairly decent hotel and take full-advantage of the local fare. There are numerous cafés, which offer freshly made pastries and piping hot cappuccinos to the weary traveller. Positano is also known for its strappy leather handmade sandals, which are reasonably priced and make great souvenirs.

Another day trip that I took was to the town of Ravello, which is literally situated on a mountain and overlooks the Bay of Salerno. This sleepy little town is well-known for its stunning gardens and sea views. It also has a number of family run restaurants, which offer a variety of homemade pastas. There is an array of family-run stores that offer everything from olives and local wines to home-made jams.

And you cannot leave without enjoying the coast’s busiest town, Amalfi. This glorious town is located between the sea and the mountains and has a beautifulPositano Arab-Norman cathedral. Also, if you enjoy seafood, then this is the town for you. Most restaurants in this former maritime Republic offer fishy antipasti and mixed seafood and tomato pasta dishes.

You don’t have to break the bank to enjoy this 43-mile stretch of beautiful coastal towns, you simply need to do some research and keep your eyes and ears open for good deals. Also, you may need to dust out your gladrags and plaster on a pair of over-sized shades, in case you need to hobnob with a millionaire or rub shoulders with a celebrity.  After all, it is the playground of the rich and famous.

(Pictures courtesy Beverley Lewis)

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On the money trail at the RBI Museum

Our coins are made of ferritic stainless steel, and have a mint mark which reveals where the coins were made. Read on for more.
by Ritika Bhandari Parekh

It all started when my cousin asked me to find out places in Italy which she could visit on her own. Her husband, who had work to finish said, “There isn’t much to see, except museums and more museums.” She retorted, “I don’t mind the museums at all.” This got me thinking and looking for ‘her’ kind of places, and I thought about the museums in Mumbai.

A quick search revealed that I had been to most of them as a schoolchild. But, wait! There was a new addition to the list – The Monetary Museum by Reserve Bank of India (RBI). While most of us in Mumbai are game to visit international museums, how many have actually visit this fascinating one in their own city?

RBI Museum 1This numismatic museum officially opened in 2004 at the hands of the then Indian President Dr APJ Abdul Kalam. Situated in the commercial Fort area of South Mumbai, the museum building is located in the business district on Pherozeshah Mehta Road. If you wander a little ahead, the famous Strand Book shop is right around the corner.

After depositing my bag in a locker and being issued with a strict ‘No Photographs please’ warning, I started my tour alone.

The museum is divided into six sections, with each section enlightening us on different ideas. The first section talks about ‘Concepts, Curiosities and the Idea of Money’. It takes us through the era of the barter system and explains how grains, cattle, implements were used. The evolution to precious metals, coinage and paper money is also explained here. On display are curiosities like the Neolitihic stone axes from 10 millenium B.C, as also cowri shells and beads from the A.D. era.

What caught my fancy was a square-shaped miniscule coin from the 3rd century BC, a silver bar from South East Asia, as also one shaped as a knife served as a token of money. A huge rectangular Indian note of Rs 10,000 (I am not kidding) was also on display.

If observed closely, an early 20th century cheque book of the Bank of India (BOI) Ltd, reveals three languages on it – English, Hindi and Gujarati (an indicationRBI Museum 2 of how the Gujarati business class was always an important part of the city). A counting tray from South India for the many fanams or small circular coins and other interesting articles are displayed in glass boxes.

Section 2 on Indian coinage is vast and comprises every kind of medieval coinage used by the Indian Princely States. It also houses coins from the pre-Colonial era. A quick look reveals that metals such as gold, silver and copper were the favourites among the kings. So Akbar, Tipu Sultan and Shivaji had golden mohurs of different values. It is also interesting to note the inscriptions on these coins.

From deities to names to zodiac signs in which the coins were made, all have made their mark on the money trail. It is said that before the East India Company was taken over by the British Crown in 1858, there were over a 100 princely States that had the right to issue coins. So the museum and its curators have done a splendid job in bringing not only the famous Mughal era coins, but also the coins from the North-Eastern States and the koris and dokdos from the Kutch kingdom.

As we end the section, a display of Indo-European coins and the commemorative coins by the Indian Government greet us. For the uninitiated, 1988 was the year of Aurobindo Ghosh and his saying that ‘All life is yoga.’ And so, we walk through the third section of ‘From coins to bank notes’. My Organization of Commerce (O.C.) lectures started playing in my mind, as I read about promissory notes, bills of exchange and payment hundis.

Section 4 on Indian paper money, reveals the metamorphosis of the Indian currency. Paper money from the British and post-Independence days make their way to the displays. A peculiar and striking feature of most of the notes were the portraits of the British rulers, like King George, on them.

The fifth section talks about ‘Knowing your currency’. It helps us understand the difference between a real and a counterfeit note. I learnt that the motif of the tractor on the five-rupee note was to symbolise the green revolution, and that the two-rupee note had an Aryabhatta satellite. Interestingly, our current 500-rupee note uses raised intaglio printing for the blind community.

The last section is called ‘RBI and You’ and is devoted to the activities of the main central bank of India. There is also a wall of portraits of all the presidents of RBI, since its inception in 1937.

And then, just like that we come to the exit. The Monetary Museum revealed a lot and keeping all that in mind, I am back on the sunny, crowded and chaotic street outside.

(Pictures courtesy www.eumo.in, wannabemaven.com, strayingaround.blogspot.com. Images are file pictures)

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A Buddhist temple at Worli

Blink, and you’ll miss it – look out for the sublime aura of the Nipponzan Myohoji temple at Worli Naka.
by Ritika Bhandari Parekh

Amidst the lovers waiting to reach the Worli sea face and the cars honking to go home, Worli Naka was engulfed by the flag-waving bike riders celebrating the India-Pakistan match victory in the 2015 ICC World Cup. Our search for the oldest Japanese-Buddhist temple in Mumbai on this day was met with curious glances from passers-by. I, fleetingly, remember a Japanese inscription written high on the walls of a shrine each time we passed the locality. But that evening, I was destined to experience its tranquil nature.

The Nipponzan Myohoji temple at Worli was built in 1952 by Jugal Kishore Birla. Legend has it that the philanthropist and Gandhian built the simple shrine on being impressed by the Buddhist philosophy imparted by a Japanese monk (Bhikhu) Nichidatsu Fuji. Fuji had come to India to fulfill and gain knowledge from the prophecy of a 13th century monk named Maha Bodhisattva Nichiren.

Nichiren had said that the ultimate salvation for all humanity lay in the western land (according to Japan’s position on the map) known as India, the place where Buddhism originated. With an all-welcoming attitude, the temple is witness to the changing nature of Mumbai.

A sublime experience

Once inside the premises, I heard the chant of ‘NaMu-MyoHo-Renge-Kyo’ mantra and in a second, all noises faded. The stress of a sleepless afternoon didn’t disturb me, as I took in the beautiful facade of the simple temple. It was evening time and we saw the resident monk, Bhikshu Morita, sitting and softly chanting the lotus mantra.

With just the two of us in the temple, i.e. my partner and myself, we explored the area leisurely. Quite a few clippings of the temple’s narrative along with Morita’s younger days are showcased in one corner. But if you glance up, you will be taken on a tour of the story of the Buddha – painted with vegetable dye.

While the main statue of the Buddha is made of marble and placed right in the centre of the temple, one will get a peek of other Buddha statues in different poses. One standing under the Bodhisattva or the Tree of Enlightment, another sitting in meditation, with another lying horizontally.

What catches the eye is the huge Japanese drum, being played in sync with the lotus mantra. There were two more devotees, who played to the beat on smaller tennis-shaped rackets. The hand-held rackets had the lotus mantra written on them.

As we went ahead, the monk urged us to silently go inside the main chamber and pray to Lord Buddha. We bowed our heads and took the prasad. Then we read about the birth of Buddha as Prince Siddhartha and saw a few postcards from different countries with wishes for the New Year.

And slowly, just like the setting sun we made our way out and back to the busy street. But this time the rush in our steps was not there. Just the calmness of our mind accompanied us.

Visit the Nipponzan Myohoji Buddhist temple located near Hindu Smashan Bhoomi, Jijamata Nagar, Worli.

 (See more pictures at www.facebook.com/themetrognome.in. Pictures courtesy Ritika Bhandari Parekh)

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Ter excavations to throw light on ancient Roman trade

Some evidences of Indian trade with Rome, and a flourishing ancient civilisation, were recently unearthed at Ter, in Maharashtra’s Osmanabad district.
by Shubha Khandekar

Dr Maya Sahapurkar PatilAfter a gap of nearly almost 40 years, the Directorate of Archaeology and Museums, Maharashtra State has resumed excavations at Ter, by the Terna river in Osmanabad district, a village in Maharashtra, under the leadership of Dr Maya Sahapurkar Patil, Deputy Director (in pic on left). She has been a teacher of archaeology at Solapur earlier and has authored three books. Shubha Khandekar spoke to her on site.

Shubha: Why is the site important and what was the reason for choosing Ter for excavation after so many years?

Dr Sahapurkar Patil: Ter is the modern name of the ancient town Tagar, the Mumbai of those times in terms of brisk commercial activity between India and Rome. Various kinds of textiles, beads and jute were exported from here to Rome. The local people imitated the fine Roman pottery, with a characteristic red polish, that came with the Romans. Tagar is mentioned in the Periplus of the Erythrean Sea by a Greek author 2000 years ago. It says that Tagar is a 10 days’ journey from Pratishthan (today’s Paithan), which was the capital of the Satavahana rulers. Periplus also tells us that Tagar was the important market town for merchandise originating on the east coast of India. The famous British archaeologist Henry Cousens, then working with Archaeological Survey of India, first explored this site in early 20th century and recorded his observations, pointing to unmistakable trade links with ancient Rome. On the basis of copper plates found outside Ter, which mention ‘Tagar nivasi’ Ter has been identified with the ancient Tagar.

Meanwhile, Ramalingappa Lamture, a merchant from Ter became fascinated with the surface finds and the visits of the British who came looking for them and Pompeii_Terto visit the nearby Jaina Dharashiv caves. He started collecting these finds, such as figurines of baked and unbaked clay, beads, pottery, shell bangles, ivory objects, stone grinders and coins. It became a large collection and was taken over by the Government in 1978 and expanded to house this private museum, consisting today of over 20,000 artefacts, testifying to the cultural glory and prosperity of the Satavahana days.

Are you the first one to excavate Ter?

No. It was first excavated in 1958 by KN Dikshit, who found a large brick stupa. Dr BN Chapekar continued with the work in 1967-68 and found a large number of mother goddesses in the Lajjagauri form from the mound called Renuka Tekdi. A team under Dr SB Deo from the Deccan College again excavated it in 1974-75 and published a brief report. After that, two small scale excavations were undertaken by the State Department of Archaeology which revealed a stepped reservoir. And now it has been entrusted to me and my team.

What are you looking for?

(Smiles) I have a special interest as I belong to this region. Of the seven mounds here, named Sultan, Kaikadi, Mulani, Renuka, Bairag, Mahar and Kot, the first Pompeii_Bestthree are greatly disturbed by modern habitation and hence we have chosen to dig at Bairag and Kot. Our two objectives are to define parameters of the ancient trade with Rome, to trace the material culture of the early Satavahana phases and to find evidence to fill the gap between the Satavahana period and the mediaeval period remains that overlie them.

And what have you found?

We have found a well of mediaeval times and associated structures in which the earlier bricks of Satavahana times have been reused. A plan of a house has been traced. There is evidence of timber construction which has been mentioned by earlier excavators, too. Apart from that, there are several ivory objects such as dice, comb and a rod to apply kajal to the eyes. An important find is the rim of a pot on which some letters are inscribed in Brahmi. We have sent the piece to experts for reading. Beads of carnelian, agate, jasper, lapis lazuli, faience shell and terracotta have been found. Bangles of shell, terracotta and multi-coloured glass, ear-rings and gamesmen also have been found. Female human figurines of terra cotta and kaolin show that the local people had adopted the Roman technique of double mould manufacturing.

What is your message to the people?

People are very fond of saying how great their ancient culture is, but when it comes to taking action, one sees nothing but callous apathy and mindless destruction of our precious heritage. Sculptures of excellent workmanship and immense historical value are lying waste all over the State. From what I have seen, we have the potential to build a local museum in every district. People should take the trouble to conserve this rich legacy. They can either set up a museum of their own, as done by Lamture, or donate the local findings to the government or to a museum for maintenance. This is not just the Government’s but everybody’s responsibility, and the awareness should be created right from school days.

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‘Blind copying is not exemplary or inspirational’

Veteran architect Dulal Mukherjee talks about his exciting new project – it is the country’s biggest convention centre in Kolkata.
by Subhasis Chatterjee

All good artistes have a strong inspiration, and Kolkata-based Dulal Mukherjee is no different. The famous architect confesses to designing from the heart and being inspired by the vastness and the majesty of nature. His designs, he says, have always tried to be “embellishments in the wide canvas of the Earth’s natural beauty.”

The Metrognome caught up with Dulal on the sidelines of his firm’s current project – the State Convention Centre in Kolkata, the country’s biggest such centre thus far. Over a freewheeling chat, Dulal talks of his work ethic, his wonderful journey since the upheavals of the 70, why nature matters in his work and what future architects need to watch out for.

Excerpts from the interview:

Tell us about your firm and its journey.

An award won for the interior work of the International Terminal of Kolkata Airport at the National Design Competition served as a catalyst in setting up the firm Dulal Mukherjee & Associates (DMA) in 1968.

Those were the times of great political turmoil in Bengal, which affected the architectural fraternity also as there was hardly any scope for any significant work. The firm survived its initial years by Bharat Sevashram Hospital, Jokaundertaking various interior designing projects. The situation, however, started changing for the better from 1972 as building activity in the city slowly started regaining its footing. DMA, which had so far been a fledgling firm, started branching out, although mostly in ownership apartment designing.

After the 70s, we did a lot of Government and institutional projects, and the building boom of the late 80s and early 90s gave us an opportunity to grow and further spread our wings. We have done prestigious projects like the State Legislative Assembly Complex in Dispur, Assam, and the State Convention Centre in New Town, Kolkata.

While running your firm since 1968, you must have seen and experienced a lot of change in the Indian architectural scenario. How would you explain these changes?

During my formative days as a student of architecture and as a young practicing architect, the Indian architectural scenario was ruled by the ilk of Charles Correa, BV Doshi and Achyut Kanvinde. Though influenced by international stalwarts like Le Corbusier and Louis Kahn, Correa, Doshi and Kanvinde brought in an Indian flavour that left an indelible stamp of creativity and spawned a new modern Indian architecture.

State Legislative Assembly Building, Guwahati, AssamUse of concrete in its bold, majestic form and softened by use of Indian elements like jalis, hanging balconies and punched out courtyards were there to stay for decades to come and was carried forward on the able shoulders of Raj Rewal, Uttam Jain and Ajoy Chowdhury. These were examples of inspirational architecture in the late 60s and 70s. Side by side, a mundane match box like architecture with use of hackneyed screens was mushrooming out in a desperate bid for urbanization in India.

From 1990s, a new style gradually emerged, that were more contemporary and international though with an individualistic stamp in the works of Sumit Ghosh, Sanjay Puri and Sanjay Mohe. The styles of Shirish Beri, Dean DeCruz and Gerard Da Cunha had infused a sense of local flavour typical of a region that was wholly individualistic.

The new age of ‘camouflaged architecture’ was brought in from the new millennium with extensive use of curtain walls, glass screens and aluminium cladding. Broken and sculptural forms found importance but the entire trend is very international that transcends all geographic barriers and culture. Use of cutting edge technology both in the constructional system as well as in the designing of the engineering services has found more predominance.

You are a firm believer in celebrating Earth’s natural beauty and that is always reflected in your work. Considering today’s demands, how far can you stick to your architectural philosophy?  

I grew up amidst lush green rural settings of the Dooars in North Bengal which infused in me a deep sense of reverence and inspiration from nature. Even in the present day, with the need for maximum utilisation in the face of plummeting land cost, I try to create my buildings in harmony with nature. The site constraints with regard to existing trees and natural contours are respected in my solutions, and I try to create my designed spaces around the existing flora. Natural contours are respected to preserve the quality of the top soil and in the absence of existing flora; greenery is created both through ground level and terrace level landscaping.

Which one of your projects is closest to your heart? What kinds of projects you are handling these days?

I am really excited about the current projects we are handling. A project, close to my heart, is the Assam State Legislative Assembly complex in Dispur, which I’ve won in a competition. It is a State icon and we’re taking pains to research the local architectural style, the materials and culture such that they are reflected in the design.

Another inspirational project is the proposed State Convention Centre in New Town, Kolkata. The design boasts of the largest convention hall in the country with a sizeable hospitality facility.

I do not have any particular preference while choosing a project as I find all solution process a great stimulus.

Can you share details of the state convention centre project in New Town?

With a built-up area of 64,360 square metre, the State Convention Centre for HIDCO at New Town campus comprises the main Convention Hall of 3,000 seating capacity, two smaller capacity Proposed Drawing of State Convention Centreauditoriums, four large exhibition halls including a State banquet, spacious pre-function areas, extensive food and beverage facilities and a garden food court (in pic on right).

The business hotel will comprise a business centre, 100 twin-bedded rooms, a business club and a spa with a roof top pool. The convention centre will have a multilevel parking block.

The Rs 250 crore project is being developed as a ‘green’ building project with all modern amenities and services like HVAC, illumination with LED fixtures and auto control, dual plumbing, audio visual systems, fire detection and suppression system, CCTV, security and surveillance and IBMS.

While executing a project, what are you keen to concentrate on?

I am very sensitive towards an environmentally-conscious architecture and feel it’s a predominant factor during scheme development. My designs strive to establish a relation between the interior and exterior such that there is complete harmony between the built and unbuilt. Respecting the local climatic and environmental constraints helps in the seamless co-existence of man’s creation with nature.

Have you ever noticed differences working in Kolkata, compared to other parts of the country or abroad?

My experience is restricted within this country though I’ve executed projects in Nepal. The experience in Kolkata is very similar to those in other parts of the country where construction technology is limited and restricted to a very limited number of agencies working at a national level. Sluggish work culture is prevalent everywhere, though it has definitely improved in recent years. We are definitely lagging behind our counterparts in the West with respect to technology adaptation and discipline.

How are you inspired at this age to design and create landmark structures one after another?

I am never content or satisfied with what I do at present. My intrinsic dissatisfaction nudges me towards something better in future. I am of the strongest opinion that whatever I have created in the past can be always improved upon and this conviction drives me for greater perfection in the future.

Any message for young architects?

There are quite a few talented architects making their mark in the profession to whom I could only say that there is no end to learning and no shortcut to success. The remarkable creation of our forefathers may be adopted with individual interpretations and local flavours, but blind copying is neither exemplary nor inspirational for the future generation.

 (All pictures courtesy Dulal Mukherjee Associates)  

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